Iron Maiden // The Final Frontier Rating: 4.0/5.0 — A great record… Label: EMI Websites: ironmaiden.com Release Date: EU: 08.13.2010 | US: 08.17.2010
Iron Maiden is the greatest heavy metal band to ever live. Thirty years after the release of their self-titled album, they are arguably just as relevant as they ever have been—not resting on their laurels and imitating a hits jukebox, but instead touring the world playing their new material to the joy of fans everywhere. After what was a rousing success with their most recent record, the 2006 release of A Matter of Life and Death, there is actually maybe a bit more pressure on the band to produce something that is quality, memorable and, frankly, classic. Especially with the rumors floating around that this is Maiden‘s final album, spurred even further on by the fact that Steve Harris helped write every song on the record, the pressure cooker of fan scrutiny is reaching fever pitch. And so it falls to this Angry Metal Guy to try to put all of this into some sort of context; to try to listen to my favorite band with fresh ears—and I’ve come to some realizations about the band in the process. Continue reading
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
First things first. Edenbridge is a long running, very professional and entertaining female fronted, epic/symphonic band from Austria. Now, as we prepare for the release of Solitaire, their seventh album, it’s time to face some inconvenient truths. As good as these guys (and girl) are at what they do, this is not metal and it strains sense and sensibility to be reviewing this on a website called Angry Metal Guy since there is nothing here the least bit angry, or metal. This is not an attack on Edenbridge and I mean no negativity since I actually like Edenbridge quite a bit, from their debut up to and including Solitaire. It’s just time to cast them out of the metal universe and into the world of mainstream music. Continue reading
It seems a sad fact that when one anticipates something and really looks forward to it, the chance of being disappointed increases exponentially. After Grand Magus unleashed their wildly impressive Iron Will album in 2008 (which was one of my favorite albums that year), I was extremely stoked for a follow up by this cadre of Swedish metal mongers but wondered if they could match or top the quality of that massive platter. Now that I have the anxiously awaited follow up in the form of their fifth album, Hammer of the North, my fears of being let down seem silly, because once again Grand Magus shows that they know how to craft top quality traditional heavy metal songs with a slight doom tinged edge. Continue reading
Thunderstone // Dirt Metal Rating: 3.0/5.0 – They’re going through changes. Label: SPV Websites: thunderstone.org | myspace.com/thunderstoneband Release Dates: Out Now Everywhere (I think!)
Whenever an established band parts ways with their original vocalist and brings in a replacement, long time fans rightfully get concerned. How will the new singer impact the band’s sound and style? Will he fit in or change the dynamic too much? That’s the situation facing Finland’s Thunderstone for their fifth album, Dirt Metal. After four pretty solid albums of Euro power metal with original frontman Pasi Rantanen, Dirt Metal starts the era of Rick Altzi on vocals. With this new era also comes the much dreaded and despised shift in sound and approach as well. Are you scared? Are you on edge yet? Read on.
Diabulus in Musica is a band that you’ve heard before dozens of times in different forms. There was a while when like every single band on Napalm Records sounded like them, but it is not a sound that is terribly popular in the year 2010. So while the band could be commended for releasing an album that sounds like Theatre of Tragedy or Epica in 2010 because they’re bucking the trend and doing their own thing, they could also be heavily criticized for sounding exactly like Theatre of Tragedy or Epica (more the latter than the former). I’m sure that the members of Diabulus in Musica are sick of being compared to Theatre of Tragedy and Epica, if they’re sick of that they should probably not read this review, because I am about to launch into a 500 word diatribe about how there has to be something new that can be done with the chick in a metal band thing, but that no one seems to be doing it. Continue reading
Trends often start off with a good idea or at least a respectable inspiration. However, through imitation and copying, that original idea becomes a trend and the trend gets boring, overdone and ultimately becomes a joke. The retro 80’s power metal trend is in full bloom and many would say the 80’s retro thrash movement has been overdone for years already. As someone who grew up in the 80’s metal era, I may possess more tolerance for this whole “retro” thing since it does this old heart good to hear a quality metal album that truly captures the sound, energy and spirit of a time long gone. Therefore, my review of The Empires of Inhumanity, the new release by German thrashers Fatal Embrace will be more charitable than what it would have received from other angry metal guys. In all fairness, these Teutonic shredders have been around since 1993 so they could rightfully be considered part of the original thrash movement rather than a retro band. Either way though, over four albums Fatal Embrace have demonstrated an unwavering dedication to the 80’s thrash style of Slayer and Sodom while foregoing all modern styles and current trends completely. Continue reading
The Swedish blogger (and ridiculously fucking metal) Demonia has posted some pictures and videos (in Swedish—though, she’s got Google translator embedded for the foreigners) from Blaze Bayley‘s show in Stockholm. I, being Poor Metal Guy, managed to miss this one, but hopefully they’ll be back soon (though, what with shedding their manager and drummer in the last few days I’m not sure when that’ll actually be). Anyway, the turnout seems like it was actually pretty damn good and the band is on. I have to say that their bassist (David Bermudez) is one of the best heavy metal performers I’ve ever seen. I commented on it from the live DVD, the dude is just a fucking beast. Los hermanos Bermúdez are pretty awesome in general, I’d say. I’ll post four here, but she’s got others on her blog and some on YouTube as well.
