Archive for the ‘Metal – Studio’ Category

Prong – Beg To Differ Review

Posted: March 17, 2018 by kingcrimsonprog in Metal, Metal - Studio, Music Reviews
Tags: ,

Prong-begtodifferBack in 1990 New York’s Prong were really onto something. They had been mixing Thrash Metal and Hardcore Punk as many others had before, but managed to do it in a very creative way and come out with a Groove Metal gem that would see them entering the same sort of territory as Pantera, Machine Head, Fear Factory and ’90s era Sepultura would do soon after.

Maybe its the tone and the production job from Mark Dodson (Suicidal Tendencies, Anthrax), maybe its the tempo, or maybe its nothing more complicated than the songwriting, but this album feels like history being made. The blistering Thrash Metal opener ‘For Dear Life’ is chunky riff-driven fun, and there are reappearances of that spirit here and there throughout the album, but basically after that it slows down a bit, and mixes a Sabbathy riff focused 3-4 minute structure with the power and grit of Thrash, the bark and streetwise nature of Hardcore and that charming early ’90s sound to create a damn solid, memorable and interesting album. A pretty good example of the album’s style overall would be ‘Right To Nothing.’

Tommy Victor’s iconic voice ties it to what would follow, but this may sound a bit different if you are expecting it to sound identical to their classic Cleansing record or their amazing four newest albums. Its a bit more simple and a bit less sophisticated, but it is very charming. One-dimensional is the wrong term, but, focused!

If you like Prong but don’t own this yet, dig back and don’t miss out! If you like any of the other bands listed above, make it your business to check Prong out as well!

BLS-Grimmest-hits-CackblabbathBlack Label Society are very much ‘old dependable.’ Every album is worth owning. For me I do have to admit preferring their Metal side to their Rock side and consequently thinking the first four albums and also Order Of The Black are the best, but even with that being said, nothing they do it bad.

2018’s Grimmest Hits (a studio album, not a greatest hits, in case you didn’t know) is their tenth proper Studio album. If it is your first BLS album, then you’ll probably love it, if you already own a few, then you’ll probably like me enjoy it, but not think it is the best. Like AC/DC or Hatebreed or Motorhead, the band do have album on album variation, but they always sound distinctly themselves and a causaul person may say ‘heard one, hear em all.’

Its pretty much the usual fayer here, with a bit more Sabbathy and a bit less Groove Metal than some of their other work, but still very much more of the same. A few great ballads, a mix of fast, slow and mid-tempo Metallic rock songs with incredible guitar solos and vocals that owe a lot to both Layne Stayley and Ozzy Osbourne.

Highlights this time around include ‘Seasons Of Faulter,’ ‘A Love Unreal’ and the very catchy southern ballad ‘The Day That Heaven Had Gone Away.’

Its the kind of album you have on in the car and listen to over and over again without realizing how much you actually listen to it. You wouldn’t call it your favourite ever album but you certainly get your money’s worth in the end. Recommended, not a disappointment, but not their greatest. If you are a new fan try something like 1919 Eternal first, move on to this when you’re already a fan.

Saxon – Thunderbolt Review

Posted: March 4, 2018 by kingcrimsonprog in Metal, Metal - Studio, Music Reviews
Tags: , ,

220px-Album_cover_of_Saxon_-_Thunderbolt_(2018)Now, I don’t claim to be the world’s biggest or most devout Saxon fan. I only got into them about five or six years ago after hearing ‘Denim & Leather’ in an episode of both Metal Evolution and also Heavy Metal Louder Than Life and feeling like I needed to hear more. Since this was in my most financially broke student period its been a slow process gathering their discography. At present I own only about ¾ of their albums, but to be fair, have seen them live about 3 times (would’ve been four, but one was cancelled). Slowly, slowly they’ve won me over more and more and more until I’d now consider them one of my absolute favourite bands (if not for a mental block about having to have the full discography I have), and its a rare day you catch me without a Saxon t-shirt on, even at work.

Saxon have had several distinct periods over the years. The unsigned and first album era. The classic and most publicly beloved era of the next 3-5 albums where the bulk of their live setlist and greatest-hits tracklists will be drawn from. The more commercial 3 albums after that in the mid-late ’80s. The early ’90s comeback. The early ’00s comeback. The late ’00s comeback. Their current three comeback albums. Yeah, when I saw them live, singer Biff Byford joked “we’re on about our tenth comeback now!”

