AC/DC - Rock Or Bust (2014)

Hmmm... *strokes imaginative viking beard*

Yep, it is an AC/DC album

Songs worthy of recognition: Dogs of War, Play Ball, Baptism By Fire

Rating: 5,5/10 Sweet Candies

Engel - Raven Kings (2014)

Since In Flames flopped royally with their latest release, I was hoping that the guitarist Niclas Engelin would do a better job with his other band, the industrial metal band Engel. This band has gone step by step up the ladder of success with their heavy, and accessible style. There have been some slight turbulence in the band since they have gone through two member changes since the last album, so I was not fully convinced that "Raven Kings" would keep the progress going.

So how are the new guys stacking up? The new singer, Mikael Sehlin, does have a tougher voice than what Magnus Klavborn have, but he does not add anything new to  the band. He just does most of the work that Klavborn did, which includes both growling and clean vocals, and the band is fine with it. And the new drummer, Oscar Nilsson, does a fine job with the beats. The main factor with the music is still the guitars were Engelin and Sunesson attacks with both melodic and energetic riffs, bringing a lot of dynamics to the music.

However, most of this dynamic impact is lost throughout the album since the band puts out around the same kind of force in almost every song in "Raven Kings". I do like it that the band has this grand, powerful sound, but they are over doing it in this album, creating a blob of an album where the only real stand out is the spiritual "I Am The Answer".

Another strength with Engel is that the band knows how to write a good chorus. And together with some great musicianship, the band can really create some highly memorable tunes. In "Raven Kings", one should check out "Broken Pieces" that impresses with its pain and heaviness. One should also listen to the epic "End of Days" where Sehlin does a great job with his voice. Other notable tracks are the fast paced "Fading Light" and the well constructed "My Dark Path".

"Raven Kings" is definitely a fine metal album where Engel show off their muscles, but we have already seen them, and they are not getting any better with age. Compared to its predecessors, "Raven Kings" could probably be considered as the weakest Engel album up to date thanks to its monotonous sound, but also thanks to the fact that the rest of the Engel catalog holds a high standard. If you are a fan of the band, I am sure you will enjoy the hell out of the album, but will not be surprised at all over what the record offers.

Songs worthy of recognition: End of Days, My Dark Path, Broken Pieces

Rating: 6,5/10 Sanctuaries

Thomas Giles - Modern Noise (2014)

After the release of a fantastic concept EP + album and some immense touring, the singer and keyboard player of Between The Buried And Me is once again ready to present a album in his solo project. "Modern Noise" is the second solo album made by Thomas "Tommy" Giles Rogers, a album I have looked forward to since I am a huge fan of BTBAM. And even if Rogers does not have a perfect vocal range, I still respect him as a musician and as a song writer.

The fans of BTBAM should recognize the music in "Modern Noise" since it has clear similarities with the band. The only thing that makes Thomas's solo work any different from his work in BTBAM is the lack of metal. There is no growling, no complex rhythms and no pure metal sound in "Modern Noise. Instead, it is the more jazz influented side of BTBAM that is present in this album, which really does not surprise me. I think it is nice that Thomas expands this side of the band since it is only a small part of their overall sound.

But just because there are more jazz influences in here, it does not mean that it is a jazz album. "Modern Noise" is more of a heavier, progressive indie rock album that may not speak to some of the BTBAM fans, while others might enjoy it. Besides fom the weirdly named "Lkcvjvhljbvj≥˜∆˚nnnjmkjijm", there is no track that really stands out as a strong piece. Most of the material here are decent and enjoyable, but there is nothing groundbreaking nor overly impressive. It is just solid music.

A few songs do catch my interest a little better than others. "Siphon The Bad Blood" has a solid beat and some great guitar work. It is without a doubt the catchiest song in the album. The best chorus goes to the one in "M3", a groovy, fast paced song where Thomas is on his toes with his voice. And for the the true BTBAM fans I would recommend "I Appear Disappear" and the title track with their interesting structure and space like feel. Two songs with some slight modification would have been a good fit as a bonus track in "The Parallax II: Future Sequence".

As a huge Between The Buried And Me fan, it is a relief that I find Tommy Giles Rogers's new solo album to be enjoyable. Sure, I am not a fan of jazz or fusion and I do miss some heaviness in the music, but Thomas has put in so much effort in this album that it becomes hard to not commend his work and devotion. The music is enjoyable and has enough references from his main band to make the fans pleased. A good solo album that unfortunately is not anywhere close to the quality his band has put out the last couple of years.

Songs worthy of recognition: M3, Siphon The Bad Blood, I Appear Disappear

Rating: 7/10 Blueberry Queens

In This Moment - Black Widow (2014)

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

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

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

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

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

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

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

Rating: 6,5/10 Black Widows

Outtrigger - The Last of Us (2014)

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

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

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

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

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

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

Rating: 6/10 Dead Supermen

Machine Head - Bloodstone & Diamonds (2014)

Without over exaggerating, I think that the Oakland quartet Machine Head has evolved into the strongest thrash band that was formed after the 80's. They have always been a great band with a high low point, but it was not until the 2003 release "Through The Ashes of Empires" that the band really excelled and became one of the leading bands in the new way of American heavy metal. Their two latest albums, "The Blackening" from 2007 and "Unto The Locust" from 2011, are some of my all time favourite records from the 21st century, so I definitely had some expectations for the band's 8th studio release.

The album is called "Bloodstone & Diamonds" and is the first album the band has not released on Roadrunner Records, instead it is the German giants Nuclear Blast that has enlisted the band, adding another big name to their already massive roster. And why shouldn't they? Machine Head is one of the bigger thrash bands out there today, and they really show it once again in their new album. "Bloodstone & Diamonds" is another great effort of thrash metal with a lot of long songs, almost making the music progressive. It is a natural follow up to "Unto The Locust", but this album has a lot more variation to it, a ingredient that I missed on their last effort. The long, groovy thrash songs are mixed up with a couple of slower and darker songs, like the excellent "Sail Into The Black", making the album more versatile.

The album also have some resemblance to "The Blackening". For example, the riff structure in "Killers & Kings" is close to similar to that in "Beautiful Mourning", which just makes it feel like a lazy copy. None the less, "Killers & Kings" is still a fine song if you just bypass the facts. But the heaviest song on "Bloodstone & Diamonds" is "Night of Long Knives" whom do have a slightly weird groove, but a flawless chorus and a sweet solo. Another favourite is the fast paced, almost punk like "Game Over" that takes the award for being the most adrenaline filled track in the album, even if it have a slower, more melodic part, just like any other song in this album.

And it is those melodic parts that ties the album together. Rob Flynn and his men shows a great deal of maturity in their song writing process, and it feels good that the band is continuing on evolving their sound and themselves. Flynn still sings with a lot of density, but he is showing what he can do with a larger range for his vocals, which is great. And a thing like putting in violins in their music would probably not have come into the band's minds 10 years ago, but is here shown in the track "Now We Die" and it helps to improve the intro and chorus.

