The Angry Scotsman I was very cautiously optimistic about this album, mainly due to claims from Meshuggah fans it was "different" but sadly I was quite let down, (which maybe shouldn't have surprised me).

I fully admit I'm not a big fan of Meshuggah but here's why, they have always bored me. Their fans (who have really grown in number over the years and have reached "fanboy" status) are quick and passionate to tell me how technical they are and I understand that and appreciate it. It's just boring. Meshuggah is of course technical in regards to their insane time signature use and polyrhythms but not so much in terms of musicianship and song writing. The shame is they used to display such tendencies, and their albums "Destroy Erase Improve" and "I" are awesome prog metal works in my book. They have largely abandoned this for whacking the crap out of a few djent notes, or repeating two riffs, for 5 minutes and purposefully anti tonal brutality. This generally upsets fans who repeat "technicality" to me and I again ask to understand something can be impressive and still boring.

That was not a rant for the sake of it, but basically how I feel about this album. More of the same. One person I know said this album was proof that all those who think Meshuggah just do the same thing need their sanity checked, or something like that. Well check me in to the asylum.

"Koloss" sounds like same old Meshuggah to me. This is perfectly fine for fans, but I am just confused as to where the difference is. Djent and brutality abound. Whacked out time sigs, sub drop A djent riffs, and intentionally unforgiving brutality are a plenty. Every song sounds like Meshuggah by the numbers to me, and I admit every song on "Koloss" is different, which is nice, but the songs themselves tend to be repetitive. I think it's bad when a song feels like it was twice as long as it really was...

A prime example of my beef with Meshuggah is the song "Break Those Bones Whose Sinews Gave it Motion". It starts off cool, and has one hell of a brutal riff. Then that one riff continues for more or less 7 minutes. There is one part when it lets up, and it's a decent section but man what an unrelenting song overall. Especially with Jens screaming away.

Jens' vocals are, as always, completely atonal, non pitched and anti melodic. I get it. I know it's what they want to do, and I applaud them for taking no prisoners, but I just don't care for it. No variation, no pitch no nothing...just shouting at the absolute max. I will say they actually seem to have toned down the vocals a bit, it's not as piercing as previous albums. I'm not a fan but I can at least tolerate them on "Koloss"

For some good news, this album is better than recent Meshuggah output. I like the song "Behind the Sun" because it actually feels like a song, it progresses. I don't get bored after a few minutes and it builds to a powerful climax!

"The Hurt That Finds You First" starts off nice and thrashy, which is welcomed, and the song really changes throughout. How nice!

"Marrow" isn't bad, nothing new to say but it does change it up a good bit and even has some classic Thordendal random tapping solos. OK, not to take away from the guy but seriously, youtube it...you can make a Fredrik sounding solo by finding a certain way to tap 3 notes all over. Not a bad song, some cool parts.

"Swarn" OK now this starts off kicking some ass. Unfortunately it gets repetitive quick. There are some pretty sweet moments, but they are like islands on a trip across the ocean. Also there's more of that Meshuggah guitar noise just floating around the background. An alright song.

"Demiurge" isn't too bad either. The epic brutal riff is a bit boring, but the song does enough to at least keep me from wanting to hit next. Though really, the changes aren't drastic, just difference in the brutal riff being played.

The album ends with "The Last Vigil" another Meshuggah classic, the clean song. Not groundbreaking but very relieving! A melodic, clean guitar song that drifts you away. Very nice.

So that's what we got. I stress I get the band wants to do, and appreciate their technicality, (Tomas Haake is still one of my favorite drummers) but I am just left cold. Maybe that's the intent. Another repetitive, by the book Meshuggah album, though admittedly better and a bit more varied than recent work.

"Koloss" will be a damn fine album for any Meshuggah fan, while those who are not will find nothing here worth buying. I find half the songs boring, the rest are decent and a couple I actually enjoy. So while I recommend "Koloss" only for Meshuggah fans, it's not a bad album by any stretch, and feel a 2.5 is fair.

TWO AND A HALF STARS

The Angry Scotsman I try to avoid hype, (whether it's music, movies, video games anything) to keep a clear mind and form honest opinions, and do so by avoiding said item for a while. So I really waited a good bit to listen to DT's "A Dramatic Turn of Events" but have finally gotten around to it. After giving the album some listens and fully digesting it, I can safely say while it's not a bad album at all, it's not anything great either. Like all their albums since "Octavarium" I was left a bit underwhelmed. It was a bit disappointing since I heard this album was a turn back to their progressive, melodic days.

The band does accomplish just that: the keyboards are way up, the heaviness is a bit down, and while still present the famed DT shreddery and technical w**kery are reduced. These are of course part of DT's appeal, but you have to change it up sometimes. I applaud the change, just the music itself left some to be desired overall.

The opener "On the Backs of Angels" I actually quite enjoy. A good blend of riff based and melodic based prog. It has a good flow and strong songwriting. It has a bit of all and is just very well done.

"Build Me Up, Break Me Down" has a cool spidery riff, and some nice heavy moments. The power chord chorus is a bit eh, but what can you do? Not a bad song.

"Lost Not Forgotten" is more "standard" DT filled with more technicality, w**kery, and riffing. I'm a fan of this, especially when put in a nice 10 minute prog metal song so this is probably my favorite on the album. Again, another well done song and not just a "by the numbers" which tends to be my issue with DT.

"This is the Life" is a nice light song. Keyboard driven, light guitar and drumming that builds to a melodic and powerful part. Nice to get some feeling, which despite liking the previous songs felt a bit absent of it. Pretty good song, though for the first time LaBrie's vocals get on my nerves, especially in soaring parts.

"Bridges in the Sky" starts with a quiet intro, featuring an attempt at throat singing which works semi well in my opinion. The song kicks into a heavy riff, and like the opener has a bit of everything. Good song.

"Outcry" is more of the same though I really like the middle section. A bit sluggish at times, it's not bad overall.

"Far From Heaven" a very light, keyboard and vocal driven song.

"Breaking All Illusions" I'm running out of different words to describe "more of the same" but this is actually one of the better songs on the album. Another straightforward though well done prog metal song.

The album ends with an acoustic guitar, keyboard and vocal song. Light and melodic, it's quite nice.

So I've used a lot of "good" and "a lot of the same" but that's the best way to describe "A Dramatic Turn of Events". It's a good album. Not great, but not bad, no real weak songs but none jump out at you either. It is generally well done prog metal. Good but not great, textbook definition of 3 stars in my book.

DT fans should like this, haters will find nothing to turn them on to it, and moderate/casual fans like myself will probably find it decent, and it's worth a listen.

Three Stars

The Angry Scotsman With this album Neurosis takes a more standard post metal sound, though you can't knock the band for that, since they invented the sound.

I actually prefer newer Neurosis over old, simply put: atmosphere over aggression (as one person once told me). Of course atmosphere has been a Neurosis staple since '92, they've been belting out lengthy, atmospheric metal long before Isis or even Tool, but on "The Eye of Every Storm" they adopt a more heavy/light interplay style, and is greatly subdued. Their bludgeoning, sludgy guitar dirges are still around, but just much less. Neurosis has no problem utilizing melodic passages, and even minimalism.

Opening track "Burn" and "The Eye of Every Storm" have lengthy movements that are almost solely vocals, the latter being backed up a continuous "wub", psychedelic noises and splashes of guitar.

These two being standout tracks. "Burn" is, again, pretty standard post metal, though so well done. Heavy/light transitions, building to a powerful climax. His gruff, sludge metal vocals are so fitting...he does it in a more "singing" style and over soft, beautiful music it creates such an emotional, tortured feeling. Awesome song.

"The Eye of Every Storm" moves like a storm, gradually rolling in until it reaches a real moving part, before entering a long quiet section. A baritone talking takes the forefront, as mentioned earlier, backed up by various trippy noises. Really let it sink in, what he's saying, the ambiance, everything.

Another brilliant song is "Bridges". A steady, (though very distant) punk drum beat carries on while sparse piano, vocals, and fluttering psychedelic noises take the forefront. Picks up a bit before a schizo journey of drones and borderline silence takes over. Both parts are awesome, though it takes some patience to grasp all the subtlety in the quiet (on casual listen it'll sound like honest silence) before a rockin ending. Atmospheric, post metal to the nth degree.

That's really how to best describe whole album. A lot of quiet, spaced with heavy, (in their classic slow, even droning, nature) tons of little detail. Pretty heavy use of synth, though it's never prominent, just filler...another piece you may not hear at first but adds another dimension.

The vocals are still Neurosis' strained, sludge metal style though even here more subdued. He still lets it soar, but all the time and while I was never a huge fan, I like it much more here. The restraint does well, and of course makes it more powerful when he takes off.

No doubt, like most of the bands work this is a difficult album. Even I struggle a bit with some Neurosis. "The Eye of Every Storm" requires some patience and a fine ear. It's not the best for casual listening, as the long quiet parts would have to be boring, this is best for active listening. To really feel this albums power and absorb all the subtle songwriting it's best to sit down, do nothing, and let the album take you over. I like to put it on early morning after I wake up, sitting there relaxed playing this album, or doing so whenever I have some nice down time.

While it's extremely well done, the album is a tad formulaic and it's difficulty may be a turn off, (though I found it easier to get into then old school, crushing Neurosis). The gods of post metal have done it again, putting out a unique and superb post metal album.

Four Stars

The Angry Scotsman This album is a bit of a departure for Pelican, which is why I think (despite critical reviews) fans of the band don’t seem to care for this album, at least not as much as their other work. At first I was on board with that though I couldn’t put my finger on why. With time though “What We All Came to Need” grew on me, and while it may not be the strongest album the band has put out, it is still very good.

Before this album, Pelican switched from one slower, progressive metal focused label (Hydra Head) to another (Southern Lord) and while both specialize in the same general types of band, Pelican changed things up with this release. The emphasis on riffing, (one of their defining features amongst post metal bands) is subdued, as is the heaviness. Now, it is still undeniably heavy, but less “sludgey” less bottom heavy and outright pulverizing. So at first listen this album can be a bit underwhelming.

Though it’s just a different style, instead of riffing and pummeling this album is about texture, and atmosphere. I should say they are more the focus, as these qualities were always essential to Pelican. So it takes some getting used to certainly, but it has what you want from Pelican: guitar driven, upbeat post metal complete with amazing melodies, perfect guitar interplay, some awesome riffs, and while not as up tempo as “City of Echoes” still generally more so than most post metal. Progressive song writing still abounds, though it’s not as epic as previous work, and feels less structured overall and more drifty. There is also increased use of melodic passages on this album. This is a more cerebral and reflective Pelican.

Some notable songs are “The Creeper” which is the slowest, heaviest, most brutal song on the album, “Specks of Light” the riffiest, most up tempo song (and with some killer parts) and the finale, “Finale Breath” which features vocals! A first for Pelican. Instead of the harsh shouts or emotional singing customary to post metal, they opt for shoegazing like dream like vocals, fitting for the nowhere drifting nature of the song. The vocals are courtesy of Allen Epley (who I’ve not heard of personally) and some other guest musicians make an appearance, including Greg Anderson of Sunn O))) fame, and Aaron Turner of Isis.

A little less traditional Pelican and more traditional post rock/metal this is not the band’s best album, but it’s still a damn good one. With some time and listens it should strike you as a solid and well executed, if unspectacular, post metal album.

Three and a Half Stars

The Angry Scotsman It generally seems to be that this album is not too well liked by Pelican fans, or that "It's OK but just not that great". Well to each their own but I love "City of Echoes" and it is actually my favorite Pelican album so far.

It has every staple of Pelican's sound: very heavy, dense and intricate guitar work, progressive song writing with awesome riffs and melodies. In fact it was the band's higher emphasis on riffing that always made them stand out to me from most other post metal bands. As well as their less reflective, (even brooding) more upbeat nature.

While all that is still present, "City of Echoes" is more streamlined than past work. The longest song is 7 minutes, with four of the eight clocking in the 5 minute range. While some die hards may automatically dislike this, I always love to see a band and change it up and see nothing wrong with more to the point, (dare I say....accessible) songs.

Don't worry, this is no pop album, the songs still move...but instead of drifting to the end of the river, it flows with more force. Maybe the climaxes and finales are not as mind blowing, but the songs may be more powerful, more energetic. Basically, it's all the good of Pelican but a little easier, a little more rockin. I'm OK with that.

This is all backed up by the drumming, which is a bit more up tempo and diverse than before. It gives a different touch to the music, some feeling, (always nice to sound human and not like a machine right?) and intensity. There's even some pretty quick double bass at times! It's still pretty straightforward, but better and as the band themselves have said, they are not trying to be Don Caballero here.

Of course the album is still guitar driven, and the riffs and melodies are the best yet. As always the dual guitar work is just awesome. Working in unison, as lead/rhythm, or diving in and out of each other. It's so well done. De Brauw and Schroeder-Lebec are guitar wizards.

There's also an increased emphasis on bass, taking a prominent role as another instrument instead of just bottom filler. I think it always gives the music a more textured sound.

The songwriting is great, perfect flow and progression. It's not always heavy either, dipping in the clean pool a good bit. Most importantly: great variation. Not just in song, but every song has a bit of a different feel to it. It's difficult to pick standout songs since they are all great, but the acoustic "Winds with Hands" is a good change of pace and "Lost in the Headlights" is my favorite. The most energetic on the album it also best does a little of everything said in the review above.

Amazing album, maybe some Pelican or post-metal fans will not care for it's less epic nature, but cmon a little different won't kill ya! An awesome listen, and should be enjoyable for any fan of progressive metal. It's even gotten enjoyment from non metal heads! If you can take some heavy guitar, I recommend "City of Echoes" regardless of what you like. It's also instrumental so don't worry about unpleasant vocals.

Masterpiece

Five Stars

The Angry Scotsman With this EP, Cynic continues their musical progression.

Another step from their metal roots, there's really none to be found here...and that is A OK. This is atmospheric, ambient progressive rock though there is still some heaviness, in a Cynic way and it still does sound like Cynic. Especially in the bass and drum work. As always the bass playing of Sean Malone is prominent and superb. Sean Reinert, (one of my favorite drummers) hits another home run here. His skittery, jazz infused drumming is sometimes light and spacious or pounding, but always perfect.

The guitar work of Paul Masvidal is notably different from past efforts. No longer is it heavy and at the forefront, but much lighter and soundscape style. At first I couldn't even tell there was guitar for some of it. Never taking the lead but just another instrument, another piece of the puzzle, that fits in to make the whole thing work. Lots of different sounds, not aggressive any more but atmospheric. Melody was never an issue of course with Masvidal and there is even still a solo or two to show off still!