Even though they were already on an amazing comeback with Sacrifice, the public considered their last album Battering Ram a comeback as well, and judging by the chart performance and critical and fan reaction to this current album, 2018’s Thunderbolt (their 22nd studio album), the same thing is happening again.

Much like German Metal Legends, Accept or Kreator; Saxon are playing and writing better now than so many younger bands, than so many of their peers, and arguably than themselves in much of their classic discography.

Even as a new fan, this record is not something you want to be missing out on, this isn’t just a reason to tour or one or two new songs to add to a setlist for one tour, to be forgotten forever after, this is a damn strong, exciting, vital sounding album!

Highlights include the bombastic strung-up moody album-centerpiece ‘Nosferatu’ with its astonishing guitar work, dynamic mix of tempos and evocative lyrics, as well as the furious Motorhead tribute ‘And They Played Rock N Roll’ and the heavy ‘Predator’ which features guest vocals from Amon Amarth’s Johan Hegg.

To be honest though, apart from an instrumental intro, there is not one skippable song on the whole album. Even towards the end of the album, tracks like ‘Speed Merchant’ are just as good as anything at the start of the album. It makes sense that the band are playing six or seven songs from this record live at the moment, as it is some seriously strong material. With Paul Quinn’s searing guitar solos, Nigel Glocker’s mighty drumming and Andy Sneap’s absolutely perfect production job… this is exactly what Heavy Metal is supposed to sound like; punchy, heavy, vital, catchy, impressive and fun!

If you like Saxon then this is no album to miss, if you are lapsed its a good re-entry point, and of course, if you are new or newish to Saxon then this is mandatory listening. I know some people would call it sacrilegious to compare it to career triumphs like Strong Arm Of The Law, Wheels Of Steel, Demin & Leather or Solid Ball Of Rock, but this tight, consistent and damn entertaining album is honestly good enough to be both up there with the best Saxon material but up there with the best Heavy Metal material coming out at the moment. I would have it over Iron Maiden’s latest at the moment, and they are on a high period as well. Don’t miss out, get struck by the Thunderbolt now!

Machine-Head-Catharsis-Artwork.jpgTo say this album is controversial is an understatement. To understand it, you really have to look at the psychology and recent history of the band and it’s frontman, Rob Flynn. When Machine Head first arrived on the scene in the early ’90s with their almost universally loved debut album and its follow up they were the hot new thing. By taking Thrash Metal, slowing it down, adding in lots of groove and Hardcore they ended up creating something unique that genre pedants still can’t agree on (Groove Metal or Post Thrash or just a weird version of Thrash, the arguments are endless). After that, when Nu Metal was popular and still new and exciting, the band who had always been talking about Hip Hop and Rap since their early days introduced Rap and Hip Hop elements into their music and changed the production and guitar styles, in so doing they made something altogether different that garnered both huge success and then huge backlash for their next two albums. After the backlash and all the constant criticism, the band almost broke up and their popularity plummeted drastically, but instead of throwing in the towel, they changed paths again and then released what can only be described as four of the best albums in the entire history of Heavy Metal… their stellar run from their return-to-glory Through The Ashes Of Empires to Bloodstone And Diamonds are four straight up faultless masterpieces, crowned by their beyond-popular The Blackening which is hailed as a classic by more people than there is time to list.

For the two albums after The Blackening though, even though they were incredible, it did not get the band the Festival Headliner status they justly deserved. Furthermore, after touring the material from those four albums, most of which is so lengthy and diverse that it absolutely ate up all the time they would get on festival slots thereby letting them only really play 4 or 5 songs… the band decided to start doing ‘An Evening With Machine Head’ shows where they could play multiple hour sets (often without a support act, although I’ve seen them twice, once with support bands and once without).

When doing those ‘evening-with’ shows and now having room to play more than just 4 or 5 of the newer era songs, they were able to drop in material from all over their career. Even tracks from the Nu Metal period that many people claimed to hate, but which the band are now getting nostalgic for and people seemed to be loving live.

