Light The Torch - Revival (2018)

It has been a while since we heard from the guys in Devil You Know, and there are good reasons why. Howard Jones and co. are not the devil we knew anymore, because they have been fighting with some legal mumbo jumbo for the rights of the band name, so they were forced to completely change it to something fans would not recognize. It is still the same 4 guys playing their roles, and the music is still modern metalcore, only difference is that they are now called Light The Torch. So technically, "Revival" is the band's third record, even if it is the first under the new name, and it also marks a fresh start for the band, to put all the drama behind them and to once again focus on the musical side of things.

Frankly, I am quite glad that the band is still going, for their first two records are not all that bad (at least in a "super group" standard), nothing overly original, but certainly enjoyable little pieces of music. "Revival" does not steer away all that much from those album, except for one clear thing, and that is that it is a lot softer than its predecessors, which is something that might divide the fans, even if the core is still very much the same.

There is simply not too much crushing brutality in here, instead the focus is shifted to more catchy and clean music. It sort of brings me back to the soundtrack of the mid 00's NHL games, bands like Jimmy Eat World, Alien Ant Farm, early Avenged Sevenfold, and prime Papa Roach ("She Loves Me Not" baby!). I can see a lot of you cringe already, and I understand it, because even if I might have my nostalgia goggles on for those bands, they do not apply to someone who tries to recapture the magic in 2018.

Thing is though, I do not think Light The Torch is doing this on purpose, it is just an unlucky coincidence that their newer approach sounds kind of outdated from the start. There is still a lot to enjoy though, mostly thanks to a really strong delivery of singer Howard Jones, who balances his deep, manly clean vocals with some nice screams to boot. His biggest moment is in "The Safety of Disbelief", where the emotions are really coming through with some powerful execution. The rest of the band? Sorry, but they are a little too anonymous here, the riffs and solos (the few that exist) are far from memorable, and the rhythm instruments are not doing anything extra to add anything special.

My biggest pet peeve with "Revival" though is the amount of fillers in here. There are 12 songs in here, adding up to a play time of a modest 43 minutes, so the album is not technically a drag, but you can definitely feel how loose it is. The first half is pretty good, with some nice songs like "Die Alone", "Calm Before The Storm", "Raise The Dead", and the previously mentioned "The Safety of Disbelief", but it starts falling behind around the halfway mark, with some really boring fillers. Not even the ultra heavy "The Sound of Violence" can salvage this fall (the only song in my opinion that would fit nicely with the two first albums).

Nah, this album is certainly a disappointment, and it is not because the band has become soft after the name change. "Revival" to me is a boring mess of an album that feels longer than it really is. It might have about 25 minutes of good to okay material, but even that is mostly run of the mill with what the band is truly capable of. Follow my advice, forget about this record and focus your ears instead on "The Beauty of Destruction" and "They Bleed Red", those are much more interesting albums. So yeah, this revival was no success by any means, let us hope Light The Torch bounce back to winning ways.

Songs worthy of recognition: The Safety of Disbelief, Calm Before The Storm, The Sound of Violence

Rating: 4,5/10 Viruses

twitter.com/LTTorchBand

More reviews of Light The Torch
The Beauty of Destruction
They Bleed Red

In This Moment - Ritual (2017)

My personal relationship with In This Moment has always been rocky, swaying back and forth between me really liking this band and me being pretty sick of this band. To sum it up, it is complicated. I do give the band a lot of credit though, because it is a pretty unique band in several aspects, from the image to the music itself, which is more than I can say about other bands that get some mainstream attention. It is not always pretty, but the band makes sure you will remember it.

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

www.inthismomentofficial.com/
twitter.com/officialitm

More reviews of In This Moment
Black Widow

All That Remains - Madness (2017)

This is a fitting album title for the Americans of All That Remains, because it feels like they are completely lost right now, going through everything and nothing all at once. For each album released, the band have leaned more and more towards a very mainstream friendly sound, but they are still clinging on to that corest of metalcore that once made them famous. So with one foot in the past, and one in the present, they take on the future with their 8th studio record.

Knowing what the band has done in the last couple of albums, I expected failure from the start, but "Madness" opens up in a surprisingly strong way. Okay, "Safe House" is pretty meaningless metalcore screaming for three and a half minutes, but it is a heavy start with some really nice instrumentation, almost resembling more of a hardcore sound even. The title track follows, and it has some interesting moments, being decently catchy. However, it is the third song "Nothing I Can Do" that really catches my attention, mostly thanks to the mysterious keyboard during the verse and Phil Labonte almost trying to do his best Tommy Giles Rogers impression. I would have loved it if they took those elements even further, but they did not, settling for a fairly safe chorus and a typical song structure. Still, a really nice song that ends a surprisingly good three song start. Shout out also to song 5 "Halo", classic ATR that I wished we heard more of.

After that though, the album plummets towards the depths of mainstream despair, and the schizophrenia symptoms are fully shown. "Madness" consists of a total of 13 songs, in which at least 3 are straight up generic ballads (which in my opinion is at least 4 too many). I will never understand what the purpose is with these songs being in a metal album, they just take up space. They are even worse here, displaying as one end of the giant spectrum that All That Remains plays in this album. There is literally no consistency to be found here, and it does not help when the lyrics are so shallow and dumb, almost at an embarrassing level.

It is certainly a shame, because it feels like the band is trying to go for a new approach. They have been stomping in the same spot for quite a few albums now, so to hear them doing something different is refreshing in one way, but when the quality is not improved, then it just does not matter all that much. There are so many songs that are just bare bones, having no creative meat in them what so ever, and the few songs that are of any worth are unfortunately few in number, not nearly enough to save the album. So even if "Madness" is different from its brethren, the result is more or less the same still.

I am not gonna say that I am surprised over the bland quality of this record, I more or less expected it to be this poor, but the fact that the band still has not fully decided on if they are a full on metalcore band or a more radio friendly rock band is simply mind boggling, like they want to keep all of their fans by doing everything at once. It just does not work that way. Even if I appreciate that they are trying to evolve, they are doing it without any real focus, with little quality to back it up. My hopes are still with this band that they can come back with a new killer record, but that hope is fading in a steady pace, as steady as their decline. So good marks for effort, but the originality and general quality still needs improvement.

Songs worthy of recognition: Halo, Nothing I Can Do

Rating: 4,5/10 Open Graves

http://allthatremainsonline.com/
https://twitter.com/ATRhq

More reviews of All That Remains
A War You Cannot Win
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Demon Hunter - Outlive (2017)

Whenever I do a review of a band that I have reviewed before, I tend to check back on my older reviews, to remind me of what the previous records sounded like, and while most of my older reviews are of lesser quality, they still have some good points that I still stand behind. One perfect example is the review of Demon Hunter's "Extremist", where I stated that the band always have one or two songs per album, with the rest being filler. Well, another album is here, and it is truly the same old song and dance.

