Archive for the ‘Metal’ Category

Let me say this quickly before you stop reading. This album is a fucking masterpiece. A gigantic game-changing triumph we didn’t expect! This is hands-down the best album of their career and a new high for the subgenre. An almost from out of nowhere about-face turn, skyrocketing them from diminishing returns to champions. No, I wasn’t expecting it either, but go with me on this…

Right, still reading? Ok, with that out of the way. Lets do the review.

The_Sin_and_the_Sentence_album_coverTrivium have had a funny old career. Their output has been really varied. They’ve done some really heavy and some really melodic stuff. They’ve done some technical progressive stuff and some simplistic groovy stuff. They’ve gone brash and brutal and they’ve gone mature and commercial. Not only has their music been really varied but so have the reactions from both their fan-base and the critics for every album. Every new album seems to sees them pick up new fans they’ve never had before and lose diehards who hate the new material or direction. Critics in one territory or from one background may hate the early stuff and love the mid career stuff and its vice versa with critics from another territory or background. Some albums are beloved in Germany but forgotten in the UK. Some are cult classics in America but underrated gems in Europe.

Me, I’ve liked every single one of the bands albums. A few of them I’ve loved. Like the majority of fans I’d say the best three are Shogun, In Waves and Ascendancy. I also have a huge soft spot for Silence In The Snow too due to its Classic Metal and Power Metal vibes but I understand how some fans of the heavier or techier stuff aren’t into that one.

This album, even with all that said, is just straight up and unarguably in another damn league. The energy in the performances; the fantastic satisfying crunchy production, the best and most diverse vocals of their career, the best drummer they’ve ever had hands-down… these are all factors that elevate this album above the rest of their discography. As are the songs themselves.

The songs are some of the most diverse, inventive and interesting songs they’ve written musically and structurally to date. They mix a vast array of styles that the band have dipped their toes into over the years and a lot of new stuff to. They have some of the band’s most interesting and memorable riffs and solos to date. They take twists and turns you don’t expect and catch you off guard. They showcase all of the musician’s talents at times but leave space for the lyrics and vocals to take center stage at other times. Sometimes they’re haunting and beautiful and sometimes they’re furious and heavy as balls, just riffing the fuck out of a big groovy riff.

Do you remember back when Machine Head were new and they were the cool new thing, and then they altered their style and tried new vocal techniques and production styles and lots of fans jumped ship but then The Blackening came out, all full of energy and anger and just plain amazing songs and suddenly tore everyone’s heads off and now Machine Head are bone-fide legends? This album is Trivium’s equivalent of The Blackening. It doesn’t sound anything like it, but that step-up in quality and energy and absolute revitalization of their career? That’s the same!

A lot of people online and in print have been going nuts over The Sin And The Sentence and justly so. In a recent interview Trivium mainman Matt Heafy said that the band decided they would have to write the best album of their career or else give up because they are always second guessing themselves and changing their styles and going through as many drummers as Spinal Tap. Well, Trivium ‘aint giving up now, because this is unequivocally their best ever work. Maybe its because Paolo is writing more of the songs than Matt. Maybe its because they are letting some of their Black Metal and Skate Punk influences mix into things instead of trying to purely do a mix of Groove Metal, Thrash Metal and Classic Metal like their original mission statement. Maybe new drummer Alex Bent just injected a new lease of life into them like Todd La Torre did to Queensryche. I don’t know why, but this thing is just on a whole other level.

