Saturday, February 20, 2010

Initial Impressions: Charred Walls of the Damned: Charred Walls of the Damned

Okay, here's the deal on this one. This band was created by Richard Christy, former drummer of Acheron, Death, and Iced Earth who has been on a metal hiatus for about five years since joining the Howard Stern show as a personality performing prank calls, song parodies, and all kinds of other bizarre stuff. That's quite the career. The name of the band is a reference to prank calls made on the Howard Stern show to a tradio show on a Christian radio show in which the host prayed for Christy's soul where he would be put in his "nails in the charred walls of the damned".

Despite the recent comedy background of its founder, this is serious music. Christy formed this band and recruited some of the musicians he regards as the best in the world: bassist Steve DiGiorgio (Sadus, Death, Autopsy, Testament, Iced Earth, etc.), vocalist Ripper Owens (Judas Priest, Iced Earth, Beyond Fear, Yngwie Malmsteen's Rising Force), and guitarist Jason Suecof (Capharnaum, producer for Trivium, All That Remains, etc.). That's quite the eclectic group of musicians, although three were in Iced Earth at one point, so that seems to be the jumping-off point from which this band's sound is derived.

The music on this album for the most part falls into the same general power/thrash metal as Iced Earth, but there are aspects that distinguish it. For one thing, the drumming and guitar riffs bear a closer resemblance to melodic death metal in parts. Indeed, oftentimes the only characteristic the music shares with power metal is the vocals of the very talented Ripper Owens, whose multi-octave range made him an ideal replacement for Rob Halford in Judas Priest at one point. The idea behind the music seems to be to combine some of the riffing style of more extreme metal with the power of early speed and traditional styles of metal. It works fairly well.

Richard Christy displays a remarkable gift for songwriting on this album. Despite being a very well-regarded and capable drummer, he has never really been the focus in a band before. The lyrics are well-written and do not venture into the silliness that Richard has staked his second career out of in recent years.

The guitar riffing of mostly metalcore producer Jason Suecof is another big surprise on this album. The only band he has spent considerable amount of time with from a music standpoint is the little-known technical death metal band Capharnaum with his brother and Trivium axeman/singer Matt Heafy. He displays his considerable ability for death and thrash metal inspired riffs on this album as well as strong solos.

Steve DiGiorgio and Ripper Owens are both known quantities and perform as well as expected. DiGiorgio is a big-name bass player in many old school death metal bands and brings this sensibility and playing style to the band. Ripper Owens's vocals are extremely powerful and melodic. He has had difficulty landing a long-term job, which is unfortunate as he remains one of the most gifted singers in modern metal.

This is a well-played, strong album from start to finish. It tends to drag a little bit in the second half, but it is fairly short meaning that this slight drag does not detract too much from the listening experience. It will be interesting to see where this band goes from here. Will they tour? Will they create another album? Or is this it for Charred Walls of the Damned?

Friday, February 19, 2010

Decibel's Albums of the Decade

I had been warming up to Decibel. I really was. This list almost single-handedly killed that change in stance. I wrote last year that Decibel is really a magazine for hipsters under the guise of a metal magazine. This list proves what lead me to that conclusion. Look, I don't give a fuck if you like a band and want to give it some publicity and whatever, but don't fucking call it a Best Metal list and include a bunch of noise rock and hardcore and shit. If you want to call it a Best Extreme Music list, fine, fucking do that, and then you can include whatever releases you want. But metal is a style of music, it has limits and boundaries. Many of these releases on this list, in fact, nearly one third of them, do not fit in with the definition of metal, existing more on the hardcore or hard rock side of things. As I said, do not call it a metal list and then include bands from other styles to take up nearly one-third of the spots. The problem with doing it that way is you leave off a lot of truly deserving metal albums.

As with Terrorizer, let's look at the Top 5, which only actually includes three metal bands, one of which I cannot stand.

1. Converge: Jane Doe: Again, what the hell is it about this band that has everyone fawning all over them? To call this the Best Metal Album of the Decade is an absolute travesty.

2. Cave In: Jupiter: Cave In are a horribly boring, uninteresting progressive hardcore band. Next.

3. Opeth: Blackwater Park: See my discussion about this album on the Terrorizer post. This is a legitimate pick. It's at least a good metal album.

4. Isis: Oceanic: As I have mentioned several times, I find Isis really boring. At least this is a metal album, sort of.

5. Mastodon: Remission: I don't understand. This is the other problem with this list, the writers seem particularly interested in seeking out the underground releases, or the less well-known ones. How did this one far outrank Leviathan? This one is not as mainstream accessible, that's how. Despite the fact that Leviathan is the far superior album.

Non-metal bands present: Battle of Mice, Coalesce, The Paper Chase, Psyopus, Drowningman, System of a Down, Fucked Up, Hatebreed, Converge (every album this band released this decade is on this godforsaken list), Deftones, Disfear, Jesu, At the Drive-In, The Dillinger Escape Plan, Between the Buried and Me, Shellac, Andrew W.K., Fugazi, Tragedy, Melt-Banana, Queens of the Stone Age, Cave In

I own 23 of the albums from this list, many of which are the same as on Terrorizer's.

Buy the issue here: http://store.decibelmagazine.com/collections/holiday-specials/products/top-100-albums-of-the-decade-special-issue

Thursday, February 18, 2010

Terrorizer's Albums of the Decade

Two metal magazines recently released their top albums of the decade lists. With somewhat different results. Terrorizer and Decibel are pretty much the two leading metal magazines now that Metal Maniacs folded last year, an event for which I am still extremely bitter. Terrorizer has been mentioned in this blog for being a tad more devoted to extreme forms of metal. This is evident in their choices for the magazine. I agree with the Terrorizer list significantly more than the Decibel list. I don't want to repost the entire list, or even much of it at all. I would like to look at the Top 5 though. So here's Terrorizer's Top 5:

1. Electric Wizard: Dopethrone: I enjoy some good drugged out doom metal as much as the next guy, although I myself have never been stoned. That being said, it's hard for me to accept this being the album of the decade. I don't know, I haven't heard the whole thing through. I enjoy the band quite a bit, they just don't consistently hold my interest enough to consider them an elite band.

2. Celtic Frost: Monotheist: This album is heavy as fuck and twice as scary. The reunion album from Celtic Frost took everyone by surprise. It wasn't about fast distorted riffs anymore. It was about creating an atmosphere. And that atmosphere was pants-shittingly terrifying. It's too bad the band broke up again.

3. Watain: Sworn to the Dark: Watain is being hailed as the next Dissection. I personally do not agree as Dissection was one-of-a-kind to me. However, if somewhat melodic, but still cold and dark black metal is your thing, Watain is as good as any of the other bands to come about this decade. Seriously, their stuff is great.

4. Converge: Jane Doe: What IS it about this album that makes everyone go nuts over it? Seriously, I tried listening to some tracks. It's boring modern hardcore with some metal influences delivered chaotically and at totally random times. No thanks.

5. Opeth: Blackwater Park: I still don't believe this is the band's best album, but it's a hell of a good release. The progressive elements had fully ripened into a major part of the band's music by this point and were played much more convincingly. Unfortunately, after this album they would start to dominate the music.

I own 32 albums from this list. Not too bad really.

Nonmetal bands present on this list: Converge, Clutch, Lightning Bolt, Whitehouse, Melt-Banana, Tool, Rammstein, Big Business, The Dillinger Escape Plan, Between the Buried and Me, Disfear, Angels of Light, Laibach, Agoraphobic Nosebleed, Porcupine Tree

Buy the issue here: http://www.terrorizer.com/decadesrow

Initial Impressions: Overkill: Ironbound

One of the very early thrash metal bands, Overkill is probably the second most important American thrash metal band from the East Coast. Only Anthrax is regarded higher and that band does not have nearly the same consistent career as Overkill. To put it quite simply, Overkill has never released a bad album. NEVER. Only a handful of bands can say that and I can only think of one other thrash metal band that can say that: Sodom. This album is no exception.

Overkill still possesses the same general sound they have been operating with since their first album. They did have a period of time where they had slowed their hyperfrenetic thrash down to more of a groove metal-oriented style, but those days have passed. Overkill is about playing thrash metal in the vein of Motorhead meets 1970's punk meets NWOBHM. It's fast and riff-heavy, yet melodic. While the band does not play quite as fast as they did during their 1980's heyday, they can still outblaze many of their contemporaries.

The other thing that has not changed about Overkill is Blitz Ellsworth's sneering banshee shrieks. He has had one of the most distinctive voices in thrash metal for decades, with many bands attempting to copy his style of vocals.

This album is a very strong album for a band that has been around for more than three decades at this point. Overkill is still going strong. This is quite easily the thrash album of the year to this point and it will be interesting to see if any other band is going to top it.