Another cover with their trademark devil skull, another 12-pack of decent to mediocre metalcore songs, and another clean but stale production work. yeah, it is more of the same that we have been used to from the band, and it is just tiring at this point. This band has its own sound and obviously know how to make great songs, they just do not make enough of them to fill a full album. At this point, they are becoming a Motörhead of metalcore, just not as witty or interesting.

As stated before though, there are always a couple of songs that do catch my interest in every album, and the same goes for "Outlive". "Jesus Wept" is one of those few really heavy outbursts the band manages from time to time, and it works well sitting behind the slow opener "Trying Times", jumpstarting the album with its aggressive tone. It does feel out of place with the rest of "Outlive", but trust me, it is a much needed track when you know about the rest. "Patience" is also a nice song, a classic Demon Hunter song that is very easy to like, with good rhythms and a pleasant chorus. The last song "Slight The Odds" is fairly decent too, experimenting with violins to give a more classical sound (it is a little dragged out though).

The rest of the album is just one big meh, nothing to really discuss about. I think the main problem here is that most of the songs on "Outlive" just does not have any energy at all, playing in a lifeless manner that does not require much effort at all. It does not feel like the band is trying at all here, and if they are, then they are clearly stuck, because it is just more of the same. Close to everything in here is so incredibly bland, nothing is memorable (well, except for the god awful Hatebreed/Cradle of Filth/Lamb of God ripoff "One Less", you will remember that). It just makes me feel more and more tired, and that is definitely not a feeling I want from a metal album, that is for sure.

I try to find as many positive things here as possible, but there are few straws to be found. The performances are just really forgettable, the production does not help to raise the quality at all, and the lyrics are nothing special either. However, I should mention that we are not dealing with a bad album here, just a really bland and uninspiring one. The band still does their own thing, and while it may not be very original, I gotta commend them for sticking to their guns. Still, it is guns with little to no real ammo.

In conclusion, "Outlive" is just like any Demon Hunter album out there, only that it is way more tiring. It got some neat songs, but that is about it. The band is still in their little limbo, trying to mix in the soft and the heavy in a mix that just does not mix very well. When the one thing that has changed the most between records are the album artwork, then that is evidence enough to that you might want to search for a new direction, something to shake the life out of this band. I really want the band to succeed some time in the future, just once make an album that is kickass all the way through, but I am afraid that train has already left the station

Songs worthy of recognition: Patience, Jesus Wept, Slight The Odds

Rating: 4/10 Trying Times

www.demonhunter.net/
twitter.com/demonhunterband

More reviews of Demon Hunter
Extremist

Mutiny Within - Origins (2017)

A little over 4 years ago, I wrote a review of the sophomore album of Mutiny Within, "Synchronicity", an album that I honestly cannot remember at all now, which is really all you need to know about it, that it is forgettable. So when I saw that the band was back with its third full length effort, I was not exactly excited over it, expecting another album that would be fairly safe. Let us just say that the band proved me wrong here.

It all starts with the album cover, which is dark as hell, but is also way more interesting than their previous two artworks. This is also reflected on the album as a whole, because "Origins" is a much more impressive release than the two previous albums combined. It is the product of a band that has gone through both changes and problems in the last couple of years, but has come out of the darkness stronger.

The most notable difference for the band is that they have cranked up the heaviness close to the max. We get more blast beats, more bone crushing riffs, more of the harsher vocals, more everything in fact. You can truly feel the new found power the band has found in almost every song. Of course, since this is metalcore we are talking about, there is a great deal of melody involved here as well, but it does mix really well, giving "Origins" a dynamic personality. I would say that there is a lot of Scar Symmetry in this album, and even some Fleshgod Apocalypse in the most apocalyptic parts.

Speaking of Scar Symmetry, guitarist Per Nilsson lends a solo on this record in "Silent Weapons", and you can really hear it is him. It is frantic, technical, and has a futuristic feel to it. It fits the song really well too, with "Silent Weapons" being one of the more futuristic songs of the album, both in style and lyrics. Two other guests are in here as well, Andy James does a solo in "Reasons" and former SikTh vocalist Justin Hill lends his vocals in "Serenity", both doing a nice job.

The most enjoyment comes from two of the guest free songs though, because here we can hear the band finally living up to their potential, putting out some great metal. "Archetype of Destruction" is a really heavy and epic song that opens the album in a splendid way, while the following song "Justify" is more melodic and catchy, sounding a lot like something Atreyu would do. "Secrets" and "Internal Dissension" are another good couple of songs, and the guest songs are also really nice, but "Circles" and "Stay Forever" are more of the old Mutiny Within, bland metalcore that in this record are just filler material. Still happy though that only 2 of 9 songs gets the thumbs down.

Without any competition, this is the strongest Mutiny Within record to date, and it gives me a lot of hope for the band in the future. While most of you might just ignore this album because it is labeled as metalcore, "Origins" is in fact more than a single genre placement can explain. This album is epic, heavy, and most importantly, highly interesting. It is an impressive comeback from a band I wanna hear more from now, and see what more they can create.

Songs worthy of recognition: Archetype of Destruction, Justify, Silent Weapons

Rating: 8/10 Secrets

www.mutiny-within.com/
twitter.com/mutinywithin

More reviews of Mutiny Within
Synchronicity

The Dillinger Escaple Plan - Dissociation (2016)

It is always sad when bands are ending their run way too early, especially if they are at the top of their game, on the verge of being a part of the biggest in the industry. That is exactly what is going to happen with The Dillinger Escape Plan, the New Jersey *call it whatever you want* core output that have kept reinventing themselves in close to every album since their debut in 1999. After this final touring cycle, they are breaking up, despite being as popular as ever (as guitarist Ben Weinman said, they are pulling off a Seinfeld).

The band's last album, "One of Us Is The Killer", was quite organized and simple, with more of their jazz influences involved and more "normal" song structures. Well, there is nothing of that in "Dissociation". In this record, the band goes full weird, unleashing a final chaotic assault that is sure to leave every listener with a mind blown and a dropped jaw. DEP takes their sound and tries to stretch and bend it as far and wide as possible, doing everything in their might to leave with as loud of a crash so no one will forget that this band has been here.

