Posts Tagged ‘thrash metal’

kreatorgodsofviolencecdKreator are an amazing band who have made some astounding and important music over the years; from their 1986 Extreme-Metal-influencing classic Pleasure To Kill, to their infectious politically aware genre-defining Thrash albums Extreme Aggression & Coma Of Souls, to their 2001 renaissance Violent Revolution, the German legends have been a positive force for top quality Metal.  In the last 17 years they have only been getting stronger and stronger with albums such as 2009’s frankly breathtaking Hordes Of Chaos arguably even better than either anything they released in their ’80s glory-period or indeed anything younger bands from today are producing.

Back once more, in 2017 on Nuclear Blast, produced by the excellent Jens Borgen (Amon Amarth, Opeth, Soilwork); Frontman Mille Petrozza, drummer Jürgen “Ventor” Reil and at this point long time guitar and bass associates Sami Yli-Sirniö and Christian Giesler have released the fourteenth official Kreator studio album, and boy oh boy is it a good one.

The album opens strong with the thrashier material such as ‘World War Now,’ ‘Satan Is Real’ and ‘Totalitarian Terror’ competing with other ’80s Thrash bands still at the top of their game such as Exodus and Testament for who can put out the highest quality material the latest into their career. This hard, heavy and fast material gets the blood pumping right from the get go.

Unlike many albums however, it isn’t frontloaded. Rather than diminishing returns, this one just gets better and better as the record goes on, with some of the later songs being the best, just check out the ridiculously catchy ‘Side By Side’ or ‘Hail To The Hordes.’ And continuing on that theme, it just gets better and better the more you listen to it. Its a real grower that rewards repeat listens and scrutiny.

There’s a lot of variety on this disc, from the all-out brutality of the first few songs, to the acoustic moments such as the intro of the Title Track and Lion With Eagle Wings. From the shout-along fist pumping anthemic parts you wouldn’t have found in their ’80s stuff to the crazily good guitar hero soloing with jaw dropping speeds, tapping, tricks and all that flashy stuff that manages to still stay tasteful. There’s neat little touches here and there such as harps, choirs and even bagpipes but there’s still furiously quick double-kicks and buzzsaw guitar lines… There’s also a huge amount of melody.

The last decade saw the band take influence from Melodeath into their thrash mix (and boy can Jens Borgen make that sound good), but there’s guitar lines here that go beyond that, even towards Power Metal or Trad Metal territories at times. Its a fine balance that adds infectious feel-good smiles from the sheer quality of the guitar work without loosing the balls or heaviness. There’s also groovy memorable riffs that could rival the catchiest moments of Coma Of Souls at times to balance that all out and stop it feeling one sided, just try listening to ‘Fallen Brother’ without wanting to headbang or windmill! Lyrically there’s a lot of great moments of variety too such as where they talk about ending homophobia one minute and about flying a Lion With Eagle Wings the next.

All the orchestral arrangements, diversity and balancing of the Thrash legacy with not being repetitive make this a very strong and memorable album, and the quality of the musicianship (especially the riffs and solos!) drive it even further up the scale towards being one of the band’s most impressive releases to date. If you like Kreator, especially their recent work, you really owe it to yourself to give this one a listen.

I went to go see Exodus live at the Manchester Academy-2 on 28/10/16. It was as part of a four part bill, The Battle Of The Bays tour, featuring Florida Death Metal band Obituary (who were actually the headliner but not the band I was most interested in), San Francisco Thrash Metal legends Exodus, New York cross-over thrash turned Groove Metal trio Prong and Australian Grindcore noise makers King Parrot.

I walked in, after having already visiting the merch booth for an Exodus t-shirt, into the first King Parrot track, to join a reasonably revved-up crowd, reacting to the Aussies’ noisy obnoxious music. It was pretty damn entertaining, the singer was like former Jackass celebrity Steve-O in facial expressions and attitude, and kept getting into the crowd, touching people’s face, spitting and throwing liquids at them, screeching in teen girl’s faces, mooning the crowd and generally acting like a 1980s Hardcore Punk front-man, he had that fun obnoxious vibe. The music had blastbeats and grinding guitars, punky moments, and a lot of groove metal sections to balance the two styles out. Not bad at all musically, very good performance wise (from all the band, even though I’ve only bothered to describe the singer) and a very good way to warm up the crowd and start off a fun evening. I’d check em out again. Give em a shot if you like the heavier stuff.

Now, I have a boxset of Prong albums but I hardly ever listen to them. I really love the band when they are playing something that sounds like Fear Factory, Machine Head or Pantera, but I don’t really vibe with their dissonant noisy moments or their hardcore roots the same way. Things that sound like Vulgar era Pantera yes, things that sound like My War era Black Flag, no.

After this concert, I have a lot more interest in Prong. When they played songs I knew, I absolutely loved it. I was singing ‘Another Worldly Device’ at work all the next day. When they played music I didn’t yet know, I was very very impressed. They sound so much heavier and more full live. Maybe it was the production on those albums, or maybe the performances were just that much more firey live, I don’t know, but either way, Prong shot up about 400% in my estimation and I’ll be revisiting them a lot more in the wake of this. Tommy Victor reminds me a lot of Rob Flynn in a lot of good days. He’s a good front man. How in to it he got during closer ‘Snap Your Fingers, Snap Your Neck’ really made me warm to him and I’m totally game to try some new Prong albums in the very near future.