Its quite a diverse album that really doesn’t sit in any one space for too long. ‘Betrayer’ mixes Ascendancy-era brutality with Pennywise style Punk and a happy Power Metal lead guitar sheen, but ends up with blast beats in the middle.  ‘Thrown Into The Fire’ is the darkest and heaviest thing they’ve ever done at times and has undertones of Dimmu Borgir, but then at other times is just an absolute riff and solo school that…ok maybe this one does sound a bit like The Blackening actually. ‘The Wretchedness Inside’ is the kind of thing they were doing on the heavier deep-cuts from In Waves mixed with some jaunty Prong-style disco beats and a guitar effect than almost recalls Damageplan on their weirder songs like ‘Blunt Force Trauma’ or ‘Explode,’ it also has a strange midsection that remind’s me of Slipknot’s ‘Custer’ but then it has one of the most satisfying and heavy riff-out moments like Messuggah or something and that transitions into really pretty, clean Maiden-esque guitar lines. ‘The Heart From Your Hate’ is probably the most conventional song on the album, and it mixes their ‘In Waves’ and ‘Brave This Storm’ style staccato riffing with their ‘And Sadness Will Sear’ style mature The Black Album-worshiping stuff.

For fans of the band’s heavier side ‘Sever The Hand’ pretty much alternates between especially crushing groove metal riffing and pissed off Thrash Metal sections throughout. Fans of the band’s cleaner more commercial side won’t be disappointed either. Although this is one of the band’s heaviest and most progressive and technical albums yet, there’s still some stuff to get into if you prefer the heart-throb-Heafy stuff they previously showcased on ‘Dying In Your Arms’ and the like. ‘Endless Night’ for example lives in that sort of territory. Its just got a hell of a lot more energy, verve and attitude to it. The drums and background guitars give it a cool sort of Coheed & Cambria quality rather than just radio rock.

I’d try to pick out highlights but the album doesn’t sit in any one place long enough (hell the songs don’t either) to really establish a good version of it. I wouldn’t cut a single track and I’d like to see each of them live. Its all great. Its all interesting and diverse. That’s “diverse,” yet really cleverly constructed and naturally flowing though, not wacky-“diverse” were stuff that doesn’t fit is just smashed together. This is an album you can listen to over and over again and find new depths, new nooks and crannies. ‘Oh hey I didn’t notice that cool drum fill before’ sort of stuff. Not “why are they playing a bassoon over old-school Tampa Death Metal riffs during their Lady GaGa cover?” sort of stuff.

Its hard to hand out a man of the match award either. Matt’s voice is so much better than its ever been (check out ‘Beauty In The Sorrow’). Paolo’s songwriting is so much better than its ever been. Corey’s guitar solos are just as good if not better than they were on the glorious guitar-line fueled Silence In The Snow. Oh yeah, and there’s Alex Bent, whose drumming absolutely makes the album. More than the cherry on top its almost the whole goddamn cake.

Overall, the Sin And The Sentence is an utter masterpiece. If you like Trivium do not miss out on this at all. If you used to like them and stopped, don’t you dare miss out on this one either, this is the one to get back into them on, seriously. If you’ve never listened to them I strongly urge you to change that. I’d even go as far as to say “If you only get one Trivium album, make it this.” This isn’t just a good Trivium album, or a good album, this is a game-changer.

Edguy – Mandrake Review

Posted: November 13, 2017 by kingcrimsonprog in Metal, Metal - Studio, Music Reviews

MandrakeThere’s a very handy Metallica comparison that works when thinking about Edguy. So, Kingdom of Madness is the Kill ‘Em All of the discography, a more raw and charming affair that wears its influences loud and proud and is fun but not yet fully developed. Vain Glory Opera is like Ride The Lightening, a more mature and uniquely them record that starts showing off their ambition while still rocking. Theater Of Salvation is Master Of Puppets, the magnum opus, the really grand and ambitious album that contains amazing, well constructed and monstrously catchy songs. The Savage Poetry is …And Justice For All, the follow up to their best album and almost as good in its own right.

