Archive for the ‘Metal – Studio’ Category

220px-Marilyn_Manson_-_Heaven_Upside_DownIn 2017 the legendary Marilyn Manson released his tenth studio album (which was going to be called ‘Say-10’ as a sound-alike for ‘Satan’ before he changed it last minute) called Heaven Upside Down. It was produced by Tyler Bates and was their last album before once more losing Jeordie ‘Twiggy Ramirez’ White, even if he didn’t actually play on it.

Now, I don’t normally like to write negative reviews (as you can probably tell if you’ve read any of my other reviews, it pretty much 99% a love fest as I don’t like to denigrate things that take so much effort to make, so focus on the great albums and just don’t review the ). I am also a bit of a Marilyn Manson fanboy, and even though I’m not insane enough not to think that the Triptych (Antichrist Superstar, Mechanic Animals and Holywood) are his best material by a million miles, I am the kind of guy who likes his other albums, even ones that people in my peer group seem to all hate. There’s plenty of good material to be found in his whole discography.

Even I can’t love this album though. Since it came out I’ve been trying to be excited for it. I’ve gave it a really fair chance and tons of repeat listens, but I really can’t get into this at all. (…And this is coming from a guy that doesn’t mind Eat Me, Drink Me).

There are a few good moments here, I’m not saying its utter shit or anything. He’s still got a good voice and there’s a few fun stompers, like the catching ‘We Know Where You Fucking Live’ and ‘Je$u$ Cri$i$ ‘ but coming from The All American Antichrist, this is just a bit of a tepid, plain, dull album. For someone who made such remarkable lyrics on Holywood or such diverse incredible music on Antichrist Superstar or put on such a show for Mechanical Albums, its kind of surprising how polite and slightly forgettable this album is. Its all to polite. It isn’t some amazing progressive masterpiece. It isn’t even a fun collection of bangers like the less artistic but very instant Golden Age Of Grotesque. It just feels like background music for rich people.

Sure there’s some sleazy sexy bass lines, or some semi-interesting drum patterns, (‘Saturnalia’ /’Kill4Me’) and there’s some of those anguished vocals (‘Blood Honey’) but its all too little to really get your juices flowing.

If you want to listen to Marilyn Manson there are so many albums I’d recommend before this one. I can’t even recommend it for lapsed fans (Born Villain is the one for that). If you are a massive fan and have to own everything he does then, sure, you can get this one. For most people though, this is a listen to it a few times and shelf it kind of affair. Maybe its the fact that barely anyone you care about appeared on it, maybe its the fact that most of the music was written by the producer. Maybe its just the fact that all his other work is so good it fails in comparison, I don’t know. What I do know.. this one, I’m sad to say, is not for me.

s-l300Of all the Djent bands, Periphery are undoubtedly the biggest and most well known. Since 2005 they have been innovators boldly carving their own path through progressive and tech Metal styles, inspiring many in their wake.

Taking influences from mathy bands like Dillinger Escape Plan and Sikth, harder bands like the ferocious Messugah, the crushing parts from Iowa-era Slipknot, as well as taking the flowing guitar solo techniques from the likes of Dream Theater and mashing it together with the general sounds and clean/heavy dynamics of modern metalcore bands, putting that over the top of the bounce from the heavier Nu Metal bands and even peppering it with electronic and ambient bits that wouldn’t feel out of place on a Nine Inch Nails record, the band manage to meld all these disparate styles into one cohesive and entertaining whole.

I know some people get uppity about anyone using the word ‘Djent’ and argue its either not a real subgenre and its just Prog Metal or else its just a lot of people copying Messugah but both of those sentiments are reductive and inaccurate and time has shown this to be a legitimate and true subgenre (just look at the number of bands who do it now, or the amount a websites devoted to it). You know; In the same way Doom is a real subgenre and not just a load of people copying Black Sabbath and that Power Metal is not just Traditional Heavy Metal.

If you like bands like Tesseract and want something heavier, if you like bands like Monuments and want something catchier, if you like bands like Uneven Structure and want something bouncier, you also really need to check out Periphery. If you like Periphery, this is a particualrly must-have album and not one to pass over or miss out on.

