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metal music reviews (new releases)

PARKWAY DRIVE Reverence

Album · 2018 · Metalcore
Cover art 4.50 | 1 rating
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For their sixth studio album, Parkway Drive had a hell of a lot to live up to. After absolutely perfecting their formula with the popular Horizons and Deep Blue albums, and utterly reinventing themselves on the astounding Ire album, the Australians would have a hard time releasing anything that good. What should they do? Return to the old formula? Try and repeat the triumph of Ire?

What they decided to do was a bit different. On Atlas, the great but less-popular follow up to Deep Blue they decided to try and balance their formula with new ideas like choirs, strings and DJ scratching with more variety of fasts and slows. The band weren’t going to limit themselves or stay in their own little box, they already did the perfect version, so its time to try some new ideas.

Reverence, to me, feels to Ire as Atlas did to Deep Blue. Its not a rehash of the past formula but a pushing of the envelope. Its taking that general idea but broadening it. There’s some pretty inventive and new sounds for Parkway on this album, from quiet spoken word bits, no almost Ghost-eque latin sounding chants (‘I Hope You Rot’), and film-score sounding orchestration. And while Atlas all sounded cataclysmic like a disaster movie, Reverence sounds epic and biblical.

Musical direction is one thing, but of course its all for nothing if the quality isn’t there. Fortunately Revereance is not only interesting, but it is also excellent. There are some absoltuely fantastic songs, amazingly catchy choruses and damn enjoyable guitar lines. There’s parts that’ll stick in your head for days (‘I’ve got the whole world swinging from the end of a chain,’ gets me every time). Some of those drum fills and leads are demading of a good air-instrumenting. Some of these songs will utterly crush live!

If you only want Parkway at their absolute heaviest and don’t want any clean singing, or any atypical instrumentation, then maybe chose a different album as your first. If you like the band, especially the shift in direction that started with Ire, then you don’t want to be missing out on Reverance. It is one hell of a record, strong all the way through, creative, interesting and thoroughly entertaining.

Highlights include the single ‘Wishing Wells’ as well as ‘Shadow Boxing’ and the dark ‘The Colour Of Leaving’

Its too early yet to rank it in their discography, but I can tell you right away from first impressions it certainly aint in trouble of being in the bottom half. I got this on release day (for some reason it was signed, which didn’t cost any extra, hooray!) and have absolutely pasted it every since. I can listen to this five times in a row and not be sick of it. It is a truly joyous album. If you are a fan don’t hesitate, get in on this ASAP.

CORROSION OF CONFORMITY No Cross No Crown

Album · 2018 · Stoner Metal
Cover art 3.82 | 3 ratings
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"No Cross No Crown" is the 10th full-length studio album by US metal/heavy rock act Corrosion of Conformity. The album was released through Nuclear Blast Records in January 2018. It´s the successor to "IX" from 2014 and features one lineup change since the predecessor as lead vocalist/guitarist Pepper Keenan has returned to the fold after leaving the band after the "In the Arms of God (2005)" album and not being part of the lineup who recorded the 2012 eponymously titled comeback album nor a part of the lineup who recorded "IX (2012)". Both mentioned albums were recorded by the three-piece lineup of Mike Dean (Bass, Vocals), Reed Mullin (Drums, Vocals), and Woody Weatherman (Guitars, Vocals).

It was never ruled out that the three remaining members wouldn´t work with Keenan again, and in late 2014 Corrosion of Conformity indeed announced that they would be reuniting with Keenan to write and record at least one album and tour in support of it. Initially the plan was to release the album in 2015, but touring commitments and the temporary dismissal of Mullin after an alcohol abuse related seizure postponed the recording and release plans.

While the two predecessors featured a more hardcore influenced heavy rock/metal style, which harks back to the early beginnings of the band, "No Cross No Crown" more or less picks up where "In the Arms of God (2005)" left off. So the listener is treated to a catchy stoner metal/southern influenced heavy rock style featuring healthy doses of both aggression, groove, and melody. Keenan is a skilled vocalist with a distinct sounding voice and delivery, and he just brings that something extra to Corrosion of Conformity´s sound. The instrumental part of the music is also performed with great skill and conviction. The band are an organic playing unit, who obviously know each other well and connect on a musical plain. Nothing sounds forced here and the band appear to have a good time playing, which isn´t always the case with reunited artists.

So it seems that the band have reunited with the right intentions in mind (because they like playing together and not just because they could make a lot of money). That can also be heard in the quality of the material on the 15 track, 57:37 minutes long album, which is relatively high throughout the album. I wouldn´t call "No Cross No Crown" the band´s strongest or most memorable release, but it´s a powerful, groove laden, and heavy and hard rocking album, featuring mostly memorable and catchy songs. The whole thing is packed in a raw and organic sounding production, which suits the material well, so upon conclusion "No Cross No Crown" is a quality comeback album for the Pepper Keenan-fronted Corrosion of Conformity. A 3.5 - 4 star (75%) rating is deserved.

VARIOUS ARTISTS (GENERAL) Metal Madness: Vol. 1

Boxset / Compilation · 2018 · Metal Related Genres
Cover art 4.00 | 1 rating
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VARIOUS ARTISTS - METAL MADNESS: Vol. 1 https://wisteriatn.bandcamp.com/album/metal-madness-vol-1

Rate Your Music's own Abishai Smith is back for another huge colossus of a project on his newly created Wisteria Records and this time he’s not holding back (um, well maybe he never has!). While it’s hard to believe, Bishopboy1999 (his site user name) puts out a punishing behemoth of a compilation in the form of METAL MADNESS: Vol 1 which includes a whopping 66 tracks by no less than 39 artists from all over the globe spanning the entire subgenre aisles at your friendly metal superstore. Yeah, that’s right. You name it. Progressive, death, black, sludge, technical, screamo. It’s all here! Ok, sorry you glam metal lovers. That didn’t make the final editing sessions. The album swallows up 388 minutes of your life to get through but when all is said and done…. THIS FUCKING COMP ROCKS!!! Although it took me only a mere two months to sift through ten tracks at a time for a few listens. It was definitely worth it as there are indeed MANY metal bands with great talent out there lurking in the shadows. Do yourself a favor and check them out on this handy one-stop listening center.

The comp starts off with two tracks from the sequencer and MIDI based POSITRON (France) which harnesses elements of black metal and industrial to create hyperactive little electro-metal pieces. The music is based more on the industrial elements with a rather polished metal backing. OK, but not my favorite style of metal.

