Best of 2018: Top 20 albums

So 2018 has come to a close, and it has been quite a mixed bag when it comes to metal. As always, we got a bunch of great records from both known and unknown band from across the globe, but the disappointments have been at a larger number this year. Disturbed fell into the mainstream hype pit, Ministry keeps on existing for some reason, the new Machine Head record was so awful that the band desintegrated almost completely, and the entire genre of thrash seem to have gone on a hiatus (with the exception of Gama Bomb and Angelus Apatrida). Yeah, there were a lot of head scratchers for sure in 2018.

But let us not remember the bad times, let us instead bask in the glory of the bands that did indeed create some magnificent music that we will be talking about for years to come. Down below I have my usual top 20 records (and a few honorable mentions), a collection of albums that had the greatest impact on me this year. There is of course a chance that I missed out on a masterpiece during this jungle of albums that I tried to go through (after all, there is only so much metal you can ingest during a calendar year), so feel free to give a shout out to your own favourites of the year in the comment section or on Twitter. Now, onto the honorable mentions, then the list.

At The Gates - To Drink From The Night Itself
Another solid effort from the Swedish death metal legends.

Between The Buried And Me - Automata II
Still hate that they split "Automata" in two, but the second part is at least consistently entertaining.

Daron Malakian And Scars On Broadway - Dictator
Guess this is the closest to a new System of A Down album we are gonna get.

Kalmah - Palo
Good old Kalmah, never disappoints.

Obscura - Diluvium
A lot of technical candy in here, but the concept still confuses me.

20. Southern Empire - Civilisation
We start off the top 20 with some old school progressive light metal. Southern Empire is not doing anything out of the ordinary with their sophomore effort, it is clean progressive music that is split into four songs, ranging from 9 minutes to almost half an hour, but nothing feels overly long or unnecessarily padded, it all feels right. A calm and soothing experience of sophisticated excellence, perfect for your average trip on your flying ship that does not look like a shitty blue bus filled with spoiled brats.



19. Khemmis - Desolation
Everyone jumped on the Khemmis hype train two years ago with "Hunted", and while that album is great, I do think the band stepped it up another notch with "Desolation". It is just something with their intoxicating and groovy style of doom metal that is weirdly satisfying. The splendid symbiosis between the members is like silk, so smooth and shiny that it becomes hard to resist. For a band that has only been active for 6 years, it is quite impressive that they have already released 3 high quality records, and yet my gut tells me that they can become even better. Let us hope next album proves my feeling is correct.

18. Black Space Riders - Amoretum Vol. 1
Splitting your album into parts has become pretty popular in recent years, and Black Space Riders decided to follow that trend, but seem to have forgotten to balance out their albums, because most of the best material is in volume 1 of the "Amoretum" duo. With a hypnotic rhythm at their disposal, BSR manages to entrance the listener to a submissive state, which is not really necessary because the music is good enough to make most people stay throughout the ride, but it gives result, so who can complain. Stoner metal have never sounded this catchy, so for this achievement, I give BSR the "Double album of the year" trophy, well deserved (sorry BTBAM).

17. Tribulation - Down Below
The Swedes keeps on building a reputation of being one of the biggest risers in the metal scene, with "The Children of The Night" amping up their gothic influences, and this year they took that foundation and added another layer in "Down Below". The end result is a creepy record that acts as the perfect follow up, improving on an already successful recipe to gain even more momentum for their hype train. It is another excellent outing for a style that has not exactly been spoiled with great albums in recent years, but if Tribulation continues down this path, the future for the gothic death metal scene will look bright... or at least a little less black.

16. Orphaned Land - Unsung Prophets And Dead Messiahs
Finally Orphaned Land managed to create an album that is even close to the masterpiece known as "Mabool...", and while "Unsung Prophets & Dead Messiahs" does not quite reach the same levels, it is still a masterful display of great oriental progressive metal. It has a nice mix of all the styles we have heard from the band's career, and also a nice concept to punch it in, definitely making an impact on a really strong progressive year. While I do think the sudden bleeps disrupt the music a little bit, it is quickly forgotten when Hansi Kürsch makes an appearance on "Like Orpheus". Just a marvelous effort.

15. The Algorithm - Compiler Optimization Techniques
Instrumental metal (or as I like to call it, instrumetal) has had a quiet year, but the French duo The Algorithm uploaded one of the most complete instrumental records I have heard in years, not only having that unique techno vibe that they have developed over the years, but managing to create a lot of emotions through a normally sterile environment. It is a joy to go through this entire record time and time again, finding new nuggets to grasp on to. With that in mind, my calculations ultimately place The Algorithm on place 15 this year.

14. Psychostick - Do
Winning the title of "Most epic album title of all time", Psychostick's "Do" is just more than a snappy title, it is a catchy tour de force that will leave you gasping for air for all the laughing you will do. The band is as stupidly hilarious as ever, tackling a bunch of different stuff in classic Psychostick fashion. What makes this album even better from their previous efforts is the consistency, and maybe even the hidden recipe for the ultimate breakfast. It is fun as hell, and if you do not like this record, you have a heart of stone... or maybe you have lost your sense of comedy, it is one of the two.

13. Dragonlord - Dominion
Out of the two guitarists in Testament, Alex Skolnick may get most of the accolades, but Eric Peterson is not too shabby either, and he certainly shows what he is made of in "Dominion", the first Dragonlord record in 13 years. It is an excellent symphonic black metal outing where obviously the guitars are exquisite, but the rest of the instruments are on point as well, creating some nice, creepy music that captures the mood of the album cover really well. Eric is a nice singer too, he is close to being criminally underrated.

12. Antimatter - Black Market Enlightenment
First of two albums on this list with saxophone in them, "Black Market Enlightenment" is just an unreal experience created by Mick Moss, one that at times made my jaw drop. Just how he uses all the different instruments in splendid arrangements, creating Tool inspired emotions that are very difficult to nail properly, making some moments hit you hard as hell. As said, this is an experience, and if for nothing else, just check this album out solely for the qamancha, which is an instrument I did not even knew existed.

11. Judicator - The Last Emperor
The decision to go back to historical themes may have made me a little disappointed, but that quickly vanished when I first played "The Last Emperor", and realized that Judicator is just as good as always. Their infectious style of power metal is so memorable, rolling down the highway at break neck speeds that keeps your adrenaline pumping throughout all of its run time. It may not be as personal of an album like "At The Expense of Humanity", but it is still quality all the way through the field of battle.

10. Eneferens - The Bleakness of Our Constant
Eneferens delivered the most atmospheric record of the year, one that flows so nice and smooth through your ear holes that it leaves you with a sense of soothing satisfaction. I honestly do not know why this type of music can even be classified as "black" metal, but I do know that when a band finds that sweet spot where the light and the dark meet, some magical music can happen. It is a hard feat to pull off, and Eneferens hit it like a professional dart player makes three perfect throws. One hundred and eighty!!!

