Angry Metal Guy

Blind Guardian // At the Edge of Time
Rating: 2.5/5.0 — Some shimmers of glory, but not a total return
Label: Nuclear Blast (EU | US)
Websites: blind-guardian.com | myspace.com/blindguardian
Release Dates: EU: 30.07.2010 | US: 08.24.2010

Blind Guardian is easily one of the most unique bands that modern metal has ever encountered. I really do think that they are one of the most original acts to ever come out of any scene, sub-genre or crevace within the greater history of metal. Combining bay area thrash influence with a German power/thrash legacy and sprinkling liberally with Queen, this German act has been at the forefront of power metal and progressive metal since Imaginations from the Other Side (for sure, and probably even before that). Few bands in metal command the kind of insane loyalty from their fanbase and few bands ever deserve that kind of loyalty, frankly. Even for me, personally, Blind Guardian was one of the bands that really got me exploring modern power metal. I picked up Nightfall in Middle-Earth and my life was forever changed. That record still ranks in my top 10 of all time, easily. Continue reading

Amorphis // Forging the Land of Thousand Lakes
Rating: 4.5/5.0 — The first time I’ve ever recommended a DVD
Label: Nuclear Blast (EU | US)
Websites: amorphis.net | myspace.com/amorphis
Release Dates: EU: 09.07.2010 | US: 07.13.2010

Amorphis is a band that needs no introduction, particularly if you’ve been reading this zine for more than a few weeks. When Skyforger came out in 2009, I was fortunate enough to be able to catch it on MySpace at the time and put up a review of it on this site: it was actually one of the first things that started increasing traffic to this site. At the time that I wrote the review I was particularly laudatory of the band’s new material. Despite the wave against them because they never re-wrote The Karelian Isthmus or Tales from the Thousand Lakes again, I have been nothing but enchanted by the last three albums. They are, for lack of a better word, genius. Modern, melodic metal done with class and style, Eclipse, Silent Waters and Skyforger are three of the best album from the 2000s and have re-established the legacy of a band that has seemed to have lost its way at times. Continue reading

Soilwork // The Panic Broadcast
Rating: 3.0/5.0 — Commercial as hell…
Label: Nuclear Blast (EU | US)
Website: soilwork.org | myspace.com/soilwork
Release Dates: EU: 02.07.2010 | US: 07.13.2010

Wow. So, it’s been like 10 years since I’ve listened to Soilwork and it turns out that they don’t sound at all even remotely the same. Sometimes a band falls off your radar and you don’t even think about them at all and honestly, Soilwork is one such band. Now, it’s probably not a surprise to anyone else but I was in utter shock when I turned on The Panic Broadcast to discover that the Gothenburg sound had totally been replaced by eurocore! See, now you’re laughing at my ignorance, but I’m a bit surprised. See, in Angry Metal World™ the last record that Soilwork released was actually The Chainheart Machine in 2000. And back then, these guys were playing a not-entirely-novel, but very, very good version of the Gothenburg sound. Turns out in the much lamer real world Soilwork has had a bunch of records and gotten a new vocal style, a new sound and hyper-produced. Continue reading

Equilibrium // Rekreatur
Rating: 2.0/5.0 — Happy but boring
Label: Nuclear Blast (EU | US)
Websites: equilibrium-metal.net | myspace.com/equilibrium
Release Dates: EU: 18.06.2010 | US: TBA

Equilibrium hit the world right in the face when Sagas was released a couple years ago and they really became a folk metal (pagan metal, viking metal, whatever the fuck you want to call it) sensation. And sensational is really how many people experienced that record. It was like a cross between Finntroll, Ensiferum, Turisas and Rhapsody of Fire: unceasingly melodic, over-the-top, ridiculously happy and engaging as hell. In 2010, now, this elite German act is returning with a follow-up to what is already considered to be a classic in the genre, with their third record entitled Rekreatur. How could it possibly live up to all the expectations? Continue reading

Exodus – Exhibit B: The Human Condition
Rating: 3.5/5.0 – Last of their tribe
Label: Nuclear Blast (EU | US)
Websites: exodusattack.com | myspace.com/exodus
Release Dates: Out Now Worldwide

Back in the olden days of the original 80’s thrash invasion, it seemed Exodus always got a raw deal and lost out on the respect and exposure as one the top dogs of the movement. While Metallica, Slayer, Medadeth and Anthrax hogged the lion’s share of the limelight, Exodus was always relegated to second tier status. That’s all water under the bridge nowadays and Exodus has been on a serious comeback tear since 2004’s Tempo of the Damned all the way through 2007’s The Atrocity Exhibition – Exhibit A. With this second lease on life, Exodus has essentially surpassed all the former top dogs by virtue of being the last band standing and still releasing quality, worthwhile metal music. Now comes the second part of the Atrocity Exhibition series, Exhibit B: the Human Condition and Exodus seems damned determined to hold onto their newfound position.

