Adam Gardiner
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2881 reviews/ratings
WINTERHORDE - Underwatermoon Melodic Black Metal | review permalink
SONIC PULSAR - Playing the Universe Progressive Metal | review permalink
STAR ONE - Victims of the Modern Age Progressive Metal | review permalink
IRON MAIDEN - The Number Of The Beast NWoBHM | review permalink
DREAM THEATER - Images and Words Progressive Metal | review permalink
REBELLION - Miklagard - The History of the Vikings Volume II Power Metal | review permalink
BEYOND TWILIGHT - Section X Progressive Metal | review permalink
IMMORTAL - At the Heart of Winter Black Metal | review permalink
DARKOLOGY - Altered Reflections Progressive Metal | review permalink
CRUACHAN - Folk-Lore Folk Metal | review permalink
ALICE IN CHAINS - Black Gives Way To Blue Alternative Metal | review permalink
AYREON - The Final Experiment Progressive Metal | review permalink
BLIND GUARDIAN - Imaginations From the Other Side Power Metal | review permalink
EPICA - The Divine Conspiracy Symphonic Metal | review permalink
AYREON - The Human Equation Progressive Metal | review permalink
EPICA - Design Your Universe Symphonic Metal | review permalink
ASTARTE - Quod Superius Sicut Inferius Melodic Black Metal
AVANTASIA - The Metal Opera Power Metal
AYREON - 01011001 Progressive Metal | review permalink
REBELLION - Arise: From Ginnungagap to Ragnarök - The History of the Vikings Volume III Power Metal | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Power Metal 375 4.15
2 Progressive Metal 301 4.16
3 Heavy Metal 222 3.89
4 Atmospheric Black Metal 203 4.09
5 Black Metal 157 3.89
6 US Power Metal 157 4.21
7 Symphonic Metal 107 3.80
8 Folk Metal 106 3.97
9 Thrash Metal 101 4.02
10 Death Metal 89 3.96
11 Non-Metal 85 3.83
12 Technical Death Metal 84 4.21
13 Metal Related 80 4.10
14 Gothic Metal 62 3.73
15 Hard Rock 60 3.83
16 Doom Metal 56 4.04
17 Melodic Death Metal 55 3.95
18 Melodic Black Metal 53 4.14
19 Speed Metal 41 3.88
20 Stoner Metal 41 4.15
21 Alternative Metal 38 3.46
22 Atmospheric Sludge Metal 31 4.06
23 Symphonic Black Metal 29 4.10
24 Death-Doom Metal 28 4.11
25 Groove Metal 24 3.65
26 Heavy Psych 24 4.33
27 Pagan Black Metal 23 3.87
28 Viking Metal 23 4.11
29 Avant-garde Metal 21 3.90
30 Depressive Black Metal 20 3.77
31 Traditional Doom Metal 19 4.34
32 Heavy Alternative Rock 18 3.36
33 NWoBHM 18 4.42
34 Sludge Metal 16 4.06
35 Stoner Rock 15 3.97
36 Technical Thrash Metal 15 4.13
37 Melodic Metalcore 14 3.54
38 Funeral Doom Metal 14 4.11
39 Brutal Death Metal 13 3.27
40 War Metal 11 4.09
41 Proto-Metal 7 4.14
42 Metalcore 6 2.25
43 Industrial Metal 5 3.80
44 Neoclassical metal 3 3.83
45 Drone Metal 3 3.50
46 Deathcore 2 1.75
47 Death 'n' Roll 2 3.00
48 Crossover Thrash 1 3.50
49 Crust Punk 1 4.00
50 Hardcore Punk 1 3.50
51 Trance Metal 1 0.50

Latest Albums Reviews

ANUBIS GATE Covered in Colours

Album · 2020 · Progressive Metal
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For their eighth studio album, Danish progressive metal act Anubis Gate have opted to produce something that is both a counterpart to their previous album Covered in Black (2017) by titling it Covered in Colours (2020) as well as something completely different in their discography: a covers album. The fourteen track, seventy-three minute long album has the band taking on songs originally by a diverse range of artists, from King Crimson to AC/DC, Steely Dan to Slayer via Ozzy Osbourne, Coldplay and Mike Oldfield.