I do not think that "Bloodstone & Diamonds" is a new future classic made by the band, but it does its job in securing the band's status. This album do miss that perfect blow that just leaves you breathless, but it does contain 11 good, consistent songs (not including the unnecessary track "Imaginal Cells") that together creates a solid and strong album. A good competitor for best thrash album of the year.

Songs worthy of recognition: Night of Long Knives, Now We Die, Sail Into The Black

Rating: 8,5/10 Killers & Kings

https://www.machinehead1.com/
https://twitter.com/mfnh


More reviews of Machine Head
Catharsis

Ne Obliviscaris - Citadel (2014)

In 2012 came an album that almost knocked me out of my chair. A album that had an amazing mix of death metal, jazz and classical music. That album was "Portal of I" and is the debut record of the Australian band Ne Obliviscaris. It is an impressive debut that felt unbelievably original and well constructed. However, I felt that the band still had some way to go, especially since there were a lot of space in "Portal of I" that was badly utilized, and the fact that the
violins took up so much room. It was still one of my favourite debut albums from 2012 and it even made my top 20, so you understand that I had a lot of hopes up for their sophomore album.

And here it is, the follow up to "Portal of I", entitled "Citadel". And just like its predecessor, it is a beautiful album that is not for the impatient kind. Because even if it only contains 6 songs, the total playtime of the album is around 48 minutes, where 3 of the songs are 9+ minutes. I find it a little strange that they have 3 short songs and 3 mastodons, but then again, the shorter songs mostly acts like an intro or outro to one of the longer ones. But if we need to be extra petty, "Citadel" is actually only 3 songs long. The song "Painters of The Tempest" is split into three parts, and "Devour Me, Colossus" consists of 2 parts. However, I will look past that since each individual part has a name of its own.

Just like with almost all of the songs in "Portal of I", the longer songs in "Citadel" are very difficult to listen to. It is hard to remember the whole song, which almost forces you to listen again and again, just so you can separate them from each other. This is not surprising since the style of Ne Obliviscaris is so vast and progressive, and it is ultimately rewarding if you hang on and endure the sessions. I definitely think that the band has evolved their song writing skills, and made a lot better use of the allotted space than what they did on "Portal of I". I am relieved that the long, close to silent middle sections are gone and replaced by actual music. I did not expect that the violins still was such a big part of their music, but even those are better utilized here, helping to enhance the music instead of just stealing the show. Also, the production feels much more polished in "Citadel", but that comes as no surprise since the band got picked up by the excellent record company Season of Mist.

Frankly, I enjoy all of the three longer songs in "Citadel" even if they all have a tendency to go longer than what is necessary. All of them have a good sense of taste when it comes to dividing the heavy and the beautiful together so they take equal amount of space. Out of the three, "Pyrrhic" is without a doubt the heaviest track, and the only track that is a stand alone song. It starts of with a furious tempo and eventually mellows out, only to finish off strong with a dark and beautiful cooperation between the violins and the harsh vocals delivered by Marc "Xenoyr" Campbell. While Marc is doing a great job on "Pyrrhic", the clean vocalist Tim Charles shows his best skills on "Triptych Lux", the longest track on "Citadel" with a play time of 16 and a half minutes. Finally, we have "Blackholes", a song that does not stand out, but is still a very fine tune that fits well with the rest of the tracks in "Citadel"

The only critique I have against "Citadel" and Ne Obliviscaris in general is that it takes time for the music to grow on you. It is very easy to hear that the music is beautiful and well crafted, but since the songs are so long and progressive, it is very difficult to keep it in your brain, especially since all of the longer songs have all of the same things in them. Some heavy stuff, some harsh and clean vocals, a sort of break in the middle, violins and long, instrumental parts. So the band is succeeding in making the same thing over and over again despite the usage of ever evolving song structures. But if you do take the time, and listen through the entire album enough times, you will be rewarded sooner or later.

"Citadel" is a step forward for the band and another proof of the immense talent that this band possesses. The music is very original and highly interesting. The band still has some way to go, especially in making the music more memorable, but it is still early in their career, and they are playing a kind of metal that does need experience to fully master. None the less, "Citadel" is a great listening experience and one of the best progressive metal albums this year. Check it out now!

Songs worthy of recognition: Pyrrhic, Triptych Lux, Blackholes

Rating: 8,5/10 Wyrmholes

Psychostick - IV: Revenge of The Vengeance (2014)

Sometimes metal can be boring. About 99% of the bands are so extremely serious that it seems like they have lost, or never had any sense of humour at all. That is why I can appreciate a band like Psychostick, who has devoted their entire musical career with writing metal music that also makes you laugh. Some people may find their style stupid and juvenile, which I actually also do to, but they do it with such style that makes it hard to dislike them. I mean, doesn't everybody like to be stupid once in a while, just to let loose? Just me? Oh well.

No matter how strange it may sound, "IV: Revenge of The Vengeance" is the band's fourth studio effort, created in their own studio and funded by their Indiegogo campaign they had a year ago. And if you have not heard of who these guys are, I suggest that you search for their channel on Youtube, then you will get how these guys work. It is just four guys that wears funny hats (except for the drummer), acts real silly, and are obsessed with beer, taco, and Bruce Campbell. But the most important of all, it is four guys that are having tons of fun, and it is so reflective in the music. Everything from the skits to the instrumentation feels alive.

It is also easy to pick a favourite song in a Psychostick album. The tracks that makes you laugh the most is often the one that you enjoy the most. I for one got a good chuckle out of "Loathe Thy Neighbor" where the singer Rawrb (yes, that is his name) complains over grumpy grannies, annoying hicks, and other annoying neighbours. Damn, Psychostick is good at writing songs about hating something or someone. I also love the paranoia in "Quack Kills", the fantastic (and sort of creepy) celebration to the actor Bruce Campbell, the fast paced "Obey The Beard" and the satire over the death core sound in "So. Heavy.".

But behind the funny lyrics lies a sound that is often very groovy, and has a certain amount of heaviness that is nice, but not impressive. I would say that the sound leans a lot towards the typical American hard rock sound that we have heard from tons of other bands like Papa Roach and AFI, but it still feels original enough for the band to not be associated with those bands, even if the similarities are there sometimes. The track "Blue Screen" could easily have been written in the late 90's or early 00's and is pretty unoriginal. However, the fact that it acts like a love song towards a computer just makes me love the song, and it also works as a satire for these kinds of songs.

But Psychostick does not hit it right in all of the songs in "IV: Revenge of The Vengeance". The song "NSFW" is literally a song where the only thing happening is that the band is trying to go for the world record in saying the word fuck as many times as possible in one song. I never thought that word would lose its meaning, but it certainly did after only one listen through that song. I also find the cover of the Kenny Loggins song "Danger Zone" decent, but seeing what they did to the Dope song "Bodies" in their last album, "Space Vampires Vs. Zombie Dinosaurs In 3D", I expected more from the band instead of some alternation at the end. Also, is it really necessary to incorporate a bloopers outtake at the end of the album just because you are a humour band?

