Angry Metal Guy

Riot // Immortal Soul
Rating: 5.0/5.0 — Johnny’s back…again!!
Label: SPV Records
Websites: riotrockcity.com | myspace.com/riotonline
Release Dates: EU:  Out now!  US: 11.22.2011

Steel Druhm is as happy as a pig in shite! You see, one of my all time favorite metal albums is Riot‘s Thundersteel. Although it was released way back in 1988, I still listen to it regularly and felt the burning need to write a Retro-spective Review of it a few months ago to spread the gospel. So masterful was that platter, Riot never even came close to equaling it with their later output. In fact, the immortal Thundersteel lineup only recorded one more album together (the very good Privilege of Power) and after that, things dropped off a lot. Now, twenty-three long years later, that powerhouse lineup has reunited to record a proper followup to their magnum opus. Naturally, I was skeptical they could re-bottle the might and magic and create something as brilliant, especially after so many years. Well, I was wrong to doubt, because Immortal Soul is the modern day version of Thundersteel and the best album of 2011 (so far). It has everything that made the Thundersteel sound so intoxicating.  There’s speed, power, wailing vocals, blistering guitars, top-flight song writing, amazingly catchy melodies, choruses and smart lyrics. It’s a winner every way an album can be and its the record I’ve been praying for Riot to write since ’88. If you love the classic, traditional sounds of Judas Priest (think Painkiller), Iron Maiden and especially American acts like Jag Panzer and old Agent Steel, this will blow you away. If you, like me, loved Thundersteel, prepare to be stunned, stupefied and shellacked. Continue reading

Voyager // The Meaning of I
Rating: 5.0/5.0 — In space, no one can hear my fanboyism.
Label: Sensory Records
Websites: voyager-australia.com | myspace.com/voyageraustralia
Release Dates: October 11th, 2011 [Worldwide!]

Now here’s something quite a bit different! Australia’s Voyager has been tinkering with their odd blend of progressive space metal for a while now. However, here on album number four The Meaning of I, they’ve really hit on the perfect blend of influences and styles. Taking elements of traditional, power, progressive and even death metal, Voyager fuses it all together and the result is an odd, hyper-melodic and unique album that’s as intelligent as it is catchy (and its VERY catchy). As a big fan of their 2009 release I Am the Revolution, I expected great things and even I was surprised by how good this ended up. With traces of Nevermore, Star One, Tyr, Pagan’s Mind, Scar Symmetry, Vanden Plas and Anubis Gate swirling about in a creative maelstrom, you should certainly expect the unexpected. Despite the plethora of influences, The Meaning of I ends up a cohesive and compelling release with one killer song after another and brains til Tuesday. In case that doesn’t have you interested yet, they may be the only metal band currently using a melodica both in the studio and live. Call them spacey-prog or astral-metal but whatever tag you throw on them, they rock muchly. Can you tell Steel Druhm is impressed? He is.

Continue reading

Rhapsody of Fire // From Chaos to Eternity
Rating: 5.0/5.0 — From awesome to better!?
Label: Nuclear Blast [EU | US]
Websites: rhapsodyoffire.com | myspace.com/rhapsodyoffire | facebook.com/rhapsodyoffire
Release Dates: EU: 17.06.2011 | US: 07.12.2011

Rhapsody of Fire is like the kyrptonite of Angry Metal Guy’s Law of Diminishing Recordings™. While they did have diminished recordings when they signed with Magic Circle Records (PRO-TIP: the “magic circle” in question is your anus… which will get fucked by Joey DeMaio), the last two years have been tremendously productive for these Italians. First, they came back with 2010′s The Frozen Tears of Angels which was an amazing success by all accounts and received a raving 5/5 review from me. Then they released The Cold Embrace of Fear which wasn’t exactly the greatest thing they ever did, but it was good and had some solid songs even if it contained far more voice acting than I’d've liked (“IT’S AN AVALANCHE!!”). And they managed to drop a guitarist and pick up another one (by the name of Tom Hess) on the way. But now this. From Chaos to Eternity. Continue reading

Falconer // Armod
Rating: 5.0/5.0 — Falconer strikes it rich
Label: Metal Blade
Websites: falconermusic.com | myspace.com/falconermusic
Release Dates: EU: 2011.06.06 | USA: 06.07.2011

I hate Falconer. Okay, that’s not really true, but I have never liked Falconer, let’s put it that way. I first got wind of these guys with the publication of their second album Chapters of a Vale Forlorn and I was very unimpressed. Since then I’ve heard a things here and there, and nothing convinced me away from my previous conviction. I didn’t think what I heard was particularly good, nor did I think it was particularly interesting. In spite of the fact that I’m a huge fan of guitarist Stefan Weinerhall and drummer Karsten Larsson’s previous project Mithotyn (an absolutely underrated band), the power metal tinged Falconer never did anything for me at all.

