Thursday, August 17, 2017
Not to say that "Kiss of Death" lacks any personality or distinct feature, it just does its job and continues on the slightly heavier path that "Inferno" started. The only difference between them is the quality of the songs, a department where "Inferno" really shined. "Kiss of Death" definitely have some quality songs in here, but they are not as great or memorable, which does confirm a statement I made in a previous review, that the quality of a Motörhead album ultimately rests on the impact of the songs.
That obviously does not mean that the songs on "Kiss of Death" are pure trash, most of them are just not too memorable. But there are several really enjoyable songs in here that entertain in classic Motörhead manner. "Sucker" is just another great opening track by the band, a ripper that gets things going quickly, while "Devil I Know" is pretty standard, but has some fantastic one liners that are so typical Lemmy in its humour, like "I might be a dog/but honey, you're a bitch". Lemmy's serious side gets to shine too in the song "God Was Never On Your Side", a well paced ballad that is a nice change of pace in the middle of the record. Definitely one of their stronger ballads. We also get a return of Doctor Rock, who first appeared in "Orgasmatron", in the adrenaline filled "Going Down", a strong finisher (unless you listen to the version that has a remade cover of "R.A.M.O.N.E.S").
But as said before, there are not too many songs in here that are too memorable, being lesser versions of other Motörhead songs. They are all enjoyable songs, for sure, but it is not easy to remember them, even after several listens. I think the most memorable of the bunch is "Kingdom of The Worm", just because of its strange lyrics and very, very heavy style. It is an interesting tune, but it is kind of confusing as well. I am also confused on how one song from one of the Tony Hawk games sneaked its way into the setlist, and called itself "Trigger". It is fun and all, but Motörhead playing skate punk? Just weird.
So this album does have a lot of stuff going for it, several different songs that contribute different things, from speed and heaviness to fragile ballads, but it does not really come together in the end. It is a bunch of songs that are fairly decent, but the inconsistent quality is hurting the album pretty bad. Still, I like "Kiss of Death", and even if none of the songs might be worthy of any top ratings or so, they are still fine. A harmless album that fills the silent void in your soul for a little while, until you find a record with a little more meat.
Songs worthy of recognition: Going Down, God Was Never On Your Side, Kingdom of The Worm
Rating: 7/10 Suckers
More reviews of Motörhead
Ace of Spades
Another Perfect Day
Rock 'n' Roll
March Ör Die
Snake Bite Love
We Are Motörhead
Monday, August 14, 2017
Now, we can add another video game inspired band to the mix. From the ever so popular MOBA game "League of Legends" comes Pentakill, a six piece band... wait, why are they called Pentakill if they are 6 members? Shouldn't they be called Hexakill instead? Screw it, all of them are taken from the video game, and have some pretty fun back stories too, all of which you can read on in their homepage. However, they do not mention who is behind the characters, doing all of the real work, but believe me, there are some impressive musicians behind this.
Just the vocal roster is pretty impressive. We got Per Johansson from what I think is Ureas and Thrid Eye (not sure though, the information is not easy to find, correct me if I am wrong please), Noora Louhimo from Battle Beast (doing a lot of clean vocal work for a change, instead of screaming her lungs out), and the all mighty Jørn Lande, who not surprisingly steals most of the show. It is not only that this is weird to hear a guy like him in a project like this, but also the fact that the music Pentakill plays seems to fit Jørn's vocals better than his own stuff, just because he gets to release more power. He just owns all of the five songs he performs in.
But there are a lot of other people behind this album, almost far too many to mention in a sentence or two. Just the fact that a symphonic orchestra from Macedonia is involved in this is awesome. Actually, there is a lot of orchestration in this album, making it extremely grand and powerful, elevating the music to new levels. Add a guitar that creates a lot of awesome solos and memorable riffs (that main riff on "Mortal Reminder" is so infectious), and you get a band that goes full force in its effort to dominate the battlefield.
While there obviously is a lot of passion and energy in the band, they seem to have these moments of trying to build up a mood, ending in songs that stomps without progressing any further. Seriously, why is a song like "The Hex Core M 2" doing here? Not only does the title not make any sense (unless it has something to do with LoL, but it is still dumb), the song itself is a slow Rob Zombie and 2wo hybrid that is murdering the momentum in one of the most efficient ways imaginable. It stands out for all the wrong reasons, and while there are other songs in "Grasp of The Undying" that does not seem to have a purpose, this one is just an ear sore.
