Psychostick - Do (2018)

Comedy is said to be one of the hardest things to pull off, especially in a consistent basis for a long time, which is probably why most comedic acts out there are either short lived, or has faded away in some way or form. So a band like Psychostick should definitely get a lot of respect for continuously providing their fans with really funny content, either it be a brilliant way to promote a show or a new shirt, or in this case, a whole new album. Eh, maybe it is just dumb luck that these guys are now releasing their 5th studio album, but that does not take away the fact that it is quite a feat to reach this far.

So with an epic title like "Do", you would expect some of the most complex and awesome shit that your ear holes have ever encountered. Well, you will have to settle with what Psychostick does best, mixing smart parodies and fun takes on every day problems with a lot of silly stuff, all packaged in an album that have tons of catchy grooves, and is drenched with passionate fun juice flowing from all of the four band members (that sounds kind of gross now that I think about it).

I kind of hate to say it, but a lot of the songs in "Do" hits a little too close to my heart, not because they are great songs, but because they kind of describe me. These songs are about being an introvert with low self esteem, having dreams of just play video games all day long, being as comfortable as possible. This probably makes me laugh even more at these songs, mostly because the band does such an amazing delivery in the comedic timing and the groovy rhythms that accompany the fun lyrics. Close to all of the songs tell a story as well, like in "Introvert Party Time" where the main guy just wants to stay at home, but gets forced to socialize, leading to an unexpected ending that I just cannot spoil.

Then we have the handful of songs that are just extremely silly, not really serving any purpose besides making you smile. Songs like "Tuesday", "Do", "Keys", and "Bacon, Egg, & Cheese On Toast W/ Shiracha" are empty calories that you happily digest in your brain, humming along to them from time to time. Just a song like "Thinkin' With Yer D" is incredibly stupid, but I have hummed its infectious melody so many god damn times, and I am not ashamed of it one bit. I think only the "Ducktales" theme is more infectious (fuck, now I got that in my brain).

As stated before though, there is a lot of smart stuff in here as well, and most of that can be found in the slower songs. "Stream Stutter" talks about the pain when you are not level with your spouse on a show, and "Rent In Peace" is a brilliant parody on 90's Metallica, while singing about video rental stores. The ace in the sleeve however is, as always when it comes to Psychostick, songs about hate, and I think they have outdone themselves this time with "From The Heart", a heartfelt ballad with a simple and timeless message, that I fucking hate you. The perfect song to send to your enemy.

The most laughs actually did not go to a song, but one of the three skits. All skits (all having titles that start with "Got_No_Breaks") is about the band working on a song about unstoppable motivation, and while the first and third part are fun, they did not come close to the extreme amount of air gasping laughs that the second part got. Every time Matty Moose goes "It's never been done before", I just lose my mind over the mad stupidity that is happening. that skit alone outweighs the few low points of the album, like "Uhhhnngg", "Gurrrrr", the obligatory outtakes, and that strange T-Pain parody "Flop" at the end of the record. I just did not get that last one at all.

So even if "Do" does not meet the pure epicness of its title, it might be one of the most complete Psychostick albums up to this date. The previous 4 albums have all been really fun to listen to, but they have had a bunch of blanks thrown in that does make them feel like Swiss cheese. "Do" is more like Gouda, it is easy to take in and remember, and while it might not be the most complex experience you have ever had, it is one you would like to relive again and again. What more needs to be said other than that "Do" is fun as hell, and it brings a smile to your face every time you turn it on. To quote those famous words uttered by Shia LaBeouf, "What are you waiting for? JUST DO IT!".

Songs worthy of recognition: Introvert Party Time, Adulting, From The Heart, Thinkin' With Yer D, Rent In Peace

Rating: 8,5/10 Keys

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Daron Malakian And Scars On Broadway - Dictator (2018)

Ever since System of A Down reunited a bunch of years ago, we fans have patiently waited for the group to come together and make the long awaited follow up to "Mezmerize" and "Hypnotize", but so far to no avail. Apparently, singer and guitarist of the band Daron Malakian have felt the same way, and has seemingly snapped, probably shouting "Oh yeah! Well I'll make my own album, with Black Jack and hookers!" while leaving the room. So thus he finally unveiled the sophomore effort of his side project Scars On Broadway... of sorry, it seems like he has changed the name to Daron Malakian And Scars On Broadway... why the hell did he do that? Was he not in the band before so he had to make sure he get some credit at least?

Well, "Dictator" is finally here at least, and I really mean finally, because this album was recorded back in 2012. The reason it has not seen the light of day until now is only because of the SoAD reunion, so Daron could focus more of his attention to that. With that said, he did admit that several of the songs on "Dictator" could just as well have been SoAD songs with a little tweak here and there, which comes as no real surprise since I think everyone who knows of the existence of Scars On Broadway sees the band as a little brother of Daron's main band.

The only real differences between a Scars On Broadway album and a SoAD album is that Daron handles all of the vocal duties, and that it is more classified as heavier rock than metal. Otherwise it is pretty much the same, we got tons of groovy riffs and beats that will make you sway different parts of your body, the intoxicating vocal gymnastics that sticks like glue, and a ton of social commentary to boot. So yeah, there is really no question here, this is basically the closest to a real SoAD album we will get in some time.

One thing I do think this album shows is just how big of an influence Daron actually is for SoAD, putting out a strong effort that just as well could have been the 6th SoAD album. There are just so many memorable songs in here that you could easily follow along with at second listen, like "Never Forget", "We Won't Obey", and the title track. And even though it is not the best song of the bunch, "Angry Guru" does put out an annoying groove that you kind of hate, but kind of also love, and it is only enhanced with the reoccurring line "Nobody hates you more than I do, Nobody loves you more than you do". It is that kind of semi silly groove that only Daron could make acceptable.

To balance things out, we also got some serious stuff thrown in, songs like "Guns Are Loaded", "Till The End", and even to some degree "Never Forget" all have less intensity in them, but instead has power in the lyrics and atmosphere to really reach out to the listener. It is all what you would expect from a release like this, which is kind of curious since Daron has stated that each Scars On Broadway album is gonna have its own style, possibly different guys on each release. As far as I can hear, there is very little difference between this, and the self titled debut record from 2008, so that might be he only disappointing thing about this record, but I think it matters very little since it has been a full decade since we last heard anything resembling SoAD (not including Serj's more symphonic solo records).

So for an album that is six years old, and is basically only released because another band won't release anything new, I dug "Dictator" quite a lot. Sure, Daron does not exactly expand his musical mind here, but he is accurate in his punches, and those punches hit hard I tell you. With the current state of SoAD, we should be happy with the few straws we get, and this will certainly quench your thirst for some groovy alternative hard rock. The grapevine has also told me that Daron will not let the third album take another 10 years, so he will get into the studio as soon as this August. It is a bold strategy, let us see if it pays off.

Songs worthy of recognition: Never Forget, Dictator, Talkin Shit, We Won't Obey

Rating: 8/10 Angry Gurus

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twitter.com/scarsonbroadway

Metallica - Reload (1997)

If it is something that I really dislike about the summer, it is that there is nothing to watch on TV. Sure, you are supposed to be outside and enjoy life, but when it rains (which it does quite often here in Sweden), the TV will not be of any use since every channel just show re-runs all the time (unless there is some sporting event going on). What does this have to do with "Reload"? Just check the first syllable of the album title, it explains close to everything.