It is certainly safe to say that "Dissociation" will be an album that will be remembered, not because of the old strategies that most other band uses (catchy choruses, awesome riffs, long ass solos), but because this album has so many layers and corners so you can get dizzy by just looking at it. We got crazy breakdowns, soaring vocal passages, sudden tempo shifts, and tons of different effects that alters the sound immensely. The most eye brow raising part though is one specific song called "Fugue", which is a fully instrumental song, consisting only of electronic sound! This is completely nuts, and the weirdest part is that it sounds great, fitting very well with the rest of the album. Man, that is something I never thought I would write about a techno song.

What really defines "Dissociation" and makes it excel is the band's performance, which is extremely precise and wild. The two guys that stands out the most though is the drummer Billy Rymer and singer Greg Puciato. Rymer's rhythms and beats are literally all over the place, in a good way, accentuating the defining parts of every song. Greg though, is a complete lunatic, taking his vocals to the limit in such extreme ways, never taking the foot from the gas pedal. Just listen to him in the opening track "Limerent Death", where he screams his lungs out in several different ways and tempos. Incredible how much the human vocal chords can sustain. The guitarist Ben Weinman gets his moments too, especially in "Nothing To Forget" where he opens up the song with an almost futuristic riff, drenched in effects. It is weird as fuck, but also cool as fuck.

The chaos in this record is intriguing as hell, keeping you busy for several hours in your journey to discover every corner of it. All of these incredible details could have easily been lost with the production, but the band has made sure to get everything right here, their swan song. While the album is chaotic as a full blown war, it still feels controlled and organized, carefully planed into the slightest detail. The band wanted to give the fans a helluva final album, and the fans got it.

While "Dissociation" is a unique DEP album, but it still have tons of familiar elements that we recognize from the band's career. The chaotic nature of this record is fascinating, and I am sure that it will stand the test of time, going to history as one of the finest DEP releases. It was hard to take in at first, but it managed to evolve the more I listened to it, making more and more sense. This is a fantastic record, and it is really sad that this closes the chapter that is known as The Dillinger Escape Plan

Good bye you technical and complicated guys, you escaped way too soon, and we will all miss you.

Songs worthy of recognition: Nothing To Forget, Limerent Death, Symptom of Terminal Illness, Dissociation

Rating: 9/10 Honeysuckles

www.dillingerescapeplan.org/

More reviews of The Dillinger Escape Plan
One of Us Is The Killer

All Hail The Yeti - Screams From A Black Wilderness (2016)

From the deep woods of... Los Angeles? That is really weird, does LA even have anything other than palm trees? Anyway, from Los Angeles comes All Hail The Yeti, a groovy metalcore band that takes its inspiration from the wilderness. Camp fires, witch burnings, and dark murderers are just some of the things that these Yeti worshipers take up on their sophomore effort "Screams From A Black Wilderness", a release I have looked forward to since the debut was impressive, but rough around the edges.

The formula here is pretty straight forward, groovy melodies are mixed with scary settings and a classic "Good Vocal, Bad Vocal" approach. The sound is pretty radio friendly, but the harsh vocals keeps it from being too mainstream, giving it a tougher edge instead. So it is unmistakeably metalcore we are talking about, but it does not feel like metalcore. Maybe it is the groove that gives me this feeling, but the band is giving me the impression that they are playing a new metal genre, one that you could call groovecore. Cool.

"Screams From A Black Wilderness" starts off really strong. With a creepy intro and some gloomy guitars, "Before The Flames" bring out the best of the band to instantly show that the 4 years that have gone since their debut have made them even better. The chorus is extremely infectious, and the little girl that cries out to mommy and daddy completes the mood in a stunning way. Another stand out track is "Mr. Murder" (with special guest Brock Lindow from 36 Crazyfists), a fast, headbangin' tune with some catchy "whoa-o whoa-o" and a great breakdown. It is a given that "Mr. Murder" is the most bland murder name ever, but fortunately, the song is anything but bland.

There are more great songs in this record, and to my pleasing, I cannot find a single filler in sight. The whole album is one solid unity that screams quality, and delivers a really groovy punch. Songs like "Lady of The Night", "Let The Night Roar", "Daughter of The Morning Star", "Angels Envy", and "Witch Is Dead" all contribute in making "Screams From A Black Wilderness" a enjoyable ride through this earthly setting, making you almost feel one with the nature. It is really obvious that the band has taken their time to make sure that every second matters, which does make the 4 year long wait very rewarding.

The main criticism I have with this album is that it sounds monotonous, keeping the same speed and sound through all of its 47 minutes of play time. The groove keeps this from being too boring, but what I really liked with the debut record was its dynamics, creating several different moods and tensions, something this album fails to accomplish. The songs also have sort of the same structure as well, making the songs all too predictable. You will quickly figure out where they will switch vocal styles, or when the extra groovy riff will come out and play, taking away a lot of the excitement. I also feel like the debut was a bit more innovative, mixing different speeds and styles. Would have loved to see that in this album too.

Overall, the songs have good, even quality to them, making "Screams From A Black Wilderness" a step up in overall quality, but the innovation that "All Hail The Yeti" showed is missing here. A new "I Am Wendigod" or "Deep Creek" would have been lovely, but I could not care less about, because I am smiling while listening to this album. The band has a great future ahead of them, with a set up of tools that most bands would love to possess. So set up your tent, light a fire, and indulge yourself into the wilderness, and enjoy its screams.

Songs worthy of recognition: Mr. Murder, Before The Flames, Let The Night Roar, Lady of The Night

Rating: 8/10 Nemisis Queens

Light The Torch (ex-Devil You Know) - They Bleed Red (2015)

Okay, I do not know what kind of biology lesson the guys in Devil You Know has been too, but if they tried to create some mystique or originality to their album title, I have some bad news for them. We all bleed red, it is as common as super groups. So yeah, the title is corny and close to flat out stupid, but the band does keep the same color palette from their debut, "The Beauty of Destruction", creating a stable theme in the cover department that is recognizable for the band. That is something, I guess.

For those of you who missed out on who these guys are, Devil You Know is a super group consisting of Howard Jones (ex-Killswitch Engage), John Sankey (Fear Factory, Divine Heresy), Fransesco Artusato (All Shall Perish) and Ryan Wombacher (Bleeding Through). Unlike 90% of all other super groups, the band actually created something interesting in "The Beauty of Destruction", mixing classic mainstream metal core melodies with much heavier vibes.

Even if there has only been one year since the last album, "They Bleed Red" displays a different approach. Gone are almost all of the mainstream songs, and left is the heavier material. You will not find a new "Seven Years Alone" in this album, but this does not mean that the songs lacks some catchy hooks to them. Songs like "The Way We Die" and "Your Last Breath" contains choruses that are easy to hum along to, but still holds a fair amount of heavy beats to it so the mainstream rock radio stations will think twice before letting them out in the air ways.