All of that brings me to what I’m trying to say here. Mandrake is their Black Album. After four albums in one particular style and tone, the band decide to mature off in a new direction and break out of the confines of their home genre. Like The Black Album still had some Thrash songs on it like ‘Struggle Within’ and ‘Through The Never,’ Mandrake has some pure Power Metal songs on it like ‘Painting On The Wall,’ ‘Golden Dawn’ and ‘Save Us Now.’ Even then, sometimes when it does do traditional Power Metal, its more of a Master Of The Rings vibe than a Keeper Of The Seven Keys vibe if you know what I mean. Just listen to the little skiffly drumstick solo and high pitched comedy vocal in the middle of ‘Save Us Now’ to see what I mean.

Largely however, Edguy find themselves testing the limitations of their German Melodic Power Metal roots. ‘Painting On The Wall’ and its more progressive big brother ‘Tears Of A Mandrake’ have some very Bon Jovi and Detonater-era Ratt sounding influences audible on them, its no the whole picture but it is one colour they’re painting with. ‘Jerusalem’ sees them blending their Power Metal stylings with a more commercial Hard Rock vibe foreshadowing where they’d go on their next album. ‘The Pharaoh’ is a ten minute epic with an eastern vibe that sounds like a mixture between Sabaton when they get slow and stompy and when Rainbow would go eastern sounding like on ‘Babylon’ and ‘Tarot Woman.’ ‘Nailed To The Wheel’ although opening up acoustically with some very different vocal melodies than Edguy usually go for, evolves into the fastest most pissed-off Thrash Metal like song the band had put out to date. If you get the version with bonus tracks, ‘The Devil & The Savant’ also has a touch of Glam to it. Not the whole picture again, but its there. Its the band testing their boundaries.

The production job also has a lot to do with it. This album has a much more full, bright, unmetallic sheen to it. Commercial is the word best to describe it really. Its good in its own way but it sounds quite different to where they’d been living in previously.

Like with Metallica, there are lots of fans who consider The Black Album the last of the classic-five and there are other purists who think there was only a classic four and this is the first one afterwards. Of course, there are also a large amount of fans I’ve discovered online who prefer the band in their more Hard Rock form and say things like ‘Yeah, they got good when they stopped trying to sound like Iron Maiden’ and even those guys are also split on this record, because its not quite the Pure Power Metal style and its not quite not either.

Overall; Mandrake is a very good album, and a very interesting album, but whether you’ll like it or not very much depends on what you wanted out of it in the first place. The production job may be off putting if you wanted a certain thing, as may be the songwriting for about half of it. The songwriting on the other half may be off putting if you wanted a different thing. Vocals, guitar solos, drum patterns and creativity are all above reproach, its just the sound and musical direction that people are divided over.

The_savage_poetryEdguy were in an interesting position at the turn of the millennium. Starting the group as a bunch of wide-eyed teenagers in the early to mid ’90s, Tobias Samet and the rest of the boys who would go on to become legends of German Melodic Power Metal, were initially a rough an ready influences-worn-on-sleeves kinda band. They released a demo quality debut album called Savage Poetry in 1995 and then through years of practice and touring went on to become a leading force in Power Metal and one of the finest to be doing it at the time. After releasing their absolute magnum opus Theater Of Salvation in 1999 and being considerably more famous and beloved, fans kept asking if they would reissue Savage Poetry which had long since been out of print. Doing them one better, the band took all the talent, skills and confidence they’d been developing over the years and remade the album. No reissued, not re-recorded, but remade entirely.

Everything is different here, new artwork, new logo, new track order, new guitar solos, heck even the bassist and drummer are new when you think about it as neither were on the original version. They added a ‘The’ to the title as well, that’s new. Essentially, what happened was the band listened to these old songs and then wrote them again in 1999 as only the band who had released Theater Of Salvation could have. What resulted was a mix of old and new, that ticks all the right boxes to sound classic and modern, naive and accomplished, charming and sophisticated. There’s a duality to it that works as well as your go to metaphor (be that chocolate and peanut butter, tits and dragons or whatever people are saying these days, the point is the two compliment each-other despite seeming like different worlds).

