Archive for the ‘Album Reviews’ Category
Monday, May 20th, 2013
The Palladium, Worcester MA
Day One:
This year marked the fifteenth anniversary of the famed New England Metal and Hardcore Festival. The festival is held annually at the Palladium in Worcester Massachusetts. Back in 1999 it started out rather small with only fifteen bands on one day. This year founder Scott Lee and the rest of the crew went all out with over fifty bands for a whole weekend.
The Festival was split into two areas; downstairs was occupied by the metalheads while the upstairs belonged to the hardcore crowd. The funny thing about this was that the bands I witnessed upstairs often sounded similar. While this was not a bad thing, it was different from the different strains of metal being blasted down below my feet. The crowds themselves even appeared to respond to the music in different ways. For instance, the people upstairs either stayed in one spot or did some of their best karate type moves in a pit close to the front. Downstairs there were people up against the rail headbanging with some jumping around. The real mosh pits would come later in the evening.
The big names started to play around quarter of four. Relative newcomers HOLY GRAIL took the stage at this time. In my review of Ride the Void back in January I gave them an A for creating an album that’s nearly flawless from beginning to end. The live performances of those songs certainly didn’t disappoint either.
BLACK BREATH came on next. The audience seemed to enjoy the set since it was obviously the kind of music they had come for. However, they did not seem as excited as they had been for HOLY GRAIL. The band was best described as having elements of thrash and death metal.
The first thing that those who have never seen SHADOWS FALL before notice is lead singer BRIAN FAIR’s lengthy dreadlocks. With a style like that concertgoers knew they were going to get a lively performance. Out of all the bands that had played, their set made the most use of lights.
 Dave Witte crushes it live for MUNICIPAL WASTE! A point of excitement for most was when thrashers MUNICIPAL WASTE took the stage. With a sense of humor like front man TONY FORESTA’s, who wouldn’t have a good time? To add to the fun of their set, it all ended with a shower of confetti. They were the only band of the night that could get away with it.
The most honored bands of the night started with an act that many argue should be part of the Big Four: EXODUS. Aside from having KIRK HAMMETT having been a member at the band’s beginning, they are also one of the bigger thrash bands to have come out of California. One reason why they may not be a part of the Big Four is that they don’t sound too similar to the bands that do make up the group. It may also be because they’ve had some major complications in their history. Despite it all, fans were calling out for them while the stage was being set up. During their set tables and seats were shaking like an earthquake was taking place. Song choices such as “War is My Shepard” seemed appropriate given how everyone felt about the Boston manhunt occurring that day. They played with constant energy and had a blackout at the end for a strong effect.
 ROB DUKES of EXODUS
As they said it themselves, EVERY TIME I DIE was there to provide the pure hardcore portion of the evening. They didn’t seem to generate as much excitement as EXODUS which made it tough for them to follow the act. Fortunately the audience’s energy gained as the set progressed. The players didn’t let the audience’s lack of initial enthusiasm affect them. In fact they were almost constantly jumping and headbanging in sync. Their act finished with them getting the audience to join them in a good old “U.S.A.” chant. Although I wasn’t familiar with them I appreciated their song choices and titles such as “Underwater Bimbos from Outer Space.”
 JAMEY JASTA and HATEBREED put on a great set!
There was a bit of wait for HATEBREED to come on but fans still had their energy. Attendees knew things were getting serious when a personal banner was used for their set. Although HATEBREED is considered hardcore by many I heard enough metal in them that qualifies them as walking the line between the two genres. They were certainly harder than most of the other bands that played that day. Right from the start the crowd was jumping. It was impressive to see the band manage to fit twenty songs including “In Ashes They Shall Reap”, “Destroy Everything”, and “Everyone Bleeds Now” into their hour long set.
 ANTHRAX played all of the seminal “Among The Living” album.
When the banner for ANTHRAX’s Among The Living was revealed the crowd instantly became excited. As promised, the band would play through the entire album but not each track consecutively. This year the album is celebrating its 26th anniversary. Some of the well known tracks from it are “Among the Living”, “Caught in a Mosh”, “I Am the Law”, “Efilnikufesin (N.F.L.)”, “A Skeleton in the Closet”, and “Indians”. All these songs are reasons why many claim that it is the best ANTHRAX album. It is also considered their breakthrough and is currently certified gold. “I Am the Law” is notably based off the character Judge Dredd just as the man from “Among the Living” is based off of the main villain from Stephen King’s The Stand. “Indians” and “Caught in a Mosh” have always been audiences favorites to get their mosh on and who can argue with them? It seemed like the show was almost too big to be playing a venue the size of the Palladium.