Covers albums by their very nature are never in the running for being an artist's essential work and that's certainly also the case with Covered in Colours. With that said, as far as metal bands doing covers albums go, Anubis Gate have produced a pretty fine one that will actually manage to surprise not only long-time fans of their own music but especially from the wider metal crowd, with the way they interpret the actual metal/hard rock songs they've covered. This is most evident with their version of Aggressive Perfector by Slayer. You'd expect a song by Slayer to be among the heaviest cuts on the album. It's actually among the lightest.

Generally speaking though, Anubis Gate has adapted this set of songs to their own progressive metal style, regardless of what genre of music a track came from originally. The Slayer situation feels like they went that way to counter expectations. Mostly this feels and sounds like the last few Anubis Gate albums, though there is a slight edge that betrays that the songs are actually the work of other creative minds no matter how different Anubis Gate has made their versions from the originals. The thing to note about that though is that only those who listen to Anubis Gate a lot and know their work really well may pick that up without the bias of knowing in advance that they are listening to covers.

The main instance of when Covered in Colours doesn't sound too like Anubis Gate is during Voivod's Experiment, which features some harsher vocals than this band typically uses (not quite growls though), which are performed by guitarist Kim Olesen instead of the band's regular singer Henrik Fevre. It's the one and only song where, despite the variety of original artists, that it feels like it's jarring to the flow of the album, which otherwise is bad to work really well by the band. Choice cuts for this reviewer are their takes on Chromazone (Mike Stern), Glamour Profession (Steely Dan), To France (Mike Oldfield), Fade to Grey (Visage), Back In Black (AC/DC) and Strawberry Fields Forever (The Beatles).

People who like Anubis Gate already will of course be the primary audience for Covered in Colours, but the album should also hold interest to people who enjoy hearing songs originally not by metal bands get a heavy treatment. The few songs on here I'd heard before tend toward the being very different takes, except Oldfield's To France. Though full disclaimer, I don't recall ever actually hearing his version. To France seems to be semi-popular cover choice amongst metal bands. Anubis Gate's is the third version I've heard of it, after Blind Guardian and Leaves' Eyes (Kingfisher Sky has also done it). But why not? It's a very good, memorable song and since all three versions I have heard sound somewhat similar in structure, I don't think its been altered too much. The likes of Slayer and AC/DC though, are definitely a far cry from the songs you know.

And that's a good thing. Faithful covers after all tend to be boring, even pointless. You'll perhaps give them a curiosity listen and then return to the original. Anubis Gate have given you covers you'll instead have a reason to return to and in Covered in Colours an album that fully deserves to be part of their main discography.

FLOURISHING The Sum of All Fossils

Album · 2011 · Technical Death Metal
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Metal Music Archives Reviewer's Challenge: June 2022

The Sum of All Fossils is the 2011 debut album of US dissonant death metal act Flourishing. At the time of writing this review in 2022 it remains their sole studio album due to the band's disbandment in 2014. Two of the trio remain active in the death metal scene though with a new act, Aeviterne, who dropped their first album in 2022.

Flourishing was a band sometimes associated with grindcore but on their sole full-length album The Sum of All Fossils plays firmly within the death metal camp. Theirs is a dissonant take on the genre that seems to also owe something to the realms of sludge metal and hardcore. A description of post-death metal wouldn't be worlds away either, but the name of the game is primarily atonality to produce a sound that comes off as cacophonous and chaotic.

As an album, it's not an unrewarding experience. At least, it never offers up anything that makes me think these guys don't have the chops. My trouble with it is that upon conclusion, after eight tracks and about forty-four minutes of music, I'm left with a feeling that everything I just heard just all blurs together to the point that it's an easy album to just zone out to, rather than pay attention to its details and intricacies. They are there, but it takes real effort to notice them and The Sum of All Fossils is not an album that seems to especially encourage it – or ultimately reward it. This is not a perception that has been at all helped by repeated listens to the record. Suddenly it's just done. And I feel like I blinked and missed it every single time.