HEDNINGER (Canada) brings the headbanging elements on board with a rather Amon Amarth-esque take on melodic death metal with Viking march styled melodies, soaring guitar riffs and pummeling percussive drive with a nicely placed bass part that doesn’t get buried in the din. The vocals are angry and shouted with emphatic warlike charge. Three tracks from these guys.

THRASHING MOSSDOG (US) takes the brutality to the next level with some stellar brutal death metal that offers a unique mix with blackgaze as a pummeling death oriented guitar riffs and percussion ascend from a blackhole of noise haze with the vocals screaming and still barely emerging from the gravitational pull of the chaotic din. Compositionally the track sounds more like black metal as well, so this is some sort of blackened deathgaze, perhaps? Cool stuff. 2 tracks from these guys.

Next up, SCOREDATURA (Australia), uh whaaat? Do you know what datura is? It’s a hallucinogenic drug that will make you jump off buildings and shit. And it sounds like this is the soundtrack! Taking a completely different detour, this band pumps out 2 tracks of fine djent-rification laden progressive instrumental metal with sizzling neoclassical guitar solos, thoughtful compositions and sounds like something that would’ve emerged on the Shrapnel Records label had it come out two decades prior as it’s prime finger melting wankery of the highest calibre. Animals As Leaders fanatics will eat this up!

THE BLUE PRISON (US) aka Keigo Yoshida only contributes one track but what a killer one it is! What would i call this? Sounds totally unique. “Patriot” is characterized by a military march percussive style, sizzling neoclassical shredding techniques and a tear inducing ambient synthesized background that evokes the fallen angels haunting the heavens above. The guitar work is absolutely outstanding and the emotional tugs are equally compelling. One of my favorite tracks on the entire comp. Thematically chilling and technically executed to perfection.

Next up, MOLEKH (Ireland). Now these guys have conjured up some of the absolutely wickedest sounding metal since Deathspell Omega scared the shit out of us with their trilogy of jangly Satanic liturgies over ten years ago. This band pummels with unrelenting percussion, similarly scary jangly atonal guitar riffs and franticly possessed shouted vocals that sound like several exorcisms ravaging the vocalist at the same time. The atmosphere is just plain creepy with strange theremin type guitar runs creating strange sounding effects. MOLEKH is another favorite discover as they have nailed the creepy technical black war metal sound like very few have. A true talent i’m anxious to hear more from.

LIGHT DWELLER (US) follows with four tracks of brutal blackened death metal mayhem. A great followup with similarly blackgazy death metal pummelation of unrelenting percussive fury, downtuned guitar string abuse, tortured shouted vocals and technically challenging compositions that allow harsh dissonance and steady stream rhythms to bombard the senses with the occasional break into bleak bouts of slowed down guitar parts for contrast. They also utilize the creepy atonal jangle guitar effect for maximum brainfuckery and it soooo works. Their debut EP is called “Nullity Of Light” but their music could easily fall into the “Nullity Of Sanity” category as well. I love it!!

Named after a birth defect in which the baby’s intestines extend outside the body, GASTROSCHISIS (US) deliver a short one track of pure adrenaline goregrind with the expected adrenaline infused grotesque nature that one would expect. Fast and furious and to the point.

DEVICE (Brazil) offer 4 tracks of an old school death metal sound bringing more of a classic era Morbid Angel, Cannibal Corpse or Bolt Thrower style to the table. Superbly executed with snarling vocal growls, classically themed deathened drum rolls and nicely delivered guitar riffs from below hell with a semi-melodic underpinning. Evil yet just enough sweetener to get through. Nice.

FRAYED ALIVE (US) deliver one track of brutal slam death metal goods on “To Dwell In Time” with deep growled unintelligible vocals the almost sound like a demonic frog croaking with subdued guitar riffs, blastbeat percussion and nice atmospheric passages that make this sound quite unique. A nice mix of dark ambient, sludge metal tempos and death metal overall feel. Awesomely evil sounding!

THE HORN (Australia) deliver a strange blackgazy sort of metal with “Spell 8” that has a heightened dark ambient fuzz with a murky mix of heavy black metal riffs, tales from the crypt vocals and a relentless percussive driven groove that allow a subdued melodic guitar run to creep through the sonic brume. “Spell 30a” follows suit but offers Egyptian sounds similar to Nile only these guys are more groove oriented in a weird galloping way. “Child In Time” is completely different as it covers the classic 1970 Deep Purple song and completely brings it up to date. Beginning with a demonic spoken word intro it slowly ratchets up both the dark ambient melodic backdrop as well as the ever encroaching guitar presence until it bursts into full metal fury. The keyboard work is extremely impressive. This is one helluva cover track! These guys are another favorite. This is another outstanding evil as fuck sounding band that released an astonishing number of albums dedicated to The Egyptian Book of the Dead. Three tracks from these guys.

NTIZKVM (Philippines) kill it with a primeval lo-fi indie sounding war metal track with “Dark Ends Of Eternity.” Sloppy guitar and drum action, psycho killer vocal ranting. All the makings of a great underground kvlt classic. Particular interesting is the drummer’s use of cymbals which accompany the pummeling blastbeats. Nice blackened journey into the underworld!

NON EST DEUS (Germany) only present one track but at nearly 10 minute long is one of the longest of the compilation. Another black metal band although this one reminds me more of the second wave 90s bands like Rotting Christ with a steady fast beat but not blastbeats. The vocals very much remind me of Hellenic black metal as do the guitar riffs which are rather boogie-woogie oriented like AC/DC on speed. While i’m reminded of those other bands, this is really rather unique in how it’s presented. Very digestible for black metal as it’s melodic but also badass. Kinda has a Violent Femmes folk punk groove to it as well.

Æthĕrĭa Conscĭentĭa (France) immediately brings Metallica’s “One” to mind as the opener seems to simulate the opening riff of that track and when i see the name of the track is “The Exalted Ones,” it almost seems like a given that that intro was used as the basis for its development however don’t worry because it branches off into totally different arenas. This is atmospheric black metal and sounds like it. Buzzsaw guitar distortion at mid tempo. Creepy deranged vocals and a dark ambient fuzz. Melodic with tremolo guitar parts. Kinda has a touch of Doors psychedelia in the keyboard department. The guitar becomes thrashy at times. Also becomes very noisy and changes things up including an unexpected sax presence toward the middle. Cool track.

