Silent Voices - Reveal the Change (2013)

There are many fields of music that are overcrowded, due to years of a particular style or genre gaining popularity and then seeing a glut of bands enter the market playing that same style.  Some fans can't get enough of a certain style or genre, and will buy up nearly everything of that style they can get their hands on.  But aside from that small, core group of fans, bands that enter crowded markets really need to do something to separate themselves from the other groups of that genre to really stand out and make an impact.  That, or they need to combine familiar elements in a unique or interesting way that warrants more than a cursory listen.  To my ears, Silent Voices is doing the latter, with positive effect.

Being unfamiliar with Silent Voices prior to hearing this record, I wasn't sure what to expect, other than some vaguely progressive metal.  In fact, based on the cover art alone, I figured it would be a middle-of-the-road combination of progressive hard rock with a few solos littered about, and just enough grit in the guitar to call it metal.  I was pleasantly surprised, then, that I was only right to an extent of roughly 20%.  Yes, there is some material here that touches on the progressive hard rock spectrum, but I would argue that the overwhelming majority of stuff here is squarely on the metal side of the fence, and the other touches give the sound a bit of an expansive feel beyond the basic tenets of the sound & framework.  How they mix in the various elements of their sound is what gives the album validity.

The instruments on this album are all well produced and have decent separation w/in the sound.  Guitars sound good overall, and have plenty of weight with the lower chords, so riffing is often fairly heavy sounding.  I would assume the guitars are overdubbed in many places, given that this is a one-guitar band courtesy of Timo Kauppinen.  I like the guitar sound and how it shifts seamlessly between the heavier, low-end riffing and the higher scale runs and solos.  Not all guitar tones can move from one to the other without one sounding weak, or giving up some level of heaviness for clarity, so I think this is a good compromise.  I like how as a soloist, Timo swings back and forth effortlessly between highly melodic playing and absolute shredding.  It provides another nice contrast in the sound.  Bass guitar has a nice meaty feel to it, with a lot of low-end and providing not only the necessary thump under the guitar, but also having enough definition in the mix to be a vital part of what's going on.  Bass playing by Pasi Kauppinen is more than solid, and is a good example of how bass can be done right in metal so it's not buried in the mix, but up front enough to really do its job fully.  Henrik Klingenberg provides the keyboard work for the band, and I consider it quite superb.  He exists in that space between the tasteful Kevin Moore style, and the more all-out style of someone like Jordan Rudess.  He can help keep the melody buoyant when necessary, and go nuts with runs, solos, and effects when the song calls for it.  Drumming by original skinsman Jukka-Pekka Koivisto (apparently no longer with the band) is well done and has some nice juxtaposition within some of the songs between fast, double-bass propelled rhythms, and more syncopated, thought-out pieces.  Here's hoping newcomer Jani Hurula does the material justice in the live setting.

Vocally, the album is a mix of folks following the departure of original vocalist Michael Henneken.  In the vocal slot, there is Mats Levén, Tony Kakko (Sonata Arctica), Mike Vescera (Obsession), and Mike DiMeo, along with newcomer Teemu Koskela (who is apparently now a full member).  There's plenty of variety, and the range of voices work well over the course of the album without sounding too disjointed.  I'd be curious to hear how Teemu pulls this stuff off in a live setting, though with Pasi and Henrik likely dedicated most of their time to Sonata Arctica, who knows how much this stuff will get played live.  Specific to the album, however, everyone sounds pretty on-point from a vocal perspective.  I think the vocalists that were chosen for each song were also chosen wisely, because the songs all sound as though they fit the vocalist singing in that track.

One thing I like here is that while the band is clearly influenced by Dream Theater, they're not aping the sound.  To me, it sounds like a power metal-influenced version of what might be the meeting point between the overly complex progressive metal sound of Dream Theater, and the more subdued, lightly progressive sound of, say, Orphan Project.  Both bands are progressive in their own way, but at different extremes in the genre.  Silent Voices exist somewhere in the middle, and it works well for them.  The songs aren't overly memorable, which is a bit of a detriment, but they're not throw-away filler, either.  They do well enough to keep your attention while they're playing, but you won't have these tracks running through your head for weeks after you listen to them.  They're solid compositions that play to the band's strengths, but don't quite reach the level of stronger songwriting that would propel the album to instant classic status.  To sum up: Silent Voices doesn't bring anything new to the table, but they certainly do what they do well enough to justify checking them out at this point.  I can't speak for their back catalog, but this album is recommended to prog and power metal fans who enjoy both styles and enjoy the middle ground between the two.

80/100

Stryper - No More Hell To Pay (2013)

Every band that has had any measure of success has "that record" that they can't escape, the one that all future releases are compared to, and the benchmark by which fans judge what they do.  It's an inescapable part of human nature to set a standard by which all future actions or work will be stood up against to see whether or not it surpasses past glories.  For some bands, that is a blessing, as they are able to record material that meets or exceeds the release they are judged by.  For others, it's a curse, as fans never seem to be pleased enough with subsequent albums and always fall back to "that record" as their creative peak, even if their songwriting prowess has improved.  For Stryper, that record is arguably their 1986 album "To Hell With the Devil".

I am of the opinion that while Stryper never topped that album, the 1988 follow-up "In God We Trust" wasn't nearly the disappointment that some people have claimed.  Firstly, about half of the tracks are among the best Stryper ever recorded, that being the 3 barn burners "In God We Trust", "The Writings on the Wall" and album closer "The Reign", along with power ballad "Lonely" and mid-tempo rocker "Keep the Fire Burning".  The other half of the album did sag with lesser tracks, most of which tried to hard to replicate the sing-songy mid-tempo success of some of THWTD's radio fare.  In the end, however, it was still a highly listenable and enjoyable release.  "Against the Law" took the band in a decidedly more hard rock direction, and they didn't really look back to the more balanced approach of pop metal and melodic metal until more recently, with the 2011's release of "The Covering", a scorching collection of cover tunes of mostly melodic heavy metal classics that the band grew up enjoying.  Building on that album's credibility, and the strength of the "Second Coming" CD of re-recorded Stryper classics, "No More Hell To Pay" has momentum to spare, but is it enough to propel the album into becoming a Stryper classic?

As a longtime Stryper fan, I can answer that with a resounding YES!  Michael Sweet has stated in a recent interview that "No More Hell To Pay" was the album Stryper should have recorded to follow up "To Hell With the Devil", and I'd say that's an accurate statement.  This record has that classic Stryper feel and sound to it, with an obviously more modern production and including elements the band likely wouldn't have included in an album during the late 1980's.  Still, the lion's share of the songs here could have been recorded during that time and sounded pretty good as a follow-up to the band's breakthrough release.  There are some updated production techniques, some vocal touches, and slight nods to modern rock here and there that would not have been present, but all in all, this is a worthy successor to their 1986 record.  The biggest strength here is the songwriting and consistency of the material.  There aren't as many absolute standout tracks here as there were on "To Hell With the Devil", but the album's overall quality from track to track is improved over that release's song list.

Oz and Michael's guitars have that familiar "Stryper sound", as Michael has expounded upon in videos and interviews, but with modern production techniques, the sound is fuller and thicker than it ever was.  There's a touch less bite in the tone because of the increased weight of the overall guitar sound, but it's a good trade-off because it comes across as heavier than the band has been since that time.  In fact, the guitar sound here, along with the riffs, and the songs themselves, makes this arguably the band's heaviest album.  Solo work is as strong as ever, and while there's a bit less of the band's trademark harmonized soloing going on, everything sounds great and the solos work well within the framework of the songs.  Robert's drum work is as good here as anything he's brought to the table before.  While Stryper's production has always favored Robert's drums and given him a more weighty sound than many of the band's peers, there's such a balance here that hasn't been struck on a Stryper album before because the rest of the band has as much weight as the drum sound.  Robert is still high enough in the mix that his drums are still quite prevalent and punchy, but it's nice to hear the rest of the band's instruments on nearly equal footing.  There's lots of energy in Robert's performance here, and he hasn't lost a beat over the years, his playing is as strong as ever.  And it's great to have Tim back on bass again, after a number of years out of the band.  Tracy Ferrie was a welcome addition to Stryper, but let's face it: if you're going to attempt a "return to form" and sound like your old albums, getting the band back together with original members is always preferred, and adding Tim back into the mix was a good choice.  His bass rumbles along in the mix nicely, and he shows why he was a bit underrated during the band's heyday, as he does more than just follow along with the riffs and play one-note rhythms underneath, but adds a bit of harmony at times, and brings a little extra energy when needed, like in "Sympathy".