Continue reading

Sabaton // Coat of Arms
Rating: 3.0/5.0 – These arms are getting tired
Label: Nuclear Blast (US | EU)
Websites: sabaton.net | myspace.com/sabaton
Release Dates: EU: 21.05.2010 | US: 06.29.2010

Like a deranged history teacher who converts the chapter on World War Two into a classroom metal show, Sabaton blasts away about war, war and more war. Call it war metal or battle metal or what have you, but these Swedes are obsessed with the topic and their fifth album Coat of Arms keeps the artillery barrage firing without mercy. Coat of Arms brings you ten new tales of historical battles and famous soldiers in their unique heavy metal/power metal style without much in the way of change from 2008’s The Art of War release.

Sabaton is usually labeled a power metal band although they are quite different than most artists of that genre. Helping set Sabaton apart are the unique vocals of Joakim Brodén. Mr. Brodén uses a deep, low-register delivery that fits the military themed material well as it sounds like he is shouting orders on the battlefield. Only Dark at Dawn’s Thorsten Kohlrausch has a style anywhere near it. To compliment the commanding vocals, Sabaton employs heavy guitars that veer toward Fear Factory staccato riffing at times, along with heavy keyboard flourishes for extra dramatic effect. As on The Art of War, these elements merge to create a very dense wall of sound and at times sounds very industrial.

While I did buy into Sabaton’s earlier albums (especially Attero Dominatus), I admit to growing a little tired of their approach and one trick pony lyrical theme by the time The Art of War came along. However, there were a few stellar songs on that album that I still spin regularly while neglecting the rest. The same will likely be true for Coat of Arms. There are a few standout tracks and some that will be forgotten quite quickly. Songs like the title track, “Midway,” “Screaming Eagles” and “Saboteurs” all showcase what Sabaton does very well. These are rapid fire, heavy and fist pumping but still manage to be catchy as hell. Each of these tracks would be perfect to crank while working out because they really fire you up and gets the blood flowing. If Coat of Arms had more songs of this caliber (sorry, bad pun), it would garner a high rating.

Sadly, several tracks fall prey to sub-standard writing and a few are sabotaged by awkward, cheesy choruses (“The Final Solution,” “Aces in Exile,” “Wehrmacht”). Also putting a damper on my appreciation of Coat of Arms is the nagging feeling this is too much of the same thing over and over. From album to album and track to track, Sabaton is rehashing one limiting theme without variation and although war is a great topic for metal, this singular thematic focus is getting old for me.

Worth mentioning is album closer, “Metal Ripper.” As on past albums, Sabaton throws in a tribute to classic metal with a song that’s essentially a mash-up of famous riffs and lyrics. Fun can be had picking out the myriad of metal references. It’s actually a decent song too and saved this from a 2.5 rating.

If you loved The Art of War, you should feel pretty much the same about Coat of Arms. There isn’t much difference between the two albums. If you are unfamiliar with Sabaton, give it a shot. They hit the target more often than not, but like war itself, too much of it can leave you shell shocked and disoriented.

Avantasia // Angel of Babylon
Rating: 4.25/5.0 — Excellent (but not as good as TWS)
Label: Nuclear Blast (EU | US)
Websites: tobiassammet.com | myspace.com/tobiassammet
Release Dates: EU: 03.04.2010 | US/CA: 05.04.2010

Tobias Sammet, the voice of Edguy and mastermind behind Avantasia,  clearly doesn’t mess around when it comes to self-confidence and ambition.  Few artists would have the sheer cojones to undertake as daunting of a project as a double album with over 2 hours of music featuring no less than 19 guest musician.  That however is exactly what he serves up with The Wicked Symphony and this album, Angel of Babylon (being Parts II and III of The Scarecrow trilogy respectively).