Wednesday, February 17, 2010

Cover Songs Pt. 3: Black Sabbath Covers

Black Sabbath is, for obvious reasons, quite possibly the most-covered band in metal. It's possible that they are the most-covered band ever (I doubt it, but it's possible). Every metal band realizes that they owe a debt to Black Sabbath. That's just common knowledge. There are a multitude of full cover albums to Black Sabbath out there. I own three. Of course, with any covers, there are good and bad versions. I want to look at all of the Black Sabbath cover versions that appear in my music collection, beginning with the three tribute albums.

As with other compilations, the question is whether the band impressed me enough to pick up their other albums, so I included a little bit about that if applicable after each synopsis.NATIVITY IN BLACK: This was one of my first albums. After I got all five of the Metallica albums that had been released by that point, I needed something new. I bought this album and Megadeth: Youthanasia at a mall store called Camelot prior to a holiday visit to my grandparents in Indiana. I really liked the testimonials by band members about their experiences listening to Sabbath. This album helped shape many of the bands I would listen to in the next couple of years.

Biohazard: "After Forever": This one starts off really rough, with lead singer/occasional porn star Evan Seinfeld announcing the hardcore band's tribute to Sabbath. It does descend into a decent groove though and is significantly faster than the original. The gang vocals are a terrible touch. Not terrible overall, but not good either. I do not currently own any Biohazard albums, but did at one time.

White Zombie: "Children of the Grave": This one is great. This is one of Sabbath's heaviest songs and Zombie makes it their own with swirling guitars and one hell of a heavy riff. They also add their trademark, movie samples. This is a great version of a great song. The original's still better, but Zombie does a good job. I have a few White Zombie albums, and a couple by Rob Zombie.

Megadeth: "Paranoid": Somehow, the great thrash metal band made this song even faster than the original. Already one of Sabbath's fastest songs, Megadeth adds their own brand of breakneck speed to it. It's actually a little funny too because the drummer keeps going for a couple of bars after the band stops and we hear Dave Mustaine yell at him. I have all of Megadeth's albums.

1,000 Homo DJs: "Supernaut": I can't figure out what this band is, a side project or a oneoff project. Ministry's Al Jourgenson is the only recognizable name here. Why didn't Ministry cover it? This has industrial thrash metal written all over it. It's a monster of a song too.

Therapy? w/ Ozzy Osbourne: "Iron Man": The all time Black Sabbath classic is done reasonably well by this Irish hardcore band who apparently didn't want to attempt the vocals and so brought in Ozzy. It's a more distorted version of the song but that does not make it better. This is just a slightly interesting version of a song that should never be covered. No version does the original justice. I have lots of Ozzy Osbourne albums and used to own an album by Therapy?.

Corrosion of Conformity: "Lord of this World": The Southern metal band (at this point anyway) is well-equipped to handle a Black Sabbath song. All it takes is dirgelike, heavy riffs, something this band specializes in. This is pretty good, but it seems to last forever. I have three COC albums.

Sepultura: "Symptom of the Universe": My initial reaction when I first heard this song was "holy shit, what the fuck was that?" This was the very first extreme metal song I ever heard, other than the short Cannibal Corpse moment in Ace Ventura. It is much faster and heavier than the original and features Max Cavalera's angry vocals and then a somewhat pretty acoustic part at the end that's completely out of the blue. Holy shit indeed. It's a good cover though surprisingly. I have all of Sepultura's material with Max and even the album after Max.

Bullring Brummies: "The Wizard": This is a oneoff project. It features Judas Priest's Rob Halford on vocals, Geezer Butler from Black Sabbath on bass, Brian Tilse of Fight and Wino from Obsessed on guitar, and Jimmy Wood on harmonica. This song is pretty forgettable, not the least of which is because it was the only song this lineup ever recorded. It just isn't all that interesting. A shame, because each of these musicians is fantastic on their own. They should have picked another song maybe.

Bruce Dickinson w/ Godspeed: "Sabbath, Bloody Sabbath": This is another one that is not terribly impressive. Bruce Dickinson is the longtime singer for Iron Maiden and he basically phones this performance in. No vocal acrobatics on this song. The music is okay but Godspeed blasts through the melodic slow parts, affording no real dynamics.

Ugly Kid Joe: "N.I.B.": Surprisingly decent cover from the horrible band that brought us "(I Hate) Everything About You". Not much else to say though. If only the band sounded like this all the time. I used to have two of this band's albums, one given to me by my older brother, the other is really not all that bad.

Faith No More: "War Pigs": This one's bad. It's because it's a live recording and apparently Mike Patton forgot the lyrics partway through. He resorted to some kind of histrionic fit. The music is passable, but the vocals make it hard to concentrate on that. I have four Faith No More albums.

Type O Negative: "Black Sabbath": This song used to freak me out as a kid. It's scary, it really is. The original is scary too, but I heard this version first. This was the first ever doom metal song and the first song Sabbath released. Type O brings back that fear and adds to it with Steele's deep booming vocals. The additions to the end come off well too. The band did another version of this song from the devil's point of view later. Yikes. I have four Type O Negative albums.
NATIVITY IN BLACK VOL. 2: I remember being very excited when I heard that there was going to be a second volume to the Nativity in Black album. The musical landscape had unfortunately changed quite a bit, as evidenced by the multitude of nu-metal acts on this piece of shit. There's an occasional good song, but it's mostly crap. I was disappointed.

Godsmack: "Sweet Leaf": Godsmack sounds like Alice in Chains covering Black Sabbath on this song. They don't really add anything new, attempting to take the safe route of staying true to the original. Unfortunately, if it sounds like the original, why not listen to it instead? This song fails for that reason. I used to own a few Godsmack albums and even saw them in concert opening for Metallica.

Machine Head: "Hole in the Sky": See? Now this is interesting. Machine Head add an awful lot of distortion and bass-heavy riffs to this song. It gives the song a bit of a modern touch. This is one of the better songs on the album. I have four Machine Head albums.

Static-X: "Behind the Wall of Sleep": I used to really like this band when I listened to nu-metal. But even then, this song was terrible. The original is a more understated song, this version robs it of that status and replaces it with a thumping techno drum beat. It's horrendous and really makes it hard to listen to. I still think I have a few of this band's albums.

Megadeth: "Never Say Die": I never cared much for this version. It just doesn't sound like Megadeth. I'm not overly familiar with the original, but I know it doesn't really sound like Black Sabbath either. The vocals are the worst part. They're really grating on the ears. I hoped I would like this song, being one of the only ones by an actual metal band. But I don't. At least it's a little better listening to it now than it was when I first heard it. Perhaps it's the greater appreciation for real metal. No idea. As mentioned earlier, I own all of the band's full lengths.

System of a Down: "Snowblind": SOAD brings their typical bounciness to this song about cocaine addiction. It's actually not bad and the goofy lilting style of the music contrasts deeply to the seriousness of the lyrics. I used to own a couple of SOAD's albums.

Pantera: "Electric Funeral": The ultimate Black Sabbath riff played by a heavy band in their own right. Thankfully, Pantera doesn't do anything to take away the focus on the riff. The vocals are delivered in typical tough-guy style by Phil Anselmo, but it adds a rough edge to the already razor-sharp riff. The only problem is that the riff is somewhat buried in the production under the vocals, but otherwise not bad at all. I have four albums by Pantera.

Primus w/ Ozzy Osbourne: "N.I.B.": Les Claypool of Primus was once in thrash metal band Blind Illusion. He has always seemed to have an appreciation for metal, even trying out for Metallica's bass opening. It's for that reason that the band turns in a surprisingly good cover of N.I.B. and even brings in Ozzy to perform vocals. This is a pretty good version, bass-heavy, but good.

Slayer: "Hand of Doom": This one is the biggest surprise on the album. Taking a lightning-fast thrash metal act like Slayer and having them play the namesake song for the doom metal genre. And holy shit, Tom Araya actually sings?! What's up with that? The band is very faithful to the original, adding no Slayer-isms. This is a huge shock. I didn't know what to expect and years later, I'm still dumbfounded by this song. I think I would have preferred seeing them take on a different song personally. I have all of Slayer's full length albums.

Soulfly: "Under the Sun": Max Cavalera's nu-metal band after leaving Sepultura tackles this doomy, riff-heavy song. However, they play it too fast and Max's vocals do not fit the song at all. At the beginning it sounds fine, but once it gets going, it loses the listener as soon as the vocals kick in. I own one Soulfly album, somewhere maybe.

Hed P.E.: "Sabbra Cadabra": This would be the worst song on the album if not for the last one. This band is terrible. They try to mix hard rock, reggae, and rap and suck at all three types of music, thus failing in spectacular fashion. This trainwreck is barely listenable.

Monster Magnet: "Into the Void": Monster Magnet takes its drug rock nature to new heights with this mindfuck of a cover. It features loud ambient noises and mainman Dave Wyndorf's drugged out rambling for most of the song, occasionally even remembering to actually play the damn song. No thanks. Too bad, as I actually enjoy some of Monster Magnet's stuff and saw them in concert. I used to own three of their albums, but may be down to one now.