Many vocalists who utilized the upper registers of the tenor vocal range often lose that ability over the years, partially due to age, but also often due to destroying their natural instrument through drink (Joe Elliot) and/or drugs (Vince Neil, anyone?).  Michael Sweet has, thankfully, avoided most of those pitfalls and remains a top notch vocalist.  He can still hit the highs and do the high pitched wails, even if they're a bit tempered now compared to what he pulled off in his younger days.  That said, he brings an impressive performance here that has the dynamics and nuance of his solo material, while bringing the energy, grit, and spirit of what he's done in Stryper over the years.  Lyrically, the songs are as bold and up front as ever, though there are some additional topics covered here aside from looking to Jesus and love relationships, such as the pain of ridicule ("Sticks and Stones"), looking beyond our mortal lives ("Legacy"), and some Revelations-inspired lyrics with opener "Revelation" and the title track.

The thing about this album that I appreciate so much is that it's just so consistent.  Most every Stryper album before this has had at least 1 or 2 tracks that could be considered filler, or just don't match up to the songwriting of the other material.  I feel as though every track here is essential to the experience.  "The One" is the band's best ballad, and fits in nicely with the other material.  "Sticks and Stones" and "Water Into Wine" are both mid-tempo rockers that follow the album's triumvirate of heavy tracks, "Legacy", "Marching Into Battle" (being arguably the album's centerpiece), and "Te Amo", but they don't feel out of place or lacking when following those tracks.  The band has taken heat for their cover of "Jesus Is Just Alright" as being out of place, but I feel like it's a perfect companion to the original material and describes in few words what the band is, and has always been all about.  My first impression of the title track was that it was a bit slow and plodding, when they initially released the video, but after repeated listens, it's as stuck in my head as the other melodies on the album.

If you've never been a Stryper fan because of the cheese factor or because they're just not heavy enough for you, this new record is one that could change your mind ever so slightly, because they've truly made a melodic, yet heavy album that is better and more consistent than the bulk of their discography.  Does it scale the same heights as the 1986 album it echoes?  I would say it does, though that album has a couple tracks that may help keep it's place firmly cemented as the band's best overall work.  Regardless, "No More Hell To Pay" is the best album a Stryper fan could have hoped for in the year 2013, and certainly one that I will be coming back to nearly as often as I get the urge to listen to Stryper.  Highly recommended!

90/100

Persuader - The Fiction Maze (2013)

There are times when a band is labeled as a copycat, for better or worse.  Sometimes they deserve such labeling, and sometimes they make enough of their own mark that such branding is unfair.  Either way, being called a clone can often bring attention to a band they may not have garnered otherwise.  If the band is truly a knock-off, this extra attention is usually short-lived, unless they continue to push the envelope of carbon copying.  If not, and the band has made its own mark, then typically those accusations melt away and the group can win its own acclaim.

Such is the case with Persuader, who at times have been labeled as a bit of a Blind Guardian clone.  Truth be told, Persuader was probably not seen as much of a BG clone as vocalist Jens Carlsson's other (former) project Savage Circus, given that band's debut including former BG drummer Thomen Stauch, and Jens' vocals sounding a lot like BG crooner Hansi Kürsch.  In fact, at times, Jens sounds like Hansi so much that it's uncanny.  Nevertheless, Persuader has paved its own path upon the power metal landscape, and are deserving of their own accolades due to the strength of their material.  Their latest album, "The Fiction Maze" shows just why that's the case.

While the band's debut "The Hunter" was a tad raw and rough around the edges, it showed a hungry band with energy that was trying to make their mark.  "Evolution Purgatory" cleaned up the production and tightened the sound, and "When Eden Burns" pumped up the power and intensity a bit while honing the songwriting skills.  In the 8-year interim, these guys haven't lost one ounce of ability, power, or panache.  The band's 4th album, "The Fiction Maze", takes the elements of the previous album and tempers the sound ever so slightly while increasing the melodicism and making a fairly memorable set of songs.  As far as I'm concerned, this is their best album yet.

The album starts out very strong with a triumvirate of songs that play to the strengths they display throughout the album: memorable melodies, hard-hitting lyrics that take the usual fantasy fair of the power metal style into a darker, grittier place, and an absolutely tight presentation.  In the weeks leading up to writing this review, I've had "One Lifetime" running through my head off and on at random.  The chorus' indelible melody will etch itself into your subconscious if you let it.  "War" keeps things rolling with another solid and melodious tune, and "The Fiction Maze" really ups the ante with the band's trademark combo of growled vocals mixed with Jens' gritty tone and excellent range, as well as a relatively epic sound.  "Deep in the Dark" also weighs in with a successful formula for the more "power ballad" approach that doesn't sink into endless cheese.  The rest of the material follows suit, creating a dynamic and full album experience that doesn't quite reach the heights of Blind Guardian's most lauded material, but still earns a place among the best albums of the last 3 or 4 years, and certainly the best of their career thus far.

As with the previous release, the guitar sound Daniel Sundbom and Emil Norberg bring to the mix is thick, hard-hitting, and crunchy.  There are times when the sound is a bit less heavy than you'd expect, but for most of the record, they bring the heavy and then some.  The guys have a knack for writing riffs that combine catchiness and rhythmic energy in a way that doesn't take away from the power of the sound.  As well the solo work, when present, is skillfully played and melodically inclined, and never sounds like they're just wantonly throwing notes out there.  That doesn't mean they don't have flair or style; far from it.  Bass work by Fredrik Hedström is also skilled, with him keeping pace with Daniel and Emil and sometimes adding that extra layer of emphasis underneath things.  His bass occasionally gets lost in the heavier moments, but his low end is a welcome addition here.  Efraim Juntunen is a talented drummer, able to transition seamlessly between drumming in a groove and belting out lightning fast double-bass and faster rhythms and fills.  His drumming fits the material very well, and never feels like he is trying to steal the spotlight or overdo it.  I'm not sure who provides 

As mentioned before, Jens Carlsson bears more than a passing resemblance to Hansi Kürsch of Blind Guardian.  This is both a good and bad thing for the band, as it immediately gives listeners a reference point, but may be distracting for some.  Personally, I don't think it's a problem, as Jens uses a grittier approach than what Hansi has used in years, and the band's overall sound is heavier and more aggressive than what BG has done of late.  In addition, not everything these guys do is of the level of "epic" that Hasni and his cohorts put out, so to some fans who tire of Blind Guardian's overly bombastic approach, this album's mild refrain from that tendency may be a welcome approach.  Since there's no indication anywhere that he doesn't provide them, I can only assume Jens handles the growled vocals as well, which is both impressive and shows his vocal ability and stamina being able to move back and forth between the two styles.

Ultimately, if you're a fan of Persuader's material thus far, you'll enjoy this album as much as what came before, perhaps even more due to the increase in songwriting ability and quality of material here.  If you're not, this may not convert you, unless you felt like the band's ability to write songs was somewhat limited, in which case, I would recommend giving this album a listen.  For those who think all power metal falls into the "flower metal" category, this album is one that should change that impression somewhat, because nothing here sounds overly happy or cheerful, and the overall tone of the album is darker and more foreboding than much of the power metal out there.  It's certainly heavier than a lot of other bands of the style.  A few more tweaks to the songwriting and even catchier melodies in the songs and these guys could be considered to be on the top shelf of the style alongside the aforementioned Blind Guardian, Rhapsody et al, Sonata Arctica, Primal Fear, etc.  In the meantime, I'd highly recommend this fantastic slab of driving metal.

88/100

Carcass - Symphonies of Sickness (1989)

Carcass is a band that, to fans of the large umbrella known as "extreme metal", certainly needs no introduction. The band has been credited for starting at least one musical style (goregrind, via their debut, "Reek of Putrefaction"), and contributing heavily toward the start or refinement of at least 2 others (melodic death metal via "Heartwork" and the 'death and roll' style played on "Swansong").  Their 3rd record, "Necroticism - Descanting the Insalubrious", is often the subject of much praise and is generally lauded as their best, though my vote has always gone to "Heartwork" for that honor.  So with all of those accolades and recognition, one Carcass album is often forgotten, or at the very least, not mentioned in the same breath with the rest.  That's a shame, because "Symphonies of Sickness" is every bit as important as its brethren in the historical context of death metal, a style the band ultimately became synonymous with.

It seems to me that when it comes to early death metal, and the progenitors of the style, Carcass were among the most vicious-sounding and brutal of the lot.  They weren't the fastest, nor did their riffs have the tightest attack.  What they had, however, was a brilliant combination of heavy, muddy production, groove, riffing that could speed up or slow down to fit the mood being created, powerful drumming that alternated between creating cacophony and maintaining the aforementioned groove, and vocals that did more than just showcase some guy growling behind a microphone, but really set the bar for brutality and versatility within the style.  Despite all of this, "Symphonies of Sickness" is often left out of the conversation when talking about ground breaking albums at the beginning of the death metal movement, and is not mentioned alongside other brilliant records like Death's "Scream Bloody Gore" or perhaps "Leprosy", Bolt Thrower's "Realm of Chaos", Morbid Angel's debut "Altars of Madness", Pestilence's "Consvming Impulse" or early works by Obituary, Autopsy, and labelmates Napalm Death.  It should be, however; let me explain why.