Then came my main event, Thrash Metal legends, number 5 of the Big Four, the best of the Bay Area, the mighty Exodus. This is the reason I was at the gig, I got an email saying they were in town and within a few hours I owned a ticket.

Steve Souza was back in the band, but even at that I was still treated to the amazing gift of having them open with my favourite song from Exhibit B’ ‘The Ballad Of Leonard And Charles’ …a viscous and scathing documentary style comment on the true story of two Californian serial killers who murdered up to 25 actual humans in real life. The vocal performance on the chorus line ‘Killers of Children, Rapists of Women, Sado-sexual Violence’ really conveys how horrific their crimes were (even more so than the lyrics themselves, its the way its spat out that tells the real story). Zetro did not disappoint doing Rob Duke’s material. Nor did he disappoint doing Ballof’s material. Or indeed his own. I love Zetro the best of all of Exodus’ singers over the years, and to hear absolute gems like ‘War Is My Sheppard’ and ‘Blacklist’ live absolutely set me off. In fact, it set the crowd off. I was happy with how well the crowd reacted to Tempo Of The Damned material. That album was such an important moment from the band for my fandom and I was afraid the crowd would be a load of people who only wanted to hear Bonded By Blood songs (of which there was already a heavy percentage). No, good crowd. They know that ‘War Is My Sheppard’ is an indisputable classic now. Smart people. Any concert with ‘Blacklist’ in it is a pretty damn good concert, I’ll tell you that much!

I couldn’t fault the setlist. I wouldn’t remove anything. The only thing I wish is that there was more time. It would’ve been amazing to hear more of my favourite Zetro-era classics ‘Chemi-Kill,’ ‘Brain Dead,’ ‘Fabulous Disaster,’ ‘Corruption,’ ‘Impact Is Imminent’ or indeed newer stuff from the Dukes era like ‘Altered Boy,’ ‘Class Dismissed’ or the Dukes era’s best ever tune ‘Children Of A Worthless God’ but that would’ve been a headline show. How much time would that all take?

How great was it to hear the famous tracks like ‘Bonded By Blood’ or ‘The Toxic Waltz’ though? Oh my goodness did I enjoy that. The crowd began to bang, there was blood upon the stage, metal took its place, bonded by blood. Hearing stuff of the new album like ‘Blood In. Blood Out.’ and ‘Body Harvest’ kept it all vital and not just nostalgia… I mean there’s been no decline in quality over the years. Either of those tracks would still be one of the best songs on Tempo’ or Impact’

I also loved their performance; they were hungry, rabid thrashers, not slow washed-out old men. I’ve heard it said that millionaires can’t make Thrash Metal, and so in that way its good Exodus never got as famous as Metallica, because Exodus are still unrelenting in their delivery. Its as if they’re still in their twenties. I also love their interaction with the crowd, they were very accommodating and interactive and the dialougue about the value of Heavy Metal itself all chimed very well with me. Overall, an amazing, feel-good performance and excellent setlist. I had myself a great time singing along, and I would go see them again tonight if I could. If you ever get the chance, no matter where they are on a bill and how short a slot they’re given, get yourself down to an Exodus show and you’ll be a happy man (or woman) (…but let’s be honest, man. Do I have any female readers? I doubt it.)(Interesting sidenote: Exodus certainly have a pretty high female audience ratio…. way more than I’ve seen in about my last 7 or 8 concerts. More than C.O.C for sure. Not quite Peirce The Veil levels of equality, but for greasy, brutal ’80s Thrash it was more than you’d expect).

At his point my night was complete, only it turns out that Obituary were headlining, as I’ve mentioned, and so I stayed to check them out. I’m not a fan yet, and have only ever heard one song. I’ve been meaning to try them for ages and have picked up their boxset numerous times in HMV but money shortages stopped me ever actually going through with the purchase. I like the other bands in Death Metal’s big four. I’ve liked Cannibal Corpse and Deicide a medium amount for years. I got into Morbid Angel a bit this year. Just Obituary left of the four. (And Death, Immolation, Incantation and many others still to come from the next tiers).

It was a very good performance. The two standout tracks were ‘Slowly We Rot’ and ‘Ten Thousand Ways To Die’ as well as the Celtic Frost cover as a close third. I was taken aback by how dedicated and into the crowd were. I noticed in the last few years how many morrisound album t-shirts have skyrocketed in popularity both in the streets of Manchester and especially at Metal gigs. It seems to be enjoying a renewed popularity, but man, I never expected an Obituary gig to be so packed of such an invested crowd. Shows what I know.

I was very, very impressed. There was no blasting, nothing unmusical. It was all fat, thick, groovy. There was a mix of doomy intros, speedy mid sections, and cool stop/start staccato moments ala Fear Factory, with surprisingly audible and discernible vocals and great lead guitar. Colour me impressed. Obituary are definitely worth me checking out it seems.

Good night.

Manowar – The Triumph Of Steel

Manowar – The Triumph Of Steel

In the same year that Grunge was well and truly selling billions of CDs worldwide, US Heavy Metal legends Manowar released their seventh full-length studio album – 1992’s The Triumph Of Steel.