Busta Rhymes w/ Ozzy Osbourne: "Iron Man (This Means War)": This is an abomination. Calling it a Black Sabbath cover is a massive insult. Even worse is the fact that it's supposed to be fucking "Iron Man". This is awful, one of the single worst non-metal covers of a metal song ever. To call it a cover is even a joke because it's simply a sample of the main riff repeated ad nauseum while Busta raps and Ozzy occasionally croons. What were they thinking?!ETERNAL MASTERS: This is just a random cassette I bought one day in high school because I liked the other Sabbath tribute album so much. I had only heard of Cannibal Corpse and Sacred Reich before buying this. I really haven't gotten too much into most of the other bands on here with the exceptions of Cadaver and Exhorder.

Sacred Reich: "War Pigs": Sacred Reich has always been considered a third-rate thrash metal band, and they show why here. This version is sterile and lacks emotion. It's faster, but it doesn't have the same sense of dangerous political opinion as the original version. I own one Sacred Reich album.

Cadaver: "Sweet Leaf": The Norwegian death metal band Cadaver turns in a song that musically strongly resembles the original. But the vocals are delivered in a smoky snarling growl. It's different, but it actually works reasonably well. I own one Cadaver album, after they changed to Cadaver, Inc.

Cords: "Snowblind": I have no idea who this band is, they are apparently not a metal band. The song actually isn't terrible though. It's different. It has a female singer on it and the vocals are relatively well-done. The music is close to the original, but with a swirling guitar at the beginning.

Cannibal Corpse: "Zero the Hero": Totally bizarre. If you ever wanted to hear a Sabbath song done with extremely deep death growls, here's your chance. I actually kind of like it. I own several Cannibal Corpse albums.

The Clay People: "Paranoid": Did I say the last song was weird? The Clay People are an industrial band and they bring that trippy, futuristic feeling to this track. It's unique, to say the least, but ultimately disposable. I did own one album by these guys when I really liked industrial rock.

Coffin Break: "Hole in the Sky": This is a pretty decent version of a Sabbath song. Especially considering Coffin Break is a punk band. They don't do bad. It's nothing special, but for a punk band to sound like that is pretty impressive.

Exhorder: "Into the Void: The groove metal pioneers in Exhorder have created the best song on this album. It's heavy and very faithful to the original. The vocals are a little rougher, but not so much that the lyrics can't be identified. I have two Exhorder albums.

O.L.D.: "Who are You?": The original was full of keyboard effects. This version doubles them giving the whole song a spacy feel. This was never one of my favorite Sabbath songs and I don't like this version from the avant-garde metal/grindcore band.

Jesters of Destiny: "Electric Funeral": This is just terrible. The vocals are bad and often off time. The psychedelic metal band sounds like they have been smoking too much pot. This is one of Sabbath's best songs, and this version completely loses that feeling. No thanks.

OTHERS
Type O Negative: "Paranoid": They slowed the song way down and inserted the riff from "Iron Man" into the middle of it, increasing the length of the song two-fold. It's an extremely interesting cover. Type O definitely left their mark on it. As mentioned, I have four albums from this band.

Pantera: "Planet Caravan": This definitely does not sound like a Pantera song. The trippy, slow song is performed extremely well and extremely faithfully by the bruising tough guy groove metal band on their Far Beyond Driven album. I have four albums by Pantera.

Metallica: "Sabbra Cadabra": This is actually a medley that appears on the band's cover album Garage Inc. Metallica was not comfortable doing the more melodic singing parts of the original so they included parts of "A National Acrobat" from the same album as the original. It's a decent cover, but overproduced and James Hetfield's voice just does not sound right singing this song. I have all of Metallica's full-length albums.

Faith No More: "War Pigs": This is the non-live version of the song that appeared on the tribute album and it is a much better recording. Also, Mike Patton remembers the lyrics, so that's a plus. The big innovation in the song is the throbbing slap-bass addition. It gives the song a bit of a funk feel. As mentioned, I own four Faith No More albums.

Vader: "Black Sabbath": It's pretty unusual to hear a band noted for their speed and ferocity playing a song known for being incredibly slow. This is off the band's live album recorded in Japan. They managed to slow down adequately enough to play the song, with a little extra distortion. However, the singer's voice does not really fit, as he yells the lyrics out. Otherwise, they bring out an evil ferocity not found before. I have four albums from Vader.

Amon Amarth: "Sabbath, Bloody Sabbath": This is a rare recording found on one of the band's early demos. As it is an early demo recording, the production is really rough. The guitars have a tinny quality and everything else sounds like mush. It would be interesting to hear the band revisit this song, because it can barely be heard here. I know it doesn't sound terribly promising though. I have all of Amon Amarth's full-length albums.

Tuesday, February 16, 2010

Type O Negative: The Origin of the Feces

This is one of the most interesting, funniest albums I have heard. Type O Negative has always had a strange and twisted sense of humor. Nowhere is this more obvious than on this album. They have given us some strange liner notes at times, but this album really is the go-to point if you want to tell someone how weird this band is.

Let's start with the cover. This is allegedly a picture of vocalist Peter Steele's anus. Thankfully, people were angry and the cover was censored eventually. We do not need to really see Peter Steele's anus, thank you very much.

Now, the craziest part about this album is that it is supposed to be a live album. I say supposed to be because the band's label Roadrunner had it written in the contract that Type O Negative was to record a live album. However, the band allegedly took the money they were supposed to spend on producing the live album on cheap vodka instead. Realizing they needed to fulfill their contractual obligations, the band simply re-recorded their debut album Slow Deep and Hard, added a couple of songs and retitled some of the other songs and then added fake crowd noise.

But they did not stop there. It would be too easy to simply add in crowd noise. No, Type O Negative added in chants of "You Suck!" and improvised a fight between Steele and the fans with Steele yelling "You suck too" at one point in the album and then making fun of the crowd because he's getting paid to play and the crowd had to pay to get in. At about the midway point, the band claimed it had to stop playing because there was a bomb threat in the concert hall. After a few seconds of silence, they began playing again.

Beyond the insanity of the fake crowd, the music is very impressive and it does sound as if they are playing live. The first seven tracks are the fake concert and then the band adds in a very interesting cover of the Black Sabbath classic "Paranoid" for the final track. The musicianship is tight and is held together well despite the often changing tempos.

Type O Negative will never be mistaken for an incredibly musically talented act. But that is okay, because the band plays just well enough to sound fine playing the style of music they play. They have always been able to write long, multi-part epic songs and this has been their best musical quality. Here, for example, we have the fifteen minute opener "I Know You're Fucking Someone Else", which lays the groundwork for the rest of the album. The band's style is a form of gothic metal incorporating various influences such as Black Sabbath and The Beatles. They take those influences and slow them down and twist them to form a sound that is unlike any other band.

As for the instrumentation itself, the band has always relied quite a bit on the keyboards and vocals to drive the melodies home, in particular in the softer parts of the songs, of which there are many. This is true of this album as well. There is the occasional guitar solo and the riffs are plentiful, but they do not typically constitute the main melody of the song. The bass and guitar parts mostly lumber their way through the slower songs in a doom-laden dirge but are there to provide main support in the faster songs. The riffs drive the song forward, but it's the additional flourishes that shine through.

The major focus is on the vocals. Peter Steele has an extremely deep voice and it adds a haunting quality to the songs. Occasionally, Kenny Hickey or Josh Silver provide backing vocals to further emphasize the deepness of Steele's voice.

The songs themselves are mostly typical of Type O Negative: gloomy, dirge-like exercises in self-deprecation and depression. The songs deal with the betrayal of a cheating girlfriend and fantasies about killing her, and then actually going through with it. There are some other subjects too, but for the most part it details a relationship gone very wrong. The lyrics are often somewhat humorous despite the dark nature of the subject matter. This has become a well-known trait of the band that was in its infancy at the time of the release of this album.

Two songs are covers. The track "Hey Peter" is a rearranging of the Jimi Hendrix song "Hey Joe" about a jealous lover ready to kill his cheating girlfriend. Here Peter Steele replaces the gun with an axe. The last track is a morosely slow adaptation of the Black Sabbath classic "Paranoid". Somehow the band stretches it out more than twice as long as the original.

The production on the album is crisp and clean. It's the first real sign that this was not actually a live album. Most live recordings are not as clear as this album. That's fine though as it allows the music to be heard very well.

Overall, this is a very fun listen. The humor involved keeps things light and interesting, despite the very dark subject matter. Type O Negative never did record a real live album.

2000's Favorite Miscellaneous Metal Albums

Some albums are hard to define. Others are simply from genres that are not very large. Here's a list of some of my favorite miscellaneous albums.

Cynic: Traced in Air: Progressive metal band ditches most thrash and death influences in triumphant return after nearly two decades.

Down: III-Over the Under: Southern metal supergroup proves to be much more than the sum of their parts.

Eluveitie: Slania: Melodic death metal mixed with Celtic folk influences forming an amazing mix of music and one of my favorite albums from 2008.