Fortunately, there is a lot of awesome stuff in here to quickly forget the bad times. The energetic power the band produces is at times astounding, even down right mesmerizing. There is a lot of passion behind this project, and all of the people that stands behind should really feel proud of their accomplishments. So even if I never will understand why the game League of Legends is as big as it is, I sense greatness in this band that originates from its universe. It is far from a perfect effort, but it certainly leaves a well lasting mark in your ear drums.
Songs worthy of recognition: Mortal Reminder, Cull, Frozen Heart, Rapid Firecannon
Rating: 7,5/10 Bloodthirsters
Thursday, August 10, 2017
The only thing that actually is different from the other three records ("Blood of The Nations", "Stalingrad", and "Blind Rage") is the line-up. We got two newcomers in drummer Christopher Williams and guitarist Uwe Lulis, and they both do a solid days of work here. It is still Wolf Hoffmann who runs the show though, with his endless supply of magnificent riffs and kick ass solos. Almost fifty year into his career, and he still delivers such quality, it is god damn impressive.
Musically, there is no revolution here, it is just classic German heavy metal at its finest. It is straight forward, and simple in its approach, but still very easily likeable, even if you have heard it a hundred times before. It is hard to explain why this still works, but one reason could be the quality behind it, both in production and execution. I have already talked about the guitars, but Mark Tornillo and his fantastic vocals deserves a shout out too, just because of his unique delivery. There simply is no one like him, and to be honest, I could not imagine the band without him now.
The album feels almost a little too perfect, like it is too nice to get gritty. We do not get any true mauler in this album, a "Hung, Drawn And Quartered" or "Stampede" that picks up the pace and rattles your bones. Even the opener "Die By The Sword" is surprisingly calm and collected, and while it is a really great track, it is not the start that I would like. And once again, with a title like "The Rise of Chaos", you would almost expect some real chaos in here (to be fair, the title track does have the most adrenaline). Instead, we get more light hearted songs with more comedic meanings, like who in their right mind would think that "Koolaid" would be a good serious title? The comedy is not all bad though, like in "Analog Man" (or the alternative title "We Are Old"), a song that might have my favourite lyric line of the year in "My cellphone is smarter than me".
Ultimately, I do not find many wrongs with "The Rise of Chaos". It is good heavy metal, just what we would expect from the seasoned veterans. The production is great, the riffs are many and of high quality, and close to all songs are enjoyable. However, I do not get a spark with this album, it is a little too monotone for its own good. The band does not really play it safe or anything like that, but it is such a solid creation that its density is its own weakness. Out of all the four albums of the new Accept era, "The Rise of Chaos" is definitely the weakest of the bunch, but it is still a very good record that has some to offer. Simply put, it is Accept, you know it is good.
Songs worthy of recognition: The Rise of Chaos, Die By The Sword, Analog Man, Race To Extinction
Rating: 7/10 Koolaids
More reviews of Accept
Sunday, August 6, 2017
"Inferno" is to me a pretty good example of that Motörhead is not simply a rock 'n' roll band. This album is arguably one of the band's heaviest in their whole discography, while still maintaining a lot of different elements from different genres. Once again, the album was made just like any Motörhead album, quickly and efficiently, with the ideas and emotions running hot from thought to recording. So why is this record heavier than the average Motörhead record? Could be because the producer Cameron Webb wanted to make a really heavy record with them, and pushed them a little further than usual. Nonetheless, the final product is certainly exquisite.
We get a really blazing start with "Terminal Show", with a beat that is certainly familiar and welcome, but the fury that the band presents in riffs and attitude is almost unheard of. Together with the calmer, but still high flying "Killers" and the ultra groovy "In The Name of Tragedy", "Inferno" has an impressive starting trio that just kills anything in its path. It is possibly one of the strongest starts on any Motörhead record
And the strong songs keeps on coming, time and time again. "Life's A Bitch" is just as the title suggest, it is a fun fast paced song that tells the hard truth, that life is hard and it is gonna screw you over sooner or later. Then we have "Smiling Like A Killer", the soundtrack to Freddy Krueger, The Joker, and every other psychotic killer out there, a straight up roller with that nice old school vibe. I will also mention "Fight" that just mows everything down with its speed and turned up bass.
