Rhapsody of Fire - Dark Wings of Steel (2013)

I have never understood the greatness with Rhapsody of Fire. I should like their theatrical and grand power metal sound, but for some unknown reason, I never really get turned on with their music. Maybe this was the time to finally love the band now that one of the founders and main composers Luca Turilli have left the band to further develop his "movie music" in Luca Turilli's Rhapsody.

"Dark Wings of Steel" is the 10th album by the Italians and even if Luca has left the band, I consider this album as slightly more theatrical than its controversial predecessor "From Chaos To Eternity", mostly because there is no song here that screams metal like "Aeons of Raging Darkness". But the music is not so theatrical that it could be seen as movie music, which is the last thing I want to hear. I believe that movie music belongs on the big screen and not in a CD format.

The overall standard is pretty high on this album and I cannot find a single filler here. Everything here sounds really nice, like the beautiful Italian ballad "Custode Di Pace" (means peace keeper), the epic "Angel of Light" and the symphonic "A Tale of Magic". But just like with any other Rhapsody of Fire album, I cannot point to a individual song that could stand high and pride by itself. These songs creates an stable and good album together, but they are not very special at all individually, which is of course a shame since "Dark Wings of Steel" is a very solid piece of fine musicianship.

However, the biggest problem with "Dark Wings of Steel" is the lack of memorability in the songs. The only chorus I can remember after the first two listening sessions is "Fly To Crystal Skies", and that is only because of Fabio Lione's weird pronunciation of crystal (or as he says it, criestel). As soon as one song is done, I have to go back to it only to remember what I was listening to, even if I have heard the album several times. And no, I do not suffer from Alzheimers disease if you wondered that.

But even if the album has some slight problems, it still exceeds my expectations. "Dark Wings of Steel" does not convince me that Rhapsody of Fire can create world class music, but it keeps me interested with its unique sound and fine craftsmanship. Actually, I think it is one of the better Rhapsody of Fire albums made so far. But is the band better than Luca Turilli's Rhapsody? For now, yes, but Luca can still catch up if his next album is a killer (an album that is set for an release during next year). But for now, "Dark Wings of Steel" will have to do for the fans and the ones that despises Rhapsody of Fire may have to keep looking at other directions for something they will like.

Songs worthy of recognition: A Tale of Magic, Custode Di Pace, Fly To Crystal Skies

Rating: 7/10 Angels of Light

A Hero For The World - Winter Is Coming (A Holiday Rock Opera) (2013)

Few bands this year have been as productive as the power metal band A Hero For The World. First they released their self-titled debut album in march this year, then they released the EP "On Fire" (that contained too much music for its own good). And despite an earthquake and the typhoon Haiyan attacking their recording location in the Philippines, they still managed to record a winter album just before the holidays.

"Winter Is Coming" is a two act opera containing both new material and some classic winter tunes in a new musical style. Frankly, I was not very excited with this release since I have heard thousands of metalized Christmas songs. Everything from Twisted Sister's holiday album to a black metal version of "Silent Night". But only so few of these versions are any good (my personal favourite is Ronnie James Dio and Tony Iommi's version of "God Rest Ye Merry Gentlemen"). The only thing that kept my hope up was that I have not actually heard a power metal band do any Christmas music, so it would be interesting to see how that would sound like.

The first act starts with a 8 minute long song called "Gloria In Excelsis Deo" that is a medley with "Hark The Herald Angels Sing", "O Holy Night" and more. It is a nice medley indeed and it is one of my favourite tracks of the album with its diversity and stable power metal foundation, but I was just wondering why the songs in the medley also appears in the end of the second act? I could see the point with it if they put those songs in a deluxe CD or so, but it is otherwise so unnecessary.

Besides from the medley, most of the songs here are just slow songs that is supposed to get you in the mood for Christmas. While some are quite enjoyable, most of these slower songs are pure sleeping pills. It is instead when the tempo is higher where the power metal influence is used at its best. Some proofs of this are "Good King Wenceslas" and the original song "Winter Is Coming". Some sweet power metal with winter coating.

Sadly, the down sides with this albums are more obvious than the up sides. Besides the sleeping pills, I think that there are too many songs on this album. There are 20 tracks in this album, but I think 15 would have been enough for comfort. Then there is the singer Jacob Kaasgaard, whose voice I still have a problem with. He definitely tries to adapt himself , but his voice is still too weak to nail those high notes. He is a nice keyboard player and there are weaker vocalists out there, but I feel that he should let the singing over to someone who has the capability to front a power metal band.

This is certainly one of the better Christmas albums I have heard for some time, but it is still a Christmas album, which means that it is almost impossible to get it completely right. The original songs in this albums are pretty good and some covers holds up nicely, but just like with all other Christmas music, I will probably be tired of this record around St. Lucy's day (13th December). Nice try guys, but put more of that effort in making a normal album instead of something we only will listen to one month a year (at max).

Songs worthy of recognition: Winter Is Coming, Gloria In Excelsis Deo, Good King Wenceslas

Rating: 5/10 Dark Skies

Almah - Unfold (2013)

Starting as a side project, Brazilian power metal band Almah was created by the Angra front man Edu Falaschi in 2001, but thanks to the growing success with the band, Almah became a permanent band that Edu now focuses on 100% since he left Angra last year. For every album that Almah have released, they have taken one step further with the heavy sound, and it was very successful in their latest installment "Motion" in 2011. "Unfold" is the fourth album by the band, and I expected that they would take everything that made "Motion" so good and develop it further. Sadly, they did not.

I will admit that "Unfold" have some similarities with its predecessor. There are several parts where there is a perfect mix of heavy metal and power metal, but it feels like Almah does not go with this sound to 100% like they did in "Motion". Instead, they put in some more smooth and easy notes in the music, which gives some more variation, but also loses some strength.Why would they do that when they had a perfectly good and original sound at their disposal? Instead, they experiment with typical power metal ballads ("Warm Wind"), stupid rock groove ("You Gotta Stand") and some U2 shit ("Wings of Revolution"). Not okay man, not okay.

But there is still some elements in "Unfold" that definitely works. Like the frenetic drum work in "In My Sleep", the chorus in "The Hostage" (but not that god awful Black Label Society verse), the beautiful "Raise The Sun" and the powerful "Believer" (the only power metal song in this album that actually works). But they only make up for some of the faults with this album. They cannot help that the production is not perfect nor the weird experimental tracks that drags the album down. It is a shame since the members are all great and professional musicians that makes a great effort to make "Unfold" as good as it can be.

The final nail in the coffin for "Unfold" spells "Treasure of The Gods". A nine minute long epic that picks out every power metal cliche in the book. A slow start, epic chorus and some technical instrumental work along the way. Even if it is one of the better tracks in "Unfold", I still want to just vomit bile all over the place. What happened to the originality? What happened with the excitement?