It must have been no easy task following up their immensely popular and loyally beloved 1988 release Kings Of Metal, nor must it have been easy having to train up a new drummer and guitarist after losing Scott Columbus and Ross “The Boss” Friedman. In fact, nor can it have been fun trying to promote an album of blistering, powerful, OTT Heavy Metal after “Man In The Box” and “Smells Like Teen Spirit” changed what must’ve felt like every journalist on earth’s priorities in the pre-internet culture of the day.

Despite all that was going against them, Manowar released what must surely be one of their greatest ever albums (certainly its my personal favourite at any rate). Call it ambition, or call it arrogance, but the band even opened up the record with a twenty-minute long song. A song with a bass solo, a drum solo so indulgent that it has a separate solo for the cymbals and for the drums, two minutes of somber guitar violining… all telling the story of Achillies and Hector from Greek Mythology. The world wanted “Touch Me I’m Sick” …Manowar gave ‘em “Achilles, Agony and Ecstasy in Eight Parts.”

Despite how easy it is to skip a twenty-minute album opener with three solos in it, the song isn’t poor. In fact, some sections of it are absolute genius, such as the furious Thrashy “Death Hector’s Reward” part, which feels like the musical equivalent of being battered upside the head.

After that, the first normal-length track comes in. Its my favourite track on the album, or by the band. “Metal Warriors” is the most perfectly-pitched, sing-along tribute to Heavy Metal that’s ever been written. Ludicrous to the point of featuring the lyric “If you’re not into Metal you are not my friend” and yet musically out of this world. Its some kind of supercharged version of Kiss’ “I Love It Loud” filled with Painkiller screams, mountain-top chants and the screech of guitars that feel only-barely in control.

There’s more blistering speed, in the sword-and-scorcery realm of “Ride The Dragon” with its constant double-kicks and incredibly catchy chorus.

The band then take a different tack, choosing to sing about Native Americans in a surprisingly tasteful way, in an interesting mid-paced affair that sonically evokes cowboy movies subtly, but doesn’t loose that Manowar sound. Maybe they were jealous of Anthrax? Who cares why they did it, but it works, really well!

Then they follow it up with another mid-paced track called “Burning” which you’d imagine might be a momentum killer, but is actually one of the more interesting compositions in the band’s catalogue. It’s a bit different than their usual any of their usual directions… epics, ballads, rousing anthems or blistering speed. It’s a nice change of pace. Sort of experimental, with a lot of emphasis on dynamics and Eric Adams trying out as many vocal techniques as he can imagine.

“Power Of Thy Sword” comes next, and its what I would consider the quintessential Manowar song. If you wonder if the band are for you, this is one of the tracks you should use to decide. Its got everything that’s great about the band in spades. Its so powerful, OTT and fun. Its beyond catchy, the solo is awesome, there’s slow bits, fast bits and there’s a touch of the orchestral epic-ness that the band aspire to. With this one song, you get a good musical, technical and lyrical picture of Manowar… oh, and by the way its a great song too!

Even if the last one felt good enough to be an album closer, it doesn’t stop there. There’s more Metal in the form of “The Demon’s Whip.” A robust, interesting track which is half crushing Sabbath-inspired Doom and half double-kick Thrash attack, almost-ending the album with a jarring reverse-whiplash effect as the too-slow doom accelerates out of control to the tune off way-too-loud whip samples.

It all closes with the grand, cinematic, vocally-impressive “Master Of The Wind” which kind of evokes Greg Lake-era King Crimson with its chiming bells, big reverb, dynamic production and haunting singing. Its probably the best ballad/orchestral-track that Manowar ever did. Not something to be skipped, but a genuine album highlight in itself.

Overall; Triumph Of Steel is a really diverse and almost strange album. Despite its seeming lack of focus, it really feels like Manowar just doing everything they could think of to absolute perfection. Anthem – nailed. Ballad – absolutely nailed. Fast bits – nailed. Slow bits – nailed. Exploring new ideas – nailed. Keeping true to what makes Manowar, Manowar – nailed. It might not have gotten the attention it deserved at the time, but for my money this album is a straight up-and-down masterpiece that shows what superb musicians, performers and songwriters Manowar are from every possible angle. Highly Recommended!

Hello and welcome once more to yet another edition of my blog series, Get (Into) What You Paid For; a series in which I blog about music and media I own, to distract myself from the fact that I am sworn off buying anything new for a month (or in this case, two months).

Its day 42, and I haven’t spent anything new thank goodness, I’m actually on track. This time last year I was rolling around in Batman and Dredd Blu Rays, picking up White Zombie and Soundgarden and Stone Temple Pilots albums, picking up about 7 concert tickets and about 14 Batman TPBs, and generally just quickly and almost violently spending all the money I’d earned from working in a media-centered retail outlet all summer.

This September however, I’m not spending anything. I’m thinking of extending this already-extended challenge to be yet another month long as well. So… that’d be no purchases from August 1st all the way to November 1st. My reasoning for this is that I could use that money for fruit and vegetables. Also, I didn’t work this summer like I usually do so its not like the aforementioned that money is much anyway. I’ve got bills to pay people!