Flourishing has a good sound, I'll give them that much. It's raw and dirty and will appeal to death metal fans looking to escape modern over-polished production jobs that make records sound too crisp, clean and clinical. I'll at least remember how the album sounds when I think of it. But the parts that make up its sum kind of just get lost in it all, like there's no method to the band's madness. You could play me any song from the album and even after several listens I don't feel I would stand a chance at identifying it from any other being served up here. That is not necessarily a problem in itself with extreme metal, or any genre of music for that matter, being an album's album so to speak, but here, I just don't feel we get to hear Flourishing at their full potential. And since they've now split up, I find it doubtful that we ever will. It might be worth giving Aeviterne a shot though, to hear what two of three band members are up to these days.

STAR ONE Revel In Time

Album · 2022 · Progressive Metal
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Stareon One

While Dutch musician Arjen Anthony Lucassen is always working on something (usually his flagship project Ayreon), it has been a long time since the world last saw an album released under his Star One banner. Revel in Time (2022), marks the third studio album under this moniker, following up Victims of the Modern Age (2010). A defining feature of Lucassen's work in the progressive metal field has been his extensive use of multiple vocalists, changing with every album, but the Star One project was notable for both studio albums featuring the same four core singers, only shaking this up for bonus tracks.

This time around, Lucassen has opted to change the formula. Instead of the four singers of the first two Star One albums, Russell Allen (Symphony X), Damian Wilson (Headspace), Floor Jansen (Nightwish) and Dan Swanö (Nightingale, Witherscape) appearing on all songs, Lucassen has chosen an approach that usually restricts each song to just one singer, with some exceptions, with many other vocalists in addition to the original four appearing on the album. We therefore have guest appearances on the album from a range of talent including Brittney Slayes (Unleash the Archers), Ross Jennings (Haken) and Roy Khan (ex-Kamelot). Another notable appearance from an older generation is Joe Lynn Turner, known for stints with Rainbow and Deep Purple, among many others in a long career.

One thing though remains consistent with the earlier Star One albums: Revel in Time is once again based on science fiction movies and TV shows (mainly movies in this instance). Where Space Metal (2002) tackled space themes and Victims of the Modern Age turned toward dystopian/post-apocalyptic Earth based scenarios, Revel in Time, quite appropriately, deals with the theme of time, though not necessarily time travel. During the course of eleven tracks, Revel in Time will take the listener across a journey through classics true and cult as well as modern gems, including Back to the Future, Groundhog Day and Interstellar.

The music on Revel in Time is heavily focussed on the metal side of Arjen Lucassen's influences, as was the intention of the alternate project all along. A notable exception is Prescient, which is also the only song from the main version of the album to feature two vocalists, Ross Jennings and Michael Mills (Toehider and Ayreon regular). This is a generally lighter, more heavily progressive track. Subtle variation in ideas is also heard with the immediate following Back from the Past, which is a distinctly hard rock infused track brought to life by vocals from Jeff Scott Soto. Opener Fate of Man is clearly influenced by power metal. The overall level of variation is not as high as Ayreon at its most creative, but for Star One there are different ideas on display.

The problem, if we can even call it that, is that having established Star One to have a certain sound across two studio albums already, Revel in Time, however strong an album it is in its own right (which it absolutely is), suffers from something of a disconnection with the first two albums. This is mainly due to the vocalist situation. In many ways it has more in common with the Ayreon albums that don't assign a character role to each featured vocalist such as Flight of the Migrator (2000), an album that Revel in Time has the most in common with out of all of Arjen Lucassen's back catalogue, especially in the way the vocalists are used. It's an impression only aided by the fact that the album's cover art is painted by artist Jef Bertels, who did most of the most notable Ayreon albums artwork, although this is the first time Lucassen has worked with him in a while. The result is a cover that looks like an Ayreon cover, not a Star One cover. It looks more like an Ayreon album than Ayreon's own last album Transitus (2020) does. And it certainly sounds more like an Ayreon album.