Then we have the skits that are evenly spread out throughout the album. They are all moderately funny, but none of them are really amazing. The two skits that features Billy Manspeaker from the band Green Jellÿ, "New To The Neighborhood" and "Trick or Treat", does not have a very long life span, while "H-flat" works fine as an intro to "So. Heavy". The most impressive skit is definitely "Dimensional Time Portal", in which a dimensional time portal is opened up during a Psychostick show and makes the panties of the female population to glow, causing them to lose all interest for sexual activity. And the only thing that can save Earth is metal, which is shown in the following track, "The Power of Metal Compels You". A insane concept that is just typical Psychostick.

Sometimes, stupid metal can be pretty good, and this is one of those occasions. Psychostick succeeds in their mission of tingling my laughing nerve and does it with a sound that is groovy and pretty cool. I definitely prefer "IV: Revenge of The Vengeance" over 90% of the sitcoms that are released now a days because it entertains me, and you notice that the band members have really put their heart and soul in the material. So yeah, it is stupid, it is juvenile, and it is a high risk that your IQ will drop by a couple of points when you listen to this album, but I would rather be a happy fool than a sad genius. So sit down, open up a beer, take a bite out of your taco, and enjoy the stupidity.

Songs worthy of recognition: Blue Screen, Obey The Beard, Lothe Thy Neighbor, Bruce Campbell

Rating: 7,5/10 Dogs that likes socks

www.psychostick.com/
twitter.com/psychostick

More reviews of Psychostick

Do

Lordi - Scare Force One (2014)

The goofy monster masters are once again back, and you know what that means. Another album filled with monster and horror references, accompanied by average song writing. I really do appreciate the band's commitment and passion, but behind all the masks and outfits hides a bunch of Finns that is desperately trying to relive their glory days, if they even had any to begin with.

Enter "Scare Force One", album number 7 for the band, and it is another batch of songs that try to be catchy in both riffs and chorus, while showing as few musical improvements as possible. But the most annoying part of the songs in "Scare Force One" is the lyrics. Sure, there is some humour in the lyrics, and when the band does it right it is very entertaining, but there is not a lot in this album that will even make you chuckle. Songs about getting as drunk as Frankenstein and slicing whores, is that really the best you can come up with? The whole album is as funny as a knock knock joke, which means that the band already lost its biggest attraction in this album.

The second thing that often makes me come back to Lordi is the attitude the band some times show, and there is certainly some in this album. The most is in the track "Monster Is My Name" where the band is more or less bragging about being a monster. And when the track opens up with the phrase "who the hell do you think you are you fuck face", you know shit is about to happen. Other wise, there is not much attitude in this album, but instead it is the catchiness that takes over. It is either a unusual riff that catches your attention (like the opening riff to "Nailed By The Hammer of Frankenstein"), a unique sound you rarely hear in a metal album (like the carnival noise in Hell Sent In The Clowns), or it is the chorus of a song that makes it memorable (like the one in the title track). So it is fairly easy to remember most of the stuff in "Scare Force One", but the quality is not good enough for one to care.

The only surprising thing with "Scare Force One" is the track "The United Rocking Dead", a slow song that contains a surprisingly good, Judas Priest like verse, and a pretty epic chorus that really gets a hold of the listener. It is these kind of tracks that keeps my hope up for this band. They can create music if they really try, but instead they go for quantity and more catchy tunes. I am sure though that if the band would have put more time on making the album instead of spitting it out as soon as possible, they could create something memorable. Then again, maybe I expect too much from a bunch of monsters.

The band should focus on improving their sound instead of settling down with what they already know, because it is getting more and more boring to withstand a new Lordi album. "Scare Force One" is far from a plain wreck thanks to some catchy melodies, but it is extremely far from a master piece, especially since the band since to run out of ideas to sing about. So please Lordi, take your time when you are writing new songs for your next album, and make sure that those songs show off your best sides. And if I see another new release next year by you, it will be me who does the haunting. And trust me, you would not want that to happen.

Songs worthy of recognition: The United Rocking Dead, Scare Force One, Hell Sent In The Clowns

Rating: 5,5/10 Cadaver Lovers

www.lordi.fi/
twitter.com/LORDIOFFICIAL

More reviews of Lordi
To Beast Or Not To Beast
Monstereophonic (Theaterror Vs. Demonarchy)

Sexorcism

Devin Townsend Project - Z² (2014) Part 2: Dark Matters

Disc 2 of "Z²" is the official follow up to the fantastic 2007 release "Ziltoid The Omniscient". For those of you who do not remember, that album was a concept album about a green, lizard like alien that started to invade Earth when he was served some fetid coffee, but was stopped when it came out that he was a nerd, and a puppet. In the end, it was all a dream from the mind of a sleepy barista (sorry for the spoiler), so it was easy to assume that we would not see Ziltoid any more, at least not in another album. But here we are now, 7 years after the release of the original, seeing Ziltoid being brought back to life with a new album, a TV show, a radio show, a coming comic book and a huge concert at the Royal Albert Hall in London next year. Who would have seen that coming? Well, maybe the omnidimensional creator.

So what is the story in "Dark Matters"? The story begins where Ziltoid is given a mission by the Ziltoidian Collective to investigate planet Earth to see if it could be the future home for the Ziltoidian race. He is also set to gather more data about a stimulant that the humans consume, but does not know of its hidden powers. And that stimulant is, of course, coffee. To do so, he has become a celebrity to the humans through music and being an alien. After all, he is a 4th dimensional guitar hero. Ziltoid has also made a visit to the planet Titan, where he has come across a race known as the Poozers, small creatures that are children to Blataria, the War Princess (played by Stolen Babies singer Dominique Lenore Persi). After hearing that one of her children were stolen by Ziltoid, she decides to gather her Poozer army, and invade Earth herself and take all of the coffee. Not the story I expected, but it is still interesting, and definitely more well thought out than the story line on the first Ziltoid record.

Now, there are two versions of "Dark Matters" that is available. One CD with dialogues, and one without. Frankly, I prefer the so called raw version because the dialogues are taking up too much space, acting like it is the main show instead of the music. One reason to why the original Ziltoid was so successful is that there was minimal dialogue, and the little dialogue that existed was in between the tracks. In other words, it was the music that was the focal point, which is not the case in "Dark Matters". Even if they take up lots of unnecessary space, the dialogues are telling the story pretty well. I especially like the narrator Bill Courage who gives the album a classic "War of The Worlds" touch. Other voice actors in this album are former wrestler and current Fozzy vocalist Chris Jericho as Captain Spectacular, Mark Cimino as a Poozer, and Chris Devitt as the Planet Smasher, also known as Herman.