The other huge change I noticed, also with Masvidal, is the robovox are gone! I could always put up with them, (at least enough) but I really did not like the robot vocorder type thing he did. Not sure if he never thought he could sing cleanly, didn't want to but regardless they have been dropped, and his voice is beautiful. Soaring and lovely, some I know have made fun of it for sounding "indie" (whatever that means) or for just being funny, but all a matter of opinion and I love them. A pleasant surprise from Masvidal on vocals.

The music is light, warm, textured and dense but without being pulverizing. The song structures are progressive, but not as strictly composed as many, but more drifty. Mixed in with the songs are some segues that extremely ambient and tribal sounding, topped with hauntingly beautiful female vocals. Very cool, very moving. The whole album moves perfectly, it all flows together like one large song.

The only real knock I have on this EP is that it's too short! I know, it's only and EP but still it's only 23 minutes, and the music is so moving and well done it's over before you realize it. It leaves me wanting so much more. If Cynic's next album is a longer version of this, (done just as well) it will be a masterpiece.

Great piece of music, I recommend everyone try this beautiful work of ethereal rock.

Four Stars

The Angry Scotsman The second half of the band's double album, "Hypnotize" pretty much occupies the same area as "Mezmerize". Its short, schizophrenic songs are packed with thrash metal, mellow middle eastern tinged movements, whackyness and enough political/social rage to fill 10 punk albums. As usual, the album's lyrics are cryptic, multifaceted and open to interpretation, (though usually filled with biting social and political commentary). Like "Mezmerize" this album is heavy but not the heavy of old school System of a Down. Along the exact same lines, this album also features more varied songs and less adherence to "poppy" song structures in much of the band's older material. However, this album is not quite as strong as its counterpart. Partially due to a slight lack of originality, though it's still a very good album.

The album opens with "Attack" similar to "B.Y.O.B." in that it's a very intense, no real debate anti war song, (can't get anymore in your face then "Attack all the homes and villages, attack all the schools and hospitals"). Thrashy, blast beat laden song with a few moments to let you catch a breath.

"Dreaming" is another intense song varying from mid tempo thrash to blast beat intensity (John was always a decent drummer that could mosh out, but really lets it fly on these latest albums). Similar song to above, but with a maddening trio of vocals in the chorus and a display of how Daron's singing can be very nice when restraint is used.

"Kill Rock & Roll" is a good song really redeemed by the nice middle section. Also by this point you'll notice that even more so than before Daron has lead vocals and there is almost always there is a harmony with him and Serj.

Things pick up with "Hypnotize" a slower, cleaner song with great guitar/vocal work. More high soaring vocals from Daron, some really cool drumming from John, and an awesome Eastern section with 4 layers of guitar. Powerful song.

"Stealing Society" is not a bad song at all, but just nothing new. Which is fine, but a little uninteresting and it's just a rare example of a weaker song on a SoaD "major" studio album. The exact can be said of "Tentative".

"U-fig" changes things up, a stop/go chaotic song that hits you like a whirlwind and with some of the crazier Serj vocals out there!

"Holy Mountains" the five and a half minute epic (Yeah, for System 5 and a half minutes is an epic). A very powerful song about a topic close to the hearts of the band, the Armenian genocide. Focused on Mt. Ararat, a symbol of pride and nationalism to Armenia, (and also "holy" as it's the supposed landing place of Noah's Ark)it paints a movie like picture of the genocide. People fleeing to the mountains and running "back to the river Aras" to escape. The song chastises the Turkish government (presumably) for maintaining it was all part of the general chaos of WWI and an "act of warfare" started by the Armenians. Then asking if they feel the "haunting presence" of what I take as murdered souls "resting on the mountainside".

I also wondered if perhaps the song has a more outright political motive, such as retaking lost land or at least the mountains. Regardless, it's a moving song that has a great flow, awesome drumming, some of the best vocals on the album, (including passionate cries of anger). A song I used to not really like back in 05, but later grew to become my favorite on the album, and one of my all time favorites by System.

"Vicinity of Obscenity" follows and what a 180. A silly, whacky song that is impossible to make any sense of. Pretty cool, and the noisy feedback outro leads right into "She's like Heroin" another Daron dominated song that has one of the more humorous moments, progressively shouting "ASS" louder! Quick song that builds to a long thrashy ending. About doing anything to get some cash for heroin, I always thought there was a dual meaning about being in love and feeling like you'd do anything for that addiction...

"Lonely Day" a very nice, clean song that is again dominated by Daron. His vocals are more restrained so they are much nicer then his high pitched soaring ones (though even those aren't too bad). Features a rare System of a Down guitar solo. A beautiful, melodic and powerful song. Really nice. While generally criticized, (and occasionally praised) for it's simple message, a lonely day as usual I think there's some more to it. The last 2 albums seem to have a flow throughout, and given the song to follow I think this one may have to do with going away/being at war. Regardless, very moving song.

"Soldier Side" is another powerful and emotional song, dealing with war and the sadness of leaving for war. "Young men standing on the top of their own graves, wondering when Jesus comes are they gunna be saved?" and the wonderful Serj/Daron harmony singing "They were crying when their sons left, god is wearing black. He's gone so far to find no hope he's never coming back" can't help but move you. Another clean guitar driven song that builds to an epic climax. Another great vocal display, and it ends with the starting melody of "Soldier Side-Intro" from Mezmerize. Thus completing (or re starting?) the cycle.

Another great album from System of a Down that has no real faults or flaws, though a bit standard for them. This should not be taken as bad, (not at all) but just another System album makes it tough to distinguish from the rest and indeed, aside from Holy Mountains, Hypnotize and the final 2 songs...the songs from this album don't really jump out at me. Still, a very good album the band left us with before their hiatus.

Four Stars

The Angry Scotsman 2005. It was a good time to be an angsty American teen!

The George W regime was at its zenith, the war in Iraq was at the boiling point here, and System of a Down was releasing new material! A double album to boot! The first half of which was "Mezmerize". Man did I spin the hell out of this album, quite literally. Back when the easiest way to listen to music was on a CD player.

"Mezmerize" has the SoaD staples: heavy guitar, wild stop and go song structures, overall whackiness and multi meaning (what exactly are they talking about) lyrics. However, while undeniably their sound, things have changed quite a bit.

This album has everything they've done, but amplified. A progression. The music is more melodic, more intense, more progressive and aggressive, often all in one song! It's truly frenetic and chaotic, while still lovably accessible. The album borders on prog metal, crammed into mostly sub 5 minute songs.

"Mezmerize" is a lot more intense than anything the band's done before, with lots of thrash metal riffing and drumming, (including a decent helping of double bass). It's also more melodic with almost every song featuring a subdued section. Any desperate cries of "ew nu metal" have to be thrown away by now. Even the heaviness of the album is not the caliber of heaviness from prior albums... That bottom string, first 3 fret sound.

The other thing that really stands out from previous albums, Daron has a much bigger role vocally. In fact, the singing is pretty much an even contribution. It's not just all harmonized either, Daron has plenty of stand alone singing. Really shows off his weird, high pitched singing style. I like it, and while it almost wants to border on annoying it never does. Serj is of course brilliant, and all over the place.

Right off the bat we start with an...acoustic song. A lone, clean guitar melody plays while Serj and Daron sing a wonderful duet. Beautifully somber.

Then we're hurled into "B.Y.O.B." a thrashy song with a starting riff not like anything System has done before. There are some mellow parts and some absolutely explosive parts. They blow up the quietness of the song like a bomb blowing up the quietness of an Iraqi desert. Ooooooooo System of a Down I see what you did there. Its anti Iraq war lyrics are as direct as SoaD will ever be.

"Revenga" has an awesome machine gun riff that alternates with a simple riff under soaring vocals. A more singing oriented song that also has some cool drumming and powerful build to an awesome finish.

"Cigaro" is a crazy thrashy song with some of the more ridiculous, WTF lyrics on the album. Some really cool moments (what an interlude) and epic moshing. First heard this song when it leaked and was shocked to hear John's double bass drumming at one point!

"Radio/Video" contrasts with a more subdued song. Lots of clean, Middle Eastern guitar work and pretty sweet vocals. A long, Arabian Polka interlude (I think) that really builds in intensity is the best part. As usual, the lyrics are up to interpretation, but I do think part of this song is certainly about the band making it big and feeling like sell outs.

"This Cocaine Makes Me Feel Like I'm on this song" well that is probably the best way to describe this one! A whacked out song with crazy melodies, riffs, vocals and lyrics that I won't even take a stab at. Fun, silly, crazy song.

"Violent Pornography" is a catchy song with a crazy vocal duet and crazier lyrics. My stab at this one is the general degradation of society, like a non stop disco (it's just too much fun!) and how sickening the media is...as much as yeah, a violent pornography.

"Question!" is just an awesome song that is beautiful and powerful. The quiet sections are great and there is a great flow to the song, especially over the second half. Really moves.

"Sad Statue" is another thrashy, political song with some downright somber, bleak moments. Good music, but my god this is one of the most lyrically powerful songs I've hear. Early on I mentioned 2005 being the height of the Bush administration, and Iraq becoming a bitter taste and not just for fun. The whole album, but especially this song channels that time and feeling of anger so perfectly.

I took "Eloquence belongs to the conqueror" and "two pictures of time and space rearranged, in this little peace of typical tragedy" to mean that the reality of the War in Iraq (conquer)was twisted into a good thing (eloquence) to so many Americans. "Justified Candy" was the justification of taking candy from a kid...and that justified candy was "Brandy for the Nerves" so some could feel numb about it.

That, plus everything about the Bush administration and state of the countru, it will be known forever as a sad time for America. The line "You and me will all go down in history with a sad statue of liberty, and a generation that didn't agree" was always one that struck me hard.

"Old School Hollywood" has a dance feel mixed, (topped with some synth) mixed with its classic SoaD muddy feel. Another catchy song with a great structure and movement. It's about a celebrity baseball game Daron once attended and being a huge fan of baseball was just happy to hit around in the park, but realized he was with old school, washed up hollywood people and felt put off by their self absorbed, serious personalities. Leads perfectly into

"Lost in Hollywood" the most unique song made by System yet. Entirely clean, (yup not one heavy guitar note to be found), slow, melancholic and sung by Daron with Serj being the back up guy. A very mellow song musically, with Daron singing about Hollywood and how it's a dirty place that ruins people. A warning to the kids with dreams of being a star not to go, that they'll build you up and say nice things, just to use you and feed off you, as you slowly die. Like maggots would do.

To keep it SoaD style, some eye raising sillyness is thrown in "all you bitches put your hands in the air and wave em like you just dont care" which I know is a reference to some rap song...it's awkward and unusual and that's how they like it.

Amazing way to end an amazing album. Still SoaD though a bit different from their earlier work, another great display of the bands almost progressive metal, punk fueled yet always accessible style. This album has been called "schizophrenic" and there's no better way to describe it. Well, besides amazing.

Five Stars

The Angry Scotsman This is an album I have long avoided reviewing, not because I dislike it...but in fact because it has such a meaning to me I was not sure I could be fair, or do it true justice, (or write anything better than how awesome it is). System of a Down was the first band I truly listened to, they got me into music, and the rest is history. This was the first album I ever heard, (as well the first I ever bought)back as a 14 year old high school freshman. Back then this album was barely a year old and still hot, with "Chop Suey" playing all over the radio, especially in weight room where I and the other lazy kids would avoid doing gym and rocked out to this instead.

Today, almost 10 years later I listen to this album and SoaD, and while unsure how I would feel...I love it more than ever! What was a heavy, angsty, political album that was kind of odd I can now appreciate for its music and composition.

Onto the music itself, while too many hear the real heavy riffing and 3 minute songs and instantly yell "nu metal!" that is far from the case. I mean, have any other nu metal bands cited Frank Zappa as influence? Korn could not even dream of these unorthodox song structures, packed with a variety of instrumentation and vocal styles, often stop and go in nature, with wild, (often abrupt) changes in tempo and style. All jammed into short songs, usually with political/social commentary. Punk ethos meets alt metal.

However, not all the songs are energetic moshes, some are mellow, some melodic and powerful. The lyrics are also some of my favorite, ranging from straight out political like "Prison Song" about the US Prison system and war on drugs... to how "Science has failed our world, science has failed our mother Earth". Now that's a trip. The lyrics aren't always so straightforward and usually are multifaceted or open to interpretation (a la Tool and Deftones) and sometimes make use of humor.

Serj's vocal display really pulls it together. His voice is just amazing, and he covers the whole spectrum. Clean singing, non pitched "thrash metal" screaming, growls, a harsher yelling. They are not excessive or too harsh, generally accessible for a metal audience, and he just fits the music perfectly and can hit so many tiny moments so well. One of the better vocalists in metal.

Serj is the guy, but there are also melodies with Daron, with his unique higher singing style.

Musically, this album is a bit deeper than what appears on the surface. There is tons of no frills, heavy, angry guitar playing and I do mean lots of it. The riffing is drop C, muddy, and bludgeoning. However, that is just the tip of the iceberg. Often simple, the guitar work is just as often cleaner, melodic and even a lot of the heavy stuff is thrashier than the norm. There are some really sweet melodies and riffs to be found throughout. SoaD also uses acoustic guitars, 12 stringers, sitars, and mandolins.

The drumming is pretty straightforward, but also jazz tinged and with a real sense of groove and feel. Yes, jazz tinged...heard in a lot of John's unorthodox beats and especially at the end of "Shimmy". Just a great feel drummer that can surprise you, with either melodicism or the occasional blast beat! Always fitting.

Shavo's bass is almost always audible, but never too prevalent. Just right and, like John's drumming, is something I never noticed when I was younger. Not mind blowing with virtuoso skill, but always appropriate, with lots of cool moments. Sometimes just "bottom filler" for the heavy parts and sometimes stand alone his bass playing is solid and then some.

I mentioned the variety of styles, with some notable examples being the very thrashy "Jet Pilot" inspired by one of their favorite bands, Slayer, "Science" which has a really awesome middle eastern sounding interlude, "Shimmy" has some prominent jazz influenced rock drumming, "X" is an intense song with a weird second half, and "Psycho" a funny song to the cocaine fueled groupies with a guitar solo! Yes. A melodic, powerful solo backed with sitar and other gentle instruments and a light drum beat. Amazingly moving piece. "Bounce" is another funny, weird song. Very weird.