That is, until I heard Armod. Continue reading

Moonsorrow // Varjoina Kuljemme Kuolleiden Maassa
Rating: 5.0/5.0 — A Masterpiece
Label: Spinefarm
Websites: moonsorrow.com | myspace.com/moonsorrow
Release Dates: UK: 21.02.2011 | EU: 28.02.2011 | USA: Unknown

Moonsorrow is one of the few bands I can think of that no one I know doesn’t like. They seem to unite all fans of underground metal because of their amazing music and authenticity. Let’s face it, a band who writes 15 minute dirges in their native, and arguably alien, tongue doesn’t want for authenticity. Only a few other bands I can think of, like Primordial and Enslaved really have the respect of everyone in what they do. It’s like they’re playing on another plane of existence or something. That, predictably, raises expectations for new Moonsorrow records through the roof (to say the least). But unlike others, Moonsorrow never fails to deliver and Varjoina Kuljemme Kuolleiden Maassa (Like Shadows we Walk through the Land of the Dead) is a monument to what atmospheric black metal should be like and to Moonsorrow‘s impeccable legacy. Continue reading

Stormzone // Death Dealer
Rating: 5.0/5.0 – It’s raining true metal!!
Label: SPV / Steamhammer
Websites: myspace.com/stormzoneuk
Release Dates: EU. 03.05.2010 | US: 05.04.2010

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 minutes of 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!!

Pain of Salvation // Road Salt pt. 1 – Ivory
Rating: 5.0/5.0 — A stellar re-invention that should bring you to tears
Label: InsideOut
Websites: painofsalvation.com | myspace.com/painofsalvation
Release Dates: SE: 14.05.2010 | EU: 17.05.2010 | US: 06.08.2010

One would assume that an Angry Metal Guy wouldn’t be handing out high scores willy nilly, something I seriously try to avoid doing. But apparently 2010 is a year filled with really fantastic albums by bands doing the things that, as a reviewer, and more specifically, as a music-lover, I have trouble not totally falling for. Pain of Salvation has never been a band that I personally fell for. Scarsick, the band’s 2007 release, was a record that I had issues with and I’ve had some personal gripes about Daniel Gildenlöw’s vocals on the older material (specifically his wannabe Mike Patton rappy/talky vocals). But, that said, Pain of Salvation has long been the darling of the progressive rock and metal scene, with legions of fans who love their technical prowess and pop sensibility.

Road Salt, then, stands to be a great disappointment for a large number of fans who are looking for neo-progressive sensibilities. This is simply not the same band that put out The Perfect  Element (Part I). There is nothing on this record that should outright appeal to metal heads and fans of tech music. But there’s something else, and something that in my opinion places this album on a different plane than 99% of albums released this year, an emotional depth, beauty, fragility and, lastly, dirtiness that makes this album a fantastic journey and easily my favorite Pain of Salvation to date.

Road Salt is still a prog record, however, it’s just way more a 70s rock influenced album that places the band into the same arena as bands like Porcupine Tree, Anathema, Guilt Machine and their ilk. And when I say “70s rock influenced”, let me be totally clear: this is an album that is built to sound like it was recorded on analogue equipment in a room with brown shag carpeting, made by bearded men in bell bottoms who’d smoked a little bit too much hash. The guitar tone screams Hendrix, the vocal harmonies mimic the soul harmonies of folk musicians like Kris Kristofferson and the moog organ is something that you’ve heard a million times while digging through your dad’s record collection. Hell, even the build at the end of the first track “No Way”, sounds like it came off a Trettioåriga Kriget record. And there’s nary a technical wank solo to be found on this album. No, instead the album is based a lot around blues rock—a thing that this Angry Metal Guy hates with a total passion.