CULTOR NOCTIS (Belgium) continue the black metal streak with more dungeon synth oriented bleakness. Quite a downer and depressive with guttural howling of keyboards with downtuned guitar arpeggios that lead. Brings Sweden’s Shining to mind as the actual metal kicks in but while Shining is a slower drudging band, these guys aren’t afraid to unleash some wicked speed and heft in their depressive black metal. Nice chord changes offer a semi-progressive metal workout. The subdued frigid vocals convey the ultimate nadir of bleakness. Very effective.

THERESIA (Japan then Canada) offer another dose of depressive black metal only with higher octane and more agression. The percussion pummels the blastbeats, the tortured vocals scream from the pits of hell while the buzzsaw guitar. While the track plods along in a straight forward manner, i have to say that the violent vocals pleas make this the most unhinged track on the entire comp.

INNER SUFFERING (Ukraine) continue the depressive black metal show with four tracks characterized by heavy drumming, atmospheric backdrop, jangly dissonant guitar riffs and a doom laden dirge effect which offers an interesting hybridization of styles. More subdued screaming vocals from the pits of hell. While stylistically similar, the lengthy near twelve minute “Slow Dance On The Ashes Of Failure” take a funeral doom metal detour with echoey doomgazey ambience and slow dirge driven tempos glazed with atmospheric gloom that takes a lengthy journey into the darkness and never relents as it becomes slower and darker and even bleaker and more depressive. Oh god. Keep me away from that gun!

SADAEL (Armenia) continues the dirge driven doom laden melancholy with dissonant guitars and bleak atmospheres conjuring grim reapers for dark rituals in a near ten minute dark march into a mid-tempo metal excursion. The semi-spoken, semi-growled vocals provide a rather grim narrative of sort that exacerbates the darkness. One one track from the Armenians.

MOONDWELLER (Russia) provides another two tracks of atmospheric black metal that takes more than a few cues from Darkspace with thick atmospheric complexities and heavy pummeling guitar riff based black metal aggression. Instrumentally this is well executed but the production seems a little off for my tastes. The keyboards have a rather cheery vibe to them that clashes with the metal aspects.

DONARHALL (Germany) continues the atmospheric black metal but only one track with more emphasis on the atmospheric part as it straddles along with arpeggiated guitar chords heavily amplified for a lengthy period of time before breaking into black metal bombast mode. Honestly, this one is a little too generic for my tastes and doesn’t really distinguish itself from the legions of similar sounding acts.

COMA (Austria) brings back the depressive blackgaze with wrenching heavy distortion only the oddest vocals are delivered on at the 14 minute plus “Dance, Burning Butterly” with guest Narbengrund (of Totengeflüster) who sounds more like a Goth rock singer instead of the expected raspy evil sounding vocals associated with black metal. The track turns into a weird noisy psychedelic trip with a faint piano providing some sort of melody but then when the metal returns it becomes angry, bombastic with stomping power chords and furious growls from the pits of hell. This track continues to alternate between a sort of sound collage with clean arpeggiated guitar and the distorted black metal. Pretty cool. Their second track “Ghosting” sticks to the atmospheric black metal with the deranged growly vocals, dark ambient backdrop and heavy buzzsaw guitar. The time signatures are quite progressive though. This is another favorite band of this comp.

REMOTE (Russia) dish out one track of heavy duty sludge metal that marches around at a mid-tempo stomp with nice beefy type distortion and screamed vocals that bring a sense of impending despair. The sludge riffs are thick like an oil spill on the ocean’s surface and the melodic prance brings a quickened Black Sabbath vibe to the forefront. Nice filthy raw sludge metal here.

DEKONSTRUKTOR (Russia) delivers another dose of Russkiy sludge metal from the land of frozen tundra and vodka. Their one track takes a more lo-fi approach and a high energy galloping guitar riff and heavy percussion that makes this one border on death metal however the vocal style is definitely in the same camp as sludge metal bands such as Neurosis or Eyehategod. Nice aggressive sludge metal albeit nothing tremendously out of the ordinary either.

SMOKE (US) deliver another one track of American sludge metal all the way from the sludgy swamps of southern Louisiana. The track “BMF” makes me think “Big Monster Fuck” as the sludgy creeping guitar riffs that allow as much sustain as possible slowly build up for full attack. The track builds up to more of stoner metal vibe in the vein of Kyushu but the vocals take it to the twisted world of black metal as raspy vocals scream from the abyss. Nice.

SUNDRIFTER (US) dials things down a bit from the extreme metal universe but continues the stoner vibe as a tribal drum starts things off. The heavily distorted guitar has a Sabbath sort of feel as do the bluesy shuffles. The vocals are what ground it to the stoner rock world as they are clean and sound a bit like Jim Morrison of The Doors. This band sounds more like Danzig than a bona fide metal band but the heavy guitar, bass and drum are ferocious enough to get them in this club.

THE SLEEPER (Germany) changes the direction with their one track into the world a more progressive metal sound with a rather alternative Alice In Chains sound from the “Dirt” era. In fact Steven Jost’s intro vocals sounds very much like Lane Staley but the track takes on a heavier melodic metalcore stance as the Between The Buried And Me type style merges with a Linkin Park sort of piano riff. This is an interesting mix between alternative metal, metalcore and even touches of nu metal.

yrs. (Germany) is one of those newer band that just refuses to use capital letters in their name. What’s up with that guys? These guys dish out two tracks of eerie atmospheric sludge metal with depressive background ambience, a melodic guitar riff attack and anguished vocals screaming from the abysmal bottom of hell. The band name makes me think “years” which brings to mind some sort of sentencing and condemnation to a jail cell in some dark torturous location. If the tag depressive sludge metal existed, i’d definitely use that since this is a sludge metal equivalent to the anguished black metal of Shining and similar bands. We get two tracks from this band.

EMPRESS (Canada) cranks out four tracks of their unique style of atmospheric sludge metal which has a more evil sort of take on 90s Neurosis. They provide a heavy distorted groove, tribal drumming patterns, gazy atmospheric mix and a subdued shouting vocal effect emerging from beneath the heavy distorted din. When the guitar drops the incredibly evil sounding bass is allowed to shine which is my favorite instrument for these guys. Bouts of shoegaze type psychedelic meandering also occur. With four tracks they are one track away from featuring their entire debut EP “Reminiscence.” While sounding a bit like a more aggressive version of Neurosis, these guys have a firm command of their murky atmospheres married with heavy guitar sludgery. Nice tones they achieve and the instruments don’t bleed into each other too much leaving enough independence to be heard. Definitely an up and coming talent here.

