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Coheed And Cambria - No World For Tomorrow
(Columbia Records) By: Joe Florez |
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My
new found love for this band didn’t happen early or right
away. It took about two years in fact. I have always known
about the band, but didn’t take an interest in them or get
what the fuss was all about. Well, thanks to MTV back when
they played a few of their videos in 2005, “The Suffering” and
“Welcome Home” were played to death and eventually came to
like Claudio’s high pitched voice that is his signature sound
that is much akin to Geddy Lee’s. C & C went through a lot of
turmoil to make this record and usually that brings out the
best in the band or worst. First, two of the members left and
one eventually returned. The new drummer is a former member of
Dillinger Escape Plan. While he isn’t on this |
recording, it’s Foo Fighter’s Taylor Hawkins who pounds away.
With all this drama, this better be damn good. It’s concept
record number four for these New Yorkers and it closes out the
story of The Amory Wars which gets all sci-fi and shit. Now,
onto the music.
After the intro we strike with the title track. This is a
great combination of modern prog/rock, pop and even metal.
Claudio’s vocals are actually smooth while the drums get
tricky, but never get out of control and sound easy to
perform. The riffs are clean and packed with melody. It’s has
an arena feel accompanied by a calm atmosphere. It’s during
the second half of the song where it gets a bit angrier and
everything picks up a notch or two. The solos are intricate,
yet short and compelling. We are on our way to a good journey.
“The Hound (Of Blood And Rank)” is a bit heavier than the
opener, but then again it’s also easy on the ears too. More
edge and muscle is utilized in the overall compositions as
well as the voice. What I get out of this is that the emotions
and writing of the song go according to the lyrics. ‘Ya dig?
When you’re angry, your performance is harder and meaner. When
you are sombre or peaceful, it’s soft. “The Running Free” was
the first cut and single I heard from the band on satellite
radio. This song is easily addicting thanks to the rich bass
pluckings and Claudio’s over use of “whoa-oh-whoa’s” scattered
throughout the song. You can hear the gentle and sincere side
of the band with “Mother Superior.” This is a ballad if I ever
heard one complete with string arrangements to make it sound
classy and sophisticated. The disc ends with a twenty five
minute epic that wraps up this story in grand fashion. Call me
sadistic, but I like it when a band is painted into a corner,
because if they are determined enough, they will create their
best work and this is it. Every record that they have pumped
out has been a winner, but this one has it all including a
progression in mastering their craft in writing killer songs.
This disc has it all if you are open to hearing something that
isn’t all about metal chords. There are hints of that element
in there, but it expands by being influenced in 70’s prog and
mix it up with a super slick production for an end result that
will leave you satisfied. I think Rush fans along with those
in the My Chemical Romance phase will embrace this whole
heartedly. Just be warned, if you are new to this band like I
once was it will take some time getting used to, but when you
do it’s so worth it. Also, there is a limited edition version
out there with a bonus disc. Good luck finding it.
www.columbiarecords.com |
www.coheedandcambria.com |
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Fortune Favours - The Sound Of Your Heartbeat
(Alpha Engineering Records)
Review by Steve
Green |
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One of the review lines used to promote this single called
Cardiff's Fortune Favours, "Punk". No surprise that the comment
came from someone at Radio 1, as this isn't Punk in the
slightest. It's more of a glammy rock n roll fest. Imagine a
fired up Hanoi Rocks, with plenty of woah-oahs vocals to back
up the driving rhythm. Then you have lead track, The Sound Of
Your Heartbeat, described to a tee. Underneath These Lights is a much
slower affair. And I will hold my hand up and say the vocals
do have a similar feel to The Clashes Joe Strummer, but they
aren't utilized in a Punk way at all.
With only two tracks, with a running time of under seven and a
half minutes, there's not a lot to get your teeth into here.
But from what I've heard, and given the popularity of Zico
Chain, I could see Fortune Favours building a sizeable
following with today's youth, despite their sound being rooted
in the 80s. (And fuck me, that makes me sound old)
www.myspace.com/fortunefavoursmusic
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Freevil - Freevil Burning (Nastified Productions)
Review by Chris Davison |
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“The ultimate sickness”, declares the sticker on the front of
the promo, though to be honest you're more likely to be
looking at the topless bird covered in claret holding a
flaming torch. Which is nice. Freevil then, have at least one
foot in the un-politically correct camp before we even get
started! The sticker also proudly proclaims that this is a
band made up of ex-members of Witchery and séance, which
although strictly true is a bit of a con as it's Mique, who
was a member in both of those bands.
Anyway, pedantry not withstanding, this is a pretty
interesting album, and certainly a bit different than I was
expecting. I had some visions of ultra thrashing sickness, but
this isn't |
necessarily the case. This is an album infused with the spirit
of nasty rock n' roll, though it doesn't particularly sound
like that. Confused yet? Yeah, well so was I when I gave it
the first few spins. Sounding like a collision between Mercyful Fate, early Witchery and ...erm...the
keyboard “genius” of John Carpenter, this is some pretty full
on stuff. Opener “Deathblow” comes out swinging, seemingly the
perfect conclusion of the Tomorrows World theme tune and heavy
metal. Thrash heads are likely to be sated by the plethora of
stabbing guitar riffs that hearken back to the heavier end of
the thrash spectrum, ala early Dark Angel, while those of a
more blackened persuasion may find solace in the throaty,
rasping vocals.