This doesn't make Revel in Time a bad album. Far from it Revel in Time is a very good album, an objectively stronger one, albeit very differently executed one, than Lucassen's last Ayreon offering was in fact. It just doesn't feel like a Star One album to me. When I think of a Star One album, I think about a band that has four lead singers, appearing on all songs. That feel of a Star One album has been lost on Revel in Time. That said, it does sound like an Arjen Lucassen album, which whatever name is on the cover, is the main thing. I like the album a lot, with the caveat that it seems to exist between two of this projects without the complete identity of either. Stareon One if you like.

Normally this would be the end of the review, but as an appendix it is worth noting that there are actually two versions of Revel in Time included in the release. The version I have talked about is what I can only considered to be the main one, the first disc. The entire album repeats on the second disc with singer changes. For the most part I believe the second disc versions are inferior, but there are some nice alternates well worth listening to, including Today is Yesterday, which has Arjen himself on vocals for the first time on one of his albums since his solo album Lost in the New Real a whole decade prior. The alternate Lost Children of the Universe has ex-Black Sabbath singer Tony Martin on it, while Cloudscape's Mike Anderson does the alternate Beyond the Edge of It All, both in their second Star One appearances following the bonus tracks on Victims of the Modern Age.

The alternate songs mostly play the same as the main album except that Prescient only has one singer on this version, but A Hand on the Clock has two, with Floor Jansen being swapped for her sister Irene along with Marcela Bovia (both of whom handled backing duties across the whole release). Personally I wish just Irene Jansen had sang this one as I think that the idea of having each sister on each version is pretty cool, plus Marcela already got to do the alternate version of Fate of Man. Better yet it feels like a trick is being missed for years to put both Floor and Irene Jansen in the same song together as co-leads.

Disc 2 also features less vocalists changes with no less than three songs being sung by John "Jaycee" Cuijpers (Praying Mantis), who also appeared on the main album, giving him a total of four songs to himself between the two discs. That I don't get. It seems to go against the always changing vocalist idea of the album. It creates a feel like the project reached a deadline and Lucassen was like 'okay John, you better sing the rest of these now'. There is nothing wrong with Cuijpers' voice or performance, of course, but it is one reason I consider that the second version of the album is weaker than the first. The first goes all in with the singer changes. These others feel like versions that didn't make the cut. I would actually have preferred a Victims of the Modern Age situation where perhaps we got less tracks on the second disc, but they were at least different tracks. Aside from initial curiosity, I'm left feeling very little need to listen to the second disc of this album.

TRIVIUM The Crusade

Album · 2006 · Thrash Metal
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Rewind back to the year 2005 and Trivium were pretty much the new big deal in popular metal music. The melodic metalcore act had released their second album entitled Ascendancy to strong acclaim and the accolades were being heaped upon them. Among these accolades was what was a favourite line of praise amongst metal critics at the time, one that was not only used in relation to Trivium but certainly they would become the act most associated with it and thus the subject of a cautionary tale to go with it: that this band was the next Metallica.

Metallica of course was still around in 2005 and still is at the time of writing this review in early 2022. But at the time their most recent album was still St. Anger and in 2005 that was still leaving a bitter taste in many mouths. Many metalheads as such got on board with the idea that Trivium was the next Metallica, even though the band played metalcore. About as many rejected the idea that Trivium was the next Metallica, as the band played metalcore. Trivium actually got more than their fair share of detractors through this association as the next Metallica.

Supporters of the idea were open to the next Metallica being a metalcore band. Trivium were at least a thrash metal influenced metalcore band after all. I suppose it even made a kind of sense that a band who could be as big as Metallica be a metalcore band. It certainly appealed to the younger audiences of the 2000s who were looking for heavy music, such thrash metal had done in the 1980s. The detractors on the other hand were pretty adamant that any next Metallica couldn't possibly be a metalcore band. Metalcore of course being the untrue genre that it is to such people.

Trivium were a pretty fine metalcore band circa Ascendancy. I for one did not even especially care for metalcore by and large, but I did like them. That hasn't changed in the years since to be honest. I still think that Trivium's Ascendancy is a damn good album, metalcore or otherwise. They were a band full of a lot of potential.

