SilentScream213 An interesting transition from their previous attempts at mainstream universal appeal, but an appropriate reinvention for a self-titled album. “Loudness” is, in my opinion, their best release since the legendary underground masterpiece “Disillusion.” This album returns to their riff and solo driven Heavy Metal of old, mostly forgoing catchy anthems in favor of more aggressive edge and musical substance.

There’s a great variety of midtempo groove and speedy aggression. The plodding “Love Kills” has a riff heavier than concrete, and album closer “Firestorm” is easily the fastest thing they’ve ever done. The flow of the album usually has faster numbers complimenting the slower ones and works very well.

The lineup changes here have to be addressed because they bring some great changes. Filling in for bass is Taiji – THE Taiji – of X Japan fame, and yeah, it’s noticeable. As long as you’ve got decent listening equipment, you can hear that bass throwing out groovy melodies the whole time, and it’s wonderful. New vocalist Masaki Yamada has what may be considered an “acquired taste” vocal style, which is an aggressive, strained, and accented style. However, it fits the more aggressive musical style here, and he is very good at English, not only speaking, but writing. The lyrics to this one are far darker than anything Loudness have done before, and very well written, with some interesting topics such as the cruelty of animal testing on “Slaughter House.”

Possibly their best album yet, a real recapturing of their Japanese identity after their mixed attempts to sounds western.

Warthur On their international breakthrough Disillusion, Loudness don't reinvent the wheel - they play traditional heavy metal, they wouldn't sound out of place opening for Judas Priest or Manowar, and they rock at it. The album comes in two versions; the original with Japanese-language lyrics sports by far the better cover art, though the English-language version is more complete, including as it does an intro which was cut from the original release. Either version offers a range of sounds from slower, gentler passages to more furious assaults - Esper, in particular, creeps towards the threshold of thrash metal. It's not an essential classic of the genre, but it's a more than solid effort which will entertain anyone who likes the harder side of 1980s metal.

Stephen With twenty-five albums under their sleeve definitely made Loudness the most productive Japanese heavy metal band ever, and 'Eve To Dawn' represents the 2011 version of Loudness, where even though they're still sound very modern, I sense a hint of coming back to the traditional heavy metal style. It's a good sign, but still not enough to drag my interest back like when Vescera is still on board. I long for a melodic-but-heavy record, commercial-but-subtle release, and 'Eve To Dawn' has couple of great tracks to please my appetite, but shame that's just about all.

'Come Alive Again' is a pure heavy metal beast, the riffs are fantastic and Takasaki is awesome as usual. 'Survivor' is more furious, leaping to the power metal territory, somehow reminds me of X Japan, another good track, and 'Keep You Burning' is also nice. The chaotic intro which turns quickly into a superb track, topped with Takasaki's firey solos. If I have the option to grab only these three tracks and created an EP, I'll gladly do it as the rest are disposable.

'The Power of Truth' is too modern even though the chorus is melodic and 'Gonna Do It My Way' is averagely okay, but 'Hang Tough' and 'Emotions' are weak, and came 'Pandora', the worst of the bunch, it ripped off any good mood I have on the first half. Stripping down the modern element and throwing back to their real heavy metal roots is actually the best path for them but I don't understand what they are trying to achieve with this. Idealism is good but this is clearly not the fans wanted, and if you want express the freedom of creativity, solo albums could be better.

I just hope that Loudness will veer back to its glorious days in the next effort, otherwise, it might be wise to call it a day.

Stephen Released in 1989, "Soldier of Fortune" was the first album with Michael Vescera after Minoru Niihara got kicked out of the band. This was done to help them breaking through the American market although the final result wasn't exactly as what they expected. The whole album sounded very American and has a lot of 80s glam metal influences inside.

"You Shook Me" stomp the ground with Takasaki's thunderous riffs topped with Vescera's raspy screamer. "Danger of Love" is another winner and sounded like an unreleased Dokken song. "Red Light Shooter" fired away some ferocious hooks with flashy tapping. Too bad the euphoria was soon over when they struck me with the blunt boring ballad "Lost Without Your Love". If you're looking for a downtempo sentimental track, "Twenty Five Days" is a far better pick, check out the unforgettable intro lines. Good thing is that they repumped the album with several heavy tracks and closed it with the fantastic "Demon Disease".

"Soldier of Fortune" is truly a great album with lots of powerful songs, stellar vocal, and exceptional guitar works. Although this ain't the same Loudness as in the early 80s, Akira still deserved a glass of beer for the magical and mind-blowing composition!