So I was going through my music and glanced upon my nowadays dusting CD collection, when I noticed a few old thrash metal revival bands. Do you remember the thrash revival that was happening ten years ago? It was a brief wave of underground thrash bands that rose up to bring down the ever-prevailing kings of the 2000's, namely the metalcore bands.
I remember those times very well. It was in some ways my prime. I turned 15 in 2005 and thus was I part of that entire decade's ups and downs. Most "true" metalheads like myself did not really appreciate the metalcore scene all that much. In retrospect I've grown to love some bands that were lumped in with that scene (Chimaira, DevilDriver, etc.), but the bulk of it was really bad.
Idols at 16: Megadeth (1986) - Chris Poland, Gar Samuelson, Dave Mustaine, David Ellefson
In 2006 I was a full-blown thrasher. I had grown very fond of 80's thrash in 2005 and by the next year I was listening to it 24/7 (I literally used to sleep with headphones back then). I was fanboying early Megadeth (Peace Sells era) above all else and I particularly took a liking to "rawer" thrash bands. I liked thrash bands with heavy influences from Motörhead, rather than the polished and more technical stuff like Megadeth did with Rust in Peace. I did not, however, follow any modern metal scenes and was totally unaware of what was cooking beneath the surface.
By 2008 something just exploded. From seemingly out of nowhere came hundreds of young new bands that played classic thrash metal. It was like a sonic revolution. For years everybody had been talking about how bad metalcore was and how they hated it, including my own band, but it took several years for anyone to properly react. By the time it came, however, it came down hard and without showing any mercy.
Who doesn't remember that album cover by Fueled By Fire? A thrasher beating up two emo kids. It was badass! Or why not the revival of Ed Repka artworks? You know, the guy who did artwork for some of the genre's best regarded masterpieces. Hell, his artwork was often just as synonymous with a record as the actual band, musicians and music. Sometimes even more so. Thrash metal was truly reborn and kicking ass by 2008. The downfall of classic metalcore had begun.
Warbringer, Evile, Lich King, Bonded By Blood, Hexen, Gama Bomb, Municipal Waste, Suicidal Angels... The list goes on. So many bands, no air time, no major labels, low budgets - but a massive fanbase and a huge thurst for the return of a rebellious saviour. It was like an old scene had returned with new blood overnight. But looking at it in retrospect, it was probably the scene's big mistake.
With so many bands coming from out of nowhere that fast, you suddenly had a bunch of new killer records and live tours to catch. At the same time, however, it became like a ridiculous case of bands adapting to a bunch of copy-and-paste formulas. There simply was next to no originality within the revival scene. Bands sounded closer to being tribute acts of their number one favorite band rather than doing their own thing. Now that is not essentially a bad thing, but when everybody does it that way it gets tiresome quickly.
Before you knew it, the thrash metal revival had gone back to the deepest underground whence it came. It lasted for what, two solid years? Even that long? Talk about 15 minutes of fame. What made the original wave of thrash metal so great was how it was something new, something innovative. It was fresh and dangerous. The problem with the revival was how all those bands and musicians had gained great amounts of skill, only to use it for reproducing a certain sound rather than develop and explore their own creativity. Nobody wants to hear twenty Kreator wankers.
So after coming up real hard and heavy the entire movement basically plummeted right back down the abyss. It went from being one of the coolest things to happen in metal history to being one of the most ridiculous ones. But even though its initial impact didn't have more than a minor lasting relevance, it did ultimately leave another, much greater, impact.
In the wake of the thrash revival's demise there were basically two things that happened. The first one was a door left open, a door for classic heavy metal to make its impending return. Just look at that - it's still there after almost ten years, still going strong and seemingly even stronger in recent years. I'm sure that without the thrash revival happening cirka 2008, we wouldn't have gotten a classic heavy metal revival as early as cirka 2010. I'm certain it would have happened sooner or later, just not as soon as it did. The other thing was that it did indeed bring down the metalcore movement. After all, what relevance has the majority of them had in the 2010's? Next to none!
So what can we possibly learn from this musical history? The way I've put it we should basically just avoid playing music altogether. If you're a skilled musician copying your idols down to the notes and styles, you'll never last. If you're part of a more original subgenre (metalcore) then you simply suck and should call it quits already. But hey, surprise surprise, that's not really what I'm suggesting.
While I wasn't a fan of metalcore back then I can look back at it in retrospect and appreciate those musicians doing their own thing (until they started copying-and-pasting each other that is). The thrash revival seems to be mostly suppressed these days with nobody associating with it. There are a few bands I still listen to from time to time. They still sound as unoriginal as they did back then, but at least they did some great thrash music nonetheless. I love the classic heavy metal revial that rose up from it. There are also a lot more originality within that scene, I believe.
The only thing I'm scared of right now is to see what happens next. We're closing in on the end of this decade, which often means new trends and whatnot lies ahead in the wake of the next one. This decade has been plagued with deathcore and dare I say that it generally sucks way harder than metalcore ever did? And similarily to the thrash revival towards the end of the last decade, we've now got something of an "old school death metal revival" instead. I love death metal. Way more than I love thrash. I don't want to see it end up like the thrash revival did, although I'm pretty sure the death revival has already outlasted it (and has more originality). Time will tell!
Am I the only metal music fan who's noticed what seems to be a drastic change within the modern heavy metal scene, particularly within the so called NWoTHM (New Wave of Traditional Heavy Metal) movement? Time is seemingly just flying by as we speak. I'm turning 27 in some months from now and it does not feel all that long ago since I was 17.
Let's rewind back to cirka 2007-'09. The whole "retro metal" movement, which we all are very well aquainted with these days, was being bred in the womb of a long-time hatred for the then dominating metalcore scene. From my POV the first old school metal sub-genre that quickly arose was thrash metal. Bands on both sides of the Atlantic were the new saviours of metal. Bands like Evile, Lazarus A.D., Bonded By Blood, to name a few, were all blooming up seemingly out of nowhere only to completely go under the radar a few years later.
In 2010 I personally noted another change within the metal scene. It seemed as if thrash had made a large crack in the metalcore scene, as it was dying in a rapid pace as far as my eyes (and ears) could tell. But it wasn't only the metalcore scene that was now suffering; the thrash revival seemed to have run its course as well. New times were ahead and it was an era of a more slow-to-mid paced style of metal music.
Around 2010 I noticed this explosion in the Swedish metal scene. Suddenly a lot of classic-sounding heavy metal bands popped up everywhere. The most notable one, without a doubt, was the excellent Enforcer who had just dropped their "Diamonds" album that year. I remember being in school and having some computer class. I was listening to Spotify while being bored, just trying to check out some new music. I stumbled upon the cover art and was amazed of its retro design. I quickly pushed play and was completely blown away - it was the best shit I had heard in years.
Enforcer quickly became a well-known name within the sub-genre and gave lots of metal fans hope for the first time in a very, very long time. Other bands such as Steelwing, Katana and In Solitude, only to name a few Swedish bands, followed. Some other bands that had been around for a while got more recognized as well. Some other older bands such as Watain maintained a great relevance as the change happened.
2010-2013 were great years for European heavy metal in my opinion. Lots of bands popped up and a lot of them were pretty damn great as well. The Swedish scene in particular was suddenly a lot more fun, something it hadn't been since the early 90's death metal wave. But as those few years passed by, the scene seemed to become overfed with bands adapting to the retro styles. Bands such as In Solitude and Steelwing were already gone by 2015 and others such as the mighty Enforcer, while still putting out excellent music, just seemed to have had their hype gone quiet.
