Angry Metal Guy

Mercenary // Metamorphosis
Rating: 2.0/5.0 — Core is hell
Label: Prosthetic Records
Websites: mercenary.dk | myspace.com/mercenarydenmark
Release Dates: EU: 25.02.2011 | US: 03.29.2011

Well, we can’t be expected to love everything that comes out this year, although it seems at times like we have been. Although I really enjoyed the earlier releases by Denmark’s Mercenary (especially 11 Dreams and  The Hours That Remain) and was looking forward to this release, the massive upheaval that led half the band to flee after 2009′s Architect of Lies has clearly taken its toll. After losing their drummer, keyboardist and singer, they were forced to retool and regroup and I’m sad to report that the 2011 incarnation of Mercenary is only a shadow of what it once was. While their sound always had elements of the dreaded metalcore style, it was merged with many other influences and thereby rendered tolerable. On Metamorphosis, they’ve emerged from their cocoon as a full blown metalcore-melo-death butterfly, just like the eight million others out there (I know the cover shows a phoenix but this is way closer to butterfly, trust me). Gone is the intriguing blend of death, power, thrash and progressive metal that graced their earlier material. Gone is that special something that made their songs so impactful and addictive. Now it’s generic metalcore with poppy, radio friendly choruses all day, all night. While fleeting moments of the old sound can be heard here and there, overall this is a very different entity and to these ears, a much lesser one. In fact, this is inferior to their previous work in every possible way. Continue reading

Across the Sun // Before the Night Takes Us
Rating: 3.0/5.0 — Pretty good, but could be a lot better.
Label: Metal Blade
Websites: myspace.com/acrossthesun
Release Dates: US: 03.15.2011 | EU: 2011.03.14

An interesting irony of modern metal right now is that while much of the underground seems to be mind-numbingly obsessed with simplicity, a lot of the stuff that is righteously called “mainstream” or that attempts to be mainstream is really getting quite technical and progressive—this is the opposite of what was happening a decade ago, really. As a guy who has really leaned in that direction for a very long time, I have to say that I have trouble being upset by this movement, and it makes me open to a lot of things that I think a lot of metal elitists would never even be willing to listen to. Across the Sun is one of those bands that I think your average death metal or black metal dude is going to take a listen to and say “Oh, fuck these guys,” and turn off. But Angry Metal Guy takes records and gives them a listen for what they are and I can say that Across the Sun‘s Before the Night Takes Us is a record chalk full of interesting music, despite some pretty glaring weaknesses. Continue reading

Artas // Riotology
Rating: 2.0/5.0 — I’ll be dropping this class
Label: Napalm Records
Websites: myspace.com/artasmetal
Release Dates: EU: 28.01.2011 | US: 02.08.2011

Well, I’m not sure what I did to end up on the Angry Metal Guy’s Official Shit List™.  However, his  assigning me both the new Lazarus A.D. and Artas albums proves I’m on it bigtime. I can just picture AMG up there on his throne all high and mighty, laughing as he contemptuously sneers, “let him eat metalcore.” Steel Druhm does not like being on the Shit List and Steel Druhm will have his wengeance! Anyway, Riotology is the second album by Austrian metalcore/quasi-thrash bandwagon jumpers Artas. Up until now their claim to fame was a wildly ill-conceived cover of Coolio‘s “Gangsta’s Paradise” which ended up being funnier than Weird Al Yankovic‘s “Amish Paradise.” Now with Riotology they can truthfully claim recording two average metalcore albums. Hey, congrats guys! As soon as I saw the album cover which looks like a screen shot from the Assassin’s Creed video games I should have known where this was heading. The second clue I was in trouble was the band’s prominently displayed claim that they play “modern metal.” Apparently that’s record industry speak for tired metalcore by bands that yearn to be At the Gates and In Flames with poppier, radio-friendly choruses.  Because I am merciful, I will now implore you all to leave this review and save yourselves. I can’t go with you however, for I must write on. Continue reading

Saeculum Obscurum // Into the Depths of Oblivion
Rating: 3.0/5.0 — Has promise.
Label: Thunderblast Records
Websites: myspace.com/saeculumobscurum
Release Dates: EU: 14.01.2011 | US: 01.14.2011 [Digital]