One thing the band has improved on is creating a more stable and even outing in "They Bleed Red". All of the songs holds about the same standard of quality, which certainly is nice for the ones that prefers to listen to entire albums. If you however are a guy who does not have that kind of patience, and worry that the individual tracks are bland, then let me calm you by saying that this album does have some tracks that shines. "Stay of Execution" has a aggression that is very much alike the one we see in Machine Head, which of course is a good thing, and songs like "Shattered Silence" and "Consume The Damned" keeps this aggressive flame running wild throughout the album.

I must also mention the bonus material, especially the cover of the Survivor classic "Eye of The Tiger". I do think the guys had the right idea when making this cover, the instrumentation really transform this classic into a modern metal song, but the over the top vocals by Howard Jones keeps me from loving it, but it could also be that I am dead sick of the song after playing it over a million times in Rock Band. Anyway, the other two bonus tracks, "I Am Alive" and "We Live", are fine, enjoyable songs, but they do not quite fit in with the rest of the album, which is why I think they were left as bonus material.

"They Bleed Red" tend to be a bit monotone in its sound, even with the slower "Let The Pain Take Hold" being there to break things up, and I also think that the first half of the album overtakes the second half in both memorability and quality, but the album is too good to let these negative things be a baggage. The band has done something that almost all super groups has failed at, creating a sound that fans can identify them with without involving any of their other bands. Devil You Know are taking the right steps in establishing a permanent place in the music business, and they are doing so by giving out stellar albums.

Songs worthy of recognition: Shattered Silence, Consume The Damned, Stay of Execution

Rating: 7,5/10 Masters of None

twitter.com/LTTorchBand

More reviews of Light The Torch
The Beauty of Destruction
Revival

Trivium - Silence In The Snow (2015)

I have always considered Trivium to be the modern day version of Testament. While the bands are quite different when it comes to their sound, they both emerged into the scene fairly quietly, gaining a respectable and loyal fan base, but never getting the big world wide recognition. While Testament has been in the shadow of Metallica, Megadeth and Slayer, Trivium has fallen behind such acts as Avenged Sevenfold and All That Remains. They have still made some good music through the years, and have certainly not lacked the quality to compete against the best.

With this said, "Silence In The Snow" could be one of my bigger disappointments of the year. Okay, I did not have humongous expectations for this release, but I did like their latest album "Vengeance Falls", so I hoped that they would be able to keep the momentum going high. I should have probably seen this coming, since the band has stated that this album would resemble their most famous creation, "Shogun" (the title track was even written during the "Shogun" era, but did not make it into the album). It usually does not bode good when bands does this kind of thing.

The most notable thing with "Silence In The Snow" is the complete absence of harsh vocals. Matt Heafy uses only his clean vocals in this album, which I do admit is his stronger side of the vocal spectrum, but it takes away some of the Trivium identity by doing this. Naturally, it also makes the album a little softer than the average Trivium album, which could be positive or negative depending on who you ask. I can stand it, if the song material is up to par with what the band is capable of.

Starting with the "old" song, the title track does have a tiny touch of "Shogun" in it, but I can see why it did not make the cut. The song is okay, but not overly thrilling, lacking intensity and wow factor. It gets better though, both "Blind Leading The Blind" and "Dead And Gone" are way more interesting, displaying good musicality and technicality.

But something happens after that. The songs loose their killer instinct, and starts powering down to about half the power. I am having a really hard time remembering the songs, because they are so bland and dull that I get the urge to do something else while I am listening, just to get things going. There are way too many songs in this album that is gonna be completely forgotten by this time next week (or even sooner) to make "Silence In The Snow" even a little interesting. It is about as colorful as the album cover.

"Beneath The Sun" and "Rise Above The Tides" does bring me out of my sleep, but they do not help the fact that "Silence In The Snow" is a surprisingly flat album. The main problem is not that Matt has stopped screaming, but the fact that the band has been unable to create 11 songs that utilizes his clean vocals. The album is the pure definition of the word monotonous, holding a even, but far from impressive, standard throughout the album. The band can do a lot better, with or without the harsh vocals.

Songs worthy of recognition: Blind Leading The Blind, Dead And Gone, Beneath The Sun

Rating: 5/10 Tides

Bullet For My Valentine - Venom (2015)

It is more or less the same old story for the Welshmen in Bullet For My Valentine now a days. Everyone wants the band to get back to their origin, more specifically, their two ground breaking records "The Poison" and "Scream Aim Fire", and it is also something the band has wanted to. Their last effort, "Temper Temper", had the intentions right, but the fairly hollow song material left me and many others longing for something more meaty, something that would last longer than just 5 seconds in your head. So with the path laid out, it was just for the band to piece it all together, which they seem to have done.

Because "Venom" is more or less the album the fans have been waiting for. The band's fifth full length effort is clearly their hardest record since "Scream Aim Fire", which most of the thanks there goes to Matthew Tuck who is fully fit to consistently scream without hurting his voice significantly. But it is also Tuck and Paget's wicked riffs that gives "Venom" its hard edge and aggressive attitude. It got that overall feeling that both of the two first album have, so the band succeeded in their quest to reestablish the good side of their signature sound, something that should win back some of their older fans.

When it comes to the songs themselves, I can instantly say that none of them will get the same amount of commercial impact as some of the band's biggest hits, but who gives a rat's ass, I do not think that would have happened anyway, even if they wrote the 21st century equivalent to "Nothing Else Matters". It is unmistakeably the band's style that is shown here, a album mixed with aggressive maulers and softer, melodic ballads that together twines a versatile record. And with this pack of songs, that holds quite a good standard, it is a strong package that the band is presenting us.

In this record, I think I have found myself two songs that I will listen to a lot in the coming future. We have the strong and emotional anthem "You Want A Battle? (Here's A War)" were I give the choir big props for giving this track its epic feel. I also love "Army of Noise", a song that holds the speed and thrust of a space shuttle. It is definitely the meanest and most powerful creation the band has created since "Scream Aim Fire", and together with a sing along friendly chorus, it hits the nail on your head instantly, leaving a lasting impression on you.

Those two songs alone brings the album up there along the first two albums quality wise, and several other songs like "Broken" and "No Way Out" is helping out to make "Venom" enjoyable, but the album does lose its steam the further it goes, leaving me to think if the band ran out of ideas and just slammed in fillers to make the fans happy. Let me tell you this guys, you do not make your fans happy by rushing out half finished work. If songs like "Hell Or High Water" and "Skin" would have been worked on a little more, then they could have turned out fine, but in their current state, they are pretty boring and bland. So maybe the band should take a little longer working on their next album so this unfinished feeling does not repeat itself.