In 1989, death metal was still a style in development.  The rise of death metal was inevitable, as bands like Death, Celtic Frost, and Possession had been pushing the boundaries of thrash metal for a number of years in the underground, but most of what is considered the earliest death metal is still grounded very much in thrash, like Pestilence's "Malleus Maleficarum", Bolt Thrower's "In Death There Is No Law", or even Death's debut "Scream Bloody Gore".  Many of the early records still had very much a thrash metal base, only taken to new extremes.  It wasn't until the sound became less focused on super-fast playing and precision riffs that death metal began to really come into play as its own style.  As vocals became more throat-ripping, guitars began to be tuned down, and tempos had a bit more leeway to speed up or slow down as necessary, death metal began to shed its thrash roots and become its own entity.  This can be seen with an album like "Realm of Chaos", which is every bit as punishing as its thrashier predecessor, but begins to turn up the brutality past 11, and sounds distinctly different than what came before.

Carcass wasn't born of thrash metal, however, they were forged in the fiery pits of hardcore punk, and their take on grindcore was so massive and brutal that it would have been nigh impossible to follow it up with another record as blistering as "Reek of Putrefaction".  Instead, they followed up that bullet train of an assault with something more akin to a fleet of Sherman tanks cruising down the road.  Yeah, they can still go fast if need be, but they're far more menacing and imposing than the train is, because the tank can slow way down and target something specific, or stop altogether and bring a full-on assault.  Such is the case with "Symphonies of Sickness", which takes the heavy nature of its predecessor and while turning down the speed knob, cranked the intensity and brutality knobs up to the max and broke them off in the process.  What they developed by doing so is arguably the heaviest and most insane record of 1989.

Musically, "Symphonies" is a monster.  I'm not sure how Bill Steer's guitar tone was so thick and chunky in 1989, but the band deserves some kudos for both their choice of equipment and their production technique (or perhaps lack thereof) in achieving the sound of this album.  Bill's guitar has such a grind and grit to it, completely forsaking the razor-sharp sound that thrash metal bands aim for, instead, sinking into the murky depths of what became the signature of the death metal guitar sound throughout the Florida scene.  Jeff's bass rumbles confidently alongside Bill's riffing, and often underneath his solos, giving the album a lot more weight than many of Carcass' contemporaries lacked until years later when they had bigger budgets and a producer like Scott Burns at the mixing board.  Jeff's bass sounds truly menacing with that thick, dirty and distorted tone.  Meanwhile behind the drums, Ken Owen sounds a whole lot more in control this time around. He still has a bit of fine tuning which will become evident across the rest of the band's discography, but compared to the hyper fast, barely-on-the-rails drumming of "Reek of Putrefaction", this is a lot more precise an attack, no doubt from the years of playing the "Reek" material and building up stamina, as well as a better handle on the timing needed to pull off this kind of material.  And while dynamics aren't normally something you would think of when discussing death metal, when the music slows down to groove a bit or let the song catch a quick breath before ramping up again, Ken follows suit and the drumming matches what's going on elsewhere.

Vocally, this is some pretty raw and intense stuff.  For death metal in the late 1980's, it was common for vocalists to employ a real throaty yell/scream or a mid-range growl, not unlike John Tardy of Obituary.  So the dual vocal attack of Jeff Walker's high-pitched growl/shriek and the much lower-end growl of Bill Steer was both new and exciting at this stage of the game.  Death Metal hadn't reached that stage where everyone was playing playing the vocal limbo, i.e. "how low can you go", so this kind of guttural sound was still relatively untapped, save for a handful of other bands.  Personally, I think had the band employed only Jeff's higher pitched growls, while the album would have still been unique and innovative, it would have been less so, because this kind of vocal trade-off and layering didn't become a major component in the style until better, more experienced producers came along and added the layering/overdubs for maximum effect.  Lyrically, this treads the same medical journal-infested waters as the band's debut, requiring medical textbooks and a thesaurus handy to understand all that's going on, but as most fans know, the early lyrics were all about bodily processes, such as rotting, intestinal disease & other ailments, and additional, similarly appetizing topics.  Not the stuff of emotionally charged debate, but from their vegetarian perspective, pertinent, and certainly years head of its time, culturally speaking.

The album is not without its flaws, however.  Being a self-produced album with such a dirty, grungy sound to it means that sometimes the clarity of the guitar is lost unless you're cranking it up to the max.  As such, the complexity of the riffing can sometimes be muted a bit, and the songs are a bit less memorable when you don't have those key riffs playing in your head for hours after you've spun the album.  "Symphonies" has less a problem than some of its contemporaries in this regard because it's not all about break-neck speed, so sometimes the groovier passages will stick with you a bit longer, but it's a valid concern.  As with a lot of metal albums from this time as well, the drums should be more powerful and sound larger than they are, so obviously the band didn't spend as much time in post-production adjusting the volume on the drums to bring them up in the mix enough to give them a bit more weight.  This is a minor complaint, as the drumming is generally always audible, but as compared to latter-day Carcass efforts, I'd like to be able to hear Ken more as he's pounding away.  Also, while they all sound good, many of Bill's solos are still quite primitive and show that he hadn't yet come into his own in that area.  All the solos here fit the songs and work well enough, but compared with what he provided over the course of the 2 albums that followed, his work here is a touch sloppy and almost apprehensive, as if he's afraid to cut loose too much.  When he does, it sounds good, but you can tell that the precision he later achieved was still absent.

These minor complaints are spoken in hindsight, of course, as this whole release was completely ground breaking and unprecedented upon its release in 1989.  Save for labelmates and countrymen Bolt Thrower and Napalm Death, arguably fellow European death metallers Pestilence, and quite possibly Florida's Morbid Angel, Carcass had a corner on the market in 1989 with "Symphonies of Sickness" in terms of sheer heaviness, as well as employing the unique dual vocalist approach, which gave them an element their peers lacked.  The band modified this approach with their next album 2 years later, which propelled them into legendary status within the scene, but this album should have already cemented that place on its own merits.  This is a landmark release that doesn't always get the credit it deserves in context with other albums of its time, and that's too bad, because it's a powerful statement from a group who showed the metal world that the best was yet to come, alongside a set of peers that never quite escaped the shadow of the albums they released the same year.  Essential, if not for the music alone, for the historical significance.

82/100

ReinXeed - Swedish Hitz Goes Metal Volume II (2013)

Metal bands covering pop music is nothing new, as the lines between metal and pop have always been a little blurred, at least in some circles.  Some ardent metal fans refuse to accept any semblance of "pop music" in their metal, in part because the "pop" part means popular, and metal was never truly meant to be popular, at least not in the minds of the de facto metalhead.  If I'm over-generalizing, I apologize, but I think any of us heavily into metal can safely admit at some point or another in our musical journey that there are lines we've refused to cross, only to later realize that we were, perhaps, either short-sighted, or just not willing to let go of our own pre-conceived notions of what metal is or was.  The truth of the matter is, traditional forms of metal music are often based around many of the same melodic touchstones that "pop music" is, though with a decidedly more aggressive or energetic bent, and arguably less approachable subject matter.

So while pop elements aren't likely to creep into goregrind or bedroom black metal any time soon, anything rooted in more traditional heavy metal sounds and styles will have a pop underpinning at the very least, due to the reliance on catchy melodies and specifically structured songwriting.  As such, it should be no big deal for metal musicians to pay homage to pop music.  Helloween covered ABBA's "Lay All Your Love On Me" via their "Metal Jukebox" release, and while not every pop songwriter is as brilliant as Benny and Bjorn of ABBA, the fact remains that catchy melodies, sing-along choruses, and verse-chorus songs are a staple in this genre we love so dearly.  I, for one, don't think that's a bad thing, as many a classic metal song over the years would have suffered greatly if not for a quality melody carrying it along.

So with that in mind, Tommy Johansson (or Tommy ReinXeed, if you prefer) has put out a pair of albums, the first in 2011, and now this 2nd volume in 2013, which exemplify that relationship between traditional heavy metal and pop music.  And while the 1st record concentrated solely on 3 Swedish groups, that being ABBA, Roxette, and Ace of Base, this 2nd volume branches out just a bit further.  So while over half the material here is still ABBA (who had a wealth of excellent pop songs), Tommy brings some newer material to the table as well, and most of it works pretty well.  The record occasionally dips under the weight of its ambitions, but never falters so much that it stumbles and falls down.