Both halves of this double album focus on epic, symphonic and bombastic power metal and as you may or may not have noticed, I loved the companion album The Wicked Symphony.  Angel of Babylon continues right where Symphony leaves off and gives you yet another whole hour of over- the- top, melodramatic metal goodness.  I will say upfront that this is the weaker of the two albums. However, that difference is minor and Angel is still chock full of amazingly conceived and executed metal anthems loaded with stellar performances by a veritable “who’s who” of the metal universe.

Look no further than the opener, “Stargazers” to see what I mean as Tobias, Jorn Lande, Russell Allen and Michael Kiske join forces to pummel and enthrall with vocal brilliance in a 9 minutes plus masterpiece of pure metal.   What makes this song work over its considerable  length is the way Tobias allows his guest vocalists to share the spotlight with him and showcase their individual vocal prowess. Of course, none of that would matter if the song itself wasn’t worth the talent involved. Fortunately, Tobias brought his best to the composing table and the overall pacing and ebb/flow of this song is perfect.  In fact, it’s over before you realize it, which is the sign of a good song.

From there we get a traditional metal gem in the title track.  This song rocks hard and rides free with a great riff line and epic dueling vocals between Tobias and Jorn Lande, who once again shows why he is considered the “voice of rock.” Quite simply, this man can shake the rafters with his gruff and powerful delivery.  The Tobias/Jorn dueling duet formula works even better later on with ”Promised Land,” another storming metal anthem  with a no- holds- barred vocal war being waged .

Angel shakes things up and takes more chances  than The Wicked Symphony, especially with “Death is Just a Feeling” where Tobias teams up with Jon Oliva of Savatage and Trans-Siberian Orchestra fame, for a strange, eerie ditty that drifts back and forth between horror movie soundtrack and screaming metal powerhouse.  This song really grows on you and has some great whiskey soaked vocal work by Oliva.  Likewise, “Symphony of Life” provides another twist with its gothic, moody rock style with excellently performed vocals by German rock singer Cloudy Yang (who also provided backing vocals on Edguy’s Tinnitus Sanctus).

The album winds down with “Journey to Arcadia,” another lengthy tour de force with Tobias, Russell Allen, Jorn Lande and Bob Catley all throwing their weight around vocally.  This one builds nicely and  keeps the listener onboard by continual changes in pace and power and concludes things on a high note.

Looking back over the course of the 11 tracks on display, only “Alone I Remember “ failed to initially impress, but even that song improved with repeated listens.  As a longtime fan of traditional and power metal, all I can say about these two albums is, WOW! Wicked and Angel have both been in nonstop rotation in my car, iPod and home stereo and with 22 tracks, you get a ton of variety which keeps things from getting stale too quickly.  Tobias Sammet has outdone himself and truly proven himself to be a great songwriter as well as a great metal voice and he should be proud of what he has accomplished on Angel and The Wicked Symphony. I don’t envy him should he ever attempt to top this double masterpiece but I sure hope he gives it a shot.

Avantasia // The Wicked Symphony
Rating: 4.5/5.0
Label: Nuclear Blast (EU | US)
Websites: tobiassammet.com | myspace.com/tobiassammet
Release Dates: EU: 03.04.2010 | US/CA: 05.04.2010

So here we have The Wicked Symphony, one of two new albums released this week by Avantasia, the brainchild of one Tobias Sammet  (Angel of Babylon being the companion album).  Many of you likely know Mr. Sammet as the singer of German power metallers Edguy.   Avantasia is his long running mega-sized side project where he collaborates with varied musicians across the metal/hard rock spectrum and experiments with moods and sounds that might not necessarily fit within the paradigm of the more straightforward Edguy.  Wicked Symphony and Angel of Babylon complete the trilogy started by 2008’s Scarecrow album.  For an easy point of reference, think of Avantasia as a more metalized and less (but still quite) self-indulgent version of Ayreon.

Upfront, I will admit that my humble take on musical projects with numerous guest musicians is that they tend to be  dicey propositions and keeping a sense of consistency, flow and unity from track to track can be tough to pull off.  Therefore, with all relevant biases identified for your benefit, my cynical self approached this with suitable caution, suspicion and skepticism.

After a very Conan the Barbarian-esque opening, the festivities kick off in fine form with the title track, a rousing, stomping number with Tobias engaging in very effective dueling vocals with Jorn Lande (Jorn, ex-Mastermind) and Russell Allen (Symphony X).   Even at nine plus minutes, the song never gets boring because of the sheer quality of songwriting and musicianship on display.  This is 100% epic, bombastic power metal with memorable hook after hook.  If I were forced at gunpoint to compare it to a more established band, I would have to say Episode era Stratovarius.