So yeah, the band keeps on improving, taking step by step to reach the same heights that they reached in the early stages of their career. Because even if "Venom" does not have enough material to make a great, solid album, it still holds a couple of highlights to bring a smile to the listeners. The band sure has evolved from their struggles, and I am sure that this progress will keep on going at least another album. But for every album that goes by, I get more and more doubtful of the band ever exceeding their first two albums. Let us hope that they prove me wrong.

Songs worthy of recognition: Army of Noise, You Want A Battle? (Here's A War), Broken

Rating: 7/10 Pariahs

Iwrestledabearonce - Hail Mary (2015)

I honestly have no freaking idea of why I keep coming back to the American math core band Iwrestledabearonce. The band's core consists mostly of crazy spastic attacks and rhythmic nonsense, but when the pieces fit, they have the ability to create a couple of good songs per album that makes the listening experience a little less painful. The band is one of very few death metal core bands that has survived and somehow gains some kind of recognition, even if they are on the verge of losing it as well. Sometimes, I think that the name is the only reason to why the band got a deal with Century Media, because it rolls pretty good on your tongue when you pronounce it.

Oh well, "Hail Mary" is the band's 4th full length effort, and it goes in the same line as all of their previous records. It is insanity from start to finish, a wild barrage of riffs, breakdowns, screams, and very few melodic lines. If you are not paying attention, you will get lost in this deep metal jungle. The members of the band sure knows how to handle their instruments, but instead of emerging into something epic and amazing, the notes that is coming from the band often comes out as a big wanking fest, each track trying to top the other one off by going even crazier.

Ultimately, the member that stands out the most is, not surprisingly, the singer. Courtney LaPlante is leading the army of insanity with her high growling voice, and also some beautiful normal singing here and there. But it is when she uses her clean voice that the band reaches their top level. Okay, she is far from the best female singer in the metal universe, but the band knows exactly how to get the maximum capacity out of it. Instead of going bat shit crazy, they use cleaner, longer, epic melodies , which also works well for the variation of the album itself. Such a shame that those moments are rare in a typical Iwabo album.

I do understand though why these "normal" moments are so few, it is because the band has found its niche, a style that they are passionate about and love to play. The only problem is that the audience for this music is fairly slim. There are not many people who would have the strength or patience to go through a album like "Hail Mary", and even less would love it. Personally, I feel like I have earned myself a medal for going through this album about 5+ times.

There are a couple of songs that do sound decent enough for me to actually endure and even enjoy. "Green Eyes" have a fantastic chorus where Courtney shines, the double bass is blasting through, and the swirling guitars hang around in the background comfortably, while the second part of the 2 part song "Doomed To Fall" is a nice, normal piece with ambient moments and no craziness what so ever, and the album ender "Your God Is Too Small" is not only good because it is the end of the album, but also because I like the structure in it. These three songs definitely saves the album from being a steaming pile of shit, but it doesn't make it anything fancy.

I am a deeply disturbed human being, because I have made the decision that I will come back to Iwrestledabearonce when they release the next album. How is that possible when I could not stand this album? Well, because the band is interesting, and they have the most weirdly addictive band name ever. "Hail Mary" is just a bunch of gibberish, but it is unique gibberish, so it is more like art than music. And just like art, it is just for the heavily passionate folks within its own community, because they are the only ones who truly understands it (or at least pretends to).

Songs worthy of recognition: Green Eyes, Doomed To Fall Pt. 2, Your God Is Too Small

Rating: 4/10 Trips

All That Remains - The Order of Things (2015)

I feel like I should explain myself on why I am reviewing this album. It is not because it is made by a "hot" mainstream band and I do not feel obligated to review it just because I reviewed the band's last album. I review this album since All That Remains was one of those bands that I grew up with during the late 90's/early 00's, one of the bands that got me into metal in the first place. I will always have respect for the band and what they have done in the past. So the real reason to why I am reviewing "The Order of Things" is that the band has been a small part of what have made me to who I am today.

More about the album then, "The Order of Things" is album number 7 by the Americans and the follow up to the very disappointing "A War You Cannot Win". And unfortunately, this album is not much better. The band is still stuck in the early 00's and in the sound that once made them famous, but the youthful spark they once had is just completely gone, making the music boring and bland. It doesn't matter if you are good at what you are doing when you are doing more or less the same thing over and over again.

The band does try to expand their sound some in this album, but it just doesn't work out at all. The song "No Knock" is a desperate attempt to try to sound heavy, with low riffs and straight out harsh vocals, but instead it backfires, showing that the band does not know what they are doing at all. It is just a slow grind fest to show off how heavy the band can be, and nobody really likes a show off. And there are more strange decisions that plagues this album, like who came up with the song titles "Fiat Empire" and "TRU-KVLT-METAL"? It just boggles my mind that someone would actually use those titles (unless you are actually sponsored by Fiat, which I highly doubt All That Remain is).

The only really good thing with this album is that is, just like all the other All That Remains efforts, fairly catchy. It is easy to follow with the simple song structures, which does make the music a good starting point for younger listeners. But as soon as those newcomers starts to find heavier, faster and better things in their search for new music, these songs will be left forgotten. There might be a chance that they will still remember songs like the groovy "Divide", the double bass friendly "Pernicious" or the Rise Against speedy "Bite My Tongue", but I cannot imagine that they will stay as favourites for too long, especially if those young kids get a hand of the most famous All That Remains album "The Fall of Ideals" that contains so much better music.

I hope that the band does the thing that the last song in "The Order of Things" tells them to do, and that is to take the criticism and start to get some self realization, that they are not what they used to be. The band desperately needs to find a new direction that fits them, because this bland sound has gone on for long enough. This music was new and exciting back in the day, but now it is just sad to see these guys playing and realize that they have had no progression what so ever. "The Order of Things" is a marginally better release than "A War You Cannot Win", but it is still a boring ass album that I just want to throw it in the trash can. And I just cannot help but thinking that this is the best we are going to get from these guys, which just saddens my younger self.

Songs worthy of recognition: Bite My Tongue, Divide

Rating: 5/10 Fiat Empires

In This Moment - Black Widow (2014)

If I ever would make a top 5 of the hottest chicks in metal, then In This Moment singer Maria Brink would have a safe spot in that list. I mean just look at the cover for the band's fifth album "Black Widow", and gaze over her 3 meter long leg. You have to be gay to not get turned on by that. Unfortunately, there are some things with Maria and her band that just bugs me. The band has evolved from being a good metalcore band that utilizes Maria's voice to the max to being more of an alternative group that relies on shock and pain, both in the music and on the listener.