 JOEY BELLADONNA of ANTHRAX
ANTHRAX fans know that big news was made fairly recently when longtime lead guitarist ROB CAGGIANO left to join VOLBEAT. For this appearance JON DONAIS of SHADOWS FALL filled in. Besides that, ANTHRAX didn’t play any differently than before. front man JOEY BELLADONNA still jumps around the stage like he’s in his 20s. Songs that were not from Among The Living included “March of the S.O.D”, “T.N.T.”, “Madhouse”, “Got the Time”, “I’m the Man”, and “Antisocial”. It was fairly surprising for them to do the STORM TROOPERS OF DEATH cover but a real treat for anyone who’s a fan of the band. “T.N.T” was a recent AC/DC cover from their newest album Anthems and a lot of fun. It would’ve been nearly impossible for them to leave without playing the others.
 SCOTT IAN and ANTHRAX closed out day one with a great show!
One of the highlights of the set had nothing to do with music but more of why the community of music is so great. An audience member had thrown a Red Sox hat at guitarist SCOTT IAN. He then asked the audience if they knew how hard it was for him to put it on considering he’s from New York. He did anyway and stated that it wasn’t about being a fan of a certain team but coming together in a time like this. All agreed and the band played on.
By Melissa Campbell
Tags: Anthrax, Black Breath, Boston Strong, Brian Fair, EVERYTIME I DIE, EXODUS, Hatebreed, holy grail, Joey Belladonna, municipal waste, NEMHCFXV, Scott Ian, Shadows Fall
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Thursday, May 16th, 2013
Invertia (Self-Released)
The rise of USBM’s popularity the last few years comes in many shades of gray and black within the once tiny genre. The voice of creativity of coming from new bands, both underground and mainstream has been impressive to say the least. Of course, all of these developments may cause some “trues” to lose their shit, and scoff at such a notion that any deviation from the original harshness from the fjords of the hinterlands deserves a lambasting. Hailing from New England, INVERTIA doesn’t conform to what black metal should sound like. Rather, they have created a clever blend of contrasting styles that seem to work together, irregardless of what the hipster purists out their may think.
INVERTIA call themselves Oppressive Industrial Black Metal, and they are most certainly not fucking around. After the wash of discordant sounds that opens up “Facility of The Feeble”, your ears are assaulted with music that lives up to the lofty self-proclamation. Careening, angular guitar riffs are matched with a scowling gravely rasp and straight up blasting drums. The song is over the top in every way that is good, if you are a fan of this music. “All Systems Fail” comes next and sounds like the bastard child of GORGOROTH (old) and some of the better lo-fi jaunts AL JOURGENSON has taken us on for the last thirty odd years with his different groups. The chorus is one of the more grim, yet undeniably catchy ones I have heard in a long time. There is a definite current of industrial flavor throughout these tracks, but never so much that it obscures the honesty of the writing. The band is also capable of some great sonic detours in the form of musiq-concrete, effects and sound-scape type stuff that really works well in context. The band is led jointly by DAvE, responsible for the “aNaLoG” part of the sound and TiM, who manages the ‘DiGiTaL’ side. Tracks such as “A Glowing of Gray” and “Situation Manipulator” are the true synergy of these two elements. “Crimson” is my favorite track on this album and the riffs are just technically insane and rough sounding all at once. The guitar solo is brief, but outstanding too. “Embracing the Grim” has a really old school BM tone and urgency, but also a thread of modernity to it. As if BLAKE JUDD had never discovered psychedelia, or IHSAHN had forgotten he knew prog rock. “Beasts of Prey” is another strong track that almost has an old-school death metal feel to it, but then the chaos kicks in brings you back to the center of kvltness. Other top tracks are the harsh “Perpetual Alert”, and the trippy epic finale, “Blasphemy Be My Name”.
INVERTIA is definitely a band we’ll be keeping an eye on to see what they come up with next. You can buy their music from the band in many places, such as their Bandcamp page.