9. Judas Priest - Firepower
When Judas Priest released "Redeemer of Souls" a couple of years ago, I was satisfied with it, having just enough good material on it to think that it could be a worthy closing record for the band's career. Well, they were obviously not done, because this year they just brought literal firepower in "Firepower". I have not heard the band being this energetic in a ton of years, displaying an attacking arsenal that the younger bands have a hard time to match. It is classic Judas Priest to the core, while still throwing out a few nice surprises here and there, showing that this band is not ready to throw in the towel just yet, and I am so thankful for it. Easily their best record since "Painkiller".

8. Fireproven - Future Diary
Progressive death metal have had a massive year, so it might not be a surprise that an unsigned Finnish band did not get that much attention when they released a really solid debut record, but Fireproven has really stuck with me through the year. "Future Diary" may not be a game changer in the genre, and the production is far from perfect, but it is a grand album that show off a lot of cool gymnastic skills, and the band sticks the landing in every song. It is a great start for a band that I will keep an eye on, and you should too, go check them out.


7. Barren Earth - A Complex of Cages
Just as the name suggest, "A Complex of Cages" is a pretty multi faceted album, one that is pretty hard to compile into just a few sentences. It is definitely one of the grandest records of the year, with slick production and a meaty sound that will take some time to get it all in, but is well worth the invested time. What I think ultimately makes the album excel is the way it is constructed, how the songs are built and where they are placed in the record, it creates a full image of titanic proportions that will leave you in awe. Just listen to it, so you can understand what this album is truly made of.

6. Redemption - Long Night's Journey Into Day
I thought I knew the progressive landscape pretty well, then Redemption came along to remind me that there is still room to explore. This band has been off my radar completely, but they finally showed up with their 7th studio effort "Long Night's Journey Into Day", and what an effort it is. It is just like you would want your prog metal to be like, expansive, imaginative, diverse, and epic as all hell. The addition of Tom Englund from Evergrey seem to have given positive effect, adding a vocalist who can nail the emotional part of the music with pinpoint precision. Yes, it is a long journey, but it is one worth taking every night.

5. Rivers of Nihil - Where Owls Know My Name
I was pretty close on missing this album, but after seeing this emerge in several other "best of the year" lists, I gave it a shot, and it did certainly hit me. Rivers of Nihil have created a truly masterful record that cannot really be put in one specific genre, meshing a bunch of styles to make this highly emotional album that is so balanced that Thanos would love the hell out of it. Oh, and if you are wondering what I think about the saxophone, I think it adds another element to the record that makes it even more diverse. Feel so sorry for those who have yet to understand the sexy nature of the sax.

4. Immortal Guardian - Age of Revolution
Debut record of the year goes to the Texas band Immortal Guardian, who delivered the musical equivalent of a Lamborghini, a big and fast album that will leave you breathless. "Age of Revolution" has all the power and force that a certain band who walks through fire and flames has, but instead of relying on technical skill, it uses great song writing and pacing to get the listener going. It is one of the most brilliant power metal albums I have heard since... well last year (still love that Unleash The Archers album), but it is god damn impressive nonetheless.


3. Oceans of Slumber - The Banished Heart
I hoped that Oceans of Slumber would take the leap this year, and they sure did, a much bigger one than I anticipated. While the predecessor "Winter" was great in itself, "The Banished Heart" is just the band firing on all cylinders, hitting us with some of the best mix of beauty and brutality you will ever hear. The thing that makes the album truly shine though is singer Cammie Gilbert and her extreme range. She nails every note perfectly, while also capturing the mood spot on in every syllable. Still bothered though that I keep singing "feelings of nutmeg" on "The Decay of Disregard", even though I know it is wrong. I am awful.

2. Michael Romeo - War of The Worlds, Pt. 1
Gah, it was so difficult not to put this record at the top spot, because Michael's first solo record in over 2 decades is a marvelous exhibition on how talented the guy is. The Symphony X guitarist takes his signature style, adds a classic concept to the music, hire one of the most brilliant young singers imaginable, and it all ends up in what can only be described as a progressive power metal lover's wet dream. Everything in this album works to its strength (yes, even the dub step track), and never goes so far that it feels like Romeo is showing off, it is all contained just the right amount. I cannot wait for the second part, hope it comes soon.

1. Amorphis - Queen of Time

I have followed Amorphis ever since I started going deep in the metal well, and I have had the same feeling for the band, that they are without any question talented, that they can create some great music, but that they have missed that little extra tidbit to make me truly love them. Well, you may call me a believer now, because "Queen of Time" has converted me.

"Queen of Time" is as solid of a record you will find these days, a jam packed folk/melodic/death metal gumbo that is equal parts beautiful and heavy, but is all quality. This album has it all, catchy choruses, melodic passages that will stick with you for weeks, incredible precision, masterful innovation, and a little dose of Anneke Van Giersbergen as well to sweeten the deal even further. I have a bunch of albums to catch up to in this band's discography, but as far as I am concerned, it will be extremely tough for the elder albums to take out this Queen bee from its throne. A worthy champion.

Thank you all for this year, may 2019 be even greater.

Stay metal
Robert "Sharkruisher" Andersson

Best of 2018: Top 50 songs

Another year is coming to a close, which means it is once again time for me to bitch about how hard it is to make a top 50 song list, right? No, not this year, because even if it is still hard as hell to decipher which 50 of over a hundred capable candidates will make my list, I have taken a more light approach to this yearly task. So do not take the pure ranking of those songs that are out of the top 10 all too seriously, because they could be anywhere on the list, all depending on the current mood. At the end of the day, these are all great songs that have all made some kind of impact on me, and they deserve to be celebrated. As in previous years, only one song per band is allowed, and it had to be released this year. Let us get to the goodies.