The red string that goes through this album is that most of the songs are about inner insecurities, struggles and how to overcome them. Even the album title is a metaphor for a woman that gets infected with different traumas and experiences, which eventually molds her to become a poised and powerful creature. And that is indeed the biggest strength with this band, the lyrical themes are heavy and striking, and it also helps that Maria's painful voice is building up the tension in the music. I still think there are tons of female singers that are better than Maria, but she definitely knows how to utilize her voice to set the mood.

As far as the music goes, it is pretty much the same as it was on the predecessor, the 2012 album "Blood". It is some kind of Marilyn Manson vibe all over this album that is blended with a couple of Evanescence ballads, making it a pretty decent blend of both shockful and beautiful music. But the music tends to be a hit or miss for me. Some songs are very infectious, sticking like glue and leaving a good impression on you, while others are pure poison to your ears. It is unpleasant to hear a album that have such an uneven set list.

On the plus side we have the title track that has some real good riff work and despite the weird, old time infomercial about the infamous black widow, it holds a good flow throughout the track. The first single "Sick Like Me" is another favourite since it is the only song in the album that successfully brings the beauty and the beast together in a fantastic symbiosis. Also a shout out to the aggressive "Big Bad Wolf" and the best ballad in the album, "Sexual Hallucination" (which includes a guest appearance from the Shinedown singer Brent Smith).

While on the negative side of things we find "Dirty Pretty" that could be the equivalent to a really bad and saggy burlesque show. Sounds sexy at first, but it goes downhill after the first verse. "Bloody Creature Poster Girl" is a choppy craftsmanship that is just dull, and "Bones" is just bland. One more thing, it is not okay to showboat and pronounce yourself as the "Sex Metal Barbie" of metal Maria. You are hot, but you do not have to brag so much about it.

"Black Widow" is not as deadly as the spider with the same name, but it does have some punch to it. In This Moment is still far to uneven to call them self a world class band, but their music sells, and it is not hard to see why. Most of the music here is infectious and interesting, and with Maria's strong presence, the band has an identity that they can rely on. The haters can hate all they want, this band will still be in the spotlight for some time.

Songs worthy of recognition: Sick Like Me, Big Bad Wolf, Sexual Hallucination

Rating: 6,5/10 Black Widows

Outtrigger - The Last of Us (2014)

In the beginning of 2014, metal core band Outtrigger took Sweden by storm when they entered the competition Melodifestivalen, which acted as the qualification to the famous Eurovision Song Contest, with their song "Echo". And together with a nice stage performance that included cages, a straight jacket, and a Hannibal Lecter mask, the band was very close to reach the final in the competition, but was eliminated in the segment that is called Andra Chansen (Second Chance). Almost a year has gone since their participation, and now they are ready to reveal their debut album, entitled "The Last of Us".

And you probably guessed it already, "Echo" is indeed in this album, just like a couple of other songs the band has previously released in EPs, demos and singles. There is not much in difference in between the old and new versions of the older songs (except for better production of course). However, the track "Awaken Me" is another story, since the band made an acoustic version for this album. It definitely works as an acoustic song and it is one of my favourites in this album, but the heaviness that the original had was better than most of the heaviness in "The Last of Us".

But I see why the band made "Awaken Me" acoustic. Without it, there would be close to no variety in this album. Almost all of the songs in "The Last of Us" have the same, simple, boring structure, making the album very monotonous. Such a shame since the band seems to know how to handle their instruments, and the singer, and co-founder of the band, Simon Peyron has a nice voice (although, his growling is weak. Fortunately, it is not used too much in the album).

So you really have to dig deep to find any favourites in the album. "Echo" is definitely a winner thanks to its sing along friendly chorus and "Awaken Me" stands out since it is the only acoustic song in the album, but it gets tougher after that. "World of Fire" has some nice intensity, opener "Superman Is Dead" has a good melody to it and there are some feeling to the title track. But once again, thanks to the overall monotonous sound, "The Last of Us" is just a big lump of the same thing, making it hard to swallow. There is some quality to it, but no one wants to listen to the same thing again and again.

Outtrigger certainly has talent, and with some elbow grease, they could become a very interesting band. But "The Last of Us" leaves a lot  for one to wish for since it contains most of the same thing. It is fine in one song, two songs, maybe even four songs. But a full album of it is too much. So my advice for the guys from Helsingborg, Sweden is that they take their time and improve their song writing, especially on the verses and the structures. They know how to create a catchy chorus, so if they gather enough experience, they could have enough tools to create fantastic music. For now though, it does not quite cut it against the big dogs. "The Last of Us" is a fine debut, but it is just not as good as the video game with the same name.

Songs worthy of recognition: Echo, World of Fire, Awaken Me

Rating: 6/10 Dead Supermen

Light The Torch (ex-Devil You Know) - The Beauty of Destruction (2014)

Another super band? Oh boy, that is just what the metal community needed... not really. Anyway, the band was created in 2012 by the drummer John Sankey (Fear Factory, Divine Heresy) and guitarist Francesco Artusato (All Shall Perish). They were later joined by Howard Jones (ex-Killswitch Engage), Ryan Wombacher (Bleeding Through) and Roy Lev-Ari (Hiss of Atrocities).

When I am reading the line-up, I am trying to figure out what type of music these guys will offer us. My first thought was that it would be some kind of heavy metal core, which later on proved to be right. "The Beauty of Destruction" is filled several heavy parts, especially in the guitar work, but it is blended together with catchy and melodic song structures that appeals to the radio stations. It doesn't surprise me that Devil You Know is more Killswitch Engage than All Shall Perish, but I would have expected something more original from these experienced musicians.

The music itself is not overly impressive, but it has it strong points. The epic and heavy "It's Over" is the most original and interesting piece in the entire album, while "A Mind Insane" impresses with its doomish segments and complete insanity. But the album also has some good mainstream quality in songs like "Seven Years Alone" and "For The Dead And Broken". This makes "The Beauty of Destruction" into a well diverse album that does not get boring to listen to.

The overall quality however is far too unstable to be taken seriously. Boring tunes like "A New Beginning" and "Crawl From The Dark" are being mixed with more interesting tracks like "The Killer" and I Am The Nothing", which in the end makes me loose the interest on the album. I know that these guys are experienced, so it shouldn't be such a problem to expect a stable album from them. But it seems like the band does not really know where they want to go with their music. Do they want to go mainstream or do they instead want to focus on creating heavy and innovative music? That is a question that must be answered before the next album if they want to continue this project.