From there we get Tobias accompanied by the legendary Klaus Meine of Scorpions fame on “Dying for an Angel” (the first single and video) with Meine’s vocal lines really sounding classy and oh so familiar and adding a real legitimacy to the proceedings.   Thereafter we get “Scales of Justice” with the mighty Tim “the Ripper” Owens sounding extra mighty and in full air raid siren mode.  This track sounds like it could have been lifted right off of Judas Priest’s Jugulator (if that album didn’t suck) and is pretty damn heavy!  Both songs benefit from the trade off vocal approach and catchy songwriting with big choruses that really get stuck in your head after one or two listens.

What makes this album (and Angel of Babylon) work is the fact that Tobias is a gifted songwriter with a knack for wringing the maximum power and drama from his guest’s performances as well as making things memorable and catchy as hell.  It is important to note that the musical focus of all the tracks is centered around the vocals rather than the guitar.  This works because Mr. Sammet clearly did his homework and selected some major metal talent to join the campaign and his hired guns do not disappoint.  At times it sounds like each is trying to outdo the others for the title of Lord of Metal Pipes (with Jorn usually winning by sounding like he just gargled moonshine before recording his vox).  A perfect example of this vocal combat is Runaway Train where Tobias, Jorn Lande, Bob Catley and Michael Kiske (of old school Helloween fame) all hurl vocal lines at each other over the course of a slowly building eight minute plus epic power ballad.

Despite featuring different singers and musicians from track to track, the entire album manages to feel like one cohesive whole and that whole kicks a whole lot of ass!!!  If there is a downside, it’s that a few songs lack the power and punch of the previously mentioned standout cuts, though none are complete throwaways.  If you forgive the minor filler, this is a standout vocal driven power metal album that really lets the vocals do all the talking! Highly recommended to power metal aficionados.

Cathedral – The Guessing Game
Rating: 2.5/5.0 – It’s Cathedral, Jim, but not as we know it…
Label: Nuclear Blast (EU | US )
Websites: myspace.com/cathedral | cathedralcoven.com
Release Date: EU: 26.03.2010 | US: 04.20.2010

After five long years, doom metal fans everywhere are graced with a new record from Coventry occultists, Cathedral. At thirteen tracks on two discs, The Guessing Game seems a fitting followup to 2005′s doom epic, The Garden of Unearthly Delights, which this angry metal guy thinks was their finest offering since their first three albums. All the elements are here – the same line up since Carnival Bizarre; groovy riffs; trippy cover art by Dave Patchett; the usual mix of mythology, literature and occultism that makes Cathedral‘s lyrics so much fun to listen to and read – but does that guarantee a stellar album?

Upon first listening to The Guessing Game, it is evident that Cathedral have decided to look back to their traditional doom metal roots: the tracks are more subdued and even in the most groove-laden riffs, there is a feeling that something is being held back. It sounds to me like Cathedral are trying to break out of their formula by adding new elements to the fray and bringing the old from left-field. Tracks twist and turn through familiar and uncharted territory, a good example of this is in opener “Funeral of Dreams” where a classic sounding Cathedral riff gives way to Lee providing rhythmic spoken words over a passage that would not sound out of place on Sgt. Peppers’ Lonely Hearts Club Band. Another example is in “Cats, Incense, Candles & Wine” where a psychedelic acoustic passage with simple crooning suddenly mutates into a high-octane, disco-tinged belter.

These changes keep the songs fresh and this album is certainly not boring but at the same time there is still something lacking, even in the much more pedestrian dooming of “Death of an  Anarchist”, “Edwidge’s Eyes” and the eerie “Requiem For the Voiceless”.

Despite this missing X-Factor, one thing that cannot be faulted is the instrumentation. Everyone is on top form for this album: the guitars are precise, the bass solid and rhythmic, the drums in time and varied and Lee does some impressive vocal gymnastics for his age. Other critics have bulleted Dorrian for his usual tunelessness on this effort, but I feel it adds to the character of the album, making it dirtier and more twisted and ultimately if you are a Cathedral fan, you should not really notice. The way the vocals drag through “Requiem for the Voiceless” and “Edwidge’s Eyes”, my two stand-out tracks, makes them dark and unpleasant; and at the end of the day, isn’t that what doom metal is all about?