The production is great, and all the instruments are clear and
mixed perfectly. I found that the keyboard sound took a little
getting used to, what with it occasionally sounding like they
allowed some drunk bloke in to put his favourite Amiga samples
in the songs, but after a while their incongruity becomes part
of the charming appeal. The CD really holds its own however in
two mid-album cuts, the wonderfully atmospheric “Morbid
December”, (and to be honest, who hasn't had one of them?),
and the spitefully childish “Hate”. Worth the admission price
for these two tracks, my only gripe with the release would be
that with a bit more of a savage eye on quality control, this
could have been an absolutely killer e.p. Of four or five
indispensable tracks. As it is, the killer is counterbalanced
by the filler. Certainly worth a punt for those of us who are
anxiously awaiting another Witchery album, mind you...
www.freevil.se |
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Knights Of The Abyss - Juggernaut (Candlelight) Review by
James Young |
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I was prepared to give Arizona’s Knights Of The Abyss a fair
hearing, despite my general intolerance towards ‘deathcore’
music, because there is a lot of talent in what seems like a
swamped genre to play in. With the likes of Job For A Cowboy
and The Black Dahlia Murder gaining commercial success more
than ever at the present, Knights Of The Abyss follow very
closely with a heavy, breakdown-laden style of death metal
meets hardcore (heck, they even have Job For A Cowboy’s old
drummer with them). Dustin Hadlock’s vocals are competent but
very much clichéd for this brand of music, with the shouts you
would expect in this kind of act. Breakdowns are present in
spades, and they are absolutely |
packed into this album. If the on-off double bass drums mixed
with slow chugging riffs is your cup of tea, buy this album
now - don’t even read the rest of this review; because it’s
all you would ever want in an album. For the rest of us who
want a bit more variation, there are some attempts to liven up
things, but they are few and far between.
The opener, ‘Juggernaut’ provides a fairly classy two and a
half minute introduction to the bands sound, but sounds rather
more atmospheric and grandiose than what is to follow.
However, Andy Rysdam’s drumming is possibly the one saving
grace of this album, but even then it isn’t really showcased,
with the breakdowns given ultimate priority. When the guy is
given license to obliterate the kit, he does a pretty good job
of it. ‘Gridlock’ contains a pounding double kick drum climax,
whilst ‘I Pledge Agrievance’ has some tight drumming spots.
The death metal influences are perhaps the most interesting,
for example ‘Hell Bent’ which blends in a death metal solo
into a hardcore passage. ‘Dragon Pie’ mixes the standard
breakdown with a guitar squeak, which sounds more along the
lines of death metal than standard metalcore. ‘Mission:
De-evolution’ sounds positively thrashy in places even,
providing a slightly different sound. So it’s not all generic
deathcore fare, but for the most part, it sounds
disappointingly formulaic. Only get if you’re a die-hard
deathcore fan.
www.knightsoftheabyss.com |
www.myspace.com/knightsoftheabyss
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www.candlelightrecords.co.uk
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Lizzy Borden - Appointment With Death
(Metal Blade) Review by Metal Mark |
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There have been a number of veteran acts that have released
surprisingly good albums this year. That list would include
Hanoi Rocks, the Scorpions, Saxon, and Lillian Axe and now I
can add Lizzy Borden to that list as well. It’s been seven
years since “Deal With The Devil” was released although the
band did a slight image change and released an album as Starwood a few years ago. I was hoping for a good album and
what they delivered was their heaviest album and quite
possibly the second best album of their career. “Appointment
With Death” opens with “Abnormal” which has a breakneck pace
and enough guitar parts for three good songs. The album pretty
much stays the course after that delivering mainly |
| spectacular tracks except for track nine “Something’s
Crawling” which is far too repetitive. It’s obvious that a
great of planning and work went into this album because it’s a
strongly crafted piece of work. This band, like WASP, has always
walked the line between hard rock and heavy metal. At their
best they deliver the riffs and pounding beats of metal, but
blend in the melodies and catchiness of hard rock. I am a long
time fan of this band, but wasn’t sure what to expect as it’s
been years since they did a great album, they have had line-up
changes, delays and a change in image. Yet obviously the long
wait was indeed worth it. It many ways this album sounds like
it could have been the natural follow-up to 1986’s “Menace to
Society” because it’s in a similar style yet heavier and
slightly more aggressive. I am glad this band hasn’t fallen
prey to recent music trends or simply tried to relive their
part, but instead they built upon their best albums and have
managed to deliver one of the better albums of 2007.
www.metalblade.de/ |
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Powderfinger - Dream Days At The Hotel of
Existence (Remote Control Records)
Review by Steve Green |
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It seems Powderfinger are big business in their native
Australia, with numerous high profile awards being bestowed
upon them. And that level of success seems to be transferring
itself to this side of the World too as they've already sold
out their Dublin show and one of their two shows at London's
Hammersmith Apollo on their forthcoming UK tour. So how come
I've never heard of them?