I'll finish with my 3 favorite songs, starting with its most famous song "Chop Suey!" An acoustic guitar riff starts off, quickly backed by mandolin, clean electric guitar and a scattering drum beat before the heavy kicks in. Alternates between a staccato, distorted riff and a mellow, clean movement filled with strings. A nice thrashing leads to an extremely powerful ending, punctuated with keyboard. The songs famously cryptic lyrics have been attributed to suicide, the bible, child/domestic abuse. Maybe it's none of the above, or a little of it all. Very powerful, moving song.

'ATWA" is another powerful song, switching between quiet, mellow parts and beautiful harmonized singing with heavy, pounding sections and yelling. Moving piece of music, with a title alluding to the philosophy of Charles Manson: Air, Trees, Water, Animals dealing with the unity of all living things and ecosystems of Earth in a spiritual context. Could never figure out what the lyrics mean but I always thought it was either about man ruining the environment, nature watching us go on with our lives, or a different angle on Charles Manson. Still not very sure.

"Aerials" is my favorite on the album. A beautiful song, no other way to put it. Over 6 minutes long but the last half is actually one of those hidden songs, a tribal sounding Armenian folk song.

More varied than the bands debut album, though still unmistakably them, this is not only a classic of alt metal, but in all of metal. Released on the cusp of the scene's transition to metalcore, the album is a breath of fresh air to the dying alt metal scene, and in general. The band's blend of accessibility and experimentation, is a huge success. If you want to rock out to its epic heaviness or chill to its moving beauty, then go ahead. Just realize that musically, while this album is not about technical skill so much, it is a great display. The song writing, texture, melodies and subtlety can easily be lost.

Masterpiece. Five Stars

The Angry Scotsman The debut album from Aussie prog metal band Alchemist.

I say prog metal because while there is heaviness, intensity and growls o plenty, musically this is far outside anything in the realm of death metal. Death, Atheist, Cynic even Edge of Sanity never created such an out there product.

"Jar of Kingdom" is a blend of death metal influenced prog metal and psychedelia. There is also some very noticeable Eastern influence. It is an intriguing and ambitious effort that doesn't seem fully developed on this album. While I applaud the effort, (and am glad to know I'm not alone in thinking you can like extreme metal and Pink Floyd)it is just not fully "there" yet. The album is a bit inconsistent, and while Adam Agius' vocals aren't the worst by any means, I'm not really a fan. His shrill growls are actually a lot more energetic than the standard, but also can be as laughable at times. Not a turn off, but not the best.

Musically, the songs have very progressive structures that can range from blast beat death metal to spaced out, Pink Floyd style movements. The music can stop and start on a dime, usually with wild shifts in tempo and style. The guitar work features both heavy, death metal and psychedelic, trippy styles, often at the same time.

The guitar work and song structures are easily the strongest thing on this album, unique and unorthodox are the only ways to put it. As well as awesome. The drumming is fitting and more than servicable.

Just for a change of pace, songs like "Found" are mellow and feature female vocals, and "Whale" is an acoustic piece with some type of tribal drumming, xylophones (or synths) and the sounds of whales.

Some standout songs are "Abstraction" (with its relaxing and brutal movements and sweet psychedelic melodies) "Shell" featuring surprisingly nice melodies, and "Brumal-A View From Pluto" which has one of the best openings I've ever heard and is a particularly brutal and usual piece. I love the surf rock riff over blast beats and distorted mess of tremolo picking.

The finale "Worlds Within Worlds" is a true musical journey, which features some of the best melodies and writing on the album. While some other songs can suffer from a lack of cohesiveness, this one works perfectly for most of it, and is really one of the more unique things I've ever heard. Where else can you feel like relaxing in a Middle Eastern palace and headbanging in a doom metal show??

Very interesting album that makes me feel ashamed I never herd of this band until 2011. What Alchemist tried to do on this album is not easy, and indeed it sounds a bit chaotic at times. Not organized chaos though, more like 2 buses carrying a death metal and psychedelic rock band collided. Sometimes awkward but it also works and the musicianship and songwriting skills here are impressive.

Good, but not great, album that leaves you wanting a bit more.

Three Stars

The Angry Scotsman This is the kind of album I hate to review because it's really not a bad album in the slightest. However, it's not really my cup of tea and I always found it difficult to reconcile my personal opinion and how "good" the album itself actually is. I will give my personal review and let you decide for yourself!

"The Inside Room" is an intriguing album. It is funeral doom, which is just very very slow, doom metal. There are barely any traditional riffs to be found, the album is composed almost entirely of dirges. Heavy, droning chords that go on and on. It's really cool. Only issue is, it can get become a bit tiresome especially over the course of a whole album. I love the slow, heavy, droning thing but there is little variation to be found, (though there is some) and the songs don't even build to a powerful climax. Just keep droning on.

The guitar tone and style is pretty cool though, as the simple drumming pushes the songs forward with funeral pace. The song "Between Times" is shorter at 7 minutes and moves with the quickest pace (which is not very much so at all). I actually can slowly bob my head to that song.

The vocals were a surprise and perhaps the strongest part of this album. I was surprised, and thankful, to hear clean vocals. The crushing, slow music and soaring clean vocals are a nice blend and they are just plain good. Clean, understandable, and slow. They are a great vocal display. Also emotional, which is something I can appreciate in metal.

Maybe not to others, someone I encountered said this was a good album even though it's "emo metal" and all about "whiny relationship bulls**t". I guess, as usual I didn't even hear the lyrics, my ear tends to hear the vocals and tune out the words. I was more struck with the soaring, beautiful vocals than whatever he was saying.

A slow, heavy doom metal album with clean vocals. It's not for everyone and certainly doesn't make for good intent listening. Better for background or more casual listening. After so much repetition without really going anywhere I find it difficult to stay focused. Though I'd say I like the music, so I'm not really sure what to do with this. I'll give it a rating of 3 stars, but recommend you check this album out for yourself and decide!

The Angry Scotsman A throwback to their debut album.

Which also happens to be my favorite by them. The proceeding two Russian Circles albums are quite good, just different treading more into post rock territory, largely dropping their bass heavy, sludgy sound. This style however, makes a roaring comeback on "Empros".

I first popped this CD in and listened on the drive home from work, and it was so bassy I was afraid the car was going to fall apart! Rare time I had to turn the volume down, (maybe the first time out of fear, HA!). Seriously, that sludgy, bassy heaviness is back. In fact it may be their most bludgeoning album yet.

Before release the band claimed influence from legends Neurosis and Swans, so glad to see they delivered. However, this is Russian Circles and their beautiful melodies and mellow song writing are still very present, contrasted with the sonic pummelings, all perfectly woven together into atmospheric, progressive songs. Another post metal classic from the Chicago group.

The guitar and bass work is obviously great, and the drumming is great. Loud and intense. Like many "post" bands it is fairly straightforward yet appropriate, and powerful. It is more intense, however, than the standard post metal album. It is this more intense drumming that gave their debut that extra appeal compared to so many others for me.

Taking a page from the Book of Pelican, Russian Circles moves from instrumental island and throws some vocals on the final track. They are dreamy and drifting, what he's saying I have no idea, but the voice is another instrument filling in the space. We all know that's more the intent anyway, am I right?

"Empros" is a heavy, sludgy, post metal album that moves with its classic mid tempo pace through a slow crescendo. There is some great riffing, drumming and the songwriting is atmospheric and perfect. A bit less riff oriented then their debut, while I appreciate the ambiance the less variation holds the album back just a tad. Other than that, another good effort from Russian Circles.

Four Stars

The Angry Scotsman A mix of old and new.

I will always be a die hard old school Mastodon fan, (Leviathan being one of the first metal albums I listened to) that over the top, mind shattering madness and, barely, organized chaos. I enjoy their later 2 albums, don't get me wrong, just not as much. The more progressive, streamlined, psychedelic and accessible style of sludge metal.

So I was pleasantly surprised upon my first listen of "The Hunter" to find it is a mix of old and new Mastodon. It's a bit of a throw back to crazy Mastodon, but still in the more streamlined style. It's psychedelic sludge metal, filled with a plethora of vocals, is still prominent. Indeed, the vocals range from clean singing to shrill screams, grungy singing and yelling. Dailor's drumming, though nothing like the fill laden, chaotic style I loved so much, touches upon said style at times. The guitar work is heavy, and runs the spectrum...covering everything from melodic to insanity.

"The Hunter" is also much hookier and overall accessible than anything Mastodon has previously done. For many progressive minded fans this may cause cringing, but fear not. Shorter, more to the point song writing is not a bad thing. Sometimes it's fine to just hang around town and not go on an epic journey. Besides, accessible is one thing but musically this is no pop album, technical skill abounds.

As noted by others, the album doesn't take itself too seriously either, always great to see some fun in metal, (or music in general) especially after the grandiose and powerful "Crack the Skye".

Oh, this has nothing to do with the music at all but sweet Jesus look at that album art! One of the best things I've seen in a while, it reflects the insane nature of the album and seems a bit silly almost, but I'm guessing that's the point. Also, it's pretty damn metal \m/

Another great album from Mastodon, "The Hunter" takes a bit of everything they've done and mix it up into one great meal, served in easy to handle dishes. I almost didn't hear it at first but there is some crazy guitar work going on, textured perfectly with more straightforward songwriting. Great vocal performance all around to boot. One of the top 10 metal albums for the year.

Four Stars

The Angry Scotsman Drudkh, but with a more post influenced sound and cleaner guitar tone.

That is the simple review of this album. While the change in style was detectable on "Microcosmos" it really takes shape on "Handful of Stars". Much of the black metal is jettisoned and replaced with a much cleaner guitar sound, (there is still some distortion but not close to previous levels) and a more atmospheric, post rock structure, similar to Alcest. Some double bass thrashing and blast beats exist, and strictly harsh vocals, but that's about it. Obviously, the production is much improved, letting you hear every drum hit perfectly, and even bass!

This album has dense, drifty, subtlely changing walls of sound, subdued segments, and some great melodies. Even a guitar solo or two! All pushed forward with simple, yet effective drumming and topped off with gruff screams. They are not the most abrasive thing however, and work with the music.

Always glad to see a band change it up, (especially one from the dark depths of black metal) and this a great output from the obscure Ukrainian metal masters of Drudkh. Great songwriting that is truly moving, and ranging from hypnotic to powerful. Atmospheric metal.

Four Stars

The Angry Scotsman A blues influenced, jam oriented rock album with a raw, "vintage" sound. What's not to like?

Well at first listen, a lot. Such a cool idea, and admittedly a cool sounding album, but was just...not that good. Though if there's one thing I've learned from post-Remedy Lane PoS, it's that patience is key. Sure enough, with time and listens this album grew on me, (though the seeds were already there) and while it's certainly not as strong as their "classic" albums, or even their previous 2...it is a decent album.

I gave kudos to PoS for changing it up and doing what they want. While different, "BE" was a dense, pretentious prog rock album and "Scarsick" was prog metal..."Road Salt One" however is something that truly flies in the face of PoS fans. As mentioned, this is a blues rock album, with little prog, (and less metal) to be found, and the band even took an unpolished, raw sound to make it feel vintage. If this sounds out of your league best avoid RS1 entirely. I like it personally. Like any radical change it did take some getting used to, and outside the feel I really didn't like the music much.

While it's much "simpler" as in there's less complex, progressive songs...replaced with more direct, "stripped down" ones it is challenging instead that it's a subtle album, (much like Scarsick). Not to mention a challenge to prog/metal fans! The music can at times be a bit repetitive and drab, but generally it gradually moves...building to powerful climaxes. The writing is subtle and keyboards are more prominent than previous albums, even if its often gentle.

As always, the music takes a back seat to Gildenlöw's vocals, whose powerful, emotional singing truly dominates this album, ranging from soft cries to powerful wails and loaded with the emotion and nuance that needs no explanation to any PoS fan. His singing really carries the album, though of course the music is not to be forgotten about.

More of an "album experience" rather than individual songs, though some do standout like the powerful opener "No Way". This is followed by the good "She Likes to Hide" and the more mellow "Sisters" which is not a bad song but one of the weaker. "Of Dust" is a choir segue which brings us to the middle of RS1 which is absolutely the strongest part.

"Tell Me You Don't Know" is a real cool, blues heavy song and the next 3 are more progressive songs, punctuated by "Sleeping Under the Stars" and "Linoleum" two awesome songs and the latter being my favorite on the album.

"Sleeping Under the Stars" has a circus type jig and gets kind of weird in the middle, in a great way, and has some humor, best seen in the line "Wait darling wait, you're the sh*t as they say in...where they say at...wherever they say that" ha! While "Linoleum" is just a damn awesome, heavy, proggy rock song.

"Curiosity" is another progressive song, notably more up beat while "Where it Hurts" is another mellow one that peaks and valleys. "Road Salt" is a vocal driven, light keyboard song before the finale "Innocence". A 7 minute song that is like a wrap up of the album, progressing through light, psychedelic sections and loud, heavy sections.

So, overall this is a good album. Certainly takes some getting used to and patience, but is worth it. Musically not the mot technical and complex thing made, even by the band, but instead it focuses on subtle songwriting and compositions that rise and fall, taking us on an emotional rollercoaster. The raw, blues rock sound is really cool and Gildenlöw's singing is, as always, some of the best. It fits the feel of this album even more than ever, and shows why he is one of the top vocalists out there. Some parts drag and are a bit drab, and isn't an anytime listen but a good album nonetheless, and I applaud PoS for doing what they want and challenging the fans.

Three Stars

The Angry Scotsman 1,813 days in the making

Or about 5 years, in typical Tool fashion.

Time to eat some crow: At first, I didn't like this album and said stuff like "This sounds like Tool minus all the good" and it felt "10,000 days long", but I was 17 years old then. Years later, I listened again and really loved it. "10,000 Days" is Tool beyond question, it has the heavy guitars, prominent bass, trance like drumming and creative lyrics we expect from Tool, yet is a bit different from previous albums.

It's much less aggressive, both musically and vocally. There is not a harsh vocal to be found here. The post-rock/metal style touched upon with "Aenima" and "Lateralus" is really evident on this album. Atmospheric songs that gradually build to powerful climaxes, this is a very introspective album. It takes a bit of patience.

No surprise about this, as the foundation for the album is the 27 years, about 10,000 days, that Maynard had to watch his mother struggle through before passing on in 2003. Heavy, somber stuff for sure. There is a 17 minute, 2 piece movement dedicated to this, "Wings for Marie, Pt. 1" and "10,000 days (Wings, Pt. 2)" both of which build to powerful, emotional crescendos. Beautiful, moving music here.