50. Blaze Bayley - Eagle Spirit
The epic end to the William Black saga is... epic.

49. Lordi - Romeo Ate Juliet
Best interpretation of the classic tale I have ever heard.

48. Behemoth - Ecclesia Diabolica Catholica
This songica is pretty goodica.

47. Omnium Gatherum - Gods Go First
Okay, but I better go second.

46. The Ocean - Permian: The Great Dying
Technicality, and loads of it.

45. Clutch - How To Shake Hands
Fallon and crew gets my vote, I too want to see Jimi Hendrix on the 20-dollar bill.

44. Slash - Mind Your Manners
Jeesh Slash, you are not my mom.

43. Dynazty - In The Arms of A Devil
Ahh Nils Molin, love that powerful voice of yours

42. Ihsahn - Lend Me The Eyes of Millennia
Lots of hair rising brutality in here.

41. Heir Apparent - The Door
Ahh, good old Dream Theater... wait.

40. Watain - Nuclear Alchemy
Attack-tack-tack-tack-tack-tack-tack.

39. Daron Malakian And Scars On Broadway - Never Forget
Oh believe me, I won't.

38. Eneferens - Amethyst
Oh, how I love that atmosphere.

37. Immortal Guardian - Never To Return
So much power, I am almost drowning in it.

36. Joe Satriani - Headrush
Yes, Joe still got it.

35. Gama Bomb - Give Me Leather
These guys are sick, both in mind and in skill. Just filthy.

34. Angelus Apatrida - Martyrs of Chicago
Two straight thrash songs? What is this, 2017?.

33. Kalmah - The Evil Kin
Keep coming back for that sweet Kalmah sound.

32. Barren Earth - Withdrawal
Just a brilliant ending to a brilliant album.

31. Kamelot - Amnesiac
I forgot what I wanted to say about this song... oh well.

30. White Wizzard - Critical Mass
Rest in peace you brilliant, unstable tour de force of a band.

29. A Sound of Thunder - Second Lives
This group just gets better and better for each release.

28. Manticora - Katana - Awakening The Lunacy
Yes, the lunacy is awake, and it is magnificent.

27. Alice In Chains - Never Fade
Believe me Alice, you will not fade for a good while.

26. TesseracT - Juno
Album was a slight disappointment, song is great though.

25. Skeletonwitch - Fen of Shadows
It is a completely different Skeletonwitch that we have gotten this year, and most of it did not really work. This did however, and it is hopefully a start for something extra ordinary in the future.

24. Amorphis - Wrong Direction
Know the Anneke Van Giersbergen track "Amongst Stars" has gotten a ton of love, but this track just struck a chord with me. Then again, I could pick any song from "Queen of Time", and it would easily nest its way into this list.

23. Visigoth - Outlive Them All
Talk about a power house of traditional heavy metal, Visigoth delivered big time, and with "Outlive Them All", they went all in, showing that they will indeed survive further than its competition.

22. Angra feat. Alissa White-Gluz - Black Widow's Web
There is something with Angra and collaborations with female singers. Two years ago they created magic with Doro, now they do the same with Arch Enemy singer Alissa. Just marvelous.

21. Avatar - Legend of The King
Avatar is a really strange band, and their new album is nothing different, featuring a king who has constipation. The legend of said king is pretty fun to listen to at least, showing the band's potential that does not really hold up for an entire record.

20. Dimmu Borgir - Alpha Aeon Omega
A lot of mixed reviews for the black metal legends, but they did nail it with this song, a catchy, symphonic assault that is Dimmu Borgir at their very best. It is definitely the Alpha standard of symphonic black metal.

19. Antimatter - Sanctification
The saxophone had quite a year in metal, and it had some of its most shining moments in the album "Black Market Enlightenment" by Antimatter. "Sanctification" is the clear epic highlight of the record, that ending is as good as it can get.

18. Psychostick - Introvert Party Time
Kinda hate to say it, but I recognize myself a lot in this song. Love video games and getting drunk but hate people and being disrupted by those who love to tell their whole life story. Just one of many hilarious songs from "Do".

17. Judicator - The Queen of All Cities
I never say no to a epic 9 minute power metal track, especially if it is as well crafted as this one. Judicator loves doing these types of tracks, and I love listening to them.

16. Saxon - They Played Rock And Roll
Classic Saxon material that is a celebration to Motörhead, and what a homage it is. The group brings out their inner Lemmy's and crank out a banger of classic heavy metal.

15. The Algorithm - Sentinel Node
A master class of instrumental technology, The Algorithm delivers an emotional roller coaster ride filled with double bass drums, futuristic riffs, and neon lights. What a time to be alive.

14. Haken - Puzzle Box
It may not be another mastodon of a song like "The Architect", but "Puzzle Box" is another piece of proggy goodness from Haken that you can listen to time and time again without getting tired of it. It is pure magic, laid out piece by piece.

13. Mad Hatter - Go
There is nothing overly complicated here, just a band who took inspiration from "Alice In Wonderland" doing a straight up melodic power metal song that is catchy, epic, and just all around fun as hell. You do not need much more really.

12. Summoning - Silvertine
The new Summoning album was okay, but this little gem is a clear display of what the band is capable of with their own style of atmospheric folk/black metal. Moodful, precise, melodic, and straight up magical.

11. Fireproven - Future Diary
The title track of Fireproven's debut opens up furiously with a bad ass guitar solo, but it quickly evolves beyond a wanking fest. It is progressive power metal at its finest, equal parts epic, heavy, and loud. Just brilliance all the way through.

10. Khemmis - Isolation
To pick just one track from "Desolation" was not easy, but how could I ultimately resist the greatness that is "Isolation". It throws you in with some of the most intoxicating riffs you will ever face, then later change faces from being a groovy tour de force to a slower, more moodful doom masterpiece. An intelligent track from an intelligent band.

9. Engel - Book of Lies
Holy crap, this song gets me so god damn pumped up every time it gets on. Engel turns on the after burners with some relentless double bass action and true anger. Add in an extremely sing along friendly chorus, and you got yourself a song that will be stuck in your brain for months to come. An amazing surprise from an otherwise mediocre album.

8. Redemption - Long Night's Journey Into Day
If you want a tutorial on how to write a progressive metal epic, then look no further than to the title track of the excellent Redemption album "Long Night's Journey Into Day". This is a 10 and a half minute giant that takes you through all kinds of emotions, a song that is paced perfectly on the millisecond, and executed with surgical precision. I still do not know how I can have missed out on this band for so long.

7. Oceans of Slumber - The Banished Heart
The entire album is a show case of how diverse Oceans of Slumber is, mixing beautiful ballads with extremely brutal maulers, so choosing one for this list was not easy. The title track is more on the beautiful side, taking its time to develop and make a connection with you. It is also the ultimate display on what I think is the ultimate strength of the band, Cammie Gilbert and her euphoric vocals. That ending still give me massive goosebumps.

6. Orphaned Land - Chains Fall To Gravity
And the prog metal songs just keep on coming. Orphaned Land are masters of mixing the oriental sound with modern prog metal, and "Chains Fall To Gravity" is just another piece of evidence to that fact. It is a perfectly crafted goody that could be easily mistaken as the twin brother to the classic Dream Theater song "Home". A marvelous piece of art, just put a frame on it and hang it in your living room.

5. Black Space Riders - Fellow Peacemakers
Black Space Riders has always been a personal favourite of mine, their own style of stoner metal has managed to mesmerize me time and time again, but I think they have out done themselves with "Fellow Peacemakers", a really calm and collected song that uses a lot of piano work to set the mood. Then the band starts building, building, and building up the tension even more until it all bursts out to some catchy euphoria. I really hope she did find them, so that they also can experience the magic of this track.

4. Judas Priest - Lightning Strike
Choosing "Lightning Strike" from "Firepower" might seem like a safe pick since it is basically classic Judas Priest in a nutshell, but while I did love some of the band's more risque songs ("Never The Heroes" and "Rising From Ruins" just to name two), this track is just firing on every cylinder. It is everything you want from the group, it is catchy without being annoying, the double guitar assault from Tipton and Faulkner is tight, and Rob Halford is Rob Halford. For a band closing in on their inevitable end, they sound pretty energetic.

