THE FATAL FEAST
There are some bands that put out releases and you really, really know exactly what you can expect before ever playing a single note of one of their songs. Municipal Waste are one of those bands. Like all of their previous work, their Slayer meets early Anthrax approach to thrash hits you in the face with short blasts of aggression that leave you worn out after a full listen. Their lyrical outpouring pretty much stays the course as well; a litany of songs about horror, gore, and…well, sickness. These guys clearly don’t take themselves overly seriously, as is evidenced by songs like “Covered In Sick – The Barfer”.
It’s kind of odd really how time has worked with Max Cavalera. Back when Soulfly came out, the best quality of the band was that it took Max’s music fully into directions he wanted to explore bout really couldn’t with Sepultura. For many people, they will say quite a different thing, but hear me out. Far too many people criticized Soulfly for NOT sounding like Sepultura’s ARISE or CHAOS A.D., even though that really was never the intention. Somewhat predictably though, the years that have gone by has seen Cavalera progress (or regress depending on your stance) more and more toward the classic Sepultura sound. The last two albums, OMEN and DARK AGES, could easily have been mistaken for Sepultura reunion albums. The same can be said about Cavalera’s project with his brother, Cavalera Conspiracy. The same can now be said about ENSLAVED.
Meshuggah is a band that has a category all their own. I’ll call them Aspirincore. There’s only a few bands out there that play Aspirincore; Meshuggah, Dillinger Escape Plan, Converge, Candiria, probably a few more. With a term like Aspirincore, you might take that as an immediate negative, and you would be wrong. It’s just that these kinds of bands will give you a headache if you listen to them for too long at any point of any day. Their odd timings and even odder timing changes make them simply hard to follow along with.
A Sound Of Thunder
OUT OF THE DARKNESS
With each and every press release that comes down the pike with the term “female fronted metal band”, I find that title generally slides to the back of my “reviews” playlist. I won’t lie. What they are calling “female fronted metal” these days bores me. I hate Nightwish, and I hate the 2nd and 3rd tier bands spawned from Nightwish that much more. There’s a small handful of female fronted metal bands/acts that I truly like. Benedictum is probably the best. Doro is up there. I loved the first Otep album SEVAS TRA a lot. And yes, there’s the occasional tune from Arch Enemy that’s cool. That’s pretty much it. I’m sure there’s others that I have enjoyed from time to time, but not too many.
WRAPPED AROUND MY MIDDLE FINGER
I'm one of those guys that just worshipped the work Donnie Vie did with Enuff Z'nuff. Even now, where I've actually hosted shows where Vie was a drug addled embarrassment to the point where I regretted having the name of my radio show tied to his performance, I never stopped appreciating the enormous musical talent that Vie has. I have all those Enuff Z'nuff albums on my IPod and they get regular play in my ears.
Ahhh...another lullaby for my sickened soul! The masters of horrific death metal are back once again. Here's a surprise - this is heavy and fast! Stunning, right? Honestly, this is one I could probably have written without ever hearing a note of the album. It's heavy. It's fast. It kicks all kinds of ass if you are into this type of thing.
We all have bands that never made it big but we really liked. If you are really honest about it, those bands generally have a very distinct reason they didn’t make it big. In short, some bands just don’t have that “it” factor. For me, Halloween are one of those bands. I always loved their tunes and thought they were great. Yet, I think I always fully understood why they didn’t make it. When you listen to the bands of their ilk that did break big and compare them to the bands that had pretty much the same impact, it’s very clear. Halloween was much more “Helstar” than they were “King Diamond”. For me, the lesser known certainly had more impact to me.
THE ULTIMATE DECEPTION
Not being the biggest fan of death metal hybrid bands of any kind, let alone bands that try to fuse black metal and goth together, I didn't have a whole lot of great expectations for THE ULTIMATE DECEPTION by long time Florida metallers Wykked Wytch. To be honest, I wasn't really looking forward to listening to it. To be even more honest, the only reason I decided to listen to this was because of the lineage of the past members of the band. This band has seen some great musicians come through it - especially on drums where both Kevin Talley and Richard Christy have chaired the kit at some point. Imagine my surprise when this release turned out to be pretty much an unstoppable brutality train.
WOLFSBANE SAVE THE WORLD
I've been disappointed with many releases over the years...and this is one of them. Clearly one of my favorites, I expect better from Blaze Bayley. To be clear, I've thoroughly enjoyed almost all of his solo material. SILICON MESSIAH is one of those albums that I ensure never leaves my IPod, my phone and whatever other listening device I might use when I leave the house. While I didn't care for his Iron Maiden stuff (like, well, everyone else), I have always thought it was just a bad fit for his style.
THE AGE OF REMIX HELL
I like Mark Hunter. I consider him a friend, and I'm pretty sure he considers me as a friend as well. That said, "what the fuck, bro?"
Maybe I'm just getting old and am no longer in tune with what the kids want to hear today. I get that. I understand that this whole Dubstep crazy is in right now. I get that today's kids are just as content to listen to the work of a DJ that never touches an instrument as they might be to an actual band that plays their instruments and creates their music organically. I get all that. I just don't get why.