"Reload" is exactly what it say it is, a re-run of its predecessor "Load", with the same style of music, around the same play length, and even the album cover is more or less identical. And with each album being released just a year apart from each other, it is easy to get a deja vu feeling over the two records. Sure, there are differences between the twins, but they are so minimal that you need a magnifying glass to spot them. So let us bring out our inner Sherlock Holmes and find them.

On the musical side of things, "Reload" still has some country influences, but not as much as "Load", instead we have more of the straight out rock that was some of the better parts of the predecessor. While it does not take over the album, it does make "Reload" a little more dynamic in its approach, even if there is a lot of slow, uneventful songs that makes the long run time even longer. Another thing "Reload" has over its brother is that it has a better highlight in the speedy opener "Fuel", a song that blows fellow opener "Ain't My Bitch" over the water with its furious riffs and solo, and also a James Hetfield that is having a little too much fun. It also has a great chorus to scare the crap out of Drive-In cashiers (Give me food, give me fries, give me salad on the side!).

I do also think that the extra year of work that was put into this record only benefited it, because it sounds overall more crisp. Fine songs as "Devil's Dance", "Prince Charming", and "Where The Wild Things Are" got an extra pop to them, so even if they are no show stoppers, they do gather some attention here at least with a neat production, and some good performances from the entire crew.

Although, it does not salvage the overall bleak aura that surrounds "Reload", because as previously stated, there are simply too many songs in here that are either boring, uninteresting, meaningless, or all of the above. We got "Slither", which feels like a strange Alice In Chains cover, the overly corny "Bad Seed" and "Attitude" does not help things either, and while "Low Man's Lyric" might have had some good potential, it is thwarted by its 7 and a half minute length. Also, while "The Unforgiven II" is one of the main highlights of this record, why the hell did the band feel like they needed a sequel for one of the singles of "The Black Album"? You just had to squeeze in yet another track in here, didn't you?

Now, while I do think that both "Load" and "Reload" are both over bloated and bland, I do admire the band and their urge to push themselves musically, because there is some genuine good music to be found. The problem is that they felt like everything had to be included, so the gold is easily lost among the dirt. If Metallica just had some restraints, taking a couple of songs from each album and fuse them into a 50 minute album, then you would have a great record. Sadly, we are left with a lot of fillers, and while "Reload" is a slight step forward, it is not nearly enough to make it acceptable. So stop wasting my time and bring me something... angrier. Oh wait...

Songs worthy of recognition: Fuel, The Unforgiven II, Where The Wild Things Are, Prince Charming

Rating: 5,5/10 Bad Seeds

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Metallica - Load (1996)

With half of the discography reviewed, we now step into the stranger part of Metallica's career, where the band started experimenting more and leaving their thrash roots. While the departure from thrash did sort of start in "The Black Album", it was fully realized in the middle of the 90's with the release of the double trouble known as "Load" and "Re-Load", a duo of records that today are seen as the two outliers of Metallica's discography, not even considered as metal records. It is a strange duo that we will now dive deep into, so let us start with the first of the twins.

So knowing how incredibly successful "The Black Album" was, Metallica probably knew that it was going to be hard to follow it up, so they opted for going all in, write a ton of songs, and put them all in two albums, a tactic that is really risky, because it is so easy to go for quantity over quality, and unfortunately, that is exactly what happened here. With a play time of 79 minutes, "Load" is the band's longest album to date (yes, even longer than "Hardwired..."), and it is very much notable, being very tough to get through in one sitting, not because it feels long, but because the setlist is filled with fluff.

With a total of 14 songs, "load" is simply just loaded (hehe), mostly with blanks though. This album is filled with songs that simply does not feel like Metallica songs. At times, you wonder if the group wrote this songs, or if they stole them from Guns 'n' Roses and slapped a Metallica sticker on top of it. Most of this album consists of hard rock and country rock, with only "King Nothing" having some type of metal element to it, and most of these songs are mediocre at best, confusing at worst.

Now, just because the band completely changed sound direction, it does not automatically have to be a bad thing, and I could have certainly enjoyed this experiment if the song quality was up to par. "Load" certainly has some neat tracks, like the possible "The Black Album" outcast "The House Jack Built" where the band creates a nice mood and uses Peter Frampton's guitar effects to some good use. Then we have "Bleeding Me", a mellow tune that sits just right in your ear. Finally, the two most stand out singles "King Nothing" and "Until It Sleeps" are a nice double header at the end of the first half.

But as previously stated, there are just too many fillers in here for one to muster through. There is not any song that makes me mad, or any song where the performance or song writing is embarrassing. It is just a bland mess of songs that does not really give you any reasons to be mad. I was kind of annoyed that James Hetfield had a couple of spots where he did not seem fully focused (Adoobalee adoobalee!), and "2 x 4" just baffled me in every sense of the word, but otherwise "Load" left me quite indifferent, or at least kind of bored.

So even if the album cover looks like the inside of a lava lamp, it does describe the album quite well actually, it is a gooey mess that one probably could stare (or in this case, listen) for hours and do not get anything significant from it. "Load" is definitely not a good album, it is way too long, does not have enough stand out tracks, and the experimentation is far from bulletproof. However, I do not think "Load" is a bad record more than it is a forgettable one. Close to nothing in here is memorable, and since nothing makes you mad either, I just suggest that we just let it slide by and do not care too much for it. Onto its brother it is.

Songs worthy of recognition: Bleeding Me, Until It Sleeps, King Nothing

Rating: 4,5/10 Cures

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Mustasch - Silent Killer (2018)

My favourite hard rockers in Mustasch are back once again, this time with their 9th album "Silent Killer". These guys rarely disappoint, having a very enjoyable and unique style that might not have evolved all that much over the years, but still packs a lot of punch. This time, it seems like the band has added an extra layer of metal coating onto their music, giving us arguably their heaviest record to date, is it something the band can handle, or do they get crushed from the pressure?

The heavier nature must be thanks to the producer of the record, Niclas Engelin. You might recognize this guy's name, he is the guitarist for both In Flames and Engel, two considerably heavier bands in the Swedish music scene. His influence is very much noteworthy, with the riffs having some extra weight, and the drums being more aggressive. Even our favourite Gothenburg singer Ralf Gyllenhammar is affected, pushing his voice to the cracking point more times than ever. Man, I just love his manly, crispy vocals.

This added spark of heaviness gives us a bunch of songs that are really nice, catchy bangers. After a small little intro, the party begins with "Winners", a fast mauler that is just what the title says, a winner. Its attitude and relentless beat gives the album the perfect kick start, and the momentum just keeps on going with the groovy "Libertá", the simple and tough "Barrage", and the incredibly sing along friendly "Lawbreaker". A really nice quartet to open up an album with

After that though, the album hits kind of a slump, starting with the most boring track of the record, "Fire" (in which former Turbonegro singer Hank Von Helvete makes an appearance), followed by the title track and "The Answer", both okay songs that are no real highlights though. The final two tracks "Grave Digger" and "Burn" ends the album in a really nice way, with "Grave Digger" as a fun stand out, going with a more "tongue in cheek" style, a kind of corny track that is just too groovy to hate. Just the chorus line is brilliant.