"Dark Matters" has a lot of influences from previous Devin Townsend efforts, which does not surprise me one bit. What really surprise me though is that there is not many similarities between this album and the original Ziltoid. The original had that special sound that really fits the alien space theme, while this album feels like "Epicloud" in an astronaut suit. And most of the heavy stuff has more resemblance to "Deconstruction" than "Ziltoid The Omniscient" (there is also some SYL moments in this album). So for those of you who expected a new "Solar Winds", "Color Your World", or "Hyperdrive", you might get dissapointed. The only track that makes you think back to the original Ziltoid record is "Deathray", a song that represents the invasion of Earth. Musically speaking, it may no have much in common with the track "Ziltoidia Attaxx!!!", but the lyrics in the songs are about the same thing, except that it is the Poozers that attack in "Deathray". It is groovy as hell and is one of few songs that has a normal song structure, and it certainly has grown since I first heard it. Definitely one of the better songs in this album, despite its weird lyrics.

There are several other highlights in this album that one must check out. The heavy "Ziltoid Goes Home" blends the classic "City" groove from the SYL age with epic choirs. I did not know that Devin still had it in him to write that kind of music, and I love it. "Ziltoidian Empire" impresses with an irresistible groove that is both weird and humorous, especially when you follow the story line. I can see before me the small Poozer flying through space with the "hede-hede-ya-ah hede-yah" in the background. We also get an amazing performance from Persi in the track "War Princess". I definitely see why Devin chose her to play this role since her vocals fits so well with the War Princess's personality. I also love the apocalyptic "March of The Poozers", the later half of "Earth" and the epic "Dimension Z", the only one out of the three tracks in "Z²" that uses the Universal Choir in the right way.

I can honestly say that "Dark Matters" is the follow up album that Ziltoid deserves. The funny story line has a couple of things that fans of the first Ziltoid record will recognize, but enough new stuff to make it feel new and fresh. The music could have been better structured, but something tells me that this album was not as close to the heart of Devin as "Sky Blue" was. It feels kind of forced, like Devin was pressured to come up with this to please his fans. You do not need to do that Devin, we will still love you as much as the Poozers love the War Princess. Just do what feels good to you, and let the music do the talking.

The final question though is if this is the end of Ziltoid The Omniscient? I am sure that this is the last new musical material we will see him in, but evil aliens always has a way to come back in one way or another. We just have to wait and see, and enjoy the little things around us, like coffee, the sun, and of course, this album.

Songs worthy of recognition: Ziltoid Goes Home, Ziltoidian Empire, March of The Poozers, Dimension Z

Summarization

All in all, "Z²" does not quite live up to my inhumanly high expectations, but that does not mean that Devin bit off more than he could chew. Both albums are great creations and I like the fact that they are so different from each other, like two polar opposites. I simply cannot pick a favourite out of the two because they excel in different ways. "Sky Blue" feels more down to Earth and closer to what Devin wants to do, while "Dark Matters" impress with the funny and interesting concept. Together they create a fantastic double album that is just another proof of Devin's vast musical mind. The man never seems to run out of ideas. The project is not at its final destination yet, but the highlight is now behind us, and all we can do is just enjoy the ride and remember the wonderful music. Next stop, the Royal Albert Hall in London and the Ziltoid musical. Prepare your finest coffee.

Rating: 8,5/10 Earths

Part 1

Devin Townsend Project - Z² (2014) Part 1: Sky Blue

It feels pretty unreal that it has finally happened. After months of waiting and tons of other media that has led up to this moment, Devin Townsend is finally ready to reveal his biggest album project yet. The double album entitled "Z²" has been super hyped ever since it was announced, and I think it is thanks to the fact that the fans really love the green, coffee drinking alien Ziltoid The Omniscient. I can guarantee that the Casualties of Cool crowd funding campaign became so successful because that the left overs was going to be spent in this double album. I do think the funders were interested in how this Casualties of Cool project would turn out, but just the pure thought of a follow up to the critically acclaimed "Ziltoid The Omniscient" just made my, and probably several other's, mouth so moist. However, I do not think many fans expected this album to be a double sandwich, a album that represents a combat between the DTP and Ziltoid.

Since this album is so huge, I want to do the review like this. This first part will focus on the first album, entitled "Sky Blue", which is the DTP part of "Z²", and then I will release a second part tomorrow focusing on the official follow up album to "Ziltoid The Omniscient", entitled "Dark Matters". I will also summarize "Z²" in the second part and give it a proper rating, instead of rating the two albums separately and give "Z²" the middle value of those two ratings. So let's get to it shall we?

Sky Blue

So first out is the DTP part of the double album, and for those who are well aware of what Devin has previously done in this project will recognize the sound instantly. The sound in "Sky Blue" has several similarities with mostly "Epicloud", but also earlier Devin albums like "Terria" and "Synchestra" have their fair share in "Sky Blue". In other words, it is joyful, almost pop like metal Devin is giving us with a lot of choir. We also get to hear Devin's favourite female partner once again, former The Gathering singer Anneke Van Giersbergen, which just feels right since her soft vocals fits so well with this type of music.

Knowing what to come, it feels good that Devin opens up "Z²" with a album that has its feet on Earth. "Sky Blue" has an overall spiritual feeling that has a high memorability factor and contains a virus that gives you the urge to sing along. And it also feels like this is the type of music Devin wants to write, not because it has become a successful sound, but for the reason that he is in the point of his life where he does not want to go bat shit crazy anymore, he just wants to make himself and people around him happy, which is really reflective in the music.

Let us get into one of the highlights in "Sky Blue", the song "Before We Die". It is not the highlight because it is a beautiful song with an amazing epic chorus, it is a highlight since it is one out of three songs in "Z²" that utilizes the Universal Choir project where fans could send in their sound file of them singing a specific part of a song, and then Devin would bake it in to make a humongous and epic choir to spice up "Z²". I really think it is a fantastic idea by Devin, but unfortunately, It is only fully utilized in the "Dark Matters" track "Dimension Z", which is disappointing. Not saying that the choir goes by unnoticed in both "Before We Die" and "Z²", but it does not stand out as much as in "Dimension Z".

The album's strong point is in the middle where four fantastic songs are gathered together like a big joyful lump. "Universal Flame", "Warrior", "Sky Blue" and "Silent Militia" are all great pieces that are among the best tracks in the album, together with "Fallout" and "Before We Die", and they impress with different strength. The title track is a grand piece without sounding big, which really makes the duet between Devin and Anneke sound so much better. "Silent Militia" is probably the angriest song in the album, but it gets you pumped up and is a perfect song to just scream out the words. "Universal Flame" is incredibly catchy, almost at the edge of being repetitive, but the cool persona of Devin stops it from being annoying. Finally, "Warrior" is the song where Anneke gets the most room for her talent, and she uses that room perfectly in this epic track.

Most of the tracks that I have not mentioned are more or less the same thing. Slow songs that are very close to the ambient style that Devin has nudged so many times before, and they are a good edition to the album so the down to Earth feeling really sinks in, but none of the songs are really memorable at all, so it is easy to look past them. I have never been a fan of ambient music and this addition to "Sky Blue" does lower its quality, especially since some of it is totally unnecessary. For example, the last three minutes of "Before We Die" is more or less silence, which is pretty annoying, and the final track in the album, "The Ones Who Love", are just a dumb way to end the album. A total of 5 minutes of material that could have been utilized in a more efficient way.