But from the opening notes of this album, I was moved emotionally in a way that I think no record has done almost ever. Gildenlöw’s vocal performance is perfect—it is emotionally evocative, huge and sweeping and amazing. His emotional performance reshapes good (or excellent) music into something that is epic and transformative. By bringing his prog and non-blues rock influenced sensibilities to the entire genre and then placing his vocal perfection over songs like “She Likes to Hide”, “Sisters”, “Linoleum” and probably the most evocative of  all the tracks on the album “Road Salt”, Gildenlöw and Pain of Salvation create a sound all their own in what is easily the most overdone genre in the history of mankind. Turning the sounds of 60s and 70s rock and blues into something unique in 2010 is a magical feat, honestly. I have trouble wrapping my mind around how it was done.

In the end, this is an album that should make your heart ache. There is a sadness that really permeates the album. And in an era when hard rock and metal is so incredibly impersonal, when every other record is faux hate and anger or clichéd nonsense, it is beyond refreshing to have band produce material that is so emotionally poignant and beautiful. On top of that, of course, is the fantastic production of this album, mixed with the superb quality of musicians involved in the whole production and you have the formula for what is easily one of the best albums of the year—and one of the best albums I have heard in a really, really long time.

Rhapsody of Fire // The Frozen Tears of Angels
Rating: 5.0/5.0 — The Rhapsody record you’ve been waiting for…
Label: Nuclear Blast (EU | US)
Websites: rhapsodyoffire.com | myspace.com/rhapsodyoffire
Release Dates: EU: 30.04.2010 | US: 06.29.2010

It seems forever since Italian power metallers, and just generally over-the-top crafters of Symphonic Hollywood Metal (or as I called it in one of my very earliest reviews “Sword Swinging Elf Metal”) produced an album. And really, in terms of the modern music industry it has been a very long time. Rhapsody of Fire‘s last album, Triumph or Agony, was released in 2006 to almost no fanfare. I didn’t see a single advertisement for the album, I never knew that it was being released and I had no idea that they had even been working on a new album at all. One day I just walked into my local record store and saw it on the shelf there. The total lack of build-up foreshadowed how I felt about the album, and frankly the record that had gone before it: it lacked what I was looking for in a Rhapsody of Fire album. The guitar orientation was gone, the songs were not as huge, the guitar not as bombastic and the feel was generally one that I just could never really get into. Both Symphony of Enchanted Lands pt. II and Triumph or Agony, while technically filling the standards set by the band, certainly didn’t live up to what I see as the band’s crowning jewel Power of the Dragonflame.

So, that should give the reader the standard by which I judge The Frozen Tears of Angels. How does it compare to Power of the Dragonflame? Well, I can proudly say that this is the record that I expected Symphony of Enchanted Lands pt. II to be. The music is huge, fustian and exaggerated, just like you expect, but it is also the most guitar oriented record that the band has ever produced. It is this element in front of all things, that will make the average Rhapsody of Fire fan jump for joy. Gone are the slower passages, gone are the questions of where the guitar solo is because Luca Turilli, as he stated in his interview with me, “rediscovered his first love,” and this record is littered with some amazing guitar solos. My personal favorite comes from the fairly simple, but fragile and beautiful passages in “Danza Di Fuoco E Ghiaccio” a song similar to “The Village of the Dwarves”. But every song has amazing solos, the amazing harmonies and intertwining neo-baroque melodies on “Crystal Moonlight”, the great Iron Maiden double lead from “On the Way to Ainor” and so on and so forth. This record is a triumph for every neo-classical guitar loving nerd out there. Not just because of the standard solos, but because Turilli’s creativity lies in how well he blends his virtuosity in with his overall compositions.

And the overall composition of this record is also a major triumph. The use of Christopher Lee and more photorealistic artwork and so forth was all in an attempt to be taken more seriously, and while I’m not sure that this is actually happening, the band has continued to impress with their understanding of the album as a series of symphonic movements. One of the things that makes The Frozen Tears of Angels great is that while the songs stand alone, the album is not an album that you want to break out for one track. Instead, the dynamics make you want to listen to the whole album straight through and just sit in awe of the breadth and depth of the music. And while the band has often lost me in the past on their more epic tracks, even the 11 minute title track was a gripping piece. The album follows an audio story arc, just like the previous albums, but being able to combine these feelings together and turn them into both convincing neo-classical music and awesome heavy metal has never been done better by the band (or any other band, for that matter).