This was a big disappointment, maybe one of the bigger ones in 2013. I expected "Unfold" to be a continuation of "Motion" and securing Almah's place as one of the more interesting power/heavy metal bands in the world, but instead, they experimented so much that they lost themselves on the way. "Unfold" shows some glimpses of greatness, but it is overall an unpleasant record. So please Almah, skip the whole "let's be a typical power metal band" act and keep the heavy hard rock sound instead. It fits you much better and it feels more original.

Songs worthy of recognition: In My Sleep, Raise The Sun, Believer

Rating: 4,5/10 Cannibals In Suits

Hell - Curse & Chapter (2013)

As being one of the front runners in the underground culture of British metal music during the 80's, but never catching a big breakthrough because of a series of setbacks, it was a big surprise that Hell announced a comeback in 2008 (over 30 years after their break up). Three years later came their long awaited debut album "Human Remains", a album that was celebrated as an amazing album, both by fans and critics alike. But it is now time for the next test. Could they create another astounding release with their sophomore album?

So here we have it, the follow up to "Human Remains" that is entitled "Curse & Chapter". A album that works great as a follow up since it is very much alike its predecessor. We still have the devil and the occult as the main theme, and the sound is still heavy with influences from the 80's NWoBHM movement (even if it is more modernized). So no, nothing has really changed during the time between the albums, but I see it as a good thing that the band shows some continuity with their music.

Just like in "Human Remains", some old demo classics arises in "Curse & Chapter", but they are in a minority this time. It is the songs "Deathsquad", "Land of The Living Dead" and "Deliver Us From Evil" that has been remastered for the 21st century. Now I cannot compare the demo track with the album version, but I can definitely sense that the songs have an aura from the 80's, especially the instrumental "Deathsquad" that takes my mind back to the earliest works of Iron Maiden and "Deliver Us From Evil" reminds me of Mercyful Fate. However, I feel that there are stronger creations in this album than these three particular songs.

It is fun to see that it is the new material that takes the most space in this album, but it is even funnier to see that they exceed my expectation and take over completely. Songs like "The Age of Nefarious", "Faith Will Fall", "Darkhangel" and "Something Wicked This Way Comes" are just so god damn good that it actually makes me mad that this band did not get an honest chance in the 80's. Well I guess God (or Satan) works his magic in mysterious ways. But it is a relief to see that this band still has the ability to create some great and impressive tunes.

If "Human Remains" was a album to declare Hell's triumphant return, then "Curse & Chapter" is the statement that they still know how to write fantastic metal. The album is just the fantastic NWoBHM assault that you would have hoped for from this band. Another proof of Hell's great excellence.

Songs worthy of recognition: Faith Will Fall, Something Wicked This Way Comes,  The Age of Nefarious

Rating: 9/10 Deathsquads

Five Finger Death Punch - The Wrong Side of Heaven And The Righteous Side of Hell - Volume 2 (2013)

Three months have gone since the first volume of this double album was released, but the time has finally come for the hard hitting quintet from LA to reveal the second half of "The Wrong Side of Heaven And The Righteous Side of Hell" (I still think that the title is way too long). So what have changed since? For starters, there are no guest artist in this second volume, only Ivan Moody, Zoltan Bathory and the rest of the band. We also have a new color palette on the cover and no questionable covers of any rap songs (only a cover of a traditional folk song). So it looks pretty good from the start, but with the strong song line-up from the first album in mind, it would be obvious that this album had to knock it out of the park to triumph over its predecessor.

Musically speaking, there is not much that separates the two album apart from each other. We got fast and catchy power songs, some slower and more delicate tunes, but sadly no ultra heavy song that has only one goal, to crush your brain into smithereens. Now, I understand why the band made these albums similar to each other, but I would have appreciated it if they tried to make two different albums that would have shown the band's diversity. The only real difference I see between the albums is that it feels like Ivan Moody is not as angry in this album as he was in volume 1. If that is supposed to represent the albums as a "good" and a "evil" album is for you to figure out.

One thing that makes this volume superior compared to its predecessor is that it is more even in its performance. There is no real shit song to be found here, but there is also no real masterpiece here either. The best picks from this album is the fast crunching "Wrecking Ball", the fast starter "Here To Die", the beautiful "Battle Born" and the nicely paced "Cradle To Grave". This evenness brings however a big flaw to this album, and that is that it does not take much time before you get tired at the album. That is the main reason why I believe that the band should have put in either "I.M.Sin" or "Dot Your Eyes" from the last album to give this album some much needed variation.

Then we also have that cover of the traditional American folk song "House of The Rising Sun", a song that has been covered several times in the past by The Animals, Dolly Parton and others. Compared to the horrible cover of "Mama Said Knock You Out" on the last album, this is at least 50 times better. 5FDP really made this song their own with the blasting double bass and the smooth riffing. The only problem is that most of the younger audience will probably think that this is a 5FDP original, something that has already happened with their cover of "Bad Company".

In the end, I think that the two volumes are good, but that the first volume is the superior one. The first volume had more power and more of a personality while the second volume was more even in its performance, but it also has a shorter life span. Both albums have their strengths and weaknesses, but even if they are two good individual albums, I would have liked it more if the band had made one big album with the great songs and left some good songs on hold so they could be included in a future album. Anyway, both "The Wrong Side of Heaven And The Righteous Side of Hell" albums are worthy a check for fans of both angry/powerful metal and more commercially approached rock. But for the next album, please keep the title at 20 characters maximum.

Songs worthy of recognition: Wrecking Ball, Battle Born, Here To Die

Rating: 7/10 Weights Beneath My Sin

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And Justice For None

Ayreon - The Theory of Everything (2013)

Those of you who are familiar with Arjen Lucassen and his solo project Ayreon knows that he is not afraid to go the full distance when it comes to creating a grand and fantastic epic. And now it is time again to really open your mind and clear out several hours of the schedule. "The Theory of Everything" is a epic piece that consists of 42 songs, which together creates 4 bigger songs or phases, and the total play time of the album is a whooping 1 hour, 29 minutes and 58 seconds, So yeah, this is not a album for the busy guy nor the impatient guy.

As always, Arjen gets some help from several guest artists from the metal world. Some of the big names this time are Jordan Rudess (Dream Theater), Cristina Scabbia (Lacuna Coil), Marco Hietala (Nightwish, Tarot), Janne Christoffersson (Grand Magus) and many more. And with this well experienced crew comes some good musical performance, even if there is a significant variation in styles.