Also… I have so much stuff already. And so much borrowed stuff on top of that. And access to so much free stuff on the internet (how many comedy video shows like Zero Punction and web comics are there anyway? And how many bands like Miroist give their music away for free on bandcamp?). I could re-read each of my Graphic Novels, read all the books I got in the last two years again, re-read all my Game Of Thrones (Song Of Ice And Fire) books, listen to all the albums I rarely listen to, play through the backlogue of videogames I haven’t finished (or even started for some of ‘em) yet, and hey, I’ve got Netflix and so there’s always something to watch.

What’s the reason to buy new things anyway?

Apart from my burning need to buy things of course… (the hungry deamon who screams in my brain to ‘spend, spend, spend,”) and the fact that one thing leads to another (as discussed here by my talented friend Paul), in so much as if I read Batman, I’ll want more Batman…if I play God Of War I’ll want more similar video games, If I listen to a certain band, I’ll want more similar music.

Heck; on that tip, I got books about Black and Death Metal for my birthday from Paul (cheers, generous!) and once I read them that’ll make me want to buy Death and Black Metal albums mentioned inside.

…but apart from all that … I think I could do it. I think I could go three months purchase-free, just enjoying what I’ve already got. Getting to grips with what I’ve got. Getting into what I paid for… I think you can consider the challenge extended folks!

Anyway… here’s what I’ve been listening to whilst weightlifting, walking and wanking spending time on facebook for the last few days:


This is one of my favourite album discoveries of the past few years. This album is so well-crafted, so catchy and such good fun. Its also one of their most consistent, filler-free, and exciting albums… one where everything just “comes together” and becomes greater than the sum of its parts. It really is “the 3rd Keeper Of The Seven Keys” like people say it is. Its definitely my number three favourite Power Metal album behind those two aforementioned Keeper gems.

Continuing on a Power Metal theme, I finished the weights yesterday by listening to the melodic Metal stylings of Sweeden’s Hammerfall. This is a really solid and enjoyable album indeed. I’m not sick of it yet at all. Its been a sort of soundtrack to the summer. It is a really motivating album to exercise to as well, the sound of it just inspires activity and dedication. Something about the clean vocals just makes you want to do push-ups. I think if they played this sort of glorious victorious music in high school Phis-Ed classes (or “PE” for us Brits), there’d be much less fat kids. Maybe there’d be higher sales of Dungeons & Dragons and replica swords too, which could offset the economic disaster that thin kids would cause by not buying Big Macs and diabetes medicine, maybe.

Ok. No. I think its just me. I’m sure the average jock thug wouldn’t want Hammerfall during his dodgeball bullying time.

Can you tell I’ve watched much US teen television? Thought so….

I haven’t listened to this album in yonks. I think that’s because I temporarily lost it when I lent it to a former guitarist of a band I was in, on a day we were going to see Gama Bomb and Onslaught live. Turns out he was in Uni with Gama Bomb’s bassist and I got to meet the band and get into the gig for free. Good evening! I left this album in his car though, that’s the only downside.

That was probably one of the last nights I listened to it, even if it is in my iTunes library. Also, that was probably the first time I’d listened to it in a few years. I liked this band during my Thrash-obsessed teens, but they really were just “one more thrash band” to put into my metaphorical hungry maw. (Also literal hungry maw, hence all the weight-loss now). I mean look at me around the time I was listening to this album regularly:

Anyway… yeah, this album reminds me a lot of Slayer’s Hell Awaits in terms of its slightly ploddy nature and slightly weird black production job. Its thrash, its got solos and double kicks and all that good stuff. Its just a bit dull overall, but still good if that makes sense? Its talented enjoyable stuff… but every song is about a minute too long, and the album is about a song too long, and every idea is about one unit of plagiarism too many to get truly excited about. Still… its nice to hear it again after all these years since I first picked it up (2004? 2005?).

Now this was a real favourite of mine in my teen years. This is a brilliant album. I’m not sure why I am not listening to it regularly now… other than the fact that NEW STUFF NEW STUFF NEW STUFF SO MUCH NEW STUFF

Ahem, excuse me. But yes, Overkill’s Taking Over is a brilliant record. I don’t think there’s a single song on it I’d loose. I like Bobby’s voice on this album the best of any in the discography too. And the production is charming, with an excellent guitar tone. Also it has “In Union We Stand” on it. How can you argue with that? Fun, Fun, Fun!

I’ve been listening to this a lot recently anyway, but I generally squeeze new stuff in with the old stuff on these GITWYPF endeavors anyway… so, what the heck?

This is my favourite Dokken album. I think Back For The Attack is better and my favourite two songs (“Lightnin Strikes Again” & “Til The Livin End”) are on Under Lock And Key, but this one is my favourite album overall. The variety, the charm, the guitar solos, the choruses! Its all so good. Also the album is succinct and entertaining and doesn’t ever get samey.

I listened to this and Heartwork last night upon realizing that I’d gotten a lend of them over a year ago and never actually returned them (woops). Anyway, yeah, I like the idea of them, and there’s loads of riffs, vocal patterns and fills I like…. But each album is a bit tiring. Any song in isolation, yup. The famous songs like “Keep On Rotting In The Free World” “Tomorrow Belongs To Nobody” “Heart Work” etc. are all absolute gems, but deep album tracks all in a row aren’t as entertaining and can find me zoning out a little. Sorry!

