Slayer - World Painted Blood (2009)

The new millennium had so far been kind to Slayer, revitalizing their sound and reignited their fury. The year 2009 was no different, a year when the band released their 10th album "World Painted Blood", a powerful knuckle sandwich that was ready to knock everybody down. While it did that to some extent, it was still a little lackluster in its performance, and it is quite telling now that I look into this album, about 8 years after its release.

You see, this album is really fierce, but there is something with this production that just flat out sucks. The whole band sounds muted, like they performed behind a glass wall or something. It forces me to raise the volume to an unnecessary degree that will only come back to haunt me when I play some other media after wards. Maybe it is not surprising since the band had lost more and more contact with Rick Rubin as the years had gone by, but it shouldn't be this bad (this is also the last Slayer record that Rubin had anything to do with).

"World Painted Blood" is also the last album that featured the original line up of the band. In 2013, Lombardo left once again (and was replaced with Paul Bostaph once again), while iconic guitarist Jeff Hanneman died in the same year by liver failure. While the band did not know this would be the final album for this line up, they still played like it would be, bringing it all on every song, never letting go of the gas pedal. Just the speed and fury of songs like the title track, "Snuff", and "Public Display of Dismemberment" would make any other musician jealous (or feel finger pain).

And that is the most frustrating thing about "World Painted Blood", the fact that it contains a really good batch of songs,  but also a couple of pointless fillers, and they all lose some quality because of the dense production. This album definitely had the potential to reach the same heights as "Christ Illusion", or even "Hell Awaits", but it is held back by its own dumb mistakes. Then we have the fact that the lyrics are just decent at best, nothing that stands out or anything like that.

Once again though, it is the performance of the band that lifts the record. Araya is pissed, King and Hanneman blazes through every riff and solo with great precision, and Lombardo pummels those drums with determination. This is a band that has found it groove again, delivering a passionate performance that should leave no fan untouched.

Man, this is an annoying record. It has such great ideas, such fury, such power, and yet, it has the hand brake on, never gaining any real momentum. The faults that plague "World Painted Blood" are too much of a hindrance, completely killing what could have been, a kick ass album that might have been one of the better Slayer records up to date. It is still a fine record, that is for sure, but it is not the steam roller I think a lot hoped for, and for that, it ultimately ends up as a disappointment. Just imagine the possibilities it could have had with some half decent production.

Songs worthy of recognition: Snuff, World Painted Blood, Psychopathy Red

Rating: 7/10 Americons

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Halford - Halford III: Winter Songs (2009)

It was no surprise that Rob Halford's solo project would get in some kind of a break once it was clear that the Metal God was back in Judas Priest, touring and releasing the albums "Angel of Retribution" and *gulp* "Nostradamus". So when he finally got the time to create another album with Halford, he gave us another great curve ball, by making a Christmas album instead. That is right, Rob made a freaking Christmas album. I guess I should be glad that the rest of Judas Priest did not tag along for this ride, but still, weird as hell.

"Halford III: Winter Songs" consists of half original material, written either solely by Halford or together with guitarist Roy Z and producer John Baxter, and metalized versions of classic Christmas songs. All of this brings up one single question. Why? Why would he want to do this? It is pure fact that metal and Christmas rarely go along, especially not for an entire album. During my life, I have heard some good renditions of Christmas songs, like King Diamond's "No Present For Christmas", or a black metal version of "Silent Night", but when someone tries to bring metal into this jolly holiday, it usually ends in a crash that is worse than a Christmas light tangle.

As it turns out though, "Winter Songs" is not completely horrible. By all means, it is not a great record, but it does stay afloat. In fact, if you just listen to it, not thinking about the lyrics or the theme at all, you barely would notice that this is a Christmas record. Halford made sure that the heavy attitude were in the front, and that the jolly spirit would get its space, but not take over completely, making this a true metal record. Sure, we have some slip ups here and there where Christmas takes over too much, but they are few, especially when compared to what others have done. So this is indeed a Christmas record, but the music does not suffer because of it.

