Mixing the meathead with the egghead. Also opera. Mandatory purchase.
Nightwish
Swallow the Sun – Emerald Forest and the Black Bird Review
Finnish doom sensations Swallow the Sun are back. The morose Finns (that’s redundant) have returned in 2012 with their fifth full length record and most gargantuan release to date. Indeed, having discovered that all their music is put out on compact disc, Swallow the Sun has embarked on a quest to fill the whole damn thing with their plodding, thick doom metal. Unwilling to edit themselves, they instead have produced 67 minutes worth of new doom for the consumption of their adoring fanbase. This massive work, entitled Emerald Forest and the Black Bird has spent a long time in my Review Gestation Chamber™ due to being so much music that I have been incapable of listening to it in a single go.
Angry Metal Guy’s Top 10 Songs from 2011
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!
Nightwish – Imaginaerum Review
To be frank with you, I wasn’t sure whether to look forward to this one or not. On the one hand, Nightwish has a hype about them that I’ve never really quite understood. While they’re a good band that has produced some good albums (this Angry Metal Guy, for example, really enjoyed Once quite a bit), the rabidity of their fanbase and the standard to which they are held has always been very surprising to me. I have literally met people who don’t listen to anything else. Apparently their songwriter and keyboardist Tuomas Holopainen (you know, the pirate from that horrible series of movies) has stalkers fans that are so hardcore about him, that they send letters to his mother to tell her that they disapprove of whom he’s dating. But honestly, I’ve never thought of the band as anything other than a pretty good, female fronted symphonic power metal band. And, well, after Dark Passion Play, I wasn’t very excited anyway. Because let’s face it. That was not a good record. So when I heard that they were releasing a movie (especially given that Tuomas is already in the movies) and a soundtrack to it, I was not excited. But Imaginaerum managed to win me over.
Cormorant – Dwellings Review
Cormorant is a band that I probably would have never found on my own. Instead, I just randomly got an e-mail from their promoter a couple years back, where she hooked me up with the band’s 2009 release Metazoa. I was duly impressed by what these coasties had to offer, so when I saw that these guys had a new record coming out, I definitely reached out to get a promo of it. And I’m happy that I did, though I think that Dwellings is a different beast from Metazoa. Bad? Definitely not. But did the band grow and get a lot better? It seems like the maintained a pretty even keel during the two years away.
Angry Metal Guy Speaks: On His Own Obsolescence
Today over on Twitter I got pointed in the direction of Invisible Oranges’ (great name, btw) new post called “Are album reviews obsolete?” Here at Angry Metal Guy our “bread and butter” so-to-speak, is the album review. We do a lot of them. We average about 6 a week, and aim for 7 or more. We also enjoy doing them, but as I have previously touched on, the review is a strange thing in a strange place and, let’s face it, the music industry is screwy in kind of big ways. I thought I’d maybe add some fuel to the author’s fire by adding some more reasons as to why the review is becoming obsolete, in some ways.
Tarot – Spell of Iron MMXI
Ah, nostalgia. My very first review upon joining Angry Metal Guy Industries was Tarot’s 2010 release Gravity of Light. Now, just about a year later, Finland’s longest running metal act returns with a re-recording of their 1986 debut Spell of Iron to mark the album’s twenty-fifth anniversary. Much like fellow countrymen Amorphis, they apparently decided these ancient songs would benefit from a sonic face lift using modern recording technology and the modern day Tarot stylings. In the spirit of full Angry Metal Disclosure, as with many metallers, I wasn’t aware of Tarot back in 1986 and didn’t discover them until founder and front man Marco Heitala rose to worldwide prominence with Nightwish in the early 2000s. Therefore, Spell of Iron isn’t some sacred talisman album in my mind as it may well be for long time Tarot fans. That said, I’ve spun it on and off over the years and found it a very solid, highly engaging slab of traditional metal falling somewhere between Judas Priest, Iron Maiden and W.A.S.P., while always maintaining a unique sound (largely due to Marco’s excellent and distinctive vocals). Also worth noting, it’s one of their most consistent albums from start to finish and less plagued by the Filler Gremlin™ than their subsequent releases were. With the housekeeping done, let’s see what’s in the cards shall we?
Amaranthe – Amaranthe Review
Amaranthe has three vocalists. Just let that sink in for a while. From what I can tell, not one of those vocalists plays an instrument. Instead, they found three “attractive” people to do vocals for them. The first is a woman, who sounds like a pop singer (think E Type) and who I guarantee you cannot name a Slayer record. The second is a screamy dude. He’s got a beard (’cause he’s tough and angsty, you see) and he screams, but not too much (he must be very, very, very bored on stage). And then there’s the ‘power metal’ vocalist (Berg from Dream Evil) who’s just as over-produced as the chick vocalist and is there to get 14 year old girls all silly over his perfectly groomed dreadlocks. Behind them are several soulless session musicians (from Mercenary, Dragonland and Engel). Though, frankly, this is a band that is functionally made of session musicians, since integrity seems to be lacking.
Within Temptation – The Unforgiving Review
As one of the elevated culprits who took guilty pleasure in bringing the so-called “female fronted” symphonic metal genre to fame, Within Temptation has often been right next to the milestone names of Tristania, Theatre of Tragedy, Nightwish, After Forever and the like from this infamous subgenre [Also known as “Chick Metal” by this member of The Patriarchy – AMG]. This is often accompanied by blunt comparisons, senseless “expert” statements and, of course, rabid hate from people who just can’t appreciate chicks in metal [Example: my earlier comment. – AMG]. But hey, life goes on and so does the music industry. Whatever the case, unlike their colleagues who have gone through hard time line-up changes that have proven catastrophic at times, Within Temptation has continued to add new chapters to their own story. Through times of war between legions of Tarja and Anette die-hards, crazy Vibeke rumors in the air, Floor & Sander drama break-ups, the flame of Within Temptation continued to burn ever brighter, offering fascinating music with each release.
Ava Inferi – Onyx Review
Gothic metal, or as I’ve come to think of it, hot-babes-with-epic-pipes metal. I used to love it but admit to getting burned out on it over the last few years due to the over proliferation of these types of female fronted acts. Of course, some bands do it way better than others but it just seemed like there were a million generic, plastic imitations running around and I eventually washed my hands of the whole style. So when I was assigned the new Ava Inferi album, I didn’t have high expectations to say the least. Onyx is the third album by this Portugal based crew which features the guitar work and song writing of Rune Eriksen (Aura Noir) and the vocal stylings of Carmen Susana Simoes. Although these folks are usually classified as gothic/doom, there’s really no doom in their sound in the conventional sense. No crushing riffs, no mournful dirges. Instead, they strive to create a somber, melancholy feeling by playing sedately, with minimal aggression. While I wasn’t blown away by their previous material, this one managed to get under my skin and really grew on me. I must caution however, although I liked it more than expected, I get the feeling many metal minded individuals will not feel the same way.