I’ve had this album almost for as long as I’ve been into Metal, I got it pretty early in my time in high school. I rarely listened to it (if at all) after I left high school. I seem to remember it being almost 100% d-beats with very little variety, excluding the title track, which is awesome. (I’m always disappointed by how the title track isn’t as good live on the Monkey Puss DVD, and also the fact that the cool bit at the end is a “cover” and not just invented by the band).

Well, my memory was half-right. The title track is indeed awesome. But there’s way more variety than I remembered. Its not all d-beats. The drumming is really impressive actually. There’s some seriously inventive and impressive kick work and fills on here. This is a damned decent album! I think I’ll be listening to this more often nowadays!

I really enjoyed this. I stuck it on tonight. Its basically just a good, catchy Thrash album when all is said and done. Or at least the best songs are. The unarguably Death songs (eg. “Blaspherion”) are maybe the weakest moments for my own personal taste, but otherwise, this is some damn catchy enjoyable stuff. “Dead By Dawn” is great fun. Also, even “Blaspherion” has awesome drums, and some great sections in the middle and towards the end!

I like that this album is short. It’s a short, sharp, exciting blast of energy. It feels passionate. Its kind of that Reign In Blood thing… Succinct, powerful, effective. I think too much of this might get a bit old, but this is a nice snack (for my hungry maw, remember?).

This is not short. It is not Reign In Blood-esque by any stretch of the imagination (save for talent, of course). It is however, really impressive. Surprisngly groovy, musical and listenable, the album is really rather interesting. Its just outside my brain’s comfort zone, so I only enjoy it in a sort of technical way, I’m an observer who can tell that it is good, but I’m not actually enjoying it myself on a gut level. Oh well, maybe with more listens or some other band to “unlock” it for me, it will become a favourite once my objective admiration for it synchs with my gut-reaction.

Speaking of gut reaction…. Boy, this is a banger. Those riffs! Those riffs! Those riiiifs!
I don’t think I’ve found an extreme Metal band that better connects with me on a gut level than the mighty Melechesh (Napalm Death and Zyklon are the closest, but Melechesh do it more consistently).

“Ladders To Sumeria” for example just slays! That reoccurring riff is the bee’s knees. I can’t explain it properly in words, but it’s the “key” riff of the song, so just listen to it, and that riff you find yourself loving… it’ll be that one!

Another new one mixed in with the oldies. I like it a lot. “Demon’s Whip” is a great song, balancing their fast and slow sides well. “The Power Of Thy Sword” is my favourite on the album… it is pure outrageous Gamma Ray style fun!

The only complaint I have at all is that the drum solos and bass solo in “Achilles” rob its momentum, but the fact that they represent parts of the story through sound (the forging of armour etc) is cool enough to forgive that problem.

Ok. That’s enough for one article. Consider the challenge extended and have a good evening.

Now that I’ve covered the spend/temptation/distraction aspects of Get (Into) What You Paid For, its time to cover the titular aspect, by which I mean I’m getting back to reevaluating old purchases which I overlook, and try to get my money’s worth out of them.

S- AHiG

In honour of the return of Slipknot, I’ll kick things off by re-listening to their fourth real album, 2008’s All Hope Is Gone.

It opens with “.execute.” Their first two albums had clearly “intro” intros, and on their third they essentially made a proper song instead but acted like it was an intro. Here, they take the route Lamb Of God took on Resolution and confusingly stick the drum-introduction to a song (track 2, “Gematria (The Killing Name)”) in a previous track (track 1, “.execute.”) while simultaneously sort of re-doing the intro to “Pulse Of The Maggots.”

A few thoughts…. I wonder if Craig titled this intro? Why not just have this be part of “Gematria (The Killing Name)” like they did with “Pulse Of The Maggots”? When they play “Gematria (The Killing Name)” live, do they actually play that drum intro, or play that bit over the speakers and start where the CD cuts the two tracks?

[Quick side note – In my iTunes, “Pulse Of The Maggots” is now split into two different tracks, “Pulse Of The Maggots” preceded by “Intro Of The Maggots” which separates the speech into a separate skippable track, because… song.

Also, I do the same with Slayer’s “Hell Awaits.” The intro is “Awaiting Hell.”]

Anyway… The song opens nicely, with a sort of complex intro like they liked to do so much on Vol. 3 The Subliminal Verses. I like all the pinch harmonics. I think the quick d-beat bit is really out of place. I remember my brother really hating the lyric about “cigarette ash.” Listening to the song now, apart from the vague idea that it is pretending to be heavier than it is, I like this song. I like the fact that it has guitar solos. I like the DJ scratches. I like the catchy bits and the heavy bits. I like the big groove around 3.40. It might better (tighter) if it ended after that instead of continuing, but I think it’s a good song nonetheless.

Next up comes “Sulpher” which was never off music TV when this album came out. I remember being so sick of this song due to how overplayed it became. Now? Nice Death influenced intro. Brilliant main verse. The radio chorus, despite y’know…being a radio chorus… is awesome! I forgot that. I remember it being a sort of two-faced light/shade affair, but I didn’t remember that both sides were good. Nice guitar solo too, and the part under it is neat. Again, the Machine Head influenced big groove (which actually IS the ending this time) is awesome.