GRADE: B+
by Keith (Keefy) Chachkes
Tags: black metal, Blake Judd, Gorgoroth, Ihsahn, industrial, INVERTIA, Ministry, Oppressive Industrial Black Metal, USBM
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Tuesday, May 7th, 2013
Tears On Tape (Razor & Tie)
The first sound you hear when you listen to the opening of HIM’s new album Tears On Tape, is the popping of a cassette tape into an old boombox. Other than some hipsters and die-hard collectors, this sound will never be heard by many belonging to this current generation of music fans. In many ways, the reference to “tape” in the title is a microcosm of HIM’s entire career. The band is a throwback of sorts, not just to the goth rock and early industrial metal bands that inspired their formation, but also to a simple time when bands put an emphasis on song craft and atmosphere over flash. Tears is also a throwback musically to the more inspired work from earlier in the bands’ career. Some of this throwback feeling will even strike you should you look closely at the album artwork, which juxtaposes the familiar Heartagram logo with an Oroborus and other imagery.
“All Lips Go Blue” is easily one of the strongest opening tracks the band has ever had to start an album. It encompasses everything about the band that is great, and front man Ville Valo has never sounded better. Heavy, dark and groovy, musically it is the sound of grown up angst and longing. This song will also fit perfectly in the live set too. “Love Without Tears” is a bit lighter, modern rock fare, but still a very strong track. When Ville drops into his dark crooning voice, it sends the song to the next level. “I Will Be the End of You” gets high marks for good riffs and great lyrics. These songs make for a very strong opening salvo. The title track comes next and is pure ‘lighters in the air’ type stuff; just chilling to the bone.
Some of the other standout songs on the album include “Hearts at War”, “No Love” and “Drawn and Quartered”. At this point in their career, the band is not trying to reinvent the wheel with their music. Rather, they have turned in an excellent album that will continue to build on their legacy.
GRADE: B
By Keith (Keefy) Chachkes
Tags: Goth Metal, goth rock, heartagram, him, love metal, Razor & Tie. goth, Tears On Tape, Ville Valo
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Monday, April 1st, 2013
Disarm the Descent (Roadrunner)
In what is hailed as one of the most anticipated albums of 2013, KILLSWITCH ENGAGE finally drops their comeback album with original vocalist JESSE LEACH. When you approach an album that has high expectations such as this one, it’s always interesting to see if a band, especially an established on can rise to the challenge. Not only has KsE turned in a great album, but one that will rank among their finest when their careers are over. If you loved Jesse’s first turn in the band, you will love this album. If you came on board with HOWARD JONES, you will find a lot to enjoy also. If you never liked this band in the first place…move along, nothing to see here and have a nice day.
The very first thing that will impress you about the album is how balls out heavy the band sounds, compared to the last batch of KsE albums. Either as a by-product of being rejuvenated by Jesse’s return, or if they were heading back towards a heavier style, it works. From the opening screaming howl of “The Hell In Me” and the main riff battering your ears, you can just feel the energy coming off the track. Jesse sounds terrific whether he screams or lets his great melodic chops shine. The song sounds exactly like it could have come off of Alive of Just Breathing for many reasons: killer riffs, Jesse’s voice, half-time breakdowns, great chorus etc. Even the lyrics are excellent, it is pretty much as flawless track. The song is over before you know it and you kind of wish it would go on and on.
“Beyond The Flames” keeps up the melodic Metalcore style of The End of Heartache with a cool driving guitar part and great vocals again from Jesse. The chorus is classic harmonized KsE vocals and the Melo-Death inspired licks the band is known for. The contrasting harsh vocals between Leach and ADAM DUTKIEWICZ are just golden. You can tell the band worked on these songs for a long time, because there are few redundant parts and little fat on these tracks if any. ADAM D’s track record as a perfectionist in the studio is also obvious from the crisp nature of the tracks. The mix was also handled by the venerable ANDY SNEAP (EXODUS, TESTAMENT, OPETH, ARCH ENEMY). “The New Awakening” ratchets up the heaviness again for its brutal opening, harmonized leads and blastbeats. The track also has the best guitar solos on the album and Adam D and JOEL STROETZEL kill it on just about every song. The first single “In Due Time” is solid, but actually the most straight forward song on the album. I recall hearing it the first time and hoping the entire album would be cut from this cloth. They certainly exceeded that hope. Either by way of its key or intensity, “A Tribute to The Fallen” sounds like the earliest work of the band. Backing death growl vocals, chugging and urgent riffs and a raw delivery that will take you back about ten plus years. “Turning Point” is just brutal and sounds like a classic MIKE D’ANTONIO/Adam D composition. “All we Have” is another evil ripper of a song. If they played this in a live setting, I can already envision the mosh pits and the bloodbath that follows. As gnarly as the begging of the track is, the chorus is pretty, but not too pretty if you know what I mean. “You Don’t Bleed For Me” is lone track that has the sound of the more recent KsE affairs. It doesn’t bring the album down, but it is a slight notch below all the rest of the songs to my ears. Fortunately “The Call” brings it right back to focus on the heavier aspects of the bands’ sound. Still, it’s a pretty catchy song which as to be expected from this album. Drummer JUSTIN FOLEY plays some over the top blastbeats on this song, but maybe goes to the well a few times too many. Perhaps people were expecting a re-do of the straight up melodicism of the TIMES OF GRACE album, but that is not strictly the case here. “No End In Sight” starts out with slow, head nodding grind and picks up the beat a little bit more over the course of the song. This is definitely a more mature KsE song. “Always” is the longest song on the album and is a much more laid back affair than I care for. I’m not crazy about the song overall, but it is fairly heavy and has some interesting choices in the writing. “Time Will Not Remain” closes things out in great fashion and rebounds a little bit from the previous few songs. For a final track it has all of the trademark sounds from the band that you want. This would be another song I’d like to hear live.