Periphery III Select Difficulty, is, confusingly, Periphery’s fifth studio album (due to the Juggernaut Alpha & Omega albums which preceded it not being numbered). It was self produced and released in 2016. The music is a great mix of complicated awkward rhythms, soaring commercial choruses and spicing it up with shimmering guitar lines and the odd bits of electronics here and there. You get some great moments like clean singing over blast beats. There’s violins and trumpets and choirs too. Its probably their most diverse album overall.

There are a few awesome heavier tracks like ‘The Price Is Wrong,’ ‘Motormouth’ and ‘Habitual Line-Stepper.’ The band also try stretching their wings a little bit. There are a few newer ideas and more quiet moments, like the superb closer ‘Lune’ with its beautiful backing vocals, or the catchy and commercial ‘Flatline’ which could be on the radio as well as the Faith No More influenced ‘Reamain Indoors.’ There’s some great lyrics too. I’ve worked a lot in hospital and held a lot of people’s hands as they die in front of me, and the lyrics to Flat Line are pretty affecting. I particularly like the hook ‘He says send an angel to pull me from the hell below. This weight is far too much to own and this body doesn’t feel like home.’

I feel like maybe Periphery II This Time Its Personal is probably their best album overall for sheer impact and creativity at the time, and for how it broke them to a bigger audience, but for me this is a damn close second and their most cohesive and listen-to-on-repeat album to date. I like to leave this album on in the car and just play it end to end, over and over again. There isn’t one song on this I wouldn’t want to hear live and there are a lot on here that demands to be in compilations and play lists.

I also feel like this is also a great introduction point for people who don’t know the band or the subgenre. If you like A Perfect Circle or Cog or Rishloo ‘Lune’ is really likely to hit you. If you like Slipknot when they go a bit Morbid Angel influenced ‘Habitual Line Stepper’ is worth checking out. I  even feel like fans of Nu Metal and Rap Metal bands like Incubus and P.O.D and (Hed) PE might even get in on the bouncy bass driven ‘Catch Fire.’

Overall, this album is pretty superb and deserves to be heard by more people. If you like any of the bands or ideas I’ve mentioned above, take a shot and give it a listen. I doubt you’ll regret it.

Parkway Drive – Reverence Review

Posted: May 19, 2018 by kingcrimsonprog in Metal, Metal - Studio, Music Reviews, Review
Tags:

Parkway-Drive_Reverence_Album-cover_a75524b73dd30fdf8a05e59a507082edFor their sixth studio album, Parkway Drive had a hell of a lot to live up to. After absolutely perfecting their formula with the popular Horizons and Deep Blue albums, and utterly reinventing themselves on the astounding Ire album, the Australians would have a hard time releasing anything that good. What should they do? Return to the old formula? Try and repeat the triumph of Ire?

What they decided to do was a bit different. On Atlas, the great but less-popular follow up to Deep Blue they decided to try and balance their formula with new ideas like choirs, strings and DJ scratching with more variety of fasts and slows. The band weren’t going to limit themselves or stay in their own little box, they already did the perfect version, so its time to try some new ideas.

Reverence, to me, feels to Ire as Atlas did to Deep Blue. Its not a rehash of the past formula but a pushing of the envelope. Its taking that general idea but broadening it. There’s some pretty inventive and new sounds for Parkway on this album, from quiet spoken word bits, no almost Ghost-eque latin sounding chants (‘I Hope You Rot’), and film-score sounding orchestration. And while Atlas all sounded cataclysmic like a disaster movie, Reverence sounds epic and biblical.

Musical direction is one thing, but of course its all for nothing if the quality isn’t there. Fortunately Revereance is not only interesting, but it is also excellent. There are some absoltuely fantastic songs, amazingly catchy choruses and damn enjoyable guitar lines. There’s parts that’ll stick in your head for days (‘I’ve got the whole world swinging from the end of a chain,’ gets me every time). Some of those drum fills and leads are demading of a good air-instrumenting. Some of these songs will utterly crush live!

If you only want Parkway at their absolute heaviest and don’t want any clean singing, or any atypical instrumentation, then maybe chose a different album as your first. If you like the band, especially the shift in direction that started with Ire, then you don’t want to be missing out on Reverance. It is one hell of a record, strong all the way through, creative, interesting and thoroughly entertaining.