The first half of "Z²" is a wonderful and spiritual experience, and it will certainly make lots of Devin's fans happy (especially those who recently discovered the Canadian). This "Terria" / "Epicloud" hybrid is interesting and a good gateway to how Devin is as a person now a days. "Sky Blue" is definitely necessary in this double album, because you could lose your sanity if you just got into "Dark Matters" without any spiritual warm up. The easy part is now over, let us all jump into hyperdrive and once again make a visit to Ziltoid The Omniscient.

Songs worthy of recognition: Fallout, Sky Blue, Silent Militia, Before We Die

Part 2

Slipknot - .5: The Gray Chapter (2014)

It is almost ridiculous when you look back at the last 6 years of Slipknot's career and see everything that has happened to the band. Since the release of the 2008 album "All Hope Is Gone", Slipknot has lost their bassist Paul Gray who died of an overdose of morphine and fentanyl, they have gone through an infected break up with their drummer Joey Jordison, and there has been some struggles within between Corey Taylor and Jim Root when the later left Stone Sour. And to top it all off, the new drummer and bassist's identities have not been revealed and are not considered as full time members yet. The only good thing that Slipknot can take out of all this is that this kind of turbulence would have obliterated any other band in the business, but Slipknot are twisted enough to make it through all this and release another album.

I did not have much expectations for ".5: The Gray Chapter" before listening to it, but I was hoping that the band would take out their chaotic side as much as possible since it is that side I mostly associate them with. And sure enough, we get a good deal of chaos in this album, but we don't get the crazy attack we got in the band's early career, instead it is controlled chaos that is close to being wimpy, but chaotic enough to please the most of the fans on both side of the border (the fans that enjoy their more melodic style and those who like it heavy). There are only few parts of the album where the band really let it all go buck wild, like "Custer" and the opening to "AOV", which actually surprised me. Even though most things has pointed towards that the band has calmed down and tried to make more controlled music, I thought the band would really get together and really make a album that reminded them of their origin, as a tribute to Paul Gray.

One thing is for certain though, The band has definitely cut all of the ropes that tied them together with Stone Sour (except that Corey Taylor is still a member of both bands). You will find no "Snuff" in this album, which is a huge relief. However, ".5: The Gray Chapter" does still have their clean moments that mostly drags the album down. The awful "Killpop" is the only song in this albums that I could see in a Stone Sour record with its boring lyrics about jealousy and semi slow tempo (only thing keeping it from a Stone Sour record is the harsh vocals and the excesive amount of swear words), while "Goodbye" does nothing to catch my interest. Then we have those cleaner moments that just works out just because they are either catchy or because they still maintain the heavy attitude, like the infectious "Nomadic" or the groovy and catchy single "The Devil In I".

The main problem with ".5: The Gray Chapter" (besides from that hideous album cover) is a problem that Slipknot never really seemed to care about, which is that they put quantity over quality. The record has 16 songs and a playtime close to 1 hour and 15 minutes (bonus songs included), but I find only about half of the material in here enjoyable. They have had 6 long years since their last album and this is what they come up with? The tops of the album are definitely high and they match up well compared to the rest of the discography, but the bottoms are just dumb. I really wished that the band would some time in the future release an even album instead of a bumpy roller coaster. But then again, how easy is that when your band has a total of 10 members.

Speaking of members, how are the two newcomers holding up? Not surprisngly, they are doing a good job on this album. The drummer, who is rumored to be Jay Weinberg, may not have as unique of a style as Joey Jordison had, but his beats fits well with the songs and he really knows how to do a slamming blast beat, which is best heard in "The Devil In I". As for the bassist, who is Alesandro Venturella (who else could have the same tattoo as the guy in the "The Devil In I" video?), he does not really stand out that much in the album for me to give a proper opinion about him, but he does not make a fool out of him self, which should be considered as a fine compliment. The only thing those two are missing are some original masks, which they should be able to design them self if they become full time members of the Slipknot clan.

I am pretty sure that Paul Gray has observated the making of the album from heaven/hell/purgatory and is honored for this tribute that the band has made, because when it all comes down, ".5: The Gray Chapter" is ultimately a good album from the Iowa band. A good deal of chaos and some new ideas makes this album a worthwile listen, even if it is a tad bit too long. But the same problems that has haunted Slipknot before is showing again in this album. Too many fillers and no straight direction are aspects that keeps this record from becoming a grand piece in the Slipknot discography, but thanks to their unique, twisted style, Slipknot remains one of the bigger acts in the nu metal movement, which actually doesn't say much since most of those acts has been dismantled or lost the fan's attention.

Songs worthy of recognition: The Devil In I, AOV, Nomadic

Rating: 6,5/10 Skeptics

http://www.slipknot1.com/
https://twitter.com/slipknot

More reviews of Slipknot

We Are Not Your Kind

Amaranthe - Massive Addictive (2014)

The album title could not be any more descriptive over Amaranthe's sound. Their unique blend of pop, metal and techno is almost more addictive than nicotine, which is one of the reasons to why the band has become so successful. But this particular addiction is starting to lose its touch after only 3 albums.

Because "Massive Addiction" is exactly what you would expect from this band. Catchy choruses that sticks like glue and a healthy dose of female-, male- and harsh vocals. And there is no denying that the music in the album sounds good. The band know what they are doing and they are doing it like clockwork, which kind of worries me since the song writing process seems to work like that as well. There is nothing in "Massive Addictive" that tries to separate it from its two brothers, "Amaranthe" and "The Nexus". It is like the band has a pre-made template and then just puts in a slightly alternated riff, some new lyrics, and ta da, they have a "new" song.

But the worst part of it all is that the band still has not learned how to make a well diverse album. "Massive Addictive" holds almost the exact same tempo all the way through, with the exceptions of a couple of ballads of course, and the song's structures are far too similar. The lack of variation is really smothering this album to the extent of making it unbearable.

Therefore, there are only few songs in this album that ultimately sticks to me in a positive way. The industrial "Drop Dead Cynical" has a irresistible groove that fortunately does not annoy the brains out of you, while "Digital World" somehow reminds me of the 90's, but the song has a drive that is impressive. And out of the ballads in the album it is "Over And Done" that feels the most well composed where Elize Ryd and Joacim Lundberg does a great job in creating a connection between themselves. But the most impressive song is "An Ordinary Abnormality" that takes a sweet, heavy groove that just screams Soilwork all over it, and adapt it to a Amaranthe production. Definitely the only track in "Massive Addictive" that doesn't completely feel unoriginal.

Nope, this does not work for me. After three albums of more or less the same thing, I think I need to consult a psychiatrist to get rid of this addiction. "Massive Addictive" is far from a bad album, it has some great musicianship and it is very easy to remember the tunes, but compared to Amaranthe's two previous efforts, this record is not even close to reach the same attraction. The band needs a new direction to follow, a new angle to work from. Because if the band just keeps on going like this in the next couple of albums, then the crowd will eventually abandon Amaranthe. I know I am close of doing that.