APE CAVE (US) continues the sludge metal attack with a progressive edge with heavy guitar riffs that have an angular edge unleashing jittery time signatures and an edgy sort of percussive bombast. In fact the drummer is highly skilled with blitzkrieg lightning fast drum rolls. The vocals alternate between depressive clean and anguished angry growled screams. Their one track alternates from clean guitar led calmness to heavy distorted sludge outbursts. Nice attention paid to the details which makes this a pleasant mix. Another up and coming band ate watch out for.

TALLER THAN TREES (Belgium) provides two tracks of atmospheric sludge metal more in the post metal vein of bands like Isis and Pelican with repetitive grooves, lazy percussive backing and sludgy distortion. The vocals emerge as growly screams more in the vein of Eyehategod or early Neurosis. Not the most original band but passable. Needs work on variety the monotonous riffs become generic.

BESTIA (Poland) continues the sludgefest with a fierce heavy dual guitar assault that allows a bassier riff to cruise along with a higher registered one. This is also a band that blurs the line between metal styles. While the guitar riffs are based in sludge metal, the growly vocals are more akin to old school death metal such as the Morbid Angel years. The tracks have a more melodic alternative metal sort of approach that sound a little like accessible 90s grunge however it’s all balanced very nicely as not to be too saccharin and have enough metal ballsy gusto to feel like i want to run down the streets beating my chest and growling like a fucking animal! Nice semi-dissonant arpeggios and just off enough to have an edge yet grounded in traditional compositional structures. These guys have an instantly addictive mix of styles that will remind everyone of some band or other but really don’t sound like any other. Nice two tracks from the Poles.

LEFT TO WITHER (France) offers one of my least favorite types of metal hybridization and yeah that means screamo, an offshoot of hardcore punk meets math rock but this may be that i haven’t really delved to deeply into this little nook of the hardcore universe. It’s usually the vocals that drive me away (and i’m saying that as an extreme metal fanatic.) OK, on this French band’s two tracks, we indeed get a nerdy math rock that is heavily distorted with the expected unintelligible emotional outbursts that in this case emerge as the expected angry screams. Touches of atmospheric sludge metal make this a littler more digestible for me. Heavy sludge riffing, hardcore drum assault and a decent amount of slide guitar and interesting changes make this a nice set of headbangin’ hardcore.

SATURNIST (Finland) present just one track on this comp but these Finn’s know how to make an impact with this almost twelve minute doomfest. These guys take the traditional doom metal route with immediate Black Sabbath connections from the getgo as the tintinnabulation of bells and a bass gently usher in an incrementally more aggressive stance. The riffs are very Sabbathy as they churn on but close to the three minute mark a distorted atmospheric break allowed guitar sustain to transmogrify the music into a more 90s based doom metal not unlike Candlemass or Saint Vitus. Although it takes almost five minutes to introduce the vocals, once they hit, they are nicely unique not sounding like any of the aforementioned influences and instead convey more of a clean vocal style that sounds most like bands like Slough Feg rather than a doom metal band but it’s a nice contrast. Although the track plods along, this is indeed a nicely done doom metal track although not really groundbreaking in any way.

DEATHBELL (France) delivers the next round of doom metal with the expected nonchalant flows of distorted guitar riffs, lazy percussive backing and gloomy marches to infinity. What’s not expected is the vocal style of Lauren Gaynor who makes use of a high clean vocal style that is melodic and rises above the bass heavy instrumentation. Over their two tracks, they implement Sabbath-esque chord changes only dragged out into near funeral doom arenas but yet retain a sort of Kyuss styled stoner vibe to the mix. Rather catchy for doom metal but delivers all the doomy, gloomy goods.

SWALLOWED WHOLE (US) provide a rather unique soundscape on their one track. Straddling somewhere in the ether mix of black, industrial and death doom metal, this Seattle based band deliver an ominous assault on the senses with somewhat catchy melodic riffs that have a black metal guitar, a cymbal laden percussive backing and a freaky deep gargling vocal style. The melody is somewhat catchy but kind of teeters in and out of tune in an apparent dissonant / consonant tug-of-war. With a name like SWALLOWED WHOLE, their unique sound does kind of convey that they recorded this track at least in the belly of a whale! Now wouldn’t THAT make a killer recording studio? LOL

V.H. CLEANER (Australia) is the odd band out on the mix. They really aren’t a metal band at all but rather are more known for vaporware, plunderphonics, electronic and dark ambient. However, here they do implement some mean guitar distorted riffs that although echoing and writhing about like land locked octopi, they do provide a darkened ominous assault on the senses. A very short track that not exactly metal still fits the overall vibe.

SZAR (US) deliver the only drone metal track on the comp. This Louisiana based act is really the alter ego of Thomas Dwayne Hargrave who plays all instruments but don’t get too impressed. Drone metal is the easiest metal to play with virtually zero effort, however it is about the right atmospheric dynamics and SZAR does provide a nice romp through glaciated guitar sustained distortion with minimal drumming and more chord changes and faster tempos than frozen in time acts like early Earth. Drone metal is not my favorite in the least but this is decent.

Our metal circus ringleader saves his own contribution for the very last and while that alone doesn’t surprise me, the fact that this is not metal at all really does. ABISHAI ends the long journey through this comp with a little bit of a pallet cleanser. Instead of dishing out yet one more dose of heavy guitar distortion and growly vocal attitudnal misalignment, Mr Smith ends with a dark ambient track titled “Immortality And Hatred Within The Zealots.” While i would’ve loved to hear ABISHAI’s own metal concoction, this one is a nice grounding piece that keeps the darkness churning on til the very end.