Let us start with the re worked songs, which all 6 are more or less well known christian psalms that is often heard of during the holiday. Who has not heard of "Oh Holy Night", "Come All Ye Faithful" and "What Child Is This?"? Not surprisingly, these re works are fairly dull, just the same songs with some heavy guitars added to them. The only one I really dig is "We Three Kings", a song that Steve Ouimette already proved could be metalized brilliantly. Only differences between these two versions are that the Halford version has vocals, and that it has a lot less shredding, but it is still really enjoyable when Roy Z and Mike Chlasciak battle it out. Clearly the front runner among the re worked songs.

When it comes to the original songs, we got a really mixed bag of different styles and sounds. There are only 4 original songs, but they are all completely different from each other. "Get Into The Spirit" starts off the album, and is the heaviest song of the album, only utilizing Rob's patented falsetto in a fairly slow, but heavy, tempo. A cool song that does what the name suggests. Skipping to "Christmas For Everyone", and we got a complete rip off of classic, christian Christmas music. It is hard to believe that this is an original song, but it is, and it is so weird. "Light of The World" could also be considered as a classic Christmas tune, but it is more normal, more modern, and it suits the band much better. Finally, we have "I Don't Care", which could be best described as Alice Cooper in a Santa suit. Yep, not what you would expect from Halford.

If you are tired of "White Christmas", "Do They Know It's Christmas", or that Christmas song by The Darkness, then "Halford III: Winter Songs" might be a suitable substitute for you, but just like any other Christmas themed album made by a rock or metal band, it is kind of meh. Sure, it is one of the better albums I have heard, but it is still far from a master piece, especially since there is no sensible reason to even make it. Maybe Rob tried to play Santa and give everyone a lovely gift, and the thought really counts here, but I am sure that we all would have loved a real album underneath our Christmas trees instead.

So from all of us here at Forsaken At The Gates, to all of you, a very merry Christmas... 5 months in advance.

Songs worthy of recognition: We Three Kings, Get Into The Spirit, Light of The World

Rating: 6/10 Faithfuls

Megadeth - Endgame (2009)

I have said it before, and I say it again, the career of Megadeth can be compared to a roller coaster, where it starts going up until you reach the top, which is "Rust In Peace", then it goes down hill until you hit the bottom, which is "Risk". Now here is the second high point of the Megadeth hell ride, the 12th effort known as "Endgame", a album that took all of the things that made its predecessor "United Abominations" so successful and cranked it up another couple of notches. It was a album that was the main weapon in the Megadeth arsenal to reclaim there place among the thrash gods.

And holy crap, talk about thrash candy literally everywhere. It is almost like in the good old days, were the typical Megadeth song consisted of 60% riffing, 30% solos and 10% what ever could fit well into the song (lyrics, intro, more riffing, etc.). But it is not like the good old days, 20 years have passed since, the line up is different and the songs have gotten a modern make over, but it is still pretty good since Megadeth evolves, just like almost everything else in this world.

The biggest thrash steak that "Endgame" offers is the war tank known as "This Day We Fight!", a song that contains one of the meanest and fastest riffs Dave Mustaine has ever played on his six string, and together with a speed that matches Sonic The Hedgehog and the motivational skills that would match a hundred William Wallace's (the main character in the movie classic "Braveheart"), this song is a force to be reckoned with, and it works perfect together with the opening intro, "Dialectic Chaos". The first single "Head Crusher" is also a nice thrashy tune that... well, crushes heads. Pretty good for a song that is just about a medieval torture device.

There are also some songs that have more of the modern touch in it, and still works pretty well thanks to good musicianship. Some examples of that is the well composed "How The Story Ends", the slow and interesting title track and the surprisingly melodic and beautiful "The Hardest Part of Letting Go... Sealed With A Kiss". This definitely gives the album more depth and makes the whole record sound like a mix of the old and new Megadeth, without sounding cliche or stupid. The band really hit all the right notes on this album.

But no matter how much I love this album, I cannot stop thinking on how some of the songs could have been much more cooler and tougher if the band would have changed some minor details here and there. The main problem is that some of the choruses are far too weak, like the one to "1,320'". It is a nice, speedy song that really captures the racing mentality perfectly, but the chorus could as well be non existent, because it is so similar to the verse. The same could also be said to "Bite The Hand" and "Bodies", and all of those three comes after each other, which means "Endgame" has a three song long span without a good chorus, which really annoys me. The band knows how to write a great chorus, so why didn't they apply those skills to those songs?