Meanwhile as the European scene seemed to be dying once more, the American scene has really been stepping up in the past few years. I am the first one to both praise and criticize the American metal scene throughout the past forty years. There are countless of great bands from all American countries, but the US (in particular) has also produced a lot of shitty metal as well as killed scenes (e.g. grunge killed all 80's metal). Where the European scene just seemed to be dying, the American scene all of a sudden started producing a lot of great stuff.
Something I've noticed about the American scene of today is its specific sub-genres. A lot of doom metal, hardcore and old school heavy metal seem to be the largest exports of good music in 2017. While I have a rather hard time thinking of any good European heavy metal in 2016, I can think of a lotta American stuff - Sumerlands, Eternal Champion, Cauldron, Spell, and the list goes on. There's also a strong hardcore-influenced death metal scene going on (sometimes coined "Entombedcore") which I enjoy a lot as well.
Say what you will about American and particularly US metal throughout time. They were largely responsible for hair metal, grunge, metalcore, nu metal - whatever trending metal style you can think of. I'm not necessarily saying that those styles were bad in any way, but they came, conquered, destroyed and ultimately got destroyed by one another. Today, however, the US actually seem to have a lot of diversity rather than just one particular dominating style, and I like that a lot.
European or Swedish pride, whatever, I can be honest and say our scene is (seemingly) dying on the operating table at the moment. The American scene is very healthy and well worth checking out for any metalhead in this day and age.
Today's the day! I'm doing my personal top-10 list of the ten very best metal records of 2016, plus a bonus mention section of those contestants who didn't make the list. Before we start I would like to briefly summarize the year as a whole down below.
2016 has been a very action packed year to say the least. Lots and more lots of metal records coming out this year. In fact, I've had a strong feeling this year's been more productive than the past few years. Something that's been particularly present for metal records this year, I think, is hype. It just seems like 2016 has been a very dedicated metal year.
Lots of people have also been saying it's been a great 30th anniversary year for thrash in particular, whereas 1986 was argubly the best year in thrash history. Many of the bands that released great albums in 1986 have also released great efforts this year, according to many thrashers and metalheads out there.
Personally, however, I've been standing at the crossroads all year. There's been so much coming out this year, including some personally anticipated releases, but I just kind of feel like most of the stuff left more to be desired. That's left me very confused to say the least. On one hand I've got this really rich metal treasure, but on the other hand there aren't really any real treasures in the chest. Do you catch my drift?
Some of the records that came out this year, some of which have even been majorly anticipated by the common metal scene, have simply left me so unimpressed I kind of thought they sucked. Another truth I feel should be told is the year's rather slow start. Yes, a lot of records this year were planned for release later during the year, making the first bunch of months this year particularly uninteresting to me. That, in turn, also left me somewhat uninterested in checking out more new music altogether as the year progressed.
With all that said, maybe the first few months disappointed me so much that my own hype/interest just got "drained". I dunno. What I do know, however, is that I didn't discover nearly as many new records as I should've done because of that. So to all record labels: please plan your releases somewhat more strategically month by month, rather than "nah, we'll drop 'em all this summer."
2016 to me personally has unfortunately been a rather "boring" year for metal, despite a lot of releases including some major names. But here's ten metal albums which left the most marks with me personally:
10. Exumer - The Raging Tides
One of the best thrash albums of the year, if you ask me. I just love their debut, "Possessed By Fire", which was originally released in 1986! They've now done four albums in total (two in their original run, two since reforming). This is the best one since the debut.
9. Khonsu - The Xun Protectorate
Never heard of these guys before. I happened to stumble upon them as the cover art drew the attention of my eyes, as I'm a solid sci-fi fan. Turned out it was one of those great stumbles. While I'm not entirely sure as to what label these guys as (fuck strict labeling anyway, really), they're along the lines of ... progressive black metal? Whatever, their shit kicks dicks. They actually remind me a lot of a Czechian group called Gorgonea Prima which I really like. A lot of stuff going on here.
8. Amon Amarth - Jomsviking
At first I was rather unimpressed with this one, just like with their previous album "Deciever Of The Gods" (2013), just like so many other fans. As the year has gone by, however, this one actually grew on me a lot. It's definitely the biggest grower of the year for me. I think it's still got a few flawed tracks (including a collaboration with Doro) but also a few epic gems, and those are exactly what I love about Amon Amarth.
7. Fallujah - Dreamless
One word: atmospheric! You know, I was skeptical about this one seeing as I was not really a fan of their sound prior to this one, but lo and behold: this one has some truly amazing soundscapes going on. At times it's progressive metal with jazzy-like guitars and at other times they just rock a U2 kinda vibe (yes, I'm a U2 fan. I love U2). Perhaps the biggest surprise record of the year? Very possibly so.
6. Lucifer's Hammer (Chile) - Beyond The Omens
Okey,
so the name is a blatant rip-off from an old legendary band, but if you
(can) look past that you'll have yourself a mighty fine heavy metal
album right here. This one's one of the absolutely best NWoTHM releases
this year, much in the vein of old Maiden, Satan, Angel Witch and other
lovely bands from back in the day.
5. Eternal Champion - The Armor Of Ire
This one appeared to me through Blake Ibanez whose work I'm very familiar with (and a fan of) from the Texas hardcore-thrashers Power Trip. This band plays old school (epic) heavy metal. I'd say their spirit/feeling is reminiscent of Manowar while the music is perhaps more towards early Savatage, Manilla Road and Omen. A mighty fine and refreshing old school-influenced release in this day and age of metal, and also a proof that some Americans can still crank out some good ol' heavy metal. The only downside is the album's somewhat short duration - six songs and two instrumental pieces. The biggest upside - I want more!
4. Cauldron - In Ruin
I've always been a somewhat casual fan of Cauldron. They're good but not awesome was what I used to think about 'em. Their previous album "Tomorrow's Lost" (2012) was a real solid album, though. Somehow I never thought they'd do another one like it, why that was I dunno, but four years later they actually returned - and topped it! I was very impressed with this one. The songs are stronger, more energetic, there's more melody and the vibe brings out just about everything I love about 80's heavy metal.
3. Sumerlands - S/T
And the biggest heavy metal bomb of the year is none other than the mighty Sumerlands. A relatively new band, also featuring Arthur Rizk who also plays on the Eternal Champion record. I guess the guy knows his shit like a real pro, making two of the top-5 best records of the year. Without a doubt the guy is the future of metal. This album sounds like a great mix of 80's solo-era Ozzy Osbourne with a touch of Dio (band) as well as Dio-era Sabbath. Further add some Queensrÿche, Savatage and Van Halen into the mix and you've got Sumerlands. The production is also really nice, warm and old school sounding without sounding too clean or too cheap. The best heavy metal album in a long time.
2. Death Angel - The Evil Divide
These dudes together are one of my favorite bands these days. Their last three albums including this one are all killer! While I think I do prefer their previous album slightly more, the ultra-thrasy "The Dream Calls For Blood" (2013), this album's definitely as good as a great follow-up gets. The music is a lot more varied on this album, which I also believe is one of its strongest features, but it also takes the cake for being the best thrash I've heard all this year. I don't think there's any other record from this year which has spun more times than this one. Gongrats guys, you officially won the "thrash of the year"-award from me.
1. Devin Townsend Project - Transcendence
And winner of the year is...*double bass-blast and tom-tom roll attack*... DTP! I'm a long-time fan (for my age) of Devin's and I love a lot of the man's musical work. His last few releases, however, have been somewhat ... less interesting, I think. Particularly "Epicloud" (2012) is an effort I found quite uninteresting and it made his music sound somewhat stuck in a rut, maybe? I wasn't really expecting too much from this album to be honest, but when I finally heard the thing I was blown away! This is truly one of Devin's finest hours (and he's got quite a few) and I absolutely love the "celestial sounds" which dominate this album. The songs are huge, epic, beautiful and together they just make one hell of a musical journey. Congrats Devin and DTP - you are the album of the year!