Grave Digger
Leave me, I'm alive
Do I look dead?

There is however a major flaw with "Silent Killer", it is too short. Not only is the album, with its mere 32 minutes, too short, but individual songs are too short as well. All songs vary between 2,5 minutes and 3,5 minutes, and several of them are missing something to really make them complete. Either an additional chorus would have been nice, or maybe an added solo could have been the final piece to the puzzle. This is unfortunately not a new problem for the band, but it has not been in this quantity in a single album before. It just feels unfinished.

Despite its flaws, "Silent Killer" is still a fun, enjoyable little hard rock album from Mustasch. It may not be their best effort to date, but it is certainly one of the more memorable ones, with several killer tracks and a heavier style that I think the band should continue on with. Some homework is needed though for how to write complete songs, but it is something they can take their time working on. It may not be silent, but this record is mostly a killer, and that is not too bad at all.

Songs worthy of recognition: Libertá, Winners, Grave Digger, Burn

Rating: 7/10 Barrages

www.mustasch.net/
www.facebook.com/Mustaschofficial/

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Anvil - Pounding The Pavement (2018)

I gotta be honest, I was very unsure if this was an Anvil album that I was witnessing. It certainly sounded like an Anvil record, and the logo was on full display on that brilliant album cover, but it did miss something that literally defines the band, THE anvil. I could not find it for the life of me, so I started to wonder if they compensated for having two anvils in their last album "Anvil Is Anvil" (both in title and cover). Finally I found it, somewhere among that thick smoke, fully confirming a fact that was already confirmed by logo and music (I really need a new pair of glasses... and maybe a new brain while I am at it).

So now that that is settled out, I can confidently tell you that Anvil's 17th outing is simply another classic Anvil release, an album you would expect from these Canadian legends. It is yet another record filled to the brim with catchy choruses and good, fun heavy metal for the entire family. The band does what they do best, and they really do not bullshit around that fact, delivering an album that we have practically already heard, but still wanna hear.

So what are the topics these guys tackle this time around? Well they open up the album... with a song about GPS. Yes, "Bitch In A Box" is all about that little device I thought the rest of the world had ditched in favour for the Google Maps app. But that is the charm with Anvil, they can sing about anything, and still get a good chuckle out of you (even if the song is a little too slow for my taste). Further down the song list we find "Nanook of The North", which is actually a song about the native Canadians and their history. A neat little song that opens with classic Nanookian... beat singing? I do not know what it is called, but it is a really nice touch from the band. So they really go high and low in the lyrics, nothing surprising, but welcome none the least.

Musically speaking though, it is all over the place. Some song have a great drive, almost like the guys winded back the clock to their hey days, like the adrenaline pumping tracks "Ego", "Warming Up", and "Black Smoke". Kudlow's guitar play is especially impressive, dominating with several kick ass solos, and even a title track that is fully instrumental. Best of all though, is that the band seem to still enjoying themselves, even if they really are "Pounding The Pavement".

But as said, this album is pretty uneven, taking quite a few dips throughout its run time. Most of the time, it is just the fact that the songs are boring and predictable, not adding anything special to the album itself. There are also a couple of really weird ones out there, like the incredibly cheesy 70's rock opus "Rock That Shit", which simply just does not fit in at all, or "Smash Your Face", a song that is very slow and tries to be heavy, but I do not feel any smashing here at all, which just sucks. I still think there are more good and interesting stuff here than bad, but the bad bits do take over more than I like to admit.

No matter what I say though, it is quite clear what your own opinion of "Pounding The Pavement" will be, even without hearing the album. Because if you have heard of any Anvil music before, you know exactly what you are going to get, and that you either love it or hate it. The Canadians does what is expected of them, and that is admirable in its own little charming way, and as long as they still can find joy in what they are doing, I am satisfied whenever a new album hits the market. So the title is very fitting, the band keeps on pounding that pavement, and they do a mighty fine job doing so.

Songs worthy of recognition: Black Smoke, What I Want, Warming Up

Rating: 6/10 Nanooks of the North

http://my.tbaytel.net/tgallo/anvil/
https://twitter.com/AnvilMetal666

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Stone Sour - Hydrograd (2017)

Some time ago, Nickelback singer Chad Kroeger (or as I like to call him, the distant brother of Nicolas Cage), called out fellow hard rockers Stone Sour for being a light version of themselves, but not being able to write a hit song. Of course, this sparked a beef between the bands, especially the lead singers Chad and Corey Taylor, and while the beef itself is something I could not care less about, I just laughed my ass off of the original comment. First off, Nickelback sucks, and if there was a light version of the band, they would not last very long. Second, Stone Sour is nothing like them, they are heavier, and have more context behind their craft. Third, they do know how to write hit songs, just not for the everyman crowd, with some evidence being "30/30-150", "Through Glass", and "Do Me A Favor".

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

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twitter.com/stonesour

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Corroded - Defcon Zero (2017)

It has been roughly five years since we last heard anything new from the guys of Corroded, and I would like to excuse myself for almost forgetting completely about them during this period. It has almost been dead silent around the band camp, a member change has happened and they released a compilation album for their tenth year anniversary, but that is pretty much it. They did however do a pretty good April Fools joke earlier this year, about front man Jens Westin leaving the band to play for the Swedish ice hockey team Färjestad BK and wearing the number 666. He is a good ice hockey player, but the number thing was just too good to be true.

So the years have gone by, but the Corroded sound is still pretty much the same in "Defcon Zero", it is good, strong hard rock that may not be the most original sound you have ever heard, but is distinct and clear, knowing exactly what it is and what its goals are. The band does not try to complicate things, they are only here to deliver some good hard rock that is pleasing too your ears, and they are doing so in a pretty good way.

"Defcon Zero" has a good amount of nice songs overall, mostly suited for the more mainstream rock audience, but still with enough original quality in it. I think the question we should instead ask us is how it stacks up against the band's previous material, and it does so pretty decently. I definitely think there are stronger songs that the band have made in the past, but we got some competent material here that should not feel ashamed at all.

My personal favourite is "Vessels of Hate", because this is Corroded simply at their best. It got a catchy chorus, and there are a lot of heavy elements to it that fits the band so well. They also include a calmer part towards the latter half, which only adds to the song, unlike a classic breakdown would. "Retract And Disconnect" is also a really nice song, with this chugging riff that drives it forward towards success. In between those two songs, we complete the trifecta with "Fall of A Nation", a pretty unorthodox Corroded song that impresses with darker nature.

Overall though, I think the song quality is nothing truly special, it is more of a disappointment to be honest, especially since they have had 5 years to create a rock solid album. Some songs are just too weak in its execution, while a song like "A Note To Me" might have the purpose of expanding the band's horizon, but ends up being a snoozer instead. It just is not enough exciting material in here to go around, making it really hard to love the album. It is a decent album for sure, just not any way near of being spectacular.