Another 2 piece movement comes later on, "Lost Keys (Blame Hoffman) which must be a reference to LSD creator Albert Hoffman, and "Rosetta Stoned". The first part is a cool, spaced out song where a nurse and doctor talk about a mysterious patient with no physical trauma. Ends with the doctor saying "What's happened? Tell me everything" and we jump into "Rosetta Stoned" which tells us everything.

Maynard speaks quickly and some effect is used on his voice, so I had to look up the lyrics to understand most of it. When I did, a wild story unfolded about some guy tripping on Ecstasy and DMT outside Area 51 who is told by an alien he is the chosen one, who must spread the message to everyone. Too bad he forgot his pen. Fearing he's gone insane and was dying, (much like Hoffman's experiment with LSD) this is probably why he stumbled into the hospital with no ID and physically fine. Another lengthy post influenced song that takes some patience but is oh so rewarding.

The other songs are the rocking "Vicarious" about our obsession with seeing death and tragedy, long as it's not first hand. "Jambi" is a cool song with an awesome talk box guitar solo, "The Pot" is perhaps the weakest song, but still a good one for sure. "Intension" is a real mellow song in the same building style, though for a change of pace reaches a cool, trippy and melodic peak instead of a heavy intense one.

"Right in Two" is one of my favorite Tool songs, with truly great lyrics about how angels must look at us talking monkeys with bewilderment at how we use our gifts to kill each other over "pieces of the ground" and not realize that "Eden has enough to go around". Song has a beautiful tabla solo from Carey and ends on the album on a great note.

At least for me since I have removed the finale "Viginti Tres" from my computer. It's 5 minutes of noise, seriously. What an odd way to end an album, until you remember this is Tool so it's probably intended to be played with another song...my guess was "Wings for Marie, Pt. 1". This sync up was on youtube and it did work really well! Apparently, the true intention is to sync up Wings for Marie, 10,000 days and Viginti Tres all at once. After looking this up on youtube it really did work amazingly well, and kudos to these people but I simply don't have the care to do so.

Thankfully, Tool cut back on the deliberate filler here. "Lipan Conjuring" isn't bad actually, but just useless. Unless it's supposed to sync with another song which could be the case...if someone cares enough to find out let me know.

So, a more subdued, patient and psychedelic Tool album "10,000 Days" is another fine output. As usual the songs are all good and the purposely made filler/pretentious wankery is a bit of a buzzkill but that's Tool for you, and the music is top notch. Relaxing and powerful, humorous and deep this is another great album from Tool.

Four Stars

The Angry Scotsman After releasing 3 albums in a year and half, as well as extensive touring and drug use, Black Sabbath was starting to break down and this was manifested in the music.

Don't get me wrong, it's a fine album (and could've been better as I'll explain) but it sounds unfocused and just simply isn't as strong as their previous 3 albums.

The classic Sabbath sound is still present: sludgy, stoned out guitars, playing at mid tempo, but there are also some departures. The song "Changes" is an entirely piano and mellotron ballad. It's not really a bad song, but it doesn't do anything for me either. The is followed by "FX" some weird, space rock type noisy segue. I actually don't mind it, but again really doesn't do much for the album.

"Laguna Sunrise" is a warm, acoustic instrumental that is actually quite nice and does make for a good segue. I always give a band kudos for at least experimenting, even if some don't work out, but there is a larger problem with this album: the production.

It just sounds weak. The guitars are thin, the bass lacks that Sabbath punch, the drums have no power. Even Ozzy's wail is lackluster. You hear the music and that's just it...where's the bludgeoning!? This album lacks power, and the sound does detract a bit from the music. Most likely due to the fact Sabbath spent half the budget on drugs.

On top of that, the band sounds a bit uninspired. Songs like "Tomorrows Dream" and "Snowblind" are largely boring and some of the songwriting is just bland. It's not all bad though.

The opener "Wheels of Confusion" is awesome, starts with a crying bluesy guitar intro, followed by great riffing and a bit of a progressive song structure. Mellotron in the background adds some extra texture. Great song, with a really great second half complete with wild solos.

"Supernaut" is packed with more sweet riffs and solos, and a pretty cool percussion break in the middle. "Cornucopia" is a pretty good song with some nice sections but also drifts a bit at times, while "St. Vitus Dance" is a short but sweet song with a more upbeat guitar melody and feel.

This is contrasted with the finale "Under the Sun" a true doom metal dirge that does pick up at times, and with an interesting song structure, awesome song.

Volume 4 is a good album that suffers from poor production and some mundane songwriting. A more powerful sound quality really would help tons, the thin guitars especially kill. Decent album nonetheless.

Three and a Half Stars

The Angry Scotsman After releasing 2 epic albums, (including the genre defining "Paranoid") the fathers of metal release their third, "Master of Reality"

Here Black Sabbath don't add anything to their sound, in fact they just reinforced it. Tony Iommi who hurt his fingers long before detuned his guitar to relieve the tension, the result was an incredibly heavy sound unlike even the Sabbath albums previously. Bassist Geezer Butler followed suit.

Musically, "Master of Reality" is what we expect of early Sabbath: Heavy, mid tempo songs, bluesy guitar solos, complete with punchy bass and Ward's powerful drumming. Ozzy's powerful wail tops it all off.

There are some breaks: the almost classical sounding "Embryo", the acoustic ballad "Orchid" both of which are segues, and the full length song "Solitude". They are all nice, and "Solitude" is really a great song. Quiet, peaceful, and relaxing...filled with light guitar, flute, piano, and soft vocals. A nice change of pace and outright great song.

This is followed by the riff-tastic "Into the Void" which brings up a point that really doesn't even need to be mentioned, the riffing. While a true band effort, this album, (like any good metal album) is based on the riffs. Iommi's classic heavy metal riffing defines the album, some which are the best you'll hear.

Lyrically, things stay in the same general area, though note: "Sweat Leaf" is a powerful heavy metal love song about the plant that was obviously near the hearts of the band, while "After Forever" is actually Christian song, of sorts...posing various questions and portraying it in a way that is not in your face, and actually a bit ponderous. A nod to Butler's faith but perhaps also to help shake the notion of Sabbath being satanists.

"Children of the Grave" is another song about war, though unlike many metal bands of later, it's an anti-war piece. While "War Pigs" was more focused on politicians and those responsible, "Children of the Grave" is a bit more "hippieish".

"So Children of the world, listen to what I say, if you want a better place to live in spread the words today. Show the world that love is still alive you must be brave, or you children of today are children of the grave." OK, ends on a dark note but can't you see some long hairs with acoustics gently singing that? I can, except it's Ozzy and over a chugging riff!

An absolutely classic heavy metal album, this has it all. Awesome riffs, solos, powerful vocals, great songs. Not much else to say. Even for the band "Master of Reality" has a very heavy, sludgy, stoned sound, built around slow to mid tempo songs, which has influenced countless bands: Of course every heavy metal band, especially doom and sludge metal, stoner rock and even grunge. A truly important album that is as good as its legacy is huge.

Five Stars

The Angry Scotsman Perhaps Opeth's most controversial album yet.

There was a lot of talk about it before we even got a listen, how it was going to suck, how could Opeth just rip off 70's prog rock, how it was going to be either a totally mellow album or jazz fusion (something I'd like to see)! Sure enough upon its release there was plenty of criticism thrown at it, either due to the lack of growls and death metal, that you might as well just listen to 70's prog, that it's aimless and incoherent and even that you shouldn't bother because Opeth has been a "hipster band" ever since after Still Life.

I only say all this because it pains me to see that one of my all time favorite bands has gotten to a point where so many seem to have stopped really listening/look to find reasons to hate it... but onto the review.

"Heritage" is the superior clean Opeth album,(and I really like "Damnation"). If you need growls and death metal heaviness, well you won't find it here. However, this is NOT a Damnation 2, it's quite different from it actually. There is still heaviness, in a 70's way, and sometimes even outright (though never death metal levels). There is even double bass drumming and lots of rocking out.

Musically, Opeth has done it again, with great guitar work from all over the map. The keyboard/mellotron is quite prominent as is the bass, (usually not high in the Opeth mix). Mendez can really be heard on pretty much every song. Also the drumming is quite good. Axenrot had a tough seat to fill replacing the awesome Martin Lopez, but his work on Watershed was just too straightforward. He is much improved here, with flavorful jazzy tinged drumming and there are quite a few drum breaks, like Akerfeldt made a point to defend and showcase him.

I personally don't find the music aimless and incoherent. With all songs under 9 minutes, and 8 of them under 7 minutes, I'd think they'd be a bit more direct actually. Opeth fans are used to the clean/heavy/clean/heavy format, which has been abandoned on "Heritage" and instead the songs are more genuinely progressive.

I'm glad, because while unique and successful, by the time "Watershed" came around the band could use a change of pace. Some songs do indeed sound drifty, but I like that. I guess if you crave structure and obviously crafted songs you may feel a bit lost, but the driftyness is relaxing and often beautiful. Also, be certain that all these songs are definitely composed and move somewhere.

I'll admit, on first listen "Heritage" can be sound a bit underwhelming, especially with it's pretty prominent use of silence at times, but there is a lot going on. Not only are the songs more progressive, they are pretty textured. The song structures are good, with great melodies, rhythms and sections, and shorter lengths actually allow it to get to the point a bit quicker and not ramble.

So, "Heritage" is still Opeth but just a bit cleaner and lighter, but with songwriting just as strong. There is no weak song, but some standouts are the awesome and progressive "I feel the Dark" and the rocking "The Lines in My Hand". There is good variation as "Slither" is more up tempo while "Nepenthe" is quite mellow. The album starts with the piano ballad title track, and ends with the light, acoustic guitar ballad of "Marrow of the Earth" (which unless in name only, does not appear to be a tribute to Agalloch).

A different, but strong output by Opeth. Fans of the band, I urge you to listen with an open mind and keep any talk/rumors out while you form an opinion, and do give it some time. Most fans of Opeth should be pleased. Now if they would just make a jazz rock album my dreams would truly be granted.

Four Stars

The Angry Scotsman Noisy, psychedelic post metal

It took a few listens for this album to grow on me, but what a great experience when it finally did. Atmospheric, sometimes lengthy, songs that often start light and melodic, building to a sonic pummeling and filled with layered synths, tribal drumming and droning, echoing vocals.

Minsk obviously worships at the church of Neurosis, and the influence is quite evident. The building, atmospheric songs, extremely sludgey guitars, strained singing (though sometimes clean)but there is some more to it. There is heavy use of synths and not just some filler, but very prominent in the songs, often layered. The vocals have an echo on them and are layered as well at times, this all gives the album a very dense, bludgeoning feel. However, it also adds a psychedelic feel that I havn't personally seen in any other post metal band. The tribal drumming, echoing vocals and occasional "trippy" guitar also add to the feel.

Oh, there's also some saxophone for a nice bonus, (courtesy of Bruce Lemont from Yakuza).

The album is 59 minutes long and composed of 6 songs, 3 over 13 minutes in length, the others under 6 minutes (acting as nice transitions between the epics). The long songs rise and fall over their journeys in true post metal fashion. The end of the 15 and a half minute "Ceremony Ek Stasis" is a doom metal dirge, but damn it made me rock so hard that my shirt was saturated from sweat.

This album is heavy, dense, crushing yet also hypnotic. Let it sink in and drift through its trippy, powerful and emotional songs.

Four Stars

The Angry Scotsman Blind Guardian's best album yet!

"At the Edge of Time" is not only the best album created by the band, it's a really great album on its own. It was one of my top 10 metal albums for 2010, and was even knocking on the door of top 5. While I like Blind Guardian better than most other power metal bands, they suffer from the biggest problem of the genre: sameyness. The music speeds forward, every song shredding along unrelentingly with lightning riffs and solos and double bass drumming. It can get quite dull after a while.

However, Blind Guardian really put out a different album this time! The music is very progressive and melodic, still with plenty of speed and melodies and songwriting to die for.

Just to clarify, while I do love progressive music, (and that trait usually is a notch up in my book) it's not just because it is so, but generally because it's more interesting. This is exactly the case here, every song sounds different, lots of variation and progressive songs that keep it fresh and interesting. Blazing musicianship is still abundant, tempered with great songwriting, and packed with awesome sections of music. There's no other way to put it, the music is well composed, epic and just really damn good.

One area where Blind Guardian always stood out was at vocals. While most power metal singers live at a high pitched wail that can become too much, Hansi displays great variation and a gruff, hard edged tone. He can of course nail the soaring high notes and the German accent is just wonderful. On this album Hansi's vocals are brilliant yet again.

So with "At the Edge of Time" we see a new Blind Guardian, a more progressive one, loaded with melodies, musicianship and songwriting that are just stellar. Capped off with a great vocal showcase from one of the better singers in metal. All the songs are quite good and there's no real weak one. Two standouts are "Curse my Name" an epic folky tune and "Wheel of Time" a truly awesome song that has some middle eastern sounds and just about everything I've mentioned about this album, woven into a brilliant 9 minute song.

Great Album

Four Stars

The Angry Scotsman Slipknot's forgotten, and disowned, debut album

I'm not too surprised, most fans of Slipknot would wonder what the hell was wrong with the band, and the band has since changed their opinion of M.F.K.R. from their debut to a "demo". It's a shame because I was extremely surprised when I first heard this album, in a good way!

Heavy, (often very) guitar and harsh vocals are still abundant, but many of the songs feature very unorthodox, often progressive song structures, with some incorporating jazz, funk, slap bass and even happy tropical sounding stuff with various vocal styles ranging from growls to rapping, clean and strained singing. What??

There are guitar solos and melodic songwriting. Slipknot fanboys usually flood every drummer youtube video with comments about how they suck and Joey Jordison is the man, much to my chagrin. While it's not mind blowing, I was a bit surprised by Joey's drumming on this album. Usually nothing but speed, with a random feel to it, the drumming here is a pretty decent output.

"Slipknot" is an extended with a long noisy intro that builds, until the bulk of the song kicks in with lots of slow heavy riffing and harsh vocals. It's not too bad and middle section features a solo and some nice melodies.

"Gently" has a very nice melodic intro, followed by peaks and valleys of chugging riffs and slow melodies. The song has an unusual structure and a powerful ending. Drums have a tribal sound and his vocals are pretty good all around.

"Do Nothing/Bitchslap" has a slap bass intro, ironic (or maybe not)followed by death metal guitaring, jazzy interludes, a very long funky disco section, good drumming and vocals, and some impressive bass playing.

"Only One" is more a "typical" Slipknot song and while largely heavy pounding metal it still has some varied styles. "Tattered & Torn" is a bassy, noisy song that gradually builds to a powerful, pummeling climax.