As far as the story goes, it is just like any other Ayreon album where every singer is a character. The only difference with "The Theory of Everything" is that Ayreon is starting from scratch with a new story (the rest of the albums, from "The Final Experiment" to "01011001", portrays one giant saga). It is about a man who tries to figure out the theory of everything (if you are wondering what it is, look it up on Wikipedia. I got an headache just by trying to figure out what it was about) just because he is having trouble of living an "ordinary" life. It is certainly an interesting story, and the lyrics and vocalists really brings it to life.

But it is the music that is the main ingredient to really make a great concept album, and Ayreon's characteristic epic sound works every time. It is both a beautiful and grand sound that also morphs into different sounds from other eras and regions, like in "Phase 1: Singularity" we get sounds from the middle ages, the Arabian region and also some futuristic tunes. The music is truly versatile and brings true depth to the album, but I feel like this is a album that you must listen to in its entirety. I cannot just pick a couple of songs or one specific phase that stands out from the others, because they are all linked so strongly together that it would be a risk just picking out one from the link. But I see it as a strength since it makes a more cohesive album.

But are there any weaknesses with "The Theory of Everything"? Well, the album demands its listener, which means that people with a small amount of patient will not only have a harder time enjoying the album, but also might not even listen to the entire thing in one sitting. Otherwise there is nothing wrong with this album, but I do feel that the musicality does not last very long in my head. There are only few small parts in every phase that I remember well, but I think that could have been fixed if Arjen would have done eight 10+ minute songs instead of four 20+ minute songs.

I can honestly say that Arjen Lucassen has made another great epic. "The Theory of Everything" is Ayreon out to the fingertips and fans of the band will probably put this album instantly on the top of their "end of the year" list. And even though I also loved the album and its story, I still feel that there are things that could have improven, especially the memorability factor. None the less, "The Theory of Everything" is a magnificent album that is the definition of epic.

Phases worthy of recognition: all of them

Rating: 9/10 Symmetries

Motörhead - Aftershock (2013)

Reviewing a band like Motörhead is not the easiest thing in the world. During the 30+ years that the band has been active, they have more or less played the same music over and over again, a trend that is more or less impossible in today's society. Cause if a newer band tried to make it just like Motörhead, everyone would in one point or another think that it is a boring band that cannot evolve and has no talent what so ever. Motörhead however, have done this for so long that most of the metal community would be pissed if the band tried something new. So there is no surprise at all when I take on Motörhead's 21st studio album entitled "Aftershock" only to find out that it is very much alike album number 20, 19, 18 and so on, and there by I could easily stop this review right here.

But I chose to continue since there is more below the surface. We all know Lemmy's recent health problems, and unfortunately, they are present in this record. His voice is not particularly strong and it helps dragging down the album slightly. It is sad since the rest of the gang is holding up their part nicely. This of course makes me ask the question if this is the last Motörhead album we will ever witness? I sure hope not, but it clearly seems like it if Lemmy's health situation does not change.

Even with this health situation, I still find some go in this album, especially in the speedy "Heartbreaker" and high rolling "End of Time". It is still clear that Motörhead knows what they are doing and the overall song quality is actually not that bad, even though I found more variety in their last album, "The Wörld Is Yours". One other notable thing with "Aftershock" is that the band has gone back to some of its blues roots in this album. Pretty nice, even if it is not my kind of taste.

Otherwise it is the same old story. Stable rock 'n' roll with great riffing, groovy drumming and Lemmy's characteristic whiskey voice. Also, there are few and small things that gives the songs a own personality. Like the heavy drumming in "Death Machine", the insane riffing in "End of Time", the attitude in "Silence When You Speak To Me", the clinky keyboard in "Crying Shame" and the lyrics in the "Ace of Spades" like "Going To Mexico". And that is also why I think Motörhead still gets this attention even though they play the same music as they did 30 years ago. They still find ways to make the songs standing strong on their own.

If you have listened to any Motörhead album in their career, then you probably know what "Aftershock" has to offer. It is not an innovative album, it is Motörhead from top to bottom. Just like Winter comes after Autumn, Motörhead does not surprise at all. So "Aftershock" is just like the band's own wine. Good, but not even close to being extra ordinary.

Songs worthy of recognition: Going To Mexico, Silence When You Speak To Me, End of Time

Rating: 6/10 Heartbreakers

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Bad Magic

Korn - The Paradigm Shift (2013)

The American Nu-metal band Korn has gone through some drastic changes these last couple of years. Their latest album, "The Path of Totality", was a weird experiment that can only be described as the birth of dub-metal. And after that, the band was re-united with the original guitarist Brian "Head" Welch. So the questions about Korn's 11th studio release, "The Paradigm Shift" were many. Could "Head" bring the band back to its glory days? Was the dub-metal experiment a one time thing? Would I see the South Park version of the band before my eyes when the songs starts playing?

First off, Let me ease your minds with the fact that there is no sign of dub-step in this album (well, maybe a little on "Never Never"). With the entrance of "Head" has come a more classic Korn sound that may not have the same mystical touch like back in the days, but it still feels fresh and interesting. Several details are very interesting, like the catchy riffs, the passionate drumming and Jonathan Davis's fine vocal work.

Cause it is the small things that makes "The Paradigm Shift" a good album, not the whole experience. There are 11 songs in this album, but none of them are really surprising nor really impressive. I like the more aggressive songs like "Prey For Me", "Punishment Time" and "Love & Meth", and some of the melodic melodies ("Spike In My Veins" and "Mass Hysteria") are nice, but they are not strong enough to make "The Paradigm Shift" a complete winner. It is obvious that the band have found a new strength during the last years and the performance is more or less flawless, but when a album is mixing between good songs that both the band and fans can be proud of with boring and pointless fillers like "Never Never" and "It's All Wrong", it is impossible to fully appreciate all the hard work that the band has spent to make this record happen.

I can however still confidently say that this is the best album by Korn in some time. It is obvious that Brian's return has helped the band in the right direction and if this form is continuing like this, then I would not be surprised if the next album will not only be better, it also could potentially be a future classic. "The Paradigm Shift" will probably not be remembered as the highlight of Korn's career, but it is still a album that has some really neat quality in it.

Songs worthy of recognition: Prey For Me, Love & Meth, Punishment Time

Rating: 7,5/10 Spikes In My Veins

Dream Theater - S/T (2013)

When a well experienced band is releasing a self titled album, that can only mean one of two things. Either the band has lost all of its inspiration, or it is a mark of a new beginning for the band. And even though Mike Mangini made his debut on the last record, "A Dramatic Turn of Events", he did not contribute in the song writing process and he did not get enough room to show his full potential. So I was very curious of how Dream Theater would approach this album and to see how a big chocolate cake sounds like.