This is getting long, but one more final point: I have focused heavily on the guitar-oriented nature of this album, but there are a few things that stand out. The band elected (probably for  budget reasons) to not go with a full orchestra this time. While Luca Turilli denies it, part of me wonders if that didn’t actually help the sound of this record because it was something that was completely manipulatable by the musicians in the studio. I would bet that there are things that you can write for a symphony that cannot be played convincingly by a symphony and sometimes I wonder if Rhapsody of Fire‘s style doesn’t overpower the musicians they’ve hired to play it. All of the orchestrations are perfect, and the band itself is tight as hell. This is one of the tightest rhythm sections out there, not to mention the vocals of Fabio Lione are accented perfection.

The Frozen Tears of Angels is the perfect Rhapsody of Fire comeback record. After four years of chaos, and the band’s still ongoing legal fight with Joey DeMaio (who signed the band and tried to steal their sound), Rhapsody of Fire is back with a power metal vengeance. They could not have chosen a better time or written better music for this imminent return. I hope this record helps push them back into the spotlight and that the next (at least) year of touring is good for the band, for all the individuals involved and is a kick in the teeth to everyone trying to hold down the most powerful force in power metal.

“Seven deadly sins, seven ways to win, seven holy paths to hell and your trip begins.  Seven downward slopes, seven bloodied hopes, seven are your burning fires.  Seven your desires…” Cue the keyboards and the power chords.  Anyone who knows this album and loves it knows exactly what I’m talking about.  Possibly the coolest album intro of all time, to the best heavy metal record ever written: Iron Maiden – Seventh Son of a Seventh Son.

Of course, Maiden makes it onto everyone’s lists when you do those all encompassing lists that metalheads and music geeks are obsessed with.  But it’s always Number of the Beast or Powerslave and everyone seems so content to just let that go.  I guess if you were 16 or 17 at the time and these were your first Maiden records, that probably explains it.  But as a huge Maiden fan who has extensively listened to every single one of their records hundreds of times (including the Blaze Bayley records), I have to report to you: Seventh Son of a Seventh Son is easily the best Iron Maiden album and, in this Angry Metal Guy’s angry, and not-even-remotely-humble opinion, the best heavy metal record ever written.

I’m actually not exaggerating.  I really do believe that Seventh Son is the best album ever.  And let me tell you why: first, these guys hit their musical peak with this album.  Every Maiden album has filler, tracks which didn’t live up to the standard of the album they were on.  The song “Quest for Fire” mars an otherwise amazing album in Piece of Mind.  I find “The Rhyme of the Ancient Mariner” to be absolutely tedious, and “22 Acacia Avenue” makes baby Jesus cry.  And let’s not even talk about after Adrian left the band.  But not on Seventh Son.  Every single track on this album is amazing, and the one song I don’t think is just totally stellar was actually a hit single throughout the world (“Can I Play with Madness”)!

But whether or not these songs were hits or not, the composition on this album is perfect.  Dickinson’s vocal performance is unparalleled (a rare feat in the early days), the writing was unique and amazingly layered and in-depth, and the concept seems to hold the album together thematically.  Even the artwork is a step above the other stuff: grotesque, but not cheesy. That’s without having mentioned that this is the last album that Harris plays his unique lead-style of bass and shortly hereafter Adrian left, depriving the following albums of his textured, beautiful leads.  But herein, everything came together  into the perfect blend of musical virtuosity, pop sensibility and heavy, intelligent music.

Of course, everyone has different tracks that they think really embody the band, but I think for me that it’s “The Prophecy” that embodies what I love about Iron Maiden.  It starts slowly, delicate and beautiful, and then builds.  The guitar tone is very 80s, but very excellent before pounding into a fantastic syncopated riff, which may be one of the most powerful that was ever written for the band.  Dickinson nails the vocals, which are layered and have amazing lyrics.. and the leads are tremendous.  But what seals the deal for me is the final moments—the fading guitars and the beautiful acoustics that blended over top to the end.  This kind of musical diversity and intelligence just doesn’t exist on Maiden’s other albums.  This kind of perfection just doesn’t exist on any other record that I’ve ever listened to.