I think the thing that bugs me the most about the new Corroded record is that they are stomping in the same spot, not really moving anywhere. While I do think Corroded is one of those bands that can get by reinventing the wheel, they have to implement some quality behind the craft, making songs that kick ass. "Defcon Zero" just has too many weak spots to be a truly exciting album. There is nothing horribly wrong with the album per se, and it is good to see that the band is back, but I really hope that it does not take another 5 years for a new album to emerge, and if it does take that long, then it better be a damn good album.

Songs worthy of recognition: Vessels of Hate, Retract And Disconnect, Fall of A Nation

Rating: 6/10 Days of Judgement

https://twitter.com/corrodedsweden

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Alter Bridge - The Last Hero (2016)

It is hard to imagine that Alter Bridge was risen from the ashes of Creed, bursting out as a colorful phoenix that took classic American hard rock to a whole new level. The band has done some great work over the years, releasing 4 albums that all had something to offer. And for every release, the band has turned up the heaviness factor a little bit, and it reached its climax with the 2013 release "Fortress", one of the best hard rock albums in several years.

"The Last Hero" is not that much heavier from its predecessor, but the quality of the craft is still high as hell. The band takes the momentum that they created from "Fortress", and rolled with it, creating a very suitable follow up. Sure, all of the Alter Bridge albums have a similar feel to them, but it really feels like the band stepped up their game significantly after "AB III", marking a new era for the band.

There are tons of material here that is easy to appreciate, mostly for the same reasons, the guitars and vocals. Myles Kennedy is one of the most recognizable voices out there and he delivers them with pin point accuracy, while Mark Tremonti adds a lot of personality to the songs with his nicely executed riffs and solos. Those two certainly makes most of the band, but the other guys (bassist Brian Marshall and drummer Scott Phillips) pull their weight as well with honor and pride, completing the puzzle.

The 1 hour long album does have one clear highlight, and sadly, it is at the very beginning. While it is a shame that the band tops the album with its best song, there is no doubt that "Show Me A Leader" starts off the album in the best way possible. It is a 5 minute long song that contains a really cool opening (where Tremonti just goes full Sonic), a intriguing melody, a powerful chorus, and a classic Iron Maiden trick, some "whoa-oh whoa-oh-oh-oh"'s to make the listener sing on impulse. It is a heavy hitter that sits firmly in place after the first listen, and it is topped off with a fast paced killer of a solo. Blown away from the gates.

While "The Last Hero" never reaches the same highs again, it still shows a lot of quality and versatility with its song library. Some slower and mellow tunes in "You Will Be Remembered" and "Cradle To The Grave", some aggressive in "Island of Fools" and the magnificent "The Other Side", and some catchy sons of bitches like "Crows On A Wire", "The Writing On The Wall" and "Losing Patience", making "The Last Hero" a diverse record that rarely gets boring, despite its lengthy length. So yeah, this album has a lot of cool and interesting songs to offer, and I could almost mention every song on this album, because it is consistent as hell.

But then we have the cliches, those songs that are more American than apple pie. As a Swede, these songs do not sit right for me (for obvious reasons), but I do get why the band do them. This is just a cultural preference, but my firm opinion is that "My Champion", "You Will Be Remembered", and the on going theme about heroes is not only weak, but kind of cheesy. So do not take these criticisms seriously, I am just here for the stuff that makes Alter Bridge stand out from every other American hard rock bands.

While it may not be as rock solid as "Fortress", "The Last Hero" will still most likely be the best hard rock album that you will hear in 2016. It got more or less everything that you want from a Alter Bridge album. It is heavy, versatile, and really professional. It is obvious that Alter Bridge is in a good place right now, rolling hard with their momentum in just the right way, and it looks like they will not stop any time soon. It may not be a straight on bull's eye, but "The Last Hero" is still on target.

Songs worthy of recognition: Show Me A Leader, The Writing On The Wall, The Other Side, Island of Fools

Rating: 8,5/10 Crows on a wire

www.alterbridge.com
twitter.com/alterbridge

Volbeat - Seal The Deal & Let's Boogie (2016)

Just like most metal heads out there, I am a bit two sided about the Danish group Volbeat. Sure, they are unique and they certainly have their core audience, but what exactly are they playing? Is it metal, or is it not? The fans describe Volbeat as a Elvis metal band, a band that blends the groovy, rock-a-billy attitude from around the mid 1900's with more modern metal. It is a big gumbo of different styles that makes Volbeat who they are, which has always been my main grief with the band, but because they are one of the groups that is going to open up for Black Sabbath later this summer in Stockholm (a concert I will attend), I thought that I might as well give the band another chance to convince me.

"Seal The Deal & Let's Boogie" is album number six for the band, and expectations wise, I prepared myself for another diverse experience in which I would like some songs and just flat out hate others. As it turns out, I was completely right. The album is filled with songs that appeal to the greater mass, being catchy, groovy, and soft enough to not scare off too many listeners. It is also a album that stays very true to what Volbeat has done in the past, not cramming in any new elements that steer them off from the current path that they are on, in other words, a pretty safe effort.

A major disappointment that I have with the album is the overall lack of metal in it. Yes, I know that the Elvis part is the ones they focus the most attention to, but they have always brought out a couple of songs that are straight up metal, like "Room 24" and "A Warrior's Call" (my two favourite songs from the band by the way). This disappointment gets even bigger considering two factors. 1. They got a new guitarist a couple of years ago, former Anthrax member Rob Caggiano, whom I thought would make the band heavier, and 2. their last album, "Outlaw Gentlemen & Shady Ladies", was quite heavy. Frankly, the only heavy songs here are "The Loa's Crossroad" and the one minute song "Slaytan". The history, and the fancy album cover promised a good punch, but fails to deliver it.

The song quality is quite decent, containing a ton of catchy material that will make the fans sing their lungs out, but I cannot help but feeling that I have heard this from the band before. It might be because Michael Poulsen has his own unique song style and that he wants to sing in a certain way that makes the songs sound the same, but it still bugs me, none the less. The band tries to change things up a bit here and there, like singing in Danish on "For Evigt", putting some oriental flare in "The Gates of Babylon", and adding two guest artists, Johan Gotthard Olsen on "For Evigt" and Danko Jones on "Black Rose", but it does not help all that much.

Both "For Evigt" and "Black Rose" are highlights of the album, and the same goes for "The Devil's Bleeding Crown" and its incredibly groovy opening riff that just crushes. The chorus is kind of lack luster though, but I do not mind it that much. "Seal The Deal" is another good song, although I think it is partially stolen from a small Swedish band called Devil's Train. Go and search for their song "Roll The Dice" and you will get my drift.

Finally, the bonus tracks are completely useless, serving no purpose at all, there is not even any unique songs. We got a fully English version of "For Evigt" called "The Bliss", "Black Rose" minus Danko Jones, and a live version of the opening track "The Devil's Bleeding Crown". Come on guys, if you gotta have bonus tracks in a album, don't use songs that are already in the album.

Volbeat continues to be that "metal, but not really" band that just makes me shiver, and while I can see why this band has become such a huge success throughout the world, I just cannot get into the hype. "Seal The Deal & Let's Boogie" is just another groovy effort that tries a little bit too hard to get that new hit, and it ends up making the album sound boring and stale. The album is enjoyable the first three times, but it becomes repetitive after that. Fans of the band will love it, but the album, and the band in general, is not for everyone. It will be interesting to see how they perform live though, maybe they can convince me that way.