I can instantly say that "Dream Theater" is a bolder piece than its predecessor. "A Dramatic Turn of Events" was a album filled with safe bets so Mangini would feel comfortable in his position. Now that he has some more complex pieces to deal with, he can really show what he is made of, just like the rest of the band. Petrucci's riffs are spot on, Myung's bass lines are groovy, Rudess's keyboard tones are nice and LaBrie sings at his usual level. So the performance is, as usual, superb.

I understand that "Dream Theater" is supposed to be the new starting point for the band, but I cannot help to see that this album could be described as the Dream Theater discography for dummies. We have "The Looking Glass" that reminds me of the band's "worst" album "Falling Into Infinity" (also reminds me of the Canadian trio Rush), the heavy instrumental "Enigma Machine" fits right in "Train of Thought", the epicness of "Surrender To Reason" reminds me of "Metropolis Part 2: Scenes From A Memory" and the first single, "The Enemy Inside", is a heavier (and better) copy of "On The Backs of Angels" from "A Dramatic Turn of Events". Even with these resemblances, I still see "Dream Theater" as a individual piece in the epic Dream Theater discography, instead of a indirect "best of" album.

One part of the album that I actually think is original is the ballads. Sure, the two songs that are ballads on this album are just like typical Dream Theater ballads, but the quality of them is stepped up a bit. "The Bigger Picture" is actually one of the best ballads the band has ever created. Good lyrics, beautiful melodies and a emotional chorus. Three ingredients that makes a great Dream Theater ballad. The other ballad, "Along For The Ride", is one of the weaker tracks of the album, but I have heard worse ballads made by the band.

Another noticeable thing is that there is only one mastodon song in this album, which is the first time for the band since "Awake". But to compensate the small amount of giant epics, the band made this mastodon over 22 minutes long. The song is called "Illumination Theory" and is the closer of "Dream Theater". It is definitely fitting nicely in the end of the album, but it is pretty uneven on the performance. Some instrumental parts sounds great while others (like the silence in the end) are just weird. I give this mastodon my approval, but it is a proof that just because it is longer, it does not mean that it is better.

"Dream Theater" is far from a masterpiece and with its overall quality, I would put this self titled release somewhere in the middle of the pack against the rest of the discography. Sure, it has some highly enjoyable moments, but it is still a pretty anonymous release without a real clear sense of direction. It is a nice album. No more, no less.

Songs worthy of recognition: The Enemy Inside, The Bigger Picture, Surrender To Reason

Rating: 7,5/10 Illumination Theories

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Distance Over Time

GWAR - Battle Maximus (2013)

Our favourite obnoxious aliens are back for more carnage, this time with this "celebration" album for their fallen band mate Flattus Maximus. "Battle Maximus" is the 13th installment by the Virginia band that has charmed (and disgusted) the world with their costumes and vile lyrics for almost 30 years. So let us see what Oderus Urungus and the rest of the gang has come up with this time.

For those of you who are well aware of GWAR's sound and style, you will definitely not be dissapointed with this record. There is loads of heavy riffs, groovy tunes and upp your ass attitude, but unfortunately, the band has still not covered up their weakness of the small variety. The album is packed with either fast or semi-fast songs that has similar song structures. There are of course variation in musical styles on this album. From straight forward heavy metal to more rock oriented tracks, but it is not enough to make me satisfied.

Another weak point with "Battle Maximus" is that you get tired of this album pretty quickly, especially the later half of the album has several spots where you can easily skip. One song that is just painful to listen at is "Falling" that fits more in a Papa Roach album. If GWAR made this is a joke, then I did not think it was funny at all. Just a waste of space.

But let's be honest, the strong point of GWAR is not the music, it is the lyrics and the humour that makes the aliens shine. And I can guarantee that there is lots of it in "Battle Maximus". However, that does not mean that GWAR has no musical skill at all. Some fine moments are the groovines and speed of "Madness At The Core of Time", the intoxicating riffing in "Bloodbath", the heaviness in "Torture" and the mood settings in "They Swallowed The Sun".

One thing that surprised me with "Battle Maximus" is the title track, a instrumental song that is a tribute to their fallen band mate Flattus Maximus. The band has not made a instrumental since 1999 ("A Short Story of The End of The World" from "We Kill Everything") so I did not expect this at all. The song itself starts violently fast with lots of shreding and fast double bass beats that eventually is replaced by a steady beat and some solos. A good instrumental, but nothing extra ordinary.

"Battle Maximus" is surely an excellent album and a great way to pay tribute to Flattus Maximus, but it is not the best effort that the band has made. The variety is low and it does not have a long life span. But I still think that Flattus Maximus is looking up from hell and is proud of what his band mates have made without him. Am I proud of the band? no, I expect more from them.

Songs worthy of recognition: Bloodbath, Madness At The Core of Time, They Swallowed The Sun

Rating: 6,5/10 Pig Childrens

Katatonia - Dethroned & Uncrowned (2013)

It was only a mere year ago since the Swedish gothic doom band Katatonia released a album. That album was "Dead End Kings" and was a excellent display of the band's capability. Before I listened to this new record entitled "Dethroned & Uncrowned", I had to go back to "Dead End Kings" and remember the songs from there. Why? Because this album is practically "Dead End Kings". Katatonia has taken the song names and the lyrics from "Dead End Kings", got rid of the drums and the heavy guitars and given the songs a acoustic sound. Yes, these are re imagined versions of the songs in "Dead End Kings".

What are my thoughts of this album? Well I personally feel that the band is covering them self. It is a pretty neat idea, but I feel that the band should be focusing on writing new material instead of reinventing their old. Then again, it is exciting to see two sides of the same coin I guess.

To continue this review, I thought why not have a battle, song versus song. Sounds good? No? Well fuck you too. My blog, my rules. Here we go.

The Parting Vs. The Parting
This song was pretty good in both albums, although I think that the guitar part near the end of the song has more effect with the string instruments on Dethroned. A very close fight that Dethroned wins in Sudden Death.

The One You Are Looking For Is Not Here Vs. The One You Are Looking For Is Not Here
This is one of the more boring songs on both of the albums, so I am going with the version that has the most "action" in it. So the winner here is the original from "Dead End King".

Hypnone Vs. Hypnone
This is a powerful song, and I think that powerful songs like this need a clean and determined guitar to really pop out. So this is a no brainer for me. "Dead End King" version wins.

The Racing Heart Vs. The Racing Heart
Very few differences between these two songs. There may be some faster beats in the end of the "Dead End King" version, but it is not enough for me to see them as two individual versions. So this match up ends in a tie.