Into Eternity: The Scattering of Ashes: Crazy mix of progressive, power, and melodic death metal with one of the greatest multi-voiced singers in metal.

Lair of the Minotaur: War Metal Battle Master: Unholy combination of doom and thrash and one of the greatest band names in recent years.

Mastodon: Leviathan: Difficult to categorize band on their finest album.

Opeth: Blackwater Park: Progressive extreme metal masterpiece from Swedish giants.

Orphaned Land: Mabool: Beautiful, epic progressive Middle Eastern folk metal centered around the story of the Great Flood.

Scar Symmetry: Pitch Black Progress: Power metal and melodic death metal thrown together with one of the best metal singers to come up in a long time.

Wintersun: Wintersun: Originally founded by a former member of Ensiferum and blending melodic death, black, progressive, and folk metal seemlessly.

Monday, February 15, 2010

Ibex Moon Records News: Fatalist Releases Video

I have mentioned it before: I am a big fan of the label Ibex Moon Records. They handle metal the right way and put out some absolutely killer records from great bands. I subscribe to Ibex Moon's newsletter through my email and, at one point, apparently signed on to be a member of their street team. I'm not sure when I did that, if it was a mistake or deliberate, but whatever. I suppose based on that, I would like to pass on whatever interesting word I receive from the label about bands who deserve some publicity. I don't expect anything out of this, I just wanted to pass along some underground metal that should be more popular.

Of their band roster, I have ordered releases from Incantation (singer John McEntee runs the label), Thornafire (twice), Estuary, Denial Fiend, Dawn of Azazel, Nominon, HOD, Master, Dreaming Dead, and Asphyx. I have ordered all of those releases from the record label and have found their prices to be fair and their shipping to be fast and reliable. What else could a metalhead want?

With that being said, Fatalist has released a video:
http://www.youtube.com/watch?v=BCnFFvdxxtE
http://www.myspace.com/fatalist666

Fatalist is a death metal band from California, who sound like they're from Stockholm, Sweden. Ah, Swedish death metal. Check out the video and the band.

Metal Pets Pt. 8: The Fish

My fiancee has turned into a fish fanatic. We currently have two aquariums. We have a small aquarium with a beta named Kashi, two corys named Wall-E and Bern-E, and a couple of neon tetras, both named Archimedes. This is a simple, small wall-mounted tank. We also have a much larger 55 gallon tank with a number of fish. We have two needle-nose gars named Harry and Harriet, two striped Raphael catfish named Henry and Henrietta, three black-finned sharks named Sharky, Slime, and Slick, a pictus catfish named Fluffy, and the pride of the tank: a black ghost knifefish named Spoon. I had little to nothing to do with the names of the fish.

I can't get a picture of the fish, because they don't sit still long enough to get a decent picture, but here's a stock picture of a black ghost knifefish.
The most interesting story so far with the fish is the time one of the needle-noses bit my fiancee. She had her finger in the aquarium while putting the divider on the top of the tank and one of them must have thought her finger was a worm. We still laugh about that. I haven't been bitten yet, but I'm sure my day is coming. I am after all in charge of feeding them live crickets occasionally since Mrs. Metallattorney does not want to sentence any living thing to death.

2000's Favorite Power Metal Albums

Helloween: Gambling with the Devil: German power metal pioneers have their strongest release in years.

Hibria: Defying the Rules: Brazilian power/speed metal that is extremely fast and extremely catchy.

Kamelot: The Black Halo: Melodic metal masterpiece from rising American band with European style.

Lost Horizon: A Flame to the Ground Beneath: Swedish power metal band on their triumphant sophomore album.

Manticora: 8 Deadly Sins: Outstanding progressive power metal from Denmark.

Nightmare: Genetic Disorder: French power metal band with an emphasis on "power".

Outworld: Outworld: Surprisingly great power/progressive metal band with only one album.

Sonata Arctica: Silence: Extremely melodic and fast-paced power metal from Finland.

Symphony X: The Odyssey: Epic progressive power metal album centered around Homer's The Odyssey.

Twisted Tower Dire: Crest of the Martyrs: Proof that there are some truly great traditional metal bands still out there.

Saturday, February 13, 2010

Weekly Recap: Feb. 7-Feb. 13

This week started off pretty busy. Monday was a very busy day at work. But then, the week completely fell off a cliff and I had very little to do the rest of the week. It's Valentine's Day tomorrow, a holiday I have not cared much for historically. However, this will be the first V-Day since my fiancee and I moved in together. It will be a pretty special one.

I picked up albums from Overkill, Charred Walls of the Damned, Einherjer, and Landmine Marathon this week. I also bought the Terrorizer issue looking back on the last decade. I'll probably have a follow-up post about that.

In metal news this week, where it was a busy week:
-Bassist David Ellefson allegedly rejoined Megadeth. Ellefson was a constant member of the band until around 2002. He and Dave Mustaine then had a falling out and there was a dispute over ownership rights to the Megadeth name, with Mustaine eventually coming out on top. It's a lot more complicated than this brief synopsis though. It's good to have Ellefson back in Megadeth, but there is some question whether he is back to stay.

-Guitarist Jesper Stromblad left In Flames. A founding member of the Swedish melodeath masters, his leaving results in a big hole in the band. He has been in and out of rehab for awhile and decided for personal reasons to leave. Good luck Jesper.

-Twisted Sister singer Dee Snider has announced a sequel to his regrettable horror move Strangeland. The soundtrack was the only good thing about the original. I plan to look at it later on. The original was about a man, played by Snider, who was a strong advocate of body art and kidnapped young girls and tattooed and pierced them in awful ways as a means of torture. I think. I can't really remember, it didn't leave a lasting impression on me.

-We had new albums from Overkill and Fear Factory at my local music store. There were a lot more than that, but that's all my store is carrying. I bought Overkill. Fear Factory has let me down several times in the past so I am holding off until I see some more opinions on it.

-Lair of the Minotaur announced a new album. Can't wait for that as they are one of my favorite newer bands.

-Holy shit there are some good concerts coming to Nebraska in the next few months. Overkill will be in Lincoln with Vader, God Dethroned, Evile, Warbringer, and Woe of Tyrants. It's on a damn Monday night though so I have to figure out how to work that out. Also Mastodon will be in Omaha in May with Baroness, Valient Thorr, and Between the Buried and Me. I wouldn't mind seeing that one depending on how busy we are that weekend, although I am not a huge fan of any of the bands. Mastodon is pretty good and I haven't heard enough Baroness or Valient Thorr to form an opinion. I don't care for BTBAM.

The list:
Abominator: Damnation's Prophecy
Amorphis: Tuonela
Angel Witch: Angel Witch
Arkona: Ot Serdtsa K Nebu
Averse Sefira: Tetragrammatical Astygmata
Behemoth: Zos Kia Cultus (Here and Beyond)
Blind Guardian: Nightfall in Middle Earth
Blood of Kingu: De Occulta Philosophia
Dark Tranquillity: Character
Deicide: The Stench of Redemption
Destroyer 666: Defiance
Destruktor: Nailed
Destruktor: Nuclear Desecration
Dissection: Reinkaos
Evile: Infected Nations
Fear Factory: Obsolete
Gospel of the Horns: A Call to Arms
Graveworm: Collateral Defect
In Flames: Clayman
Insomnium: Above the Weeping World
Into Eternity: The Scattering of Ashes
Kalmah: They Will Return
Kamelot: The Black Halo
Lacuna Coil: Comalies
Lich King: Toxic Zombie Onslaught
Maniac Butcher: Cerna Krev
Mantic Ritual: Executioner
Master's Hammer: Ritual
Melechesh: Emissaries
Merciless Death: Realm of Terror
Metal Church: Metal Church
Metallica: Garage Inc.
Militia: Released
Mors Principium Est: Liberation=Termination
Nativity in Black: A Tribute to Black Sabbath
Nativity in Black Vol. II: A Tribute to Black Sabbath
Negura Bunget: Om
Nile: In Their Darkened Shrines
Novembers Doom: The Novella Reservoir
Nox: Ixaxaar
Omen: Battle Cry
Opeth: Damnation
Opeth: Still Life
Overkill: Ironbound
Pantera: Far Beyond Driven
Razor: Violent Restitution
Reverend Bizarre: II-Crush the Insects
Root: Madness of the Graves
Sarcolytic: Thee Arcane Progeny
Savatage: Hall of the Mountain King
Saxorior: Volkerschlacht
Scar Symmetry: Pitch Black Progress
Sepultura: Roots
Sigh: Hangman's Hymn-Musikalische Exequien
Skeletonwitch: Beyond the Permafrost
Skeletonwitch: Breathing the Fire
Slayer: God Hates Us AllSonata Arctica: Unia
Stratovarius: Polaris
Symphony X: The Odyssey
Tribute to Black Sabbath: Eternal Masters
Type O Negative: The Origin of the Feces
Warth: Hateful Speed
Wintersun: Wintersun

2000's Favorite Melodic Death Albums

Amon Amarth: The Crusher: Tough to pick just one album from this band, but if forced, this one wins.

