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Reviews, Video Games

Guitar Hero: Aerosmith Video Game Review

Posted by msrcast on July 3rd, 2008

Cary Gordon, a.k.a. Evil C, co-Host of Metal Injection Radio's MSRCast sent in this review…

With the brand new Guitar Hero game out on the shelves, Activision has another hit on their hands, no matter how good the game is. Pure money they are printing on these game disks. The new installment is the first in the entire series to spotlight one particular band, and the lucky winner to be chosen first is Aerosmith. Is Aerosmith still relevant in this day and age? Of course, they still play some balls to the walls hard rocking fun tunes, albeit with a few pit stops in their career. Does anyone remember "I Don't Wanna Miss A Thing", or whatever Celine Dion leftover they sang for that Armageddon movie? Praise be to the metal gods that this song is NOT included in this game…one of the high points for me. (more…)

Reviews

CD Review: TESTAMENT - The Formation of Damnation

Posted by Cosmo Lee on May 15th, 2008

Testament's The Formation of Damnation has been hotly anticipated for two reasons.  First, it marks the return of lead guitarist Alex Skolnick.  This resets the lineup to its original members but for drummer Paul Bostaph.  Second, it's taken quite a while.  Since 1999's The Gathering, the band members have been busy elsewhere.  Rhythm guitarist Eric Peterson has his black metal band Dragonlord, Skolnick has his jazz trio, and the drummer's throne is a perpetually revolving door.  Add in reunion touring and record labels folding like cheap lawn chairs, and the result has been a brand in search of a soul.

That soul is back on Formation.  It's a Testament record, no more and no less.  Despite Skolnick's return, it's in line with Testament's output after his departure in the '90s.  Thus, thrash riffs bulge with death metal heft, but leavened by the band's trademark melodic sense.  Skolnick's fluid shredding is welcome and familiar, but it sometimes feels airdropped into material mostly written by Peterson.  Still, this division of labor works best.  Skolnick joins the songwriting credits for "Dangers of the Faithless," and adds the unnecessary complexity that bogged down The Ritual, which he dominated.  Peterson is quite capable of running the show himself.  His "The Persecuted Won't Forget" is some of Testament's most dynamic work in years; when Skolnick swoops in with a jaw-dropping solo, it's merely an added bonus.

The biggest bonus is Chuck Billy, who is seemingly ageless.  His vocals are just as ferocious as they were on Low, when the band dropped its balls to try out death metal.  As always, his lyrics are slightly awkward (e.g., "Election day spitting bullshit to the enslaved / Make them believe compromised insanity").  This time, though, they're at least directed, protesting the war in Iraq.  Anyway, Billy's vocals have always been about their sound.  For having a limited range, he's quite expressive.  When he howls "Fear is only what you feel" in "F.E.A.R.," one can't help but fear him a little.

Formation bursts with energy, yet it's muzzled by overly hot production and mastering that renders it uniformly loud.  The record is one long peak, which makes it a tiring listen.  Andy Sneap contributes his usual clear, heavy mix, but the mastering destroys all separation and smears everything together.  Drums smack futilely against digital zero, and songs never come up for air.  The material is good, the sound is bad, and this comeback leaves the listener wanting more.

7/10

Testament on MySpace
Nuclear Blast Records

Reviews

DVD Review: RAT SKATES - Born in the Basement

Posted by Cosmo Lee on April 11th, 2008

ratskates borninthebasementEvery up-and-coming metal band should watch Born in the Basement.  The DVD, by original Overkill drummer Lee Kundrat (aka Rat Skates), is a metal version of your grandpa's "when I was your age, I had to walk five miles to school" story.  When you're young, the story seems like elder posturing.  Eventually, though, you learn what grandpa meant.

That's the hope, anyway.  Technology and times have changed so much since the '80s that most bands now won't go through half of what Overkill endured.  Imagine a time without computers, MP3's, CD's, Photoshop, and the Internet - basically everything bands use today to promote themselves.  When Overkill formed in 1980, they did everything by hand.