So here we are in 2018; after four albums of absolute perfection, melding progressive flair, blistering thrash, flashy technicality, beautiful dual guitar melodies, and diverse mixtures of fast, slow, sludgy and groovy… the band needed to try something else to make a play for their absolutely-earned but frustratingly elusive festival headliner status. Full of nostalgia for the Nu Metal era and feeling no reason to be tied to a formula that isn’t giving them the success they deserve, Machine Head entered the studio and came out with Catharsis. The name has been explained as describing the writing process. Instead of having to hide away new ideas like incorporating poppy keyboard sounds that Rob is listening to on the radio, or delving back into the in their eyes unfairly overlooked Nu Metal stuff was cathartic for the band. Even though it is superb, they don’t want to just repeat The Blackening fifty times. It wouldn’t be fun as musicians. So back come the bouncy riffs and street-level lyrics, and newly incoming are the Jordan Fish sounding keyboard sections. That gets mixed in with the successful formula from the previous four albums, and the resultant mixture is what we have here on Catharsis.

Now; there’s two things that can make a certain time of metal fan do a spit-take. One of them is a Heavy band going Nu Metal. Another is anything that sounds like Bring Me The Horizon. So naturally; there has been a hell of a lot of negative reaction to this album. Not helping that is the world being so much more right wing now, people are complaining constantly about the socially conscious lyrics of this as if its a new thing. As if they weren’t singing about this all the way back on Burn My Eyes. As if the universally praised The Blackening didn’t have ‘Slanderous’ on it. As if Metal fans haven’t been praising bands like Anthrax and Nuclear Assault for being socially aware all the way back in the ’80s. As if music fans haven’t been praising bands like Dead Kennedys and Rage Against The Machine and the hundreds of other bands (I mean, there are so many more left wing or liberal rock and metal bands than its even worth counting, why is this even a topic of discussion?). I mean, its not as if Rob Flynn has ever guest starred on an Earth Crisis album or something is it? Oh wait…

Ok. So that’s the broad strokes out of the way. On to the specifics. It is almost an album of two halves (its almost two albums its that long, over 70 minutes… how does that compare to Unto The Locust getting pettily criticized for being too short?). The first half shows off the more experimental stuff. Songs like ‘Kaleidoscope,’ ‘California Bleeding,’ ‘Triple Beam’ and the album’s centerpiece ‘Bastards’ is where the real diversity and controversy lies. If you haven’t heard it or about it yet, ‘Bastards’ has been described as a folk song; four chords that have been around hundreds of years etc, and it climaxes with a shuffly drum beat that could be Flogging Molly or Dropkick Murphies. It is a very surprising move from the band and sounds like nothing they’ve done before. ‘California Bleeding’ has that same style of lyrics that the much criticized ‘American High’ off of Supercharger had. ‘Kaleidoscope’ and the Title Track have touches of keyboards that have that Jordan Fish BMTH sound. There is a slight Slipknot influence on opener ‘Volatile.’ ‘Triple Beam’ despite having an absolutely brutal sledgehammer riff in it, is much-hated by people for being a very clear Nu Metal nostalgia moment. I think bands like Cain Hill and King 810 coming out, and bands like Coal Chamber reuniting, as well as fans at ‘Evening-With‘ shows enjoying the Burning Red material so much can explain this. This type of music was important to the band at one point and it must feel fun to write like this again and not have to feel ashamed of it. (Well, until now when the inevitable backlash came).

The rest of the album however is a bit more traditional. Its nothing you’ve heard before but if you really think about it, it is within expected limits of Machine Head. I mean, this whole album’s titular catharsis was them rejecting and pushing against those limits and that’s why the first half is the way it is. So of course, sure there is a bit of diversity in the second half too, with ‘Hope Begets Hope’ having a slight System Of A Down influence in the quiet guitar parts, and the odd melodic pre-chorus on the Motorhead tribute ‘Razorblade Sigh’ are a new addition but its all within the limits of a between-albums jump in their last four albums run.  They were never four exactly identical albums and there was a reasonable jump between each, but the second half here is very much suitable for anyone who has loved the band’s renasiance period. Don’t let people who don’t like all the change in the first half let you miss out on the quality stuff at the end. There are riffs as crushing as anything on ‘Locust or ‘Diamonds, there are guitar solos as good as the stuff on The Blackening and there are vocals as good as anything on ‘Empires. I mean ‘Heavy Lies The Crown’ opens up with violins, but so did ‘Now We Die.’

Even though the heavier moments are what we all come to Machine Head for, one of the highlights is ‘Behind A Mask;’ a semi-ballad that sounds like a superb mixture of ‘Darkness Within’ and ‘Descend The Shades Of Night’ but with an almost Bon Iver backing vocal, some tasteful electronic snare sounds, and absolutely and a stunningly simple but beautiful guitar solo.