OK. Another good song. Call that the first two songs and it’s a 100% success rate so far. I’d easily put both of these in a “Best Of Slipknot” tracklist.

How about track four? “Psychosocial.” I remember thinking that this was trying a bit too hard to replicate the success of Duality. The main riff is actually kind of Ministry or Rob Zombie flavoured if you pay attention. The chorus, hmmm…. Its delicious but so out of place. Oh well, I like it. Who am I trying to please here? Some Blabbermouth troll in an Obituary t-shirt or MY EARS?

More lead-guitar goodness. Hoorah. The midsection with all the snares is cool. A bit “Hey, people enjoy The Blister Exists, what else can we do?” but hey, its cool. Get over it My Brain!

Also luckily, now, its been so long since I’ve watched music TV that its no-longer overplayed AND I’ve forgotten the viral video where its mashed-up with Justin Beiber. So its just a song. A good song.

Next up is “Dead Memories.” “Dead Memories” is awesome. Really nice drums. Some of the best Corey clean vocals in this band. Even though I struggle to accept this song as Slipknot and not Stone Sour and have a sort of principle thing against it, this song is excellent and I love it. Also…boy, oh boy was this thing overplayed at the time.

Wow. I’m really enjoying this record actually. I always think of it as their worst. The career nadir. Its not that bad, and I’ve just listened to the “one with the stupid lyrics” and the three overplayed ones. Now come the deep-cuts!

First up – “Vendetta.” Swirly, death-influenced intro riffs. Stompy feel. Kicks into a great main verse. It could do with having heavier vocals, I remember that being a discussion point against it at the time. I remember the first time I listened to it, in a cramped, smelly room. I remember thinking the band have lost their heaviness.

I think the song also takes a bit too long to get to the chorus. I like the chorus though. Could do with better lyrics… but whatever. I really enjoy this song. I don’t ever remember that this one is called “Vendetta” but I do remember every second of music. I like 80% of said music. This is a good track. The worst thing I could think about it at all is that some of the segments change jarringly, but even that’s stretching it.

“Butcher’s Hook” comes next. The first “weird one.” The Skunkworks one. All Slipknot albums have a few “weird ones.” Going right back to the demos, there was always a love of creepy, off tracks. Every album has a “Tattered And Torn” or “Skin Ticket” or “The Virus Of Life.” The ironic weird thing about this weird track is that it weirdly has a commercial chorus of sorts and despite its clear and obvious weirdness, it is somehow a normal song. If you follow. Its either deceptively digestible despite its progressive nature, or only weird in a token check-box way but actually a normal song. Either way, every part of it is good. I like it. I think of it as this album’s “The Shape.” “The Shape” was weird as balls but could fool you if you weren’t paying attention. But then I guess that’s this band. If you don’t concentrate, you miss the depth and subtleties of a nine-member band who hate conventional song structure and sneak in odd time-sigs without boasting about it.

“Gehenna” is next. It is a slow, creepy one. The lyrics feel like a sequel to the track “Iowa” but the music sounds like a sequel to “Vermillion” with a bit of “Virus Of Life” style synth in there too. The slow, drony verses have a Sci-Fi feel. That one bit where they keep throwing in the heavy snare rolls but going back to the slow dirge is cool. Then it does its own version of a clean chorus (kind of) and becomes a normal song. It kind of steals the song’s weirdness. But the vocal specifics and the part which follow it make me think its trying to be like Antichrist Superstar’s pained outcast artist vibe, and that its all a bit “Minute Of Decay” and we’re unfairly treating it as “Everlong”

Who is we? … cripes, I’m going a bit crazy here! You know what I mean right? I think on the one hand it seems deceptively commercial, but on the other hand it isn’t, its just clean prog not noisy prog. There! I’m not crazy, I’m just dorky! (And trying to please an imaginary, disapproving, super-nerd by protesting too much… totally a normal thing to do!)

Anyway, that song is fine. Not great, but not worth cutting either.

“This Cold Black” follows. This seems like a nice “Metabolic” or “Deluded” or “Welcome.” The good Slipknot. The deep cuts. The “this is Slipknot at their most Slipknot” Slipknot. That Slipknot.

I like this song a lot. The variety in the vocals is cool. I wonder if its Clown or Chris doing the backups, or just Corey putting on a funny voice? The chorus is a bit odd. Sort of jagged, and out of nowhere, and yet its catchy, and when it leaves it makes the next bit sound cooler by contrast. That and the build up with the broken key lyrics over it is cool. A build-up that doesn’t build up? Nice one!

Also, hooray for guitar solos and fast parts! Then that staccato part is nice. And the deathy transition riff doesn’t feel forced either. Definitely one of the better songs on the record. Shame it won’t get played a lot live.

“Wherein Lies Continue” comes. Comes like creepy mutant. Well, not that creepy actually. Pseudo-creepy. This is oddly tame, but still clearly another Skunkworks type thing. Its quite “Virus Of Life.” The heaviest of the three, its like Tattered And Torn if that wasn’t creepy. It does that clean chorus trick the previous ones did. The clean chorus is good though, so what’s the problem brain-jerk? The bit that follows that chorus is awesome. I love those multi-percussion bits in Slipknot. Then, wham! Another Machine Head influenced groove ending! Its not the ending…but, y’know it should be. And then it is, later, when it comes back…because OF COURSE IT SHOULD BE. Also some trippy robot-duck guitar hidden in there too, because layering.