"Confessions" is largely devoid of any metal, mainly jazz influenced with warm, clean guitar tones and a rapping/grunge singing style that has great flow. Impressive playing by Jordison and especially Paul Gray on bass, with an impressive guitar solo thrown in and an awesome final minute and a half.

"Some Feel" throws us back to a heavy, alt/nu metal style. Not a bad song, when sprinkled in with an album like this. The album ends with "Killers are Quiet" a 20 minute song (including the hidden song "Dogfish Rising"). Still, an almost 11 minute song from Slipknot? Indeed, and it starts with very quiet and slowly builds and builds before easing back down and launching back into a metal dirge. Though not for too long and the song ends with a pretty lengthy quiet section, featuring pounding tribal drums and sparse bass notes, punctuated with occasional bursts of percussion. Holy sh*t was Slipknot taking a page from the book of Neurosis???

The final/hidden song (whatever you want to call it) "Dogfish Rising" is an industrial rock type song, very experimental, going on for 9 minutes with loud industrial noises, distant and distorted guitar with very unusual, often layered, vocals and surreal lyrics, more like ramblings.

So is this is the same Slipknot we now know? Yes, same band and except for a few differences it's largely the same members! Very unknown album and largely abandoned by the band, this is an intriguing and pretty good debut album. Shame they took the nu metal route instead of staying with this progressive influenced alt metal style, maybe they would've gone on to be the only other band to rival System of a Down as the popular metal band of the 2000's with talent and taste.

Three and a Half Stars

The Angry Scotsman The low point in Slayer's career

Like some of their fellow thrash metal kings, Slayer fell into a major slump during the 90's and early 2000's, and had to hit rock bottom before recovering. The easiest way to describe this album: It is everything Slayer has done badly, with very little of what they've done right.

The band's exploration into nu metal continues, with even lower tunings and general weirdness. Not in a good weird way, just that weird nu metal feel that makes you kind of sick. However, they also pound out some high motor thrash, and it's an awkward combo. The album just feels like a mess. Unlike it's balanced predecessor, "God Hates Us All" uses too much from both sides.

The music doesn't really work and the sound quality makes it worse. It's just bad quality, it sounds sloppy and downright painful. The whole album sounds very loud, (yes metal can be too loud) its unrelentingly loud and messy. Tom's voice is horrid and hurts to listen to, actually hurts.

Lyrics were never Slayer's strong suit and I really don't care about them, but I am compelled to point out even for Slayer these are some poor lyrics. I also feel lyrics can be a gauge for a band's environment and internal workings, so it should be no surprise in this weak period of Slayer we get "God Hates Us All", "I keep the bible in a pool of blood so that none of its lies can affect me", enough profanity to make a sailor blush and frankly, an overall tone that sounds like it was written by a rebellious 14 year old. The album cover of a bible with "Slayer" burnt into it, nailed shut and covered in blood doesn't help either, though King also complained about it so I hold some faith the label helped make this album so ridiculous.

There are of course some good riffs, cool sections, awesome drumming from Paul Bostaph and I do like the song "Warzone" though that's about it. A train wreck of an album all around.

One Star

The Angry Scotsman Neurosis in transition

Far more familiar with their later stuff I was quite surprised upon my first listen to "The Word as Law". At first it sounded like nothing more than your typical crossover thrash album of the period. Maybe because that's pretty much what it is, but for Neurosis specifically this marks a transition from their original hardcore roots to their slow, sludgy metal to come. Of course they are not the first hardcore band to go slow, idols of the band, Melvins, did so before them as did Black Flag even earlier. That being said, in 1990 this may have not been much but looking back in time it's obvious this was a stepping stone for the band.

Also, it's not a bad album at all. May be quite atypical compared to the band's later material but I like thrash, I like punk. What's not to like about crossover? This is a fun album, not very challenging and good to rock out with. Sometimes, you are just in the mood for that over thinking about the music! Although even this is a bit different from the run of the mill crossover album. Alternating between slower sections and quick thrashy ones, with lots of punk riffing and prominent bass. However, it's actually a lot more moderate than most crossover. Instead of abrupt transitions between slow and crazy fast, the thrash here isn't too extreme. Really, it's a pretty mid tempo album with some variations in speed throughout.

Still, quicker than anything you'd expect from Neurosis, even with a solo or two thrown in and different vocals. Here there is a more yelling, punk style opposed to their later strained, sludge style. I prefer the vocals here to be honest, and also fits the quicker punk influenced music.

Not technical or mindblowing, and not brooding, atmospheric and challenging this is a fun album from old school Neurosis. Walking the middle between the two extremes of crossover thrash, their is some much slower, even building, music here especially the last song...indicating the future road the band would take.

Good Album

Three Stars

The Angry Scotsman Nevermore's second best album

"Dead Heart in a Dead World" is another great output by the Seattle prog metal band. A tad overlooked/underrated by Nevermore fans I was never sure why until many listens, when I realized while absolutely Nevermore style, it is a bit different from most of their work. It has all we want from them but is overall a bit less intense, more progressive, and melodic than a lot of their discog. Their progressive songs do have the heavy tremolo riffing, shred solos and thrashiness Nevermore fans crave, but not to much. This is in stark contrast to their upcoming album which is a flat out face melting speed fest.

The album starts out with "Narcosynthesis" which is a fairly standard but pretty decent Nevermore song. "We Disintegrate" is a slower, heavy song with some wonderful harmonies. "Inside Four Walls" is a high point of the album.

A mid tempo, thrashy song about the US government and injustice of the prison system, specifically drug law. About "a friend" who was "taken away" the song has some of my favorite lyrics by the band with lines such as: "Can anyone tell me why violent crime means far less time?" the chorus "Inside four walls my friend, they took away your freedom, and the pigs still preach their lies" and an interlude bluntly stating that drug offenders in the US serve more time than rapists, child molesters and murderers, asking is this American way? Ends on a powerful note, with Dane yelling out "they took away your freedom, but they'll never take your mind!"

"Evolution 169" is a very slow, melodic song and a nice change of pace. "The River Dragon has Come" is perhaps my favorite on the album, a progressive song with some awesome writing, it's packed with great riffs, powerful solos, lots of variation and a great structure. Another powerful ending, going with the highest wails I've heard Dane reach! Awesome song.

"The Heart Collecter" is another slow, heavy song that is packed with emotion, very moving song. Followed by the speed laden "Engines of Hate" and an intriguing cover of Simon & Garfunkel's "The Sound of Silence" which is the most intense song on the album. "Insignificant" is another slower song which leads to the powerful "Believe in Nothing" featuring some normal singing, soaring vocals and a scathing critique of religion, but done in that tasteful Nevermore way, with great lyrics that elude so many metal bands.

The album ends with the title song, a haunting yet beautiful guitar melody, static and chilling lyrics burst into an awesome and crazy song. Not much more can be said, this is perhaps the bands most balanced album. Featuring some of it all: epic riffing, mind blowing guitar solos and power metal movement but also lots of slower stuff and some of the most powerful and emotional music the band has written. There's no bad song though "We Disintegrate" is probably the weakest, while "The River Dragon has Come", "The Sound of Silence" and "Believe in Nothing" are the standouts.

Great Album Four and a Half Stars

The Angry Scotsman Slayer being Slayer

Is the best way to sum up this album. After 2 intriguing releases, Slayer backslides with this one. Back to no frills, straightforward thrash. This is great for most fans, but not so much myself. It is, however, a wise and probably conscious move. By this point thrash was extinct, replaced by the alt metal scene. Slayer responds by going back to the glory days, giving a finger to the new wave instead of embracing it like Metallica, Megadeth and Anthrax.

This is not a bad album at all, it is competent and solid thrash metal. Indeed, most fans of Slayer enjoy it and I understand why. Personally, it's just a little bland and uninspired. My biggest beef with it though is the production. Ironic since usually production doesn't mean much to me, but this album is one where the production kills. The guitars are very thin, they lack any punch. The drums have no power, (and the bass drums are weak thuds) and the vocals are just painful. They just sound bad, no other way to put it, bad.

This issue is not mine alone, as Kerry King, Tom Araya and Paul Bostaph have all voiced displeasure with the production with this album.

Very poor production, and the lackluster songwriting couldn't be helped by the entrance of Bostaph. His work with the more melodic and progressive thrash metal band Forbidden meant nothing here. In fact he worked on speed and endurance to sounds more like Dave Lombardo. The drumming is not very exciting but still a bit more than Dave's style.

It's not completely hopeless, I do like the song "Killing Fields" which is probably the best on the album. More rhythm then the rest of the album is just really awesome. I can even tolerate the trash sounding solos and horrid vocals. Some other good songs are "Sex. Murder. Art.", "Circle of Beliefs", "SS-3" and "213". The last song being Slayer's first love song, but not exactly as expected... its told from the eyes of murderer/necrophiliac/cannibal Jeffrey Dahmer.

A solid, straightforward thrash album that should please most fans of Slayer. I'm a bit underwhelmed by it's uninspired formula and really turned off by the terrible production. It's weak, and when not...it's painful. If this album was remastered I would enjoy it more.

Two Stars

The Angry Scotsman "As experimental as Slayer got"

These are the words drummer Paul Bostaph used to describe the album. Now don't get to excited, or worried, for Slayer "experimental" isn't anything earth shattering...but for them this album is a pretty stark departure. This is why I like it best from their "dark ages" period.

Whether the band was just tired of relentlessly thrashing, or trying to cash in on the alt metal scene, "Diabolus in Musica" incorporates nu and groove metal influence. Featuring lots of heavy, (drop D) and more simplified riffing, vocal effects and "weird" guitar solos it also has lots of mid tempo, groovy riffs backed up by complimentary drumming. There is still thrash on this album, and crazy soloing, but overall it's pretty mid tempo and even the thrashy parts aren't generally as intense as usual. Heavy groove influence a la Pantera. While hardcore Slayer/thrash fans may disappointed, and I originally was, this album is a welcome change for the band and isn't too bad an album. Also, the sound quality is great. A vast improvement from the thin and horrible quality of "Divine Intervention" you can hear every note and drum hit perfectly. Even some bass!

"Bitter Peace" starts with some churning riffs and cool drumming, makes you slowly bob your head before a bassy interlude builds to some old school Slayer thrashing, tremolo picking, wild solos and double bass abound. Awesome song. "Death's Head" takes a lot of flak from fans, but I love it. A continual, churny riff and groovy off tempo drumming(!) is spaced with slower, fill heavy sections, crushing rhythms, a tremolo effect, and bass segues. Lots of variation, very cool. THIS is experimental Slayer, and it works.

"Stain of Mind" has more spidery and simple riffing, the main one is really just single note picking, with more groove drumming. Not a band song, varied enough and builds to a pretty powerful climax. "Overt Enemy" has a bassy and sample intro, really building into a doom metal type lumbering, I like it and there's really good drumming. Some points have double giving it an intense feel, cool guitar solo/rhythm parts and it all builds to a groovy thrash. More building? Yes, it appears Slayer can write songs more than just brutal thrashing! Only knock are the "effect vocals" which are annoying.

"Perversion of Pain" is a thrashier song with some of the best drumming on the album, and some parts are the most intense on the album. Vocals a little annoying, but not bad. After a good start things start to fall off with "Love to Hate" which isn't so bad, but boring. Drudges along, though it's short and some decent solos and a surprise keep it going well enough. Same can be said for "Desire" it's not bad, but a tad boring and Tom's vocals really hurt though some mid tempo thrash and pounding rhythms, also an unusual intro to kick it off.

"In the Name of God" picks things up a bit, another varied song with some thrash. The noise solos are a bit annoying. "Scrum" picks up even more. Pounding song with lots of classic Slayer thrash. "Screaming from the Sky" is a low point, very dull and uninspired by this point. Heavy effect vocals for lots of it make it almost un-listenable. "Point" kicks off strong and is packed with lots of thrash, solos, epic drumming and some breaks to keep it fresh. Great end to album.

Slayer's foray into groove metal isn't a bad outing. Much less thrash and mile a minute riffing, replaced with rhythm and groove, which is not a bad thing. Sure, much of the riffing is samey and unimpressive but technicality is not king here, and it's OK because a lot of it just sounds good and will make you groove. It's not all midtempo, and thrash is prevalent enough and well placed.

I've mentioned the drumming a lot because it's awesome, and really holds this work together. It adds the feel that is critical to this album, always fits and has bursts of madness. Paul Bostaph will never get the credit he deserves since he is not Dave Lombardo, shame because he is leagues better than Dave. Bigger shame his work was on the band's worst albums. It's great though and much like Vinnie Paul of Pantera, is what makes this album. Also like Pantera, Tom's vocals, which are a near constant top volume scream, help push the album though it can be a bit much at times, also the vocal effects were a mistake.

Underrated and relieving experiment from Slayer.

Three Stars

The Angry Scotsman Wagnerian Space Metal Opera at its finest

WHAT!?

That is what the CD had itself labeled as. This is the type of quality music you can only find in the used bin of a random store in South-Central Pennsylvania! So what have we got here?

This is an industrial metal album to the core. Repetitive songs with crushing guitar riffs, synths, powerful and straightforward programmed drumming, use of samples and harsh vocals. This is pretty much it, don't expect much else, (with some exception).

Thankfully, the songs are pretty short, so while it may not be very good, and can be boring...it doesn't last too long. Some of the riffs are damn catchy, as well as the melodies produced, (this is some fairly dense music). Vocals are generally screamed, sometimes lower register singing and spoken word. The lyrics are simple, short lines generally repeated over the song. All of it in fairly poor German accent and pronunciation.

It needs to be noted this album is a joke, literally. It starts off big with the song "Third Reich From the Sun" which took me a bit to realize the gag in that name...and is made better with the main verse: "Third Reich, from the Sun! Revolution!" and "Das ist mein Krieg, Das ist mein Blut, Das ist mein Reich!" (This is my war, this is my blood, this is my empire) and add a...German rally speech into the mix.

OK, for humor even this is tough to swallow. Made worse by the fact the song is somewhat catchy. Another winner is "SS Deathstar Supergalactik" which is as catchy as it is painfully titled. It's awesome riffing and dancy drumming really make me want to dance around. Some electronic punches are a cool lil touch. Thank goodness, makes it easier to block out "Deathstar Universe. Join the fight. Blitzkrieg galaxy" if you choose to.

They are good at making you rock and groove out to the more ridiculous songs, more examples being "Transplutonian Annihilation" and "Let the Planets Burn". "Mein Kommandant" is a pretty groovy and trippy song, with sitar, groovy bass and a pretty spaced out feel.