Songs worthy of recognition: The Loa's Crossroad, The Devil's Bleeding Crown, Black Rose

Rating: 6/10 Slaytans

Lacuna Coil - Delirium (2016)

In my review of Lacuna Coil's last album, "Broken Crown Halo", I stated that the band was satisfied with their current status, not willing to change too much about their music, which to me meant that they did not have the will to expand their music. So naturally, I expected their new album "Delirium" to be a true continuation in the band's discography, so you would imagine that I got quite a shock when the first song of the album started up. While "The House of Shame" does have typical Lacuna Coil elements in it, it comes off as one of the heavier songs the band has created. In short, it almost sounds like a light version of The Project Hate MCMXCIX, which definitely got me excited.

After that though, it is back to the same old tricks, simple hard rock with some gothic elements in it, and a healthy mix of both male and female vocals. Here they go opening up the album with a heavy and innovative songs, just to go back to the safe sally attitude, which seriously pisses me off more than it should. I actually got my hopes up during that opener, just to see it shatter once the second song started.

In the digipak version, there are a total of 14 songs in this album, spanning a total play time of 57 minutes, which is quite a lot for this band. Personally, I would have liked the band to cut out two or three songs, because there are so many mediocre fillers in this album that just takes up unnecessary space. It is just one long exhausting jungle of slow tempo, bland riffing, and over exposure for the male vocalist Andrea Ferro. Yes, he is once again stealing a lot of the spotlight from Cristina Scabbia for no apparent reason. While Ferro does a great job in several tracks, I still think that Scabbia is under used to almost a criminal level. You have a fantastic female vocalists, so use her!

While most of the Lacuna Coil albums do sound the same, there has always been some variation to the music, something that makes the albums more dynamic. This is unfortunately a trait that "Delirium" is missing, because everything sounds more or less the same. Same structure, same tempo, same strategy on about 85% of the songs. I am starting to feel like Stanley Ipkis in that one episode in the animated show "The Mask" where he is forced to relive the same hour over and over and over again, because there simply is no progression when you listen to "Delirium".

So are there any positive notes over this album? Well, some ideas are mildly intriguing, and the album is one of the heavier Lacuna Coil albums I have heard, but besides from the opening track, there really is not much too cheer about in this album, it is just the same mediocre alternative rock that we have gotten used to with this band. I can take the fact that they have been through some line-up changes (they don't even have a guitarist at this moment), and when all of that is sorted out, I hope that a lot of new inspiration gets injected into the band, because it is badly needed.

"Delirium" is a disappointment in many ways, mostly because it lacks steam, feeling sluggish and bland. Besides from the opening song and a couple of small ideas here and there, there is not much to take from this album that is worth your while. Lacuna Coil has done several other albums that are better, cooler, and fresher, so go bother with them instead, because "Delirium" is not worthy of filling your free time.

Songs worthy of recognition: The House of Shame, "Blood, Tears, Dust", My Demons

Rating: 4/10 Downfalls

Lillasyster - 4 (2016)

So, can anybody guess how many albums Lillasyster (Swedish for little sister) have released during their career? Anybody? You there in the corner. You are correct, they have released 4 albums, and it is more obvious than ever that they do not seem to give any fuck about album titles what so ever. Or maybe they have just become lazy in old days, because Lillasyster has gradually fallen down in the popularity hierarchy here in Sweden, mostly because they are not releasing new music in a frequent pace (and playing the same live set for 3 years straight).

My initial judgment of the sound of "4" was that this trend is going to continue, because this album is strikingly... weak. I know Lillasyster as a heavy band that may not take themselves (or anyone else) seriously, so they just blabber on with a comedic spark in their eyes. The guys are great entertainers for sure, but they seem to be running out of musical ideas, because the heavy sound is heavily muted. However, after a few listens, I started to enjoy it more and more, however I do feel like the production is not as dynamic as it should have been.

The groove is what drives the band forward, and there is some of it here, but not nearly enough. At least the album starts off on a positive note on "Ej Till Dig" (not to you), with some groovy riffs, cool drums, and some typical Martin Westerstrand singing (sort of like half spoken word, half gibberish). We also have "Tussilago" (coltsfoot) that could just as well be a Korn song, with its groovy, but psychedelic riffs and its epic chorus. It is also a very fitting song for this time, since it is about Spring and all its glory.

One thing that has not changed too much since the last album is the lyrics. As per usual, Lillasyster delivers humorous lyrics that are either a straight up punch to the face or just pure satire. I especially like "Städer I Brand" (cities on fire) that criticize how we handle the ongoing refugee crisis. We also have the more easy subjects, like drinking in "Skål" (cheers), or pure hate in "Vi Kommer Alltid Hata Dina Barn" (we will always hate your kids). So even if the band has toned down their heavy attitude in the musical department, they show once again that they are a force to be reckon with when it comes to the lyrics.

Frankly, the one thing that I am most relieved over about "4" is that it does not contain any covers of female sung pop songs, which is a thing the band has mostly become famous for after the covers of Rihanna's "Umbrella" and Katy Perry's "Roar" (good covers, but the attention for them has gone too far). They still get some air time with their original stuff here in Sweden with "Krossat Glas" (shattered glass), but personally, I think this is one of the weaker tracks of the album, mostly because it just feels like normal soft radio rock, and nothing else.

"4" is ultimately a grower, which is extremely surprising since a typical Lillasyster album usually sits instantly to one. One could say that the band has matured over the 4 year span that has gone since "3", but the lyrics says otherwise, and I am glad it does, because it just would not be a Lillasyster album with quirky lyrics. I still feel like the musical parts of the album are a little lack luster, but it does work to some degree. It will certainly be interesting to see what these guys have in store for us when they release "5".

Songs worthy of recognition: Tussilago, Skål, Städer I Brand

Rating: 6,5/10 Trappramlare

Anvil - Anvil Is Anvil (2016)

This album title has to be either the dumbest or the most genius one ever. We get it, this is Anvil making another Anvil album, but to be sure that everyone knows, they complete the Anvilception with the title "Anvil Is Anvil", and the use of not one, but TWO anvils on the cover. You can't blame the band for missing the sense of self criticizing humour, that is for sure.

Anyway, when it comes to the music the guys play, they seem to always balance on a thin line between groovy and plain ridiculous. It always seem like the band does not take their music seriously, which is fine if you are meant to be a comedic metal band, but is Anvil that, or are they acting serious? It is a question I have never been able to answer, and it is for that reason it is confusing to listen to Anvil.

In my opinion, they are at their best when they focus more on the riffs and the overall groove. When they hit that, it often goes pretty well. The opening two tracks are a good example of this. In "Daggers And Rum", Anvil is making their best Alestorm impression, and cooks up a nice sea shanty that may not blow me away, but it is a nice start to the album. After that, the following track "Up, Down, Sideways" rolls me over with a classic Anvil beat, and some cool instrumentation (like the little solos right before the chorus). Good speed can also be found in "Die For A Lie" and "It's Your Move".