For most people this is just some handy background information for a pub quiz however because unless you go out of your way, you aren’t hearing the 1995 version easily and the differences between the two versions are therefore largely academic. Regardless, because this is Edguy in 1999 we’re talking about here, this is an absolutely superb album not to be missed by Edguy fans, or indeed anyone with an interest in this style of music. If you listen to Gamma Ray, Helloween, Hammerfall, Blind Guardian, Freedom Call, Sonata Arctica, Stratovarius or anyone of that nature, you really want to get up on this album. I would be so bold as to say The Savage Poetry is either the band’s second best, or sometimes if I’m feeling generous, joint-first best studio album.

There are a lot of similarities between this and Theater Of Salvation. They were both recorded around the turn of the millennium at Rhoen Studios in Fulda, Germany, and were both self produced by the band, with the same line-up. They both feature a mixture of Maiden and Priest influenced speed metal sections, bombastic grandiose sections with pianos and choral singing, and then some occasional ballads, and happy Helloween-influenced melodies. They both come before the band went a bit more Hard Rock in direction and they both come before the band started letting their humour play a big part.

Highlights include the speedier more metallic tracks ‘Sacred Hell’ and ‘Misguiding Your Life’ as well as the slow stompy Hammerfall-esque opener ‘Hallowed’ and possibly best of all, the diverse multi-faceted ten-minute ‘Eyes Of The Tyrant.’

The album works really well from start to finish, the two ballads break things up (and are surprisngly tasteful), the longer tracks take you on a little journey and then the rest of the album gets its head down and delivers exactly what you love about the band perfectly, only with a little bit more of a NWOBHM gallop than usual.

Overall; be sure not to miss out on one of the band’s absolute finest hours. If you like the glorious melodic guitar lines, crunchy riffs and pounding drums of Edguy at their most metallic, this is seriously up there as one of the finest examples of that. If you like the band being adventurous and writing long complex stuff, that’s here too. If you like them when they drop some ballads, these are some of the band’s best. If you’re tempted by the band but scared off by the more commercial Hard Rock stuff or the comedy stuff there’s none of that here. This is the band at their best, with some damn fine songs and a sterling production job, updating some charming old songs into an absolute beast of an album. Highly recommended!

220px-Rhapsody_symphony_of_the_enchanted_landsLudicrously over the top, pompously bombastic, cheesy as hell. With Power Metal these things can either be used as insults, or as compliments depending on what you like to listen to.

There are few bands more OTT, more pompous or more cheesy than Italy’s Rhapsody (Who were later re-named Rhapsody Of Fire due to legal issues, and later still split into two bands, Rhapsody Of Fire and Luca Turilli’s Rhapsody with different members in different sides continuing things on separately). Pompus, cheesy and OTT sure, but that’s exactly what’s so great about them. The band are the very spirit of over-dramatic, flowery, sword and sorcery themed Symphonic Power Metal. Just take a look at the dragon on the front cover. Hey people told you dragons and stuff were ridiculous back in the ’90s but nowadays everyone’s calling their newborn kid Khallesi and you can buy Game Of Thrones t-shirts in Asda. (That’s Wallmart for my non-British readers).

Singer Fabio Lione (currently in Angra) has an absolutely stunning voice, with such ridiculous power, range and control. The perfect man for the job of delivering the cheesy OTT story, over this cheesy OTT music. He has the perfect skill for delivering the immense drama the band have to offer. Lead guitarist Luca Turilli’s insane virtuoso mastery of his instrument is beyond impressive. The shred level is off the charts. The combination of both those things is bound to have been a huge influence on modern bands like Firewind and Dragonforce.

This 1998 effort is the second entry in their series of concept albums set in a Lord Of The Rings style fantasy world, continuing the story of their The Emerald Sword Saga. The music is a mixture of Hollywood soundtrack style orchestration and glorious rampaging melodic European-style Power Metal. There’s speedy numbers, mid-paced stuff and lavish string & wind driven atmospheric passages, all working next to each other in perfect harmony. Sometimes they just go ahead and blend it all together too. The fast songs will have flutes and acoustic guitars as intros or outros or middle-eights, the slow songs will have orchestral moments or narration at the end, the mid-paced stompers will speed up later on. It all works so well together.