I really don't know what to do with this one. Pretty generic industrial metal, which by its very nature is lackluster and bland...though this album can be undeniably catchy and some songs are pretty good. At first the lyrics are horrifying, both for their content and surrealism, but quite obviously the concept is for kicks. Not sure what the concept is, I think a futuristic outer space WWII for the galaxy?? I hope the laughably poor German accent is part of it. This is self parody, campy metal in its most grandiose!

A stupid fun album (emphasis on both) that if you take purely as is, may provide some enjoyment...if not for its catchy rocking out at least some awkward laughs?

Two Stars

The Angry Scotsman Swano may be gone, but his influence couldn't be removed!

The thought of EoS without Swano just seems wrong, and for hardcore fans is probably blasphemy, but this really isn't too bad an album and I'd say his time left a mark on the rest of the band.

I will grant this is not quite up to the standard of other EoS albums, and the songwriting may take a bit of a hit but when compared to death metal overall, "Cryptic" is still fairly atypical! I would also dare to say it's not very far removed from earlier EoS material.

The loss of Swano vocally is not an issue, while he was great Robert Karlsson does an excellent job and I really like his vocals. As for the music, "Cryptic" started just as I feared...with straight up blast beat death metal. Expecting this for the next 34 minutes, I was floored with what I heard next! A slow, kind of trippy section. Followed by a mid tempo groovy melody and a soulful and emotional guitar solo.

The intro "Hell Written" is an awesome song, and had me wondering what was next after that pleasant surprise. "Uncontoll Me" starts with a melodic and groovy rhythm that continues along, mid tempo, for a while. Sweet riffing with some awesome breakdowns which builds to a thrashy section, and another melodic solo. Another cool song and has a real sense of movement!

"No Destiny" is not really death metal, more a melothrash song, punctuated with a classic melodic rhythm and some slower, groovy breaks. Another winner. "Demon I" continues in this fashion, ripe with good riffing and drumming. "Not of this World" is another melothrash song with varied speeds and groove.

"Dead I Walk" is of the same fashion, decent song. "Born, Breed, Bleeding" is more intense than the rest, bordering on black metal speed at times, but still alternated with different sections, making those blast beats really intense feeling.

The album ends with "Bleed You Dry" another mid tempo song with some good, sometimes intriging, riffing. Varied tempos and feels, Larsson's tasteful drumming, (never over the top, sometimes powerful and always fitting) and less intense vocals. The growls are mixed up with "talking" vocals. Goes out with another somewhat rare EoS guitar solo and fades away.

So that's what we have. A largely mid paced album that really doesn't dive into death metal very often, (a third of the album I'd say)and is laden with melodic, groovy song writing and variation. Not outright progressive, since many of the sections repeat, but it is varied and the songs are short enough that they never really get stale. Besides, it is that variation, along with melodic and groovy touches, that separates this album from the vast majority of death metal, and is also why it's better. All that is also fairly comparable to early EoS material as well.

If you are new to the band I think you'll find this a refreshing change from the standard death metal, and EoS fans should be satisfied as well. You may just have to get over the fact Swano is not here and not compare it to works like "Crimson", but once you do you will see this is a fine album. Not spectacular but good and under rated.

Three Stars

The Angry Scotsman An extremely impressive debut!

"Entropia" sets the stage for what is to come. One of the more innovative albums in prog metal, though it seems like a pretty standard sound. Why is this album so damn good? It's songwriting! Unlike so many prog metal bands which are built around their virtuoso skill or avant garde tendencies, this is a melodic album and not too challenging. Not to say it's simple by any means! No 12, 15, 20+ minute songs with mindblowing displays at every instrument or wild, unnatural song structures.

No, "Entropia" is melodic and textured. Dense, intricate walls of music that fit together perfectly, with truly progressive songs that can swing abruptly or smoothly flow, jam packed with a variety of different styles and sections. There is heavy syncopation and use of off time signatures, all pushed forward by powerful drumming. While they are impressive musicians, it's not so much about technical skill here. It's about melody, every piece working together and creative songwriting that WILL keep you on your toes.

All serves as a back up to Daniel's vocals. Ironic, I tend always enjoy "music driven" stuff over "vocal driven" but this is an exception. All the music takes a bit of a backseat to Gildenlow's vocals, which are some of the very best. Great range and emotional. It's that emotional aspect which helps separate PoS even more from the crowd, and Daniel nails it. Powerful, emotional and always driving the content forward. His soaring and over the top vocals may be a bit much, but damn they are wonderful.

All the track are unique and great, but some standouts are the intro "! (Foreword)" and "People Passing By" one of my favorites. A melodic, restrained, powerful and emotional driven album...this is a breath of fresh air from the sutffy and stagnant prog metal scene. It also sounds honest and sincere, avoiding the cheesiness and pretentiousness that often comes with prog metal. I am a huge fan, of course, of 20 minute prog metal epics with crushing guitars and shredding solos from all the members, but "Entropia" is a welcome change of pace, and a superb album.

Four and a Half Stars

The Angry Scotsman WOW

That's all I could say after first listening to this album. The sheer scope of what just hit me had left me floored, but later the greatness sunk in as well. After taking small steps away from traditional death metal, Edge of Sanity makes a huge leap with this one. "Crimson" consists of one, 40 minute song. Yes. This is the king of prog metal epics.

The album kicks off strong, with crushing guitar and Swano's powerful growls. However, don't expect it to last long...or anything for that matter. "Crimson" really moves. No part lasts longer than 2 minutes, before its on to something else. Sometimes abrupt, sometimes flowing smoothly, indeed the best part of this album is its construction. Keeps you on your toes, and never grows stale over 40 minutes. Everything that can be thrown at you will be: Edge of Sanity's classic melodic death metal riffing, blast beats, acoustic guitar, growls, clean singing (both of which are great but Swano's growls really are superb) slow and mid tempo sections, crushing guitars, solos and a few surprises thrown in. That's all I can really say, this album is a progressive death metal epic that twists and turns, never too quickly but never waits too long either. How this album moves is its strongest victory, and its power and melody really help back it up. Never technical or complex, "Crimson" makes up for it in these other ways. The music and composition is perfect, Swano's vocals are amazing and fit the music. That's all I'll say, and that you really need to just try it for yourself.

Fans of death metal and old EoS may want to approach this cautiously, as it can be challenging and is way out of left field than anything else out there. For fans of prog metal though, this is a must. Even non prog metal heads should absolutely give this a try, since it does move around quickly. Brilliant work.

Masterpiece

FIVE STARS

The Angry Scotsman One of the more innovative, and influential, albums in metal.

This album must have been quite a surprise in the mid 90's Norwegian Black Metal scene, which was all about grinding and blasting away, shrieking about Satan, and violence both in and outside the scene. While "Bergtatt" does have all the staples of black metal: grim sound, raw guitars, tremolo picking, blast beats, and shrieking vocals... there is much more then that.

These are alternated with slower, more melodic sections, choir like chanting vocals, and acoustic guitar. There is even a fully acoustic song, featuring minimal acoustic guitar and somber vocals. Very haunting song.

The intro song is entirely mid paced, with long chains of double bass, (which I always thought was more hypnotic and melancholic than blast beats) and clean hymn like singing. There is even an ambient guitar solo, an acoustic break and goes out on a folky melody. This song is a great example of black metal can be done well, truly melancholic and moving, bleak but never being over the top or painfully cheesy.

The lyrics deal with Norwegian folklore, the album title meaning "Taken by the Mountains - A Tale in 5 Chapters" influenced by the legend that people were lured into in the mountains by trolls, presumably to be lost forever, "taken" by the mountains. Nice touch having the album read like a story, with the songs being "chapters".

This album is what most black metal claims to be: hypnotic, melancholic, bleak and does so without diving into borderline camp and self parody. The contrasting music styles of folk and black metal keep the album interesting, and makes the extreme parts feel even more extreme instead of boring and unrelenting. The acoustic guitars, folklore/mythological lyrics, hymn like singing, and emphasis on melody mixed with grim black metal gives this album a unique feel, and was a great influence on folk metal and any black metal band that incorporated folky and progressive elements.

Even back in 1995, Garm was out to show he was not your typical musician. Great album.

Four Stars

The Angry Scotsman Unheralded Thrash Classic

Coroner may not be a very big name band, and that's a shame because this is album is something else! Crammed with lightning fast technical riffing, double bass thrash drumming, blazing solos, and unorthodox song structures that change on the flip of the switch. The best way to describe it all is frantic. This is organized chaos. There are some traces of progressive elements, (such as clean guitar, synth and overall progressive song structures), not all the solos are face melters, and even some neo classical moments thrown in! This is a progressive technical thrash album that twists and turns constantly and will blow you away musically.

Musicianship, (as in both technical skill and songwriting ability) is present that blows Celtic Frost, (their source) out of the water...and many other thrash albums to boot! Some truly amazing guitar work, drumming that can be utterly manic to melodic, tasteful bass guitar and gruff vocals. My only real knock is the production, which is not very good, and the vocals in particularly are quite buried. Though this is 80's thrash metal, some low fi never hurt anyone!

Just to make sure things aren't too serious, (or an honest tribute I don't know) the album ends with a thrash cover of Jimi Hendrix's "Purple Haze" which is actually pretty cool and gives a good chuckle. OK, the vocals may make you cringe a bit, but its a cool cover and I'm always glad to see a metal band do something a little atypical.

Brilliant album

Four and a Half Stars

The Angry Scotsman Nevermore's Magnum Opus

This album is the bands greatest work, and one of the best metal albums I've encountered. Got this album when it came out in 2005 and it was the first time I heard the name Nevermore. I was blown away. The music floored me, and this was also one of my earliest introductions to progressive metal, at a time when I was solely a thrash and death metal head. "This Godless Endeavor" had a major impact on me personally and is an amazing album.

This album is an amalgam of all the band's styles, in a perfectly blended and composed masterpiece. Dubbed "progressive power neo-classical thrash metal" by some of us, this album has it all, but never sounds crammed together or sounds off. It all works together seamlessly, built around lightning fast and crazy guitar work, intense drumming and Dane's unique vocals, (which take on an even more hard edge here and showcase some dark, lower register tones). All of it tempered with progressive song writing and sprinkled with neo classical shred solos. The drumming is amazing, largely European power style chains of double bass, (sometimes at breakneck speed) but also with lots of thrash and healthy heaps of blast beats! Van Williams puts on a good show of extreme drumming, but also great variation. Sometimes melodic, technical, exotic, off tempo, often changing on a dime and always fitting of the music. To this day, one of my favorite drumming performances.

The lyrics are dark: often bleak and bitter criticisms of the media, technology, a drugged up (erm medicated) society, government, religion and humanity in general. Thankfully they are never corny or come off as angry tirades. Though anger is deeply flowing, it's tempered with intriguing vocabulary, (this is metal after all) and vague stanzas that require some thought. Nice change from the unrestrained and amateurish anger often hurled at us from metal bands. "Sentient 6" is about some type of AI being designated to destroy humanity but grows conflicting feelings of inspiration and contempt for humanity. "My Acid Words" ends on a powerful note with Dane bellowing out "It's a one way ride and there's nothing you can do! Not even suicide or my acid words can teach you, anything useful..." One of the more crushing parts of the album.

Every song is good, so I will just say listen to the album. In fact, every song is great, with "Bittersweet Feast" being a tad weaker than the rest. Now it is a good song, but just not quite the standard of the rest. Besides that song, this is a truly perfect album, and without it this would be flawless, probably getting a spot on my mantle of 6 Star Albums.

Besides each song being great, they are each unique and the album has good flow, starting off intense before moving into a more mellow, progressive section and rising back up to bludgeon back home. The album ends with the 9 minute prog metal piece "This Godless Endeavor" that is one of my all time favorite songs.

It's always been my opinion that the best bands are those who truly progress, maintaining but taking steps forward tweaking and refining, rather than "experimenting" by taking wild stabs in the dark or risky and drastic swings. The former is what Nevermore has done culminating in this brilliant piece of progressive metal.

Masterpiece FIVE STARS

The Angry Scotsman The debut album by Edge of Sanity

This is a decent yet largely unspectacular work. It's not bad by any means, it's just not very great either. "Nothing but Death Remains" isn't you standard unrelenting death metal of 1991. Quite the opposite, this album has lots of doom metal in it. The blast beat barrages oscillate with slow, doomy marches. There's a good bit of mid tempo stuff as well, all 3 getting their fair share on the album and to different degrees.

The guitar is unwaveringly heavy, the riffing is awesome, the drumming is effective with moments of flair, and Swano's vocals are gravely. I really like his vocals myself. The quality is low fi and gritty, (which is a good thing here) and there's a sense of groove that the vast majority of death metal bands lack. Even a few synths thrown in for good measure.

Only knock on it is the lack of variation. Every song is pretty much the same. The only possible standout is the opening track thanks to its keyboard intro and backgrounds, plus some interesting drumming. The rest of the album is samey. The harsh vocals and distorted guitar never let up for a moment. Of course this is death metal, and thankfully the songs are pretty short and there's only 8, so while samey the songs and album don't go on for too long. If they were any longer, or if there were any more songs, this album would start to suffer.

A good album, not exactly earth shattering but still an impressive debut and shows some real songwriting skill and musical sensibility.

Three Stars

The Angry Scotsman Underrated Album

"Scarsick" gets a lot of flak from PoS fans, quite often to the point of ridicule. I liked this album on my first listen, and it's a different take on their prog metal sound. Not sure why the level of hatred, but I do know this: PoS produced four brilliant prog metal albums, but it's clear they are out to mix it up from now on. So if you are upset because this album sounds different, better get over it.

The title track starts the album with a largely mellow and spacey feel, punctuated with heavy bursts and periods of Daniel rapping. Yes. Fans of old PoS brace yourselves. "Spitfall" actually goes farther, with Daniel again rapping for much of the song, (laced with profanity) and this time backed up by some nu metal. Weird at first, but it works well enough. Maybe that's just because I used to listen to RATM back in the day. If you can tolerate it, these rap metal sections are contrasted with some normality.

Cribcaged is an intriguing song, musically really cool. Truly progressive and builds from light and melodic to a pounding climax. Gildenlöw gives us quite a juxtaposition, his vocals are quite nice while belting out amazingly profane lyrics blasting our materialist society. They quite literally follow a "f**k the (x)" and "f**k (y)" format. I do like the song for what it is, but it's hard to swallow.