While the heavy pieces of "Inferno" steals the show, the album is a lot more diverse than you might expect. There are a lot of different moods and tempos here to really make this album dynamic and intriguing. And to top it off, each band member grabs a chair, picks up an acoustic guitar, and delivers a true blues track (with harmonica and all) called "Whorehouse Blues". It is not my type of music, but I think it works well because it stands out, being a big contrast against the rest of the tracks. A soft little tune that ends "Inferno" nicely.
Ultimately, "Inferno" is a heavy album with way more to it than meets the ear. It is a diverse album that shows Motörhead at their best state, delivering great music from different corners of the musical spectre, and bringing it all together in a surprisingly cohesive album. It comes in blazing hot and does not really cool down until the bitter end, making you all warm inside that cold heart of yours. It may be a heavy album, but the band is not heavy, they are way more than that.
Songs worthy of recognition: Life's A Bitch, Terminal Show, In The Name of Tragedy, Fight
Rating: 8,5/10 Keys To The Kingdom
More reviews of Motörhead
Ace of Spades
Another Perfect Day
Rock 'n' Roll
March Ör Die
Snake Bite Love
We Are Motörhead
Wednesday, August 2, 2017
There really must be a lot of creative juice flowing through the veins of Peavy, because he keeps spitting out albums left and right. Last year we had "The Devil Strikes Again" (an okay album, although a little bland), and now we have "Seasons of The Black", which has almost the same album cover to be honest, with the only difference being the title and skull. It could be seen as a sign that the two albums are pretty similar to one another, and that assumption would be more or less correct, but only because Rage rarely changes that much.
In honesty, I feel like there is more passion behind this album than its predecessor. It could be because the song material is slightly more memorable, songs that are catchier and more energetic. It could also be because the band has had another year under their belt together, solidifying a chemistry that is still in its early stages. No matter how you see it, "Seasons of The Black" feels solid in a lot of ways.
Another thing that this album has in common with its predecessor is that it comes with 6 bonus tracks, this time 6 originals instead of 3 originals and 3 covers. Some of these songs are pretty decent, but put them together with the already existing 11 songs, and you get a 1 hour and 16 minute behemoth that will leave you exhausted. It could be seen as a nice little addition to the album, but why so many? Couldn't you have left out like 3 or 4 of the songs for the next album? It also feels kind of strange when listening throughout the entire record, because "Farewell" is such a fitting ending, but then another 6 songs comes in. Eh, maybe I am just too petty.
As for the true eleven songs in the album, it is kind of a mixed bag, both in quality and styles. Close to all of it is classic Rage stuff, like the opening title track, a song with nice riffs, good pace, and a nice technical solo to top it off, but then we have the odd ones that does not really fit in, like "Time Will Tell", a very bland song with several cringe worthy moments that hampers it badly. But there are more good than bad songs here, so it is fairly easy to find enjoyment in "Seasons of The Black".
I also have to mention the last four songs that are all a part of "The Tragedy of Man", a mini concept within the album. It is interesting and all, especially since every song has its own touch. "Gaia" is just a short acoustic instrumental, while "Justify" is very poppy in its approach, giving out a very happy feeling. "Bloodshed In Paradise" is both the heaviest and the darkest song of the quartet (and also the best), and "Farewell" is, as explained before, a very fitting end, with a lot of sadness surrounding it. A neat little idea, that unfortunately does not really add as much to the record as one would have hoped.
Yeah, "Seasons of The Black" is far from an uninspired effort, but it is pretty much as grey (or pale brown) as the album cover. The songs stick a little longer this time, but I think the chances for any of these tracks becoming future classics are pretty slim, even if they are pretty much Rage to the core. Fans will most likely swallow this record with pride, and I can truly say that I enjoy this one slightly more than "The Devil Strikes Again", but there are better and memorable Rage albums out there, and the only thing I will most likely remember from this album in the future is just how strange that skull looks, and how in the hell those teeth works together without permanently shutting the jaws together.
Songs worthy of recognition: Season of The Black, Walk Among The Dead, All We Know Is Not
Rating: 7/10 Septic Bites
More reviews of Rage
The Devil Strikes Again
Saturday, July 29, 2017
And now that the band has finally released its third record, there is even more controversy to it. Because this is not "Time II" the long awaited follow up to the infamous "Time I" (or the melodic death metal version of "Chinese Democracy"). Instead, we get a 4 song album about the seasons called "The Forest Seasons". I honestly do not know if Jari and the rest of the band are A grade procrastinators, or if they are one of the biggest trolls in the metal universe, doing everything to stir the pot into a wild tornado.