Here’s one of my favorite songs off of the mighty Tenth Dimension record:
And here’s “Faceless” from 2010′s Promise and Terror:
And of course, “Futureal” from the much maligned Virtual XI record. But once again the band shows that had that record had some production and energy it would’ve been a much better album.
Neal Kay, for those who don’t know, is widely credited with discovering and championing Iron Maiden way back in the day. Well, if that wasn’t service enough to the metal world, now he has helped bring us Northern Ireland’s classic metal masters Stormzone and their new album Death Dealer. This is no small accomplishment because, quite simply, this album is an absolute masterpiece of classic metal and full to the brim with top quality metal anthems. Stormzone is a band deeply entrenched in the early NWOBHM style and composed of musicians like vocalist John “Harv” Harbinson, with ties to bands of that era (Sweet Savage, Fastway). All the trappings of the British metal invasion are here and fans of that sound and seminal masters like of Saxon and Grim Reaper will immediately hear it in the sound and attitude exhibited on Death Dealer.
Stormzone sets the mood quickly with the title track, a muscular, battlefield tough rocker that showcases their stripped down, no nonsense instrumentation and the outstanding vintage metal vocals of Harv. This is the kind of song made to pump you up and perfect to roar down the highway blasting at top volume. The guitar work from Keith Harris and Chris Polin recalls the dueling guitar work of Judas Priest at their best and really keeps the show moving and shaking as Harv spins his tales of war, battles, heroism and loss. Harv bases his vocals mostly around a mid-range, tough guy delivery style not too dissimilar from Blaze Bayley, but he can hit the higher notes when the songs call for it. Time and time again, his phrasing and vocal choices further elevate already superior songs to a superb level while adding that extra layer of coolness and punch. Lyrically, Death Dealer borrows heavily from the old Manowar albums with odes to courage, bravery, warrior spirit and all such Angry Metal Guy Approved Topics™ but none of it comes across as overly corny or cheesy.
Song after song on Death Dealer showcase a writing and performing prowess that has to impress since all twelve songs are addictive, hook-laden metal monsters. Over the 70 plus minutesof Death Dealer, things never get boring or stale and you get treated to one huge vocal or guitar hook after another. Although this is great from start to finish, extra special gems include the title track, “Secret Gateway,” “Immortals,” “The Legend Carries On,” and “Greatest Sacrifice.”
The mighty Neal Kay himself assisted with the production and he has carved a sound that is completely bare bones and devoid of any trace of modern elements or studio wizardry. This is a minimalist work of metal genius. Sound-wise, Death Dealer seems to purposely mimic the production found on metal albums recorded in 1980-1984 and sports that odd, tinny but cool sound Carl Canedy frequently gave albums he produced around that time (think Overkill’s Feel the Fire or Anthrax’s Spreading the Disease).
Death Dealer is top quality metal from beginning to end with everything coming together exactly right. Importantly, you don’t have to be a fan of the retro metal movement to appreciate what these guys have accomplished here. This is an album for any fan of the metal genre and is a strong candidate for best metal album of the year. This gets the highest possible rating and recommendation. Don’t miss this release for verily it doth rock. Thanks again Neal!!