More specifically, Rat Skates did everything by hand.  What he lacked in resources he made up for with resourcefulness.  He hand-drew Overkill's logo, screenprinted t-shirts himself, and used an ink stamper to make stickers and custom guitar picks.  He made cassette tape inserts with copy machines, and shrinkwrapped the tapes by hand.  Those big banners that hang behind bands?  He made a 20-foot one for Overkill using magic markers.  Most impressively, he constructed a huge, bad-ass stage set for Overkill using milk crates.  No doubt he'd be in shock at a band like Job for a Cowboy, who've gotten where they are through the hard work of…making MySpace friends.

Born in the Basement isn't a documentary about Overkill.  However, it includes plenty of material from the band's salad days, including riotous photos featuring KISS-like makeup.  There are pictures of a very young Don Kaye, Alex Perialas, and Jon Zazula (look 'em up).  Radio and video interviews with the band reveal a bunch of snotty, confident kids.  Overkill are thrash's dinosaurs now, so it's a trip seeing them like how we see, say, Animosity or Black Tide today.

True to its subject matter, the DVD feels home-made.  The interviews with Skates feel canned, and the editing works in horribly cheesy American flag-type visuals.  But Skates' passion is so infectious that you'll be on the edge of your seat wondering what crazy DIY solution he'll whip up next.  Once Overkill "made it," Skates only stayed on for two albums.  He left disillusioned that his hard work had yielded so little in an unforgiving music industry.  In the short term, he was right.  In the long term, though, he was wrong.  From the foundation he literally built with milk crates, Overkill is still going strong.  Hopefully now with this DVD, Skates will get his due, too.

Rat Skates on MySpace
Kundrat Productions

Reviews

CD Review: WARBRINGER - War Without End

Posted by Cosmo Lee on April 10th, 2008

warbringer warwithoutendI'm conflicted about retro thrash.  As trends go, there's far worse, like metalcore, deathcore, and symphonic Hot Topic-core with token sex object keyboardists.  It gives exposure to old-school thrash, which is never a bad thing.  And unlike other metal trends, at least retro thrash is upfront about the fact that it does absolutely nothing new.

But while respecting the past is admirable, recycling it isn't.  The earth does not need more plastic discs that sound just like plastic discs 20 years ago.  In that case, I'll take the 20 year-old discs, thank you very much.  Let's see, what came out 20 years ago?  1988 yielded Testament's The New Order, Slayer's South of Heaven, Megadeth's So Far, So Good…So What?, and Metallica's …And Justice for All.  Not bad.  None of today's retro thrash even comes close.

What puzzles me is how labels are lining up to sign bands that are copying second-tier thrash - the kind they so gladly dropped in the '90s when grunge came along.  Seemingly every big label has a retro thrash band.  Century Media has Warbringer, Metal Blade has Fueled by Fire, Candlelight has Blood Tsunami, Prosthetic has Skeletonwitch, and Earache has invested heavily in retro thrash with three bands - Evile, Short Sharp Shock, and Municipal Waste.  What are the odds these bands will get dropped in three years, after the trend has passed?

Warbringer are probably the best of this bunch.  Like their peers, they're ripping off the '80s - the upward-modulating riffs in "Instruments of Torture" are pure Slayer - but they're more skilled at it.  Instead of the usual polka beat-fests masquerading as songs, Warbringer have hooky solos, catchy choruses, and fluid transitions.  They also bring the requisite hasty abandon, recalling the intensity of their avowed influences Sacrifice and Demolition Hammer.

Their songs are strong and sometimes memorable.  "Born of the Ruins" has one of the most unforgettable riffs this year from any band.  The old-school production from old-school producer Bill Metoyer is eerily authentic (if there's anything retro thrashers do well, it's studio mimicry).  Yet this record is ultimately unfulfilling.  It thrashes, it rocks, it goes through all the right motions.  But it's no more than the latter.  That's the difference between a brand name cereal and the store brand knockoff.