"America" is my favorite song on the album and it could be right off one of their classic albums. A more traditional prog metal song with a really cool song structure, great texture, very upbeat and catchy. Don't be fooled, the song is a scathing critique of American Imperialism, government, foreign policy and culture. To each their own, and I honestly agree with most of it. Though the bit of America's time in the sun being up, soon to join the failed empires of past is not earth shattering and frankly, unnecessary. Criticism is one thing but this is bordering on laughing in your face. The almost happy pop feel to it has to be a more subtle shot at big money American culture I am sure. Regardless, this is an awesome and catchy song.

"Disco Queen" another song that on first listen makes you think "what the hell!?" but this is my next favorite on the album. A spacey song with sections of, well disco. It does build to an energetic metal climax though. Honestly, I like the song...it sounds like stupid fun and is certainly progressive! This is obviously satiric, poking fun of disco but also serves as a vehicle to the lyrics, a critique of useless celebrity life...so disco actually fits best.

"Kingdom of Loss" is another building song that really is quite moving. Again you can either revel in or ignore the blatant anti American lyrics. I'll choose the middle ground and say this is a powerful and pretty dark song.

"Mrs. Modern Mother Mary" is a weird song that doesn't do much for me. "Idiocracy" is another spacey, atmospheric and crescendo based song. Post metal feel in a way. Another grower. Another charged song, dealing with capitalism ruining the world, basically. "Flame to the Moth" is a boring song, so skip to the finale "Enter Rain" another journey of peaks and valleys. It's structure, light/heavy interplay and emotional delivery really is reminiscent of post metal. Another awesome and amazingly powerful song, that takes some time.

So there you have it. What to say about Scarsick? Keep an open mind. When you hear the nu metal rapping with childish lyrics, the happy pop, the disco don't scoff and decide to hate this album. Remember this is Daniel Gildenlöw, don't take it on surface value! Dig deeper and realize these abnormalities are more tongue in cheek and used to aid the message. All this is fit within a prog metal framework, one that is truly progressive...with difficult song structures. While it may just seem like crap at first, this is really a very challenging album, one that took a few listens for it to really register for me. The lyrics are one mans opinion and not an issue for me, though they do wear thin, and border on immature and whiny. Not sure if Gildenlöw was low on ideas and spun his tires a bit, but he clearly dug deep to a place of severe anger and it shows, this is an emotional and powerful album.

A unique prog metal album that is challenging, especially to fans of classic PoS. Give it some time and understand not to accept it all at face value and you will find this is a great album. While "Scarsick" is more challenging than the band's old material it is musically simpler, but please give it some time and an open mind.

Four Stars

The Angry Scotsman Another solid album by Symphony X

There's very little to complain about here, it's really a very good album. My only knock on it is, while excellent it is unspectacular. This album is classic Symphony X, power driven progressive metal that has all the staples. That's just it, nothing new here. This isn't exactly a bad thing since their standard is so good, but it can't be anything more than a really good Symphony X album. Also, "Twilight in Olympus" is a bit lighter than Divine Wings, so it lacks a bit of punch and it is overall a bit more straightforward. Now, don't get me wrong this is certainly progressive, however it has more of a straight up power metal feel than previous albums.

This is evident with "Smoke and Mirrors" which starts off by kicking your ass but carries on fairly straight after that. This is countered by "Church of the Machine" with its eerie into and overall slower pace. The choruses are epic.

"Sonata" is a classical segue, letting us relax before the pummeling known as "In the Dragon's Den". Awesome song, some of Allen's best vocal work and a real stand out on the album. "Through the Looking Glass" is a 13 minute sprawling song that runs the gamut, incorporating everything the band is in a very well composed manner. Another standout song.

"The Relic" is a fairly ferocious song with some really cool sections and melodies. "Orion-The Hunter" has great rhythm, one of the groovier songs, progressive, complete with wild off tempo section. The album ends with "Lady in the Snow" the most melodic on the album, never reaching power metal speeds and without shred solos. Powerful and wonderful song. Another strong album finale.

"Twilight in Olympus" doesn't break any ground but is a strong album and should satisfy any fan of Symph X or prog metal. The musicianship is tight, though it should be noted Jason Rullo didn't play on this album, shame since is a criminally underrated, (or probably unknown) drummer, but Tom Walling does an incredible job here.

FOUR STARS

The Angry Scotsman The first of a few masterpieces by Symphony X

Here the band has perfected their sound, progressive metal influenced by power metal and tinged with neo classical. This is pretty much a perfect album, every song is great and there are no weak moments from start to finish. The compositions are awesome, heavily progressive with every band member working together perfectly, playing their role yet still getting to showcase their great talent. Allen's vocals finally hit their stride. he has amazing range, sings with power, and always fits the music. He never over does it, and shows some variation...two things that often elude other singers in the operatic style. Overall, Allen has a bit more of a scruffy streak in his singing that really makes it. Of course the album is packed with awesome riffing, dueling guitar and keyboard solos, epic choirs, synth laden backgrounds, and pushed along with effective and subtle drumming as they navigate progressive song structures.

All the songs are great, so instead of describing them I recommend you listen to the album, though some stand outs need to be mentioned. "The Accolade" is THE definition of progressive metal, and of the best songs ever made by the band. Well textured and really moves, but with direction, like a river and doesn't drift aimlessly. The last third of this song is quite unique and has one of the most intricate and beautiful sections of music I've heard.

The title track is a 20 minute prog metal epic, that truly takes you across the universe. It has everything and the first listen will leave you clueless as to what will happen next. It really does throw everything at you including some seriously groovy, melodic, and off tempo sections! The middle part is mindblowing, very unique and solos by everyone! After that journey the album ends with "Candlelight Fantasia" a much lighter and melodic song.

A masterpiece of prog metal

FIVE STARS

The Angry Scotsman Symphony X has done it again!

The New Jersey prog metal masters have proven that the key to continual success is progression. They continue moving in the direction from "Paradise Lost", a more metal direction. "Iconoclast" is the heaviest, darkest album Symphony X has ever put out, continuing to shed it's symphonic, neo classical elements. Indeed, the power metal style riffing, present on all their albums, is largely absent here, replaced with a mechanical style: heavy, angular, often groovy, sometimes disjointed and wild. There is some serious groove on this album. Adding to the mechanical feel is increased use of off tempo stuff, and more cold keyboard sound. The fantasy, mythological and epic lyrics are also gone, replaced with the grim theme of technology being our downfall.

"Iconoclast" is more straightforward and less outright progressive, though it is still there. Instead of varied sections, (though that does still happen here) the progressiveness is more subtle, mainly in the riffing and overall texture. It does take some time to really sink in, since at first it can sound a bit samey. "Iconoclast" really ups Rullo's drumming in the mix, it is loud and you can hear every hit. Thank goodness! His drumming is great as always, featuring more off tempo playing then ever. This may be Rullo's finest effort yet actually. Allen's vocals are also perfect as always. He maintains the lower, hard edged tone from "Paradise Lost". Needless to say: the riffing is awesome, the solos mindblowing and the song structures are subtle and well composed. Note: While a bit different this is clearly Symphony X, the sound is there and unmistakable.

The album begins with an 11 minute epic featuring some old Symphony x standards, including epic choirs. The title track pretty much contains it all. "The End of Innocence" contrasts the new mechanical feel with mid tempo thrash and soaring vocals, with some melodic and extreme groove sections thrown in and some synth sprinkling the background.

"Dehumanized" is perhaps the most brutal song on the album, complete with riffing and drumming to die for. Also, one of the best performances by Russell Allen. Really, there is no bad song on the album, and there's not even a weak one. "When All is Lost" is the Symph X ballad, and "Reign in Madness" is a synth laden song that really moves. When it first hits you the keyboard is odd (almost 80's sound), but damn it works perfectly. The parts with synth over crushing power chords, and Allen singing out to the heavens "Bow your heads and abandon hope, we're the gods of pain. Raise your hands if you'll join with us, and let the madness reign" can only be described as EPIC.

With "Iconoclast" Symphony X continues to move in incremental steps, producing a sound pretty different from their older albums, yet still identifiable as them. No doubt this is Symphony X. It is heavy, groovy, mechanical, sometimes very moving, sometimes soaring epically. Besides retaining their sound while moving forward, there are few weak moments from start to finish. At first it could sound a bit samey but every song is different, and there is more subtlety and texture than outright progressiveness. The guitar work is epic, drumming perfect, synth has its role, Allen's vocals are flawless, going where needed and never over doing it. Every member of this band is immensely talented, and they each can showcase it though rarely in virtuoso style, they also each know their place and every thing fits together perfectly. It's why I regard Symphony X as one the top metal acts of it's time, and hope with this album more will come to think so.

Superb Album

FOUR AND A HALF STARS

Oh and buy the 2 CD edition. It's not just leftover tracks and remixes, or some behind the scenes DVD, this version is the true album as Symphony X wanted. A greedy move by the label, but it is worth the little extra to get the whole CD! You'll be missing out otherwise.

The Angry Scotsman Righting the Ship.

When I first heard this album upon its release, I was underwhelmed. It sounded samey. No song variation, all the same thrashing along, (this is Slayer I know) the vocals weren't very good and frankly it sounded lifeless and uninspired. So I wasn't surprised at all to find out this album was not ready, by the bands admittance, and that Kerry King wrote most of the music, explaining its lackluster songwriting. Basically, this was safe Slayer with a few intriguing songs.

Well, I changed my tune with time. While this album is not groundbreaking in any way, it is competent thrash metal. So for fans of Slayer, longing for the good ol days, here it is. However, while there isn't much variation this album is more than simple thrash I found out. It is interplayed with some serious groove and mid tempo parts, which does keep the album moving. Thrash and groove, OK won't complain there.

"Skeleton Christ" is more moderate and has a groovy feel, while "Catatonic" really plows along with drop B, syncopated, slow to mid pace riffing never reaching "thrash" levels. Some will say they haven't escaped the nu metal but I find it a refreshing change of pace, and since its just a small part of the album, it doesn't overstay the welcome.

There are 3 songs that actually stand out, (which are my favorites) "Cult" with its progressing, pounding intro, "Eyes of the Insane" with its intriguing song structure, riffing, mid pace thrash and cool solos. My favorite song is "Jihad" featuring an awesome and unusual finger plucked intro (!) with a cadence like hi-hat rhythm, followed by a crazy spidery riff and then the thrash. There are some "frantic breakdowns" and a cool outro that builds, plus the music and voice sample work together really well.

The riffing is pretty awesome as always, and Dave Lombardo is back! Greta to have the original band back, but from the very first listen I was shocked to hear his drumming! Never very inspiring, (he was a more extreme Lars) Dave's time away taught him how to be a drummer. He still thrashes away and unleashes torrents of double bass, but there's more than that. Actually it's a pretty varied output by Lombardo.

The vocals are not very good, serviceable at best, grating at worst, but it works well enough... The lyrics, even for Slayer, are pretty horrid. Anti-religious rants are old news but here they are downright juvenile. A 14 year old who is rebelling and starting to swear a lot could write this stuff. Exceptions being "Eyes of the Insane" about soldiers dealing with post traumatic stress from the Iraq War and "Jihad" which looks at 9/11 from the view of an involved terrorist. Lyrics of both were written by Araya...

So, "Christ Illusion" is a good album. Slayer's return to form, it should please most fans of Slayer and thrash metal. Nothing earth shattering but it is a good thrash album with some interesting songs.

Three Stars

The Angry Scotsman Slayer makes their comeback album.

First Metallica, then Megadeth, now the kings of unrelenting thrash have their turn with "World Painted Blood". Much like the previously mentioned bands, I thought Slayer was long done, their glory days being the 80's and it's really time to just hang it up. Well this big four had something left in the tank as well. I was quite surprised when I first heard this album.

A return to their old days, "World Painted Blood" is thrashy. No questions asked good ol thrash metal. Slayer thankfully abandons their nu metal explorations, even leaving behind the Drop C and B tunings returning to the familiar Slayer territory of E flat. However, what really caught my ear was something else.

This is more than simply 40 minutes of start to finish thrash. It is actually quite melodic, (for Slayer standards) and the songwriting impressed me most. Not just riffs crammed into songs, abrupt changes, blazing solos, (though all that is here in abundance). No, every one of these songs sound different. It's refreshing. Also is the actual songwriting which does have some different elements like the build in "World Painted Blood" the awesome middle section in "Not of this God" the overall mid tempo crescendo based song "Americon" and the intriguing "Playing With Dolls" which is perhaps my favorite on the album, and a powerful one! While all the songs are thrashy yet varied, the degrees are different on each song, and it never feels formulaic. In terms of song structure and composition this is one of the better albums Slayer has made!

The music itself is impressive, with great riffing, (in classic Slayer harmonized style), atonal soloing, (though a tad more diverse than usual) some unique moments and awesome drumming. Dave is more straightforward here than "Christ Illusion" but its more than adequate and the drums are higher up in the mix. They really slam and you hear every hit, it's great to hear and really moves the album along! Tom's vocals are pretty good. A bit rough at times but natural, at least, and more than get the job done. "Playing With Dolls" is one of the better performances.

Also, lyrics are never a big deal for me, especially in metal and even more so for Slayer, but thank god they dropped the 14 year old style, and played out, anti religious and shock themes. Not that serial killers, medical horror and politics are groundbreaking... but this is Slayer.

"World Painted Blood" is the band's best album since "Seasons in the Abyss" and really does feel like the natural progression from it, (ignoring the 90's and 2000's of course). This is a great album, with really no bad song. A throwback to classic Slayer yet moves forward. Something the band deserves credit for.

Four Stars

The Angry Scotsman With this album, Drudkh moves from dense and atmospheric to ferocious and focused. "The Swan Road" has a more traditional black metal feel than any previous album.

After the into piece "1648" becoming a Drudkh staple we are thrown into "Eternal Sun" with maniacal tremolo picking and blast beats. Was weary to see the almost 8 minute play length, but the song actually has some good variation to it, and never drags. Moves along perfectly. Also some very cool parts. Of course the guitars are very distorted, needless to say.

This can be said for pretty much every song. Give this album some time and it turns out to be a little more sprawling than the first listen seems. The songwriting is really good, simplistic musically but changes just enough, and at the right times, to never drag really drag on. Like previous albums, there are some guitar solos and really cool melodies, showing that they can do something besides play the hell out of their instruments. The album ends on an intriguing note: The song "Fate" is far less extreme and moves with a moderate pace the whole time, while "Song of Sich Destruction" is just a sitar, (I think) and Ukrainian folk singing.

Speaking of which, the vocals are bit more prominent, (not nearly as buried) and while impossible to understand, the lyrics deal with various events in Ukrainian history and are taken from works by Ukrainian poet Taras Shevchenko.

Took a few listens to grown on me, this is a solid album of well constructed black metal, with real movement to it.