Songs worthy of recognition: Drop Dead Cynical, Digital World, An Ordinary Abnormality

Rating: 5,5/10 Trinities

Allen/Lande - The Great Divide (2014)

Russell Allen and Jorn Lande. Two amazing singers that has contributed to some fantastic music during their individual careers. One spends his time with fronting Symphony X and Adrenaline Mob, while the other is a former Masterplan singer and now focuses most of his energy on his solo band. But at the side of their main projects, these guys have also done 3 albums together under the name Allen/Lande, taken from their surnames of course, a project that has now reached its fourth album entitled "The Great Divide".

The big thing that separates this album from the other three is the main composer. The previous three albums had music written by guitarist Magnus Karlsson (Primal Fear, Starbreaker, Magnus Karlsson's Free Fall), but he left the project in 2010. And his successor is... Timo Tolkki, who we all know is the former guitarist of Stratovarius and the man who recently started his own solo project called Timo Tolkki's Avalon, whom released two very mediocre albums, so I was worried that the music on "The Great Divide" would be substandard.

Fortunately, my fears were dismissed easily, since the music holds a good standard. Just like with the previous Allen/Lande albums, "The Great Divide" is a more classic inspired heavy metal album that fits both vocalists very well. The music does have some similarity with what Tolkki has done in his Avalon, but it does not overtake the album. Besides, I think that both Russell and Jorn are such competent singers that they can take a mediocre song and make it better. Also, I had some trouble separating which of the two front men was singing on what song, since their vocals are surprisingly similar, but that only works as an advantage since it makes the album more unified. Besides, you do hear the difference after the right amount of listens.

But if I should be honest, I do not care who sings which songs, because both Allen and Lande does a great job in this album, especially Allen who has left the stupid in your face attitude he has in Adrenaline Mob, and instead focuses on doing some great singing. His best performance comes in "Reaching For The Stars", a semi-slow song that gives a lot of room to the singer so he can show his full potential. My favourite Lande moment is his performance on the chorus to "Down From The Mountain" where he goes all in and put out all his power into a few lines of lyrics. Just fantastic.

Then there are of course other notable songs in this album, like the grand semi-ballad "Hymn To The Fallen",  the heavy "Dream About Tomorrow", or even "Lady of Winter" that sounds like it is ripped off of one of the Jorn albums (which of course makes it perfectly suitable for Lande). And ultimately it is those songs that sounds less like a creation from any of the previous or current Tolkki projects that really lifts "The Great Divide". A song like the opener "Come Dream With Me" just does not get me going thanks to the fact that it sounds like something out of a Revolution Renaissance record. This is clearly the best Timo Tolkki written album outside of Stratovarius, but it could have been even better if he kept it clean and simple with the classic heavy metal theme.

So once again I can admit that Allen and Lande makes a great team, even without Magnus Karlsson by their side. "The Great Divide" is a fine heavy metal record that is a must buy for fans of both vocalists, and even for those who enjoy the work of Timo Tolkki. His involvement did not bring as much change as I was fearing, but it did rattle the cage a small bit so the album would stand out against the other 3 Allen/Lande creations. No matter what, "The Great Divide" is an excellent album with great musicianship and good team work.

Songs worthy of recognition: Reaching For The Stars, Down From the Mountain, Lady of Winter

Rating: 8/10 Solid Grounds

Scar Symmetry - The Singularity (Phase 1 - Neohumanity) (2014)

The metal world has seen many ambitious concept albums before. Albums that take on a grand and epic voyage that is almost too big for some to comprehend, or just a story that is told in more than one album. The next band that is trying out such a huge project is the Swedish melodic death metal band Scar Symmetry. "The Singularity (Phase 1 - Neohumanity)" is the first out of three albums about transhumanism, which is the development of technology and how it can improve the life of human beings. This first album revolve over the rise of artificial intellects and about the debate between those who oppose it and those who embrace it. An interesting concept that could possibly be a heads up for what will happen in the future.

As complex and diverse the concept was, I was hoping for the same with the music. There is no doubt that this is Scar Symmetry playing since the album is filled with their patented type of melodies, structure and singing styles, but there is nothing there that feels fresh or innovative. You have heard it before, and even if you do like it, it will leave a sour after taste. A song like "Technocalyptic Cybergeddon" is the perfect example of this, since there is so much in this song that the band has done before in one way or another. Especially the song structure and the riff structures are very much alike several other previous Scar Symmetry offerings. Recycling at its finest.

But I cannot stop myself from head banging with the rhythm, even though I know it is the same old situation, and that is because the music still has a strong attraction towards it. The groovy "Neohuman" and the apocalyptic "The Spiral Timeshift" are some of the front runners in this album, and there are certainly several other good songs in this record. However, I cannot leave the fact that this album is missing a strong, catchy chorus. A chorus that takes a hold of your brain and does not let go for quite some time. The chorus to "Limits To Infinity" could have had that ability, but the end result is just flat and drags down an otherwise good song.

The strong suit of Scar symmetry has always been Per Nilsson's guitar playing, and he definitely delivers in this album. He mixes simple and complex riffs that fits perfectly with what is played on the keyboard, and the solos he does are well fitted into the songs. He just does a hell of a good job on every album, and so does the rest of the band. The mix between clean and harsh vocals are well balanced and the drums holds a good rhythm together with the bass. So despite that Jonas Kjellgren left the band in 2013, the band still have a good chemistry that creates a comforting harmony that is really reflective in the end product.

Still no word on when the upcoming two parts of the trilogy is coming out, which is a little sad since this album got me hooked. "The Singularity (Phase 1 - Neohumanity)" is a good offering from Scar Symmetry that displays both strength and melody together with a en capturing concept. But the band still has some way to go to make me love this concept series, because the music is not very original and the lack of a very strong chorus is hurting the album. I set my hopes high before Phase 2 and I am sure that the Swedes will conceive another great metal album, and hopefully not just take out a album clone from its cryogenic sleep. The future sure looks good.

Songs worthy of recognition: The Spiral Timeshift, Neohuman, Cryonic Harvest

Rating: 7,5/10 Neuromancers

Threshold - For The Journey (2014)

Threshold has always been that progressive metal band that has produced solid works during their entire career, but nothing too ground breaking nor overly magnificent. You know that their next album will be good, but it will not reach the same heights as some of their bigger equivalents. However, their latest effort, "March of Progress", did quite a big splash in 2012 and almost single handedly helped the band to gain a greater number of fans.

That is why it comes as no surprise that "For The Journey" sounds like a logic follow up to "March of Progress". Just like its predecessor, "For The Journey" impresses with its great guitar and keyboard combination and melodic songs. The only real difference is that this album has a slightly darker mood that gives the album its own identity, but there is no denying that most of the songs here could have easily been fitted in "March of Progress". However, the quality on "March of Progress" was so strong, so I doubt that any of the songs here could really switch place with any song from "March of Progress" without weakening the album.