7/10

Warbringer on MySpace
Century Media Records

Reviews

DVD Review: IRON MAIDEN "Life After Death"

Posted by Shoiker on April 9th, 2008

Iron Maiden Live After Death DVDThere isn't much that we can say about this band that hasn't already been said. Having sold over 100 million albums worldwide without any significant radio play or mainstream support, IRON MAIDEN are one of the biggest acts in the world. With over 30 years of a rich and long history, they are one of the most successful and influential bands in heavy metal. And with the release of the "Live After Death" DVD, every fan is able to see why Iron Maiden are truly one of the greats.

This past February, "Live After Death" was released on a two-disc DVD set. Originally released on VHS in 1985, "Live After Death" is a cumulation of four nights off the "World Slavery Tour" from Long Beach, California. The original VHS release has been unavailable for quite some time, causing Iron Maiden fans to demand a re-release of the historical performance. The concert is 90 minutes long, with 14 songs ranging from their most popular hits (The Trooper, Run to the Hills, Iron Maiden) to the more obscure, rarely played favorites (Rime of the Ancient Mariner, Revelations, Powerslave).

The first disc contains the full 90 minute recording of the concert. The show was originally filmed on 35mm. Yet, the DVD version really brings out the magic of this event. This show is not just about the awesome setlist, but the overall performance and spectacle that only Iron Maiden can do. The disc carries two different sound options; including the original audio of the concert mixed in 5.1 Surround Sound by Kevin Shirley (Iron Maiden's producer since 1999) and the original stereo sound tracked by Martin Birch (the band's former producer from 1981 to 1993).

The second disc has the "History Of Iron Maiden" Part 2, which follows up on the legacy of the band off the DVD "The Early Days." Also on the disc is rare concert footage from "Rock In Rio '85," "'Ello Texas," and "Behind The Iron Curtain." Photo galleries, promo videos, artwork galleries, tour dates, tour programs and other features are all included on this very special DVD. With a total run time of over three hours, this is something for every Iron Maiden fan to check out.

I highly recommend this two-disc set to any and every heavy metal fan out there.

Reviews

CD Review: CAVALERA CONSPIRACY - Inflikted

Posted by Cosmo Lee on March 24th, 2008

cavaleraconspiracy infliktedCavalera Conspiracy is the musical reunion of brothers Max and Igor Cavalera after a decade-long estrangement.  Both have moved on from their origins in Sepultura; Max has Soulfly, which continues in the direction of Sepultura's Roots, while Igor has Mixhell, his DJ project.  Inflikted is billed as a return to their punk and metal roots, which is true in form but not substance.

In fact, Cavalera Conspiracy sounds like Soulfly's thrashier, heavier side, which arose after Soulfly added Marc Rizzo as a lead guitarist.  It also sounds like Nailbomb, Max's industrial thrash project with Fudge Tunnel's Alex Newport.  At times, Sepultura's pre-Chaos A.D. thrash comes through, like in the frantic "The Doom of All Fires."  There's really not much difference among these sides of Max; his four-stringed riffs are unmistakable.  They're solidly kinetic, but post-Sepultura, he's churned out so many that they blur together now.

As with Soulfly, the color comes from Rizzo.  He saved Soulfly from nu-metal oblivion, and while his backing here is more robust, his solos and melodies really make the songs.  "Nevertrust" would be standard hardcore punk if not for Rizzo's wildly zigzagging leads.  In "Ultra-Violent," he pours out death metal-esque dissonance, then rockets into a flurry of triplets that would make Kirk Hammett jealous.  Ironically, the plainness of Max's riffs allows Rizzo to take flight with abandon; he's the true star of this record.

Meanwhile, Igor is surprisingly invisible.  His drumming is technically perfect - the barrelling double bass in "Hex" recalls the glory days of Arise - but the sterile, high-tech production erases his personality.  "Dark Ark" dabbles in his trademark tribal percussion, and "Bloodbrawl" has colorful toms.  But otherwise, his sense of groove is gone; he sounds like any other click-tracked machine-gunner today.