CONCLUSION: Bravo to Abishai for creating a fan-damn-tastic METAL MADNESS comp! I do hope that the VOLUME ONE part of the title refers to a future Volume Two and beyond because this dude has proven to be a veritable talent magnet that has turned me on to some totally ripping good times here. Granted there are ups and downs on this one and everyone who can fantasize what their favorite type of comp should be, probably has not worked through the painstaking processes of compiling what is available for them to work with. While i’m sure everyone could think of a better way to do it themselves, the fact is they didn’t and Abishai shows a mature way of compiling some veritable contemporary talents in the underground metal world. Sure i would’ve loved to hear more power metal, more thrash or even more technically based avant-garde weirdness but i do have to say that there is more than enough here to please any extreme metal fan even if they don’t dig every single track. Although some tracks are stronger than others, there are really no throwaways either. This was a pleasure to experience 66 tracks worth of dark underground metal even though it took me forever to get through it a few times. I mean, wow. This easily could’ve been broken up into six volumes, so this could easily be considered a box set of sort had it come out before the digital age. EXCELLENT album! More of these please ;)

SLEEP The Sciences

Album · 2018 · Stoner Metal
Cover art 4.08 | 3 ratings
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Warthur
After all this time, and particularly considering that its members had gone off to do other projects, did anybody expect Sleep to ever put out another album? No - but good things come to those who wait. A full decade after reforming for very occasional live gigs, Sleep woke up in a bleary haze on 4/20 and passed us some of the good stuff - namely, a set of six songs in the classic Sleep vein. Nothing here is quite as mind-crushingly heavy as Dopesmoker, but that's only to be expected - nothing is as heavy as Dopesmoker - but I'd say in general it's consistently heavier and slower than, say, Sleep's Holy Mountain. If you know your stoner doom, you already know what to expect from Sleep, and they deliver it here as though they'd never been away.

KING GOAT Debt of Aeons

Album · 2018 · Doom Metal
Cover art 4.50 | 1 rating
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Warthur
You release a Sabbath-inspired doom metal album on 4/20, you're kind of sending a message. In the case of King Goat, the emergence of their second album, Debt of Aeons, may well have been slightly overshadowed by that of Sleep's long hoped-for new album - particularly given that both exist in the stoner doom realm - but it would be a shame if they were ignored entirely. With Trom's cuttingly sardonic, sarcastic vocals delivered over crushingly huge riffs woven through with intriguing progressive influences, Debt of Aeons reveals that King Goat aren't simply another band of Sabbath-imitators, but add a little quirk here and their performance which gives their work a personality all of its own.

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GIGANTIC BRAIN The Invasion Discography

Boxset / Compilation · 2004 · Grindcore
Cover art 2.16 | 4 ratings
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UMUR
"The Invasion Discography" is a compilation album by US, Virginia based experimental grindcore act Gigantic Brain. The album was released through Razorback Records in July 2004. Gigantic Brain was formed by John Brown in the early years of the millenium, and was at this point a one-man act. "The Invasion Discography" is a compilation featuring all material recorded by John Brown up until then.

The music on "The Invasion Discography" is one crazy mix of blasting grindcore, electronic effects/samples, programmed drums, assorted types of extreme vocals, and a futuristic sci-fi atmosphere. Most tracks are between a half minute to 1 minute long and with 63 tracks distributed over a 59:16 minutes long playing time there is a lot to dig into. The sound production is obviously created on a home computer, and while it´s fairly well sounding for that type of production, it´s clearly not a professionally produced product.

The music is quite adventurous with many shifts in style and genre within each track, but they are also rather chaotic and fragmented. So it´s definitely not a boring release, but it´s not exactly the most well written one either, if you appreciate memorability. This sounds a lot like it´s written and recorded to satisfy John Brown rather than to cater for an audience. It´s highly experimental and the more "regular" sounding grindcore parts are always followed by an atmospheric ambient part or something more experimental sounding.

Upon conclusion "The Invasion Discography" is probably very much an aquired taste. Some listeners will probably enjoy the crazy sci-fi concept, the home recording idea, and embrace the fragmented experimental grindcore style, while others will miss a bit more conscise and memorable songwriting, and a professional sound production. Personally I lean towards the latter opinion and a 2.5 star (50%) rating is warranted.

GIRLSCHOOL Demolition

Album · 1980 · NWoBHM
Cover art 3.40 | 8 ratings
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UMUR
"Demolition" is the debut full-length studio album by UK hard/heavy rock act Girlschool. The album was released through Bronze Records in June 1980. Girlschool was formed in 1975 as an all girl rock covers band under the Painted Lady monicker, but after some lineup changes, they changed their name to Girlschool in 1978. They released the "Take it all away" single in 1979, which came to the attention of Lemmy from Motörhead, who helped them get the support slot on Motörhead´s 1979 "Overkill" tour. After the tour Girlschool signed with Bronze Records (at the time also home of Motörhead).

Stylistically the music on "Demolition" is sweaty and raw, badass rock´n´roll played by girls. Especially the instrumental part of the music takes no prisoners, and sounds like a combination of AC/DC, The Runaways, and Motörhead. So basically über amplified blues based hard rock. To my ears the female vocals lack a bit of grit and rawness, and takes away from the otherwise raw power of the music, but they are skillfully delivered, and it´s overall obvious that these girls can play/sing.

The material on the 10 track, 34:35 minutes long album is consistent in both quality and style. Vers/chorus structured and quite catchy rock´n´roll songs with few surprises, carried by a strong playing band and a well sounding and organic production. All tracks feature a great energy level which is one of the great assets of the album. I´d mention the Joan Jett influenced "Breakdown" as one of the highlights. "Demolition Boys" which opens the album and "Baby Doll", which is a live recording also stand out. Overall "Demolition" is a pretty great listen if you enjoy female fronted hard rock and had the vocals been a bit more raw I would probably have given a 4 star (80%) rating, but as it is the vocals drag my rating down to a 3.5 star (70%) rating.

IN FLAMES Lunar Strain

Album · 1994 · Melodic Death Metal
Cover art 3.80 | 20 ratings
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UMUR
"Lunar Strain" is the debut full-length studio album by Swedish melodic death metal act In Flames. The album was released through Wrong Again Records in April 1994. In Flames was formed by guitarist Jesper Strömblad (also drums and keyboards on this release) in 1990 as a side-project where he wanted to explore a more melodic version of death metal. Something he wasn´t able to do in his then main act Ceremonial Oath. After leaving the latter in 1993, he started assembling a lineup for In Flames, but initially wasn´t able to find a suitable vocalist and therefore Mikael Stanne from Dark Tranquillity sung on the 1993 demo. An arrangement which was continued on "Lunar Strain".