All right, let's get into the album. "The Forest Seasons" is split into 4 tracks, obviously representing spring, summer, autumn, and winter. Each track is at least 12 minutes long, clocking together in at around 54 minutes, so you still get a lot of music for your money, even if the setlist looks to be in EP size. I honestly expected more for the wait, and the fact that the bonuses the funders get are various instrumental versions of this album and previous Wintersun albums does not really make it better, but I do think it is admirable that the band focused fully around the music, and not adding unnecessary shit, like a couple of covers or a few live songs.
The music is what could be expected from the band, very progressive and technical melodic death metal. It is extremely impressive when it comes to the pure technical work, all instruments cooperating in almost perfect harmony to create some luscious piece of art. Jari has always been great at arranging all of the different pieces that makes a band, completing a sound picture that is grand and epic. While the mixing is not entirely perfect (I would love to hear more of the guitars), it does its job, and with this kind of talent, it still shines brightly.
Talent can only take you so far though, as the music must be at the same level too, and quite frankly, it is the most disappointing part of this record. Not only do we only get four songs, I would actually say that only two of them are really memorable. Both "Awaken From The Dark Slumber (Spring)" and "The Forest That Weeps (Summer)" are fine tracks, but they are not cohesive throughout their individual playing times, creating more confusion than necessary. The other two songs however, are perhaps some of Wintersun's finest work to date.
"Eternal Darkness (Autumn)" describes itself pretty good actually, being the most horror themed song of the bunch, with more blast beats and more black metal influences. It certainly is a spectacle that tells its hauntingly beautiful story really well. Still, it pales in comparison to the final track, "Loneliness (Winter)", a truly epic finisher with some of the finest vocal performances from Jari, both clean and harsh. Man, the emotions that the band produces here are just tremendous, and the goose bumps are inescapable when the epic nature reaches its maximum height. Simply put, this is how to end a grand epic of an album.
So in the end, what are my true feelings of this album? Now, I am a little disappointed that this is not "Time II", but new music is new music, so I can take it (besides, other bands has taken way longer to get to their second part, like Vintersorg who recently released "Till Fjälls Del II", 19 years after the first part). I am however more disappointed that the funders did not get more out of their money. A four piece album that has two fantastic songs and two unfocused ones is not really enough. Does this make "The Forest Seasons" a bad album though? Absolutely not, it is a nice album for what it tries to accomplish, and I respect the work that has been put into it, but Wintersun has gotten such a reputation around themselves that every release is expected to be a master piece, a larger than life effort that will be talked for decades, something they might never match, no matter how good albums they will put out. It is unfair to them, yes, but it is unfortunately a reputation the band has built themselves over the years. Therefore, it is hard to look at a new Wintersun release without the backlash, and I tried my best to do so. My final opinion is that this is a good album with flaws and a contender for song of the year.
Enjoy the sauna guys, may it bring you lots of inspiration so that "Time II" will finally be a reality.
Songs worthy of recognition: Loneliness (Winter), Eternal Darkness (Autumn)
Rating: 7/10 Weeping Forests
Wednesday, July 26, 2017
So going into "Ritual", the band's 6th studio effort, I expected more of the same, experimental music that is sticky, while also having something to say. And while I got some of it, I do not think that I got enough of it. This is definitely an In This Moment album, maybe a little less in your face as the last couple of albums though (which in itself is a good thing), but the music is unmistakeably them. Heavy rhythms, gothic vibes, and Maria Brink leading the charge of this army from hell with her magnificent voice, it has all you can demand from them, so how does it come that I feel this album is not complete?
Well for starters, "Ritual" is an album that simply does not hold up throughout its run time. The second half in particular feels very bland and forgettable, blending into each other really easily. And while the first half is miles better, it still has some duds too, like the lead single "Oh Lord", a very slow and sluggish song that is the very definition of boring. It tries to do some Iron Maiden styled "whoaing" as well, but it just does not work in this slow tempo.