Clean and hyper-compressed, Inflikted is the most upscale-sounding record of Max's career.  Rizzo's parts are practically mixed in surround sound; Max's vocals go through all kinds of electronic gadgetry.  His typically simplistic lyrics ("Never trust society / Never trust the system / Never trust the enemy / Never trust the politricks") would nevertheless have rung true in the gritty settings of Sepultura and Soulfly.  Here, he seems to have nothing to say other than, "We're back."

6.5/10

Cavalera Conspiracy on MySpace
Roadrunner Records

Reviews

CD Review: BLACK TIDE - Light From Above

Posted by Cosmo Lee on March 18th, 2008

blacktide lightfromaboveTwo things jump out about Black Tide.  The first is their youth: they're all under 20, and singer/guitarist Gabriel Garcia is supposedly only 15.  Arizona's Age of Evil are likewise babyfaced, with similar power/thrash metal influences.  Where are these kids coming from???  They make Trivium look old.

The second head-turner is Black Tide's label: Interscope.  That is, the home of 50 Cent, Gwen Stefani, and Jimmy Eat World.  If it hasn't sunk in yet, I'll restate: on their first record, these teenagers are labelmates with Dr. Dre.  Are you jealous, or are you jealous?

Crazy thing is, Black Tide might deserve their good fortune.  Most metal bands will never reach the maturity of Light From Above.  It's true-blue metal lifted straight from the '80s - think Dio, Iron Maiden, Armored Saint.  Thrash beats drop in at times, but otherwise it's melodies for miles.  Garcia naturally sounds young, but he has '80s singing down cold.  His vocals and riffs have a slight cock rock tinge, which makes sense as cock rock and power metal often intersected (e.g., Skid Row's first record).

Songwriting separates Black Tide from their peers, regardless of age.  These are songs one remembers - a lost art in metal.  "Give Me a Chance" is an Ozzy-esque anthem, complete with power ballad clean tones.  "Light From Above" revives Iron Maiden harmonies and retro bass work.  "Enterprise" also weaves guitars together smartly.  Even a filler track like "Show Me the Way" uncorks tasty Van Halen licks.

"Warriors of Time" drops jaws with a luscious acoustic intro that screams "classic."  Its "whoas" are old-school invocations that succeed where Trivium failed on The Crusade; its solos reincarnate Kirk Hammett's triplets in early Metallica.  Subtract one point for covering "Hit the Lights" and falling short - but add half a point for even trying.  It's silly for these kids to be singing about "warriors of time," but it might be apt.  Will Interscope know what to do with them?  They potentially have quite a long-term investment.

7.5/10

Black Tide on MySpace
Interscope Records

Reviews

CD Review: MESHUGGAH - obZen

Posted by crustcake on March 9th, 2008

meshuggah obzenWelcome back, Tomas Haake. It was quite impressive how natural (natural for extreme metal, anyway) the programmed drums sounded on 2005's Catch Thirtythree, but listening to Meshuggah's latest, obZen, it's clear that Haake brings something to the table that no drum machine– programmed by the man himself or not– can ever achieve. Haake's performance on obZen, the band's sixth full-length, is technically near-perfect, but it's also decidedly human. It's got that human feel and groove that no computer could ever faithfully recreate.

Tomas Haake certainly isn't the only one who deserves recognition here, though– every member of the band delivers an impressive performance on the album. And artistically, Meshuggah is at their peak– obZen occupies a razor-thin slice of creativity between the inventive but occasionally disjointed material on Destroy Erase Improve and Chaosphere, and the more coherent but less immediately accessible material of Catch Thirtythree.

Opener "Combustion" begins with a brief, shimmering intro that lasts all of nine seconds before the band kicks in with a full-on um-pah assault that hammers away almost without pause for four minutes before giving way to the angular, tribal, tom-heavy "Electric Red." In "Bleed" we get a seven-minute-plus punishing gallop that's an exercise in double bass drum finesse and consistency as well as one of the album's highlights. Despite its blistering, hiccuping guitar/bass drum pattern, "Bleed," like many Meshuggah songs, is strangely and unexpectedly relaxing.