3. Michael Romeo - Differences
Yet another album that came with a difficult decision, because "War of The Worlds, Pt. 1" is just filled with bangers. It eventually fell on which song I remembered the most, and what got me going the most. "Differences" is ultimately just a stellar track that has excellent pacing, it is well integrated with the album concept, and it is the best display for the two main men, Michael Romeo and Rick Castellano, who are both disgustingly good. And yet, it only gets the bronze medal.

2. Rivers of Nihil - A Home
It starts with some simple riffing, a basic start, then the drums literally crash the party with full on insanity, and the magic can start. Rivers of Nihil has created a frantic experience that takes my mind to one of the favourites here on FATG industries, Mechina. Just like some of the best songs from the industrial death metal band, "A Home" has a futuristic brutality to it that is insanely intoxicating, but still has enough melody in it to not get lost in the noise. It is 5 minutes of brilliant madness, great metal at its purest form.

1. Between The Buried And Me - Voice of Trespass
Technically,  some of the previous tracks might be better and more innovative, but there is no other song this year that has given me such joy, made me move so much, and made me scream more loudly than the insanity known as "Voice of Trespass". Coming from the second of the two "Automata" albums, this track takes you to some shady jazz lounge where everyone has taken a mix of speed, coffee, Red Bull, and steroids, then proceeds to go completely ballistic on all the instruments (including the xylophone), creating an insane groove that you simply cannot resist. It is BTBAM at its BTBAMiest, and I would say that this song alone makes the album it is from an easy pick up, even if it is short as hell. Just more proof on who is one of the leaders of the progressive metal scene. BTBAM, you madmen have done it again.

Thank you for reading, and stay tuned for my top 20 albums of the year coming in the next few days. In the mean time, go listen to these songs in this handy Spotify playlist.




Stay metal
Robert "Sharkruisher" Andersson

Winter break

Yeah, you have probably noticed already that I have been quite inactive in recent weeks, my inspiration to review music is just not there right now. Gonna take a break for most of December, come back with my usual "End of the year" lists (top 50 songs, and top 20 albums) at the end of the month. Hopefully I will emerge as a more refreshed reviewer once 2019 arrives

Stay metal, and merry Christmas
Robert "Sharkruisher" Andersson

Helloween - Master of The Rings (1994)

After two very strange records and a shuffling of the line-up, Helloween emerged in 1994 as a reborn band, seemingly with a goal to completely erase both "Pink Bubbles Go Ape" and "Chameleon" from existence by going back to the band's roots. The title "Master of The Rings" sure has a nice ring to it (pun intended), taking us back to the fantasy realm where close to anything can happen, but who is the master? Maybe it is the video game part of my brain talking, but it cannot be anyone else than that blue blur known as Sonic The Hedgehog. Let us see if he makes an appearance, telling the band "You're too slow, come on, step it up".

It is funny that I talk about Sonic, because we do get a song dedicated to video games called "The Game Is On", talking that it could be a good way to escape reality and have some fun, as long as you do it responsibly. The lyrical themes are otherwise going in all sorts of directions, like doubts in faith inn "Why?", making sweet love in "Secret Alibi", and even giving former singer Michael Kiske a brutal slamming in "Mr. Ego (Take Me Down)". Ouch, that has to hurt.

While we are in the topics of singers, let us discuss Kiske's replacement, Mr. Andi Deris, who was picked up from Pink Cream 69. In terms of pure talent and range, Andi is definitely a down grade for Helloween, he just cannot match what Kiske could do, but he still has a unique tone to him that does fit the heavier side of the band. He is definitely not some average Joe that you are gonna forget, he gives his all, and does so in his way, which is probably why he is still with the band over 20 years later.

Andi does get a good amount of opportunities to shine in this record, because "Master of The Rings" has a bunch of really enjoyable tunes. "Sole Survivor" and "Where The Rain Grows" opens up the record with classic old school power metal, it is powerful, epic, and catchy as all hell. "Perfect Gentleman" shows off a more groovy and less serious side of the band that just feels fun, and "Still We Go" closes the album in an full on HammerFall-like offense. It is a dynamic record that may not have the same fire power as the "Keeper..." albums, but it is still a fun record to listen to.

However, even if the album is dynamic, it has sort of the same problem that "Chameleon" had, and that is that it feels sort of like a collaboration album, with songs that could have been made by other bands. "Mr. Ego (Take Me Down)" could have been a Queensrÿche song, and "In The Middle of A Heartbeat" could have been written by Bon Jovi. Then we have the most bonkers song in the entire record, "Take Me Home". I had to triple check to see if this was not a cover, because this track sounds so much like Van Halen that it just could not be an original track. It has everything that makes Van Halen what they are, the fast paced groove, the confident swagger, and the deciding factor, the guitars. Michael Weikath and Roland Grapow brings out their inner Eddie Van Halen and goes ballistic with insane riffs and solos that Eddie himself would be either proud over, or mad because they they straight out copied his style. I bet both Michael and Roland did a ton of practice on "Eruption" in their youth, and they nailed this one, creating a fun as hell song that is a clear stand out.

Overall, "Master of The Rings" is a clear return to form for Helloween, at least in the eyes of those who enjoyed their first three records, but not the two after those. For me, this is for sure a fun record that displays a band that has once again found harmony, a group that felt with ease in where they were at. It still has its fair share of bumps on the road, so the ride does not come out limousine quality of smoothness, but it is still a fun ride nonetheless. It is not like you are flying on a giant, golden ring in space, more like a four wheeler in the woods.

Songs worthy of recognition: Where The Rain Grows, Take Me Home, Still We Go

Rating: 7,5/10 Perfect Gentlemen

www.helloween.org/
twitter.com/helloweenorg

More reviews of Helloween
Walls of Jericho
Keeper of The Seven Keys: Part 1
Keeper of The Seven Keys: Part 2
Pink Bubbles Go Ape
Chameleon
The Time of The Oath
Better Than Raw
The Dark Ride
Rabbit Don't Come Easy
Keeper of The Seven Keys: The Legacy
Gambling With The Devil
7 Sinners
Straight Out of Hell
My God-Given Right

Skull Fist - Way of The Road (2018)

Classic speed metal as a genre is not exactly dead, but it certainly does not get a lot of attention these days. There could be several reasons to that, like no new bands taking the leap or no ground breaking records have been made for some time, but I think it is because we as a metal community has grown tired of the genre, which of course hits it hard on the bands that are still active within the genre. I do not think the Canadians in Skull Fist are doing terribly bad, but it has after all been 4 years since their last release, and judging by the album cover of their third effort, "Way of The Road", it seems like their budget has been cut down. No more colorful artwork with that skeleton mascot, instead we see the band in front of their beat down van, hoping for some much needed help to get to the next gig.

Their previous two LPs, "Head öf The Pack" and "Chasing The Dream", were both really enjoyable little speed demons, so it was not too far fetched to expect something similar for "Way of The Road", and we certainly got it. We got the killer double guitar combo that has always worked since the early days of Judas Priest, the vibrant bass that gives the sound that extra oomph, and also some nice high flying vocals that matches the speed quite well. From a quick glance, it seems like "Way of The Road" is standard, good stuff, starting off furiously with "You Belong To Me".