While far from perfect, the album’s strongest points make a case that this band still has a lot left in the tank and much more to say.
 KILLSWITCH ENGAGE: Same as it ever was…. GRADE: B+
By Keith (@Keefy) Chachkes
Tags: Adam Dutkiewicz, andy sneap, blastbeats, catchy chorus parts, Disarm the Descent, drummer Justin Foley, great vocals, harmonized lead guitars, howard jones, joel stroetzel, Killswitch Engage, Melo-death inspired riffs, metalcore, Mike D'Antonio, roadrunner, Times of Grace, vocalist JESSE LEACH
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Friday, March 29th, 2013
Caught In the Grips (Self-Released)
 Sick album cover artwork! I have been anticipating this album since I saw the band open up for BIOHAZARD and MADBALL in upstate New York last year. It’s not every day that you are impressed with an upstart band with an old-school style. Northern New Jersey’s 96 is a band that plays to their strengths, eschews trends and writes good anthemic Hardcore. I saw an an entire skeptical crowd, be won over by their honesty delivery and cool live show. I suspect this album is just the start of bigger things for them.
“Had Enough” starts with a wave of sound that sounds like it was fired out of a cannon. All of the elements I enjoyed about the band were in play within thirty seconds of the first song. Great razor sharp guitar riffs will excite you and this band definitely puts their own spin on the music they grew up on. Vocalist COREY DONAHUE is still the star of the show with his furious delivery and thoughtful lyrics. Like many of the tracks here, the band says a lot without being repetitive or riding riffs too long. “Losing Grip” is a killer track with a punk sound and and metal backbone musically. It will make you want to slam all night in the mosh pit. Blink and you will miss it, “Darker Days” is a real throwback to the glory days of THE CRO-MAGS, WARZONE and YOUTH OF TODAY. Another song steeped in the tradition of the old is “Fast Money”. One of the things I loved about great hardcore back in the day was that it always taught you a lesson about life. The guys in 96 are not exactly wizened Sherpas, but they have enough street smarts and common sense to be sincere and not be too preachy. Other lighting quick cuts are “Hard Luck” and “Culture Shock”, which are no less impressive despite their short run time. My favorite track on the album is “Dried Up”, which has a distinct SUICIDAL TENDENCIES meets D.R.I. feeling that I can’t deny. Neat riffs, grinding grooves and a tasty guitar solo break made me feel as if I was hearing some 1991 lost Post HXCX masterpiece. Other top tracks are “16 Inches” and the epic closer “Rise Up”. The album goes by quickly at just over twenty minutes, but sounds strong on repeated listens too. 96 writes some catchy tracks with a lot of heart and soul. I’ll be excited to see them hit the road again soon and see where the journey takes them next.
You can buy Caught In the Grips from the bands’ Bandcamp page.