The Crusade, their third album from 2006, is what happens when a promising young metalcore band gets called the next Metallica one too many times. They pretty much turn into Metallica.

This was actually the worst possible thing that they could do, even if it did allow them to break into the mainstream (yes, they really did. I bought my copy of The Crusade in Woolworths of all places). One, it pandered to those who seemed to want a new Metallica, making their music largely derivative in the process and two, it was never going to silence the detractors who had issue with the fact the band played metalcore. They now had issue with the fact the band sounded like Metallica. Those people were never going to be happy with anything Trivium did. Trivium could have made the objectively greatest album of all time and those people still would have said it was a steaming pile of shite. So I really hope silencing their detractors wasn't a motivation for Trivium's sudden sound change.

But the only other conclusion is that all those next Metallica accolades went the band's collective heads. And I don't know which is worse really. Either way, the band who made Ascendancy seemed to no longer exist.

Okay, so I'm speculating in both instances here. I don't know the band personally or assume myself to be privy to their motivations. I only have the facts of the matter as I hear them: We have a band who played metalcore who got called the next Metallica a lot and now suddenly plays thrash metal on their next release. I'm not saying that The Crusade sounds like Metallica one hundred percent of the time, as there are still some growled vocals that Metallica never had which harken back to Trivium's previous work. I wouldn't call any aspect of The Crusade metalcore though. It does sound like Metallica probably ninety percent of the time though. The entire situation isn't helped by the vocals. It's perfectly fine to be metalcore band that evolves into a thrash metal band. What's more eyebrow raising about the whole situation is how frontman Matt Heafy suddenly sounded a lot like Metallica's James Hetfield on top of that. His clean singing prior to this was not like that.

None of this is to say that The Crusade is a bad record. It's actually a pretty serviceable thrash metal record. It has its issues, chief among them being it's too derivative of a more popular band, but it's not as if Trivium forgot how to write a good riff whilst high on the next Metallica praise. Most of the time this is very listenable music, with some standout tracks being the opening three plus Becoming the Dragon. It just lacks an identity of its own.

I suppose one could also say that of the metalcore Trivium of 2005, but the difference is that metalcore Trivium was very good at what they did. Thrash metal Trivium, on this album at least, is patchy at best. A glaring issue is highlighted when I think back to how the album was pitched at the time as Trivium maturing as musicians and songwriters, but there's little evidence of that actually here. Imitation may be considered the most sincere form of flattery but it isn't conducive to maturing as a band. There are also aspects of the writing that seem immature, notably the F-bomb loaded To the Rats. A song full of profanity may have seemed cool when I was younger, but these days I associate it with unimaginative writing. Of course this is one of the more growl heavy songs to be featured on the album and a lot of those maturity comments focussed on Heafy switching primarily to clean vocals. The implication being that we metalheads should grow out of liking harsh vocals. I stand by my opinion that this wasn't the leap in maturity that it was supposed to be.

Meanwhile closing title track instrumental is the album's biggest misfire, a clear attempt on the part of Trivium to write a The Call of Ktulu or Orion. It's certainly not a coincidence that Trivium wrote the song to have a similar length to those classics. Only problem for Trivium is that it's not half as good and only really serves as an invitation to end the album prematurely with The Rising. Which is hardly one of its better songs either actually.

Despite these issues, I do somewhat enjoy this album. It's an enjoyment tempered with disappointment whenever I revisit this though. The Crusade was why I lost track of Trivium. I gave the following album Shogun a cursory listen at some point, but never an attentive one. I think it was better, less a carbon copy of Metallica than The Crusade, but by that point they'd lost me. As such I sometimes forget how good Ascendancy was: a special album that holds up well even in 2022. Which is why it sucked that its follow-up was The Crusade. As clone albums go you could do worse than this one. But it is what it is. A huge waste of potential. One day I'll start listening to the Trivium albums released since to see if they ever found their identity again.