Apophis: I am Your Blindness: Criminally underrated German death metal band with powerful melodies.

Arsis: United in Regret: Technical melodeath band from America proves to have stunning abilities for both technicality and catchiness.

Dark Tranquillity: Character: Melodeath masters on one of their most powerful albums.

In Flames: Clayman: The last great album by the Swedish melodeath powerhouse.

Insomnium: Above the Weeping World: Heart-wrenching melodic death with doom elements from Finland.

Kalmah: They Will Return: Finnish melodic death metal speedsters inject some elements of power metal a la their countrymen Children of Bodom.

Mors Principium Est: Liberation=Termination: Finnish band massively influenced by Gothenburg style and incorporating technoesque effects.

Omnium Gatherum: The Red Shift: Finnish band that is part of a new wave of melodic death.

Skyfire: Spectral: Swedish melodeath band that mixes in elements of power and progressive metal.

Happy 40th Birthday Heavy Metal

On today's date 40 years ago, a landmark album was released. It was the album that kick-started the entire heavy metal genre. Even today, this album sounds as fresh, original, and scary as it did when it was first released. It has now been 40 years since Black Sabbath was first released. By virtue of this fact, heavy metal is now 40 years old. And it is still going strong. Happy Birthday heavy metal.

Friday, February 12, 2010

Blog Link: Bands You Love to Hate?

http://www.anus.com/metal/about/metal/hate/
Metalheads have wide-ranging opinions about their music. I often tell my fiancee that metalheads are very elitist. We were watching the documentary Metal: A Headbanger's Journey the other day and she remarked that she clearly understood just what I mean when I say that we're elitist. A lot of us genuinely believe that we are somehow better than others because of what we listen to. I may or may not be one of those people. It depends on my mood and on the type of clients I have had that day. One thing is for sure though: oftentimes we even look down on other metalheads for the bands they like. The above linked article is a clear example of that.

Here we have an individual who is very outspoken in his criticism against bands. He takes his music very seriously. While I hate a great deal of bands (particularly bands who try to latch onto the metal label while not actually playing metal), it's rare for me to really despise a metal band. It happens. I have mentioned on this blog my disdain for groups like Sunn O))), Isis, Neurosis, and the like. But I don't vehemently oppose these bands. This guy hates quite a few groups, many of which have managed to gain a significant amount of mainstream success. Some of the bands just have annoying fans, and he seems to hate the bands because of the fans.

I want to run down the list and give my personal opinion. I won't complain about his choices or reasoning, just air my own feelings.

Dethklok: This is the cartoon "band" from the Metalocalypse TV show on Cartoon Network. I am not a fan of the show, though I have seen it on a few occasions. I've never been entirely sure if it was laughing at metal or laughing with metal. It's even less clear when the "band" goes on tour with non-metal bands, as they often do. I have heard a couple of songs and while they are obviously not serious songs, they don't completely turn me off. This is a joke band, like Spinal Tap. It's not offensive, it's not great, it just exists.

Cannibal Corpse: I happen to thoroughly enjoy some of Cannibal Corpse's stuff. Yes they're violent, yes they're silly, yes they're grotesque. They are all of these things. But they also enjoy what they're doing and work hard to improve. It's obvious just how much when you listen to Eaten Back to Life and Evisceration Plague back to back. They don't take themselves seriously. Cannibal Corpse is made up of a bunch of nerds who love horror movies and wanted to express that in their own medium.

Opeth: Opeth is a band I have enjoyed for a very long time, since I started getting into extreme metal. While their later albums tend towards more of the progressive passages, it is their ability to move between the heavy and the beautiful that is captivating. There are not a lot of bands capable of these dynamic changes. Their mid-era material is without peer.

Meshuggah: This is one of those bands with really annoying fans. I like Meshuggah's earliest material when they were a death/thrash metal band experimenting with odd time signatures and eternally fluctuating riffs. Their Contradictions Collapse album is an absolute mindfuck. Unfortunately, as time went on, they became obsessed with out-teching themselves and other upstart bands and the music was lost. Now, it's often difficult to listen to Meshuggah. Worse yet, their distorted riffs are beginning to attain a Slipknot quality. Yikes.

Cradle of Filth: Cradle of Filth is a bit of a difficult band to categorize. They have played styles similar to black metal, gothic metal, and death metal, with the occasional thrash riff thrown in. Oftentimes, the biggest complaint is with Dani Filth's high-pitched screeching vocals. But the band's lyrics and storytelling are amazing. Filth has clearly studied a lot of gothic horror and puts this knowledge to great use in crafting the band's sordid tales of lust and death. That and his unique phrasing of the lyrics make this an interesting band to listen to. The music is very atmospheric and dark as well.

Ulver: I admit it. I am not familiar with this band. I will not comment further.

Necrophagist: Necrophagist is like Meshuggah, except where Meshuggah's instrumental focus is on the drums, Necrophagist concentrates on the guitar. Fast, wheedling guitar leads are interwoven throughout the pounding drums. Clearly based in death metal, Necrophagist's greatest strength is in these technical, blazing guitar lines. Their songs are not nearly as long as Meshuggah's, making for an intense listening experience.

Baroness: I am only somewhat familiar with this band. I know Decibel was all over them last year as they took home the coveted (?) Album of the Year from the magazine. I know they play a style of stoner doom, but that's all I know.

In Flames: Sure they play death metal versions of Iron Maiden riffs. That's what's interesting about them. Or, at least it was, until the band was able to break through to the mainstream and vastly simplified their sound. Still, the one thing they kept was their pop sensibility. In Flames has always been able to write a real catchy chorus. They had some great albums in the late 1990's too.

Rammstein: NFM. No comment.

Cynic: Cynic is an enigma. Clearly beginning as a death metal band, they started infusing their music with jazz fusion influences. It sounds a hell of a lot better than one would think. Extremely gifted musicians, Cynic is also able to put together some great songs. However, their most notable feature is the use of vocoder vocals, which was done by accident on Focus. It caught on, so they kept at it.

Wolves in the Throne Room: It wasn't all that long ago that this band was all over every metal board. I'm not sure what happened that people have moved away from them. Maybe they realized the band was fairly boring. As you can tell, I am not a fan.

Boris: This is one of those weird bands that almost plays a different style every album. None of their styles have appealed to me so I have never taken the time to listen to them. No regrets.

Sunn O))): Pass.

Pantera: Pantera has always been a bit of a controversial band in metal circles. On one hand, they were trendhoppers. On the other, they essentially kept the genre afloat in the mainstream when grunge hit. At first, they were a terrible glam band. Then they began mixing power and thrash metal on the awesome Cowboys from Hell album. Then they stole Exhorder's style of groove metal. While not a bad band, the groove metal style quickly became a joke. But Pantera was still far better at it than most other copycats. The music may be simple, but it's also quite good at getting people moving in the pit.

2000's Favorite Death Metal Albums

Behemoth: Zos Kia Cultus (Here and Beyond): Polish purveyors of darkness begin their death metal period after playing black metal for several albums.

Bolt Thrower: Those Once Loyal: One of the most consistent death metal bands on possibly their best album.

Deicide: The Stench of Redemption: The most evil band in the U.S. is reinvigorated on this album by the inclusion of Ralph Santolla on lead guitar.

Hacavitz: Katun: Mexican death metal band proves that it's not all sunshine south of the border.

Immolation: Shadows in the Light: Pioneering brutal death metal band still has it nearly 20 years later.

Nile: In Their Darkened Shrines: Everyone's favorite Egyptian-themed death metallers on arguably, their best and heaviest album.

Nox: Ixaxaar: Sick, brutal, and heavily Satanic death metal from Netherlands.

Septicflesh: Communion: Death metal with a Greek feel and some interesting instrumentation.

Thornafire: Exacerbated Gnostic Manifestation: Chilean band mixes the best of old school death and modern death metal.

Yyrkoon: Occult Medicine: French death metal band with a tribute album to Dr. Herbert West, Lovecraft's Re-Animator.

Thursday, February 11, 2010

Great Band, Terrible Album Pt. 7: Opeth: Damnation

I really like Opeth. I know there are a lot of metalheads out there that believe the band is boring as hell, but I'm not one of them. Opeth was one of the first extreme metal bands I really got into. I remember buying my first Opeth album on Halloween night back in 2001 along with the Tristania album World of Glass. It was an amazing listen. It was heavy, yet melodic. The band took breaks from rumbling death metal parts to play beautiful acoustic passages. It gave the band dynamics I had not heard much in the genre up to that point. I like the band so much that they were the first real metal band I took my fiancee to see with me. I had taken her to Trans-Siberian Orchestra the fall before, but that doesn't quite count for obvious reasons.