After a minute of dramatic classical music and chanting in the intro ‘Epicus Furor,’ the band kick off the album with a bang, on possibly the finest track on the whole album and one of the finest of their early career… the absolutely storming ‘Emerald Sword,’ with one of the catchiest choruses you’ll ever hear (it sticks in my head for days at a time). The album is crowned by an epic 13-minute title track which encompasses pretty much all the many styles this album has to offer in one single place. Everything in between, the ballads, the fast ones and the orchestral stuff is all up to a very high standard. Highlights include ‘Wisdom Of The Kings,’ ‘Riding The Wings Of Eternity’ and ‘Beyond The Gates Of Infinity.’

Overall; Symphony Of Enchanted Lands is a ridiculously bold and spectacular album brimming with effort, with enthusiasm and drama. The musicianship is immense, the songs are memorable and as long as you don’t mind that its cheesy as hell, I highly recommend you check it out.

MI0001487271.jpgIf you haven’t heard of this one I don’t blame you. The Workhorse Movement were really over in the blink of an eye in the grand scheme of things. If you’ve heard of them but haven’t heard the album, I don’t blame you. It wasn’t promoted or lauded enough as it deserved at the time and without them making any more albums there was no build up or cause for a new generation to get in to them.

If you have heard it, well then you know full well, this is one barking mad, fun and excellent album. How to even describe it? Eclectic, to say the least. It is a bizarre mixture of Clutch and Monster Magnet stoner rock with crazy lyrics, Sepultura on Roots proto-Nu Metal riffs, Faith No More variety (such as having additional brass instruments or latin music or funk or soul at different times). There’s even a sort of psychedelic space rock intro and a bit of that style in the verses of another song. There’s little bits of Rap Metal (well it was the year 2000 after all) but that’s far from the whole story. If that all sounds like a strange mix its because is, but somehow it works.

Its all topped off with a cheeky smile and a sense of humour. Lyrical topics include handshakes ‘Gimmie Some Skin,’ Detroit ‘Motown,’ Black Sabbath ‘Keep The Sabbath Dream Alive’ (“When I die there’s gonna be an electric funeraaaaal”) and all sorts of marijuana talk for better or worse. Lyrically its a bit silly but musically its dead serious (Again, not unlike Clutch or Monster Magnet). The experimentation with outside styles isn’t frivolous, its expertly done.

The important thing to remember is, this isn’t another generic forgettable release from the Nu Metal period. Its eclectic to the point of being progressive, its catchy as hell, its really fun and the songs themselves are really good. It not just wacky and novelty value only or something. These are really good songs. Some of those thick fat satisfying riffs are really enjoyable. Just listen to the appropriately titled ‘Heavy’ for the perfect example.

I’d like to point out highlights, such as ‘Charlie Don’t Surf,’ ‘Beotch’ and ‘Feel Like Bob Marley’ but to be honest no two songs on the album even sound the same. I mean, they fit together, and it flows well, but that diversity thing I mentioned? Yeah, that!

Hey I’m a Nu Metal apologist who can still happily listen to The Union Underground, but this isn’t that. This is like listening to King For A Day Fool For A Life Time at the same time as listening to Power Trip and The Elephant Riders, a collection of Pink Floyd B Sides and flicking through a dozen radio stations and catching fleeting glimpses of a range of music outside of rock, such as funk and soul. Then occasionally something not too dissimilar to the riff from ‘Roots Bloody Roots’ comes in and ties it all together.

If you want to hear something really fun and interesting you could really do a lot worse than Sons Of The Pioneers. Its a one-of-a-kind that’s for sure. As long as you aren’t terrified of everything that doesn’t sound like Burzum or indeed of everything that doesn’t sound like Manowar, I think you’ll really enjoy this underrated gem.