It is when the band tries to complicate things, more precisely slowing things down, when it goes downhill. "Gun Control" is a boring protest (?) song that makes me wanna control a gun towards my head, "Forgive Don't Forget" sounds forced, and with a title like "Zombie Apocalypse", you would expect some action, but instead, you get something that zombies would not only catch up to, but also literally run past. If a zombie outburst is as exciting as this song, then I am sure that there would be more fatalities by sleep than zombie bites. Just bring back "Shut The Fuck Up" please.

I do not blame the guys for at least trying to evolve their sound, but if it has not happened in over 30 years, it is never going to happen. Anvil is making more or less the same songs as they always have done, with simple structures, groovy riffs, and ultra simple choruses where the song title often is the only word spoken. So when the band cannot entertain with their riffs or their quirkiness, what is left? Now that I mentioned it, while going through their discography, I noticed that every album made by the band consists of three words. "Metal On Metal", "Hope In Hell", "This Is Thirteen", yes, all of them do have three words. A weird inside joke, or pure coincidence? I'll let you be the judge of that.

Yeah, this sure is Anvil to the core. "Anvil Is Anvil" is not by any means a disappointment, but it is not a thrilling surprise either. It is Anvil, what more could one expect? Fans of this band will be pleased, and the others should be wise in not giving this effort a try, because you have already heard it. In a weird, kind of odd way, Anvil will always be there, playing the same old songs until they are dead, and to be honest, it would be stupid if it was any other way. Because in the end, Anvil will always be Anvil.

Songs worthy of recognition: "Up, Down, Sideways", Daggers And Rum, It's Your Move

Rating: 5,5/10 Runaway Trains

http://my.tbaytel.net/tgallo/anvil/
https://twitter.com/AnvilMetal666


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Pounding The Pavement

Clutch - Psychic Warfare (2015)

If I had to compare any band to a gigantic happy pill, I would instantly think of Clutch. Not only was their last effort, 2013's "Earth Rocker", a groovy monster that made me grin from ear to ear, but it confirmed what the band has been doing for so long, delivering high quality groove rock that is extremely hard to match. Who can dislike the band when they put out such groovy tunes!

Clutch's latest offering to the world is called "Psychic Warfare", and it is more or less more of the same stuff that you have heard before from the band. Tunes so groovy that you can't sit still, and a Neil Fallon that hypnotizes you with his incredible and unique voice. Needless to say, if you like the band, "Psychic Warfare" will not make you disappointed.

Instead of spinning further with what made "Earth Rocker" so great, "Psychic Warfare" stands on its own two legs with a more American sound, with both blues and country mixed with the typical Clutch groove, but when the band released their first song from this album, "X-Ray Visions", one would think that "Psychic Warfare" would become a direct sequel to "Earth Rocker", since "X-Ray Visions" sounds like it would fit neatly into that album with its groovy attacks and playful lyrics. When that song plays its final notes, there are no more direct comparisons between the two albums.

I am not a big fan of blues at all, but the band does make its own spin on the genre, making it pretty fun. Songs like "A Quick Death In Texas" and "Sucker For The Witch" has such a great attraction to it that it is irresistible to ignore it. They also change the mood neatly with the country hymn "Doom Saloon/Our Lady Electric Light", so the album does not get all too stale. It all leads up to the climax known as "Son of Virginia", an amazing 7 minute closer that ultimately shows that the band can create other songs that power groovers. This is a strong tune that takes you to the wild west and shoots a lot of great instrumentation at you, while Neil Fallon takes out his most emotional vocals, just to give this track even more depth. Incredible.

But while the album is as great as it is, it is still miles away from the quality that "Earth Rocker" had. That album literally made all of my bones jiggle with excitement and joy, attacking from all fronts with a great arsenal of songs. "Psychic Warfare" does not have the same strength in either numbers nor force as its predecessor, but it is still a great general in the army known as Clutch's discography.

So "Psychic Warfare" does not reach the same astronomic heights as "Earth Rocker", but I do not mind it since it is so hard to follow a master piece with another one. I do appreciate that Clutch did try to re-invent themselves instead of taking the safe route, making a "Earth Rocker 2.0". With the talent that the band possesses and a momentum that seems unstoppable, the band has created another highly enjoyable album that gets your groove on.

Songs worthy of recognition: Son of Virginia, X-Ray Visions, Sucker For The Witch

Rating: 8/10 Noble Savages

Black Tide - Chasing Shadows (2015)

You guys cannot understand how afraid I have been about listening to this album, like really, REALLY afraid. Let me tell you about the background of this fear, Black Tide burst out into the music scene in 2008 with the album "Light From Above", an amazing album that mixed old school speed metal with more modern elements. It was my jam for several years, and I could listen to songs like "Shockwave", "Black Abyss", "Light From Above", and "Warriors of Time" for hours. Then came the much awaited follow up, the 2011 release "Post Mortem". I freaking hate that album, they completely removed the old school part of their music, and became just like any other stupid mainstream rock band from that time. Some songs had a little redeeming quality to them (like "That Fire" and "Let It Out"), but most of them was just trash. It wasn't even the same band anymore.

Before entering "Chasing Shadows", I made sure to pray to every god like creature that the album would turn out good. I prayed to God, Allah, Buddah, Spongebob, Arceus, and even the three Egyptian God cards from Yu-Gi-Oh, just so the band would return to the kick ass music they performed in "Light From Above", with soaring vocals, insane guitar play, and playful lyrics. I even got a glimmer of hope back when I saw that their old logo was back, maybe there was a god after all, hearing my prayers.

Sadly, the grim truth stared right at my face after just one spin of the album. This album takes Black Tide further down the pit they have dug for them self, a pit they most likely will never escape. I am stricken over how tame everything is, from the overall presentation to the lyrics ("Sex Is Angry" is a big contender in the "worst lyrics" category when I summarize 2015). The album cover may be 70% pure darkness, but the inside is all warm and cuddly, and not in a good way.

The thing that pisses me off the most is just how weak the band has become. Sure, they can nail a solo here and there, but the song writing is so bland and uninspiring that I just want to beat the crap out of it. There is no bite, no fire, and no fight what so ever. And what happened to the singer Gabriel Garcia? Is this really the same guy that screamed his heart out in "Light From Above"? I can understand that his voice has gone through some changes (since he and the rest of the band was really young during the recording of "Light From Above"), but this cannot be blamed by puberty.

Now, I know what you are thinking, isn't there some way that they have matured and evolved their sound, and do you not encourage bands to evolve? Yes I do, but there has to be a good reason for the band to evolve their sound, and most importantly, the evolution has to go smoothly so the core of the fan base is not lost. Black Tide has failed miserably in that part, changing waaaaaaaaaay too fast for their own good. It is practically a new band that is presented in "Chasing Shadows".

So, are there some redeeming quality to this album? Yes, the guitar work deserves some praise, hitting a couple of nice solos scattered around the album. It is the only part of the band that is consistent and trust worthy. I also guess that the production is not that bad, sounding fairly polished. So the album is not the worst piece of shit I have ever heard, but you cannot polish a turd and sell it as gold.