Now; I don’t think this album is anywhere near as deserving of criticism as it is getting. (Really?! Your review was so impartial thus far, how shocking!). That being said, I do have some personal-preference issues. I for one am not a fan of the lyrics. Not the political stuff, I actually like that. Its the poor-taste vulgar stuff that feels out of place. I don’t want to hear ‘sucking dick’ or ‘getting head’ or ‘eating pussy’ or ‘a boner for miles’ from the same band who wrote the excellent lyrics to ‘Locust’ and ‘Clenching The Fist Of Descent’ …that is not to my personal taste. I also am not a fan of the weird effects on the drums at times. Sometimes, the music will cut out and Dave will be about to drop a really powerful drum fill but the production job will put an effect on it and make it sound strange and toy-like and detract from the impact. I also don’t like the decision to use less rhythm guitar and do the dual leads over only bass. It sounds a bit empty compared to previous albums some how. Lacking a certain power. Not album ruining but a little niggle worth pointing out.

Is it going to topple Unto The Locust as my own personal favourite Machine Head album? No. Is it going to topple The Blackening or Burn My Eyes as the band’s most known and loved classic album in the public opinion? No. That being said; It is the travesty people have been hyperbole-gushing about? Hell no. Is it a return to Nu Metal? Not really no, there are tiny amounts only. Is it a betrayal? No, don’t overdo it now guys. Is it even a bad album? No.

There are a few aspects that aren’t to my taste, there are a few aspects that will have more militant bullet belt wearing fans crying foul. The majority of the album however is still the same thing Machine Head always do: Unique drums. Heavy riffing. Interesting solos. Rob Flynn’s voice. There is an absolute load of good moments on the album, and the lesser moments have been greatly blown out of proportion.

PS. Another really great reason to check this album out? The bonus disc! If you get the right version you get a full length ‘An Evening With’ show live in San Francisco in 2015. It has 21 entire songs performed superbly and well captured. It has all the MH livery and banners and the good light show. The band are firing on all cylinders. The crowd seem pretty into it. The camera work and editing aren’t annoying or distracting like some concert DVDs. Heck; The DVD is good enough to be a full price release on its own merit. I highly recommend you check it out. Even if you’ve heard ‘Kaleidoscope’ or ‘Bastards’ or something and are skeptical about the new album, how can you argue with live renditions of tracks like ‘Game Over,’ ‘Aesthetics Of Hate,’ ‘Imperium’ and the like?

cocCorrosion Of Conformity have had a lot of different line-ups over the years and a few very distinct career phases. Some of the most notable and best of which are the short-lived Blind era of the very early ’90s, where Pepper Keenan and Karl Angel joined the band and wrote a very dark, yet strangely melodic mixture of Sludge Metal and Groove Metal. Then Karl left, Pepper took over somewhat and they released three brilliant mixtures of Stoner, Southern Rock and good old fashion Metal with a bunch of diverse records that had acoustic sections, interludes, ballads and speedy-ragers all mashed into one record. Their final album in that line-up (well, with a new drummer actually, but close enough…) was very Doom Metal focused. Then Pepper left, and the Trio line-up from before even the Blind era reunited but instead of making Hardcore or Crossover Thrash like they did in the ’80s; they released two Doom albums with raw punky influences.

The celebrated and arguably most popular line up (the Pepper-in-charge on from the mid 90s-early ’00s) reunited recently and toured the globe with incredible reunion shows and now the time has finally come for them to put out some new music together. Its probably one of my most anticipated albums in a very long time. What on earth could it possibly sound like?
Well, the first track is a slow instrumental Sludge intro, bringing immediately to mind the Blind era. Next comes the third single, ‘The Luddite’ which is almost indistinguishable from the style on their Doom-focused In The Arms Of God album from 2005, which is interesting to hear with Reed Mullin on drums. It totally works. Speaking of that album, the creepy-ass title track here might remind you of a certain dark semi-acoustic track from there too.

Like their seminal Deliverance album, there are a few instrumental interludes and mood pieces sprinkled throughout. The first two singles, ‘Wolf Named Crow’ and ‘Cast The First Stone’ hark back to the Wiseblood sound, recalling hits like ‘Long Whip/Big America’ or ‘King Of The Rotten’ in a certain specific way that the instruments interact with each other and with the production style (by John Custer, who did Wiseblood too!) leaving the space at the end of sections and sounding very organic and Jammed-out-in-a-rehearsal-room, if you know what I mean. ‘Little Man’ has a very characterful and southern-fried sound, reminiscent of the under-rated 2000 album, America’s Volume Dealer, only without the over-polished production.