Bonus: Noteworthy mentions and opinions of albums that did not make the list...
DevilDriver - Trust No One
I really liked "Winter Kills" (2013) unlike most fans who seemed not to. This album, however, left a few things to be desired. A bit too safely played and also a bit too repetitive, perhaps? But for being the first album by a whole new line-up, it's pretty solid. The previous album brought more variety to the table. A few great tracks are to be found (particularly "For What It's Worth"), as well.
Testament - Brotherhood Of The Snake
Back in like 2010 or so, I kind of worshipped (old) Testament. They're one of the greatest and most important thrash outfits of all time, but their past three albums have all been kind of "meh" in my opinion. This one didn't really disappoint as my expectations were relatively low, but on the other hand did it not do well in surprising me either. What it did do, however, was making me appreciate "Dark Roots Of Earth" (2012) a lot more (in comparison). It's something, I guess.
Tygers Of Pan Tang - S/T
I still haven't heard this in its entirely yet (I think), but what I did hear so far sounded solid. I'm happy they're still around and rocking.
Hatebreed - The Concrete Confessional
I liked this one a lot but I just don't think it's a top-10 contestor. Best album they've done in a while, though.
VOLA - Inmazes
Don't think I've managed to go through this whole thing yet. It's a bit too djent-y for my taste so I take it in bits and pieces, but it's got some great soundscapes going on which makes it worthy of listening to.
Meshuggah - The Violent Sleep Of Reason
What can I say? Just another Meshuggah album. Nothing more, nothing less.
Vektor - Terminal Redux
People have gone apeshit over this one but I personally just don't hear what's so great about it. "It sounds like Coroner". Hey, I love Coroner. This does not sound like Coroner!Maybe someday, though.
Destruction - Under Attack
I do like some of Destruction's works, both old and more recent, but this one was rather bland.
The Browning - Isolation
Like the case with Meshuggah - just another Browning album. Also somewhat arguable if it's really metal or not. I enjoyed it nonetheless. Just nothing extra ordinary about it.
Vicious Rumors - Concussion Protocol
The same case again - just another Vicious Rumors album (but it's good).
Metallica - Hardwired...To Self-Destruct
I've seen this on several lists already (no wonder). Some first spots as
expected as well, 'cause it's Metallica after all, you know? But in all
honesty though, when they announced this I didn't know what to expect. I
liked "Death Magnetic" (2008) but it wasn't awesome. However, I
do think they did a solid one with this album. A few tracks are kind of
"meh", but some others are really nice with a good variety, and
Thrash(y)tallica is always nostalgic and welcome to me, so...yeah.
Megadeth - Dystopia
I liked "United Abominations" (2007) a lot, and you know what? It was the last Megadeth album I liked a lot. This one is better than the previous two crappy outputs by MegaDave, but way overhyped and not nearly as good as all the fanboys make it out to be. The title-track was the best Megadeth song in years, though. Love that one!
Anthrax - For All Kings
Most disappointing album of the year for me. It just sounds boring to my ears. And for fuck's sake, can the new lead guitarist try to at least look happy on stage once in a while. The guy always looks like he despises being in the band. Joey sounds great, though.
Revocation - Great Is Our Sin
A solid release but they've done better ones. This one simply didn't make the list.
Denner / Shermann - Masters Of Evil
The first full-lenght release from these Danish guitar masters in quite a while. A satisfying album no doubt, but it does fall somewhat short in comparison the duo's previous works (I guess mostly because the vocals - we all want KD, obviously).
Oceans Of Slumber - Winter
This one's the coolest modern female-fronted metal I've heard in quite a while. Why didn't it make top-10? I guess I just enjoyed the actual top-10 a bit more.
Khemmis - Hunted
It's been many years since I last had a something of an interest in doom metal. Don't ask me why 'cause the riffs and sound are usually crushing, but I guess the slow tempo just bores me too much in the long run. You know, I'm a huge Black Sabbath fan so that's pretty much all the "doom" I need. I used to be a big Candlemass fan back in the day as well, but I haven't listened to them for ten years now. These guys, however, actually made doom metal kind of interesting to my ears again.
There are tons and tons more of metal records released this year. I haven't gone through an ounce of them all yet. If a record wasn't mentioned it's because;
It simply blew.
I forgot about it.
I haven't heard it at all.
It wasn't anything particular or noteworthy in my opinion.
I'm launching a new to-be-recurring series here today. A classic top-10 most underrated list. Not very original perhaps, but opinions will always differ - making every list personal and unique. With that said, this list will be my personal opinion, and not some official "agree with this list, now" bullshit, or whatever.
This is purely for entertainment purpose, but hey, maybe you guys will find yourself agreeing with me, and maybe you'll even find something new. //J.
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Thing: Band / Status: Underrated or overlooked
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10. Saxon (UK) - Underrated
Although they are well-known in the metal community, I always felt that they were overshadowed by bands like Iron Maiden and particularly Judas Priest, with their reminiscent biker sound.Sure, Saxon came along a few years after Priest, but at the time (late 70's) Priest hadn't quite yet gone into that more-straight-forward style metal they introduced on "British Steel", and also maintained for several albums to come after that one.
Saxon did mostly focus on that ride-motorcycles-on-the-highway heavy metal sound, with lyrics either focusing on those kind of things, or medieval stuff. Vocalist Biff Byford has also got a very distinctive voice which is very nice and suitable for the band's sound. To my ears, they were a very good band (and remains so to this day). It's very sad that people didn't acknowledge them as much as Maiden or Priest, but I guess that Saxon still was luckier success-wise than bands like, say, Angel Witch or Tygers Of Pan Tang.
9. Strapping Young Lad (Can) - Both
Okey, so Devin Townsend is pretty well-known these days and has a strong and loyal fan-base. He might not be a superstar, but at least in the metal community he is very well appreciated. But that doesn't necessarily go for all of his many projects that he's done over the years.SYL was a most underground band when they released their debut "Heavy As A Really Heavy Thing" back in 1995, which infamously sold like 15 copies in its first week of release, literally.
In 1997 Townsend and SYL returned with "City", an excellent record that remains my favorite Townsend work to this day. But the sound sure doesn't appeal to everyone, certainly not people who are not into metal. Being rather extreme industrial-style metal, there has rarely been a record more genuinely pissed off-sounding than that one. SYL would release three more full-length albums during the 2000's, all of which are good albums, with especially 2005's "Alien" being another masterpiece. But I guess people were more into the radio-friendlier bands such as Fear Factory, Rob Zombie or Marilyn Manson.
8. Crimson Glory (US) - Overlooked
These guys had it all - music, production, vocalist, label, etc. Something went wrong along the way, however, with possibly the record label (Roadrunner Records) being right on paper, but not in practice?They did two albums during the 80's both of which sounded great, and they had an amazing vocalist in the late Midnight (yes, that's simply what he called himself). Truth to be told, I even think he's my favorite power/progressive metal singer of all time. Halford, Kiske, Tate... Non of them beats Midnight in my opinion.
Whatever fans they managed to get seemed to be very much into the band, as their first two works are generally hailed as masterpieces of their sub-genre, yet still when listening to or mentioning them, no one knows what the fuck you're talking about. Strange and sad. These guys were like a mastercrafted Queensrÿche if the latter is just a novice band.
7. Death Angel (US) - Underrated
If you would expand the Big 4 into the Big 8 instead, Death Angel would likely enter it along with Testament, Overkill and Exodus, albeit on place 8 I guess. That just doesn't sound fair to my ears, since DA fucking wrings and torns 'em to out to shreds (any DA fan should see what I did there).