The band has not lost its element of surprise still, but they are surprising me in other ways this time. In "Black Wedding", we suddenly get an appearance from the Metal God himself, Rob Halford. The song itself is fun and groovy, a really interesting duet that works way better than expected. However, I cannot look past the obvious theft in the chorus from the Billy Idol classic "White Wedding Pt. 1", that is just tacky bro. The band do however present a real cover right after with the Phil Collins classic "In The Air Tonight", and that one is surprisingly really freaking good. The band puts in a haunting element to this song that really makes it their own, and Maria does another emotional performance here to sell it all. However, this one is also kinda ruined , because they completely destroyed the best part of the original, the sudden drum solo. It is so awesome in the original because it is so unexpected and loud, which it is not in the cover. Then again, no one can truly copy Phil Collins and his drum style.
It ultimately comes down to the same thing though, that this album has very little memorable stuff in it. I would not say it is safe, because the band is not safe. Who else would throw in a dub step beat to create a heavy groove (well, besides Korn) and tries to stand up for women in metal as much as this band? The conclusion is that In This Moment have not lost their touch, it is still the same band with the same vision and passion, and I highly respect them for that. When it comes to "Ritual" though, it is a forgettable album. An In This Moment album should bring out emotions in both music and listener, but this one just does not do it. For fans of the band, this will most likely be very enjoyable to you, but for the neutral guy, it might be something to look into, but you could just as well skip it too.
Songs worthy of recognition: Black Wedding, In The Air Tonight, Roots
Rating: 6/10 Witching Hours
More reviews of In This Moment
Saturday, July 22, 2017
However, there are albums that they have done that are more moody, that either tries something different or simply reflects what the band is going through at the moment. While I cannot really pin point what was going on with the band during the time they recorded "Hammered" (maybe they were, as the title suggests, drunker than usual?), the music tells a story that something was a little off, something was not quite right.
Not to say that "Hammered" is a bad album, but it is one of the stranger ones in the band's discography. A lot of songs in here are really underwhelming, either trying to be more groovy than heavy, or not going on full speed. It almost feels like the band is trying to hold back, like they might even be a little tired after the steam roller they created previously, and that they took this opportunity to relax a little more.
Now, this is ultimately a Motörhead record, so we obviously do get some true heavy metal here, it just is not in the quantity that we are used to. "Brave New World", "Voices From The War", and "Kill The World" all bring some intensity, and they all are fairly enjoyable songs, but once again, they feel like they are holding back a little, not going full throttle. Actually, we do not get a true mauler until the very end of the album, with the dark "No Remorse" and the crazy "Red Raw". The latter one is definitely much needed, but why is it back here? Please put it earlier in the album so that raw anger can be released before it becomes too much to handle.
It certainly feels like "Hammered" is more of a standard hard rock record, with all of the PG decisions that have been made here and there, and a lot of these tunes are questionable. Like, why does "Down The Line" has such a dull chorus that do not make we want to sing it? Why do we have keyboards in "Mine All Mine" that make it sound like a dated Van Halen song? Why is there a close to two minute spoken word part called "Serial Killer" inserted in this album? And why, oh why, is such a cool title as "Shut Your Mouth" given such a boring structure, one that not even a nice Phil Campbell solo can save?
Speaking of the performance, I cannot tell if the band phoned this one in or not, because they are not given any real chances to shine. There are times in this record where Lemmy cannot hit the right notes with his vocals, something that I have not heard so obviously in a Motörhead record before. And Mikkey Dee, who usually is killing it, does more or less a great job here, but he is not given the material to let out his talents. It feels like Phil is the only one who tries to spice it up with some cool solos, but unfortunately the riffs drown it out, hiding his performances too.
So yeah, this is a very, VERY underwhelming record. It has some nice songs here and there, but close to everything in this record is simply forgettable. I do not really hate any of the music here, but I cannot find it in me to care about it either, because there are so much better material from this band out there. Ultimately, it is a pretty harmless record that clocks in just under 46 minutes, a reasonable length. Fans of the band should give it a shot, maybe there are some songs you can get out from it, but in the grand scheme of things, "Hammered" does not drop the hammer, it could not even pick it up from the start.
Songs worthy of recognition: Voices From The War, Walk A Crooked Mile, Red Raw
Rating: 5,5/10 Serial Killers
More reviews of Motörhead
Ace of Spades
Another Perfect Day
Rock 'n' Roll
March Ör Die
Snake Bite Love
We Are Motörhead
Wednesday, July 19, 2017
Just like Manowar, their sound is built upon epic power metal with grandiose choirs, sing along choruses, and confidence that almost cannot be measured. The only thing that really separates the two bands is that Brothers of Metal lays their lyrical foundation in Norse mythology, which seems really fitting since their town of origin is Birka, a very important city during the Swedish viking era. It is possible that they are not actually from there since the town is pretty small today, but the band live out their characters so much that I can overlook it.