Fortunately, that does not mean that "For The Journey" contains only weak tracks. The opener "Watchtower On The Moon" is just like most of the songs in "March of Progress". Melodic, groovy and epic. The following track "Unforgiven" is darker and more gloomy, but still contains a good deal of epicness to raise your neck hair, while "Turned To Dust" is incredibly catchy and simple. "The Mystery Show" is also a noticeable track with its powerful chorus and epic ending.

Threshold is not known for their mastodon pieces, but they could have done their best 10+ minute song in this album. "The Box" is a epic 12 minute track that tells an intricate story, and does it with great technicality and musicality. The song shifts tempo here and there so you do not lose interest, and it does it in a very smooth fashion. It is an impressive piece that gives the album an extra edge.

A peculiar thing I noticed with "For The Journey" is that it is a rather short Threshold album. Actually, the first album that is below the 1 hour mark. Excluding the bonus song "I Wish I Could" and the acoustic version of "Lost In Your Memory", "For The Journey" is only around 50 minutes long, which is not impressive since it has a couple of songs that does not completely cut it. It is especially the second half of the album that feels lack luster with a boring riff based song ("Autumn Red") and a song that tries to be more epic than what it can handle ("Siren Sky"). I get the feeling that the band almost rushed this album in hoping to keep the momentum that was started by "March of Progress", which here proved to not be a fully bad decision, but it would have been better for the band to take an extra year with this album to really work it through.

"For The Journey" does not quite reach the same height that "March of Progress" reached, but there is no doubt that this album is still a good outing for the band. The band has kept on building and developing the sound that made the predecessor so successful and made a album that is great, but still miss some stronger song writing. No matter what, Threshold is still riding along on the high road after realising another high quality album. Their musical journey does not have a end in sight just yet, so I will keep on enjoying it with pleasure.

Songs worthy of recognition: The Box, Watchtower On The Moon, Turned To Dust

Rating: 7,5/10 Mystery shows

www.thresh.net/
twitter.com/Threshold


More reviews of Threshold
Legends of The Shires

Crucified Barbara - In The Red (2014)

It is always nice to see women in this male dominated world known as metal, and it is even nicer to see a full band of them. Crucified Barbara is a Swedish hard rock band consisting of 4 women known as Mia Coldheart, Klara Force, Ida Evileye and Nicki Wicked. With names like that, you can be sure that this all female band will create some head banging rock that is both heavy and catchy.

And sure enough, "In The Red" is a perfect continuation on what the band did on the 2012 release "The Midnight Chase". It is good solid hard rock with a little sleaze rock vibe, nice riffs and a Mia Coldheart that once again shows that she has one of the toughest voices in metal. And it also feels like the band has grown on several aspects since the last album. The band chemistry is at an all time high and the song writing is both versatile and dynamic. It is a good old punch that has the same strength as a amazon woman.

Don't believe me? Just check out "I Sell My Kids For Rock'N'Roll" and you will see the band's capability. fast and edgy riffs, tough drum beats and butt loads of attitude. However, that track is not the only track in the album that contains those elements. "Don't Call On Me", "Lunatic #1" and "Follow The Stream" are all songs that show both speed and toughness that out matches most of what their male equivalents can come up with.

Then we have the slower tunes that breaks up the album perfectly so it does not feel like one big blob. My favourite of those would probably be "To Kill A Man" that is about the urge to commit murder against men who abuse women. A great track with strong lyrics. Other slightly slower tunes that you should check out are the classic rock song "Electric Sky", the melodic "The Ghost Inside" and the simplistic "Do You Want Me".

The only real problem with "In The Red" is that there is no song that really stands out as a true winner. The album is very, very solid as a unity and most of the tracks can also stand on their own two legs, but it is very unlikely that any of the songs on "In the Red" will top the charts as one of the best songs of 2014. I also think that the production could have been a little better, but that is a very minor issue since the band plays as well as they do.

"In The Red" is indisputably Crucified Barbara's best work so far. It is a great hard rock album that shows a great variety and awesome musicality. There is no doubt in my mind that Crucified Barbara is the current leaders of the women rock movement and they carry that title with pride and honor. Do not miss this album out, it is one of the better hard rock albums that has been released in 2014. Female power at its best.

Songs worthy of recognition: To Kill A Man, Electric Sky, Don't Call On Me, Lunatic #1

Rating: 8,5/10 Shadows

Slash - World On Fire (2014)

It is pretty safe to say that Saul "Slash" Hudson has had a pretty successful career. From founding Guns N' Roses and Velvet Revolver to guest appear in a Super Bowl half-time show, the man in the top hat has made himself a name for his guitar skills and his stage presence. And since he joined forces with Alter Bridge singer Myles Kennedy and The Conspirators, Slash has done some great things on his solo albums.

"World On Fire" is album number 3 for Slash (the second one featuring Myles & The Conspirators), and to no one's surprise, "World On Fire" is a album that is filled with good clean rock where Slash and his guitar playing is on the center stage. And when I say it is filled, I really mean it. "World On Fire" consists of 17 tracks and has a total play time of 1 hour and 17 minutes. Two numbers that is way too large for most listeners, and even for yours truly. It is nice to see that Slash has a lot of inspiration and so, but that does not mean that he can cram in every single song he wrote into one album. Slash really needs to learn how to "kill his darlings" so the album doesn't suffocate under all these tracks, or he just needs to save them for a future album.

One upside with having 17 songs to chose from, is that it is not that hard to find at least 2 or 3 songs to find a liking to (if you have the stamina to listen through the entire album). Some of you will probably prefer the Soundgarden vibes in "Wicked Stone", or perhaps the technical and swinging "Beneath The Savage Sun" is closer to your musical taste. Maybe the slow, but heavy ending song "The Unholy" speaks to you, or the fast and catchy opening title track. There is a lot of different styles and types of songs to chose from in "World On Fire", so it is just up to you to search through it and find your favourites.

Then there is also the fact that it is extremely hard to make a huge album without cutting corners with some fillers. The low point of this album is still fairly high, but it has its weak spots. The instrumental track "Safari Inn" does not add anything useful to the album while songs like "Bent To Fly" and "Battleground" just makes me bored. Fortunately, the fillers is a minority in "World On Fire", which makes the album much more enjoyable than what it could have been.

The big question however is if this so called bromance has already taken its toll, that it has already reached its high note. I think it is too early to tell right now, but since both "Apocalyptic Love" and "World On Fire" was such huge albums and that they had the same type of music, it is no wonder that one could be fearing that Slash will not get much more out of this cooperation. I would definitely love to see Myles Kennedy & The Conspirators in Slash's next solo album since they are very skilled in what they do and they seem to enjoy working with the main man, but I would not be surprised if Slash had found new henge men to cooperate with to the next album.

The huge play time and a loss of dynamics makes "World On Fire" inferior to its predecessor "Apocalyptic Love", but that doesn't mean that Slash, Myles and The Conspirators has made a bad album. "World On Fire" is still a good album for those who search for good hard rock with nice and unique riffs. It may not set my world on fire, but this album certainly makes me warm inside of the goodness it brings.