With the release of "Chasing Shadows", I have officially lost all respect and hope for Black Tide. The guys are still young, but the fact that the band has changed so drastically and is still releasing records via Interscope Records (whom also have Limp Bizkit, Nine Inch Nails and Lady Gaga (?!)) makes me believe that they have left their metal roots behind them. "Chasing Shadows" is just god awful, a fluffy album with some interesting guitar work, but nothing else that is even close to enjoyable. In conclusion, there is no god, listening to our prayers, and the youthful passion that characterized Black Tide is long gone, and so is the awesome music.

Song barely worthy of recognition: Guidelines

Rating: 1,5/10 Predators

Mustasch - Testosterone (2015)

Oh boy, looks like the feminism movement have found a new target. I hope not, because I love Mustasch, but they are certainly playing with fire here with this, their 8th studio effort known as "Testosterone", a big, burly, manly album filled with beer, beard, sweat, and a Ralf Gyllenhammar who does not seem to take any days off at all. I mean, it was not too long ago they released their latest album ("Thank You For The Demon", early 2014), and Ralf have been busy with both touring and various TV appearances (Swedish Idol and Swedish Fort Boyard just to mention a couple).

Despite this insane speed they are holding right now, they still seem to find time to evolve the band in the process. The music is very recognizable, you can easily extinguish Ralf's unique and manly voice, and most of the riffs are true to the history of the band, but it is the urge for evolution that makes "Testosterone" a unique and interesting experience. Because despite its name, "Testosterone" is probably the most melodic and soothing Mustasch album up to date. A lot of calm experiments takes most of the focus here, which could potentially split the fans in half. I always welcome new ideas and directions, especially for bands that more or less has a certain sound to them, so I was a little impressed when I heard the album for the first time.

If you after reading the last paragraph fear that the band has turned into something extremely different, calm down, the change is not THAT drastic. It may be awkward at first, but once you get used to the thought, it is a good chance that you will appreciate such songs as the symphonic opener "Yara's Song" and the spiritual "The Rider". I am more uncertain to what role "Dreamers", "The Hunter" and Someone" has though, but I guess they are a side effect to this evolution. You cannot be perfect the first time you try out something new.

But ultimately it is the classic Mustasch material that goes loud in my cabin, because it acts as sort of a safety blanket among these new, unexplored grounds the band has taken us to. The best example of this is "Down To Earth", a speedy and catchy mauler that is more Mustasch than that part of the beard with the same name. A great, epic anthem that might be their best one since the amazing double sandwich "Double Nature" and "Bring Me Everyone" from "Latest Version of The Truth". I am sure it will have a reserved spot in the set list when the band goes out on the road later this fall. Other classic Mustasch moments in this album are "Breaking Up With Disaster", the single "Be Like A Man" and the epic title track that ends the album in terrific style.

So despite having less of it than most other Mustasch albums in the discography, "Testosterone" is a nice, fresh listen that could be the stepping stone for the band's future. It does suffer some growing pains, which does make it a fairly uneven experience, but the potential is certainly there, and I am very curious to see were it will lead. Well, if the band continues on the same pace as always, we will not have to wait too long for the next part of their evolution.

Songs worthy of recognition: Down To Earth, Yara's Song, Testosterone

Rating: 7/10 Dreamers

www.mustasch.net/
www.facebook.com/Mustaschofficial/

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Thank You For The Demon

Silent Killer

Gus G. - Brand New Revolution (2015)

You cannot accuse Gus G. to be a typical Greek. Unlike most of his fellow countrymen who helped getting Greece into the financial situation they are at today, Gus G. takes action and keeps himself busy, never stopping, just keeps on rolling. Together with his main band Firewind and his partnership with Ozzy Osbourne, the guitar virtuoso revived his own solo project last year with the professional, but straggly "I Am The Fire". Now he is back with another attempt, trying to make a "Brand New Revolution" and hopefully give this project a real boost.

For those of you who listened to the last album, "Brand New Revolution" should not surprise you one bit. This album is like a trimmed down version of its predecessor, lowering the number of guest artists and putting more focus in making a more cohesive album. Even if these guest artists, including Elize Ryd (Amaranthe), Mats Levén (Candlemass), Jeff Scott Soto and Jacob Bunton, are doing a good job, it is still Gus himself who rightfully steals the show. The man knows how to handle a guitar and he does it with quite the honor, wheter it is in a exquisite solo or in a breathtaking instrumental.

However, it still surprise me that Gus still seem to show what a talented show writer he is instead of showing his true skills as a guitar player. Because it is like this, that the only instrumental in this album, "The Quest", is the best song of the album. One reason to this is that most of the songs here are rather bland, but it is also because Gus riffs and shreds with such ferocity and heart that it really comes through the speakers. I would give a lot to hear a full instrumental album by the man (There is one existing called "Guitar Master", Gus's first solo album, but I would not recommend it to anyone since it is extremely primitive, he has grown a lot since that was released).

The rest of the songs variates between standard hard rock songs, light metal, and half cheesy 80's-esque rock ballads. A weird mix that did not work in the last album, and is not working here either. I do like a couple of songs though. Elize Ryd fits perfectly in with "What Lies Below", a half Amaranthe, half Lacuna Coil creation that feels genuinely original compared to its brethren. The title track has a nice hooky chorus, that could have been faster and have more edge to it, but still works as it is (especially with that excellent solo). And while "We Are One" might have worked better for Papa Roach, it is still a decent and easily likeable tune that comes down without any resistance.

Most of the songs are just bland, forgettable tunes that goes in one ear and comes out the other. It is like a Teflon pan, it does not stick, what so ever. How can a man that has created such catchy tunes as "Head Up High", "I Am The Anger" and "World On Fire" write such boring material? I get that he does not want to take the Firewind sound into his solo project (even though he took the band emblem and made a similar copy to himself) and that he wants to spread his wings, but he must surely be capable of writing better stuff than this, right? Well, one could only hope...

No, this did not really appeal to me either. "Brand New Revolution" has the same problems as "I Am The Fire", only in a smaller scale. This is an improvement for the Greek, but he still has some way to go to make a good solo record. I suggest adding more instrumentals, which showcases his skills, and invite only one guest artist to do the vocal work, or even better, hire one so he can do live shows as well in the future. It worked for Slash, and it should work for Gus. One thing however I would not change is Gus' drive, and I hope that drive and passion brings out a new Firewind album soon enough, its been too long since the last one. Bring the fire!

Songs worthy of recognition:What Lies Below, The Quest, Brand New Revolution

Rating: 5,5/10 Demons Inside

Kiske/Somerville - City of Heroes (2015)

The Primal Fear guitarist Magnus Karlsson is known to be a pretty generous guy when it comes to lending his abilities. He has written material for a bunch of projects during the years, like Allen/Lande, Scheepers and his own little solo project Free Fall. So when it was announced that he would write songs for the two fantastic vocalists Michael Kiske, mostly known for his time in Helloween and his current band Unisonic, and Amanda Somerville, a woman who have guest starred in bands like Avantasia, Kamelot and Edguy, it was all set up for success. Sadly, the first album they released ("Kiske/Somerville" from 2010) was a big disappointment. A big bland blend of uninspired and power less power metal.