As you can tell, my resolution for 2011 was to review more obscure and underground music that no one has ever heard of. I want you to know that this means that I am reviewing like everything I get, if it’s possible, and really I’ve had some good luck and some really fucking horrendously terrible luck. I’m going to say that Saeculum Obscurum falls on the good side of the luck barrier. I figured with a name that means “The Dark Age” and a logo by the mighty artist and logo magnate Christophe, this one deserved a fair shake at least. Continue reading

Menemic // Sons of the System
Rating: 2.0/5.0 – Blasé, cliché and just generally mediocre
Label: Nuclear Blast (EU | US)
Website: myspace.com/mnemic | mnemic.com
Release Dates: EU: 15.01.2010 | US: 01.26.2010

Mnemic has been around in the æther for a while but I’ve never given them a proper listen until now. The band has good promo, they’ve toured Europe twice with metal giants (like ‘em or not) Metallica, they look like real metal dudes and they’ve got cred because a couple people I know compared them to Meshuggah back when they first came out. Unfortunately, Sons of the System sounds a lot less like Meshuggah and a lot more like Sonic Syndicate. This record is another convergence point for things that I’m not really keen on in the world of metal and I’ll give you a short run-down.

At its base Mnemic is a groovecore band. The riffs are meant to be groovy, the drums tight and heavy and the atmosphere built to move your body to. Now and again they pull that off, but I think they’ve got a couple of things working against them on this front. First, groovecore sounds more and more like metalcore in my ears every time I listen to it because the production values are leaning more in the direction of triggered drums, “soaring vocal” choruses a la Killswitch Engage and a glut of predictable and uninteresting breakdowns. While expertly executed and smoothly produced, Sons of the System follows this formula off the cliff. The soaring vocals are completely forgettable, the chuggy parts feel thin and very rarely is there a groove that makes me want to do anything other than listen to something else.

This is not to say that there is nothing good going on here, but it’s few and far between. The track “Fate” has its moments, for example, and there are a couple of melodies early on that caught my ear  (the intro to “The Erasing” is a great example of this) but they never moved me to anything more than a “huh.” To top it off, the disc just gets pretty repetitive. Since the band isn’t doing anything very interesting melodically throughout the whole 55 minutes of this disc, the tracks all blend into eachother, with each chorus mimicing the choruses before and after it and the riffs repeating ad nauseum. The advertised “progressiveness” that has been flaunted in reference to this new record is few and far between (I count about 3 places where the record moves into something beyond standard groove riffs) and mainly it just sounds like Meshuggah rip-off rather than something new and interesting.

There is a sound that is forming with these groovecore/metalcore bands that are coming from Europe that I’m thinking about dubbing with the very down-my-nose kind of expression: Eurocore. Sonic Syndicate sounds pretty much like this as well, with production values that bore and fail to impress, groovy riffs that are everything you’ve ever heard before and a formula that, in general, disappoints because of its predictability and lack of originality. I guess I understand that there’s pressure on these bands to try to be as commercial as possible in order to stay in the limelight, but then again.. I can’t think of anyone I know who actually likes music that sounds like this.

Sonic Syndicate // Rebellion EP
Rating: 1.0/5.0 – This is everything that is wrong with modern metal
Label: Nuclear Blast (EU | US)
Websites: sonicsyndicate.com | myspace.com/sonicsyndicate
Release Date: Nov. 6th, 2009

Sonic Syndicate are a pop rock band that somehow got signed to Nuclear Blast. Apparently they’re from Sweden, but I wonder if other metal guys from this country would actually agree to that. I think many of them would say “Well, don’t they have an English singer?” Why yes, they do! He’s new, in fact!

The rundown is simple. Sonic Syndicate is poppy metalcore. Do not let their Wikipedia page fool you. Sonic Syndicate are not melodic death metal. There is nothing remotely death metal about this EP or this band. “Burn This City,” sounds like the theme song from a bad action flick, and the new vocalist sounds like the guy from Killswitch Engage. While “Rebellion in Nightmareland” is a little bit better than the title track, it too is far too formulaic to stand. Oh, he sounds like the dude from KSE on this track, too.