Then we come to the second track, "No More Running", and the band has already lost most of its momentum. It is an okay track overall with a nice melodic aura, but to let go of the gas so soon just does not feel right, and it also feels incredibly outdated, like it came straight out of the 80's. The band gets back up to speed again in "I Am A Slave", then gets immediately back to the sluggish pacing in the following three tracks. It is a roller coaster ride that does not feel very good.

Now, I do not want the band to go completely full speed ahead in the entire record, but if you are going to go for some slower, more melodic tracks, then do them well. "Heart of Rio" is a title that Duran Duran would do, and the music sounds like it could have been from Social Distortion, or any other old band that uses very simple riffing. In other words, not very speed metal like. Then we have "Witch Hunt", which has some neat guitar work in the solo, but it is otherwise a standard cookie cutter metal song that is just dull. I just wished they would have focused on creating more faster tracks, because those are genuinely good, like "Better Late Than Never" and its cool mix of Rainbow structures and Iron Maiden guitars.

The biggest problem with "Way of The Road" is that it feels pretty outdated, both in terms of a Skull Fist release, and as a general speed metal release. It is certainly a fine record overall that can give you a quick 80's fix, but if you are into the genre, you have surely heard albums like this one that are more fun, better executed, and are way more enjoyable. "Way of The Road" is an inconsistent release that does not warrant the 4 year wait, an album that is some rough shape from the get go, kind of like that van the band has. If you want to help these guys out, get one of their previous releases instead, do not bother with this one.

Songs worthy of recognition: I Am A Slave, You Belong To Me, Better Late Than Never

Rating: 5,5/10 Witch Hunts

www.facebook.com/skullfisted

More reviews of Skull Fist
Chasing The Dream

Haken - Vector (2018)

After spending some time in the past, British progressive metal group Haken is now back in present day, ready to unleash a brand new record onto our ears, and also giving us all a good old Rorschach test. So, what do I see in this album cover? A pair of lungs, an angel, a couple of doves, and also a cool comic book character that I have seen in some film, but cannot quite remember what his name is. Oh well, it is ultimately not what we see that matters, but what we hear, that is another kind of test.

After a strange and eerie opening in "Clear", "Vector" bursts out in "The Good Doctor", which is the shortest and simplest song in the album, but what it lacks in complexity, it makes up for it in hard hitting accuracy and jazz beats. It is for sure a positive start to the record, with a chorus that is catchy as hell, but it is still only a warm up for the onslaught of technicality that is about to hit us.

The following song "Puzzle Box" is pretty self explanatory. The riffs and beats in here by drummer Raymond Hearne, bassist Connor Green, and guitarists Charlie Griffiths and Richard Henshall are doing some wild gymnastics, spreading as much as possible to flex its muscles. The remaining members (vocalist Ross Jennings and keyboardist Diego Tejeida) do not let down either, helping out to make this track extremely versatile and exciting. All six has been playing together since 2014, so they have created a chemistry that is surely impressive, which is why the following song "Veil" is kind of a disappointment, because it has a little too much Dream Theater in it, and not enough of Haken and their signature prog style. It does not help that "Veil" is the longest track in the album, the only one going over the 8 minute mark, which in itself is a disappointment, together with the fact that we only got 44 minutes of new music, small potatoes for a prog band.

Haken gets back on track though with the instrumental track "Nil By Mouth", a diverse track that blends heavy and chaotic riffs with more soothing sections. It is just as dynamic as you would want an instrumental to be, never losing the listener among the sound gymnastics that is happening in seemingly light speed. Do not know if the band has done an instrumental before, but "Nil By Mouth" is impressive no matter what.

To get the listener back down to Earth, "Vector" ends with two pretty calm songs that does not challenge your mind all that much. "Host" is pretty forgettable with its jazz lounge style, but the closer "A Cell Divides" sticks with me quite well. No, it is not one of the more impressive songs of the record, but it is well executed in the build up phase, leading to the most memorable phrase of the record. "It's the beauty of the flaw, the grace of imperfection". Now that I think of it, this lyric line does describe the album fairly well. "Vector" has its flaws, like that it feels too short and that it is a little inconsistent, but it is still an album that is beautiful in its most shining moments. It does not live up to the expectations that both "The Mountain" and "Affinity" has created, but it is still a serviceable album that should please the fans, at least for a little while.

Songs worthy of recognition: Puzzle Box, The Good Doctor, Nil By Mouth

Rating: 7/10 Veils

www.hakenmusic.com/
twitter.com/Haken_Official

More reviews of Haken
Affinity

Tenacious D - Post-Apocalypto (2018)

The alleged greatest rock band in the world is back after a six year absence, and it seems like they have had quite an adventure during those six years. After all, why the hell would you release a record about your experiences of surviving a post apocalyptic world if you did not actually experience it. Maybe they blew it up a little too much, but then again, I am not American, so I have no idea what the USA was like after Trump got in the White House. I just have to trust the words of good old Jack Black and Kyle Gass.

So "Post-Apocalypto" takes the listener through a wild journey, which includes sex, nazis, sex, space, sex, time travel, and even more sex. Yes, just like with the predecessor "Rize of The Fenix", Tenacious D is once again going way too far with the sex jokes, losing all the impact that these jokes would normally have. I am starting to suspect if the band takes Viagra before going into the recording studio, because the whole first half of the record is just a bunch of loads, blow jobs, dicks, and va-jay-jays. I know I should not take these guys seriously, but come on, grow up a little bit at least.

Trust me though, the story becomes weirder after that, with the D fighting off against KKK members, Donald Jr., Jables Jr., and some weird ass monster called Daddy Ding Dong. Add a Terminator who fights with the D, and a three headed dog named Hope, and you got yourself a jumbled mess of WTF. The whole story is confusing as hell to follow, jumping from one happening to another like Jonathan Edwards takes three steps. The only way to make any sense of it all is if you go on to YouTube, and check out the mini series the band made, filling in the giant plot holes the album left us with, like why Hope started out with two heads but then later he has three, or what the hell a Yo-Yo Ma is.

So with the mini series, the story does make sense, and is admittedly pretty funny, but if you are gonna express this into album format as well, you just cannot leave so many plot holes in, or else the listener will be more lost than the people in Lost. Sure, I do admit that "The Pick of Destiny" had its own share of plot holes, but you could at the very least piece together the story there with some ease. That is something you cannot do with "Post-Apocalypto", there is just too much random shit happening.