Three Stars

The Angry Scotsman The buzzing guitars and shrieking vocals remain, but with "Autumn Aurora" Drudkh takes another step from the standard black metal formula.

The songs take on more of an atmospheric feel, and are shorter. There's also some use of acoustic guitar and even keyboard, usually filling the backdrop with haunting melody. As mentioned these songs have less of a black metal feel and are more atmospheric than previously, very drifty.

Don't worry though, the guitars still buzz, the vocals are buried shrieks, the lyrics are a mystery to the world outside of Drudkh, and while not high quality you can still distinctly make out the drumming. Like the previous album, there is extensive double bass instead of blast beats (which make no appearance on this album) though the drumming has a bit more to it.

Drifting is really the best way to describe this album, very atmospheric and perfect to listen to while sitting back, enjoying a nice view of a sunset over the mountains. This album may be a bit difficult due to the lack of riffing and song structure, maybe not the best for deep listening but at the risk of sounding pretentious, really is best for experiencing.

Four Stars

The Angry Scotsman This album is a great example of how black metal can be good!

Always a fan of black metal's cold, grim often melancholic yet aggressive aesthetics, I also found most of it unlistenable, it just could never grab me. Usually because it easily gets boring or was simply so horrid. However, with their debut release Drudkh puts out a good piece of traditional black metal.

It is harsh, low fi, filled to the brim with buzzing guitars and shrieking vocals. This is certainly a straight up black metal album, however there are some differences with "Forgotten Legends". While these songs are long, they do have some variation. Just enough as a matter of fact! These songs are simplistic and repetitive but they don't continue on playing the same 2 rhythms for 12 minutes. The music changes up, just a bit, and just often enough so the songs never drag. Even over 16 minutes! Moves with the perfect pace and flow.

There are not many blast beats to be found here, the drumming instead utilizes long chains of double bass to push the songs along. Something out of Burzum's book and a style I prefer over the unrelenting blast beats we usually see with the genre. This is alternated with simple, straightforward drumming, both of which gives the music a more melancholic feel in my opinion.

Also from the church of burzum is some subtle songwriting. At first you may hear an abrasive wall of buzzing guitars but when you really listen you will find some real melodicsism and subtlety. More than a simple wall of noise, it is truly layered and textured.

The vocals are typical black metal shrieks, but a bit buried which is nice. Makes them more of an additional instrument than vocal assault, easier to swallow. I am also a fan of when vocals are treated as more of an instrument than conveying a message, especially for more extreme metal, and that is the case here. The lyrics have never been released. Add this to the shrieking style and low fi music and it is literally impossible to even know what he is saying!

A perfect example of how black metal atmosphere can be tempered with just a bit of musicianship to make something really good. Not for everyone of course, but if you can handle extreme metal this is a great album.

Three Stars

The Angry Scotsman I am living in Amerika and Dieses Album ist wunderbar!

A guilty pleasure, perhaps...if it sounds really good then it doesn't always have to be technical, complex and cerebral! Good thing since Rammstein isn't any of those things. However, they do make some awesome sounding music, but unfortunately suffered from inconsistency. With "Reise, Reise" Rammstein finally make a solid album, from start to finish.

As with all their work this album is difficult to classify, falling best under Industrial Metal often featuring heavy, repetitive, (and usually simple) songs making heavy use of keyboard. There is also a strong alt/groove metal influence on the album, utilizing angular crushing riffs and a hefty dose of syncopation, all pushed along by straightforward drumming. While songs may be repetitive in nature (though not as badly as one may think) there is good variation from song to song.

To top it off, Till Lindemann's vocals are absolutely perfect. Fit the music, each song and section perfectly. Also, his voice is just awesome. Till's voice is deep and powerful. Even when he is singing clean! If you are someone who NEEDS lyrics...well his are almost entirely in German so that may be a problem for you. I personally like to "feel" vocals, make sure they fit and flow with the music, which they do here. 3 semesters of German at Uni also helped enough that I can get the basic ideas and know enough to lines as to not feel utterly clueless, which is nice since Rammstein can tell some intriguing stories...

The album kicks off with the title track which truly fits the word "epic". Right off the bat you also know what you are getting: Simple, heavy, and damn powerful. Still some touches of musicianship though.

Mein Teil is one of my all time favorite Rammstein songs, opening with a creepy bass and militaristic drum rhythm, and a cold keyboard melody. Alternates between this and some awesome riffing, all the time telling a real life story of a butcher who wanted a "well built" man to come to his house. The epic chorus translating to "Then you are, what you eat, and you know, what this is. It is my part" should be a big enough clue as to why he was there.

"Dalai Lama" is a powerful building song, while "Keine Lust" has a very alt metal feel to it. "Los" is pretty different, very cool and a bit trippy!

"Amerika" is one of the bands better known songs and a highlight of the album. Typical heavy/light keyboard tinged Rammstein song, with some nice subtle touches and even a keyboard solo! The song is a scathing criticism of globalization, as the chorus points out "We're all living in Amerika. Amerika, ist wunderbar" and going on to equate American culture with coca cola, wonder bra, and sometimes war. The band can be trolls but if anyone had any doubt, the lines "This is not a love song, I don't sing my mother tongue, no this is not a love song" should spell it out pretty clearly. All very true points and some interesting stuff to munch on, or if you'd like you can just mosh out to the awesome riffing, breakdowns and let yourself be swept up by a very catchy song.

"Moskau" is my least favorite and a kind of weak song. Even for laughs the dance pop feel is a bit much for me haha! Things pick up with the frenetic "Morgenstern" and the mildly post-metal sounding "Stein Um Stein". The album ends on a fantastic note. Pushing along at Rammstein's moderate pace "Ohne Dich" is a powerful and beautiful song of longing. Till's voice really is beautiful. This is followed by the much darker "Amour" where, yet again, Till's vocals are superb and fit the music perfectly. A very moving song, sit back and let it happen. Also you can hear Rammstein's softer moments musically, and it's really nice. Please look up and memorize the lyrics if needed, they really add another touch to the whole song.

Very good album, one weak song, a few moments that don't really work but overall, few complaints can be had. Straightforward but surprising album, a must for fans of Rammstein but also highly recommended for newcomers as this may be their best album. Please give this a listen.

Four Stars

The Angry Scotsman Agalloch's lightest work, in terms of music, this album has very little metal on it. In fact it is almost entirely acoustic guitar, with some electric guitar sometimes fluttering around in the background, hardly any vocals and little percussion. So if you NEED metal...this is not for you. However, please don't look over this one!

"The Isle of Summer" starts with a sample from The Wicker Man of children chanting "we carry death out of the village" fading away as a folk riff comes in. The acoustic guitars carry on throughout as the only heaviness on the release is heard at one part. Some gentle electric guitar takes over near the end.

"Birch Black" has some great folk riffing with, not too heavy, electric guitar filling the background with tribal type pounding percussion and a powerful ending.

"Hollow Stone" is an electronic ambient piece.

"Pantheist" has a pretty similar feel to Birch Black. There are vocals on this song, limited to choir "aahs".

"Birch White" starts with perhaps my favorite riff on the album and features Haughm reciting A.S.J. Tessimond's poem "Birch Tree" in typical deep whispering fashion. His voice, over the absolutely awesome riffing and some bagpipe in the backdrop which adds a haunting, beautiful touch. My favorite song on the EP.

"Sowlio Rune" is quite slow and ambient. Very moving.

"Summerisle Reprise" is a solo piano piece which starts with a familiar sounding melody, I think it is similar to the opening track. The piece moves along at a slow pace, varying slowly throughout with some real subtle electronic ambiance and ends with another sample from The Wicker Man.

Obviously the movie had some impact on the band, and this EP seems more like a dedication to it, than inspired by it. A superb work that is honestly near perfect, but it is not a metal release at all. Not going to try and pretend it is. C'mon though, if you are listening to Agalloch you probably have some taste for non metal, and even if you don't I urge everyone to listen to this. Don't let acoustic folk scare you away, (if it even can) this is a superb work. Lots of awesome folk riffing, great movement both in every song and the overall album, not to mention stunning atmospheres. Agalloch are the masters of creating atmosphere and they do so again with the "The White".

A difficult one here, this is a near perfect release, however is not metal at all, but I simply can't give such a magnificent piece a low rating. A must for any Agalloch fan, and anyone who needs to some music to chill out with.

Four Stars

The Angry Scotsman Symphony X's second album, "The Damnation Game" is miles ahead of its predecessor.

First, famed Russell Allen appears on this album, (and of course every one to come) and it is a vast improvement over Rod Tyler. His voice is good, first of all, very powerful, and has one hell of a range. Also, I always found his vocals tasteful, they fit perfectly and are not too over the top, which is the case with far too many power metal bands. The production is also much better than the previous album, as is the overall songwriting. Much tighter and just better composed all around.

This album features Romeo's shred like riffing, spaced with syncopated, often angular and heavy riffs. Keyboards play a very prominent role, sometimes matching the guitar work harmonically, sometimes standing out like a rhythm guitar, and of course is often placed at the forefront. Here we also saw another Symphony X classic, trade off guitar/keyboard solos. Romeo's solo's are of course in mind blowing neo classical shred style.

The bass is not very high on the album, when you do hear bass it is often in a quick break either playing the main rhythm or a high speed scale run. Rullo's drumming is effective. He is a great drummer but on this album his work is quite restrained, often playing simple rhythms over long chains of double bass, or simple beats.

Allen's vocals are again superb, ranging from clean to operatic and always spot on.

The songwriting is good, and progressive in nature. My only knock on is the lack of a standout song. Every one is good, none that weak but none really blow you away. Also, while much improved I just still don't feel the band is fully "there" though these are without doubt some great songs.

Really good album, a must for any Symphony X fan and one that prog/power metal fans should enjoy.

Three and a Half Stars

The Angry Scotsman Symphony X's debut album, this self titled release displays their progressive, neo-classical, power metal sound and is fairly impressive musically but unfortunately not that good of an album.

First, the vocals are pretty bad. Russell Allen was not the vocalist on this album, and while it may be unfair to compare someone to Allen, (who is one of the best vocalists out there) Tyler is honestly just not very good. The vocals sound terribly forced often, and even when not they are flat out painful.

However, while the music is good, (sometimes great) it feels odd at times. While it is all there, it is not quite put together yet. The Symphony X sound still needs to be developed, not too surprising for a debut though. The only standout songs are "Absinthe and Rue" and "A Lesson Before Dying" which is a brilliant 12 minute prog metal epic.

The production is also not very good. While usually not an issue for me at all, here it detracts a bit from the album.

All that being said, this album has the pieces. The progressive thrashy power metal sound, Romeo's shred solos, and some real good songwriting. It is just inconsistent and undeveloped, and the vocals are pretty horrid. Only recommended for hardcore fans or those looking to complete the discog.

Two Stars

The Angry Scotsman Meshuggah's debut album, this album is still heavily rooted in thrash metal and is a pretty far cry from their technical/progressive days. However, it is still a decent album and does showcase a bit of what is in store.

Pretty thrashy, with a lot of normal sounding riffs makes this a pretty good album to just rock out to. Despite what one may think on a first listen, Contradictions Collapse is pretty unorthodox. It does have an odd, off kilter feel in some of its thrashiness...a mild version of the extreme time signatures we'll see in the future. Fredrik's unorthodox solo style is pretty evident on this album (to those unfamiliar it's best described as robotic free jazz?), and there are some progressive moments in songs like "Qualms of Reality", "We'll Never See the Day" and "Cadeverous Mastication". While nowhere near their later levels, there is also a good amount of groovy syncopation on this album.

Favorite songs are "Paralyzing Ignorance" and the truly progressive metal song "Choirs of Devastation".

Some problems with the album are Kidman's vocals, which are pretty horrid. For me, this will not change much in the future...but here they are quite bad, and not helped by Thordendal's backing shouts. Though it does add a pretty intense punk type gang chorus feel. The bass is way too loud on this album, or the tone is not right for such prominence. Either way, it doesn't sound too good. While ambitious and experimental, yet still rooted in thrash, this album doesn't always "work". This isn't really a surprise.

While originally this was no more than a two star album, it has grown on me with time. Interesting thrash album, mildly technical (in its cold precision and not so much riffing) and a bit progressive in its song structures. Give it some time and this will turn out to be a decent album.

Three Stars

The Angry Scotsman 5 years in the making.

So when I heard about the news, via my brother, I was ecstatic. We both were, since their last album "This Godless Endeavor" was a near flawless masterpiece, and one of the biggest albums in my life.

I was a bit disappointed when I first heard this album, and gave it some time off to separate it from their last. I did get a bit more enjoyment from it over time, but still it left me feeling little. It sounded right, but I couldn't put my finger on it. Then I found out why. This is honestly the best way to describe the album, (courtesy of Jeff Loomis):

"Obviously, this is a different NEVERMORE album, from our point of view. The music is a little less complex, the songs are more structured, the choruses come in quicker. I mean, it's a more straight-forward album than we've ever done."

And that producer Peter Wichers was very involved with the songwriting, prodding Loomis to "cut the fat" and make the songs "more catchier and hookier" opposed to his usual 7-8 minute songs. I didn't know who Peter Wichers was, so I looked him up to find out he was from Soilwork. Suddenly, it all made sense... (can you guess I'm not really a fan?)

On the first listen it struck me how toned down the prog was. The progressive and complex song structures that I loved so much about "This Godless Endeavor" were largely gone. There was also less use of acoustic guitar and generally less melodic writing. This is a stripped down, straight forward Nevermore album.

So, where does that leave us? This is a decent album. It has a Nevermore feel, some awesome riffing, but is just driving down a straight road. Nothing is weak, but nothing really stands out. The musicianship is awesome, as always, and Dane's vocals come out even more. This was also a conscious effort, with Loomis stating the albums less complex sound was to leave Dane with more space for his vocals. While produced by Wichers, the album was mixed and mastered by long time associate Andy Sneap, thus it has that classic Nevermore sound. Airtight, crisp, heavy. Perfect really, for their style of music. As usual you can hear every note with clarity.

Again, a decent album that should please Nevermore fans enough, and be a good album for most metalheads to rock out with (which is good since this album may be gaining the band much more exposure). Only track that does stand out is the finale, which deserves a place in the thrash metal hall of fame. One intense song that has a good flow and is damn catchy.

Good, not great, album with awesome musicianship restrained by unspectacular and uninspired song structures. While not bad, and still enjoyable to Nevermore fans, some may be pretty let down. I always give kudos to a band for mixing things up, especially at risk of "going mainstream" but I do hope in the future they stick with Sneap and what they are best at.

Two and a Half Stars