In fact, the only thing that I can say good about this band is that they’re all very pretty. So pretty, in fact, that one wonders when they found time to write this music between all the primping and preening they must do every day. When the fuck did becoming a metal dude mean becoming a goddamn hair model? Other than that, this is an example of everything that is wrong with modern metal. The production is so mechanical that it is totally soulless. The keyboards are high and unnecessary, the drums are fake and lifeless. The vocals are standard metalcore vocals, some screaming lots of 2nd tenor whining about girls.

This whole EP clocks in at 11 minutes long. Oh, and let me tell you something. There’s a 1 second difference between the “Radio Cut” and the normal version of “Burn This City.” I’ve listened to this whole thing several times and I can’t tell the difference. So in reality, the new material on this EP clocks in at about 7 minutes. And that’s 7 minutes you’ll never get back.

Scar Symmetry – Dark Matter Dimensions
Rating: 4.5/5.0 – Excellent, but formulaic
Label: Nuclear Blast (EU | USA)
Website(s): scarsymmetry.com | myspace.com/scarsymmetry
Release Date(s): EU: 02.10.2009 | USA: 10.20.2009

I remember the first time I heard Scar Symmetry very clearly.  I was checking out some stuff on MySpace when I saw that they were going to be playing the House of Metal festival and I was blown away. Not blown away with how good they are, though talented one cannot deny they are, but how sickly sweet their melodic stuff is.  I sat their and listened to it with my mouth agape thinking “really?  Does this pass for death metal these days?  How are these guys not a Top 40 band?” The answer to that is actually quite obvious: instead of dropping the death metal vocals, these guys have blended death metal vocals in with what I think is probably the most pop sensible writing I’ve ever heard in a metal band.

I was unimpressed at the time, but upon receiving Dark Matter Dimensions my opinion has changed quite a bit. This could be for a couple of reasons, though. Shortly after Holographic Universe was released, the band kicked out its old vocalist (Christian Älvestam) due to personal conflicts and touring conflicts. In essence, however, they had wasted an entire touring cycle and, reading between the lines, it didn’t sound like the prettiest of internal conflicts. The decision to go with two vocalists seems to have been the right one, as the vocal approach on Dark Matter Dimensions is fantastic.  The growls are low and brutal and the clean vocals go between good, high clean vocals and sounding like Ville Laihiala (Sentenced, Poisonblack).

Musically Dark Matter Dimensions is fairly formulaic, while not being too formulaic to enjoy (see: Threat Signal and Killswitch Engage).  The tracks are heavy, fast and fairly technical sometimes, but launch into huge, catchy choruses with clean, beautiful vocals over them.  It’s not often that metal bands write poppy choruses like Scar Symmetry though.  These guys have a special talent for melody.  On the second time through this record I had already started singing along with the choruses as though I’d heard them a hundred times before, and its that catchiness and familiarity that make the band so accessible.

On the other hand, technical music geeks will still get a kick out of some of the tracks on this record.  ”Mechanical Soul Cybernetics,” for example, is a technical circus, showing off the highly skilled guitar work and writing talent and even bordering on tech death.  This band is a beast musically, and that comes through more on this record than it did on Holographic Universe.  The band’s growing edge was a question of whether or not they could produce metal that felt edgy and heavy, despite being poppy and having sweet hooks.  Dark Matter Dimensions definitely shows that Scar Symmetry was up to that challenge.

This Angry Metal Guy has been getting into technical, amelodic stuff a lot lately because of the fact that melodic death metal seems to be really hashed through and done.  Scar Symmetry shows that this isn’t the case.  Melodic death metal can be done well and originally: it just takes a novel approach and extreme skill to piece it together. Scar Symmetry has both and they have outdone themselves with Dark Matter Dimensions.

Evergreen Terrace - Almost Home
Rating: 2.0/5.0 – Band is tight, heard it so many times before.
Label: Metal Blade (EU | USA)
Website: myspace.com/evergreenterrace
Release Dates: US: 9.29.2009 | EU: 25.09.2009

Almost Home is a record that was influenced by how much everything sucks right now, according to the band.  It’s a bit of a dissertation on America in 2009, with a shitty economic situation, how hard it’s been to keep the band going in this kind of situation and so forth.  Honestly, I don’t hear it.  But that’s what the band says.  What I hear is a highly melodic and poppy hardcore band doing the same things that bands of this type have been doing for years.  It’s unfortunate, really, because they’ve got an alright sound—but things don’t stick.