In almost any other context, "Lethargica" would be an ironic or even inappropriate name for obZen's fourth cut, but by Meshuggah standards the name seems to fit. Guitarists Fredrik Thordendal and Mårten Hagström slow the signature Meshuggah sound down, allowing some space and breathing room into their angular riffing.

One of obZen's heaviest moments comes on the album's title track. "obZen" compels the listener to engage in some straight-forward headbanging unlike many Meshuggah songs, which tend to induce a sort of 'Wonka-vator'-esque meandering head motion.

Closer "Dancers to a Discordant System," the album's longest track at 9:36, finds Meshuggah in rare ternary form. The song's slow burn is relatively relaxed in context and makes for a fitting outro to the album.

obZen sounds great– it's thick and meaty without being muddy and it's technically proficient without being stiff. The album is laced with all the elements Meshuggah fans have come to expect from the band– the angular riffs; the discordant, eerie guitar solos; the polyrhythms and complex arrangements– but here these elements are melded together into one seamless product which represents a band at the pinnacle of their career.

You either like Meshuggah or you don't. If you're a fan, obZen may soon become your favorite of the band's catalog. If you're not a Meshuggah fan, well, you're probably not reading this review.

8.5/10

Meshuggah on MySpace
Nuclear Blast

Reviews

CD Review: IN FLAMES - A Sense of Purpose

Posted by crustcake on February 25th, 2008

inflames asenseofpurpose small 1In Flames are nothing if not consistent. They've made virtually the same album four times in a row since 2002, including their upcoming full-length, A Sense of Purpose.

A Sense of Purpose is trademark In FlamesРcatchy melodic riffs abound, Anders Frid̩n's signature rasp is in full form, and electronic beeps, bleeps, and synth pads flesh out that unmistakable In Flames sound. The fist-raising anthems are here, but we've heard them all before.

Sure, for long-time In Flames devotees, living album-to-album like junkies waiting for their next fix, 'A Sense of Purpose' will be a welcome and familiar dose of melodic industrial death metal. The rest of us? We'll likely just dust off our old copies of Whoracle or Colony.

It's a shame really, because one gets the sense that they're capable of so much more. Sure, the album they keep making over and over again is a good album, but In Flames may have missed an opportunity to capitalize on their growing popularity by pushing the envelope, bringing to the table something fresh, innovative, even potentially mind-blowing.

Or perhaps their every move is precisely calculatedРperhaps Frid̩n and crew are doing exactly what they mean to be doing. After all, artistic criticisms aside, In Flames are looking rather good in the numbers department. The band has been climbing the Billboard charts latelyР2004's Soundtrack to Your Escape peaked at #145 and their last effort, Come Clarity, entered the charts at #58.

Add to this their recent move in the US from the tiny Ferret label to one of the world's largest independent labels, Koch (boasting distribution through Universal Music Group) as well as continued support from long-time home Nuclear Blast, and A Sense of Purpose certainly seems poised to be In Flames' most successful outing to date.

6.5/10

In Flames on MySpace
Koch Records
Nuclear Blast

Reviews

CD Review: NECRONOCLAST - The Plague

Posted by Cosmo Lee on February 16th, 2008

necronoclast theplagueBlack metal lyrics generally fall into three categories: (1) Satan, Satan, Satan; (2) Odin, Odin, nature; and (3) kill yourself, but not before buying my album.  The promo of The Plague doesn't have printed lyrics; the marble-mouthed, croaking vocals don't help.  But Necronoclast's website has the magic word: "suicidal."  Door number three, unsurprisingly, leads to a one-man band.

"Greg," a Scottish fellow, conjures up the usual suspects - Burzum, Xasthur, Leviathan, Krohm.  However, he doesn't paint the usual smear.  The attention to detail is great.  "Degeneration" could have shot its blastbeat load and called it a day, but it slips in a creepy, clean-toned coda.  "Necronoclast" narrows to hovering feedback, then slams into the next track.  The purple-hearted jangles of "Vultures" suggest The Cure roasting on spits: Kill Me, Kill Me, Kill Me.