Seventh Son of a Seventh Son is truly a classic and if you don’t own it you are depriving yourself of the best heavy metal album ever written.

Orphaned Land // The Never Ending Way of ORwarriOR
Rating: 5.0/5.0 — A work of art
Label: Century Media
Websites: orphaned-land.com | myspace.com/orphanedmyspace
Release Dates: EU: 25.01.2010 | US: 02.09.2010

Few bands will ever make their own mark on a genre of music—it’s just a statistical rarity. Someone once told me that there are something like 5 million bands on MySpace, if that gives you an idea of the breadth which exists when one is thinking in terms of how many musicians there are out there. Of those, most of them probably last longer than a year, never produce much of a demo much less get signed to a real label—and how many ever produce a real step forward into a new decade with a statement of great things to come? The chances of becoming a professional musician are basically NIL and then of the number that do, how many ever produce something that will be remembered and affect enough listeners to ever influence any? That number is even smaller. Orphaned Land is one of the few bands that will ever exact change in metal and they are doing so now with their new record The Never Ending Way of ORwarriOR.

For those of you not “in the know,” (though frankly these guys are on Century Media if you don’t know by now…) Orphaned Land is progressive death metal act from Israel who produces masterpieces at a snail’s pace. However, they do, in fact, produce masterpieces. To do the band no justice at all, imagine Orphaned Land as the culmination of progressive metal (in the vein of Opeth and old Paradise Lost), traditional heavy metal and folk metal. But not Otyg, Eluveitie or Finntroll folk metal, which is very much a northern Europe kind of thing, but instead blending in all the textures and unique flavors of “oriental” and middle-eastern instruments and big orchestrations into one cohesive, and epic as hell, whole. Blend all of that in with a tendency to get a little chuggy at times with off-tempo and syncopation and beautiful female vocals and you have Orphaned Land.

For fans of the band, The Never Ending Way of ORwarriOR picks up where Mabool, the band’s 2004 (!) release, left off. Well, musically, that is. Despite the 6 year break, the sound is still remarkably fresh. This might have something to do with the fact that this album was mixed by Steven Wilson (Porcupine Tree genius-at-large, temporary keyboard player for the band and Opeth go-to guy for Blackwater Park, Deliverance and Damnation), who added some of his distinct, trademark sounds (see: telephone line vocals, mellotron keyboards, etc.) to the album giving the tracks a different flavor than Mabool had—though, I’ll guess that a higher budget probably had something to do with that as well (though this is conjecture). The tracks flow into each other perfectly, balancing mid-paced death metal riffs and mid-range death metal growls against folky klezmer sounding pieces and huge sweeping orchestras which use unison violins to imitate old Lawrence of Arabia style movie soundtracks—a stunning and chilling effect, surprisingly. [Editors note: it was confirmed for me by Kobi Farhi that this orchestra is indeed the Nazareth Orchestra, which plays the violin in a different way and that it was chosen specifically to give this album a different approach.]

As Mabool before it, The Never Ending Way of ORwarriOR is a concept album—but the unfortunate side-effect of promotional media is that I have not received lyrics to give you a picture of the story. However, from what I’ve read elsewhere on the net and from the band’s own statements it is clear that they are maintaining their overarching theme of the unity and common ground of Islam, Judaism and Christianity—even appealing for peace openly on the track “Disciples of the Sacred Oath II” and singing in Arabic for the first time on that track. In a sense, these guys are breaking ground with this stuff, too. Without being an overtly religious band, they have broken away from the confines of EEVIIIIL heavy metal and moved into the arena of smart, appealing and interesting themes on their own. This gives the band a sense of sincerity that I think a lot of bands lack, and gives them credibility overall.

I admit freely that Orphaned Land has pretty much cemented its place as one of my favorite heavy metal/progressive bands of the modern era and, frankly, ever. The complexity of the thought processes, the writing, the arrangements and production are not lost on me and I encourage everyone to give this a record a listen in high quality earphones, because that is to some extent how it deserves to be listened to. I suspect that I will be listening to this album every day for a long time to come, despite the huge number of CDs I should be reviewing, because I can’t keep myself away. And if it holds up as well as Mabool has to the years, then I strongly suspect I’ll be about ready for a new album in 2016 when they finally get back around to it.