In the time since I first started listening to Opeth, I have picked up almost all of their albums. The only ones I have not picked up to this point are Morningrise and their most recent album. That's not to say I won't pick them up in the future. It's entirely possible, though I have not been thrilled with some of their latest albums. Most Opeth albums are pretty decent though and the band always had that different dynamic. They could be really soft or really hard and they would alternate those sounds.

With one exception.

Damnation is an experimental album for the band. Opeth decided that it was not going to play with the alternating styles on one album. They cut out the heavy parts and kept all of the progressive, soft parts. Now these parts are okay in the context of the heavy metal the band normally plays, but when they are on their own, the general feel is lost. I'm not saying I would be interested in an Opeth album with all of the soft parts removed though. Opeth's appeal is their ability to play both styles and meld them effortlessly. When one style is taken away, it feels as though something huge is missing. This album does not feel complete, even though each song is clearly complete on its own. Some of the songs are very beautiful. The soft songs throughout the entire album just do not hold interest well enough to make the album worth it.

2000's Favorite Black Metal Albums

Averse Sefira: Tetragrammatical Astygmata: Texan black metallists prove America can do the style as well as anyone.

Dark Fortress: Eidolon: German melodic black metal band breaks through and puts earlier predecessors like Dimmu Borgir to shame.

Dawn of Azazel: The Law of the Strong: New Zealanders combine black, death, and thrash metal into an extremely toxic stew that explodes out of the speakers.

Destroyer 666: Defiance: The best album of 2009, no contest.

Goatwhore: Carving Out the Eyes of God: Toxic stew of black, death, thrash, and sludge metal.

Impaled Nazarene: All that You Fear: You know what you're getting with this band: lightning fast, chaotic punk-influenced black metal.

Impiety: Formidonis Nex Cultus: Pure hellish brutality from Singapore.

Melechesh: Emissaries: Black metal from Jerusalem that takes on Sumerian/Babylonian mythology with Middle Eastern folk influences.

Primordial: To the Nameless Dead: Heart-wrenching Celtic black metal from Ireland.

Rotting Christ: Theogonia: The band with one of the most blasphemous names imaginable is surprisingly melodic and extremely good.

Wednesday, February 10, 2010

2000's Favorite Doom Albums

Candlemass: Candlemass: Reformation of the band with its most popular singer, for one album before band members realized they still hated him.

Coffins: Buried Death: Japanese death/doom band sounds like a heavily medicated Celtic Frost.

Grand Magus: Iron Will: The best album from 2008 is a traditional doom metal album.

Heaven and Hell: The Devil You Know: The second Black Sabbath lineup reincarnated can still bring the doom.

High on Fire: Death is this Communion: Sludgy, dirty doom with thrash metal influences from a former member of Sleep.

Novembers Doom: The Novella Reservoir: Sullen, dreary doom metal from Chicago giants.

Reverend Bizarre: II-Crush the Insects: Trad doom throwbacks speed things up early then revert to agonizingly slow, long dirges.

Swallow the Sun: The Morning Never Came: Eerily beautiful but leaves the listener with a sense of dread and hopeless isolation.

Syrach: Days of Wrath: Norwegian doom metal that is catchy, haunting, and terrifying.

The Gates of Slumber: Conqueror: Great traditional doom metal that sounds like Sabbath and Candlemass in a blender.

Initial Impressions: Savatage: Hall of the Mountain King

Savatage is not nearly as well-known as the band that they later became. It's a shame. Savatage began as a traditional metal band but began adding progressive elements more and more, eventually becoming a full-fledged progressive metal band around the time that Queensryche and Fates Warning were around and predating Dream Theater. The band has always had a flair for the dramatic and also began incorporating more and more symphonic elements to their music. On their 1994 album, a song appeared called "Christmas Eve (Sarajevo 12/24)" and took the band in a different direction. They became Trans-Siberian Orchestra.

But this album came way before all of that, when they were just beginning to become the progressive metal Savatage.

This was the band's first commercially successful album. The title track was made into a video (a very cheesy one featuring a dwarf stealing treasure from the lair of a sleeping giant) which was aired on MTV. There was also a video made for "24 Hours Ago". The album was much more complex than the earlier works of the band which were more straightforward traditional metal. The arrangements were more intricate and the band often incorporated classical music elements. In particular, the track "Prelude to Madness" which leads into "Hall of the Mountain King" is an arrangement of the classical piece "In the Hall of the Mountain King" as well as featuring a partial arrangement of "Mars, the Bringer of War".

This was the album that pushed Savatage in the progressive metal direction, but it would be a little while before they perfected the sound. This album mostly features traditional heavy metal songs with the occasional complex arrangement or progressive structure. The vocals are mostly delivered in a high-pitched, harsher tone.

This is probably the band's most well-known and best album. A couple of albums later, they would start doing rock operas. Then, guitarist Criss Oliva (brother of vocalist Jon Oliva), died in a car accident and the band was never the same. This album came at a much brighter time for Savatage.

Initial Impressions: Angel Witch: Angel Witch

For some reason, a lot of the bands from the NWOBHM have not become real well-known. Oh sure, there are the huge bands that everyone knows like Iron Maiden, Def Leppard (early years), and Motorhead. And there is the second tier of bands that most metalheads have heard of, like Venom, Saxon, Diamond Head, Blitzkrieg, and Girlschool. But there were a ton of NWOBHM bands. Many of whom only released a 7 inch vinyl single. Angel Witch is one of the second tier bands. They are reasonably well-known, mostly because of this album, their debut release. Dave Mustaine of Megadeth even recently appeared on the cover of an issue of Decibel wearing an Angel Witch t-shirt.

This is the third reissue of the album, labelled the 25th Anniversary Edition. The album came out in 1980 with ten tracks. In 1990, it was reissued with an additional three tracks. In 2000, it was reissued again with three more tracks in addition to the other thirteen. Then in 2005, this edition was released with four more tracks, bringing the total to 20 and 78 minutes of music. That's probably a bit much.

The music is fairly typical for the NWOBHM: fast riffs, catchy choruses, higher register vocals, short songs, and an overall lively sound. The NWOBHM for the most part brought speed to heavy metal. Bands played faster than the original metal band Black Sabbath. It's why the genre was so instrumental in the formation of thrash.

The best song on the album is the title track "Angel Witch" which has become a classic track and even appeared on the Brutal Legend soundtrack. It represents an almost perfect view of the NWOBHM in general. It features all of the well-known qualities of the music. The rest of the songs follow in much the same formula.

In recent months, I have worked to become better acquainted with the 1980's metal scene in general. In particular, the NWOBHM has been a goal. This album is one of the best representations of that genre for good reason. It is essential listening for anyone interested in the short-lived NWOBHM.

Initial Impressions: Omen: Battle Cry

When most people think of American metal in the 1980's, they think of hair bands that may or may not actually be metal. They think of groups like Motley Crue, Poison, Whitesnake, Warrant, and the like. However, other forms of metal were also taking hold. There was of course the thrash metal scene. Arising out of that was the death metal scene. But the power metal scene was also taking form in the U.S. Influenced by the NWOBHM almost exclusively, a sound was emerging that was not as frenzied as thrash, but was by no means less powerful. Manowar was perhaps the best example of this. Omen is another one.

One can easily hear that Omen is influenced by Iron Maiden. It is obvious from the interweaving guitar melodies around the main drum and bass riff and the soaring vocals. The band also occasionally shows off its ability to do the galloping riffs Iron Maiden is well-known for. The music is mid-paced, not real fast, but not slow either. The vocals are delivered in a rich, low tenor. The songs are all right around the four minute mark and are very catchy. They don't drag at all or rush things. Everything is well-developed.

This is a band that is somewhat forgotten from the mid 1980's. But, they were an important part of the development of power metal in the U.S. Along with groups like Manowar and Manilla Road, Omen helped to push this newer genre further in the U.S.

Tuesday, February 9, 2010

Initial Impressions: Saxorior: Volkerschlacht

I admit, this band was not what I thought it would be. I first heard the band a couple of years back when they appeared on a sampler CD in an issue of Metal Maniacs. There was also a brief article on the band. I was, for some reason, under the impression that they were much more of a folk black metal band. I was wrong. Saxorior plays melodic black metal. But, they play it real well and incorporate some interesting elements.

The band certainly doesn't make its genre of music obvious from the album cover, featuring an 18th century battle on horseback. It's the kind of thing you see from Arghoslent covers as well. Nevertheless, once you get past that album artwork, on comes the blackened onslaught.

The lead-in track features some snare drumming similar to that of the British in the Revolutionary War. Bit it leads into something far more sinister-sounding. The drum patterns do continue throughout and there are frequent parts that sound like battle hymns. There are some elements of music that can be considered folk-inspired, but the majority of the music is strongly based around black metal.

This was a sleeper release a couple of years back for this German band. It's another of those rare gems that can be uncovered with a little bit of digging. It's an extremely interesting album and well worth the listen.