Buildings Vs. Buildings
This is one of my favourites from "Dead End Kings", so I did not expect that the Dethroned version would top it, which it did not. However, I still liked that version very much with its maracas beats and mellow mood. Still, one more point for "Dead End Kings"

Leech Vs. Leech
This is one of my least favourite songs in both versions. Do not like the overall feel that the song brings. But the Dethroned version is better because it feels right too keep the same slow tempo throughout the song. One point for Dethroned.

Ambitions Vs. Ambitions
This is another close match up. Both versions captures the pain and misery that the song stands for in their own unique ways. So the only way to separate them is to see which song is more metal. That win goes to the original version.

Undo You Vs. Undo You
Did not like this song last year, and I do not like this song this year. So no points for neither of the albums.

Lethean Vs. Lethean
The acoustic version is fine, but it is not the same without the nice guitar solo. So it is a easy win for the original version.

First Prayer Vs. First Prayer
This is a pretty bland song, but it gives a even match up between the two versions. Both versions have valid reasons to win so the winner is the one that came first.

Dead Letters Vs. Dead Letters
My favourite song from "Dead End Kings". Really love the Tool vibes I get from this song. How about the Dethroned version? No, it does not have the same powerful effect, so it is another clear win for the original.

Final Score: "Dead End Kings" 8 - 3 "Dethroned & Uncrowned"

Not surprisingly, "Dead End Kings" is the superior of the albums, but "Dethroned & Uncrowned" has its moments where the acoustic sound really makes an impact on the listener. But I still feel like this album is a cover album that comes way too soon after the original. If you liked "Dead End Kings" you will probably learn to enjoy "Dethroned & Uncrowned", but I see it as a unnecessary waste of time for Katatonia and their talent.

Songs worthy of recognition: The Parting, Ambitions

Rating: 4,5/10 Leeches

Annihilator - Feast (2013)

Annihilator is one of those bands that I have a love/hate relationship with. They are a cool band and has the talent to make some great crunchy thrash metal, but sometimes they just get too corny from time to time. Their latest self titled album was a great example of that. Some songs kicked ass while other just left me sitting there thinking "what the fuck did I just listen to?". That has always been a problem for Annihilator, they have a thing of making uneven albums that makes it really hard too fully appreciate them.

This leads us to "Feast", Annihilator's 14th studio album. And just like previous releases, "Feast" is mixing between high and low quality songs. The opening trio "Deadlock", "No Way Out" and "Smear Campaign" starts the album off with some great groovy thrash that is just typical Annihilator. But it is "No Way Out" that stands out the most with its fast tempo and power filled chorus

One song that caught me off guard was the surprisingly good ballad "Perfect Angel Eyes". It is a very beautiful song and the band performs the song with such delicacy, which I did not expect from a band like Annihilator. The songs after this ballad are not half bad either. There is some good demonic sounds in "Demon Code", the attitude in "Fight The World" is tough and the big finisher "One Falls, Two Rise" gives "Feast" an extra sharp edge when it is crunching and punching through your mind. It is impressive to see that Annihilator can write these types of songs.

Then we also have those songs that are screwing up the album. "No Surrender" has a cool chorus, but the rest of the song fits better with some jazz lounge band. "Wrapped" has a guest appearance by Danko Jones (singer and guitarist of Danko Jones), which is cool, but the song still feels misplaced in this album and the chorus is way too corny for my taste.

The good news however, is that the amount of bad songs are less than what I expected. It is actually some decent quality going through the entire album this time and there is no song that I completely hate. Still, I would like one or two songs that really went full throttle, but that is weighed up with the excellent variety that "Feast" is bringing.

"Feast" is a surprisingly even album by the Canadians and it certainly restored some of my faith that the band some time will make a album without any shit songs. "Feast" is still however not a world class album that will sore up in the top of my end of the year list, but it brings some good old thrash that is both fun and heavy. It is a great album, just like its cover.

Songs worthy of recognition: No Way Out, Perfect Angel Eyes, "One Falls, Two Rise"

Rating: 8/10 Deadlocks

Avenged Sevenfold - Hail To The King (2013)

Avenged Sevenfold has in recent years been seen as one the successors to Iron Maiden, Metallica and other bands that can easily sell out an entire stadium. And if you take a look at the career of the band, you can see several parables to Metallica. They started out as a heavy band, but has in recent years also learned to create more mainstream tunes. And let us not forget that the tragic death of James "The Rev" Sullivan was just like the death of Cliff Burton, too soon and it helped change the band's sound. Just like Metallica, Avenged Sevenfold gathered new strength and have now come up with their first full length album without The Rev behind the kit (Arin Ilejay is the new drummer). "Hail To The King" is the band's sixth instalment and the music in the album is slightly brighter than what it was on its predecessor ("Nightmare"). Unfortunately, the same cannot be said about the quality in the music.

This album does certainly not lack of variety, instead it is so much that the album practically drowns in it. It variates from the doom quire in "Requiem" and the "Sad But True" rip off known as "This Means War" to the groovy "Doing Time" and the heavy "Planets". This disturbs the rhythm completely and makes it feel like the band did not know where they wanted to go with this album.

There are some cool song ideas here and there. The riff work on the title track is exquisite, I love the heaviness of "Planets" and I like the sound of "Coming Home" (even if it sounds like a tougher Alter Bridge track). But it is not enough to save the album. The negative parts overpower the positive parts. I have already said that "This Means War" sounds like Metallica's "Sad But True", but it is not the only song that sounds like plagiarism. "Doing Time" could have been a early Guns N' Roses song and "Crimson Day" is just a ordinary ballad that we have already heard ten thousand times before. Do something original instead god dammit.

The overall performance is okay, but not impressive. M. Shadows still shows that he has a great voice and Synyster Gates lays down some great riffs here and there. And Ilejay? Well, He does a decent job, but I am still not sure if he is a fully good replacement for The Rev (even if I think that The Rev is a overrated drummer both before and after his death).

What happened with the typical A7X sound that we all know so well? Did The Rev take it with him to the grave? I sure hope not. 'Cause if he did, then Avenged Sevenfold may be taking the same disastrous road that Metallica went during the 90's. "Hail To The King" is far from impressive, and even if there are some good intentions in songs like "Coming Home" and "Planets", there is no clear direction that the album is heading towards and that ultimately makes an uneven album. So this album is nothing to kneel before nor hail about. It is just a member of a royal family that will never have an important role in anything special.

Songs worthy of recognition: Coming Home, Hail To The King, Planets

Rating: 5/10 Shepherds of Fire

ReVamp - Wild Card (2013)

One of the best newcomer albums of 2010 was from the Dutch band ReVamp. Their self-titled debut was a delicate display of beautiful vocals and nice symphonic metal. They are now back with their sophomore album called "Wild Card" and in these three years, very little has changed. The symphonic sound is still there and the singer Floor Jansen (ex-After Forever, ex-Nightwish (live in the end of their latest tour)) shows once again that she is one of the stronger female vocalists in the metal world.