220px-Intermission_(Stratovarius_album)_coverIntermission is a mish-mash compilation album by the Finnish Power Metal band Stratovarius from 2001. It was released as a stopgap between their commercially successful Infinite album from 2000 and their ambitious and slightly Prog Metal double album series Elements Parts 1 & 2 from 2003.

Its got linear notes from the band about the release and a very well designed cover art referencing previous albums (kind of like Pink Floyd’s Echos compilation does).

The album opens up with four brand new songs, first of which is the slightly power ballad style ‘Will My Soul Ever Rest In Peace?’ Its nice solid melodic Hard Rock stuff. Next comes ‘Falling Into Fantasy’ which starts off with a shimmering Empire-era Queensryche style vibe. Think ‘Della Brown.’ It sounds like the sort of stuff the band were doing on the popular Destiny album. Speaking of Queensryche the chorus is quite reminiscent of ‘Jet City Woman’ too actually. The song livens up further with a nice energetic guitar solo and a fun drum pattern underneath with a very nice tom fill at the end of the solo. At the start you thought it was just another ballad (Statovarius do a lot of ’em) but really it turned out to be one of the best songs they do in this particular direction, if a little derivative of Degarmo and company (for me that’s a good thing really).

That’s followed up by the traditionally power metal track ‘The Curtains Are Falling,’ a speedy double-kicks-a-flailin’ headbanger with a catchy chorus and memorable neoclassical keyboards. Its got a lot of energy and probably would have been the smarter choice to open the album with, I think. Probably would’ve worked better going from most to least energetic, but hey, its sequenced how its sequenced folks, I don’t make the rules.

Finally there’s a track called ‘Requiem’ which is essentially just a typical instrumental intro or outro. The sort thing most people will skip after the first few listens. A slow, keyboard driven atmospheric build up with no Heavy Metal payoff.

That’s it for the brand new specially written for this songs. The rest are gathered from mixed sources during their classic period. There’s two demos ‘Neon Light Child’ and ‘Freedom’ both of which are OK but forgettable (just the same as the final versions but with less polished production really). Then two live tracks, ‘Hunting High & Low’ (their very fun hit single) and ‘I Surrender’ (which is actually a Rainbow cover, and very fun, if a bit out of place), which are nice but kind of pointless on a compilation as opposed to a proper full-length live album. There’s two studio cover songs; ‘Bloodstone’ originally by Judas Priest (which they nail) and ‘Kill The King’ originally by Rainbow again (which has been done better by other bands, but its decent if you aren’t over-familiar with it).

The majority of the rest is all the bonus tracks from deluxe editions of the last few albums etc. ‘Keep The Flame’ is a very somber and emotional piano ballad. ‘Dream With Me’ is a power ballad that gets very jaunty towards the end when the solo kicks in. Then there’s another power ballad called ‘What Can I Say?’ which is slightly similar to track one, but with a bit more bite to it. OK yes, sensing a theme here? There are a lot of ballads on here. Its not all ballads though…

‘Its A Mystery’ is a very strong more commercial Power Metal tune in the vein of ‘Hunting High & Low’ which sounds like it would’ve fit perfectly on Infinite and probably would’ve made a great single if they’d released it that way. Its one of the best songs on this compilation. ‘Why Are We Here?’ the bonus track from Infinite is similarly just another really strong track from them in their commercial direction, and also baffling that it wasn’t a big single either. ‘Cold Winter Nights’ is typical perfect up-tempo Stratovarius, with that sort of Judas Priest’s Electric Eye vibe only with more keyboards and melody. Its also one of the best songs here and a nice surprise if it wasn’t on your version of Destiny already. ‘When The Night Turns To Day’ is a stomping mid pace track with a whiff of Queensryche’s Empire about it, just like the new track mentioned above. It would also have fit best on Destiny (even though it was initially from as far back as Episode, if you can believe that).