The music on the 10 track, 36:43 minutes long album is indeed melodic oriented death metal. Loads of harmony guitar themes, leads, and an overall epic atmosphere. There are also quite a few folk elements featured in the music like the occasional use of violins and acoustic guitars. The vocal style is an aggressive and relatively high pitched growling type of vocals, and they provide the music with just a slight touch of black metal (there are a few female vocals featured on the album too). A track like "Upon an Oaken Throne" even touches thrash metal territory, so In Flames are relatively eclectic on "Lunar Strain". Artists like Necrophobic, Dissection, and Unanimated aren´t completely wrong as references, although In Flames doesn´t embrace blasphemous/anti-Christian lyrics, but instead opt for a fantasy universe.

The quality of the material is very high throughout and "Lunar Strain" overall features a relatively good flow too. The sound production could have been better, but the album is still relatively well sounding, and the sound suits the music pretty well. The band is well playing too, and upon conclusion "Lunar Strain" is not only a promising debut release by In Flames, it´s also a very high quality release in it´s own right. Especially considering that it´s a debut release. A 3.5 - 4 star (75%) rating is deserved.

OZZY OSBOURNE Black Rain

Album · 2007 · Heavy Metal
Cover art 3.66 | 20 ratings
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siLLy puPPy
After 1988’s “No Rest For The Wicked,” the record company started cleaning up OZZY OSBOURNE’s bad boy image, which hard to believe by the standards of the 21st century, was quite the iconoclastic rage in the 80s with every televangelist and religious pundit lambasting the madman as public enemy #1 in the fight against moral deprivation and Satanic influences in popular music. This rebranding began with 1991’s “No More Tears” which after two decades of occult imagery and bat head biting antics depicted a clean and sombre OSBOURNE with an angel wing sprouting from his shoulder sporting a look of contemplative retrospectiveness. This was about the point when new high tides of heavy metal music were sprouting off from the parent source like a big bang and suddenly OSBOURNE’s role as heavy metal innovator suddenly shifting to godfather status where his legendary status as a solo artist and as lead singer with Black Sabbath overshadowed any musical contributions from this point on.

“No More Tears” also proved to be a huge commercial success proving that the OZZMAN could reinvent himself after his initial peak with Randy Rhoads and after this point he would never look back and try to repeat those years of classical innovation but instead veer off into the world of his Sabbath roots updated into a more alternative perspective but never missing the mark of OZZY’s quirky idiosyncratic nature. From this point forward, albums were mere supplemental to the hugely successful Ozzfest that institutionalized big ticket multi-band arena metal for the rest of time and in all of the 90s only the studio album “Ozzmosis” would find its way into the hands of fans. As the touring of OZZY’s rich canon of material continued to attract new followers, OSBOURNE’s interest in new music was so tamped down that he only released 2001’s “Down To Earth” and then only by the constant demands of his record label. And that’s where everything began to change forever!

Soon thereafter, OSBOURNE would go where no hostile preacher or heavy metal fan of his 1980s heyday would have ever suspected and that was into the world of reality TV in a show aptly called The Osbournes which starred his entire family thus essentially becoming The Brady Bunch of the 21st century and giving the good ole USA a much needed upgrade in portraying the national family values that had been stuck in rut from decades past not to mention a major boost for an MTV that lost its way many years prior. The show was a major hit and lasted a total of four seasons and showcased OSBOURNE more as a worn out drugged out family guy as opposed to the rock’n’roll rebel from another era. Of course between the hit series and the lucrative touring schedule meant OSBOURNE was not motivated in the least to release new material and during the show’s tenure the only album to hit the market was the repugnant cover album titled “Under Cover.”

At long last in 2007 a new album saw the light of day and OSBOURNE’s 10th studio album BLACK RAIN was released and took on a more serious tone than any albums that preceded. Proving that OSBOURNE’s cult of personality was solidified for time immemorial, the album debuted at #3 on the Billboard charts despite mediocre critique and a mere drop in the sea of music that had become a veritable metal universe of diversification. The album was released with two covers. In the US it came out in a brown cardboard slipcase with only a stylized log of OSBOURNE’s name whereas elsewhere a dark image of OSBOURNE standing under a stormy sky, getting soaked while fires burn in the background. BLACK RAIN saw the return of Zakk Wylde on guitars while Faith No More drummer Mike Bordin stuck around after the nauseating “Under Cover.” A new bassist in the form of Rob “Blasko” Nicholson was recruited and a new lineup was born.

Despite the seven year gap, BLACK RAIN sounds much like its predecessor “Down To Earth” with Sabbath infused traditional doom metal riffing more tailored for the alternative metal crowds presented in a bouncy stomping grind albeit with a considerably more robust production and mixing job than any album in the past. The liberal use of dynamics and stereophonic techniques gives BLACK RAIN a healthy boost of crunchy metal riff distortion with clever uses of silence as well as instrumentation and synthesized embellishments that seamlessly blend together making BLACK RAIN a seemingly exact science in perfect heavy metal extraction. Songwise, this album is another matter altogether. The album starts off with three exquisitely strong tracks. “Not Going Away,” “I Don’t Wanna Stop” and “Black Rain” which all hearken to OSBOURNE’s past both melodically and lyrically but with an upgrade in sophistication. They blast onto the scene and shout out that OZZY is back with a vengeance alongside Zakk Wylde delivering one heavy bluesy metal groove after another with the expected soloing and technical bombast with the title track even finding OZZY play the harmonica, something he hadn’t done since his Sabbath days.

The rest of the album is somewhat of a mixed bag though. BLACK RAIN contains the suspected ballads: “Lay Your World On Me” and “Here For You” which are particularly sappy and lackluster even by OZZY’s standards. While the rest of the tracks are classic heavy metal sounding they lack the oomf of the three standouts that lead the pack. “The Almighty Dollar” has a nice bass groove with interesting production and the remaining tracks are all decently done but OSBOURNE definitely sounds like he’s settled down and no longer interested in creating the most outrageous and earsplitting music possible. While once the madman turned in the godfather. This sounds more like the godfather has taken the next step and become the grandfather of heavy metal and that is by no means a bad thing. Having nothing to prove, OSBOURNE instead proudly does what he does best and that is create guitar riff driven metal that center around his poetic critique of the world around him which in this case takes on corporate capitalism, environmentalism as well as declarative stances that he’ll NEVER leave the metal world.