Any thrash fan are likely to be aware of their infamous debut "The Ultra-Violence" from 1987. After that one, fans are a bit divided when it comes to the quality of the band's next albums. But in latter years, I really think they were reborn. From 2010's "Relentless Retribution" and on, the band has just been on fire on every album, and today they also stand out as perhaps the best old school thrashers doing new albums. Particularly vocalist Mike Osegueda remains in great shape vocally today, much more so than any other major thrash band vocalist I can think of from the old bands.
6. God Forbid (US) - Overlooked
One of the bands included in the NWoAHM (New Wave of American Heavy Metal) movement, a.k.a. metalcore. These guys were great and had a pretty unique sound going on, which I personally would call a mix of Chimaira, Mastodon and thrash bands. It's a shame these guys didn't make it, but I suppose they were overshadowed by the likes of Lamb of God and all the emo shit-bands back in the 00's. They also got better by every album, with their last two being their best (and thrashiest) works to my ears.
5. Saigon Kick (US) - Overlooked
Although they managed to make a Gold-selling single in "Love Is On The Way" from their second album, their actual full-length albums did not do nearly as good. With that said, I guess they were potentially quite successful, but just otherwise overlooked since they came just as hair metal was becoming passé and grunge had exploded (fuck you, Nirvana).
While their sound was rooted in typical hair metal of the times, they stuck out by having unique influences and touches to their sound. They do sound like they took Skid Row's sound as a base, then spiced it up with a weirdness and poetical touch of The Doors, the joy of Jane's Addiction and the hard edge of Warrior Soul (which is another massively underrated band, btw). This stuff was experimental hair metal, in a way, and should've appealed to more people than it did.
4. Magnum (UK) - Overlooked
I absolutely love this band! If you're American, I would not even be surprised if you don't know what the hell Magnum is - I would rather expect it. It seems these guys went by mostly unnoticed in the US market throughout their entire c. 40-year-old career. They are, however, well-known and loved in the UK, Germany and the Scandinavian countries. Hell, here in Sweden, hard rock fans are always fans of the band, and for obvious reason.
They started off as a rather progressive rock band in the mid-70's or so, at least that's when they recorded their debut album "Kingdom Of Madness", but it wasn't released until 1978 - in the midst of punk conquering the UK. In the early 80's they got some opening slots for Ozzy Osbourne and Whitesnake which gave the band some recognition in Europe, and later got somewhat of a brake in 1985 with the excellent "On A Storyteller's Night". The band at this time had become more of an AOR-oriented Queen-meets-Thin Lizzy hybrid, and they would later receive a Gold record in the UK for their "Wings Of Heaven" (1988) album, which I ironically find to be their least-good record.
They're still growing strong to this day, releasing albums regularly and maintaining a solid progressive-esque hard rock sound. Oh, and Bob Catley is a truly underrated vocalist!
3. Chimaira (US) - Underrated
Without a doubt the best and thus also (sadly) most underrated band of the NWoAHM movement. They did kind of scratch the surface, but could never manage to rise to the level of Lamb of God, Machine Head or Trivium. Instead, they were a little more harder in their sound, whereas their metal elements were harder than any other bands, and likewise with the hardcore elements. They also had a groove to their sound, albeit not as groovy as MH or particularly LoG.What helped Chimaira stand out from the masses were their electronical elements, where they incorporated light use of keyboards, and a lot of sound effects, for loss of a better description.
They released six albums and an EP in total, where I love anything apart from their first and last albums. Everything in between is, more or less, gold to my ears. They also constantly evolved from record to record, which is another feat I really like about them. Too bad the kids in the scene either were too emo or too mainstream to really dig into these guys other than carefully scratching their surface.
2. Nocturnus (US) - Overlooked
Classic Tampa death metal that is pretty well-known for fans of the genre, I suppose, but for the larger death metal crowd, they're mostly overlooked. Featuring former early-days Morbid Angel drummer Mike Browning on drums (and also vocals on the debut, "The Key"), it kind of sounds reminiscent to the likes of Morbid Angel. The difference that makes them stand out, however, are heavy use of sci-fi keyboards. That's right, Nocturnus is sci-fi influenced death metalwith strong and atmospheric keyboards. These guys apparently influenced bands like Children of Bodom a lot, but these guys are a lot better in my opinion.
Their career was ultimately rather shortlived, only lasting two albums and an EP before splitting in 1993 or so. Tensions arose within the band, particularly between main-man Mike Browning and the others, leading them to infamously go behind his back, acquiring the rights to the band name and all, and later firing him from the band he himself founded. Total dick mode if you ask me, but maybe the guy (Browning) was an ass, I don't know. Still, that's a fucking dick move. However, the remaining band did eventually reunite and release another album in 2000 called "Ethereal Tomb", but I don't really like that one at all. Biggest reason for it? Mike Browning's missing, and so is the original (good) sound with him.
1. Mordred (US) - Overlooked
Number one this time around is none other than the truly massively overlooked band Mordred. Hailing from the San Fransisco bay area, they started out as some kind of true heavy metal band, like Manowar or whatever. At least that's the impression I've got from what I've heard and seen. Later, however, they did some line-up changes and voila - it was 1989 and thrash metal was at its peak. But Mordred wasn't just a thrash band all of a sudden. On the rise was also funk metal, with Red Hot Chili Peppers popularizing the sound, which in 1989 would also be further popularized by Faith No More.
Mordred made a distinctive sound for themselves by incorporating bay area-thrash with funk metal. A real nice mix if you ask me, as it gives the sound this groovy feeling while also being fast, hard and intense. However, the band's debut was more of a pure thrash album which experimented with funk on a few tracks. It wasn't until 1991's excellent "In This Life" that the band really incorporated funk fully into their sound, and boy did it sound cool!
Like too many other bands at the time, however, the band had suddenly launched its sound the midst of the grunge outbreak (once again, fuck you Nirvana). Sure, Faith No More was huge at the time (though they sounded like a lot of other styles besides just funk) and RHCP would become massively popular with "Blood Sugar Sex Magik", but still Mordred went by mostly unnoticed. Maybe their thrash elements were their death sentence, as that sub-genre was pretty much passé at the time.
They would go on to release a great EP in 1992, and one last full-length in 1994 featuring a new vocalist. I never listened too much to that album, though. It just wasn't the same for me without their "classic" singer Scott Holderby's nasal rapping and thrash rambling. He's quite the frontman, so... Anyway, as of 2016 (or '15 at least), the band was once again active and due for an EP release. This, however, still remains unreleased as of right now, and I haven't heard anything in a long time now.
Welcome to the first installment in my new series "In retrospect:". I will make a short career-spanning discography review of bands where I comment on every album they've done, or at least those albums which I know and listen to. So today I thought I was gonna start with a band that I am actually listening to a lot at the moment, and one of those bands are the old Bay Area thrash metallers Death Angel. I'm not gonna drag on any further, let's dig in!
1987 - "The Ultra-Violence"
The band's debut album is undeniably what most thrash metal listeners associate Death Angel with, and for good reason. This album is nothing but killer - it's legendary! The whole album is a non-stop thrash metal assault with simplistic but very effective riffing, and the production is just one of those perfect examples of where the production actually suits the music like a battle jacket on a headbanger. It's simply just one of the very best thrash metal albums ever made, and should be at least top-100 best metal albums of all time for any metalhead.
Favorite tracks: Thrasher, Mistress Of Pain, Final Death
1988 - "Frolic Through The Park"
A rather unintentionally controversial second album. This album has met a lot of criticism from fans, and critics as well (but who gives a fuck about what them tools think anyway), and perhaps a bit unfairly so. I mean, I personally don't like this album very much, never did, but that's also after hearing their debut album first. I mean, they really peaked with the debut and I imagine it was hard writing, recording and releasing an album (just as good) in just one year after the debut. It's not really a bad album, but it's rather too tame and not nearly as memorable as the debut.