If you've heard a ReinXeed record, you know what to expect musically: a crunchy, yet clean-sounding rhythm guitar sound, sharp lead guitar, lightly rumbling bass, and time-keeper precision drums, along with keyboards where appropriate, and pristine production that gives the proceedings an almost "too shiny" sheen.  That's not to say that things don't occasionally get aggressive, because "Don't Stop the Music", "Rock Me" and "My Favorite Game" all have sufficient weight to them, but overall, you know you're getting a juicy pop nougat wrapped in a crunchy metal shell.  Since Tommy has a respectable handle on the ballad side of the coin, his interpretation of a song like "One of Us" works well.  Mid-tempo stuff like "Does Your Mother Know" and "Voulez-Vous" also work well, as does his interpretation of non-single ABBA track "Tiger" (a personal favorite from ABBA's "The Arrival" album).  Some of the non-ABBA tracks are quite effective as well, though I must confess I'm less familiar with the other artists.  I will say that Tommy's choice of "My Favorite Game" by The Cardigans was a good one; had he chosen to do "Lovefool", I'm not sure he would have pulled it off.  And I was surprised how well Loreen's "Euphoria" (2012 Eurovision songwriting contest winner) translated - Tommy wisely kept the basic keyboard line as part of the song, and just give it some metal muscle to beef it up a bit.

With as much success as Tommy has here in translating songs, there are only a couple misses.  Sadly, his take on "Dancing Queen" lacks the charm, punch, and soul of the original, and ends up sounding somewhat flat and lifeless by comparison.  Perhaps I'm too big an ABBA fan, and perhaps that particular song is just far too iconic, but Tommy's interpretation just doesn't do anything for me.  And because it opens the album, it brings down the album ever so slightly because it doesn't begin on a high note.  "All About the Money" is a good listen, but as a song it doesn't stand out as much as most of the other material here, so it ends up sounding a bit like a filler track at the end of the album, which is what it becomes.  These minor missteps aren't enough to drag the record down that much, but I just didn't feel that they reflected the quality of the rest of the covers, or the quality of the 1st volume for that matter.

At the end of the day, there are 2 types of people who will buy this album: ReinXeed die-hards, and power metal fans who are also partial to material that showcases a highly melodic pop or rock sensibility.  If you're in either camp, this is a CD you at least should hear, if not own.  For those who haven't discovered ReinXeed yet, start with either "1912" or "Welcome to the Theater", or even their most recent album "A New World" for quality melodic power metal that remains consistently good throughout.  For those looking for something different, or metal fans who enjoy covers albums or interpretations like this (especially of non-metal material), then this is a good CD to show the relationship that exists between pop music and metal.  I would recommend this if you liked Volume I and are looking for more, or if you are willing to entertain something other than tried and true, dyed-in-the-wool metal.

78/100

Vandroya - One (2012)

Female-fronted bands have become a "thing", in that they have become quite trendy over the last few years.  With high-profile groups like Evanescence, In This Moment, The Agonist, Lacuna Coil and others in the mainstream, there's no shortage of bands with female lead singers.  In the metal realm it's even more pervasive, with a large number of "gothic rock" or "gothic metal" bands having women as lead singers.  Several bands led the charge in the 1990's, including Nightwish, Lacuna Coil, and The Gathering, and with the combined success of those acts, many more groups started coming out of the woodwork.  Today, the market has been considered by metal fans to have been flooded with such bands, especially in the "gothic metal" scene.  Another growing area has been female-fronted power and progressive metal bands, and that's where Vandroya comes in.

Hailing from Brazil, this quintet has been around a few years, having released a demo in 2005, but only at the end of 2012 have we seen the band's debut album, "One".  Right out of the gate the band impresses with a nice logo, cool cover art (Felipe Machado), and a professional production courtesy of guitarist Marco Lambert and Heros Trench.  The addition of vocalist Daísa Munhoz to the band has made this a band to watch, not just because she is a woman vocalist in a metal band, but because her strong voice and ability makes this more than just "yet another female-fronted band".  Daísa has a natural ability that lends itself nicely to the band's style and material, and it will be interesting to see where they develop from here.

Instrumentally, this is quite competent.  Guitarists Marco Lambert and Rodolfo Pagotto have a solid grasp on melodicism, soloing without it becoming just speedy notes playing over a background, and a good overall sense of song construction.  The guitar sound is appropriate for this amalgamation of traditional heavy metal, power metal, and bits here and there where the music drifts slightly into progressive metal territory.  This approach keeps things interesting, because they don't really exist in any of those spaces entirely, but vacillate between them, which I think they do reasonably well.  It might feel to some as if the band doesn't entirely have an identity yet, but I think it suits them.  Bass by Gee Perlati is solid, never going for flashy runs, but sort of galloping along with the proceedings when speed is the order of the day, and rumbling in the mix when things slow down.  Gee's not doing anything you haven't heard before, but it's solid nonetheless.  Drum work by Otávio Nuñez is fairly good, with interesting bits here and there, nicely timed rolls and solid double-bass playing.  There are times that he reminds me just a bit of Murilo Marc from fellow Brazilian metallers Menahem, with well executed transitions and little pauses here and there to add effect.  There are also some nice keyboard and piano bits here and there, and little flourishes that give the album a bit more depth than just standard metal, which is nice to hear, particularly in "Within Shadows" when the song breaks down nearly halfway through for a minor piano diversion.

Daísa Munhoz has a good voice that is well utilized across this album.  She has a bit of Doro in her approach, in that she brings a bit of drama as well as including a bit of grit in the vocals here and there for some added aggression.  She can really sing, though, and I think she just might be one of the strongest female voices in metal from Brazil.  Of course, the spots where her vocals are double-tracked help that along, but it's apparent during verse sections where she's belting it out, or during slower, more mellow passages when her voice is more subtly applied.  Daísa has talent and she uses it well on the record.  She does kind of overuse certain tropes, i.e. specific wavering voice inflection or short vocal "runs" to highlight the end of a line in a verse or chorus, but that's a forgivable scenario considering the strength of her performance on this debut album.

Ultimately, the album is solid and quite listenable, but fails to catch fire as much as the band would like because the songs themselves aren't quite as distinctive as one would hope.  That's not so much a criticism as it is an observation of the band just getting started and still needing to find their voice.  Using "One" as an album title is either a lazy move, or somewhat pretentious, in that, despite the overall quality of the material, it's not good enough to title the album based simply on a number rather than choosing a title track.  The biggest flaw here is that the catchiest bits are the choruses when Daísa is belting out the notes over melodies that are somewhat memorable.  The rest of the material, while well played and having solid riffing, just doesn't stand out quite enough to stick in my head after I'm done listening.  For heavy metal and power metal in particular, this catchiness is a key element, and the band isn't quite there yet.  In a sea of quality power metal, Vandroya is still a small fish needing to soak in more influences and take more time to develop their songwriting before they'll have a real opus.  As it stands, however, "One" is a good listen and a solid way to start their career, showing that they have the talent and potential to go places if they take the time to develop their songwriting a bit more.  I will give this a tentative recommendation to those seeking quality female-fronted metal, or just looking for something new.  I enjoy listening to this, but I recognize the shortcomings for what they are.  I'd say this is a "try before you buy" release.

70/100

Golden Resurrection - One Voice For the Kingdom (2013)

I can admit when I'm wrong.  I'm a big enough man to recognize when I've made a mistake and need to take responsibility for it.  The consequences are sometimes unpleasant, but I've found it's better to take your lumps and move forward than to try and string things along until they end up worse.  Sometimes one has to take a bruise to one's pride as well, which isn't fun, but builds character.  Thankfully, what I'm admitting to being wrong about is the direction of Golden Resurrection's last album.  In my review for it, I said I felt like the mid-paced approach suited them and was a good direction for them to go in as opposed to the speedier, more neo-classical approach of the debut.  Well, I was wrong.

While I stand by my review otherwise, and think that "Man With a Mission" is a solid album, I'm glad that Golden Resurrection has elected to go back to a speedier approach with "One Voice For the Kingdom".  This latest release has what I feel is potentially the strongest set of songs the band has released thus far, and has begun to solidify what could be the Golden Resurrection sound - a mix of neo-classical metal, European power metal, and traditional metal with a knack for melody, keyboards to spare, and catchy hooks.  I also like that the focus, vocally, has shifted more toward Christian Liljegren's direction.  Don't get me wrong, I like Tommy ReinXeed's vocals, and I think he uses them perfectly in his main band, ReinXeed.  But this project "feels" like a Christen Liljegren band, so his vocals as the focus are part of the attraction.