Initial Impressions: Sarcolytic: Thee Arcane Progeny

Sarcolytic is a brutal death metal band that was originally formed as a side project of members of Disgorge and Images of Violence. This is the first very good release of 2010.

There are basically two styles of brutal death metal. The first style is pure brutality without a trace of melody. The second type has melody and some very technical riffing and guitar leads. Sarcolytic falls into the second style. The blastbeating drums and thundering bass is often accompanied by melodic guitar leads playing highly technical melodies. The tiem signature changes somehwat frequently and the tempo fluctuates wildly. The vocals are delivered in a typical growling death metal style.

As mentioned, this is the first very good release of the new year. This band puts more mainstream brutal death metal acts to shame. The constant barrage of riffs and drumming makes for a brutal listening experience, but this is one album that deserves to be noticed. It's a shame that it will more than likely fly under the radar.

Initial Impressions: Evile: Infected Nations

Evile is part of the so-called "retro thrash" movement. The band is based out of the U.K. which, despite its legacy as the de facto birthplace of metal, actually does not have many thrash metal bands to call its own. Evile, Onslaught, and Sabbat are the most notable. This was the band's final album with bassist Mike Alexander who died of a pulmonary embolism in 2009.

Evile is obviously heavily influenced by thrash metal acts of the 1980's such as Exodus, Dark Angel, Overkill, and others. Their clearest influence though is Slayer. It has often been stated that the band's debut album was "the best Slayer album in years". Or, it was just stated by me. Whatever.

The band has created its own sound on this album, distancing themselves from the Slayer comparisons. The music is aggressive and powerful, featuring fast riffs and faster guitar solos. The songs are a little on the longer side, only one song is less than five minutes. The riffs repeat endlessly, giving the listener the effect of being steamrolled. It is angry, violent music.

Evile has been considered by many people to be one of the better "retro thrash" bands and they prove why here. This is a very good up-and-coming band. Along with Warbringer and Skeletonwitch, Evile proves there is some originality in this mostly backwards-looking movement.

Monday, February 8, 2010

Initial Impressions: Razor: Violent Restitution

Somewhere in the Great White North in the 1980's, metal was taking hold. Canada has a fairly rich history of heavy metal developing in the 1980's. Canadian bands ran the gamut between thrash (Sacrifice, Slaughter, Voivod) to death (Cryptopsy, Gorguts). Canadian bands often play with some more experimentation than their American counterparts. Nevertheless, there are some bands highly equipped to deal with the straighforward metal styles. Razor is a terrific thrash metal band from Canada.

Being from Canada, Razor is not real well-known, even by the standards of their home country. Most people think of groups like Slaughter and Sacrifice when they think of Canadian thrash metal. It's a shame too, because this is a very underrated band.

Razor plays fast thrash metal most similar to the East Coast thrash acts like Overkill and Anthrax. The riffs fly past at a lightning-fast clip, with pummelling drum patterns and throbbing bass. The vocals are shouted in a style similar to many American thrash metal acts. The songs are fast and somewhat short, making this a short, but frenzied listen. The album has 14 tracks on it, but they fly by so fast it seems like they have half that.

This is a truly underrated album by a truly underrated band. If you're looking for good 1980's thrash and are tired of the Bay Area and German scenes, check this band out.

Initial Impressions: Metal Church: Metal Church

When I was just getting into metal and looking for Metallica albums, I often saw Metal Church albums right around the same area. I often wondered what the band sounded like, because they were on the same label as Metallica Elektra, and had a somewhat similar name, in that both bands have "metal" in their name. Lars Ulrich even tried out for the band on drums at one point and was instrumental in getting them signed to their label. Nevertheless, it would be years before I actually picked up an album by the band. I don't really have an explanation, that's just how it worked out.

Despite their association, Metal Church is not terribly similar to Metallica musically. Metal Church was an early band considered thrash metal, but their style was more closely related to 1980's American power metal or traditional metal than thrash metal. They were heavily influenced by the NWOBHM, but not as much by punk, and they did not play nearly as fast as other early thrash metal acts like Metallica, Slayer, and Overkill.

This is the band's self-titled debut album. It features the sound that the band would become known for. It is melodic and heavy, but not nearly as harsh as other thrash metal acts of the time. The music is mid-paced, but lively. The riffs are memorable and catchy. There are frequent guitar solos. The vocals are typically delivered in a harsher raspy singing voice similar to NWOBHM acts.

This is a classic metal album and it's not hard to see why. The songs are very well-written and infectious. All of the individual musicians are extremely competent. Metal Church's career lasted approximately 25 years and though they never had much mainstream success, they were a beloved band in the metal underground.

Initial Impressions: Militia: Released

Some labels have picked up on bands that have never issued a full length release, but instead are limited to a collection of demos and compilations. Militia is one of those bands, like XINR, Nirvana 2002, and Nihilist. Militia was a power/thrash metal band in the 1980's that released a series of demos, but no full-length album. One label eventually picked up the rights to the demos and released them as a compilation. It's nice that there are labels like that out there. Otherwise, a lot of music might never be heard.

I ordered this album off of the Rockadrome label site along with Devastation, Slauter Xstroyes, and Watchtower. So what do we have here?

The label lists their The Sybling EP as a collectors' classic. That might be overstating things a bit, but this is clearly some well-written 1980's style metal. The production value is a little muddy, but it's cleaned up enough to fully hear all of the instrumentation. The bass seems to be the driving force behind this band, thundering away beneath the guitar riffs and soaring vocals. The singer has a powerful voice somewhat reminiscent of Flotsam and Jetsam's early vocals. The vocals do get a little painful to listen to once in awhile, but it's rare. Anyone who listens to 1980's metal probably can listen to this without a problem.

Overall, the album is a good look at a band who never made it.

Saturday, February 6, 2010

Metal Pets Pt. 7: Voodoo Vegas

Meet the newest member of the Metallattorney family. This is Voodoo. He is a kitten from my fiancee's parents' recent farm cat litter. He is related to Twizzy. Most likely he is both his grandchild and nephew. Therefore, grandson/nephew. We've had him for a couple of months now. He has definitely livened up the household and keeps the other animals on their toes. His favorite thing to do is to take his cat cube around for a drive around the living room, attacking all animals and people that get in his way. He doesn't know it yet, but eventually he will lose those damn claws.

Weekly Recap: Jan. 31-Feb. 6

Well it's the first week of February and it was again a very busy week. I spent most of the week trying to track down one of my clients to sign settlement documents. Eventually, she turned up in jail. I spent all day yesterday driving down to the jail to collect the necessary signatures. Beyond that, we got more snow each of the last two days. Just when it looked like it was actually going to warm up and the snow would be gone.

In the metal world:
-The Grammys were on Sunday. I did not watch but Judas Priest finally won one. Good for them. Apparently someone won the award for best album, etc. but I have no idea who.

-Trivium replaced their drummer Travis Smith with Nick Augusto. Drums haven't been one of the band's strengths.

-Charred Walls of the Damned released their debut album. The band is a side project of drummer Richard Christy, now better known for his work on the Howard Stern radio program. The band also has bass mercenary Steve DiGiorgio (Death, Autopsy, Testament, Iced Earth, Sadus, etc., etc., etc.), Jason Suecof, best known for his production work on Trivium and other mainstream metal bands, and Ripper Owens, onetime singer for Judas Priest and Iced Earth.

-Triptykon released their album cover. It's H.R. Giger, so it's freaky. Triptykon is the new band of Tom G. Warrior after the latest breakup of Celtic Frost.

-Everyone's favorite a cappella metal band Van Canto released their new video, which features the first ever (I think, and it damn well better be) a cappella breakdown. It's about what you would expect.

-Slayer, Megadeth, and Testament will be on tour together and have one stop in Kansas City, only about five hours from here. Which begs the question, should I try to convince the fiancee to go to that concert or stick to Kamelot/Leaves' Eyes/Blackguard instead? Hmm. I'm sure she'll weigh in.