Okay, I have talked enough about the story, but the only reason I have done so is that there is barely any music in here to begin with. There is way too many skits in this album, and whenever it finally gets to the music, the band just speeds it through, with no real song being over the 3 minute mark. The worst part is that the music is really good, classic Tenacious D rock that only they can do. The self titled track (and its reprise version) has that blazing "Master Exploder" feel that is so intoxicating, and the band manages to get some nice emotions in there too in "Fuck Yo-Yo Ma", "Hope" and "Making Love". Then we have two curve balls that are so wrong, but feels kind of right. First we have "marCH", an anthem for the KKK that claims that they like BBQs, but hate gays. In today's PC world, I am shocked that this exists, but it is kind of catchy, so..... nope, it is still wrong. Then we have a rap song in "JB Jr Rap", and the rapping is god damn awful, but in a funny way, and the beat itself is pretty sweet. Eh, it beats all the mumble rappers out there at least.

So all of this sums up into a 30 minute record, which is obviously way too short for a band that has had six years to make this record. "Post-Apocalypto" does have its moments of brilliance, but the fact that it is short as hell, have more holes than a Swiss cheese, is confusing as it can be, and that it feels like parts of it were done by a 10 year old makes this whole album a huge disappointment. I like the idea that they went for a concept record again, and the whole "End of the world" story is not bad, but it is presented really poorly unless you have watched the YouTube videos. JB, KG, I love you guys, but if a Terminator wielding a chainsaw-bazooka-machine-gun could not save this album, nothing could.

Songs worthy of recognition: Fuck Yo-Yo Ma, Post-Apocalypto Theme, Take Us Into Space

Rating: 4/10 Daddy Ding Dongs

www.tenaciousd.com/
twitter.com/RealTenaciousD

Helloween - Chameleon (1993)

So the previous Helloween album "Pink Bubbles Go Ape" might be weird, but I would argue that the band's 5th studio record entitled "Chameleon" is even weirder. Sure, the album cover does not have anything that matches a fish loving pinup girl, but what does this one say to you? It certainly does not scream power metal at least, and that is because this album is pretty far off from the high flying sound the band is known for. Instead, we get to hear a band that feels a little stuck in the 80's, despite this album being released in 1993. Oh lord have mercy on these pumpkins.

A possible reason to why "Chameleon" was so adventurous in its approach was the tensions within the band, which was so bad that both singer Michael Kiske and drummer Ingo Schwichtenberg got kicked out after the promotional tour. All of the songs were written by either Kiske, or one of the guitarists Michael Weikath and Roland Grapow, with no track having more than one writer. This leads to an album that is definitely diverse in its sound, but also extremely disjointed, going close to everywhere in the musical spectre, except for metal. We got rock, pop, prog, and even some country, but there is no sight of the sound that made the band so great in the first place.

So if you have not guessed it already, "Chameleon" is probably the most accesible Helloween album out there, feeling more like a collaboration between Bon Jovi and Guns N' Roses. So I did the only sensible thing, trying to get my mind straight, and judge this record from a blank slate, not thinking that it is Helloween who made it. Guess what, it does not work, it still sounds wrong, like no one band could make this on their own.

Still, I do think there is some good material in here, even if it is strange that it is Helloween performing these songs. "Revolution Now" and "Music" are two nice little pieces of progressive rock that the band handles surprisingly well, like a Queensrÿche light. Then we have the best of the 4 singles from this record, "Step Out of Hell", a steady and catchy rock tune that is easy to enjoy. The big favourite of mine though is "Crazy Cat", just because it is a fun and groovy song that show the funny side of the band, something I would have wished more from in this particular record. The saxophone in that track is a nice bonus as well. It is just a shame that these fine tracks are just a small part of this 1 hour and 11 minute record, which is obviously way too much to take in all at once. Some fat trimming would have done wonders here.

"Chameleon" is definitely deserving of its name, it shifts color here and there after the surrounding, but unlike the animal, this album just does not fit in. No matter how you see it, from whatever angle you may find, "Chameleon" is still kind of a mess, an album made by a group that is divided to their seams. It has its moments, but those are sparse, and it still does not really seem right. Not saying that Helloween cannot make an album that is not primarily power metal, but this particular effort is a no go in so many ways. It is a sad and strange ending to the Kiske era.

Songs worthy of recognition: Crazy Cat, Revolution Now, Step Out of Hell

Rating: 4,5/10 Giants

www.helloween.org/
twitter.com/helloweenorg

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Amaranthe - Helix (2018)

"We all die. The goal isn't to live forever. The goal is to create something that will."

That is the opening line to the Swedish/Danish collaboration Amaranthe's 5th studio effort "Helix", a statement that is most likely true to anyone who is in the music business, to construct something that will be enjoyed for generations to come. While Amaranthe may not have presented us with any masterpieces so far, they have at the very least established a sound and style that no other band out there has replicated successfully. Let us see if they take their trademarked sound to new, breathtaking levels.

To accomplish immortality, Amaranthe has made a shift in the line-up. Founder Jake E left the band last year, and has been replaced by Nils Molin, whom some of you might recognize from the melodic power metal band Dynazty. Not to say anything bad about Jake, he is a good singer and all, but Nils is a clear upgrade. The guy has an incredible range, being this dynamic dynamo that together with female vocalist Elize Ryd and harsh vocalist Henrik Englund Wilhelmsson create a bulletproof symbiosis, the corner stone to the entire Amaranthe sound. It is a slight shame that he does not get much space to work with, but when he does, like in the ballad "Unified" and the speed freak "Iconic", he delivers big time.

Otherwise it is same old song and dance with Amaranthe, it is catchy cyber metal that has a black belt in vocal harmonies. It is obvious however that the two year absent (which is like a life time knowing how frequently the band has released albums) and the member change has given the band a new spark of life. Not that the band have evolved their music or anything, but "Helix" just sounds a lot more fresh than the past two records "Massive Addictive" and "Maximalism". Maybe it is just the sleek production that is even sleeker that fools my mind, but whatever it is, it sounds neat.

The song writing is in the same line, it is classic Amaranthe stuff with few real surprises, but it has more punch to it. The opening quartet of "The Score", "365", "Inferno", and "Countdown" is a brilliant way to start the album, displaying a crash course in what Amaranthe is capable of with some groove, some power, and some bubble gum choruses that stick, but do not annoy. It is unfortunately a little of a flat line album despite all this vibrant power, with the sound changing marginally from track to track. The only stark contrast is when the ballad "Unified" enters the stage, but that is towards the very end of the record, so by that time you are probably already full of that sugary metal, and maybe in desperate need of a detox. "Breakthrough Starshot" stands out as well, but it is a groovy time travel to the 90's that is on the edge of being cringy. A strange habit the band has at least one time per album.

Overall though, I have to say that Amaranthe has delivered a strong and solid effort that fans will embrace with ease. Is it a revolutionary album? No. Does newcomer Nils Molin give the band a new influence? Not really. Will it bring in new fans? Most likely not. However, "Helix" is still a catchy onslaught that is one of the band's best efforts, definitely in line with their first two records. It may be like a donut, a pastry with too much sugar and the most healthy piece is the hole, but it is a tasty treat that you can spoil yourself with from time to time.