Favorite tracks: Bored, 3rd Floor, Guilty Of Innocence
1990 - "Act III"
The bands third and last album for a long while before their reunion. Now this album partially picks up where the last left off, but it's also a natural progression for the band. Here we get to hear that Death Angel obviously is a constantly evolving band and that is something I can totally respect. However, just like the previous album, this one tends to fall a bit short in quality and interest compared to the debut.
Now, to be fair, this album is a lot more diverse and experimental than the debut, fusing together funk riffing with the thrash, and even having an acoustic ballad. It's a complete different album, but still I always felt this album left much to be desired. Some songs are just too boring, but I am a big fan of Faith No More, Red Hot Chili Peppers and Mordred, so the funk elements are a welcome refreshment to my ears.
Favorite tracks: Seemingly Endless Time, Stagnant, Discontinued
1994 - "The Organization" (BONUS)
After Death Angel split up around 1991 or so, all the guys except for lead vocalist Mark Osegueda went on to form The Organization, an alternative/funky metal band named after a song on DA's last album. Since it still basically is Death Angel without Mark's voice (the other guys sang regularly as well), it's kind of what I imagine the band would do after Act III. It feels like a natural progression and I actually like this one more than Death Angel's last two albums (up till that point). They did a second album before splitting this project up as well, but I've never managed to track down and/or hear that one.
Favorite tracks: Free Burning, Policy, Bringer, The Past
2004 - "The Art Of Dying"
The band's comeback album. This is the album I know the least so I can't perhaps give a completely justifying opinion on it, but from what I can say this is basically a thrashier continuation of where the last album left off. The reason why I don't know this album that well is simply because it doesn't appeal that much to me, to be honest. The few times I listened to it it felt a bit run-of-the-mill.
Favorite tracks: The Devil Incarnate, Spirit
2008 - "Killing Season"
This album and the previous one kind of remind of that Frolic to Act III scenario all over again, where non of the two are really anything that special, but at least the latter is an improvement from the former one. This album did raise my hopes for the future a bit, and I think this is an overall better album and where the band is starting to find itself again.
Before this album, some members left the "family business" that used to be Death Angel (everybody was cousins), and in came some fresh and unrelated blood. I don't know what went down in the band or why some of the guys left, but musically I find it to be a good thing. With this album I think that Death Angel really returned, and this is finally the closest album quality-wise to The Ultra-Violence. With that said, this is by no means TUV pt. II, it has a different and more modern thrash sound going on, but it's fucking kick ass!
Favorite tracks: Claws In So Deep, Truce, This Hate, Opponents At Side
2013 - "The Dream Calls For Blood"
The band's follow-up to Relentless Retribution had left me torn between high hopes and fear that the band would once again come to a "Frolic scenario", but no, the band did not let me down. For the first time in the band's career, I think they actually managed to follow up a great album with an even slightly better one. This album is kind of similar to the previous one, but a bit heavier and better I believe. I don't know if this tops TUV, but if I would ever play it to death, then I'll always have this one to call my favorite instead. They also did a kick-ass cover of Black Sab's "Heaven And Hell" where Mark really gets to shine with his great stronger-than-ever vocals.
Favorite tracks: Left For Dead, The Dream Calls For Blood, Execution / Don't Save Me, Succubus
2016 - "The Evil Divide"
The band's new album released merely two weeks ago (of this date today, obviously) and the third album with the "new" line-up. While probably being sliiightly less to my taste than the previous album, this one is still really good and a solidification that Death Angel is in grate shape and one of the best old school thrash acts still left in the game. This album also once again slightly differs from the previous efforts, embracing a bit more of the modern metal sounds. Actually, this in a bit of hardcore influences here and there and is at times reminiscent of (the awesome) Chimaira's Resurrection album, which was also produced by Death Angel's now long-time producer Jason Suecof, so perhaps that is not too far fetched. I have very high hopes for Death Angel's future!
Favorite tracks: The Moth, Father Of Lies, It Can't Be This, Wasteland (The Mission cover)
Dismember were a Swedish death metal band, quite a legendary in the genre as well. When death metal fans speak of Swedish death metal, which usually is considered split-up on two different scenes - the Gothenburg scene / sound, and the Stockholm scene. Dismember were from Stockholm and formed in 1988. Unfortunately, they called it quits in late 2011, before I ever had the chance to see them live. Or chance or chance, as I am Swedish, I guess there were at least a couple of occasions where I could've attended, but I probably didn't have the cash, ride or whatever just then. It fucking sucks, big time.
Dismember around 1991-1993, the "classic" line-up, from left to right ... Matti Kärki - Vocals Richard Cabeza - Bass Fred Estby - Drums David Blomqvist - Lead guitar Robert Sennebäck - Rhythm guitar
Beginning as teenagers in the rising death metal underground scene during the late 80's, Dismember were along with Nihilist and the grindcore act Carnage, some bands to form the Swedish sound of death metal, particularly the Stockholm sound with its trademark buzzsaw guitar sound and heavy approach, rather than the ultra-melodic Gothenburg scene. After a couple of well-known demo tapes each in the tape-trading universe, both Dismember and Nihilist split-up in 1989. Nihilist's split was done because they had fired their bass player, Johnny Hedlund, who would form another important band in Unleashed. David Blomqvist was briefly a member in Entombed, being credited as the bass player on the band's last demo before their debut, though he didn't really play on it. Later on he, along with Fred Estby, would join Carnage with future Carcass and Arch Enemy guitarist and leader Michael Amott. They did one album which was released in 1990 called "Dark Recollections". While the album didn't achieve too much attention, maybe because the band broke up before it was released, and being in the shadow of Entombed's legendary and groundbreaking "Left Hand Path", it has gone on to have a cult following of dedicated fans of Swedish death metal.
After Carnage split, David and Fred, along with Carnage growler Matti Kärki, reformed Dismember and released their last demo tape in 1990. In 1991, the now full band recorded and released its legendary debut album "Like An Ever Flowing Stream" (due to a misspelling error, there are different versions with "Ever Flowing" being written as one word, as well as having a bar in between, as without). The album would go on to create debates whether it was Entombed or Dismember who "ripped off" the other, particularly the guitar sound. It would also gain media attention for the song "Skin Her Alive" in England, where the errand was even brought into court. There the band's music was called "indecent and obscene".
In 1992 the band released their debut EP in "Pieces", a release which saw a very raw sound with very much distortion, as well as a graphic cover art showing the band's beheaded heads tied together in their hair, making the same shape as that of a pentagram. It was successful and also included "Soon To Be Dead" from the debut album, which had been granted a music video. In November and December, the band went back into the legendary Sunlight Studios to record their second LP. This time around they used their media attention and decided to name the album "Indecent & Obscene", which was released in 1993. The album brought yet another graphic cover of a man's body whose stomach has been ripped open, and on top of all bloody intestines lies a Dismember belt-buckle. The album was another great success for the band and produced a video with the song "Dreaming In Red" that received heavy rotation on MTV's Headbanger's Ball. The band went on a worldwide tour in support of the album.
In 1994 the band began work on their third album. As time had passed on, things had changed in the death metal scene, particularly the Swedish "commercial" scene. Entombed, always being the kings, had in 1993 released their third album "Wolverine Blues" which had changed in style. The speed was gone and instead the the music was more swinging, yet very heavy. That album would create what fans call "Death 'n' Roll", which path Entombed has pretty much continued on since. With it turning into a hit album, for the death metal genre at least, Dismember's record label Nuclear Blast wanted Dismember to walk the same path - make a commercial record.