As you can imagine, Intermission is just a jumble of odds and ends with no particular theme or flow or consistency. Its not a must-have release or anything. Hey, if you like ’em doing ballads and covers you’re quids-in. If you want ’em doing more of a Speed Metal thing there’s not so much of that on here though, so maybe don’t start here if you are new, pick up one of the records in their glory run from Episode to Elements Part 2 instead.

If you like the band already though, and just want a cheap, easy and quick way to get the bonus tracks and b-sides in one place then this is great for that purpose, and hey there’s four solid new songs too to flesh it out. Nothing life changing, but worth a look if you’ve ran out of other Stratovarius products to check out from this era.

1000x1000.jpgI initially got into Prong through a boxset, which I listened to a little too much all at once on shuffle. It seems shuffle was my enemy at the time, because just as it initially only played me the few super commercial Saxon songs that were the least like I wanted. Well, with Prong it only seemed to play me the slower weirder more experimental tracks with that sort of My War era Black Flag influence that just isn’t to my taste. Stuff like ‘Contradictions’ and ‘Sublime.’ For a while I always felt disappointed by Prong as they didn’t sync up with my own personal tastes.

A good five years later after I really sort of wrote Prong off as being not-for-me altogether, I caught them live supporting Exodus and Obituary and discovered that they were actually phenomenal; they had some really raging Thrash Metal tunes, some incredible Groove Metal tunes and their singer Tommy Victor is almost as cool a frontman as Rob Flynn.

Re-stoked on Prong I’ve been going back to those boxset albums over and over (and not on shuffle this time!) and then started branching out to more into the rest of their discography. One of the absolute best of which is Carved Into Stone. It was released in 2012 by Steve Evetts (Dillinger Escape Plan, Sepultura, Sick Of It All) on SPV records, and features the bass talents of Tony Campos (Fear Factory, Ministry, Soulfly etc.)

Prong are a really interesting band. They cover a lot of different ground. Early in their career they were a Hardcore Punk band, after that they crossed over into more Thrash teritory. Then they released some seminal Groove Metal albums before going into a much more Industrial direction with some slight Nu Metal overtones. Then they broke up and came back, and went in a few more slight alterations of combinations of all of these styles over their next few albums. Some are more raw, some are more polished, some lean more heavily in one direction, some lean more heavily in another.

The music here, on Carved Into Stone, is terrific. The album opens with two faster ragers, drops into a punkier number and evens out with a mid-paced groover in the spirit of Black Label Society (only with an alternative rock style chorus). This little run is really a mixture of all the different eras of their career. There’s a few moments of industrial flavours here and there. There’s plenty of Pantera, early Machine Head and ’90s Sepultura sounding stuff. There’s tiny little pieces of Fear Factory on the odd occasion. There’s straight up Thrash used sparingly, and moments of punk. It all mashes together smoothly and perfectly both within the songs themselves, and along the album as a whole. It flows really well and all the parts gel together within individual songs.

If you are a new Prong fan, the common consensus is that you should start with their classic 1994 album Cleansing. In my opinion the next place you should go after that is here, Carved Into Stone. I was about to list highlights, but really the aforementioned first five tracks are all absolute must-hears. They show off different parts of the Prong sound. If you wonder if this album is for you then check out any but preferably all of those. ‘Eternal Heat,’ ‘Ammunition’ and ‘Carved Into Stone’ in particular are like three different bands and no one on their own showcases the band fully, yet all of them are absolutely brilliant examples of what Prong do (in part) and really good tunes in and of themselves.

Overall; if you like bands like Fear Factory, Pantera, Machine Head, Pissing Razors or ’90s Sepultura you may seriously want to check out Prong. If you check out Prong you may seriously want to check out Carved Into Stone. It is a very well mixed combination of a few different styles within their arsenal, but what tips it over the edge is the brilliant performances, punchy production, level of consistency and better than usual songs from the band.