Angry Metal Guy

We made it through another year here in Angry Metal World. We overcame Terminal Reviewer Burnout Syndrome, careers and  personal lives, just to bring you more of our self-righteous, ego-driven babbling and blathering. Why did we do it? Because we care so damn much! Now, as the year grinds us all towards inevitable doom, it falls to me to get the metal wheel a rollin and name my picks for the best albums of 2011. This was a pretty solid year, so it was tough to figure out which albums belonged where, but you demanded it, so I’m delivering the goods, Yeah!

Before said delivery, I want to extend my thanks to AMG for allowing me to share in the day-to-day trials and tribulations inherent in keeping this fantastic site alive and well. Of course, all the hard work we put into this would be pointless without you, the readers (or sheeple, as AMG secretly refers to you all). Your loyal readership and regular contributions [And thirsty demand for numerical ratings! - AMG] give the site a feeling of community that many other sites lack and you’re what makes the job so damn rewarding. So, without getting too sappy, Steel Druhm loves you all (even when you don’t agree with my indisputable brilliance). Shine on, you crazy King Diamonds! Okay, enough caring and sharing, let’s get to the paring! Raise the horns for 2012 and on with the hootenanny! Continue reading

It’s a week-long reflection on the year in metal music here at Angry Metal Guy and we’re getting all sorts of nostalgic and sentimental. We’ve already covered the worsts, so now let’s get to the firsts! For the very first time, we’ve decided (by that I mean AMG decided) to name our top ten best songs of the year. Though it sounded like an easy task, once I tried to create said list, it proved quite difficult. There were so many potential candidates, it became an arduous culling process to find the ten metal gems to rule them all. While the list seems final, I’m sure I forgot some amazing stuff and I’m also sure you bastards will point it out to me. Steel Druhm awaits your scorn, disapprobation and silent judgment. Continue reading

RoutaSielu // Pimeys
Rating: 3.0/5.0 — Solid, Finnish groove metal
Label: Spinefarm
Websites: routasielu.com
Release Dates: FI: 2011.02.16

So, it’s actually a little weird that I would even be reviewing this disc since it seems to hardly be receiving an international release at this point, but it’s got some points of interest. First, it’s the band of Before The Dawn and Black Sun Aeon mastermind Tuomas Saukkonen, so it’s not like something one wants to actually ignore. Saukkonen produces a lot of material, he probably has 4 bands I don’t know of even, but the man has a heart of metal and his material is always solid, heavy, groovy and laden with great choruses. RoutaSielu isn’t a whole lot different; only this time the whole record is in Finnish and it causes some accessibility issues. Continue reading

October Falls // A Collapse of Faith
Rating: 3.0/5.0 — Dark, bleak and beautiful
Label: Debemur Morti Productions
Websites: … huh, son of a bitch… I got nothin’! (That’s a first..)
Release Dates: EU: 24.05.2010

Depressed Finns are really no surprise in metal these days. It seems like Finns are a pretty morose bunch in general. A country famous for bands like Poisonblack, H.I.M., Sentenced, Insomnium, Black Sun Aeon and Swallow the Sun, it shouldn’t be terribly surprising that some pretty bleak and depressing stuff comes out of Finland. And let me be clear, that’s not even naming huge groups of bands that I’m sure others could probably come up with. But October Falls isn’t your standard “depressed metal” band from Finland. There are no silly ESL lyrics about being buried in a plastic bag or any of that jazz. Instead, October Falls is a “depressive” black metal band with folk sensibilities.

A Collapse of Faith is one 40 minute track, which quite frankly doesn’t lend itself to an easy review. It’s difficult to sit down and describe the entire album, when its basically a series of different movements of one track. You try reviewing a symphony some time and see how well it goes. However, this one track is best illustrated by the cover of the album—a little to your left, yup there you go!—and the first minute or so: the sound of a campfire and birds in the woods gently laying under an acoustic guitar, which sets the atmosphere for the album without being cheesy or ridiculous. At about 2 minutes, the real theme for the album comes in on the guitar and for the most part you’re in “metal” territory after that. What stood out for me about this record was that the melody was gorgeous and strong, lending itself towards the melodies of Vintersorg or Borknagar (early), it had a melancholy to it that is not really present in those earlier folk and black metal records. But while I would probably still call this “black metal”, this is not Darkthrone black metal, but Petrychor black metal or maybe something more akin to Ulver‘s epic and classic album Bergtatt. Continue reading

Black Sun Aeon uploaded their new video for the track “Frozen”, which is probably one of the best on the new record Routa that came out 3 days ago in the US. Check it out!