But Necronoclast aims higher than mere wrist-slitting.  For starters, his drum machine is too robust (the dude can program a mean fill).  The percussion slices cleanly through the mix, a far cry from the usual pitter-patter of one-man bands.  Instead of lone misanthropes, the guitars evoke darkened skies.  The solo in "Degeneration" carves contrails of falling ordnance.  "Necronoclast" is martial, almost epic.  Shrouded pallbearers trudge wearily through "Faceless."  The cover image of circling vultures is apt.

The Plague inhabits a strange netherworld between Anaal Nathrakh and Xasthur.  Is its apocalypse external or internal?  As in war, a clarification of mission would help.

7/10

Necronoclast on MySpace
Moribund Records

Reviews

CD Review: THE ARCANE ORDER - In the Wake of Collisions

Posted by Cosmo Lee on February 6th, 2008

thearcaneorder inthewakeofcollisionsThe Arcane Order make a pretty good Strapping Young Lad.  The resemblance is startling - barreling, precise, melodic death metal with apocalyptic keyboards and outlandishly over-compressed production/mastering that makes snares sound like gunshots.  Kasper Thomsen's vocals even sound like a young Devin Townsend.  There are slight differences - more solos, lusher keyboards, and screams that climb into black metal registers.

But, overall, this is Strapping Young Lad minus the smirk - which is perhaps fine, as SYL is on the DL now.  The musicianship is fantastic, especially the colorful drumming.  "Horizons Buried" has beautifully abstract chords, and keyboards wrap "Eruptions of Red" with an epic warmth that eludes most symphonic metal.  But aside from SYL, Gojira, Textures, and Hacride have already paved this road.  At least this ride down it is smooth.

The real story, however, is in my inbox.  I got this email from Metal Blade:

Metal Blade Records is starting to release ‘Digital Only’ releases, which means these releases will only be available to consumers as digital albums and will not be carried as physical releases in stores. What this means for you is basically that you will only receive these releases as digital downloads to check out for review or interview consideration. We will not be making up physical copies to service as we will not be making physical copies up for sale.

This isn't completely true, as CD's of In the Wake of Collisions are available in Europe.  But Metal Blade's American website lists the album only as a "Digital Release."  In the US, you can download it from iTunes, Napster, Downloadpunk.com, Sony Connect, and Zune - but you can't find it on CD.

It's a huge deal that a label the size of Metal Blade is doing this.  The Arcane Order are not a new band.  Their resumes include established acts like Raunchy, Invocator, and Koldborn.  In the Wake of Collisions is their second record - but the term "record" is perhaps becoming obsolete.  Bands these days receive gold and platinum "records."  But actual vinyl is and will always be a niche medium, and CD's are endangered species.  Will bands in the future get gold and platinum…MP3's?  It's a brave new digital world, and for better or for worse, Metal Blade has jumped in headfirst.

7/10

The Arcane Order on MySpace
Metal Blade Records

Reviews

CD Review: BULLET FOR MY VALENTINE - Scream Aim Fire

Posted by Cosmo Lee on January 31st, 2008

bulletformyvalentine screamaimfireBullet for My Valentine are more metal than you think.  They're also less metal than they think.  The result is music of the most middling sort.  Middling music is what sells the most, but quality is another matter.

Perhaps quality doesn't even matter.  A recent Billboard article detailed Sony/BMG's promotion for the band - radio, video, and online campaigns for the US, Internet for overseas.  The article said, "[BMG executive John] Fleckenstein feels BFMV has found its mark with its contemporary brand of music that harks back to the style of classic English metal and the group's ability to reach a crossover female audience."  Perhaps Scream Aim Fire refers to targeting of demographics.