While the album spans two CDs, the actual running time of the album is only a few minutes over a single CD. This is horribly frustrating, especially faced with “filler” tracks like “Immaculate Misconception” and “One Dimenstional People” opening each disc. Of course, they add to the album experience, but are they really necessary? The double-disc feature feels more like a gimmick than anything else; a way of dressing up the album as “bigger and better” than its predecessors. When I get a double-disc, I want one hundred-plus minutes of mind-blowing music, not be forced to have a brief interval between halves.

My other gripe with The Guessing Game is that the groove of Cathedral‘s music seems to have been forsaken, favouring more progressive psychadelia. This album lacks a “Hopkins”, a “Midnight Mountain” or a “Tree of Life & Death”, which really upsets me as a long time Cathedral fan. One of the things that makes their earlier albums so enjoyable is the catchy, singalong choruses filled with simple, punchy, groovy riffs. That “classic” Cathedral sound seems to have been left by the wayside with The Guessing Game and as a result, the album feels poorer for it.

I want to like The Guessing Game. I really do. I am desperately hoping that it is a “grower”, but this is a prime example of where the hype has surpassed the album and fans are left with a slightly substandard product. All of the noise and excitement created by the presentation and the predecessors means that this rather lackluster album falls flat.

Tarot // Gravity of Light
Rating: 3.0/5.0 – Good moments but too inconsistent
Label: Nuclear Blast (EU | US)
Websites: wingsofdarkness.net | myspace.com/tarot
Release Dates: EU: 23.04.2010 | US: 06.18.2010

Talk about a long-suffering, unheralded and unsung band! Tarot has been slogging through the metal trenches in relative obscurity outside of their native Finland since 1986. For many non-Finnish folk (myself included), Tarot was an unknown quantity until lead singer and founder Marco Hietala joined up with Nightwish in 2002 for their Century’s Child outing, thereby drawing much needed attention to his primary recording outfit. It has been nearly four years since 2006’s Crows Fly Black, but finally the metal underdogs of Tarot are back in action with their eighth album, Gravity of Light.

Tarot is easy to like and even easier to root for. They are not a “thinking man’s” metal band nor a “post rock/blackened jazz fusion blah blah blah” band. No, Tarot slings the metal hash, kicks your ass and lets Satan sort out the mess thereafter. Tarot is not a crushingly heavy band and generally walks a line between power and traditional metal while tossing in more than a little melody (i.e. lots of keyboards). In fact, one of my issues with Tarot has always been wishing they were slightly heavier. When they want to tear it up, they do it well, but all too frequently for my taste, they dial back and move into more mellow and sedate musical territories. Sadly, that pattern continues here and Tarot teases with some solid heavy metal before drifting back to an almost hard rock style at times.

Gravity of Light comes barreling out of the gates with an energetic Accept/Judas Priest/Euro metal attack while utilizing a killer dual vocal attack by Marco and Tommi Salmela. Marco possesses a seriously unique set of pipes (like the evil spawn of Blackie Lawless and Udo Dirkschneider) and his voice may be a love or hate proposition, but he surely can let it rip when the song calls for it. It helps that the production places Marco’s patented squeal front and center while leaving enough emphasis on the guitar so it’s still prominent rather than muted in the background (which kills a metal record faster than having the name St. Anger on the cover).

The first 4 songs on Gravity of Light all show Tarot in top form with catchy, rocking, classic metal moments that get your head shaking and fist pumping (especially “Satan is Dead” and “Pilot of All Dreams”). Sadly, the level of these songs isn’t maintained throughout and several just seem to drag on without much energy (ex. “Magic and Technology”). Further unhinging the album, some tracks, although energetic enough, are simply lackluster. This brings me to my second and far more serious issue with Tarot. While they definitely have what it takes musically, at times on past albums and here again on Gravity of Light, the songwriting has been far too inconsistent. For every quality metal stomper (“I Walk Forever“, “Sleep in the Dark”) we get one or two tedious, lethargic tracks.

It’s a very frustrating experience to wish a band was better than they really are, but you simply can’t overlook the fact that some of Tarot’s output is just plain and generic. This is even more troubling because I think Marco is one of the more interesting singers in metal and I really want to hear him on better material than this.

Gravity of Light is a weaker album than Crows Fly Black and although there are a few worthwhile songs on display, this is neither exceptional nor essential. In a market as crowded as heavy metal has become, I can’t see this gaining much attention outside of Finland and in some ways that is a shame. I firmly believe Marco and company have it within themselves to write a monster metal album, but this is not it.