Black Sun Aeon // Routa
Rating: 3.5/5.0 — Very good
Label: Stay Heavy Records
Websites: blacksunaeon.com | myspace.com/aeonoftheblacksun
Release Dates: EU: 01.04.2010 | US: No date yet..

One of 2009′s most pleasant surprises for this Angry Metal Guy was Black Sun Aeon‘s Darkness Walks Beside Me. To say that I was slightly addicted to the album would be an understatement: I was totally addicted to that record. It’s like there’s something in the water (Koskenkorva?) in Finland that leads to the ability of these Finnish bands to build some of the most incredible melancholy into their already heavy, beautiful music. Black Sun Aeon‘s debut full length was definitely on the same level as many of the other excellent Finnish doom and melodic death bands out there. While maybe not as melodic as some, or maybe a little bit more simplistic than others, Darkness Walks Beside Me was a tremendous success.

To say that I was surprised when I found out that Tuomas Saukkonen was going to be releasing a double record entitled Routa (“Ground Frost” from Angry Finnish Translator Girl—Not sure if this just means frost on the ground or if it is talking about permafrost or something). I was surprised, but also happy, and have awaited the album with baited breath.  It is incredibly hard to live up to a solid debut album and Tuomas Saukkonen is trying to do it with this new double album. The record is indeed a double record, but it’s still only about 30 minutes more of music than was on Darkness Walks Beside Me. It is, however, differentiated into two parts “Talviaamu” (Winter Morning) and “Talviyö” (Winter Night).

Musically, it is easy to say that Routa is the audio clone of Darkness Walks Beside Me. Keyboard-laden synth over thick, downtuned guitars knocking out slightly black and death metal influenced doom. The vocals are for the most part death metal growls and there are some good clean vocals as well in a lower register. Never faster than mid-paced death metal, the record really shines when dynamic parts are thrown in, adding to that sense of dreariness and melancholy that is built on every track. For fans of the first release, the sound will definitely appeal to you as a listener—how could it not? But, the question is whether or not it will replace the first one.

Honestly, while this is a very good album, I’m a little bit disappointed with the fact that it’s not a step in a new direction at all. Hastily produced, these songs don’t seem to have had time to gestate and grow into something a little bit more than what the previous record had to offer. While 45 minutes of this probably would have been totally fine, pushing it out into two CDs—which while named Winter Morning and Winter Night don’t seem to have the differences of night and day—just pushes the length over what is reasonable to sit down and listen to in a single sitting and find enjoyable. After about an hour my mind starts to wander.

That said, I find that if I sit down and listen to one or the other, I enjoy it very, very much. The melodies are strong, evocative and emotional. The tracks have great groove, good playing and the production is very strong—something that shouldn’t go without mentioning. This record is one of the few I’ve gotten in a long time that doesn’t suffer from a loudness issue, so drums sound like real drums and not like tinny metal kegs being hit with a stick. This double record is worth your time if you’re a fan of doom or gothic metal, and if you loved the first album, you’re guaranteed to at least like this one if not have the same kind of infatuation you had with the first one. Now I think that Mr. Saukkonen should let this sit and focus on his other projects for a while so that this doesn’t get stale.