If you've heard the band's debut, or even "Man With a Mission", you know what you're getting here in terms of instrumentation.  Guitar work by Tommy is as strong as ever, with more of the faster-paced playing and speedy riffs he has become known for with ReinXeed.  His penchant for neo-classical playing comes through in several spots, from the intro to "The Temple Will Remain" & the bit in "Spirit War" where he echoes a classical piece, to the instrumental "Heavenly Melodies".  The guitar sound is just about perfect for the music as well, with a very "clean" distorted sound, if that makes sense.  There's not so much distortion in the guitar tone that it feels too heavy, but this is obviously metal music through and through.  And as always, Tommy's guitar solos are excellent, balancing fret board pyrotechnics with melody and some degree of soul, especially on the album's closing instrumental, "Moore Lord" (another reference to the late Gary Moore, perhaps?).  Bass work by Stefan is solid, and is nicely placed in the mix.  Bass is present and audible, you can hear what it's doing and where it's going, and it adds weight without dominating the proceedings.  Drum work by Alfred Fridhagen is excellent, and the drum production is pretty good.  A punchy snare drum sound accompanies thick and full bass drums & toms, and cymbals ring out when necessary, though they do lack a bit of emphasis during moments when a bit more cymbal would make sense.  Keyboard & Hammond organ work by Svenne Jansson is solid, adding that touch of faux-symphonic sound when fitting, and providing an extra melodic layer in the background much of the time.  The eponymous track even has some nice interplay between keyboard and guitar, trading licks/solos and propelling the song forward.

Vocally, Christian Liljegren is in fine form.  I still believe his most impassioned and strongest performances have been with Divinefire, but honestly, what he's doing here is a close second.  He brings some of the grit he employs with Divinefire while maintaining a clean, melodic sound through much of the record.  I also believe that Christian gets better with age.  Some of his earliest neo-classical and power metal material suffered from  vocal control problems, but over time Christian has really come into his own, having developed the ability to control his instrument much more effectively.  He has also increased his range, or at least flexed his vocal chords enough to utilize the upper range and give us those high-pitched wails.  Christian's voice is much of the draw of Golden Resurrection because it's fairly unique and distinctive, so if you like it, you'll appreciate what he's doing here.  Lyrically, this record is no different than what the band has already done, though a couple of the songs might be slightly less overt than what came on the previous record.  If lyrics based upon Christianity turn you off, these won't win you over.  If you enjoy such things, you'll be edified despite Christian's somewhat limited abilities as a lyricist.  This isn't poetry, but it's not Reader's Digest, either.  The lyrics are appropriate for what the band is trying to communicate.

With everything coming together so nicely on the album, there are a couple minor complaints.  I enjoy "Heavenly Melodies" and "Moore Lord" quite a bit, but honestly, 2 instrumental tracks is a bit much for an album with only 8 vocal tracks.  Perhaps the band is trying not to overstay their welcome in your CD or MP3 player, which is good, but I would maybe have included either 1 less instrumental, or perhaps added an additional vocal track in between them so it didn't seem like instrumental work was dominating the second half of the album.  Be that as it may, I would hope the band would play "Heavenly Melodies" during concerts to give Christian a breath-break and showcase Tommy's skills.  Also, I agree with a couple of the other reviews I've read that the title track is a bit weak and disappointing.  It's not bad, per se, it's just not title track material in the same way that the title tracks for the 1st 2 albums were.  It's just a bit nondescript and less memorable than much of the rest of the material.  Overall, however, this is a contender for the band's strongest release, and certainly worthy of the name they've made for themselves.  Recommended.

83/100

Pylon - The Harrowing of Hell deluxe edition (2013)

Doom metal is one style that I've not taken to as much as other traditional styles of metal.  I'm a big lover of thrash, progressive, power, & death metal, as well as a fair bit of NWOBHM, classic metal, and even a lot of "glam metal", if you will.  But for some reason, though I enjoy listening to doom, it's not a style I've invested a lot of money or time into.  I own a handful of doom albums, most notably the 1st 3 Forsaken albums (vinyl re-issues), but otherwise my collection remains largely devoid of good doom metal.  I really dig bands like Solitude Aeturnus, early stuff by Trouble ("Psalm 9" is a MONSTER record), Candlemass, and so forth, but generally when it comes time to part with my hard-earned money, I opt for something a bit faster, more energetic, or more "immediate" in terms of getting more of that instant audio gratification.

As such, my knowledge of the band Pylon comes only from hearing of them over the last few years, seeing mention of a new release here and there, and briefly checking out samples, but never investing any money into any albums.  I've been concentrating more on a combination of building my vinyl collection, as well as keeping up with newer releases from bands I follow closely, and regaining a number of albums I sold off years ago in a music purge, or at least those that I miss and wanted to have in the collection again.  As this is my first true Pylon listening experience, I hope I can be forgiven an unfamiliarity with their previous efforts.  As it stands, this is a band I think I could get into.

"The Harrowing of Hell" has an interesting sound to it, because it combines the darker, slower doom of bands like Candlemass with a more traditional doom vibe and presentation, like Trouble.  So you get something that is mostly slow and plodding, with occasional energetic bursts, with a production that belies the heaviness of the material by not pounding the listener over the head with a real "thick" guitar or bass sound, and a drum sound that is somewhat understated.  At first blush, it sounds like an album that might have been recorded some 20 years before its time, and perhaps that's what the band was going for.  This is classic doom in sound and approach, so the production values match that.  Apart from the layering of a few elements here and there, like piano/keyboard, & the obvious chorus effect on the vocals, most of this sounds like it could have been recorded "live in the studio" with very little doctoring on the back end.

As I said, the guitar sound on this album is a bit "thin", though it rings out with sufficient reverb and tone to get the job done.  Andy La Morte & Matt Brand do a good job of creating that slow atmosphere with the right repetition in the riffs, melodic solos where fitting, and the occasional mini-jam to break up the monotony and add a bit more interest to the songs.  Bass by Jan Thomas is quite good, and I felt myself listening more intently to the bass riffs more than the guitar riffs in some cases, because the bass sometimes is more complex or has more "movement" than the guitar riffs.  This makes things a bit more interesting at times, and creates a nice interplay that gives the songs more weight.  Bass sounds good here as well, with a fair bit of presence in the recoring.  Drum work by Andrea Tinner is good, though the production has the drumming back in the mix a bit too far.  As many opportunities as the louder cymbal/bass drum or cymbal/snare hits had to create more impact, they are squandered due to the drums sounding a bit too weak in the mix.  In the end, it still works, because the more spare drum sound doesn't mean they're inaudible, but I feel like they didn't quite get enough room in the mix to shine.

Vocally, Matt Brand is a bit of a mixed bag.  His style fits the music, with a gritty delivery that has a fair bit of natural wail to it.  There are times when I think he's being a bit too "loose" with his singing and needs to tighten up his vocals, but I know that a bit more loose approach fits the doom metal aesthetic quite well, so that's more a personal contention rather than a direct criticism.  His vocal delivery can verge on monotonous at times, and there really isn't much he's doing here that stands out all that much, other than noting the emotion in his voice.  Otherwise, I'd say it's a fine performance that gets the job done without wowing the listener.  Lyrically, much of what you'll get is right from the Bible, most specifically, "Psalm 139 A" and "Psalm 139 B".  Other songs are indicative of biblical themes, but from a more personal perspective.  Religion and specifically, biblical themes, are common in doom metal, so if you're used to that you'll be right at home here.  The band's cover of Black Sabbath's "Paranoid" obviously culls from a different perspective.

I rather enjoyed their take on "Paranoid" and found it to be a refreshing approach.  Black Sabbath is not only credited with basically inventing Heavy Metal in general, but also as the chief influence of most bands that fall under the doom metal moniker.  "Paranoid" being the short, frenzied rocker that it is, takes on an interesting, slightly more twisted air when slowed down to the level it is in this interpretation.  It evokes images of a more deliberate, sinister presence than the more manic, lightly psychotic person depicted via the original version.  For the deluxe edition, 2 bonus tracks are added that weren't available on the original vinyl version, that being "Golden Voice" and also "Lines".  The 2 additional tracks have improved production over the original tracks, and showcase a tougher, "meatier" sound that I think fits the band a bit better than the more hollow, distant production that the rest of the release bears.

I've listened to this release all the way through a number of times now, and while I enjoy it each time, I can't say the songs are overly memorable or stick with me much past each listen.  The anguished vocal wail of "You Have Been Warned" tends to play back in my head for a while, and the relatively familiar words of Psalm 139 tend to linger on after listening, but these tracks aren't playing in my head for a while after listening.  "Returnal Etern" (one assumes a play on the words "Eternal Return") is a solid track with some interesting stuff going on, but despite the overall quality present here, the material itself just doesn't stick with me as much as I'd hoped.  I've experienced that with other doom metal too, however, so mileage will vary.  Ultimately, if you're a fan of slow doom metal and want more for your collection, you could do a whole lot worse than this CD re-issue.  If you're not into this style, this release is unlikely to convert you.  Recommended for doom diehards, everyone else should probably consider this a "try before you buy" scenario.