GRADE: B
By Keith (@Keefy) Chachkes
Tags: 96, bandcamp.com, biohazard, Caught In the Grips, hardcore, Hardcore Metal, madball, NYHC, old-school punk, Post HC, SUICIDAL TENDENCIES meets D.R.I., THE CRO-MAGS, Vocalist COREY DONAHUE, Warzone, YOUTH OF TODAY
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Friday, March 29th, 2013
Idle Hands (Victory Records)
Hailing from South Wales, UK is the band CONTINENTS, who play the kind of uncompromising, hardcore inspired metal that can take them far in the current scene of cookie cutter bands. It takes a lot to stand above the crowd and on your own two-feet these days, metaphorically speaking. By bringing the energy and the angst of old hardcore and a modern edge that borrows from Deathcore, Tech Death and a few other styles, CONTINENTS is a band that will get heads bopping and breaking at shows. Idle Hands has a very live feel to it, and the sound of a hungry band pushing their own limits.
Setting it off with “224”, the track swells like the onslaught of an attack on your ears. Great syncopated riffs and a killer beat kick things off right. This is a great little nugget of a track that would make for a good stage intro. The title track comes next and is really quite brutal. I like the angular, complex riffs and interesting shifts between Metalic Hardcore, sludge, punk, Deathcore and back again. Vocalist PHIL CROSS: remember this name well. In a few years time he is going to be mentioned along the same lines as PHIL BOZEMAN and EDDIE HERMIDA among others. He has a beastly growl, a great high scream, and a screechy sounding thing he does too. When contrasted with the gang vocals the band does, it works to great effect. “Pegasus, Pegasus” has a some great grooves in the verse and then the song takes a total left turn in to melodic Metalcore. And it works. The rest of the song is full of atonal licks and breakdowns. Phil changes things up and actually carries a decent melody. I can see this track being a big hit for them. “Inhale” has a slick urgency to its tempo and delivery. It almost sounds like a rabid animal breaking out of a cage, and has some of the best riffs on the album. Guitarists Darryl Sweet and Tom Weaver make sure to pummel chords with low-tuned authority, but deliver a lot of tuneful textures in every song as well. The track has another brutal/catchy chorus part that I liked. Drummer Duncan “Ken” Hamill makes the beat hot with his blistering kick drum work. I rather like his dry, not-overly processed sound, which bucks the current trend. “Land of the Free” is another hyperactive, killer track. It has almost a techno/industrial feeling to the beginning, before it slows down and grinds away. With many songs this short and to the point, it means a direct impact that cuts to the chase musically. The next track “Sheeps In Wolves Clothing” almost caught me off guard by sounding like Death Metal HATEBREED. The track is barely a minute and a half long, but it is great. I hope they play this one live. Following up that with “Regrets”, the band lays down another sick groove and rides it into your skull. The middle-section has some interesting off time riffing that is cool. Easily one of the top tracks on here. I wish at times bassist Dom Turner would get to step up and out a bit more, but he mostly holds down the low end of the riffs. “Loathe” is an intense instrumental, while “Trials” gives way to more aggressive, bruising staccato chords. I could do with a few less bass drops from this album, but I really I can’t quibble with them too much. The band has the good sense to not overdo them. On the plus side, they have done a good job incorporating other electronic ear candy into the mix. “Exhale” is another Punky, anthem and you can just imagine the pile on at the foot of the stage live. So angry, so brief. “Truth and Lies” switches back to the tried and true Deathcore, not unlike WHITECHAPEL and THE ACACIA STRAIN, until the refrain. “Lion’s Den” is a great closer. Lots of rage and tunefulness too, which is kind of the story overall on the album. CONTINENTS is a band unafraid to blend genres and step out of the mold. For that, I applaud them. It will be fun to see where they go from here.
 CONTINENTS: Ready for the big time. GRADE: B
By Keith (@Keefy) Chachkes
Tags: bass drops, bassist Dom Turner, CONTINENTS, Death Metal, Deathcore, Drummer Duncan “Ken” Hamill, great death vocals, grooves, guitarist Darryl Sweet, guitarist Tom Weaver, hardcore, Hatebreed, Idle Hands, metalcore, Metalic Hardcore, punk, sing-a-long gang vocals, sludge, the acacia strain, victory records, Vocalist PHIL CROSS, Whitechapel
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Wednesday, March 27th, 2013
Abandon All Life (Southern Lord Records)
Wow. Just wow. Words cannot describe the sheer brutality and audio-terror inflicted by California hate-crew NAILS on their third full-length opus. This album brings all of the hatred bubbling under every human’s seemingly still skin, and causes it to erupt with the force of Eyjafjallajökull. NAILS has flawlessly perfected their blend of the blasting Metalcore fury of TRAP THEM with the powerviolent swagger of CAPITALIST CASUALTIES and MAGRUDERGRIND, galloping D-beat in the vein of ANTI-CIMEX and RIISTETYT, a savage dose of thrashcore leaning that hearkens to fellow warriors EARLY GRAVES and TRASH TALK, topped with a classic Swedish Death Metal guitar tone like that of ENTOMBED and UNLEASHED. Taking influence from diverse, yet brutal sources, NAILS was born ready to destroy, and they have been quite successful.