Here's the list of albums I listened to this week, brought to you apparently by the letter A. That was totally unintentional.
3 Inches of Blood: Advance and Vanquish
Abominable Putridity: In the End of Human Existence
Absu: Absu
Alice in Chains: Alice in Chains
Alice in Chains: Dirt
Alice in Chains: Black Gives Way to Blue
Alice in Chains: Unplugged
Amon Amarth: The Crusher
Anal Vomit: Depravation
Angel Witch: Angel Witch
Apophis: Heliopolis
Arsis: United in Regret
Asphyx: Death...The Brutal Way
Asphyx: Last One on Earth
At the Gates: The Red in the Sky is Ours
Atomizer: The Only Weapon of Choice-13 Odes to Power, Decimation, and Conquest
Black Sabbath: Vol. 4
Blind Guardian: A Twist in the Myth
Bolt Thrower: Those Once Loyal
Borknagar: Empiricism
Death: Symbolic
Devastation: Idolatry
Devourment: 1.3.8
Enslaved: Below the LightsEvocation: Tales from the Tomb
Fight: War of Words
Forgotten Tomb: Negative Megalomania
Graveworm: Scourge of Malice
Hail of Bullets: ...Of Frost and War
Helloween: Gambling with the Devil
Immolation: Shadows in the Light
Jerry Cantrell: Boggy Depot
Judas Priest: Angel of Retribution
Katalepsy: Musick Brings Injuries
Kawir: Ophiolatreia
Krisiun: Southern Storm
Machine Head: The Burning Red
Manowar: Kings of Metal
Megadeth: Countdown to Extinction
Metallica: Garage Inc.
Moonspell: Darkness and Hope
Omen: Battle Cry
Orphaned Land: Mabool
Ozzy Osbourne: Diary of a Madman
Rotting Christ: Sanctus Diavolos
Rotting Christ: Theogonia
Sarcofago: Rotting
Savatage: Hall of the Mountain King
Saxorior: Volkerschlacht
Sepultura: Chaos A.D.
Skyfire: Spectral
Slauter Xstroyes: Winter Kill
Slayer: Diabolus in Musicana
Sonata Arctica: Silence
Thanatos: Justified Genocide
Thornafire: Exacerbated Gnostic Manifestation
Thornafire: Vorex Deconstruccion
Vomit Remnants: Supreme Vehemence
Watchtower: Energetic Disassembly
Wormed: Planisphaerium

Initial Impressions: Devastation: Idolatry

Devastation is an early death/thrash metal band from the U.S. The most comparable band is probably Demolition Hammer. Extremely heavy thrash metal bordering on death with harsh vocals. The album is largely forgotten because it came out just shortly before the grunge wave occurred which effectively killed off most metal as far as mainstream interest and success is concerned.

The band features several talented musicians and has explosive riffs, powerful drumming, and incendiary guitar solos. The vocals as mentioned above are harsh, but not quite death growls. The music is generally mid-paced thrash that occasionally moves into very fast tempos, particularly around the guitar solos. The solos themselves come from the Kerry King school of though: cram as many notes into a solo as fast as possible, but generally these solos are a bit longer than King's.

The album is a bit on the long side. Devastation is a band, like Metallica, Intruder, Dark Angel, and others, that believes is more is better. More riffs, more verses, more solos. Nevertheless, the band never wears out its welcome. This is a good album that is a forgotten gem.

Thursday, February 4, 2010

Initial Impressions: Watchtower: Energetic Disassembly

Watchtower is another band from the 1980's. Watchtower, along with Anacrusis, was one of the first thrash metal bands to begin incorporating progressive metal elements in their music. Arguably, Watchtower may have hit upon this mixture prior to Anacrusis. The band is yet another 1980's band that broke up in the early to mid 1990's when metal was not selling very well, only to reunite some time later.

Watchtower has been getting some more publicity in recent years. Decibel recently inducted their 1989 album into its Hall of Fame and metal fans have been discovering the band.

The music is essentially a combination of Bay Area thrash with Rush-style prog-metal. The music is complex with frequently changing riffs and swirling guitar leads. The drumming is complex and the bass has some occasional elements similar to funk. The vocals sound similar to those of other thrash wailers and sound most similar to Phil Anselmo's higher pitched vocals on songs like "Domination" and "Heresy".

This is a really good album that kind of got lost in the shuffle of great 1980's metal. It's a good thing that this band has developed a cult following that has allowed it to reform and continue assaulting the ears of listeners.

Initial Impressions: Slauter Xstroyes: Winter Kill


The name is unpronounceable. I literally have no idea what it's supposed to mean or how it is supposed to be said. Beyond that, this album is pretty good and largely forgotten.

Slauter Xstroyes was an underground band out of the Chicago area during the mid 1980's. They were fairly popular in the scene of which they were a part, but unknown to the majority of people. They played a more traditional style of American power metal similar to groups like Liege Lord and Jag Panzer.

The music is fairly typical for the style. The band is not remarkably talented, but they are definitely competent musicians and have some great songs. The riffs are similar to Judas Priest and the NWOBHM with a darker overall tone. The vocals soar over the top of the music. It is clear that the band's singer was fairly gifted.

This album was the band's only full length while still active. It was re-released in 1999 and the band's unreleased album was also put out at that time. This is an interesting look at a band that never actually made it. Proof that some talented bands just can not get noticed.

Initial Impressions: Manowar: Kings of Metal

"Other bands play
Manowar kills"
-Manowar "Kings of Metal"

Ah, Manowar. The ultimate stereotypical metal band. Every heavy metal cliche you can think of, applies directly to Manowar. Cheesy, macho lyrics? Check. Ridiculous stage outfits? Check. Loud volume? Check. Seething hatred of metal poseurs? Check. It's all here and more. Manowar may be the most over-the-top act in metal. They can also write some damn catchy music.

The music is traditional American-style power metal. It definitely has the feel of 1980's metal to it. It's loud, raucous, and powerful. The riffs are heavy, the drums heavier, and the guitar solos are blazing. Vocalist Eric Adams has a powerful voice. Bassist Joey DeMaio is probably the most gifted musician in the band, as evidenced by his rendition of "Flight of the Bumblebee" in the track "Sting of the Bumblebee". It's not easy to play that song on the bass. DeMaio is also the principal songwriter of the group.

The songs on here range from the somber "Heart of Steel", to the frenetic "Wheels of Fire", to the raunchy "Pleasure Slave", to the epic "Blood of the Kings". Sure, the lyrics are a little cheesy, especially on the title track. But this album is a blast from start to finish.

I was not overly familiar with Manowar. I picked this up in the ongoing effort to explore 1980's metal and this seemed like a good band to check out. Manowar is loved ironically by a lot of metal fans, but it is clear that they are a talented and worthy band, they're just a little silly.

Wednesday, February 3, 2010

Initial Impressions: Kawir: Ophiolatreia

Kawir is from Greece, part of a wave of blackened metal bands that are widely regarded as Hellenic black metal. I say "blackened" because many of the bands that make up the movement have reduced their black metal sound in favor of a more melodic, folk-inspired sound. They use Greek musical instruments and are often influenced by Greek mythology and stories. Kawir joins their countrymen in Rotting Christ and Varathron in this respect.

Kawir's music is based in black metal. The riffs are often delivered in a tremolo style with blast beating drums underneath. The music is often extremely fast. There are several moments when keyboards or other instruments (wind and string instruments) are played and the rhythm is changed to give the feeling of Greek music. The vocals are often done in a harsh rasp, although there are moments that sound like chanting. Some tracks carry this forward to a greater degree and have ritualistic sounding drums and music.

The album is mostly centered around Greek mythology. Most of the songs are named after characters out of myths or specific situations. The album sounds almost as if the songs are invocations to the Greek gods. I enjoy Greek mythology, and have since seventh grade. So this album is very interesting to me from a conceptual standpoint. Musically, Kawir is not as strong as Rotting Christ, but they are more experimental and remain closer to black metal. This is an intriguing album in many respects.

Tuesday, February 2, 2010

2000's Favorite Thrash Albums

I have been somewhat busy trying to put together some lists of my favorite metal albums in various subgenres. Here is the first list: thrash metal. These are in alphabetical order, not any sort of hierarchy.

Atomizer: The Only Weapon of Choice-13 Odes to Power, Decimation, and Conquest: Australian war metal band on their catchiest, most memorable album.

Deceased...: As the Weird Travel On: Great traditional metal/thrash metal album by a band that not enough people know about.

Destroyer 666: Cold Steel...For an Iron Age: The best album of the decade, without a doubt.

Devastator: Nuclear Proliferation: Blackened thrash that steamrolls over the listener with ruthless efficiency.

Holy Moses: Agony of Death: The Queen of Thrash is back on the band's strongest album in years.

Hyades: And the Worst is Yet to Come: Relatively unknown Italian thrashers prove to be far better at retro thrash than the recent retro thrash scene in America.

Nocturnal Breed: Fields of Rot: Norwegian thrashers prove that there's more to their home country's metal scene than just black metal.

Nocturnal Fear: Code of Violence: American thrashers influenced by 1980's German thrash bands, a different type of retro thrash.

Razor of Occam: Homage to Martyrs: Side project of members of Destroyer 666 armed with brutal blackened thrash.

Victimizer: The Final Assault: Danish thrashers assault listeners with uncompromising, brutal metal.

Monday, February 1, 2010

Grammys Again

I mentioned in my last post that the Grammys have made a habit of giving the Metal Performance award to songs that were actually fairly old. That got me thinking. So I decided to research the issue. Here's the list of winning bands who won with a song that was significantly older, and the year of the award and year the song was originally released. If it was a cover song, I have noted that as well.

1991: Metallica "Stone Cold Crazy" (Queen cover 1974)
1996: Nine Inch Nails "Happiness in Slavery" (1992) NFM
2000: Black Sabbath "Iron Man" (1970)
2005: Motorhead "Whiplash" (Metallica cover 1983)
2010: Judas Priest "Dissident Aggressor" (1977)