Songs worthy of recognition: Inferno, The Score, 365, Unified

Rating: 7,5/10 Countdowns

amaranthe.se/
twitter.com/amaranthemetal

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Disturbed - Evolution (2018)

So the new Disturbed album is called "Evolution", ehh? Hahahahahahahahhaahahahahhahaahahahaahhaahahahahaahahahahahaahahah aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaah hahahahahahahahahahaahahahaahahahahaahahahahaha... I think I am dying, hahahahahahahahaahahahaahahaha. Okay, that may have been a little mean, but you gotta be honest, Disturbed is one of the last bands that would evolve their music in any significant way, so that they release an album that is called "Evolution" is just silly. But wait, what is this? There is actually some differences in here from the average Disturbed album, like the fact that the always beloved The Guy is missing from the album cover for the first time since their second album "Believe". Maybe there is something to the title after all, or maybe it is just a mirage.

Well, not to spoil anything, but we got both a yes and a no to that. It still sounds like Disturbed with most of their classic tropes, and they are all early displayed as well in the two opening tracks "Are You Ready" and "No More". Both of them are groovy tracks in typical Disturbed fashion, containing some catchy rhythms, an edge that is not too edgy, and a David Draiman who makes his own special growls and sounds, this time without piercings. The band has made tracks that have some more punch to them, but "Are You Ready" and "No More" gives "Evolution" a positive, and familiar, opening that every fan should be pleased by.

After that opening duo, we get to hear what I think is the main reason to why this album is called "Evolution", an acoustic ballad. It does not surprise me one bit that Disturbed tries to make more calmer songs since they gained a bunch of new fans thanks to their decent, but highly overrated cover of Simon And Garfunkel's "The Sound of Silence". As an attempt, "A Reason To Fight" is not that half bad, it has a good message, and as far as ballads go, it is not too annoying. A valid effort from a band that you would think would be unable to create such songs.

Here is the problem though, "A Reason To Fight" is one of four (!) acoustic songs in this 10 track album. This is utter madness, why in the hell would this band do this? Not that I doubt that the band cannot write ballads, but this is simple metal math good folks. One ballad is enough, two is pushing it, and four is just way too many for a simple minded metal head to handle. It is certainly good news for the newer fans, but it is a major disappointment for those who grew up with albums like "The Sickness", "Believe", and "Ten Thousand Fists", with few moments that takes you back to those times (one being a bonus track called "This Venom", why was this one left out of the main line-up?).

The ballads are one part, but the rest of the songs (outside the opening two) just seems to lack energy. It all feels a little too constricted in the song writing, displaying a band that maybe is aiming more for radio air time than showing originality. Everything in here definitely sounds like Disturbed, but with an added, weaker filter that is extremely far from the in your face attitude that we are used to see from this band. The ultimate price for this approach is an album that is incredibly boring to listen to. A sluggish record that is certainly different than its 6 brothers, and it is unfortunately not for the better. Disturbed may call this an evolution, but I call it a major regression

Songs worthy of recognition: No More, Are You Ready

Rating: 3/10 Saviours of Nothing

www.disturbed1.com/
twitter.com/disturbed

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Immortalized

Gama Bomb - Speed Between The Lines (2018)

Knowing the Ireland thrashers Gama Bomb and their quirky humour, it is hard to decipher if the name of their 6th studio effort is talking about robotic athletes that shatters every record Usain Bolt possess, or if it is just a fun word play of taking amphetamines while preparing another string of cocaine. No matter what it means, you can be sure that there is one thing that we can take from "Speed Between The Lines", and that is that we are certainly gonna get our daily dose of lightning fast metal.

So when the album was announced, the band promised some ass-melting metal, and while the music did not do exactly that, it is most definitely another thrashtastic effort by the lads. Sure, it is not anything different from what the band have done previously, and they seemingly only know two types of tempo (fast, and faster), but this familiar feeling is still fun as hell to witness, even more so since the whole album is a bite size 35 minutes, just enough to satisfy, and not too much so you will not end up in a drowsy thrash coma. The same can be said about all individual songs, with all lying somewhere between 2,5-4 minutes in length.

The sound is not the main focus, it is instead the humorous insanity in the lyrics that makes you come back to the band time and time again. Gama Bomb has a simple strategy, they mostly sing about what they love, everything from early horror tropes, kinky fetishes, partying hard, and... Kurt Russell? Okay, we got ourselves a homage song to the actor Kurt Russell in here, and nothing against the guy, but why? Kurt is a fine actor and all, but has he really made any iconic performances during his career? I guess "Escape From L.A." and "Tango & Cash" are some of his most famous roles, and recently he was in both "Guardians of The Galaxy Vol. 2" and "The Hateful Eight", but that does not seem enough to warrant a good and catchy thrash song with some brilliant K-U-R-T chantings in his honor. It reminds me of Psychostick and their homage to Bruce Campbell, which leads me to believe that Gama Bomb have a sick fascination of Kurt. Would not surprise me if they get a tattoo of his face... on their face's.

Besides that awkward weirdness, there is still a lot to enjoy with this album. The lyrics will give you some good chuckles here and there, if you can keep up with the blazing speed it is being presented in that is, and it is all enhanced thanks to singer Philly Byrne. His demented vocals have that perfect mix of power, range, and insanity that can make any Gama Bomb song come to life in a spectacular way. The rest of the guys certainly do a good job too, trying to out speed each other in a way that would make a Formula 1 car seem sluggish.

The only problem with this album is that it is not made to last very long. It speeds through your mind, giving you a nice adrenaline rush that you would do best in not taking in multiple times a day. It is another thrashing fun record by the Irish lads that cements their spot as one of the main bands in their genre, but "Speed Between The Lines" is not an album that will necessarily define the band, nor thrash itself, in 2018. That is okay though, as long as both we and the band are having fun, that is more than enough. If you want a quick fix for that frowning face, then this record is just the cure you need.

Songs worthy of recognition: Give Me Leather, 666teen, Motorgeist, Kurt Russell

Rating: 7,5/10 Faceblasters

www.gamabomb.net/
twitter.com/GamaBombSpeaks

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Manic Movie Month: Jigsaw

In last year's MMM, I took a look back at all the previous movies in the "Saw" franchise as some sort of a preparation for the release of the not so long awaited 8th movie in the series. I still think "Saw" is a brilliant concept, a man that went through a life changing event, setting a goal to make people bring out something humans in general has lost in recent years, the urge to survive and live, but after all the pointless sequels with boring characters, confusing stories, and over the top torture porn, I had grown pretty tired of the series. Therefore, I had a choice to make, either watch the new movie entitled "Jigsaw" in theaters, risking spending my money on another dumb sequel, or wait for it to pop up on any of the streaming services. Well, the wait is over, "Jigsaw" is here, and I am finally ready to vomit my opinion on it over all of you.