Highlights include the single ‘Wishing Wells’ as well as ‘Shadow Boxing’ and the dark ‘The Colour Of Leaving’

Its too early yet to rank it in their discography, but I can tell you right away from first impressions it certainly aint in trouble of being in the bottom half. I got this on release day (for some reason it was signed, which didn’t cost any extra, hooray!) and have absolutely pasted it every since. I can listen to this five times in a row and not be sick of it. It is a truly joyous album. If you are a fan don’t hesitate, get in on this ASAP.

Tesseract – Sonder Review

Posted: April 29, 2018 by kingcrimsonprog in Djent, Metal, Metal - Studio, Music Reviews, Tech Metal
Tags:

sonder.jpgIn my mind, there’s no doubt about it. Tesseract are the undisputed kings of Djent. There are a lot of great tech metal and alternative metal bands around right now, a lot of bands who mix elements from Tool or Messugah or Nine Inch Nails with the lessons learned from modern metalcore. Some are good, some are even great, but for me none are as effective as Britain’s own Tesseract.

I’ve seen Tesseract a good few times live both with Ashe O’Harra and with Dan, (Never with Good Tiger’s Elliot Coleman sadly) and slowly fallen completely in love with them. Amos and Jay are the perfect rhythm section. The guitarists work so well together weaving through each-other and creating glorious shimmering melodies. To date, all their studio albums have been great, from the heavier debut One to the beautiful and haunting Altered State and the hypnotic Polaris. Even their live album Odyssey/Scala is cracking. With a track record that good something was bound to go wrong. No one can keep it up for so many albums in a row. No one can keep a hot streak alive forever. Sadly however…

…Gotcha! No, 2018’s Sonder is far from a disappointment. Sonder is a triumph! The album is getting some seriously good media attention now. Its not hype. Its not major label pressure on the magazines. Its because Sonder is an absolute barnstormer.

Its got some absolutely electrifying singing. Its got some damn catchy rhythms. It got some pretty classy lyrics (its a concept album exploring a profound sense of insignificance). It flows perfectly from beginning to end. It is expansive and progressive in one way, but is punchy and concise in another way.

Its too early to tell obviously, but a lot of people are calling this the band’s best ever album. As much as I’m skeptical of hyperbole, and think statements of that nature need longer to be sure, I don’t feel utterly resistant about it in this case. (I mean its amazingly hard to top Altered State, which is my personal favourite due to when I came on board, but it doesn’t seem that much of a stretch).

There are some terrific tunes on this. The second single ‘King’ is Djent perfection, that section where it goes ‘Bow. Down.’ is so strong. ‘Juno’ is one of the catchier numbers, up there with ‘Nocturne’ for their catchiest song to date. The lengthy ‘Beneath My Skin/Mirror Image’ is the album’s epic moment. To be fair, its all well and good picking highlights, but this is the kind of thing you have to listen to all the way through.

If you like weird time signatures, if you like emotional and evocative clean singing, if you like awkward polyrhythms and a band who can be technical but make it sound catchy instead of just showing off, Tesseract are the band for you. If you like Tesseract, there is no other option, you need Sonder in your collection now.

220px-JudasPriestFirepower18 studio albums in, and Metal Pioneers Judas Priest are still relevant. There are many bands from the past who are making great music nowadays. Kreator have been as good in the past 10 years as they ever were in the ’80s. You can add Saxon and Accept to that list. Queensryche since Todd joined too.

Priest’s best moments on Redeemer Of Souls and Angel Of Retribution were in that sort of sphere as well but not to the unquestionable level of the above mentioned renaissances. Judging from how magazines, podcasts, blogs and websites I care about have reacted to Firepower however, I was expecting seriously great things when pressing play for the first time.

I’ve been hammering this record non-stop in the car for about half a month now, repeat listening to it over and over again. Its taken a while to grow on me as I had such high expectations after the last Saxon album and also all the hype surrounding this, that it almost did more harm than good setting me unrealistic expectations, but after taking a good long time to really digest it and understand how I feel about it, I can definitely confirm Firepower is a bit of a banger.

There are a few moments of variety, such as the slower closer ‘Sea Of Red’ and the brief instrumental ‘Guardians’ but most of the material is just straight ahead well written classic heavy metal. Highlights for me include ‘Evil Never Dies,’ ‘Rising From Ruins,’ ‘Flame Thrower’ and especailly ‘Traitors Gate.’