2009′s Obscene Humanity and 2010′s Unsilent Death held you by the throat and didn’t let up until they were over, but now, they beat you with shovelfuls of hot coal. Last year’s split with SKIN LIKE IRON and revamped Obscene Humanity joints showed that they were doing anything, but lying and occasionally diverting energy to the upcoming LP. NAILS has a work-ethic that makes their brand of Hardcore so vital and punishing for the listeners, just how they like it. With Abandon All Life now unleashed on the world, no one is safe in the pit.
From start to end, NAILS has shown that yes, they can up the ante as far as violence goes. Pure American aggression was plentiful in previous releases, and rest assured, it’s the same blood-bolstered beast of old, but they’ve only grown more violent, and more willing to see death and destruction unfold before them. Their newly added guitarist Saba may have a lot to do with this increase in their merciless musical gnashing, as guitars were once solely on the shoulders of vocalist TODD JONES (ex-TERROR, ex-BETRAYED). Armed with another soldier to cover more killing ground, it’s game-set-match for your face.
I could sit here and describe all of the tracks, but it’d just become hyperbole relating to how the band will metaphorically kill you. Just know that you’re in for a ride, start to end, as the album wastes no time in opening with “In Exodus”, a punishing breakdown busting in the doors of your ears, and leads immediately into a furious grind section with Todd’s howls doubly vitriolic, and the drums crashing like thousands of buildings collapsing at once. It’s nuts how much speed and aggression NAILS can pack into a single track, and yet still do sludgier hits like the closer “Suum Cuique” justice in the same fashion. Even more amazing is how even though this is their third full-length outing of misanthropic grinding hatecore, we’re still eagerly anticipating the next ravaging. In short, this is some good shit, homie. They are currently on tour with XIBALBA and EARLY GRAVES, so I look forward to hearing how well you fare just being in the venue when
 NAILS may just have turned in the album of the year. Photo by Vanessa Harder. The Verdict: Fuck.
GRADE: A+
by Sean Genovese
Tags: Abandon All Life, Anti-Cimex, CAPITALIST CASUALTIES, Crust punk, D-Beat, Death Beat, early graves, Entombed, Hatecore, magrudergrind, modern Hardcore, nails, Obscene Humanity, powerviolence, RIISTETYT, Sean "That Black Metal Dude" Genovese, Skin LIke Iron, sludge, Southern Lord Records, thrash, TODD JONES, Trap Them, trash talk, UNLEASHED, Unsilent Death, xibalba
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Monday, March 25th, 2013
Fast Loud Death (Nuclear Blast Records)
When the listener puts on LOST SOCIETY’s debut album, Fast Loud Death, they hear a band that sounds like they`ve spent a few years on the scene. Maybe it’s a couple of 20-something guys who decided it was their turn to be the thrash scene’s most promising band. In reality, the band members’ ages range from 17 to 19. The band was signed by Nuclear Blast Records at the end of last year following a successful playing at a Global Battle of the Bands. It was at that moment that LOST SOCIETY’s music began to creep out of Finland and into other parts of the world.
The album as a whole is fast paced and full of non-stop action. It has just about everything a listener hopes to find in a modern thrash metal album. The cover itself is classic thrash art. Even though they may not be of age in some parts of the world, they can party just as heard as thrash revival titans MUNICIPAL WASTE. No songs even hit the five-minute mark; their longest track is just over four minutes while their shortest is barely a full minute.
“N.W.L.” is a powerful start to the album. “I’m coming at you” growls front man SAMY ELBANNA. The band is letting the listener know they’ve arrived and they’re here to stay. Hints of METALLICA can be heard on the track when it comes to their guitar sound, but they make it all their own.
“Diary of a Thrashman” is an obvious homage to OZZY OSBOURNE’s defining Diary of a Madman, a kind of status that the band may obtain in their future. There aren’t a whole lot of vocals or lyrics on the track; it’s mostly just pure thrashing. It might be the track where they most closely resemble MUNICIPAL WASTE. The main lyric is “I’m gonna get a drink now.” It’s the kind of song you’d expect to hear on The Art of Partying.