75/100

Prong - Carved Into Stone (2012)

Some bands, as they age, show signs of slowing down.  Not necessarily in terms strictly of speed, either in how fast they play, or how fast albums come out, but in terms of the quality & vitality of their material.  Other bands just get better with age, continuing to hone their core sound while massaging it and adding elements as they release a new album.  Prong, while thought to be lost after 1996's "Rude Awakening", came back to mixed reception in 2002, and then went on an extended break again after Tommy Victor joined the Danzig ranks for touring.  2007's "Power of the Damager" was a ray of light, offering hope that Tommy hadn't abandoned his audience, and it was a fiery assault worthy of the Prong name.  2012 saw the band return after another 5-year break, to some fanfare.  Some hailed it as the best thing they'd done since their magnum opus, 1994's "Cleansing".  Does it hit that mark?  Almost.

I will qualify that statement by saying that if you're not a fan of anything Prong has released since 1996, you'd do well to check out both this album and its predecessor for quality Prong material.  If you have and you're still not digging it, you couldn't call yourself much more than a casual fan of their material.  While I agree that "Cleansing" remains their most consistently captivating and quality effort, they've reached highs with their 2 most recent albums, from differing angles.  "Power of the Damager" is a powerful (excuse the pun) record with a lot of grit, energy, passion, and Tommy's signature riffing.  "Carved Into Stone" follows that aural assault up with a slightly more studied approach that is no less entertaining, just a bit more subdued and restrained.

Where "Power of the Damager" went for the jugular more often than not, "Carved Into Stone" prefers a more melodic approach.  There are definitely moments of ferocity, like the muscular opener "Eternal Heat", "Keep On Living In Pain", "List of Grievances" or the punchy "Subtract".  The bulk of the record, however, veers toward the more mid-paced, melodic territory of the material on "Rude Awakening".  Before the haters cry foul, let me say that while I don't think "Rude Awakening" is a bad record by any stretch, I recognize that it's not Prong's best work.  But on the whole, that album was all about mid-paced, groovy, melodic songs versus a more diverse approach.  This same approach is used here, but to greater effect, as the set of songs is stronger overall.  Where "Rude Awakening" had a number of songs that ran into one another without a lot of individual identity, "Carved Into Stone" corrects those mistakes with better melodies, more memorable songs, and improved pacing.

Tommy's signature guitar crunch is in tow here, and the production values highlight that by giving the guitar a very "up front" kind of position in the mix.  The guitar tone here is a bit different than that of "Damager" and has a touch less bite overall, but is a little meatier at the same time.  As always, Tommy's guitar riffing takes center stage, and he sounds great here.  Something that we get to hear Tommy do far more on this record than he's done before is solo - a number of the songs have guitar solos.  These aren't all just short blasts, or the "follow the vocal melody" variety either, as there are a couple extended solos.  Hearing this on the record was at first a bit jarring, and felt a bit "tacked on" or out of place, but after having spun the record numerous times, it makes sense and comes off more naturally than at first listen.  In addition, assuming I even have to say it, Tommy's pinch harmonics sound as awesome as ever.  Vocally, Tommy sounds good, though he is admittedly less energetic than on "Damager", which had a lot of interesting vocal things going on.  But he sings melodically and gets the job done.

Ministry's Tony Campos does an admirable job on the bass, providing the necessary counterpoint for Tommy's riffing without being overly flashy or doing anything that takes away from the core of the Prong sound, which is the groove and crunch of Tommy's guitar.  Bass sits nicely in the mix as well, being audible and able to be heard as its own instrument, yet providing that necessary thump and thickness to the proceedings.  Drum work by Alexei Rodriguez is a highlight.  He replicates a lot of the groove-based approach that previous drummers have done where appropriate, but he adds a lot of double-bass in places where some previous skinsmen would have just continue to groove on.  It's a nice change of pace, and gives the album a bit more personality in that area than some previous albums have had.  Drums are also placed well in the mix, not overpowering either bass or drums, but sitting quite nicely beside them.

I made mention of the songs here being strong, and they are.  "Eternal Heat" is a great opener, filled with energy and great riffing.  "Keep On Living In Pain" follows that up to complete a one-two punch of powerful material, complete with groovy chorus and strong riff.  "Revenge...Best Served Cold" is the best "single" the band has released since "Snap Your Fingers, Snap Your Neck", even slightly beating out the awesome "Controller" from "Rude Awakening".  "Put Myself To Sleep" is a song that marries both the energy and melodicism that Prong is known for.  "List Of Grievances" keeps the record interesting by picking up the pace and giving the listener a kick in the ears, as well as pulling out one of the longer, more killer solos Tommy played on the record.  The title track then slows things down for a heavy dose of groove, but keeps things melodic with a hooky chorus.  "Subtract" also picks up the pace again and provides another strong dose of energy.  The album has no lack of quality songwriting, that's for sure.  Lyrically, Tommy treads the usual murky waters of disenfranchisement, human failing, paranoia, and general distaste for the state of affairs of the world.  So, as usual, there's nothing new here, but that's not necessarily a bad thing.

With all this positivity, where's the downside?  I love this record, and have listened to it countless times, but I can't shake the feeling that Tommy is so close to achieving a "personal best" and is just barely missing the mark.  I loved "Power of the Damager" as well, but felt that the album's set of songs wasn't as strong as they could be.  This has a better grouping of material, but lacks the punch, aggression, and urgency of its predecessor.  As I mentioned before, Tommy's vocals on this album are a bit "safe" for him.  He sounds great, but with all he did on "Damager", one wonders if he didn't like the results, or just felt that the material here, being of a more melodic nature, didn't benefit from those flourishes, and I'd agree.  I guess I just feel that if Tommy took the best elements of "Damager" (i.e. the aggression, energy, passion, and a more varied vocal approach), and combined those with the best elements on display here (overt melodicism, strong memorable songs, quality production/mix, pacing), he'd be at that apex where he might be able to match or even exceed "Cleansing".  The other potential hiccup is the production - Prong has sounded good on every post-"Cleansing" album, don't get me wrong.  But "Cleansing" had something in that Terry Date production that gave it that extra push.  That record has this really "dense" sound that gives it an air of heaviness that other Prong efforts haven't quite had.  The foreboding tone of the record lent itself so well to the material that it was the perfect storm of creative songwriting, performance, and production.

Overall, I feel like both "Damager" and this outing have explored separate sides of the same Prong coin, and while I dig the predecessor's urgency and aggression, this record has the edge because of its songwriting and the quality of the whole package.  If Tommy can come off this album and follow it up with something equally strong, yet bring in a bit more variety in the vocal department and more contrasts between the melodic and the aggressive, and hone the production to give the whole thing that extra ounce of power, he just might pull it off.  In the meantime, "Carved Into Stone" is an album I will continue to listen to and enjoy, knowing that at the very least, Tommy isn't resting on his laurels and continues to write and record great stuff.  Just don't take another 5 years to give us a follow-up this time, mkay?  Highly recommended.

89/100

**A word on the vinyl release!  I own both the retail digipak CD issue, and the 2xLP edition.  The vinyl itself sounds great, and while not probably 180g, is at least reasonably weighty enough to feel good when you're setting it on the turntable.  The brown marble platters are a nice touch.  My only gripes are that there are no lyrics on either inner sleeve (lazy design choice), and that there's no indication ANYWHERE on the records, packaging, inner or outer sleeves that these platters spin at 45 RPM instead of the requisite 33 1/3 RPM that most LPs opt for.  45 RPM was the right choice for a double LP, I just wish somewhere it had indicated that.  On the plus side, the vinyl edition comes with a bonus track, a cover of Rammstein's "Feuer Frei!" track.  It's a good cover, sufficiently sounding like Prong but being recognizable as a cover of the original.  It's curious that Prong chose to cover the track, because Rammstein could probably have been accused of being influenced by Prong, so I guess it comes full circle.  It sounds like a song that Tommy could have written, and the performance speaks to that.  Also, the vinyl version comes with the full album (minus bonus track) on CD in a paper sleeve!  So if you're a vinyl enthusiast who likes getting the digital download with purchase, this is even better.  It's a shame that this is the only place outside of iTunes to get the cover track, but ultimately the album itself is the main draw.

Antidemon - ApocalypseNow (2012)

Death Metal, by its very nature, is not a subtle form of music.  Whereas certain styles of pop, chamber music, folk, etc. can change ever so slightly with the ebb and flow of the song, death metal is more concerned with beating you over the head.  So while the genre has become more expansive and progressive than the originators of the genre may have ever envisioned (including one Mr. Chuck Schuldiner, responsible for some of that progression), it is still a style of music that thrives on immediacy and impact.  Blunt force impact, some might say.  Be that as it may, one can only listen to pummeling death metal assaults so much before either they begin to sound the same, or just don't stand out from the other aural beatings enough to warrant your time and money.  Thankfully for Antidemon, their latest album "ApocalypseNow" doesn't suffer from that one-dimensional nature.