Despite that, "Endgame" is still a fantastic album that is among the top in the Megadeth discography. The speed, riffs and attitude in this album is over flowing into rapids and you do not want to stop it, you just want more and more and more. This is the ultimate sign that Megadeth is back where they belong, playing thrash that just crushes everything in its path. Even with that modern vibe in it, "Endgame" is still a amazing piece that beats out about 90% of the opposition. This is a game that I would not want to end at all.

Songs worthy of recognition: This Day We Fight!, The Hardest Part of Letting Go... Sealed With A Kiss, Head Crusher, How The Story Ends

Rating: 9/10 Bodies

Devin Townsend Project - Addicted (2009)

Part two of the Devin Townsend Project is called "Addicted", a album that is the complete opposite to its predecessor "Ki". Instead of progressive ambient metal, we get to experience more uplifting and happy metal that reminds you of the excellent album "Infinity". It also has a slightly different personnel than what "Ki" had. Out with Savoie, Maxwell and Ché, and in with Van Poederooyen, Waddell, Cimino and also the former The Gathering singer Anneke Van Giersbergen. A much needed change since I think the former line-up would not be fitting in this musical style.

This album deserves its name since most of the songs in this album are very catchy and very easily likable. The music itself sounds like a really heavy pop album with a nice mix of both male and female vocals since Anneke does the leads in a couple of songs. It is really hard to frown when you are listening to this album since everything in this album comes from the bright side of life. Not even the heavy and doom like "Numbered!" seems dark.

One of the most famous songs in this album is "Bend It Like Bender!", since it is often played by Devin in concerts. It is a nice groovy song with an interesting chorus, but it is far from my favourite in this album. It is clearly beaten by songs like "Addicted!", "Supercrush!", "Ih-Ah!", "The Way Home!", "Numbered!" and "Awake!!". This is a good example of that "Addicted" is a well diverse album that has a high and even quality all the way through the album

It is very easy to get happy while listening to "Addicted, but there is one song that gets my blood boiling with rage. The song "Hyperdrive!" is a re-recording of the same song from "Ziltoid The Omniscient", and it is really not a bad song, until you compare it with the original. The original was one of my favourite tracks from "Ziltoid The Omniscient" since it simulated the feeling of traveling through space, millions of miles from your loved ones, while the re-recording instead simulates the feeling of going 200 km/h on the highway without any worries in your mind at all. That is not right, it just feels fake and impersonal, and it does not help the fact that Anneke sings the song (which she still does good, but not as emotional as Devin did). So skip this song and listen to the original instead.

I would not like to compare "Ki" and "Addicted" against each other since they are two very different albums, but I would like to point out that this is the ultimate proof of the vast and ever changing mind of Devin Townsend. "Addicted" is intoxicating and would work perfectly as a drug. Even if there is a disappointing re-recording of "Hyperdrive!" in this album, I still would consider "Addicted" as one of the highlights of Devin's career. It does not waste time on daylight and it certainly does not get knocked down.

Songs worthy of recognition: Supercrush!, Ih-Ah!, The Way Home!, Awake!

Rating: 9/10 Hyperdrives

Devin Townsend Project - Ki (2009)

After over two years of intensive song writing and soul searching, Devin Townsend revealed his next step in his music career. A four album series with a band called Devin Townsend Project. This project was created with the goal of clarifying Devin's musical identity, and the first part of this four album series is "Ki" (Ki stands for the Japanese concept of life force), a very progressive album with some blues intentions and, of course, a little mix of Devin's characteristic metal style.

It is mostly a pretty quiet album, so I am forced to turn up my speakers higher than usual. What I eventually hear is some smooth music with very few tempo changes and no solos at all. It is music that I usually do not like, but it is something special with these songs. It could be Devin's perfect vocal performance, or maybe it is the fact that both heavy and light songs gets equally amount of space in this album. I do not know, and I do not care, I am still enjoying the music no matter what it is that is giving the music that extra edge.

I also think that this is an album for almost any fans of music, no matter what you are in too. For those of you who enjoys metal, then I would recommend "Disruptr", "Gato" and "Heaven's End" from this album since they are the two heaviest tracks in the album. They are pretty sluggish, but still keeps an slow, important momentum so the listener does not get completely bored out of its mind. If you are more into country, then I would suggest "Trainfire", a track that chugs on like a steady locomotive. And for you ambient freaks out there, I would believe that "Coast", "Terminal" and "Lady Hellen" should be towards your liking.