“Fatal Anoxia” starts off by Elbanna letting out a short TOM ARAYA sounding yell a la “Angel of Death”. That’s about the extent of the SLAYER resemblance though. The rest is the band members screaming the title at a furious pace that has not let up since the album started. They then culminate with the sound of heavy guitar work and crushing percussion noises fading out. It leaves the listener prepared for what may come with their next album. This is the kind of album that can be played on repeat until that time. After this promising start, LOST SOCIETY is sure to develop a more distinct sound and leave the forefathers of thrash behind.
 LOST SOCIETY: A bold debut release! GRADE: A-
By: Melissa Campbell
Tags: Fast Loud Death, LOST SOCIETY, Metallica, municipal waste, neo-thrash, nuclear blast records, NWOATM, ozzy osbourne, SAMY ELBANNA, shred, slayer, thrash, Tom Araya
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Friday, March 22nd, 2013
Black Out The Sun (7 Bros.)
There were certainly a lot of disappointed fans when SEVENDUST announced that their next album might either be their very last, or their last for a long while. The band certainly deserves a break, at nearly the twenty year mark in the business, a slew of successful records, and dozens of memorable modern classic heavy rock and metal songs. Few bands have the kind of staying power that SEVENDUST have had, let a lone the loyal fan base that has stuck by them through everything. That is why their new album Black Out The Sun (7 Bros.) feels so special when you listen to it. It is not just a great album top to bottom, but it comes off like the band held nothing back writing these songs. I was skeptical that they could duplicate or top the excellence of 2010′s Cold Day Memory (Asylum), which was also the highest charting, most popular album the band has released. However, Black Out The Sun is so strong all the way through, I believe they might have just done it. Time will tell.
The opening instrumental track “Memory” has an anthemic theme to it, that really gets you fired up. Launching right into “Faithless”, you hear all of the hallmarks of the classic 7D sound, heavy riffs, attacking drums, catchy melodies and great collective vocals from the band. The goose-bump raising chorus of the song is bound to have fans new and old alike losing their shit. The song also has some terrific cascading guitar riffs from CLINT LOWERY and JOHN CONNOLLY, and the the trend of more adventurous riffing from the last album has continued here. After a slick, chilled breakdown sung by Lowery, the build back up to the raging part is killer with great interplay vocally between LAJON WITHERSPOON and MORGAN ROSE too. The ending stomp part is your mandatory old-school mosh part. Just a perfect way to start things off for album number nine.
“Til Death” is even more surprising than the first track. It is perhaps one of the most brutal songs musically and vocally the band has ever done. They have clearly returned to the style of their first three albums; where they expertly matched brutal riffs and beats with gorgeous melodies. Witherspoon still has one of the best singing voices in the game, and he uses it to great effect here. Little snippets of the bands’ occasional industrial leanings also add color to the track. “Mountain” is a swinging southern rock/metal song with a quirky riff, a great refrain and sweet solo. This song could definitely be an add on Liquid Metal radio soon. Another throwback type track, “Cold As War”, also brings the industrial vibe to the verses while making interesting dynamic choices. These new songs also feature a wiser, more introspective vibe from the band. Many of the lyrics seem like the members are unburdening their souls of long held troubles. This helps give it a timeless quality, as opposed to the “I’m pissed for no reason, kill everybody” lyrics you get nowadays. The title track comes next and it has a soaring vocal by Witherspoon and some intricate guitar work too. Another chorus goes by, and you have to marvel at how this group continues to churn out original parts like this album after album. The fastest song on the album is next in “Nobody Wants It”. It calls to mind the middle era of the band from the sound of of it. “Dead Roses” veers into modern rock territory. It is definitely not a soft song, but it is the softest track here. Coming back with another crusher, the lead single “Decay” was the track that had me thinking initially the band was gunning to out-do themselves. Strong praise considering the main riff of the song was a left over from their last album. “Dark AM” is a nice mix of metal and hard rock the band is known for. It has some cool piano parts in it the band hasn’t done much with before in this manner. “Picture Perfect” has a great funky power-groove strut to it, highlighted by Rose’s drums. When he locks in with bassist VINCENT HORNSBY, they definitely lay it down thick and allow the rest of the band to do their thing. The lone ballad on the record is “Got A Feeling”, the type of track the band has done a great job with before. A little bit of folk, country and rock all rolled into one doleful delivery. Not choosing to go out on a light note, “Murder Bar” closes out the album in great style. Blisteringly fierce, with an almost old R&B crooners delivery by Witherspoon, and some great brutal screaming again by Lowery and Rose. Pure badassery! Easily one of the strongest and most original tracks in the bands’ history. You can tell from the writing and the performances on Black Out The Sun; that even though the majority of the album was written in the studio, they really took their time to make the best album they had in them as a band. When you hear the results, it’s no wonder they produced it themselves. I’m looking forward to catching the band on the road, and if the end is really coming, at least they are going out on their own terms.