Just like in the previous album, "Wild Card"  has some guest appearances to boost the quality a little. We have former After Forever and present Epica guitarist Mark Jansen in "Misery's No Crime", a song that has big resemblance with just Epica. A grand epic sound that is coated with a doom like layer. A cool song, but it fits better in a Epica album. The second guest artist is none other than Devin Townsend. He lends his vocals in "The Anatomy of A Nervous Breakdown: Neurasthenia", the third and last song in the "The Anatomy of A Nervous Breakdown" series. Devin does, as always, a great job with his unique style and the song itself is the best of the Anatomy songs in this album with its heaviness. The rest of the Anatomy series is also worth checking out, especially "On The Sideline" that impresses with its crunchy riff and melodic chorus.

The rest of the album shows a good display of symphonic melodies and some decent variation. The title track impresses with its attitude in the verses and the beauty in the chorus. A mix that makes a dangerously good song. "Distorted Lullabies" may be the only ballad in the album, but it is one of the stronger pieces thanks to its strong emotions and powerful chorus. Then we also have the heavy "I Can Become" that gives the album some much needed strength.

There are no particular weak song on this album (even if I think that "Precibus" is a little too operatic), but there are not any ultra strong songs either. That is the problem with ReVamp, they miss a song that personifies them as a artist. Sure, they have a particular sound, but it is far from original. I am not saying that the music sucks, I am just saying that the band need a song that sort of takes command.

"Wild Card" is a great symphonic metal album, but I still miss that extra something to really lift it above the stars. The vocals are great, the song material is good and there is no lack of variation. So what is missing? Well, first off it is missing one song that takes command and gives the album that extra level. I also think that the instruments could try to make more of an impression. Still, "Wild Card" is a must listen for fans of Epica, Within Temptation and other female fronted symphonic metal bands.

Songs worthy of recognition: Wild Card, The Anatomy of A Nervous Breakdown: Neurasthenia, I Can Become

Rating: 8/10 Amendatories

Ashes of Chaos - Eye (2013)

Italy may not be one of the bigger heavy metal countries, but they have their share of cool groups. Some famous bands are Rhapsody of Fire, Lacuna Coil, Fleshgod Apocalypse, DGM and more. One Italian band that have just started their metal journey is the progressive metal band Ashes of Chaos. The band was formed in 2008 as a cover band, but started to write own material after a couple of years. The band consists of Alexios Ciancio on vocals, Mike Crinella on guitar, Giorgio Gori on keys, Stefano Galassi on bass and Francesco Gabrielli on drums. And just like any progressive metal band nowadays, their role models and influences are Dream Theater, Opeth, Pain of Salvation and more.

The debut album is entitled "Eye", and it is a concept album where a big meteorite is heading towards Earth. What does the authorities do about it? They cowardly hide in underground shelters while the rest of the population will face a sure death. We get to follow a protagonist that some how survives the impact and faces a future where he is alone and hope is slowly fading out.

It is a pretty nice concept and the band tells the story well, but it is the music that does most of the telling, and thank god that the music is creating images inside your head. The band is playing very technically and they twist and turn so much that it is hard to follow, but it is still a hell of a ride.

The album starts with "Ashes of Chaos" that starts of in a great tempo with its fast beat and amazing musical skills, but the true power of the song is its many shifts in both tempo and style. From fast death metal to slow and atmospheric metal. The next song is called "Falling" and both the lyrics and music describes the meteorite's impact towards Earth pretty darn good. "Falling" has a doom like feeling and the chorus is as epic as it is awesome. It is also one of the simpler songs on the album.

After a apocalyptic "Doom", we get thrown into the aftermath in "Mechanical Rage". I can say that this song reminds me a lot of the Australian band Ne Obliviscaris. Very melodic, some use of the violin, a break in the middle and a interesting song structure. In other words, awesomeness right through the core. And the awesomeness continues in the ultra progressive "Atmosphere Pt. 1". This track takes so many unexpected turns in different styles that I get dizzy, but each individual part is great, and together they create a fantastic track. I do however like the fast and heavy part around 4.25 a little extra.

"Parallels" is the first out of two 10 minute epics, and even though I like the heaviness in the song, it is not strong enough to keep my interest through all of the 10 minutes. And sadly, the other 10 minute song, "Awake", does not fulfill its task either. I can look over those two songs since it takes time and experience to create great epics and I am pretty sure that the band will master it in about 5 years or so.

There is a clear vision that the first half of "Eye" is the stronger half, and even though I like the instrumental "Novilunio" and the Italian spoken "Rinascita", but they are not strong enough to maintain the power that the first half showed. Also, the weird "Atmosphere Pt. 2" lowers the score some.

If I had to make one complain against Ashes of Chaos, then I would say that the singer need to work on his English pronunciation. I have a hard time hearing what Alexios is singing from time to time. His voice is otherwise good, and if he does his homework on the English, he and the rest of the band will rise up the metal ladder very fast.

This band has a huge potential, and I really hope that they spend the coming years to play show and grow as a band. "Eye" shows what the band can do in a recording studio and the result is astonishing. Ashes of Chaos is without a doubt the most exciting new progressive metal group I have heard in years, and I cannot wait too see what the future has in store for them.

Songs worthy of recognition: Mechanical Rage, Falling, Atmosphere Pt. 1, Ashes of Chaos

Rating: 9/10 Parallels

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Reverbnation: http://www.reverbnation.com/ashesofchaos
Myspace: https://myspace.com/ashesofchaosband

James LaBrie - Impermanent Resonance (2013)

Most of you probably know James LaBrie best as the singer of the progressive metal legends Dream Theater, but on the side of Dream Theater, James have had some success with his solo project. And even if the solo band has certain progressive parts, most of the music is more like modern melodic hard rock. So for those of you who expect more Dream Theater like stuff on this record, though luck.

Anyhow, "Impermanent Resonance" is the third solo album for James, and even though I think he is the "weak" link in Dream Theater, he does an excellent job here. It may be because he have written the songs himself, but it is clear that his voice is more suited for this kind of music. The rest of the band does a good job as well, especially the drummer Peter Wildoer (Darkane) who also does the harsh vocal parts.

On to the album itself. The opening track "Agony" is the fastest track in the album and it is an addictive track with the epic chorus and sweet beat. It is kind of sad that there are no more songs like this one on "Impermanent Resonance". The second song, "Undertow", can easily be mistaken as a Dead By April song with its high electronic sound, the harsh vocal bridge and almost pop like tendencies. Even if so, "Undertow" is a great song that together with "Agony" brings the album to a fantastic start.