Songs worthy of Recognition: World On Fire, Beneath The Savage Sun, The Unholy

Rating: 7/10 Avalons

www.slashonline.com/
twitter.com/slash

More reviews of Slash

Living The Dream

In Flames - Siren Charms (2014)

I honestly feel sorry for In Flames. The amount of shit they have gotten from the metal community the last decade has mostly been uncalled for. Sure, they started off as one of the leaders in the Swedish melodic death metal scene and has now developed their music into something different, but I still feel like they have done several right choices in moving their music into another dimension. I will always commend a band that is willing to move forward with their music and not rely on staying in a small range of the musical spectrum. I still think classics like "Clayman" and "The Jester Race" are the band's best work and that their newer material is not near the same quality, but they have not really created any horrible albums so far in their career (except for the horribly uneven "A Sense of Purpose").

But after hearing "Rusted Nail" and "Through Oblivion" (the two first singles from the album), I was tempted to do like many other metal heads, and call "Siren Charms" one of the worst releases this year without even hearing the entire album, but that would ultimately be stupid. After hearing the album, I still think "Siren Charms" is a big step backwards compared to the 2011 release "Sounds of A Playground Fading", but it is not a album I would consider as the worst of the worst in 2014.

However, there are several points in "Siren Charms" that bugs me out. The singer Anders Fridén sounds more like Korn singer Jonathan Davis for every album, and it is obviously not a good sign. Nothing against Jonathan, I just don't think this style of singing fits very well with the music In Flames is playing. It is especially bad since it seems like neither the harsh or clean vocals works out for him. Then the overall song quality is pretty much substandard, especially since most of the songs sounds like bad copies of any song from "SoAPF". "Rusted Nail" is a perfect example of that. It has an interesting riff and the verse is intriguing, but the chorus is so boring that I fall asleep. At the end of the day, it is the fact that "Siren Charms" contains too much electronic sounds and not enough guitars that makes me despise the album. A small hint of electronica is fine, don't over do it please.

It is hard for me to just chose a couple of bad songs to rant on, because the album is filled with them. Worst of them is probably "Through Oblivion" that feels like a bad indie track that only a hipster could love. Might be the worst song the band has ever created. Other bad moments in "Siren Charms" are the bland ballad "With Eyes Wide Open", the boring torture device "Dead Eyes" and the bad "Where The Dead Ships Dwell" copy "Monsters In The Ballroom". I also wished that the two bonus tracks "The Chase" and "Become the Sky" would at least try to lift the album, but to no avail.

Luckily, there are a couple of tracks that makes me endure this record. "Everything's Gone" impresses with its heavy riffs and aggressive attitude (it is the only song in the album that even is some what close to the "old" In Flames), while the title track does have its moments with its interesting structure and overall good vibe. We also have "When The World Explodes", that might be considered as a metal core song, but it is well made, and the opera singer Emilia Feldt does a nice job putting her touch to the song. In my opinion, "When The Worlds Explodes" is the only song in "Siren Charms" that is both innovatory and good. I also find "In Plain View" pretty satisfying.

For those of you who in the last minute hoped for the band to return to their death metal roots, there is nothing for you in "Siren Charms" that you will have any interest in. And for those of you who liked the last couple of albums that In Flames has put out, you should also enter with caution. Because even if "Siren Charms" is a logical follow up to "Sounds of A Playground Fading", it just reeks of bad decision making. Too much electronics and an overall stale production and song writing makes "Siren Charms" unpleasant. Therefore I think the name is pretty fitting. It lures you in, making you think that you will reach some sort of paradise, only to eventually stab you in the back.

Songs worthy of recognition: When The World Explodes, In Plain View, Everything's Gone

Rating: 4/10 Dead Eyes

www.inflames.com/
twitter.com/inflames_swe

More reviews of In Flames
Battles

I, The Mask

HammerFall - (r)Evolution (2014)

After about 15 years of constant touring and song writing, Swedish heavy metal band HammerFall decided to take a break in 2012 to focus on other things, like writing a biography or act in rock musicals. Now the band is back after its two year long hiatus, and judging from the album cover, Hector has been reborn after the zombie phase known as "Infected". This was an obvious sign that HammerFall would go back to their power metal roots, a rumour that was ultimately confirmed by the band. They even confidently said that this is their best record up to date.

Now, I would not go as far as saying that "(r)Evolution" is HammerFall's best effort ever, but it definitely feels like the band has found the spark again after a couple of lack luster efforts. "(r)Evolution" is definitely a step back to the band's roots, but it still takes some elements from their later records, like the heaviness from "Infected", and also from other sources, like Rhapsody of Fire and the popular book/television series "Game of Thrones" (this is not the first time though the band has taken inspiration from it). This certainly makes "(r)Evolution" a well diverse album, but it is not enough revolutionizing to lure in any greater amount of newer fans.

As I already mentioned in the live review I did on the band's gig at Gothenburg, a big fan favourite can be found in the opening track "Hector's Hymn". Not only is this a celebration to the band's mascot, it is a epic track that takes a lot of pieces from the band's career and mentions it in the lyrics, like the templar's of steel (also known as HammerFall's fan base) and unbent, unbowed, unbroken (of course taken from the album with the same name). Speaking of taking things from earlier material, I think it is weird that the single "Bushido" ends with the opening riff from "The Way of The Warrior". The song itself is fine, but far from mind blowing.

It is clear that the first half of the album contains most of the better songs. The title track does a good job in mixing the classic HammerFall beat with a chorus that almost uses the same hockey quire as Accept does, while "Ex Inferis" is a nice dark, heavy track that works very well with its slow tempo. The other half of "(r)Evolution" is more uneven in its performance, but it does not only contain fillers, it actually contains two tracks that are surprisingly not typical HammerFall, but is still power metal gold. "Origins" is more or less a typical neo-classical power metal song that still impress with its epicness and a fantastic solo, while "Wildfire" is just as the name suggest. A song that captures the apocalyptic feeling that Rhapsody of Fire can do so well, but also contains a drive and speed that would make Kai Hansen proud. It is definitely the song that surprised me the most in this album, and I thoroughly enjoy to hear that HammerFall keeps on evolving in their song writing.

Unfortunately, HammerFall still puts out some fillers to make a complete album. The obligatory ballad "Winter Is Coming" is not the worst ballad by the band, but I could live without it, and songs like "Live Life Loud" and "Tainted Metal" just feels out of place in this record. Such a shame that HammerFall's usual problems are still there, because I believe that this album could have been something extra ordinary if these fillers was more polished.

"(r)Evolution" is not the best album HammerFall has ever created, but it is a huge step forward compared to the band's latest releases. The album is typical German heavy metal from Sweden, but it does also have a vein or two where it is obvious that the band wants to keep on developing their music. However, I would not consider this a full on revolution. No matter what, the hiatus has done the band good and I am looking forward to how the future will treat the band.

Songs worthy of recognition: Hector's Hymn, Origins, Wildfire

Rating: 8/10 Bushidos