That being said, its an album you can listen to all the way through, and its an album you can happily listen to on repeat. I once heard the phrase ‘an album you can get lost in’ and that’s exactly how I feel about Firepower. The performances pop. Rob’s vocals are more energetic than on the previous record. Travis’ drums are that little bit harder. The production is a lot sharper and more metallic as well. Everything sounds that little bit harder and heavier. Maybe its having that Andy Sneap involvment? Who knows, but everything rips. The band sound twenty years younger.

I wouldn’t go overboard and start heaping tonnes and tonnes of hyperbolic praise on this personally. I wouldn’t argue its better than Screaming For Vengeance or Painkiller. I like Angel Of Retribution and Redeemer Of Souls well enough already not to go down that ‘best album since Painkiller’ route, but I will say it is a worthy addition to the band’s catalogue and no disapointment whatsoever. A pedantic person may be inclined to argue it is a bit overlong, and that a few songs are a bit forgettable compared to the better ones, but those are arguments that can be made for pretty much every album nowadays. Iron Maiden fans are well used to it at this stage and it doesn’t stop us buying their albums.

After Nostradamus I thought this band may be hitting a downer period and after KK left the band it seemed quite unlikely they would be anything more than a nostalgia act but that’s two albums now they’ve proved that fear wrong. The band are arguably on an upward streak and they are starting to sound almost as fresh and relevant as the new Accept and Saxon albums have been. Considering by how long Priest pre-date those bands its even more impressive really. It isn’t just as amazing as I was expecting, but what I was expecting wasn’t realistic to begin with, but the more I play Firepower, the closer it gets to being a reality.

If you like Priest, get it. If you like Classic Metal, get it. Hell, if you like Metal at all, get it!

Prong – Zero Days Review

Posted: March 26, 2018 by kingcrimsonprog in Metal, Metal - Studio, Music Reviews

prongzerodayscdThere’s an argument to be made that a lot of bands put out their best material on their first to fifth album, or before they turn 40 years old. Think about all the bands who were better when they were newer. Of course, there are exceptions. Notable among those exceptions are New York’s mighty Groove Metal Veterans, Prong.

Tommy Victor, who basically is Prong in the way that Dave Mustaine basically is Megadeth or Trent Reznor is Nine Inch Nails or Jeff Waters is Annihilator, has arguably only been getting better and better the more he works. Especially since the band really hit their new stride with their 8th studio album, Carved Into Stone in 2012. Basically, ever since then, everything the band touch has turned to gold. Great production, great tone, great vocals, great choruses, great riffs. Absolutely consistent, basically no filler, no drop-off from album to album.

You may have guessed already from that introduction, but I like Prong’s newest album, 2017’s Zero Days. I like it a lot. It is Prong’s 11th full-length studio album (not counting remixes, covers albums and compilations),  and it is an absolute gem.

It follows that perfect formula of the past three studio albums perfectly, delivering more of that fantastic modernized Groove Metal with small hints of the different parts of their career all refined and with a lot of chug, pace and groove balanced out with catchy but not saccharine melodies. ‘Bad Ass’ are really the best words to describe their current sound.

Combining the crunchy, crushing riffs of a Pantera, the eerie melody and mechanical sensibilities of a Fear Factory, the hardcore-influenced groove of a ’90s-era Sepultura and muscular power of a Machine Head, but with an updated sound and masterful production job; Prong batter the audience with a perfect blend of styles as easily enjoyable by a Black Label Society fan as a Five Finger Death Punch or a Pitchshifter fan.
Highlights include the speedy Hardcore influenced ‘Force Into Tolerance’ with its bouncy floor tom drive, opener ‘However It May End’ & also ‘Interbeing’ with their fat bouncy ’90s riffing, as well as ‘The Whispers’ which seems to be a hark back to their classic single ‘Snap Your Fingers, Snap Your Neck’ but with a much more melodic chorus that sounds like it should be in a pro wrestling event.

Just because they’ve been going a while, doesn’t mean Prong aren’t putting out some of the best material of their whole career. This album is a superb blend of tooth-kicking riffage and sweet but uncommon melody. It has all the advantages of Nu Metal without all the questionable drawbacks. Its fun, its bouncy and its accessible, but it still has ferocious riffs, impressive guitar solos and a direct through-line to beefy hardcore, classic thrash metal, and the slightest hints of industrial lurking deep in the background. If any of that sounds good to you, check this album out and check the three studio albums that preceded it too. You won’t be sorry.

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!