Instead, Almost Home is a dissertation on the trend that is metalcore, and how something that was so fresh 7 years ago can sound so formulaic and boring these days.  Evergreen Terrace doesn’t fit into your standard box, though.  They don’t sound like Killswitch Engage or Unearth.  Instead they sound like Blink 182 or Green Day mixed with a hardcore band that has some metal influences.  The music is generally catchy, fun to listen to and energetic, but it leaves no trace.  To speak more metaphorically Evergreen Terrace is like water poured on your skin; it feels good at the time, but then it dries and goes away and you forget all about it because it leaves no mark.

For the die hards who love metalcore still, I suggest the band, but I also say that it’s nothing you haven’t heard before.  What made metalcore so impressive and good in the beginning was that it was edgy, new and interesting.  Records like The Stings of Conscience introduced an In Flames-esque technicality and melodiousness to the raw energy that hardcore had a monopoly on. But the breakdown has gone stale (not that it was terribly interesting in the first place), the songs have become predictable and the vocals and choruses on this album lack the edge and excitement that once characterized the scene.

Of course, the album has catchy moments and good choruses.  They’re signed to Metal Blade (and they’re not an 80s thrash imitation) so that means that they’re a professional quality band—of course they’ve got some talent.  And frankly, the album isn’t hard to listen to or torturous (except for the stupid hardcore talking…), I just know that if I ever were to purchase it, it would sit on my shelf and never leave it after the initial listen.

Insomnium – Across the Dark
Rating: 3.0/5.0 – Enjoyable and well done, but doesn’t quite stick
Label: Candlelight
Websites: myspace.com/insomniumband | insomnium.com
Release Date(s): FI: 9.9.2009 | EU: 26.09.2009 | USA: 09.15.2009 (apparently this album was delayed)

Insomnium is one of those bands that rides on the border of melodic death metal and progressive rock, straddling the fence between good, solid heavy music and the proggy stuff that all the sadboy metal guys listen to.  Those guys who secretly love The Cure and Depeche Mode and end up making stuff that sounds like newer Katatonia, Anathema or Amorphis.  This isn’t really a critique, but it lets you know right off the bat where these Finnish melodic metallers are standing in reference to the never ending “is melody metal” war that seems to be going on these days.

And these guys are very good at what they’re doing.  Across the Dark is a highly polished, excellently produced record.  The music is melodic and fairly interesting, and sounds like an expert blend of Whoracle/Colony-era In Flames, Opeth and modern Amorphis (though, admittedly these guys use a lot more death metal vocals).  While it starts a bit slowly, these Finns have you in the grip of their darkest dreams and melancholy aspirations in no-time, transferring smoothly between the heavy and the progressive with the ease that very few bands possess.

There are issues with this record, however.  The first is the vague feeling that I’ve heard this all before.  It’s not like I consider Insomnium‘s sound to be a direct rip off of any one band, but instead these guys are a bit like the stranger who you meet that you swear you recognize from somewhere.  They consistently tell you that they’ve never been to that specific bar, and they don’t know that person you know from college, but you’re still fucking positive that you know the guy.  I spent this whole album thinking to myself, “man, have I listened to these guys before?”

The second thing that I’m not terribly keen on is that the clean vocals and chorus parts seem a bit formulaic, wandering a little too close to the Killswitch Engage territory for my own tastes.  Clean vocals are fine for me, but the way that they’re built into big catchy choruses, when the rest is heavy melodic death metal just rubs me the wrong way after being inundated with metalcore bands jumping on the KSE bandwagon.  Those parts sound too polished, too clean, too commercial for me to really feel like there’s anything dangerous about this band.  Instead, it sounds like they’ve got a producer sitting in the room going “and now, my friends, you need a catchy chorus!  I know just the guy to write one for you!”

However, that isn’t the whole album and that certainly isn’t the feeling that I get from it all.  There is a good deal of excellent melodic death metal riffs on here that I really dig, the clean vocals on “Lay of Autumn” stand out for me, and the album has a flow that it is really important for me and that speaks to talented writers with a feel for detail.  All-in-all Across the Dark is not the strongest record I’ve heard this year, but if you’re a fan of melodic death metal, progressive death metal or stuff in that vein you probably won’t go wrong buying it.