Well, everyone else under the sun has been releasing their Top 10 lists, and for those of you faithful readers out there I’m sure you’re also interested in what I’m going to say about the best records of 2009. First, let me say that for the first half of this year I was not indeed Angry Metal Guy—but instead, I was just a normal guy buying my metal and hoping that it was going to be fucking awesome. Now I’m a bitter critic. As a bitter critic I hear a lot more, but this year has still been characterized by some of the biggest bands on the scene for me. Mainly, Amorphis, who in my opinion have released the finest album of the year, if not the finest album of their very distinguished career. But, let me get to that later. There have been some great records this year, but there has been a lot of mediocre shit. Think of this list as being two-tiered—top 10 and then top 20. The top 10 are the records that I think were really awesome, elite albums, the second 10 are records that I think are great and worth your time and effort. Note that I haven’t heard certain albums that I’d like to hear due to that whole poverty not being offset by stealing music thing. With this, I hope to launch AngryMetalGuy.com into the new year on a new note: one where bands suck less.

#1: Amorphis // Skyforger — Amorphis is cooler than your favorite band. Honestly, they just fucking are. They have somehow managed to keep themselves excellent and relevant after all these years by producing some of the finest mainstream metal that the world has ever scene. Not only that, but their new vocalist has brought a life and energy to this band that after Tuonela I, frankly, had never expected to see again. Honestly, more power to these guys. They are a truly fantastic band on a roll. I look forward to new material from them in the future.
#2: Obscura // Cosmogenesis — Yeah, sure, everyone can say that it sounds like a bit of a blend of a Cynic/Necrophagist rip-off, but I honestly don’t give a shit. These guys are fucking phenomenal musicians who make really convincing and awesome metal and I have listened to this record way more than I was anticipating when I first got it. I am especially moved by the bass on this album which is just seriously awesome—a trait that many metal bands just, frankly, suck at. This album is balls-to-the-wall and awesome.
#3: Fleshgod Apocalypse // Oracles — Seriously some of the best tech death metal I’ve ever heard. What I love about this album is how good it is at being deliciously melodic and really subtle about it. Honestly, these guys are so much better than your average tech death metal band. I have trouble seeing why they haven’t gone over better, but I know that there’s another one of those ripoff memes out there about these guys. Anyway, this album totally ripped my goddamn face off and I totally loved it. They need a real drummer, though.
#4: Guilt Machine // On This Perfect Day — I’m going to be listening to this album for years. Partially it’s just that the vocals of this record keep drawing me back, but it really is one of the few albums that really drew me back over and over again this year. Super awesome melodies, amazing vocals and just perfectly composed. I might not be a huge fan of Ayreon, but I’m never going to insult the Dutch mastermind behind all these projects because Guilt Machine is an epic masterpiece of progressive rock/metal.
#5: Megadeth // Endgame — Oh man. This record is not a record I ever expected to end up on my top 10 list. It was so much fucking better than I expected and I hate myself for saying that because Dave Mustaine is the planet’s biggest douchebag. But man, this record is great. Easily among the best records for the year. Though, it’s getting close.
#6: Riverside // Anno Domini High Definition — Polish prog that really does something me. It’s a good blending of progressive metal and modern rock and has some amazing stuff in it. I love the sort of Opeth-y parts, of course, but everything about this record screams “listen to me again and again and again!”… and I did.
#7: The 11th Hour // Burden of Grief — Great fucking Dutch/Swedish doom. Honestly this is one of those records that I wish would’ve gotten more play as I think it’s actually on the up side of bands that have gotten a ton of play this year (mainly Ahab) from the underground metal guys, but I honestly think that this is the best doom to be released this year. The vocals are fantastic, the writing is amazing and all-in-all I’m pleased with this album.
#8: Indukti // Idmen — More excellent Polish prog that totally kicked my ass. This band is really fucking interesting and the songs on this album are well-crafted, fun to listen to and just all-in-all worth a spin or two. I think it will definitely be one of the albums that stands out for me from 2009 because it was something I’d never heard before and I was really, really impressed with it. Well, shit, I still am impressed!
#9: Ghost Brigade // Isolation Songs — Another album that I had to get on my own, but wow was it worth it. This record is basically like Katatonia meets.. well, sludge. They do all of those things that Sólstafir, Hanging Garden, etc., are trying to do, but they do them with tact, grace and a smart pop sense that those bands totally fucking lack.
#10: Scar Symmetry // Dark Matter Dimensions — I’m almost embarrassed to write this. This album totally jumped out and kicked my ass. Honestly, the new vocalists make them great and the new material is fantastic. The songs are very, very good and the catchiness kept drawing me back. I feel like a sucker because this stuff is so fucking commercial I can hardly help myself. If death metal could be gummy pop, it would be Scar Symmetry. But man… Oh man.