Dismember released another EP called "Casket Garden", which was the new album's lead single. It was granted a video and became a minor hit as well. The album, 1995's "Massive Killing Capacity", saw Dismember walking very much in the same direction as Entombed had done two years earlier. If there were any debates in the early days about who ripped off who, this was certainly not a good proof in favor for Dismember. The album was well-received, though reactions were mixed amongst the fans, just as it had been with Entombed and "Wolverine Blues". Sound-wise, Dismember kept its new direction more true in sound to their older material, with the riffs being clearly trademark Dismember riffs, and mostly the tempo / drums being the big change.
In 1997 the band would return to its original death metal sound, releasing an EP called "Misanthropic", whose title-track would act as the lead single for the new, fourth full-length album simply called "Death Metal". Nuclear Blast did not like the decision to go back to the old sound, even if it was now more melodic than before, taking large influences from the Gothenburg sound. The band also saw a new big change in the band with rhythm guitarist Robert Sennebäck leaving, apparently to be more with his family. The bands new tour in support of the album also wasn't very successful, with Nuclear Blast pretty much doing nothing to promote it nor the album. With many things suddenly going down the shitter, and death metal overall losing its popularity, bassist Richard Cabeza ultimately gets tired of the whole business and leaves in 1998. Now having lost two original band members, the remaining guys lay low for a while.
In 2000 the band returns, with a vengeance. The band have now recruited new guitarist Magnus Sahlgren as well as hired Sharlee D'Angelo as a studio musician, for their new album. Being pist of at Nuclear Blast and wanting nothing but their contract to end, they release their last record for that label, which they in tribute to the label name "Hate Campaign". Failing to create much fuzz around it, as well as getting mixed opinions amongst the fans, the album isn't a great success and the band finally gets dropped by the label. The band keeps touring and recording material for what will eventually be their debut live release, a concert DVD entitled "Live Blasphemies", released in 2004.
Over the years from the band's last album to the live DVD, some things have changed in the band again. Magnus Sahlgren has been replaced with new guitarist Martin Persson, who splits the lead duties with original guitarist David Blomqvist. Richard Cabeza has also returned as the bass player for the band. The band having signed a new record deal with Karmageddon Media, release their returning album in 2004 as well. The new album, entitled "Where Ironcrosses Grow" is a return to the band's quality song-writing and the album is acclaimed by the fans. However, things are soon to change once again. With bassist Richard Cabeza being married to an American woman, Swedish immigration won't let her stay and distance issues start to occur. The band ultimately has no choice but to replace him, adding Johan Bergebäck to the line-up, however, he leaves the following year.
Without a bass player, the band starts working on their next album in 2005. David Blomqvist and Martin Persson handle the bass guitar duties for the album. In 2006, the band's new album "The God That Never Was" is released, to critical as well as fan acclaim. The album continues to grow from where the last album left off, taking up more high speeds and brutal influences, and ultimately becoming the bands most furious work. In preparation for the tour, the band adds new bass player Tobias Cristiansson to the ranks and the band goes out on tour. In 2007, a new big change awaits the band as original member and drummer Fred Estby decides to leave the band, so that he can be spending more time with his family instead. The band replace him with Thomas Daun, whose drumming is somewhat tighter and more strict than Fred's trademark free-drumming.
In 2008 the band announce their upcoming eighth full-length album, which is unnamed, or simply called "Dismember" / self-titled. The album drops some of the speed and aggression from the last album in favor of more melody and the album is yet another well-received release. The album's production duties are also handled by Entombed's then bassist (now current guitarist) Nico Elgstrand. The band goes out on another worldwide tour with lots of festival appearances. In 2009 they also release their second live DVD called "Under Blood Red Skies". The DVD includes a concert where they play "Like An Ever Flowing Stream" in its entirely, as well as a bunch of other songs.
After 2010, not much is heard from the band and its activities. With fans worldwide lunging for a new album, the only thing that is delivered is an official statement in October 2011 by bassist Tobias Cristiansson ... "After 23 years, Dismember have now decided to quit. We wish to thank all our fans for your support." And so there was the end of Dismember, a band that helped pave the way as well as create the Swedish death metal scene and sound. While they weren't the biggest death metal export out of Sweden, they sure were the second or third largest.
Dismember's last line-up in 2008, left to right ...
Tobias Cristiansson - Bass
Thomas Daun - Drums
Matti Kärki - Vocals
Martin Persson - Guitar
David Blomqvist - Guitar
Dismember to me has meant a lot. I started listening to death metal in 2007, and while that maybe ain't that long ago, those six years feel like a pretty long time for me. I have grown from a horny teenager to a ... horny dude. No but seriously, a lot has happened during that time, many things and phases in music to go through, pretty much a new one per year. 2007 certainly was my "death metal year", where I discovered all the bands and started listening, loving the music. While I never stopped listening to this music, it sure got somewhat in the shadow of the other styles I discovered, and as I said, the phases I went through. I was reading in some number of the Sweden Rock Magazine, I think it was in 2005 already, and Fred Estby was talking about their new album "The God That Never Was". There was also a conclusion of all their albums, with ratings of each one and some comments, so I checked that out and so one. Then what started it all was a history lesson, "the hard rock history, year 1990" I believe. They talked about how the Swedish death metal was commercially set free that year with Entombed's "Left Hand Path", which also became the first death metal album I bought. During the same time, I also discovered Dismember (I loved their logo!) as well as Unleashed, and I like Dismember the best out of all death metal bands on earth. I became somewhat of a freak about Dismember, I really listened to them a lot! I'm just very thankful for the great music they put out during their career, and I was saddened to see them quit so soon, but at least they did it with a good last album.
Thank you Dismember, for truly opening up my heart to death metal, literally change my life, and giving me countless hours of great music listening!
First off, the photo to the right was scanned by me in 2008 from a Sweden Rock Magazine (I don't recall what issue), and if you don't believe me, then go to http://www.lastfm.se/music/Pantera/+images/7559869 and look at the uploader, which is Idiots-Rule = my account. I love this photo of Pantera btw, it's a great, early shot from 1989 or 1990. I really love how Dimebag (R.I.P.) really is looking thrash here, while Phil look hardcore as usual.
But anyway, the topic I wanted to discuss about Pantera today is a potential reunion with them. I've read lots of opinions from fans all over the net for one or two years now, and the most common sollution for a "reunion" looks like Pantera feat. Zakk Wylde. Now I love Zakk, he's a great guitarist, a cool dude, he played with Ozzy whom is my favorite of all time, and he's got Black Label Society which is another band that I love. But as much as I love Zakk and his music through the years, I also do love Pantera and their legacy - a legacy I belive should be left alone and to age with pride. While I certainly still would find it cool to hear and maybe even see a reunion (or as close to one as it can be, without Dimebag that is), I still believe that it would ultimately be a rotten, dirty, and bad thing to do. Now from what I understand, the surviving guys seem to agree that a reunion is out of the question, which is a relief to me. I mean Phil's got Down, which I totally love, and he should stick with that, focus on that as well as his side-projects. Rex is doing fine with Kill Devil Hill which is one of my favorite bands of this year, and Vinnie Paul also seems to have a solid place in Hellyeah (though I don't listen to them, never have been, I dunno why, haven't got the slightest idea).
With this said, I'm sure that there would be lots of great names, big as small, to pay tribute to Dimebag if a reunion ever would take place, but really everyone. Show Dime some respect, don't destroy the great legacy of Pantera, no matter how much money the capitalist, bastard suits can caugh up to see it.