After the fast and hard hitting start, most of the remaining album sets its energy on creating beautiful and meaningful ballads and mid-tempo songs. Most of the songs does a good job, like "Back On The Ground" and "Holding On", but I feel that they could have put one or two songs on the sideline and instead put in a different kind of song. It is still a nice variety through the album though. This album covers almost everything, from the heavy "I Will Not Break" to the delicate "Say You're Still Mine".

The only thing that really bothers me is the over excessive use of the electronic keyboard. In small doses, it gives a song some personality, but use too much of it and it will take over faster than a zombie virus. I could make it the productions fault that the keyboard is too loud, but Jens Bogren did a excellent job producing this album. If someone else had produced this album, then I am pretty sure that I would have lowered the rating with one or two points.

Besides the fact that this could as well be a Dead By April album, I am impressed by "Impermanent Resonance". The music is great and James himself sings much better then he usually does. This will definitely be interesting since his main band Dream Theater will soon release a new album. If that album is as good as "Impermanent Resonance", then I will guarantee that you Dream Theater nerds will be mighty satisfied.

Songs worthy of recognition: Undertow, Agony, Holding On, Destined To Burn

Rating: 8,5/10 Amnesias

Five Finger Death Punch - The Wrong Side of Heaven And The Righteous Side of Hell - Volume 1 (2013)

The band with one of the coolest names in metal is once again back, and this time they have created so many songs that they have decided to make a double album. "The Wrong Side of Heaven And The Righteous Side of Hell - Volume 1" is the first part of the double album while the other half will be released in November. Even if it is exciting that the band is trying this out, they are not alone on attempting this method. Last year, Green Day released a triple album, Stone Sour released a double concept album and even Soilwork released a double album. So 5FDP is just another band that keeps this trend up.

The album itself is typical Five Finger Death Punch. A overflow of bad ass attitude, heavy riffs and memorable choruses. Actually, the only surprising part with this release is that the band has invited several guest artist to back them up. We have Max Cavalera (ex-Sepultura, Soulfly), Maria Brink (In This Moment), Jamey Jasta (Hatebreed) and rapper Tech N9ne. But they all fade out compared to the Metal God himself. That's right, Rob Halford from Judas Priest makes an appearance on the first track and first single "Lift Me Up". I did not care too much of the song when I first heard it, but it grew on me and now I can still catch me hum the chorus from time to time. Halford only makes an effort in the second verse, second chorus and in the ending, but he still does a good job and shows why he is called the Metal God. Otherwise I think that the rest of the guests are just redundant, especially since 5FDP made a version with and without the guest in every song they participated in (except "Lift Me Up" and "Mama Said Knock You Out"). The worst part with this is that the band has put both versions in the CD. I would not have minded if they had put one of the versions in a deluxe CD, but they did not.

One of the strength with 5FDP is the variety. The band can create anything from heavy and fast metal songs to emotional rock ballads, something that definitely shows in this album. The heaviest piece is "Dot Your Eyes" that crunches you with its heavy riff and hard stomping lyrics. A clear favourite in this album. Two other heavy tracks are the melodic and epic "I.M. Sin" and the fast, but not so strong "Burn MF".

If we go from "hell" and go to the "heaven" part of the album, then we will first see the title track that is the most beautiful song that the band has created so far in their career. I also like the lyrics in the song, which shows that the band has matured a lot since the last record. The other ballad, "Anywhere But Here", is the only song in the album where the guest artist is doing some service. Maria Brink does a great job together with Ivan Moody to create a tender and fantastic duet. The song itself is also good and holds a surprisingly groovy rhythm.

I also want to give a shout out to my personal favourite "Watch You Bleed". This song has a addictive beat and a epic chorus that really encourages the listener to sing a long. The guitar solo is also the best in the album.

Does this album have any bad sides then? Well, I would say that the naggy "You" and anonymous "M.I.N.E (End This Way)" does not help to lift the album up, and the semi instrumental "Diary of A Deadman" is okay as a closer, but overall nothing special. But the rotten piece of the album is the LL Cool J cover of "Mama Said Knock You Out". I understand that the band wants to turn a song from a completely different genre to a heavy metal song, but they failed miserably with that mission, especially since rapper Tech N9ne (what kind of name is that?) takes the song back to its origin. If the band did create 20+ great songs, why the hell did they leave this cover in the album? It makes no sense.

Five Finger Death Punch is with this release taking their music another step up the ladder. The music is still the same up your ass attitude, but the lyrics has improved a lot since "American Capitalist" and the variety is still at an all time high. This album may have a title that is way too long for comfort, but it is a album that has a lot of quality, but unfortunately also a shitty cover and two versions of the same songs. The second volume will be released in November, so until then, I will keep listen to most of this record, since it is another proof that 5FDP knows what they are doing.

Songs worthy of recognition: Watch You Bleed, Lift Me Up, Dot Your Eyes, Anywhere But Here

Rating: 8,5/10 Deadmen

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More reviews of Five Finger Death Punch
Wrong Side of Heaven And The Righteous Side of Hell - Volume 2
Got Your Six

And Justice For None

Fight Or Flight - A Life By Design? (2013)

Earlier this year, we heard Disturbed singer David Draiman and his side project Device strike us with mild strength and a bad copy of Disturbed music. Now the turn has come to the guitarist Dan Donegan and drummer Mike Wengren to show of what they can do outside of Disturbed. The project is named Fight Or Flight and in the band, we also have Dan Chandler on vocals, Sean Corcoran on bass and Jeremy Jameson on rhythm guitar. The debut album is named "A Life By Design?" and on the cover is corn wrapped in barb wire, a scare crow with a puking crow, and a heroin addicted snake. A pretty fucked up cover I would say.

Anyhow, you will immediately notice two things with Fight Or Flight's music. The first thing is that it is not like Disturbed, which is a relief. The sound is instead classic American rock music that stays away from the Disturbed frames (except for some crunchy guitar riffs here and there). The other notable thing is that the rest of the album is not like the single and the opening track "First of the Last". "First of The Last" is a fast and groovy song that has several interesting parts like the catchy chorus and cool solo. Sadly, this is the only one of its kind in "A Life By Design?" since the rest of the songs are more or less typical American hard rock that is far from original. Too bad, since "First of The Last" is the clear king of the hill.

The rest of the songs are more or less copies of each other. Pretty slow paced songs that puts their energy in creating something meaningful or some kind of feeling. A couple of these songs in a album is okay, but "A Life By Design" is completely packed with these kinds of songs, which kills the variation completely. But if we look past the lack of variation and instead focus our sight on the song quality, then it is not that bad. I could easily have asked for more memorability in the songs, but they are enough to make me sit there and swing my head back and forth some bit.