So far, so great. Towards the end, there are a also few slower, sludgy, dragged-out pieces that hearken back to both ‘Pearls Before Swine’ and ‘Bottom Feeder.’ It just wouldn’t be a C.O.C album without mixing in something slow and dirty sounding towards the end, would it now?

The overall feeling is a mixture of all the Pepper-era albums, with a warm and very earthy production. It doesn’t stand out as an immediate drop-everything, earth-shattering revelation, but it is a very welcome return (although they were never really that gone recently, and I’d still love if they threw ‘Demark Vessey’ or ‘Tarquinious Superbus’ into the setlist nowadays too!) that gets better with repeat listens. If you walk in expecting to be blown away like the first time you heard Deliverance you might be disappointed, but if you go in with realistic expectations you’ll find a very solid and rewarding album. My favourite track on the album is ‘Forgive Me’ which has a sort of Thin Lizzy vibe to its hook, but a very metallic breakdown, and Pepper’s vocals are very exaggerated and full of character like they were on ‘Volume Dealer.

To top it all off, there’s a cover of Queen’s very heavy and Sabbathy debut album deep-cut, ‘Son And Daughter’ and it really, really suits C.O.C’s sound. I remember Iron Monkey covering it in the past and it is a very suitable track for this end of the Rock & Metal spectrum. I know people imagining ‘Radio Gaga’ or ‘I Want To Break Free’ might raise an eyebrow, but Queen’s debut was a lot heavier than you remember. For Stoner, Doom or Sludge bands it is a natural fit.

In summary; without disrespecting the fine work of the trio line-up, its nice to have the four guys from Deliverance through to ‘Volume Dealer back playing together again with their unique chemistry. The album is pretty diverse, with a nice mix of fast and slow, clean and dirty, stoner and doom, sludge and hard rock, atmospheric and immediate. The production job is perfect and there’s a fairly decent proportion of the tracks would make it into any fan’s future dream setlists or best-of playlists. If you don’t immediately do a spit-take and have heart-shaped eyeballs the very first time you hear it though, don’t worry, it grows on you.


Prong – X No Absolutes Review

Posted: December 26, 2017 by kingcrimsonprog in Metal, Metal - Studio, Music Reviews

550143Prong’s 2016 album X No Absolutes is a real stunner. The band entered a new golden period of high quality and high productivity with 2012’s Carved Into Stone. Since then they’ve released 4 studio albums, one covers album, and one semi-live album. You could imagine with that high an output maybe the albums would sound rushed, but quite the opposite, this is arguably the strongest period of their career to date.

Among the best of this renaissance period is X No Absolutes, which is their tenth full length studio album (hence the X!). Prong show no weakness or slowing down with age. This album is pretty damn bad ass. The album follows the musical direction of the past few albums; Pantera & Early Machine Head-esque ’90s sounding Groove Metal mixed with brief hints of Thrash, a weird arty Killing Joke tinge at times, the best parts of Nu Metal used in moderation and all that is wrapped up in Tommy Victor’s New York bark.

The first track, lead single and modern day concert mainstay, ‘Ultimate Authority’ is an absolute winner, starting the album off strong with its faster pace and memorable chorus. All the first four songs are great. Groovy, punchy and memorable. Varied, but tied together perfectly by the vocal and production style. If you want to know if this album (or band) is for you, check out those first four tracks, they are red hot.

The title track comes next, branching out into more melodic material, which then defines the middle of the album. ‘Do Nothing’ actually reminds me a bit of Papa Roach only with more Fear Factory style drums, if you can imagine that. Think Digimortal meets Love Hate Tragedy.

After the middle experimental section of the album, it gears back up into more metallic territory, with ragers like ‘Universal Law’ and ‘In Spite Of Hindrances’ being particular highlights.

If you are into the likes of Pantera, Machine Head, Fear Factory, Pissing Razors, ’90s era Sepultura and actually Five Finger Death Punch as well now that I think of it, I think you would really enjoy this album. Its got a real good mix of styles but lives in that very crunchy, bouncy, memorable world more often than not and is another fine example of Prong’s modern day upswing. If you haven’t checked them out since Cleansing, maybe take a look back in the Prong camp nowadays, they’re as good if not better than ever!

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.