I agree with Devil You Know that destruction can be beautiful, however "The Beauty of Destruction" is far from the prettiest album released this year. It has some good intentions that gives some hope for this project in the future, but just like any other super band, it falls in comparison with the member's past/current main bands. Devil You Know is one of the better "super" bands that has emerged during the 21st century, unfortunately, that does not say much about their overall quality within the band, even though "The Beauty of Destruction" is a promising debut.

Songs worthy of recognition: A Mind Insane, Seven Years Alone, It's Over

Rating: 7/10 Killers

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Demon Hunter - Extremist (2014)

Do not take the album cover nor the title as hints of what the album will sound like, because you will only get disappointed. Demon Hunter is not anywhere near extreme metal or anything like that, they are instead performing very likable, but generic metal core that tries to be tougher than what it is. "Extremist" is the band's seventh offering, and it is once again a album that will please their fans, but not make them gain more in any significant number.

The problem I have with Demon Hunter is that every time they release an album, the same thing happens. 2-3 songs are really good while the rest of the pack are just fillers. The same goes with "Extremist". Out of the 12 songs in the album, I am only taking a liking towards 3 songs. The first one is "Artificial Light". It is almost sounds like a cover of a Soilwork song, but the band still manages to make it their own with a really nice chorus that is captivating. The second song is "What I'm Not", a song that is Demon Hunter to the bone. It is these kinds of songs that originally got me into the band. If the band did more of these powerful and modern songs, then I would appreciate their work even more. The third song is "Cross To Bear", which is the hardest song on the album (besides from the short opener "Death"). It has a great amount of punch and if you did not listen to the rest of the album, you would think that Demon Hunter was a lot harder of a band than what they actually were.

The rest of the songs are just either boring ballads ("I Will Fail You", "Hell Don't Need Me") or pure fillers ("In Time", "Beyond Me") that wants too much. Is it too much for the band to make a full album with high quality songs? They have the know hows, so why do they not use it on all of the songs? I don't know, maybe they want to please too many at the same time, a move that has kept many bands from truly evolving.

However, I will give credit to the band that they stay true to their sound and at least tries to evolve. "Extremist" is in fact a small step forward from its predecessor, "True Defiance", and it could also be the band's best album up to date. But that does not mean that "Extremist" will be on my top list at the end of the year.

"Extremist" is not a disappointment, but it is neither a pleasant surprise. Just like its predecessors, it has some songs that stands out and shows the band's full potential. However, the majority of songs are just boring fillers that makes you shrug and shake your head. For every album that goes by, I am getting more and more sure that Demon Hunter will never be a world class act. They will just be known as the band that has some good songs and some albums that are good, but nothing over the ordinary.

Songs worthy of recognition: What I'm Not, Artificial Light, Cross To Bear

Rating: 6,5/10 Gasolines

The Dillinger Escape Plan - One of Us Is The Killer (2013)

Mathcore is probably the genre I understand the least in the metal world. Not only does the bands in the genre play a sound that seem more random than a sheep in a living room, the usage of Jazz and Fusion in their music is kind of weird. That is why I have not listened to so much mathcore in my days. However, there is one band in the genre that I have some knowledge off, and that band is the New Jersey quintet The Dillinger Escape Plan. And yes, I recognize them as a mathcore band even though they have a broad sound and style register.

"One of Us Is The Killer" is the fifth studio album by the band and as always, the band treats us with a high variety of songs. From the heavy "Prancer" to the Muse like title track, "One of Us Is The Killer" is a display on how far variety can take you. That is also one of the reasons to why The Dillinger Escape Plan is a band where a certain genre cannot explain their music. The variety that they create makes the band unpredictable, but it is also interesting to never know how the band is going to sound next.

The overall performance on "One of Us Is The Killer" is good and it is the irrational drumming style of Billy Rymer that is taking most of the glory. His jazz like style is perfect for the band and hearing his odd beats is always fun. The rest of the band has their moments as well, but I feel that the guitars could have been more prominent.

It is, surprisingly, when the band is slowing down that they show their best sides in this album. Songs like the title track and "Nothing's Funny" sound more well composed and more thought out than other songs in this album. However, that does not mean that the "crazier" songs suck. On the contrary, they also have their sweet moments, especially the progressive "Understanding Decay" where the singer Greg Puciato finds a Ozzy Osbourne like tone in his voice that just increases the interest factor. Other interesting songs are the doom like "Paranoia Shields", the heavy "Prancer" and the enjoyable "Hero of The Soviet Union".

The strength of "One of Us Is The Killer" is, of course, the irrationality and the skills of the band, but I feel that they have developed their song writing (even though some of the songs could as well be made by Muse). But am I fully convinced of the greatness of this album? No, I do not think that this record is of world class quality, but it is a fine album that shows the good sides of mathcore. The Dillinger Escape Plan is once again proving that they are one of the biggest names in their genre.

Songs worthy of recognition: One of Us Is The Killer, Nothing's Funny, Understanding Decay

Rating: 7/10 Crossburners

Killswitch Engage - Disarm The Descent (2013)

No one (or at least very few) can deny that Killswitch Engage has become famous and that they have a interesting sound where they can both play heavy metal and more "popier" songs. But one of the band's biggest flaws is the inconsistency. I have yet to find a album by them that holds a constant standard all the way through and I do not think I will ever hear such a album from these guys. Their music is reaching out to two very different fan bases and just like rivaling gangs in a major US city, these fan bases can not for their lives put down their weapons and just talk about their differences (well, at least not without using a lot of curse words, name callings and insulting each others mothers). So Killswitch Engage is trying to solve a conflict that is unsolvable, but you have to admit that the band's stubbornness is astonishing.

"Disarm The Descent" is the band's sixth full-length album and the first album since the 2002 album "Alive Or Just Breathing" with the original singer Jesse Leach who rejoined the band in 2012. And together with Jesse comes a heavier tone in the vocal arrangement that reminds me a lot of Shadows Fall singer Brian Fair, which I welcome. And together with this heavier voice comes a heavier sound which surprised me a bit. Killswitch Engage is well known for their mix of catchy pop tunes and small metal core intentions. So when "Disarm The Descent" had played through my speakers, I had heard a new side of the band. Gone is most of the pop intentions and the band puts the attention instead to the blasting drum beats and the melodies, very much like Shadows Fall.

But just because that Killswitch Engage has put on a heavier suit, I still feel that they have at least one foot in the pop world. Some good examples are "In Due Time", "Turning Point" and "Always" that all have something in them that reminds you of the classic Killswitch Engage sound, which is not good. No, it is when the heaviness takes over that the band is truly impressive. The first "heavy" song is "A Tribute To The Fallen", a song that includes a lot of harsh vocals, Determined drum beats and a chorus that is more than acceptable. Another good heavy moment is the blast beat in "The Call" that almost triggers my headbanging nerve and the chorus is not that shabby as well (even though it is a little soft). The final noticable heavy attempt is "Slave To The Machine". A decent attempt by the band to try showing off their balls, but they come up short and the track is overall a little weak. Could have been a better track if the band had shown some more intensity into the song.