Spoiler warning from here on out

With seven years since the last "Saw" movie, you would think that the crew had taken their time to create a non confusing story that actually makes sense, and they did... sort of. It all starts with the police chasing down criminal Edgar Munsen. The chase leads to a rooftop where Edgar draws out a remote control, stating that he has to follow the rules of the game, either he dies, or five other people risk being killed. Detective duo Halloran and Hunt eventually reach the scene, tries to shoot the remote away, but not before Edgar triggering the game somewhere else. It is now up to Halloran, Hunt, and pathologists Logan Nelson and Eleanor Bonneville to solve the mystery over the dead bodies that appear, and the seemingly strange connection to the Jigsaw killer John Kramer, who has been dead for 10 years.

I gotta say, the movie does build up to an interesting mystery to why the games have started again, and even if I did not for a second believe that Jigsaw had risen back from the dead (especially since he has been dead for the last 4 movies), it does make you wonder who is the real killer. Unfortunately, I knew this was a "Saw" movie, so that meant that there were going to be a massive twist at the end, so you spend most of the movie trying to figure out what the twist is going to be. This shift of focus is not exactly to the film's advantage, and it is fairly easy to see where it all is going to end, but I do appreciate that they tried to make this a legit mystery that does not rely on any of the previous movies, with not a single flashback in sight (except for what kind of bad stuff the victims did, but that is expected).

I also like that the characters are not just hollow shells of human beings, but that they all have personalities. Halloran is a shady cop who is probably too mad for his own good, Logan is a former soldier that just lost his wife who got murdered, Eleanor is a woman with dark undertones, and Hunt... well, we do not get to know much about him, but I do not care, because he seem like a cool dude, looks a little like a younger Bernie Mac. So the characters are far from perfect, but they are still a step up from previous installments.

We have focused on the detectives and their work, so let us shift our focus to the other part of the movie, the five people who are in the main game. It goes back to the "group" formula that was previously used in "Saw II" and "Saw V", where they have to help each other to win the game, a set up I prefer a hell of a lot more than the "lone guy tries to help a bunch of strangers" formula. All four victims (the fifth one is gone after the first test) have personalities, but none of them are anything really special that we have not seen before. I do feel like Ryan is kind of an egotistical asshole though, a little too aggressive in his erratic behaviour.

How about the traps then? That is actually another thing I really like about the movie, the traps are much more scaled back, and not so over the top as before. They are simple traps that demands simple solutions, like cutting yourself on a saw blade to free yourself, or figuring out how much money you stole from someone so you can pick the right syringe. The way that leads to some of these traps are kind of dumb though, but then again, the movie cannot be too linear, so I will allow it.

Do you even English???

What I will not allow though is pure stupidity, and yes, we got loads of it in this movie as well. Stupid victims have been an achilles for the franchise since the second movie, something that makes my blood boil every time. In this barn they are in (btw, love that they are not in some sterile old hospital or warehouse, a nice change of scenery), there is a huge door with the words "No exit" written all over it, and what do they do? Ryan tries to exit it of course, ending with him getting his leg caught in some wire trap. Fast forward a bit into the movie, and Anna does the exact same thing, despite her clearly stating time and time again that they have to follow the rules of the game. Seriously, what the hell were you thinking? Then we have Mitch who is hanging on top of this blender thing and have to reach a brake at the bottom to free himself. But that is okay, because Anna use her skills as Spiderwoman, climbing up and stopping the machine temporarily, so they both start to cheer. What the hell are you doing? Just reach that god damn brake, and free yourself instead of prematurely celebrating! Whoops, too late, the machine started again and you have been blended (Mitch dust, don't breath this). There are some other stupid moments, but I cannot mention them all here, or we would be here forever, so let me get to the end of my thoughts.

The truth is, I was kind of entertained throughout the entire movie. Yes, this is far from a cinematic masterpiece, and there are several dumb moments in here, but this is probably the most well constructed "Saw" movie since the third installment. My expectations were not that high, so it might be affecting my overall verdict on this film, but after going through all that confusing shit in the last 4 sequels, this minimized change of pace is more than welcome. The acting may still be average at best (even if Tobin Bell is great as always as Jigsaw), the whole plot is far from a mystery, and it is far from frightening, but as far as a "Saw" movie goes, it is actually not that half bad.

Rating: 6,5/10 Billy puppets

Oh, and if you wonder where I would put this movie amongst the other installments, here is a quick power ranking.

1. Saw
2. Saw III
3. Saw II
4. Jigsaw
5. Saw VI
6. Saw V
7. Saw IV
8. Saw 3D

Immortal Guardian - Age of Revolution (2018)

I do not really know why, but the album cover for the debut of the Texas band Immortal Guardian reminds me of the movie "Cloud Atlas". The movie is set in different time periods, but there ends the similarities really, no floating castles or Mayan princesses, neither human or robotic. Let us hope that it is not an indication on what my eventual verdict of "Age of Revolution" will be, because even if I was intrigued with that movie, it was still too long and confusing for me to fully comprehend (although I did love Korean Neo, what a bad ass).

Fortunately, this album is neither long, nor complicated. Clocking in at a solid 48 minutes, this quartet is presenting us with what they call "Super metal". Well, I would rather call it power metal deluxe, a type of the genre that few bands manage to pull off without sounding too cheesy. It is clearly obvious that the group has taken some inspiration from fellow countrymen DragonForce, but hear this, they skipped out the parts where they are going fully bananas in the solos and go "Woah-oh-woah-oh" before the last chorus, and replaced them with actual song writing. Yep, it sounds a little too good to be true, but they did it.

To make this all come together, you need good musicians, and we certainly got some here. Vocalist Carlos Zema seems like he fits right in the genre, screaming with such power and confidence, making every note seem like it is a piece of cake to sing them. We also got a great balance between the blazing fast guitar and the complementary keyboards, and that is because Gabriel Guardiola handles both, creating a symbiosis that is beautiful to witness. Let us also not forget Cody Gilliland's hard hitting drumming style, and the vibrant bass attack of Thad Stevens, rounding out a more than solid performance.

All the members aside, it is still the songs that steal the show, with most of the 9 tracks taking full advantage of the attention. The choruses in this record are incredibly strong and very sing along friendly, certainly worthy of making a fool out of yourself by shouting. There is a lot of adrenaline in the music, but it is surprisingly controlled enough so that it does not get too silly or insane. It is just great song writing through and through, keeping a level of intensity that is addictive as hell, and also fun. Man, it is gonna be tough to pick one song from this record that is gonna make the best song of the year list. It is right now a dead race between all of the songs I will list in the bottom.

While I absolutely love this record, it is most certainly not a perfect debut. Some more variation could have been welcome (one slightly slower song ain't gonna cut it), and I really do not like that the band call themselves a "super" metal band, just way too cheesy for my taste. It does not matter that much though, because Immortal Guardian has unleashed an impressive debut that every lover of power metal cannot afford to miss. It has been quite some time since I found a band that had so much intensity and power to them, while also maintaining a sense of control. "Age of Revolution" may not be a full on revolution in metal music, but it puts a fresh take on the genre that is much needed. No bullshit, all power, total bliss.

Songs worthy of recognition: Never To Return, Aeolian, Stardust, Hunters, State of Emergency

Rating: 9/10 Zephons

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