BLACK RAIN while a mere footnote in the lengthy and successful career that OSBOURNE has enjoyed for several decades (he was almost 60 at the time of recording) is by no means a throwaway album as it has plenty of interesting tracks to warrant an inclusion in anyone’s heavy metal collection. While it’s true that this one will do little to attract younger fans who haven’t already jumped on the bandwagon, neither will it cause anyone to jump ship in disdain. In the end, BLACK RAIN does play it a little too safe in many ways and i could personally jettison the ballads but the album sustains a driving grind from the beginning despite tapering off towards the end. The album could’ve used another strong track or two but for what it is, i have listened to this one many times and the tracks that have struck me as good continue to get better. OSBOURNE proved he can continue on well into the 21st century and although most likely retired from breaking any new grounds hardly shows any signs of falling of his godfather precipice any time soon either.

DISTURBED Ten Thousand Fists

Album · 2005 · Alternative Metal
Cover art 3.69 | 17 ratings
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martindavey87
Disturbed’s third studio album, 2005’s ‘Ten Thousand Fists’, sees the band finally hit their stride, adapting a more contemporary sound while somewhat maintaining their groove-based nu metal style. With that particular subgenre of music being dead and buried, this was a pivotal album for the band to show that they could hold their own outside of that scene, with an album that would appeal to fans of metal old and new alike.

Having focused on the highlights of their previous releases, catchy choruses in particular, ‘Ten Thousand Fists’ has an abundance of hooks that makes every track memorable, and with its monstrous production and simple song structures, Disturbed’s music sounds a lot more accessible and mainstream.

Guitarist Dan Donegan’s guitar playing is brilliant here. With skull-crushing precision, his riffs are heavy, yet groovy, and fit perfectly with David Draiman’s melodic vocals. In fact, Donegan lets rip in a couple of tracks with some very slick guitar solos, showing that he had the chops all along, but either left them out to further conform to nu metal trends, or simply that there was no need for them. Either way, he’s finally cutting loose, and it sounds great!

Highlights include the thunderous hit single ‘Stricken’, the huge and epic-sounding ‘Overburdened, and a cracking cover of the Genesis classic, ‘Land of Confusion’, as well as ‘Just Stop’, ‘Guarded’, ‘Sacred Lie’, and ‘Pain Redefined’. And then of course, the title track itself, which is an absolute anthem that will literally produce a sea of raised fists for a metal call-to-arms. The musicianship on these tracks is fantastic, with exceptional performances from everyone involved.

Overall, while ‘Ten Thousand Fists’ isn’t quite a masterpiece, it’s a solid album that definitely helped Disturbed shake off any nu metal remnants, and established them as a legit heavy metal act. It holds up well today, and marks the band as one of the more important acts to burst onto the scene at the turn of the century.

CLAWFINGER Use Your Brain

Album · 1995 · Rap Metal
Cover art 3.08 | 2 ratings
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martindavey87
1995’s ‘Use Your Brain’ is the second album by Swedish rap rockers Clawfinger. It follows in the same vein as its predecessor, ‘Deaf Dumb Blind’, with similar compositions and a nearly identical sound, but it seems to lack the same youthful exuberance that made the latter such an engaging listen.

Mixing rapping vocals with metal guitar riffs long before the likes of Limp Bizkit and Linkin Park gained worldwide fame, Clawfinger’s groove-laden music has always been about uncompromising, in-your-face attitude. With a dirty, gritty sound, and lyrics that spit in the face of political correctness, they’ve never been afraid to put themselves on the line.

Utilizing simple, yet striking guitar work with electronic samples, the band have an effective and fairly distinctive sound. Vocalist Zak Tell’s rapid fire delivery, which blends rapping with hardcore and punk rock elements, goes well with the music, and certainly paints a picture of an angry and frustrated band.

But unfortunately, ‘Use Your Brain’ just simply isn’t as good as the band’s debut. While it’s not a bad album, ‘Deaf Dumb Blind’ was consistently strong throughout, while here, we’re treated to a few moments of sheer genius being smothered by an abundance of filler material. But despite the weaker tracks, songs like ‘Power’, ‘Die High’, ‘Do What I Say’ and ‘Pay the Bill’ are all strong enough to stand next to anything the band have done before, and are all good reasons to at least give this album a chance.

KATATONIA The Fall Of Hearts

Album · 2016 · Alternative Metal
Cover art 4.29 | 16 ratings
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Necrotica
A common thread you wind up finding in every Katatonia album is that every one of them exhibits a different kind of melancholy. Each expression of that one emotion changes with each stylistic shift or altered lyrical approach, but either way, the melancholy still returns in some way. Perhaps it comes in the form of desperate wails and screams over crushing doom-laden riffs (Dance of December Souls). Maybe it can be found in gritty imagery involving the ills of crime and street life (Viva Emptiness). Alternately, the looming darkness of orchestral strings and mellotrons could seal the deal (Dead End Kings). But when it comes to The Fall of Hearts, the dreary atmosphere is expressed somewhat… differently. It might come down to a lack of metal influences this time around, but there’s an unusually surreal and dreamlike touch to the music. The songs are sad, yes, but also given a sort of levity and weightlessness by the shimmering clean guitars and light piano melodies that coil around the increasingly progressive rhythms. Jonas Renkse has channeled his sorrows through more passionate vocal passages (just listen to the chorus of “Last Song Before the Fade”!) while the music surrounding him has become more abstract compared to past efforts.

Really, I wouldn’t have it any other way. It’s not like this progressive influence is just out of the blue; the last few records, especially Dead End Kings, were already hinting at this bold new direction. But I suppose the fascinating thing about The Fall of Hearts is just how well they pulled off those influences. Instead of the crunchy, churning alternative metal riffs that dominated a good chunk of the band’s career, there’s now more respect and care given to the atmosphere than ever before. If you ever hear a downtuned metal riff (“Takeover,” “Passer,” “Serac,” and “Last Song Before the Fade” still bring the heaviness to a degree), you can be sure that a beautiful slow passage will be just around the corner to counteract the aggression. “Serac,” for instance, brings a fresh melding of progressive metal and soft rock that’s not too dissimilar to Opeth’s best works from the early 2000s (minus the growls, of course). Then you have “Passer,” which kicks off with a shredding guitar solo over a rapid-fire galloping snare rhythm before it almost immediately dies down to give us one of the most emotionally potent verses the band have ever concocted. It’s not that the band have lost their edge, but that they simply reserved it for the best moments this time around. And really, a lot of that can be attributed to the fact that Katatonia didn’t really subscribe to a set songwriting formula this time around. The arrangements are quite labyrinthine and unpredictable compared to what we’re used to from these guys, and the opening 7-minute track “Takeover” is an immediate example of this. This mini-epic takes you in so many directions in such little time, from a beautiful dreamlike intro/refrain to a rousing metal section to a deeply orchestral chorus to a stunning piano break. Add to that a killer guitar solo from newcomer Roger Ojersson on top of that, and you’ve got one of the best openers in recent memory.