“Snuff” follows. It is awesome. It has always been since first listen my favourite song on the album. Interestingly, for someone with so much difficulty accepting the clean vocals and commercial leanings of the album, my unashamed, un-ironic, honest favourite thing on the whole record is a ballad. A brilliant, powerful, non-cheesy and totally dramatic cinematic ballad. It is awesome. A masterpiece. Well done for writing it Slipknot! No matter what score you’d award this album, it is hugely boosted by this gem. There is more brilliance here than on the full rest of the record combined…. Kind of like how Motely Crue themselves think about Home Sweet Home/Theater Of Pain.

Then to close up the album, comes the final track, the Title Track, “All Hope Is Gone.” It has one of those Vol. 3 complex intros. It has speed. It has DJ scratches. It has noisy blast beats and death influenced riffs in the verses. The chorus is strangely a weird rolling post-chorus. Its quite impressive actually. Oh, that’s why, because its not the chorus, because there’s a groove, with a clean vocal instead. The whole bit before and under (during) the guitar solo is awesome, even if the solo itself isn’t amazing. Then a bit that is so massively Slipknot that it defies further comparison. What did Slipknot add to music that wasn’t there before, you ask? That! This bit!

OK. That song is decent too. This third and final time the chorus comes in its actually cool. I wonder would the song be better if that was the only time it was there though? Oh who cares…stop being so picky, jerkwad. This is a good song. This is a good album. Its still their worst. But now only by a hair instead of by a considerable margin. Jerk off, jerky jerk-impression! Your false memories, prejudice against Corey’s clean singing and sickness at the overplaying of the singles is now not how this album is. How this album is, is good!

PS. Oh yeah, and the bonus track, “Child Of Burning Time” which is pretty much Vermillion again. Only better. Maybe this should’ve been on it instead of “Gehenna” and also should’ve been a single? Considering that enjoying money is a thing…

Also, the decision to put a remix of a song from a track from a previous album in-between two proper songs from this album’s sessions is insane and so I’ve disallowed this madness from my iTunes. That song is put on the end of Vol. 3. The next song here is “Til We Die” because that makes much more sense.

“Til We Die” starts out like a creepy-ass sea-side song, in an alcoholic’s memories. Then suddenly turns into a powerful, real-song version of the intro from Vol. 3. (More real, I mean). It is awesome. This, the previous one, Dead Memories and Snuff are the best material here. They are better than all the ones that actually sound like Slipknot. Maybe they should’ve sold out harder…not tried to hide it with blast beats and death riffs.

[Or maybe it’s a good balance you knee-jerk reacting jerkhole. Maybe they aren’t “covering it up” but rather just mixing two things they enjoy.]

STOP HITTING YOURSELF, NUTCASE!

E – BbB

Next, from something with lots of derision to something with universal credibility in our world; Think 1985… Exodus’ Bonded By Blood.

At the time, even in the deepest throes of my Thrash-passion, from my first days of Thrash Obsession, I always felt that this album was poor. The title track was one of the best songs ever written by anyone and then the rest of the album was dull repetitive cack and the band were much better off on the fantastic next two records, Pleasure Of The Flesh & Fabulous Disaster.

Well; one listen and yup, the Title Track is fantastic. Perfect. No further comments, your honour. The defense rests.

The next song, the song actually called “Exodus,” opens up with a riff that kind of sounds like Dave Mustaine. The vocals are weirdly produced, painfully too-loud and kind of in a metal box. Not Metal. Just metal. That Mustainey riff is fun. The bit of the chorus with the “Get In The Way…” is catchy and sort of punky. I also like the little Iron Maiden-esque jangle before “…and Exodus attack.”

The song has a great guitar solo too. If the vocals were produced normally this would be a pretty perfect Thrash song. The deh-neh-nay-ne-neh thing sounds like early Overkill, which is a bonus. And some of the drum fills here are absolutely bad ass. The song only seems dull and repetitive but all the little touches really make it.

Then there’s the nuclear-themed “And Then There Were None” which opens up with a nice chugging riff augmented by a Tom pattern that I’m sure turns up on Nirvana’s Bleach album somewhere. Love Buzz, maybe? This is perfect mid-paced Thrash. It would be good DVD menu music. Or good under-the-narrator in a Thrash Documentary music.

Its kind of weird that the backing vocals just sing the melody. Like at an Iron Maiden concert…but in the studio. “AAAAAH, ah-ahhh-ah-ah-a-a.”

The whole adventurous mid-section and the fast bit which follows are excellent. I love it during the solo. This is a good song. I remember always wanting to turn the record off afterward though. I think it has that problem of the last few Exodus records that the song is just slightly too long. Of all Exodus records. Sometimes they have a song that’s just too long. They’re awesome, but sometimes they need an editor. Only sometimes.

Next comes one of the band’s then-signature songs (the other being “Piranha”) if my memory of various magazine articles from the time I bought this holds up, “A Lesson In Violence.” I remember resenting this song as a teenager for not being as awesome as it should be given how fond the band seemed to be of it. Interestingly, looking back now, these two are the two shortest and presumably therefor tightest tracks on the album. Free from that too-long thing then!