So you could sense that I was not overly excited that the trio would once again release a album together, but to my surprise, the sophomore album "City of Heroes" does actually sound quite nice. The biggest difference from "Kiske/Somerville" is without a doubt the quality of the songs. It seems like Magnus has given up to create songs that both Michale and Amanda could do a duet on and instead puts the focus on their individual strengths, which is just the right tactic since I felt that the two vocalists did not really match each other well enough to share the load in a chorus. Or maybe it was the half crappy production that made it seem that they did not match up, I don't know.

Anyway, as I said, the music in "City of Heroes" is a big step forward from the last album. It is straight forward modern melodic power metal, a style that we have heard so much of before, but still is enjoyable when done right and professionally. Michael and Amanda delivers some good singing and Magnus controls his guitar exquisitely. I could wish that the choruses could have been stronger and more memorable, but it still sounds good to my ears and it is fairly easy to sing along to songs like "Lights Out" and "City of Heroes", while other songs, like "Breaking Neptune" and "Ocean of Tears", impress you with its great craftsmanship.

However, is "City of Heroes" enough to stand out in a genre that is more or less overfilled with bands and projects? It definitely is a album that is above average, but it is far from a dazzling experience. You listen to it some times and enjoy the music, but I highly doubt that I will still listen to this album in a couple of months. Fans of the artists and classic melodic power metal should certainly get this release and will most likely enjoy it very much, but do not expect something mind blowing. After all, this is just a side project, and side projects RARELY comes out with anything that would top the works of the main band.

Songs worthy of recognition: City of Heroes, Breaking Neptune, Ocean of Tears

Rating: 7/10 Salvations

Megadeth - The World Needs A Hero (2001)

A new millennium had come, the world had survived the so called Y2K, but still faced a lot of various problems. So to say that the world needed a hero was more or less an understatement. The only hero that seemingly could save Megadeth now after the horrific "Risk" was their almost forgotten mascot Vic Rattlehead, whom makes his first album cover appearance for Megadeth since the 1990 classic "Rust In Peace". Okay, so Vic cannot really save Megadeth and make them create good music again, but just the clear sight of him gave at least some hope to the few Megadeth fans that was still out there. Could this be a turning point for the band?

Even if "The World Needs A Hero" is continuing on the same style that Megadeth has developed during the 90's, it is something different with this album. It is still mainstream hard rock that dominates the album, but it contains a little more bite, it is a little angrier. The music still has a groovy and catchy factor to it, but it feels more heavy metal than before, which is just what the band needed after the meltdown that happened 2 years before.

I would not go as far as saying that "The World Needs A Hero" is a fantastic album, because it is not, but compared to its predecessor, it is a very big improvement. There are still some mediocre and bad songs that I do not think holds up very well, and also some decisions are just weird, like the "phone call" parts in both the title track and "1000 Times Goodbye", but the overall quality is actually decent. "Moto Psycho" has a sweet groove and some nice riffs, while the opener "Disconnect" impress me with its solos. There are also some song in this album that has small thrash vibes, but still holds a good hard rock foundation to mix the old and new Megadeth in a good way, like "Dread And The Fugitive Mind" and "Recipe For Hate... Warhorse".

The only thing that "The World Needs A Hero" and "Risk" have in common is the feeling that Megadeth sometimes acts like a cover band. Even if "Return To Hangar" is a great track and one of the thrashier ones the band has done in ages, it is more or less the same as "Hangar 18", which is of course intended since it is a sequel to the track, but I feel like they could have been a little more imaginative about with it (at least put in more elaborate lyrics in). What is an even bigger rip off is the final song "When", which is more or less a complete replica of the Diamond Head classic "Am I Evil?", but with different lyrics. I think it is a disgrace to this classic song and a big middle finger to Diamond Head from Megadeth. I know that Dave have done covers before and altered some lyrics, but he is just stealing here and labels it as his own product. The worst part is that it is not even a good pirated copy. It is like one of those Iphone replicas from China. Might look decent on the outside, but is complete shit compared to the original.

This is a huge step forward for Megadeth and a glimpse of hope that the band might bounce back towards the top of the metal chain once again. "The World Needs A Hero" is not an amazing album that will go to the history as one of Megadeth's finest, but it is a album that at least shows that "Risk" was a one time thing, and nothing more. So if the band gets rid of the non-covers covers and brings a little more anger to the music, we might look at a really interesting future for the band.

Songs worthy of recognition: Return To Hangar, Recipe For Hate... Warhorse, Dread And The Fugitive Mind

Rating: 5,5/10 Moto Psychos

Megadeth - Risk (1999)

This is such a fitting title, because this album single handedly put Megadeth's dignity and credibility at great risk. This album has become so infamous, so notorious and so hated that fans around the world would not wish their mortal enemies to hear this album. It is a album that no one dares to speak off, little less want to hear off. This album is called "Risk", and was released in 1999 as Megadeth's 8th studio album and it was another obvious evidence of the band's blind quest on finding mainstream success.

So what it is with this album that has made it so hated? Well, besides the obvious and douchey "this is not thrash metal" answer, the music in "Risk" reeks of weird decision making and it leaves a confused feeling over the whole product. From the grunge vibes in "Prince of Darkness" to the soft country rock in "Breadline", this album is a complete gumbo of music styles that does not add up. Only a few genres has been left out and thrash is unfortunately one of those, sealing the break up between thrash and Megadeth that has gone on for more than half a decade. Probably a big reason to why Nick Menza left the band before the release of "Risk" (he was replaced by Jimmy DeGrasso).

The positives are extremely few in this records and none of those does not exactly make you jump up and down with joy. The scary groove in "Insomnia" is pretty decent and it is the song that has the hardest sound and best guitar solo, making it an instant winner among tons of losers. And despite its grunge vibes, the second track "Prince of Darkness" is still a decent, dark track with simple, effective riffing and a nice flowing chorus. After that, all hell literally breaks lose, and not in a good way.

The first single of the album, "Crush 'Em" is an obvious choice for that goal, but it is just such a bland song that you do not care for it one bit. It does have a stellar opening intro for it though called "Enter The Arena", but the cut off between the tracks is just stupid and does not fit at all. Another thing I do not fully understand is why Megadeth is trying to sound like a cover band for various bands, like in "Wanderlust", which is more or less a bad copy of "Wanted Dead Or Alive" by Bon Jovi, and in "I'll Be There", which could might as well have been a Dream Theater ballad. The weirdest part however is that they sing about all these dangerous things, like the seven deadly sins and ecstasy, with songs that are as harmful as a kitten. It is so mind boggling that I cannot comprehend it all, or rather do not want to comprehend it all. I just want to leave "Risk" be and let it rot somewhere far away.

Megadeth certainly took a lot of risks with this record, but none of those really paid off. This face palm of a record was supposed to further build the main stream success that the band had gotten, but the reaction became the opposite because of one, very simple reason. The music sucks! The band wanted to create something that would make everyone think "why didn't we think of this", but instead, the other bands think "thank god we did not think of this". This is the ultimate low point of Megadeth, and I just pray to god that this is the start of a turning point for the band, so that they can start making music that actually matters again. I am not talking about a full regression to the band's early days, just hoping that the band puts a stop to their urge to reach main stream success. No wonder why people believed that the world would end before the strike of the new millennium.

Song worthy of recognition: Insomnia

Rating: 2/10 Breadlines