I remember back during the first half of my teen years, maybe like 2003-2007, there were very few new(er) bands that I liked. I was a very closed-minded, old school-only listener and listened to almost 80's music exclusively, apart from the 70's Gods like Sabbath, Zeppelin, AC/DC, Purple, and so on, you get the picture. In 2007, however, all that changed and I started to expand my musical mind with a big step into the 90's music (still dissin' the modern metal of that time, which still is pretty much the same metal today, unfortunately). The music was Death Metal, particularly the Swedish, classic old school-era and the East coast (Stockholm) sound. Entombed was the first band to break me into it with their legendary debut "Left Hand Path", but was soon followed by Dismember, which from that point to this day remain my favorite death metal band ever.
Anyway, in late 2007 I needed to cool off from all the ultra-pissed off extreme metal with something more mellow, but I wasn't really in the mood to return to my old NWoBHM / heavy and thrash metal, as well as AOR. To add is that I totally abandoned AOR in mid-06 when my band got a re-charge and we started to crank thrash metal 24/7 for some innovative influence and cleansing (the others were into Sum 41-punk, which is faggot punk, as well as nu metal, very much to my distaste as I've never liked those music styles). After that, whenever I hear AOR, I can't listen to it. It's just too much "midlife crisis music" to me, and I'm still young, hungry, and in need of going crazy to music, not in need of some cozy fucking and tender words during it after some wine and a luxious dish.
But as I was trying to explain, in late 2007 I took a pause from death metal and got addicted to early 90's alternative music and metal. With the great Jane's Addiction cracking me into this wave, it all soon followed with bands like Alice in Chains, Red Hot Chili Peppers, Mr. Bungle, and particularly Faith No More, which today is my favorite band. Danzig was another band I really cranked a lot every day, but I actually started to get into them in 2005 already (they had one 80's album ... they passed my then-rule #1: only 80's) and in 2006 they pretty much were the only non-thrash band that I listened to. I even had a T-shirt with their classic Devil's skull and logo (it became to small later on and I gave it to a skinny friend in 2009 or early 2010). So Danzig was pretty much the first 90's band I ever listened to and they are to this day a top-5 favorite band o'mine. Then I also got into old school hip-hop, electronic music and so on. My musical has expanded all the time and still does.
BUT NOW I'M DONE WITH THE HISTORY LESSON. I'm sorry, I just have so many fond memories and too much love for the music to not wander off like that. The point with all that is that today, I listen to all kinds of music, or at least I give it a shot, and it doesn't matter what time it was made in either.
So 2008 was a pretty bad year musically, I wanna recall? However, it WAS a year when things started to get better, and it has gotten better with each year since then. I thought 2011 was a pretty great as well as surprisingly good year musically, but I think I dare to say that 2012 has topped it!
Here's my list of this year's best albums:
1. Overkill : The Electric Age
- Intense, high-energy, "electrified" thrash (see what I did there! *ba-dum-tsch*). After the phenomenal Ironbound in 2010, Overkill went for a less proggy approach this time, but still kept the total-ass-kicking intact. The album of the year for me, congrats guys!
2. Steelwing : Zone Of Alienation
- As a fan of the New Wave of Traditional Heavy Metal retro style, particularly the Swedish bands, this was a real solid ball of metal. I love everything about this album. I'm actually even going back and forth whether this is even better than Enforcer's Diamonds (2010) or not.
3. Unleashed : Odalheim
- And this one goes for the Death Metal album of the year. While they actually are a band whose latter material I prefer before their old, classic stuff, this album only made it more obvious: it fucking kicks ass! Their best album yet!
4. Rage Against The Machine : S/T remastered "XX 20th Anniversary"
- I know, not nearly a "new" album by any means, but a nice remaster, if not too different from the original, and it's got their first demo as well as some live tracks as bonus material, and that is what makes this release so great for any RATM fan.
5. Kill Devil Hill : S/T
- Maybe there are a few releases that would deserve this spot more, but I chose this because, 1. I for one really like this album, 2. I really looked forward to it for quite many months. I can confess that I wasn't reaaally satisfied with my expectations upon hearing it, but still it's a great album. I really like the voice.
6. Down : Part IV: The Purple EP
- I love Down, especially their third and latest full-length album. This was not a let-down apart from the one little fact: this is an EP. If it only would've been a full-length release and pretty much as good or better than Over The Under, it would've landed on fourth place.
Here's my list the most disappointing albums of 2012:
1. Testament : Dark Roots Of Earth
- Well. I love them, they're one of my absolute favorite bands, but no, something went wrong here. I was sooo anticipated about this one, and it finally showed to have been way too much. I was totally disappointed. It's not a bad album and Alex Skolnick is amazing, one of my favorite leads ever. The music's just too mediocre and Native Blood was a bad choice for a single. Also disappointing that my favorite drummer Gene Hoglan didn't get to do what he does best - beating the shit outta the drums, making tsunamis all over the world from the blastwaves.
2. Fear Factory - The Industrialist
- I had a moment of a few months in 2009 where I was addicted to their classic album Demanufacture, but just like then, the rest of their stuff still just sound recycled in a shittier form. Boooring.
3. The Devin Townsend Project - Epicloud
- I love Dev, I love his music, I have followed his music since 2007 I think, when I discovered Strapping Young Lad. Never has any of his albums really disappointed me. Some were not master-masterpieces, but they were great. This one was not a funny listening experience. After hearing preview samples from it, I didn't feel like anything really stuck out to me, and upon hearing the album I got it confirmed. It was kinda boring. But I don't judge Devin. The man is constantly trying out new approaches with his music, even if his trademark wall-of-sound is present everywhere, and one cannot simply make awesome albums without failing at least once. To me, this was Dev's first failure, and not a big one at that.
I thought I should share my personal favorite drummers as well as biggest influences. I'm a drummer myself so this is based on personal influence. I'm not a fan of today's drummers. I don't know if it's all the pro-tools and so on, or if they really just are that secure. I hate machine-drummers! What's the point of having a drummer, instead of a simple drum machine that doesn't cost any members' fees, if he just sounds like a machine? That is beyond me! Way too many drummers today seem to focus on skill, perfection and speed, while competing with every other drummer in the world about who is the best. This to me has made drumming today really soulless, uninspired and plain boring. "Yeah, cool dude you can play like a machine" but it sounds fucking stiff, boring and soulless. One thing I can say is to all the Lars Ulrich haters and trolls: at least he's real.
I'm kinda into a lot of death metal at the moment, and it's the old school stuff. Mainly the Swedish scene at the moment and the Stockholm sound (never were a big fan of the ultra-melodic Gothenburg sound nor its bands). I don't think there's a guitar sound that I like more than the buzzsaw sound Dismember, Entombed / Nihilist, Carnage and Grave had. One thing I also like is the drumming! It's kick-ass, raw, and very alive! Not like a fucking machine! It's sounds like a human who is solid-as-rock yet has got very much heart in it. If I listen to for instance Vader today (a buddy of mine really likes them and is trying to hook me into them as well), I just can't stand 'em for more than a few tunes - the drumming sounds so fucking dead. It's just pure drum-wankery. I generally hate blast-beats because of modern drummers, but I do like blast-beats in Carcass, for instance. Why? It simply sounds good, dynamic.
So after preaching my bullshit here, and I don't say any drummers of today are bad. Obviously they have a lot of skill, but they forgot to put any heart into it. So here are some of my favorite drummers of all time:
Gene Hoglan - Before you start: I know he's the "atomic clock" and all, but back in the day when he bashed skins in Dark Angel, he sounded like a fucking tank in-battle on the drums, making Dave Lombardo on "Reign In Blood" sound like just another soldier rather than a general.