I must admit, though I've heard of Antidemon and have heard snippets of their music, I just haven't bothered to pick up any of their material until this CD came to me, graciously provided by the US promo rep for Rowe Productions (home of the mighty Mortification).  Decidedly old-school in sound and approach, this death metal power trio are unashamed in their love of all things death metal, and in their decision to keep this a relatively stripped down, simple affair.  That doesn't mean this is a boring or "samey" album: far from it.  However, they avoid the use of proggy keys or modern effects simply as window dressing, and they let the songs speak for themselves.  This is actually more basic than fellow Brazillian death metallers KRIG, but then this band has a different overall vibe and sound than their metal brethren, bearing more in common with Bolt Thrower than more modern bands.

Instrumentally, this album is quite solid.  Guitars have a satisfying crunch and "thick" sound to them, but it's not so bass-heavy that it gets muddy - the guitar sound is always crisp and clear.  The guitar sound has the benefit of being recorded with modern equipment so it's loud and "up front", but the tone bears great resemblance to early 90's death metal and extreme thrash, which will be music to the ears of some fans.  Being that front man Batista (aka Carlos Batista) is the bassist, he is audible in the mix (unlike a lot of death metal), though not quite to Steve Rowe levels of clarity and separation.  This band's approach is a bit more brutal than classic Mortification, so necessarily the bass is as much rhythm section as it is an instrument on its own.  His bass work is notable, though, because he doesn't just follow the guitar riffs all the time.  Drumming is pretty good overall, provided by Juliana (Carlos' wife), with plenty of fills, rolls, and double bass work, including some blast beats.  She is a powerful drummer, in the sense that she hits those skins hard and her double-bass drumming sounds authentic - no triggers detected here.

While the tagline used to promote the album has been "Brutal Grind Art from Brazil", I would have to say there's not much grind here.  This is straight up, old-school death metal all the way.  In terms of songwriting, this is a solid album with few frills, though a couple surprises crop up here and there. For example, the blast-beat driven intro to "Fuera Diablo" is intense and makes you think you're in for a complete barn burner, but after a few seconds it goes silent, only to come in again with a lone bass line and much slower instrumentation to follow than what preceded it.  I thought it was a nice touch, an interesting bait and switch.  The other interesting thing about this song is during the respite moments between blasting sections where Carlos and Luis are playing essentially third notes, while Juliana's drumming underneath is all in a quarter note double-bass pattern.  Later tracks like "Abonicacao" also employ some slightly more melodic riffing and slow/fast tempo juxtaposition, as well as some groove which kept things interesting.    Unfortunately, there are no guitar solos to speak of.  Lyrics are biblically based, as one might expect with the name Antidemon, and are primarily in Portuguese, though the booklet offers both English and Portuguese translations, which is a nice addition.  Liner notes are all in English as well.  Packaging is great, with colorful artwork, high quality band photos, easy to read lyrics, and nice graphics throughout.

Now that the pleasantries are covered, let's get a couple minor issues on the table.  First, there are a handful of spots where Juliana's drums don't quite seem to sync up right.  It is most noticeable during the first 2-3 tracks, particularly during the title track where it seems her rhythms are just a hair behind everyone, or during the first couple bars of second track "Infernal", where she's a 16th note too fast after the pause (unless that was intentional).  By the 4th track, most of the drumming is very on point, so I'm not quite sure where the problem lies.  It could very well be a production thing, where the drums just weren't synchronized with the other instruments 100%, which seems likely, since the bulk of the album sees her drumming on point.  It could also be a casualty of the analog recording and mixing process, so this timing issue may be just that the final tracks didn't sync right on the final master.  This is a minor issue to be sure, certainly nothing like the drumming atrocity that is fellow death metallers Clemency or early stuff by Castaway, but is noticeable in the first 2-3 tracks.  Secondly, I think the track order is a bit odd, since the album seems (to me, at least) to get more interesting and varied as the disc goes along.  Having most of your most basic tracks right at the beginning and then adding more variety as the album progresses sounds good in theory, but it makes more sense to me to mix things up and generate interest early, and break up the monotony here and there with a track that does something different in between 2 or 3 real heavy hitters.  This is more about pacing so much as it is about the material itself, but it is worth noting.  Thirdly, and more on a personal note, I just wish this CD was more brutal.  Maybe I've become spoiled by modern death metal and deathcore where CDs just melt your face off from start to finish, while still weaving in lots of melody or keeping things interesting, but other than cranking this thing to 11 to get the full effect, it doesn't satisfy me the same way that other, more intricate or meticulously produced death metal does.

So how does this fare overall?  I think mileage will vary for the listener, in many ways.  If you're a dyed-in-the-wool death metal fan and can't get enough of the style (especially for those favoring traditional death metal), this will practically be a no-brainer, as this is a very solid release that is worth picking up.  Those looking for a bit more variety or depth to their metal will be left wanting a bit, mainly because this is as no-frills as death metal gets.  The lack of solos will be a deciding factor for some, so if you must have solos in your death metal, knock a few points off my score.  If lack of solos isn't a deal-breaker, there's a lot to like here from Carlos' brutal vocals to Luis' very competent guitar riffing, and Juliana's hard-hitting drum work.  Like I said, if you are heavily into death metal, this is a solid release that delivers quality songs and musicianship without hitting you over the head with technicality or layers of production.  If that sounds right up your alley, you might just find a friend in this CD.  Recommended.

79/100

Album of the Moment - Mastodon's "Crack the Skye"

I must admit I'm quite "late to the party" where Mastodon is concerned.  I grew up listening to a group called Mastedon, which is an entirely different kind of animal: a semi-progressive AOR/hard rock project helmed by one John Elefante, now more known for his pop albums than his rock material.  But in the modern age, Mastedon is mostly forgotten and Mastodon rules the minds of the modern metal masses.  I'd heard the name, seen the cool album art and heard samples, but hadn't bothered to buy any of their material yet until earlier this year when I happened upon copies of both "Blood Mountain" and "Crack the Skye" still-sealed and priced to sell at my favorite regional music store, so I thought to myself, "Perhaps it's time to find out what all the fuss is about."  So I bought the 2 CDs and took them home with me.

"Blood Mountain" is a good listen, though it gets a touch repetitive toward the end.  I probably need to give it a few more spins before I give it a final judgment.  But "Crack the Skye" resonated with me immediately.  It's a dense, brooding collection of progressive post-sludge metal that combines the thick chunky guitar riffing of their earlier material with much more atmosphere and a good melodic sense, even if the melody lines are a bit spare at times.  What struck me as well was the eerie, almost Ozzy Osbourne-esque vocals at times, and the judicious use of double-tracked vocals to include an underlying deeper-toned partner vocal which adds a nice touch.  I also appreciate the way they mix up the time signatures here and there, bust into an interesting solo once in a while, and just have loads of atmosphere in tow.  "The Czar" is a fantastic musical ride, starting out slowly and building through crescendos of riffs and swells of drums, "Oblivion" is a perfect lead-off track and single, with it's immediately engaging riff and sound, and the other songs on the album provide for plenty of listening enjoyment throughout.

I'm not ready to call myself a Mastodon "fanboy" just yet, but I'm starting to see why they have such a big fanbase.  I quite enjoy this CD, and am hoping as I collect more Mastodon material, I'll find something to love about each one.  I'm considering going all-vinyl for the rest of my Mastodon purchases, in part because I'm a collector and just love vinyl, but with music like this that has that real dense, warm feel to it, vinyl is the perfect medium, especially since they draw influences from Black Sabbath and early hard rock/metal like that as much as they're channeling Kyuss or The Melvins at times.  If you're reading this, you're probably laughing because you've heard this all before and I'm just telling you what you already know, but so be it.  I'm just glad I finally jumped on this particular bandwagon.

Monolith - Monolith (2010)

It's a sad thing when talent goes under the radar due to lack of exposure or an over-crowded art scene.  All too often, talented musicians go unnoticed because the ones that hog the limelight, though often talented themselves, are taking up too much of the public consciousness.  It's not the popular artist's fault most of the time, because that's just how things work out based on promotion, and being in the right place at the right time.  At least in current times, with the advent of the Internet for self-promotion and distribution, it's possible to overcome that in small measures.  I'm hopeful that Monolith seizes the opportunity to do so, because there's a definite talent at work here.

Monolith is a 3-piece band based out of Ontario, Canada.  They play a highly melodic, symphonic style of extreme metal.  While this kind of thing isn't new by any means, the way the band executes their particular brand of symphonic extreme metal is interesting and highly listenable.  Some bands of this style get bogged down in overblown arrangements, lack of songwriting ability, or too heavy a slant in one direction or another (in terms of how they balance the elements of their style).  Monolith suffers from none of these shortcomings, and their debut shows they not only have great command of the style, but the songwriting is quite adept, showing maturity in melodic sensibility, arrangement, and balancing the heaviness required for this style with the catchiness one might expect from a band far less heavy in sound.  The 12 tracks contained herein represent a very strong debut album that puts the band in a very good spot to get their name out there among the bigger names in the industry.