Album · 2021 · Heavy Metal
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Senjutsu (2021) is the seventeenth full-length studio album by UK NWoBHM legends Iron Maiden. The album marks a close to what has been their longest gap between studio albums to date, the last being The Book of Souls (2015). The same line-up that has been present since Brave New World (2000) still remains: Bruce Dickinson (vocals), Steve Harris (bass), Dave Murray, Adrian Smith and Janick Gers (guitars) and Nicko McBrain (drums). Like The Book of Souls before it, Senjutsu is a double album. Similar design in cover artwork would also suggest an intentional relationship between the two, with mascot Eddie evolving from a tribal incarnation to one inspired by Japanese Samurai.

The music on Senjutsu is unmistakeably that of Iron Maiden in their modern day incarnation. Perhaps a little less overtly influenced by progressive rock/metal even in the album's longer songs like the trio of ten plus minute closers, Death of the Celts, The Parchment and Hell on Earth, but the progressive subtleties are there for those prepared to listen for them. Subtle is a good word to describe the entire album. It's not in your face. It's more of a slow burn than the band's most well known back catalogue, even when you compare the lead single The Writing on the Wall to its counterpart from The Book of Souls, Speed of Light. Iron Maiden have opted to avoid their more faster paced material on the album as well.

While in all Senjutsu actually sounds like a rather unique entry in the Iron Maiden discography, there are certainly hints present in the release that conjure up recollections of past Iron Maiden albums. Personally I hear moments that could easily have been part of A Matter of Life and Death (2006), The Final Frontier (2010) and even Virtual XI (1998), the latter most obvious in the aforementioned Death of the Celts, which could easily be a companion song to The Clansman.

One thing that Senjutsu does extremely well is how well the material flows together. Iron Maiden are not typically one of those bands that can be called 'album artists', as no matter how good the albums taken as a whole are, there are always songs that stand out individually, be they the singles chosen to promote it, or otherwise. I feel like it would be saying something negative about Senjutsu to suggest that it is otherwise here, but this definitely comes across as more of a work that functions best when considered as a whole. Greater than the sum of its parts, if you like.

The band's instrumental performance is on point and Dickinson is also on fine form. As always, the production values of Kevin Shirley may leave something to be desired compared to those of the late Martin Birch, but the production of the album is consistent with that of other post-Birch Iron Maiden, to the point that I would not even think to mention the production in this review if I didn't keep seeing grumblings about it since Senjutsu was released. I don't get that. Senjutsu sounds exactly like I'd expect an Iron Maiden album to sound like in 2021.

While it is perhaps clear that Senjutsu won't become the favourite Iron Maiden album of either myself or many others, at this point in their career, seventeen albums in and over forty years since the release of their debut Iron Maiden (1980), I don't need it to be. I need it to be another great album that proves that the lads have still got it. And guess what?

They have.

Latest Forum Topic Posts

  • Posted 2 days ago in Recently Watched Films
    [QUOTE=Vim Fuego]I knew nothing about this movie, but it's quite the feel-good story. That it's based on a true story is both really cool and really sad, because racism like that demonstrated here is such a stupid, evil, simple-minded attitude.[/QUOTE] A lot of people shit on this for winning Best Picture. I found it really compelling though. 
  • Posted 3 days ago in Recently Watched Films
    There was a lot of speculation of who was going to appear in this as they go through the multiverse, but it's probably a good thing they didn't go overboard. The biggest issue is how they used the cameos they did include. One alternate character in particular, based on how overpowered their 616 version is, feels like they shouldn't have been killed so easily. And in general I'd have liked to have seen that team stick around longer. 
  • Posted 3 days ago in Recently Watched Films
    This has some missed chances and misteps in some ways, although I think I may actually admire it for just not completely giving into fan service. Otherwise this is quite a wild ride and for me one ups the first Doctor Strange movie (which I actually can barely remember). I'm really hoping though at some point the MCU (and we start calling it the MCM now, seriously) addresses why some people in different universes seem to always look the same (Doctor Strange and everyone who has more than one version in this movie) and why some are played by different actors (Spider-Man, Loki), who may exist in different times to each other (Spider-Man, again), other than just being fan service. 


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