Honorable Mentions:

Fejd // Storm
Claws // Absorbed in the Nether Void
Black Sun Aeon // Darkness Walks Beside Me
Be’lakor // Stone’s Reach
Cobalt // Gin
Ulcerate // Everything is Fire
Marduk // Wormwood
Havok // Burn
Gorod // Process of a New Decline
The Chasm // Farseeing the Paranormal Abysm

The 11th Hour // Burden of Grief
Rating: 5.0/5.0 – Possibly one of the finest records of the year.
Label: Napalm Records
Website: myspace.com/11thhourdoom
Release Dates: EU: 30.10.2009 | US: 11.03.2009

When I started this review zine I had a friend who told me that I shouldn’t write in the first person on here. That as a reviewer I was to try to write objectively, like my opinion is fact and not simply a jaded metal guy on the Internet spewing his opinions about records. I think this is impossible for a lot of reasons, but one of them is that we all like certain things and dislike other things. I’ve been decried by readers for liking certain records that are apparently aren’t metal enough for them. Whereas others think I’m too hard on their favorite band. But this record proves my point that one needs to write from a place of opinion. See, I have never been the world’s biggest doom metal fan. To be totally frank, I associate a lot of doom with “funeral doom” or “drone doom,” which is a genre that I find to be incredibly boring. And honestly, I like bands that bring it with intensity and speed. I like staccato riffing and tight technicality and progressive approaches. I’ll make no bones about it, I normally associate slow and boring in my brain. That’s right, I probably have hated on your favorite doom metal band of all time at one point or another. So consider that when you’re reading this review and take it for what it is.

The 11th Hour is the side project of Dutch metaller Ed Warby of Hail of Bullets, Gorefest, and Ayreon fame. An avowed doom metal fan, Warby penned this record and played every instrument on it except for the death metal growls, which are done by Rogga Johansson (Edge of Sanity, Demiurg, Paganizer, Ribspreader). Burden of Grief, the combination of their efforts, is a concept album about a man with terminal lung disease reliving his past.

This record is heavy as a ton of bricks. The production is thick as molasses and smooth like it, too. Interspersed between the plodding riffs is a melodic narration given in two voices: Warby’s voice, clean vocals in a higher register and Johansson’s voice, the death metal growls. The clean vocals have sort of an Alice in Chains feel to them that I think plays perfectly in this milieu. They are eerily beautiful, while adding a great offset to the protagonist’s anger, the death metal growls. These two vocal styles play back and forth and melt into orchestrations, piano and all the textures that paint a beautiful aural backdrop.

Burden of Grief is a 52 minute and 33 second thesis on how to do doom effectively and excellently. The riffs are heavy, plodding but fresh; there isn’t a single moment on this record that overstays its welcome and the melodies, while not poppy, have a way of sticking in the back of your brain. Every note on this album is perfectly placed, every vocal is perfectly performed and the whole thing is just plain heavy. It easily follows in the footsteps of the masters of the genre, while feeling totally fresh and new. Despite being doom, a genre not known for moving anywhere quickly, the record moves smoothly and never belabors the point. Every song feels interconnected, but they all stand alone as excellent.

Honestly, this is the real deal. Thick, heavy and catchy. I knew it from the first listen because it excited me like few records do. The melodies here are strong, the song ideas are rich and intricate and the concept is fantastic. While the concept is maybe a tad too close to Black Sun Aeon‘s opus, that’s probably more serendipity than anything else (and I strongly suggest you buy both albums as they’re both worth the cash). Honestly, it’s so good that I’m kind of at a loss for words. If I couldn’t get across how excellent it was with my attempted descriptions, then I suggest that you just go and try to take a listen to the tracks at MySpace. If they don’t convince you that The 11th Hour is worth the listen, then you’ve got bad taste in music.