At its core, the Monolith sound is constructed of melodic death metal, but it's really so much more than that.  Indeed, there are times here when their sound barely meets the requirements of said style, while other times they embrace those aesthetics and capture that sound more completely.  The symphonic elements put the band above and beyond many in the "melodeath" camp by giving such a layered feel to the material that many melodic death metal bands simply can't match in terms of sheer melodicism and "fullness" of the sound.  The bands use of dynamics is also strong here, knowing when to fully pummel the listener with heaviness and aural intensity, and when to pull back to sparser riffs and arrangements to let the songs "breathe" a bit, giving the listener a more varied experience.  This maturity in songwriting is at once surprising and refreshing, given the short list of recognizable bands these guys have been in.


Guitar work here by Colin Parrish is excellent, with chunky riffing, melodic solo work, dual-guitar leads sprinkled throughout, and plenty of catchy melodic lines.  While Colin isn't the finest guitarist in the scene, he does a good job of showcasing his talent for melodicism and his knack for driving riffs that help propel the songs forward.  Drumming by Colin Nafziger is quite good, with mostly sub-blastbeat drumming and some interesting fills and things going on here and there.  Double-bass work isn't flashy, but is appropriate for the songs, and his sense of implementing drum fills and rhythms that fit into the songs is on display here.  Bass by Mike Gallant is also strong, with a bit more presence in the mix besides just being backbeat.  Bass guitar isn't as instantly audible as in some less "dense" metal, but he does a good job of providing the necessary "weight" underneath the guitar, and complementing the songs while not showboating.  Colinl Parrish also provides all the keyboard work and symphonic elements.  These bits contrast each other nicely by having very overt, obvious keyboard sounds alongside synthesized-yet-realistic symphonic elements.  This contrast works well most of the time and provides an interesting element more bands should consider exploring.  Vocal work is two-fold here: bassist Mike Gallant provides all the "harsh" vocals, while guitarist Colin Parrish provides the cleanly sung melodic vocals.  Unlike Christian Älvestam (Miseration, ex-Scar Symmetry), Colin's clean vocals aren't the passion-filled wails one might expect, but are a carefully honed "effected" vocal that employs an interesting "tunnel" effect while smoothing out the sound.  It's not an autotune vocal sound, but it does have a very mechanical feel to it.  Colin also double-tracks the clean vocals at time to great effect.  Nothing I say can accurately describe the music, however.  I'd recommend listening to samples via the band's Myspace page to truly get an idea of what they're doing.


The only real knocks I have about the album are that Colin's clean vocals can get a touch monotonous, even though his highly stylized approach works well for the music.  Also, the drums have plenty of power behind them, but they sound 100% triggered.  Nothing wrong with that per se, but I would love to hear what Mr. Nafziger could do with a totally acoustic kit in the studio and what that might produce.  I'd also like to hear Parrish flex his guitar muscle a bit more and increase the complexity of his solos a touch and do more of that in general, though not to the point where it interrupts the tasteful flow of the songs.  I think the band strikes a good balance between metal aggression and melodic flair, and I think given more time, their catchy songwriting could develop even further to make an album that will do more than fly under the radar like this excellent CD has.


Some may be unaware of the rough road this album has had getting out into the music world.  The band had recorded this material in 2009 and I actually had an advance digital copy to use for my radio show, and I interviewed Colin Parrish at that time to get the skinny on the band.  At that time they were freshly signed w/ Bombworks Records and working toward a CD release.  Unfortunately that deal fell through and it never materialized, so the band released the CD independently.  I applaud them for their determination to do so, because the album not only sounds fantastic (excellent production!), but the complete CD package is also nice with easy to read lyrics and a nice booklet.  If you're not a digital-only person and you like having the physical product in hand like I do, this is one to have to show the quality of what an indie release can be.  All in all, this is a high quality metal release that should please fans of melodic death metal, metalcore, possibly deathcore fans (those of more melodic persuasion), and "extreme metal" fans in general should get a kick out of this.  Highly recommended.


87/100

Hands - Give Me Rest (2011)

When I listen to hardcore, I am usually listening for one of two reasons.  One, I am listening for the primal energy and heart that comes from more old-school hardcore, where it's early punk rock made angrier and heavier because they just needed it to be more in-your-face due to whatever it was they were trying to express.  Two, I am listening for the simplistic heaviness and "oomph" of modern hardcore with its down-tuned guitar sound, overly bassy tones, intense group shouts, and powerful presentation.  And while there are certainly crossovers between early hardcore and what is considered hardcore in today's world, the aesthetics are still often separate between the two.  Hardcore bands of today are often striving to be faster, heavier, and more "brutal" than their hardcore brethren of yore, sometimes neglecting one of the elements that makes hardcore so vital, so intense: unbridled passion.


Now, hardcore isn't the only form of music teeming the passion.  No, there is plenty of passion to go around in nearly all forms of music.  The difference, though, is that sometimes hardcore music can be almost entirely carried by the passion injected in and through it.  Not that hardcore musicians are limited musicians, because many of them create catchy, interesting riffs and songs that stay with you, not just content to simply pummel you with loud audio.  But there are hardcore bands whose musical aesthetic is faceless and nameless, and their acclaim is solely based upon their chosen "platform" or lyrical bent, and the copious amounts of passion they put forth in their work.


Hands 3rd full-length release doesn't suffer from this disease of indistinguishable (or passionless) hardcore, for a myriad of reasons.  First and foremost, while the band started off as a reasonably melodic, passion-filled hardcore band, their earliest material was devoid of any defined personality or lasting impact.  Indeed, "The Everlasting EP", while being a good listen from beginning to end, is hardly memorable.  Its songs are too "samey" and often go on far longer than they need to.  By all accounts, though I don't yet own it myself, "The Sounds of Earth" was a major step up for the band, with a more muscular sounds that retained the melodicism of the EP and brought more atmosphere along with it, as well as more succinct songs.  "Creator" was another step in the right direction, offering better riffs and a more honest, gut-level take on the proto-progressive hardcore the band was attempting to play on their debut.  With "Give Me Rest", the band has thrown away the "hardcore handbook" entirely, creating an altogether unique and engaging listening experience.  While traces of the hardcore-infused sludge/metal are still present, they are tempered with loads of atmosphere and feeling.


Immediately noticeable is the fact that the music presented is so spare.  This is not to be taken as a bad thing following how "Creator" made ample use of guitar riffing and melodic playing.  Rather, it is a seemingly deliberate attempt at making more out of less, as if the simple melodies and instrumental passages were meticulously constructed.  No drum hit or cymbal crash, no bass string pluck or guitar strum is wasted in any way.  Each note is purposeful, doing its job in constructing the bare minimum necessary to propel the song.  That's not to say there aren't a few more complex riffs, because there are.  But those riffs seem to be specifically placed every 2-3 songs to build momentum, only to allow the atmosphere of the surrounding tracks to be the dominant theme.  All instrumental performances here reflect that minimalist ethos, and the album is stronger for it overall.  Of particular note is the drum work by Josh Silbernagel - his rhythms and playing here may seem overly simplistic at first, but it's deceptively so - it makes sense in context of the material and makes for the perfect accompaniment to the bass and guitar, as well as the vocals.


Lyrically, the album is very personal, but not so much that it's difficult to glean meaning or purpose from the songs.  This album appears to reflect a spiritual journey that seemingly starts during a crisis of faith, a point at which the narrator is both wrestling with his own faith and questioning the moral center of the world around him.  The story shifts into a mode of recognizing one's own "filthy rags", then repentance for said indiscretions, then into a somewhat militant view of the world (typical with young Christians judging the world through what they perceive as the eyes of their Creator), and then a more softened perspective at the end, much more at peace and harmony with their faith and their environment.  It's a fantastic journey that is at times tense, other times quite subtle and serene.  Vocalist Shane Ochsner is in fine form here, with both emotive and accurate clean singing, as well as a combination of more hardcore vocal sounds, from a higher pitched scream to a lower toned, more "throaty" growl, reminiscent of the heavier material from "Creator".  His performance on this album is impeccable.


All in all, this is my contender for hardcore album of the year, even though truth be told, it's probably more post-hardcore in aesthetic and execution.  Still, when I have the CD in constant rotation in my van for 2 weeks straight, including a day trip 2.5 hours away from home where I ended up listening to the CD 5 or 6 times in a row on the way home, it's fair to say that once you "get" what this band is serving up, you'll be addicted to this album like I have the last few weeks.  The one caveat I would have is, purchasing the album on CD or digitally is probably the best choice.  I am a vinyl enthusiast and will definitely be purchasing the vinyl version when I get a chance, because the songs here flow so well together and so seamlessly at times, listening to the album from start to finish, uninterrupted is the primo way to experience this opus.  Highly recommended to all fans of hardcore - this is what hardcore music can be when you think outside the box and allow creativity to rule versus merely "following the script".


90/100