Fred Estby - A death metal legend, drummer and song-writer from the Swedish legends Dismember, my favorite death metal band. I'm glad this guy never played guitar in that band, because his drumming is so kick-ass it makes me headbang and air-drum like a maniac!
Nicke Andersson - Another Swedish legend, both in death metal and hard rock / rock 'n' roll music. To me he's the old Entombed drummer, to others he's the main man in the Hellacopters. He didn't kick ass on drums in that band, however, in Entombed he certainly did. Like Fred Estby, a very alive drummer. Entombed's first two albums show great extreme metal drumming.
Ken Owen - The drummer from U.K. legends Carcass. This guy was drumming grindcore and death metal in their beginnings and is in that way a pioneer. Too bad drummers after him didn't follow his feel when doing blast-beats. It's really sad that the guy can't play no more. Let's hope he gets better and some day will drum again.
Chuck Biscuits - Probably my very favorite drummer at the moment. The guy is mostly known for his time with Danzig, but also punk acts like D.O.A. He has one of the smallest drum kits in heavy metal music, particularly for that time. Yet he sounded bigger than any one else. Like an animal behind the kit, he is what drumming is about, at least to me.
Overkill have always been one of those thrash bands that to me, never released any bad albums. Sure there were a few that obviously wasn't as good as the others, but never an album I felt "what the fuck is this shit?" about. Though it seems like the band had their peek during the eighties and early nineties, like most thrash bands, Overkill seem to have gotten a new peek in recent years. Ironbound was a bomb that got dropped in 2010, a thrash album every true fan of the genre had wanted for a long time. The Electric Age is no exception two years later as the band is in the middle of a nuclear war, it seems!
Since its release I've had the time to go through it a bunch of times and it sure is one solid piece of metal music! While unfortunately most other big thrash bands today put out mediocre albums, Overkill really do the opposite. I think it shows in albums sales / popularity as well. When the album kicks in with "Come And Get It" my first thought was "is this Megadeth?". It sounds like something Megadeth should've done, but did not. It's a very great opening track that shows what this album is like. After the Megadeth-like opening the song kicks into traditional Overkill style, but the song has one more big surprise ahead! The middle section turns into a sort of marching thing reminiscent of many great eighties heavy metal bands. Throughout the whole album there actually is an Iron Maiden-feel in particular songs, so think classic Overkill meets Megadeth cirka 2007-2009 meets Iron Maiden. Next song to go is the lead single "Electric Rattlesnake" - a catchy, fun, and to-be live staple kind of tune. As the album continues we hear "Black Daze", a mid-paced song that also is very catchy and reminds me a little of Megadeth's "In My Darkest Hour". "Drop The Hammer Down" is a given to-be fan favorite and the ending track "Good Night" stands for this album's most "ballad" like tune, which is a very common and great thing Overkill have on most of their albums. It's very catchy and I sure only hope the song doesn't point at that this could be the last Overkill album. In between all these stick-outs there are some very solid and good Overkill album, though maybe not of lead single-caliber?
The album sound continues in a similar vein to Ironbound but the songs are overall shorter and not as progressive. Think that this is a stripped-down, more straight to the point Ironbound version and I think you've got the idea. I think this was a great move by the band as another "that" progressive album maybe wouldn't have matched its predecessor. Instead Overkill take the energy and quality of Ironbound and put it into a more "classic Overkill album" style.
In conclusion this album was both very surprising and not. It was surprising that the band managed to do an equally good album after the awesome Ironbound, but at the same time it's not surprising as I imagine that the band got really fired up by the great response Ironbound got. In the end this album shows that Overkill are in a new peek in their career and I feel a need to mosh and drink beer while listening to it. I raise my fist in honor of Overkill for succeeding once again, with hope that there will be more albums of this caliber in the near future!
I feel pretty secure when I say that Overkill will most likely be the winners in 2012!
Final rating: 9.5/10
Listen to album for free with Spotify! Listening with Spotify gives the band money while it's free for you!
This album has been one of the albums I've been looking the most forward to for quite some time now and finally it arrived. This supergroup consist of Jason Bragg - vocals (ex-Pissing Razors), Mark Zavon - guitars (ex-W.A.S.P.), Rex Brown - bass (ex-Pantera, Down), and Vinny Appice - drums (ex-Dio, Heaven And Hell, Black Sabbath). The band is now going on tour with another supergroup - Adrenaline Mob - featuring Mike Portnoy (ex-Dream Theater) on drums, among others I don't know too well. Though, if I'm gonna be honest, Adrenaline Mob is an okey band, but not really my bottle of Coke. I couldn't personally really recommend them, but Mr. Portnoy is a great drummer nonetheless. Anyway ...
This album is quite varied, yet follows a line that doesn't completely separate the songs too much style-wise. The band themselves have reported it sounding like a mix of Black Sabbath, Led Zeppelin and Alice in Chains, which I definitely agree with and couldn't describe any better. Some people have even said they hear some Pantera in this (because of Rex Brown), but I don't really hear anything that did lead my mind to Pantera, except for maybe the calm "Gates Of Hell", which sounds somewhat southern styled and "The Great Southern Trend-Kill" alike. The album starts with a track called "War Machine" which is an instant rocker and face-punch introduction to what this album is about. Vinny Appice doesn't play double bass drums so there are no really fast-paced tunes to be heard here, but this song would be one of the faster ones on the album. We get two songs that start off with Rex's mean bass acompanied with drums in "Hangman" and "Rise From The Shadows". Personally, I'm a fan of bass guitars and I belive it is the most underrated and overlooked instrument in metal music. "We're All Gonna Die" gets my thoughts a lot to Alice in Chains, especially during the chorus, and "Old Man" is probably the most straight-forward and simplest rocker on the album, reminding me of Led Zeppelin. Much of the other material is kind of Ozzy- and Dio-era Sabbath sounding, heavy and doomy.
The tunes come in a nicely done production. It sounds okey for an album by today's standards when everything is supposed to be in the red, why I don't know really, but it's like that and that's the way it is (hi Run-D.M.C.!!). Very instrument is also audible which I strongly like, especially the meatty bass. The guys put out great performances overall, but with both Vinny and Rex that comes as no big surprise, really. Mark Zavon also proves to be a great guitarist and I can only wonder where he's been before this project, aparat from a touring member of one of my all time fave bands W.A.S.P. But the biggest surprise about this band is the singer Jason Bragg. What a guy! This guy sings really fucking good, I love him! I guess he could be described as a mix between Lane Staley (ex-Alice in Chains, R.I.P.) and Tony Martin (ex-Black Sabbath), at least he sounds like that to me. He also used to be in a now defunct band called Pissing Razors that played a groovy sound somewhat similar to Pantera, Exhorder and Machine Head, in which he used more screaming which I didn't think was his great talent. I even think I can go as far as saying he's my favorite singer of the year, so far at least. Just great, what a voice, damn.
So to put a close to this review now. This was probably the one album I was looking forward to the most for quite a long time now, especially after hearing these three great tracks they put out for streaming: Time And Time Again, Voodoo Doll, and Revenge. I love all these three tracks and I really think they were good preview choices, they describe the album very well, I think. They also made a video for the song "Strange". A good one, but probably not the one I'd do a vid for. Anyway, after hearing the whole album, it left me a little disappointed in some way. I don't quite know what way(s), but I felt like I miss something. Maybe it's just that some tunes aren't as strong as the others, though there are no fillers really. To check out Kill Devil Hill and see what they're all about, I'd recommend the three tunes they released for streaming as album previews, as well as the video of course, and one of my own personal fave tracks on the album: Up In Flames.
Final rating: 8,5 / 11 ("this go to eleven" ;-) )
Keep your eyes open for the album in Spotify and you can check out some stuff by them at YouTube already, and of course buy the album and support them! :-)