Of course, Sony/BMG is only doing its job.  Bullet for My Valentine counted on such marketing when they rejected the largest metal label, Roadrunner, for the even-larger Sony/BMG.  Even smaller metal labels now have dedicated personnel or PR agencies for publicity.  Metal is big business - otherwise, Blabbermouth wouldn't exist.

Since label execs on down to consumers are complicit in such structures, perhaps the flak Bullet for My Valentine catch from metalheads is just jealousy.  The band began as Jeff Killed John, playing nu-metal.  When that didn't pan out, the band changed its name and switched to the next trend, melodic metalcore.  On its second album, Bullet for My Valentine signed to a major label, without "paying dues" and developing a grassroots following through touring like other metal bands.

Slogging in vans is not for everyone, though, and Bullet for My Valentine shouldn't be faulted for grabbing success when it hit them in the face.  But they should be faulted for unoriginality.  It's just as well that Roadrunner didn't sign them; otherwise, the label would have had two Triviums on its roster.  "Metalcore" isn't the best tag for these bands, as neither came from the hardcore punk scene.  But they have the same sound that's now called "metalcore": melodic Swedish death metal with occasional breakdowns and good cop/bad cop sung/screamed vocals.

Bullet for My Valentine made loud noises about being "more metal" on Scream Aim Fire.  The first two tracks bear this out, adding thrash to Swedish melodeath harmonies.  However, the rest of the record reveals BFMV's true colors - a Victory emo band in metal clothes.  Occasionally the band feints at harder edges, like the thrashy intro to "Take It Out on Me."  But the song deflates, almost becoming hair metal before remembering to stiffen up for its choruses.  More hair metal emerges in the slick power ballad "Say Goodnight."  One can feel the target demographic shifting from riff to riff.

The band has commissioned artist Tom Manning to create a mini-comic book for each song on this record.  He may regret the gig.  The lyrics are amazingly empty, full of high school diary entries like, "What's happening to me / I'm dying from the inside / Body hurts too much to feel / And pressure adds to pain."  Lead single "Scream Aim Fire" falls considerably short of "For Whom the Bell Tolls": "Fuck this battlefield, the bullets tear around me / Bodies falling, voices calling for me."  The chorus doesn't even make sense; screaming would only disturb one's aim while firing a gun.

Oddly, this is pop music that wants to be metal.  Usually it's the other way around.  This attests to metal's increasing market value, and Scream Aim Fire is very much music for markets.   Much technical skill went into this record; the songs are catchy, the chops are sharp, and the performances are flawless.  But when all soul and emotion has been click-tracked, compressed, and polished away, it's hard not to be repulsed.

5/10

Bullet for My Valentine on MySpace
Sony/BMG

Reviews

CD Review: BLACK COBRA - Feather and Stone

Posted by Cosmo Lee on January 29th, 2008

blackcobra featherandstoneIt is peculiar how two people can rock this much.  Consider Black Cobra's bi-bodied brethren: The Spinanes and Mates of State (not that rocking); The Evens and Local H (sort of rocking); The White Stripes (more rocking), Jucifer (yet more rocking), Big Business (pretty goddamn rocking).  These are girlie men (and women), however, next to Black Cobra's Hans and Franz.

Originally a bi-coastal experiment, this San Francisco duo has honed and nearly perfected a now-familiar sound - the pummeling sludge of Unsane, Melvins, High on Fire, Lair of the Minotaur, et al.  Black Cobra's contribution is a singularity of force that results from a stripped-down lineup.  Thus, cut away meanderings from The Melvins and mystical shit from High on Fire.  Black Cobra wield only riffs, drums, and howls, solos be damned.

Yet Feather and Stone is perfectly named.  Its 25 minutes are surprisingly varied.  Clean tones break up the beatdowns of "Thanos" and "Dragon and Phoenix."  Hypnotic, palm-muted menace introduces "Ascension."  These lighter moments make the heaviness heavier; "Red Tide" drops like a tornado after "Thanos."  Jason Landrian's scarred throat recalls Ministry's Al Jourgensen, while Rafael Martinez punishes both drum heads and eardrums.  "Below the Cusp" throws tritones like elbows; "Swords for Teeth" feels like a brawl between very large men.