But even though the heavier songs are heavier than 90% of what the band has previously made, you still find small pop intentions in the songs, which bums me out. "Disarm The Descent" is a more consistent album and it directs to one target, but these intentions are enough to scare most of the listeners away.  This also means that "Disarm The Descent" does not have that sharp edge that every great album has since every song has some minor flaw. Most of the songs sounds alright but the high point is not high enough.

"Disarm The Descent" is a big step in the right direction for Killswitch Engage. The band is finally realizing that they cannot work with two different genres at the same time and this realization has given the band's most stable album up to date. There is, however, still some work to do since "Disarm The Descent" is lacking some punch to complete the knock out, but the band is on the right track and hopefully, the next album will complete the transformation to making Killswitch Engage a more consistent band.

Songs worthy of recognition: The Call, A Tribute To The Fallen

Rating: 6/10 Blood Stains

Bullet For My Valentine - Temper Temper (2013)

I have followed Bullet For My Valentine since the start but I have never as low expectations as I had before the bands fourth full-length album "Temper Temper". After two great releases in "The Poison" and "Scream Aim Fire" came a complete ship wreck called "Fever" that made me loose almost all self respect for the band. Three years has gone since "Fever" and I have laid that chapter behind me now but the big question is if the band has done the same? Have they gone back to their heavy, catchy and easily liked music instead of creating more shameful shit songs?

"Temper Temper" is the bands fourth album and the title comes from the inner struggles the band has had in the time between this release and "Fever". But these struggles seems to have a good effect on the band since this album is a big step forward from "Fever". In "Temper Temper", Bullet For My Valentine is going back to their roots and then inserts a more aggressive approach in several of the tracks. Hell, we even hear a couple of screams from Matthew Tuck which is a segment I warmly welcome back. And it is on the more aggressive songs where the band is really shining. Songs like "Breaking Point", "Not Invincible" and "Saints & Sinners" takes me back down memory lane to a time where Bullet For My Valentine rocked and was nothing like any other band at the time.

Another track that is very noticeable is of course "Tears Don't Fall (Part 2)". Yes, your eyes are not deceiving you, the band has made a follow up to their most successful song in their carrier. Just like Metallica's "The unforgiven" series, "Tears Don't Fall (Part 2)" is very much alike the original but I feel that the similarities between the tracks is way too much. The song is not bad but it feels like a complete rip off from its predecessor which you off course cannot stop thinking about. Ruins the whole listening experience for you. But as previously stated, it is still a good song.

"Tears Don't Fall (Part 2)" is not the only song that reminds you of the good old days. "P.O.W" reminds me of  a mix between "All These Things I Hate (Revolve Around Me)" and a 30 Seconds To Mars song (note, 30 Seconds To Mars is only a band i liked in my early music listening carrier, I despise them now) and "Dirty Little Secret" is sounding like a metalized version of All-American Rejects song with the same name (another band I listened to in my youth but not anymore) and a speed up and more complex version of the intro riff in "Your Betrayal". Ah, those were the days.

There is, however, still some weaknesses that the band has not been able to erase since their last album. For instance, the title track could have been one of the best songs this year with its great riff and aggressive approach but the chorus is lame and has none of the intensity that the rest of the song has. And "Riot" is one of the most repetitive songs I have heard in many years (that chorus is just a big sign of laziness). Otherwise is the standard at a even and good height. There is no real song that I would throw in the dumpster but there is also no song that would be worthy of a throne of its own. The lack of a real super hit like "Tears Don't Fall", "4 Words (To Choke Upon)" and "Scream Aim Fire" is putting "Temper Temper" behind the two big albums but "Temper Temper" is without a doubt a step in the right direction.

Even though "Temper Temper" did not blow me away I am still relieved that the welsh men did not make the same mistake twice. But this album is rough around the edges and definitely not in the same class as "The Poison" or "Scream Aim Fire". But with some better choruses and a little more originality this album could have been one of my new favourites. So yeah, Bullet For My Valentine is here by back with new strength. Let us hope that this power will last a little longer than two consecutive albums.

Songs worthy of recognition: Breaking Point, Dirty Little Secret, Saints & Sinners

Rating: 6,5/10 Leeches

Mutiny Within - Synchronicity (2013)

After a promising, but mediocre, self titled debut in 2010, Mutiny Within from Edison, New Jersey was a band that at least I thought was going to be a force to be reckoned with. A solid mix of melodic death metal, power metal and even some core was well enough for me to get interested. Unfortunately, the band took a one and a half year long hiatus starting in the beginning of 2011, an inappropriate hiatus that stopped the band from growing their fan base. But now the band is back with renewed strength and their second full-length release "Synchronicity". A album that I hoped would be an development of the predecessor and that it would keep the exciting, musical abilities.

The first thing I notice with this album is that the power that the debut showed is almost completely gone. Not even a hint of power in any of the song. That was one thing I loved with the last album, the power gave most of the songs another dimension and raised them higher. Without the power, the music became somewhat bland. Another thing I was missing was the intentions that I felt from the last album. They were gone and so were the excitement. Without those two elements, Mutiny Within sounded like a slightly better version of 30 Seconds To Mars, and no, that is not a compliment for Mutiny Within. Most of these songs feel forced and lacks originality which made every listening session, more or less, excruciating.

But there are some light in this otherwise dark tunnel. Some of the songs still shows a small sign of death metal and those are also the songs that stands out in "Synchronicity". Songs like "Falls To Pieces" and "Become" feels interesting and the bands cooperation is at its best on those songs. But the death metal does not get the lead role until the song "Machines" where the bands potential is really showing off, especially Chris Clancy is really making a great work here with his vocals. Such a shame that they did not make more of this kind of music on "Synchronicity". The last notable song in this record is also the best of them. "Life To Dust" has the best song structure, best vocal work and best chorus in this album. The only song that is even close to reaching as high as the best songs from the bands previous album.

Otherwise there are not much more in "Synchronicity" that is worthy of any notice. The whole experience is nothing more than a sigh followed by a "of well, it is okay I guess". "Synchronicity" is not glistening and it shows a side of the band that I would be more than happy to get away from. As in their debut, the intentions are there but the whole idea is far from perfect. So please come back when you have something interesting to show, otherwise it would probably be best if you would return to that hiatus.

Songs worthy of recognition: Life To Dust, Machines

Rating: 4,5/10 Signs