So there is plenty of nice songs to chose from, but no one really stands out from this all round even album. I also think that the overall quiet sound is killing it for me. Sure, it brings a fitting mood to the album, but I am a metal head, and I like it loud. As for the other musicians in the album, I do not think they did such big impressions. The female singer Ché Aimee Dorval has some decent moments here and there and the blues drummer Duris Maxwell's style fits well in the album, but "Ki" is overall not an album with blistering musical performances. Instead, it is the simplicity that speaks for itself.

This is without a doubt Devin's most progressive record up to date and it also works as a nice middle point between ambient music and progressive metal. So if you are a fan of either of the two musical styles, then I would recommend you to try out "Ki" since it is a nice, relaxing records with some heavy riffs. A decent start for this new project.

Songs worthy of recognition: Heaven's End, Disruptr, Terminal, Trainfire

Rating: 7/10 Quiet Riots

Dream Theater - Black Clouds & Silver Linings (2009)

For a normal band, six songs is not nearly an album, it is closer to an EP. But for a band like Dream Theater, six songs can easily lead to a full-length album that is well over one hour. This was a clear sign that "Black Clouds & Silver Linings" would be one of the bands most progressive albums to date with a total of four songs that reach beyond the ten minute mark. So yeah, this is easily not an album for those faint hearted nor an album for those who have no patient. This is an ultimate Dream Theater album for the ultimate Dream Theater fan.

Let us start talking about the two song that is under ten minutes long. The songs are "A Rite of Passage" and "Wither" and both of them made it as singles. "A Rite of Passage" is probably the closest thing the band has ever come to repeating their only super hit "Pull Me Under". The structure is similar and the choruses are both singalong friendly. But when it comes to epicness I feel that "A Rite of Passage" is falling behind "Pull Me Under". Still a great song though. The other single, "Wither", is a beautiful ballad that in the same time has a level of epic no previous Dream Theater ballad has ever reached. The power in the chorus makes the song really grand but at the same time also fragile in a very good way. One of the bands best ballads in their carrier.

So the "short" songs hold a high standard but what about the longer songs? Fortunately, they do not drag down the album into the dirt. The opener "A Nightmare To Remember" is a song about a car crash John Petrucci was involved in as a child. A great song that throws you between hope and despair, darkness and light, horrible memories and a man without a face. So yeah, "A Nightmare To Remember" is just like a thrilling rollercoaster where the excitement never seem to end. Never seen the likes of a more versatile song. Then we also have "The Shattered Fortress" which is the last song in Mike Portnoy's twelve-step suite about the AA and that song includes both familiar themes and musical parts from previous songs in the suite. For instance, the part around 8:30 comes from "The Root of All Evil". It is a sprawling song but it is a worthy finally of the suite. "The Best of Times" is also written by Portnoy, about his father who died from cancer. Now I do not want to be disrespectful to neither Mike, his father or this song but "The Best of Times" is the weakest song in "Black Clouds & Silver Linings" because it is hard to remember anything from it. It is bland all through. But I am still sure that Mike's father would be proud if he heard this piece before he died.

The last song is "The Count of Tuscany", the longest song in the album with a length of 19:19 and is about an encounter that John Petrucci had in, you guessed it, Tuscany, Italy. Is it just me but is that not a weird topic to sing about? No matter what, this song ends "Black Clouds & Silver Linings" in the same way "A Nightmare To Remember" started the album, in an exciting epic that is some of the bands finest moments ever. I know, the lyrics is a little to direct but that has very little matter when the music is so well composed and perfectly executed. Just magnificent.

In the end, "Black Clouds & Silver Linings" is the hardest album since "Train of Thought" and with the extra approach towards the progressive part we have ourselves the best album since "Metropolis Part 2: Scenes From A Memory". But with the few amount of songs I surprisingly get an urge for wanting more from the band even though the play time is well over one hour. Well screw it, this is a fantastic album that should make the mouths of every progressive metal fan very wet.

Songs worthy of recognition: A Nightmare To Remember, The Count of Tuscany, Wither

Rating: 9/10 Shattered Fortresses

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