Another thing I have to question is why this band is called Brothers of Metal when one of their singers is obviously a female. I am not complaining here, because Ylva Eriksson does a great job together with Joakim Lindbäck Eriksson and Mats Nilsson on the singing department, but I feel like this is gonna trigger some feminists out there. Oh well, this band does ultimately seem like a brotherhood, with a total of 8 members (three of them being
Musically, it is pretty straight forward, with very few twists and turns. The music is most of the time catchy as hell, and they ride the Norse theme really well, even if sometimes they go out of their musical characters, which can be a hit or miss. A hit is definitely in the title track that has an intro that is more fitting in a Castlevania game, but it does pump up the intensity really well. One time it missed though is actually in one of my favourite songs, "The Mead Song". It is a great fun song about drinking, but a lot of the time it feels like they stole a lot of inspiration from the pirate metal band Alestorm (especially in that weird jig towards the end). Not too fitting, but it is fun, so it slides by.
And that is probably the best way I can describe "Prophecy of Ragnarök", it is a fun as hell album that is a little unfocused at times. The band needs some time to develop a stable sound that personifies them, but the foundation is certainly there, and the band knows how to create some great tunes and some good chuckles too. Not only do we have epic creations like "Son of Odin", "Defenders of Valhalla", and "Gods of War", we also have some more atmospheric songs like "Yggdrasil", and some blood pumping songs like "Siblings of Metal" and "Sleipnir" to bring some much needed variety. Yes, the album does get pretty corny from time to time, but it is nothing that you would not expect from an album like this. After all, you are here for the sing alongs, the over the top passion, and possibly the mead too. A very promising debut from the Brothers (+ sister) of Metal.
Songs worthy of recognition: Siblings of Metal, Prophecy of Ragnarök, The Mead Song, Fire Blood And Steel
Rating: 8/10 Sleipnirs
Sunday, July 16, 2017
Ultimately, I think the music should do the talking, and with both bands releasing new material pretty close to each other, it is safe to say that Stone Sour won with a huge margin. It should not come as a surprise, but the new Nickelback album is more of the same, very simple, but hollow, songs that just does not leave any impact at all, and with one, maybe two songs that show some decent musicality, but those are always buried underneath a pile of unoriginal shit and pointless ballads.
Now, Stone Sour has not struck pure gold either with their 6th album "Hydrograd", but it is an album that has a lot of good music in it. While it mostly is not something new we are hearing from the band, it is still good quality to the craft that is presented, and a surprisingly steady flow of it as well. Even though it is not another concept album, like the two parter "House of Gold & Bones", it still has a lot of interesting stuff to say and mention (like in "Fabuless", where both Led Zeppelin and The Rolling Stones are referenced).
We do have a newcomer in the band, Christian Martucci who replaces Jim Root as the lead guitarist, and he does a really nice job actually, delivering some great riffs and solos (like the "La Grange" like solo in "Rose Red Violent Blue (This Song Is Dumb & So Am I)"). But as always, it is Corey who steals the show with his vocals, whether he channels a lighter Slipknot version of himself, or shows off his softer side, he delivers just as good no matter what.
However, it does not seem like the band has learned anything from their last two outings, because just like both "House of Gold & Bones" albums, "Hydrograd" is just too big, containing way too many songs. The album is just over an hour, and if the band would have trimmed it down to around 40-45 minutes, we would have a really awesome hard rock album. Now, it just drags out and does not seem to end anytime soon, over staying its welcome. Some time, Stone Sour need to realize that they play hard rock, not progressive rock.
At the end of the day though, I do enjoy "Hydrograd" a lot, and there are several songs in here that are great. Such songs as "Song #3", "Fabuless", "Whiplash Pants", "Thank God It's Over", and "Taipei Person/Allah Tea" are clear proofs that Stone Sour is not a Nickelback light, they are their own thing and they are pretty damn good at it. Now, if they only could learn how to constrict their material to bite size portions, the albums would be even better.
Songs worthy of recognition: Fabuless, Taipei Person/Allah Tea, Thank God It's Over, Whiplash Pants
Rating: 7,5/10 Friday Knights
More reviews of Stone Sour
House of Gold & Bones Part 1
House of Gold & Bones Part 2