 SEVENDUST: They did it it their way. Photo by Davo
GRADE: A
By Keith (Keefy) Chachkes
Tags: 7 Bros.), bassist VINCENT HORNSBY, Black Out The Sun, farewell album, guitarist JOHN CONNOLLY, introspective lyrics, metal heavy rock, modern rock, power groove, self-produced albums, Sevendust, singer LAJON WITHERSPOON, singer/guitarist CLINT LOWERY, the classic 7D sound, vocalist/drummer MORGAN ROSE
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Wednesday, March 20th, 2013
Coverta (EMI Records)
Who the hell else would have thought to cover some of these songs? ADRENALINE MOB would. This is their third release, if you count the 2011 self titled EP and the 2012 debut album Omerta. The cleverly named Coverta is fun, high-energy collection of non typical cover songs. For me there seems to be more passion on here in their performances than what was on their debut album.
They start this off with the only track I wasn’t familiar with, “High Wire” by BADLANDS. As a new song to my ears, it was pleasantly timeless sounding. Kicking it off with deep grooves and bass lines with some extraordinary fret work, it is the prefect way to open this album up. Singer RUSSELL ALLEN (SYMPHONY X ) is such a strong and versatile singer, you almost forget he is not that songs original singer on some of these tracks. He is the high point of this album. Holy cow, does he do justice to DIO’s “Stand Up and Shout”. It is scary how close he is to RONNIE JAMES DIO’s voice. Maybe that’s why three out of the eight tracks on here are from three of his former bands. If he doesn’t end up filling in for DIO DISCIPLES at some point in the future, something is wrong with the world. There’s one track on here that just caught me off guard, they didn’t go radically different but a few twist definitely made “Break on Through” by THE DOORS is my second favorite track on here. The addition of a little double bass drums just makes this song move and come alive. Also, a few killer fills never hurt anything either. Bassist JOHN MOYER‘s (DISTURBED) bass sounds nice and fat here. Allen’s ability to capture DAVID LEE ROTH‘s cadence is uncanny on “Romeo Delight” by VAN HALEN. Drummer MIKE PORTNOY and Moyer really shine on this bad boy.
I don’t think I’ve ever heard anyone cover HEART before and I’m glad their version of “Barracuda” popped my HEART cover cherry. MIKE ORLANDO (SONIC STOMP) is so good on here I really can’t find the words to say how much I love his playing. I have listened to this track more than any other here. Seriously, after hearing “Kill the King” by RAINBOW, I would love to see or hear Russell do a DIO cover show one day. I am extremely happy with their LED ZEPPELIN choice, if I had to hear another version of “The Immigrant Song” or “Whole Lotta Love”, I would punch someone in the face. Thankfully I am surprised here with ‘The Lemon Song’. It is slowest and the longest song on here and it feels it. ORLANDO simply kills on the solos here and MIKE PORTNOY is very faithful to the original. I don’t think anyone is really allowed to change JOHN BONHAM parts, its an unspoken rule. The last track is a no-brainer for them, it is their anthem. They just smoke BLACK SABBATH’s “The Mob Rules”. It really feels like its their song.
With great song choices and superb production this could quickly move up into one of the best cover albums out there. If you’re not smiling by the end of this disc, something is wrong with you.
 ADRENALINE MOB gets reinvigorated by some cover songs!
GRADE: A
Omar (Ojayy) Cordy
Tags: badlands, Black Sabbath, Dio, Disturbed, ex-DREAM THEATER, FLYING COLORS, heart, John Moyer, Led Zeppelin, MIKE ORLANDO, Mike Portnoy, Rainbow, RUSSELL ALLEN, SONIC STOMP, Symphony X, THE DOORS, van halen
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