Nevermore // The Obsidian Conspiracy Rating: 4.0/5.0 – Less complex, more accessible, don’t freak out! Label: Century Media Websites: nevermore.tv | myspace.com/nevermorefans Release Dates: EU: 31.05.2010 | US: 06.08.2010
Nevermore has always held a special place in the metal community with both fans and other bands alike looking up to and respecting them. It isn’t hard to see why they command this level of respect, with world-class guitarist Jeff Loomis and vocalist extraordinaire Warrel Dane both calling Nevermore home. Because of this high profile and superb talent, a lot is expected from Nevermore and for the most part, album to album, Nevermore have consistently delivered the goods. Therefore, the arrival of a new slab of metal from these guys is always a pretty big deal and after waiting five years since The Godless Endeavor, we finally get The Obsidian Conspiracy.
Right off the bat it becomes obvious The Obsidian Conspiracy is a bit of a departure for Nevermore. While the trademark Nevermore elements are all still present, long-time fans may notice this is less complex and more accessible than The Godless Endeavor and other older works. Now, before diehard Nevermore fans get their panties in a bunch and jump out a window, this is still classic Nevermore and a very technical album with some very heavy moments. Additionally, this is far from some pop metal album. When I say accessible, I mean in the context of past Nevermore albums, which could be very dense and heavily technical and require patience to get into. Here however, the songs are all shorter in length than on previous albums, some tracks are instantly memorable and others quickly become so. For example, both “Emptiness Unobstructed” and “And the Maiden Spoke” jump out and stick in your head very quickly. I don’t recall this being the case with earlier albums, especially The Godless Endeavor. Perhaps the added accessibility comes from a growing maturity as songwriters or maybe some of it bled over from Dane’s solo album. Whatever the cause, the result is a collection of well crafted songs which ebb and flow very well from mood to mood.
As The Obsidian Conspiracy unfolds, you get everything from classic progressive thrash (“The Termination Proclamation,” “The Obsidian Conspiracy”), to brooding, morose epics (“Andthe Maiden Spoke,” “The Blue Marble and the New Soul”) all the way to more straight-forward metal (“Your Poison Throne,” “Emptiness Unobstructed”), all past elements of the Nevermore repertoire are showcased well even in the more accessible format.
Mood-wise and lyrically, this is definitely not an uplifting, feel good album. It oscillates between rage, despair, grief and other sinister, haunting emotions, all expertly presented by the writing and execution of some truly top flight musicians. Warrel Dane’s vocals shine as always and few are as convincing at emotional expression. It’s easy to believe Dane feels the pain of the lyrics he creates and sings and it makes the songs much more powerful. Similarly, Jeff Loomis shows he can write technical yet accessible riffs and keep things powerful and energetic even during the slower, moodier tracks.
At the end of the day, this is a Nevermore album so you know it will be quality and contain excellent musicality. The Obsidian Conspiracy has no truly weak tracks and is interesting throughout its varying moods. The added accessibility makes the material easier to digest and appreciate for the average listener, yet this hasn’t caused the music to lose its edge or overall technicality. While I can foresee some negative feedback forthcoming for the slight shift in style and some considering this a disappointment of sorts, don’t be swayed. This is still Nevermore and it’s a solid, quality release and definitely worth checking out.
Iron Maiden is the greatest heavy metal band to ever live. Thirty years after the release of their self-titled album, they are arguably just as relevant as they ever have been—not resting on their laurels and imitating a hits jukebox, but instead touring the world playing their new material to the joy of fans everywhere. After what was a rousing success with their most recent record, the 2006 release of A Matter of Life and Death, there is actually maybe a bit more pressure on the band to produce something that is quality, memorable and, frankly, classic. Especially with the rumors floating around that this is Maiden‘s final album, spurred even further on by the fact that Steve Harris helped write every song on the record, the pressure cooker of fan scrutiny is reaching fever pitch. And so it falls to this Angry Metal Guy to try to put all of this into some sort of context; to try to listen to my favorite band with fresh ears—and I’ve come to some realizations about the band in the process. Continue reading