In fact, let’s talk about those newcomers for a second. Guitarist Roger Ojersson and drummer Daniel Moilanen were a huge asset to the sound The Fall of Hearts would ultimately adopt and cultivate, as their technical proficiency allowed the band to work outside of their typical framework a bit more. The solos in “Takeover,” “Passer,” and especially the harmonized portion of “Serac” are incredible ways to build on songwriting that already takes pride in taking listeners on a real journey. Meanwhile, Daniel absolutely kills on the drumkit. His grasp of varying time signatures and subtle dynamics is just impeccable, and he can shift styles with ease to fit each mood perfectly. As for the songwriting, however, you may notice in the credits that it’s all Jonas Renkse and Anders Nystrom as usual. Maybe that’s the most fascinating thing about The Fall of Hearts, really. Just the fact that these two had it in them to make this record all along, but they simply needed the right circumstances and band members to make it happen. If you want a good marker of just how much they’ve evolved as songwriters, just take into account the fact that “Pale Flag” and “Shifts” are minimalist folk rock ballads with almost none of the band’s typical sonic trademarks present, and yet they’re not out of place in the slightest. But then again, nothing on The Fall of Hearts is out of place; it’s just the sound of a fully-evolved, fully-realized Katatonia that was always trying to break free from the mire of comfortable familiarity.

MEGADETH Crush 'Em

Single · 1999 · Hard Rock
Cover art 2.00 | 1 rating
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martindavey87
July 5th, 1999.

Megadeth were performing on an episode of World Championship Wrestling’s Monday Nitro. It seemed odd that a metal band would perform at a wrestling event, and much like Kiss did a few weeks prior, it bombed. Nobody wanted to see it. Nobody did see it. And it accomplished nothing.

Except for changing my life.

Performing ‘Crush ‘Em’ to coincide with the return of wrestler Bill Goldberg from a break (Goldberg starred in the movie Universal Soldier: The Return, of which this featured on the soundtrack), the song played repeatedly over the following weeks, and 12 year-old me was absolutely hooked!

‘Crush ‘Em’ itself is a huge departure from Megadeth’s typical sound. With the 90’s coming to a close, Dave Mustaine tried his hand at writing mainstream rock songs, hoping to appeal to bigger audiences with the album ‘Risk’. He failed. Big time. But ‘Crush ‘Em’ served one purpose, and it served it well. It was intended as a sports anthem, with hopes that it’d be played in arenas at games, and for a while, it was. With its pounding bass line and thunderous guitars, the chanting of “Crush! Crush ‘Em!” is tailor-made for getting crowds psyched up. It’s simple, it’s catchy, it’s effective.

As for this single release however? Meh. There’s just two songs. An album version, and a radio version, which basically skips one verse and the outro. Nothing special, nothing fancy, no gimmicks or novelties. Just two different versions of ‘Crush ‘Em’. Fantastic song, and I genuinely mean that. But don’t bother getting this single unless you’re a huge, huge fan that absolutely must own everything regardless of how pointless it might be. Just get the ‘Risk’ album instead.

And yeah, that is a recommendation for ‘Risk’. That album is awesome!

ICED EARTH The Melancholy E.P.

EP · 1999 · US Power Metal
Cover art 3.03 | 7 ratings
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martindavey87
Fresh off of an outstanding album, 1998’s ‘Something Wicked This Way Comes’, which sees Iced Earth fight back from a string of disappointing releases, the band give us this short EP, which was originally intended as a promotional tool for radios, but ended up getting an official release for fans to get their mitts on.

While its chillingly emotional verses and catchy chorus makes ‘Melancholy’ an understandable choice for a single, in my opinion there’s much better songs on the ‘Something Wicked...’ album that could have been used. It’s a good song, don’t get me wrong, and it nicely shows the new direction Iced Earth were headed in with their sound. But it just pales in comparison to some of the other potential tracks.

Still, along with ‘Watching Over You’ (another strong number from the same album), there’s three covers, all of which I find pretty disappointing. I’m either not a fan of the band being covered, vocalist Matt Barlow’s voice doesn’t quite suit the song, or I just flat-out don’t really care.

Overall, as is always the case with EP’s, I find them pretty hit-or-miss, and serve more as little collectable items for fans than as serious releases. ‘The Melancholy EP’ is no different. It’s alright for what it is, but not anything worth checking out unless you’re a huge fan of the band.

ADEMA Unstable

Album · 2003 · Nu Metal
Cover art 2.59 | 3 ratings
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martindavey87
Adema’s 2001 self-titled debut was released at a time when nu metal was one of the biggest musical genres in the world. However, it was also short-lived, and with only minor mainstream success, the band was unable to make a big enough splash to help carry them through the subgenres demise. And so by 2003, musical trends have already shifted, and the Californian five-piece would get one final chance to either release an album that’ll see them transcend the dying fad, or forever remain one of “those bands” that were good “back in the day”.

And sadly, despite a marked improvement in writing and more confident performances, ‘Unstable’ just wasn’t good enough.

Displaying a nice mixture of heavy, groove-laden and energetic tracks, with some melodic, sentimental and emotional songs, ‘Unstable’ shows a band that has really improved and matured since their last outing. Vocalist Mark Chavez (who was originally only noteworthy for being half-brother of Korn main man Jonathan Davis) has proven himself a competent frontman, and while the instrumentation is fairly straightforward, the band have become adept at using multiple layers of simple melodies to accentuate a warmth in their sound.

But with that said, there’s still only a handful of notable tracks here. ‘Unstable’, ‘So Fortunate’, ‘Co-Dependent’ and ‘Promises’ are all pretty amazing to be honest, and definitely shows a band who certainly had the potential, but sadly never lived up to it. ‘Stand Up’, ‘Blame Me’ and ‘Let Go’ are also fairly decent, but nothing worth getting overly excited about.

Much like its predecessor, ‘Unstable’ does have some moments of absolute genius, but sadly most of it gets lost amongst an abundance of fairly average songs. It’s a good album, but in 2003, with nu metal on its last legs, “good” isn’t good enough, and while it’s certainly worth a listen or two, it’d ensure that Adema will forever be nothing more than another nu metal nostalgia band.

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