But Black Cobra aren't that big.  And they kick the asses of "blackened death-tech-core" bands with five posers and a gratuitous model on keyboards.  From now on, there's no excuse for not rocking hard enough.

8/10

Black Cobra on MySpace
At a Loss Recordings

Reviews

CD REVIEW: Protest the Hero - Fortress

Posted by Trevor on January 28th, 2008

FortressIngredients for a Fortress cocktail:

1 part J.R.R. Tolkien

1 part Molson Canadian

2 parts marijuana

1 part Iron Maiden

1 part Dream Theater

Serve on the rocks with a large slice of sweep picking

Oh, and did I mention that they’re barely old enough to concoct such a witches brew? Putting out just their second major full length album, Protest the Hero has sounded the gong waiting at the top of the prog-metal mountain.

A delicious mix of 80’s metal riffs, complex solos, finger tapping galore and lyrics about Genghis Kahn slaying villages make this one hell of a crazy concept album. Taking the fantasy route in their second album, Fortress tells the story of the bloodlust filled, vengeful days of yore, which is pretty out there for a topic, but somehow it manages to work. Although not as relate-able in content as Kezia which wove a tale about a young girl facing her imminent death sentence, Protest the Hero manage to once again really sell their poetic lyrics.

Now let’s talk about the main reason this album is a killer, the guitar work. Noodlers Luke Hoskin and Tim Millar slay their own betrayers with intricate scales and blistering solos, not to mention the few from bassist Arif Mirabdolbaghi. The guitar is almost too much at times, but it dances that line well managing to impress more than nauseate.

Overall the music is certainly tighter than its predecessor and worlds heavier in vocal content as well as style. Vocals reach growling lows as well as front-man Rody Walker’s signature high singing style giving a sharp contrast in tone to match the rapidly dancing guitar tones.

Added Keyboard solos from guitarist Luke and some well placed sound effects throughout the disc add a nice touch along with excellent studio production and recording quality complete the disc and give a smooth glossy finish to such a complexly woven work.

The only real thing lacking from this album that Kezia really showcased was a sense of catchy-ness. The last disc was really easy to get stuck in your head, but this one is a little tougher since it is a lot more guitar-centered, though it is hardly enough to keep anyone from picking this one up. This is a must buy for prog-metal fans.

9/10.

Reviews

CD Review: VADER - Lead Us!!!

Posted by Cosmo Lee on January 25th, 2008

vader leadusVader are fond of exclamation points.  This EP, originally available during 2007's Death by Decibels tour, has songs titled "Lead Us!!!" and "Die!!!".  They should have included "Forwards to Die!!!" and "Helleluyah!!! (God Is Dead)" from their back catalogue, and called the whole thing !!!.

The Lead Us!!! EP contains no new material.  "Lead Us!!!" comes from 2005's The Art of War EP, while "Die!!!" comes from the EP's Japanese edition.  Likewise, "The Book" comes from 2006's Impressions in Blood, while "Raining Blood" comes from that album's Japanese release.  The disc also contains three videos.  "This Is the War" came with The Art of War, while "Helleluyah!!! (God Is Dead)" and "Sword of the Witcher" were extras on the And Blood Was Shed in Warsaw DVD (reviewed here).

Still, tracking down Japanese editions and full-size videos is onerous, and this EP does a service by compiling Vader's best bonus materials from recent years.  Of note is the blistering take on Slayer's "Raining Blood," easily the best metal cover of this song extant.  The other tracks find Vader at their finest, having evolved into a memorably precise death metal juggernaut.

The EP's greatest draw is its three videos.  "This Is the War" and "Sword of the Witcher" feature state-of-the-art computer animation, and are some of the most visually engaging videos modern metal has produced.  Seeing them on a full-size screen, free of grainy YouTube compression, is a cinematic experience.  25 years into their career, Vader not only have their own sound, but also a vision.

7/10

Vader on MySpace
Regain Records

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