Some of the small gems I find in this haze have something that makes them a little more interesting than the rest. For instance, "Leaving" impresses with its acoustic part and "Eraser" has some crunchy riffs and a good chorus. I also like the different approach they take in "A Void" where they try to mediate a sense of hopelessness in the music. But are there any low points in "A Life By Design?"? I do not think so, but since there are so many songs that are so similar, they do not get the recognition they probably would have gotten if they would have been put in a different record. But if I had to chose the weakest track, then I would say that the closer "Tragedy" is the winner.

The winner of the Disturbed hiatus fight is Fight Or Flight, mostly because they are trying something outside their box. The music in "A Life By Design?" may not be new nor innovative, but it is still enjoyable. If the band works out to create more catchier tunes and put in more variation, then I think Fight Or Flight may have a future, at least until Disturbed stops their hiatus.

Songs worthy of recognition: First of The Last, Leaving, Eraser

Rating: 6/10 Sacrifices

Philip H. Anselmo & The Illegals - Walk Through Exits Only (2013)

Most of you probably know Philip H. Anselmo as the lead singer of the legendary band Pantera, but Mr. Anselmo has been in several projects since Pantera split-up in 2003. From the successful Down to smaller projects like Superjoint Ritual and Arson Anthem. Now he is back with his first solo album and with him is The Illegals (who consists of drummer Jose Manuel Gonzales, guitarist Marzi Montazeri and bassist Stephen Taylor) who helps out on the instrument department.

The name of the album is "Walk Through Exits Only" and the music on this album could be described as a dark stoner version of Pantera, especially since Anselmo sings with his growling voice again. The only thing that this album is missing from being a lost Pantera release is the song quality.

'Cause that is where the fire is burning. The songs on this album is just a big mosh of sloppy riffs, weird growling and locked up emotions. Sometimes I cannot even tell if it is a new riff or if it was the same one as the one in the previous song. I feel that there is nothing in the music that ties it all together. No glue or rope, just loose parts that have been mashed together. Now I respect what Mr. Anselmo has done in his career, but I do not even know what to say about this release. This is much below his average work.

Ok, so I am going to try to explain some of the songs if I can. Here we go. The album starts with "Music Media Is My Whore", a horrible title and a track filled with snare rolls and theremin sounds, which is not a good combo. The following track "Battalion of Zero" continues the snare rolls, but it has a little more melody in it, which makes it barely listenable. "Betrayed" is trying some grind core shit, but the constant tempo shifting destroys the song completely. "Usurper's Bastard Rant" is a bastard. The title track has some speed in it (the drug, not the thing that Formula 1 cars have). "Bedroom Destroyer" is the only acceptable song with its crunchy and heavy body. "Bedridden" is just mind fucking (the wrong kind). And finally, "Irrelevant Walls And Computer Screens" could have easily been cut in half, but not even then it would be worth listening to. Well, I think I did a good job describing this shit, don't you think?

If you ever see "Walk Through Exits Only" in a record store or in a friends house, please steal it and kill it with plenty of fire. There is very little that is even acceptable on this record. The song writing is bad, the instruments sounds like someone is strangling a toddler, and Mr. Anselmo himself has lost his freaking mind. Actually, the only thing good about this album is that it is only 41 minutes long. But it is still 41 minutes I will never get back. So check out my rating while I look for the nearest emergency exit away from this train wreck of a record.

Song barely worthy of recognition: Bedroom Destroyer

Rating: 1/10 Irrelevant Walls

Queensrÿche - S/T (2013)

You probably already know about the feud between Queensrÿche and Geoff Tate, which has led too that we now have two different Queensrÿches to deal with. One with the original members and new singer Todd La Torre and one with Geoff Tate and some of his buddies. Geoff made his move about two months ago with "Frequency Unknown", a album that was not impressing, but was still miles ahead of the two latest Geoff Tate releases ("Dedicated To Chaos" and "Kings And Queens"). So now, the real Queensrÿche is showing their muscles with this self titled album that is the 13th album in the band's discography.

I have to start this review with my thoughts of Todd La Torre. He was the previous singer of Crimson Glory, but he never released an album with the band, so I did not know what I should have expected from him. After listening to "Queensrÿche", my first thought was that he almost had the exact same voice as Geoff Tate. I did not know if I was happy or sad about the fact, but one upside was that you recognized the band instantly and you can easily accumulate to the vocalist change. So yeah, choosing Todd was a good idea by the band, even though the similarities to Geoff are way too big.

When it comes to the music, the band has definitely gone back to their old works and tried to find what once made the band too what they are today. "Queensrÿche" has a lot of vibes from the band's earlier works, but it still feels refreshed and new. But the thing that strikes me most is the passion that the band has rediscovered. This is definitely a proof that Geoff was holding the rest of the band back.

The clear star of "Queensrÿche" is the opening track "Where Dreams Go To Die". A beautiful, but also a dark song that chugs it way through your mind like a snow plow after a long night of snowing. The riffing is great and Todd sets the mood perfectly. It definitely feels like the band has found its way back to the right path already after hearing that one song. Another great song is "In This Light" with its uplifting chorus and amazing guitar work (seriously, the guitars in this album is just unbelievably amazing). Then we also have "Redemption" that amazes with its interesting song structure and, once again, amazing guitar work, but I feel that they could have worked the chorus better since it feels a little misplaced with the rest of the song.

And the strong songs keeps on coming. The powerful "Spore", the fast and uplifting "Vindication", the soothing "A World Without" and the groovy "Don't Look Back" all helps making "Queensrÿche" one of the best albums that the band has ever made. It definitely feels like the band has been reborn since Geoff got sacked.

However, this album is far from perfect. First off, the album is way too short (a mere play time of 35 minutes) and while the overall standard of the songs are good, it could have been a little better (but there is no filler to be found here). So do not think that this album is a new "Operation: Mindcrime", but if Queensrÿche would have put in one or two more songs in with the same quality as the rest of the album, I would probably rated this album even higher. But what ever, I am happy as it is right now.

So who wins the first round? Queensrÿche or Tatesrÿche? It is a clear win for Queensrÿche, but Tatesrÿche rises up on the stroke of nine before being counted out. "Queensrÿche" is without a doubt the best album by the band in a long time and it feels like they have gotten rid of the shackles that Geoff Tate had been placing. After this release, I really hope that the court makes the right decision and gives this band the right to be named Queensrÿche. Because unlike Tatesrÿche, this band deserves it.

Songs worthy of recognition: Where Dreams Go To Die, In This Light, Spore, Don't Look Back

Rating: 8,5/10 Redemptions