Having been inspired by one of my favourite artists, namely
Neil Young, Powderfinger do indeed bear a resemblance to the
great man, although their sound is a lot more controlled than
the free spirited Canadian's. And my next comment kind of
dismisses them from
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inclusion on this site, as I think track 2, I Don't Remember,
is as smooth, and as catchy as Crowded House. Which isn't even
Rock orientated. But Powderfinger do
just about fall on this side of Rock to warrant a review. I
guess guitar based rock would be an apt term to use.
Dream Days At The Hotel of Existence is easy on the ear and
it's this smooth texture that has created their mass appeal.
But I don't think there is a lot here to interest your average
Metalhead. Personally, I like the album, but I do have a wide
range of tastes that includes the likes of Neil Young, Cheap
Trick and Antipodean bands such as Inxs and Midnight Oil. Fans
of whom, I think this album will appeal to.
www.powderfinger.com |
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Rob Rock - Garden Of Chaos (Candlelight Records)
By: Joe Florez |
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Just like Glenn Hughes and Joe Lynn Turner, Rob Rock is a very
much sought after vocalist and more than under-rated except in
this case it’s in the metal realm as opposed to the AOR/hard
rock scene. For those not in the know, Rob was in such high
profile bands like Axel Rudi Pell and Impellitteri before
going solo. This is his forth record and he has a gang of well
accomplished musicians from Europe to deliver the goods.
The
title cut is a fury of a song thanks to the whirlwind guitar
licks that refuse to stop and the drumming that could make a
house implode. RR takes command of the mic with ease and lets
it all out here as he sings in high octaves comparable to
Halford, but without |
replicating him. This is a fist in the air pumper as well as a head shaker cause this has a retro
80’s sound to it, but with a much more polished sound that
makes it modern and catchy. “Satan’s Playground” adds just a
bit more fuel to the fire here, but at the same time it also
has an AOR quality which helps balance this one out nicely.
Rob manages to also successfully sing in mid range and soar
without ever being obnoxious about it. The solos on here are
sick and effective. “This Time Is The Last Time” is a
tantalizing hard ballad because it doesn’t take the easy way
out and be all soft. Instead, it has a lot of punch and bite
while at the same time it’s sincere and soft. The mix of the
two makes this one a keeper. RR doesn’t try to re-invent the
wheel here. He just continues to do what he does and that’s
rock out with all of his heart and energy. The musicians on
here only help him push harder and move forward. There’s
plenty of good songs on here to sink your teeth into. The
tempo changes and paces are a plenty here so that way you
don’t get bored. The guest spots on here should be a treat as
Roy Z and Bobby Jarzombek make their presence known.
This is an
effective disc that doesn’t deserved to be overlooked. Fans of
the bands mentioned above or hard rock and metal in general
should take a listen to this. It’s fun and energetic music.
You won’t be disappointed.
www.candlelightrecords.co.uk
| www.robrock.com |
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The Living Fields - Self Titled
(Harvester Records) Review by Steve Green |
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Bands with absolutely zero talent, if they are marketed
correctly, can sell countless thousands of records. All
because of the hype that's created around them. Now how about
a completely novel idea, which I do believe is a selling
point, which isn't press bullshit and hype? I know this isn't
the first time this has happened, but it's still kind of
unique. The three band members of The Living Fields have never
actually met before. And while I'm sure modern technology has
made the creation of this disc a lot easier, than say, if this
happened 15 years ago, there's nothing modern about this album
at all. In a nutshell, this is deathly growled vocals
entangled with clean, melodic vocals and gargantuan chunks of
progressive
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doom. I always use Morgion as a benchmark for this
combination of styles and I'm sure fans of Morgion's, Cloaked
by Ages, Crowned in Earth opus will indulge themselves in this
one too. Jon Higgs schizophrenic vocals style adds an original
slant on their sound as he switches from Death, a contorted
scream ala Devin Townsend, a high-pitched Rob Halford-meets
King Diamond Metal scream through to mellow 60's hippyish
harmonies. And whatever style he uses, he sounds great.
If describing the vocals was hard enough, the music is even
more complex. Death - Doom/ Heavy - Soft/ Acoustic - Electric/
Guitars - Violins - Pianos. The variations are endless and the
time changes are completely unpredictable. You never know what
sound is coming next. And with me comparing The Living Fields
to Morgion, does that dismiss my thoughts on the originality
of their sound? This album is a complex affair, but at the
same time, the themes and feelings are of a familiar ilk. A
complete cross-section of everything from Prog, Death, Doom,
Folk, even injections of Viking Metal and Thrash can be heard.
But overall, this feels like a Rock opera, albeit a
downtrodden one. Not quite in the same vein as say, Ayreon,
mainly because it's so dark in places, but the feeling of
grandeur rings true through nearly every song.
Considering the circumstances in which this album was created,
the end result is nothing short of phenomenal. A written
description will never do this type of album justice, you need
this hear album to fully appreciate how great it is.
http://thelivingfields.com |
www.myspace.com/thelivingfields |
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