Oh yes, and the chorus is catchy and awesome. I remember hating the lyrics at first impression (essentially rhyming “lesson in violence” with “lesson in violence”) but now that I’m used to it for years and years, its just music, and that music is good. Also, I like the riffs, the speed and the solos. This is a good song. Bonded by Blood is better but this is still a deserving signature track. Consider me converted. Its great not being 14 anymore, isn’t it? 12 years in the future is a beautiful thing, ey?

Next comes “Metal Command” which I remember thinking sounding dodgy, but now it is charming and NWOBHMy and a sort of missing-link moment like early Overkill. Also the production on the solo is awesome and the brief little neoclassical noodle at the very end of the solo is neat. This song just got stars in my iTunes.

The aforementioned “Piranha” makes its appearance next. This song’s opening riff is kind of Slayer/Sodom/Kreator. It is for the mean-Thrash crowd. The people who don’t necessarily like Anthrax as much as they might. Then it kicks into a more bouncy part. The chorus is catchy. There are way too many effects on the vocals, but that’s a very minor complaint. Also, nice solo. The H-team always were awesome at guitar solos. This album in general is way better than my first impression of it was. I wonder if it was just the whole line-up changes thing messing my brain around with Exodus, causing side-choosing.

[Side note: Ohhh, ooooh. Remember that whole intro thing, like “Awaiting Hell”? etc. I do that with Exodus’ “Deranged” because…that intro makes me skip the whole of Deranged when really I should only skip the intro.]

Next up, a nice bit of variety. “No Love” opens up with a nice, fancy, tasteful Spanish Guitar, clean intro. That was a big thing on Thrash openers wasn’t it? – Sometimes separate tracks, sometimes not. – Pleasure To Kill, Alice In Hell, Ride The Lightning etc… they all have that. A little bit of Spanish guitar before the Thrash. I wonder why they didn’t make this the first track then?

Maybe they did, and then they realized that the title track was so absolutely fantastic that nobody had time to wait for it, and so that just HAD TO be the first track?

Anyway, once the Metal-bit starts, it’s a bit more midpaced again. In a slightly off time-sig that reminds me of a specific Dream Theater moment on Awake which I can’t remember right now. Also, the way he say’s “The Darkness Is My Lover” is clearly influenced by Accept. I would have never noticed that before. Also it sounds like he says “Leather” and not “Lover.”

Oh, there’s a neat NWOBHMy bit around 2.40. Then a neat solo. This song is full of surprises. And some bad-ass fills once it slows down around that next set of solos. This song is what we in the Thrash fan world call a mini-epic, and I never even realized. Shame. I wish I realized how good it was at the time I got it. Oh well. I know now.

Next up is “Deliver Us To Evil” which by its two-minutes-longer duration might actually be a mini-epic. It has some nice little touches. With its stop-start bit, and bouncy drums. It also has slightly choppy, but proggy complexity, which at the time I mistook for “not playing properly.” Woops. I guess my brain wasn’t developed enough when I got this initially.

It has a really fun Maideny/Priesty bit underneath the solos around the four-minute-mark. Some really fun riffs!

Lastly, the fast one. Back in the day, instead on ending on the obvious closer… they would usually end on a super fast, shorter song. That happens here. This speedy track could easily be described as a “teeth kicker.” This is pure Thrash. Absolutely pure. Almost too pure? I remember thinking this was too simplistic at the time. I was WRONG at the time. Good song, good album, good band. Good subgenre.

Oh yeah, and here’s a TOP 5s thing for Thrash:

Exodus :
1. Bonded By Blood
2. Fabulous Disaster
3. Brain Dead
4. Chemi-Kill
5. Seeds Of Hate

Testament :
1. The Preacher
2. Souls Of Black
3. Into The Pit
4. Practice What You Preach
5. Apocalyptic City

Metallica :
1. Blackened
2. Creeping Death
3. Master Of Puppets
4. Eye Of The Beholder
5. Ride The Lightning

Forbidden :
1. March Into Fire
2. Forbidden Evil
3. Twisted Into Form
4. Hypnotized By The Rhythm
5. Infinite

Kreator :
1. People Of The Lie
2. Coma Of Souls
3. Terrible Certainty
4. Stream Of Consciousness
5. Pleasure To Kill

Annihilator :
1. Alice In Hell
2. Road To Ruin
3. W.T.Y.D
4. Stonewall
5. I Am In Command

Anthrax :
1. I Am The Law
2. A.I.R
3. One Man Stands
4. Lone Justice
5. Death Rider

Megadeth :
1. Rust In Peace (Polaris)
2. Set The World Afire
3. Hook In Mouth
4. Peace Sells
5. Mechanix

Slayer :
1. Postmortem
2. Raining Blood
3. Blood Red
4. South Of Heaven
5. Crionics

Nuclear Assault :
1. Survive
2. Brainwashed
3. Critical Mass
4. Nuclear War
5. Game Over

Overkill :
1. Overkill
2. I Hate
3. Elimination
4. In Union We Stand
5. Feel The Fire

As for the bands who I don’t feel I can make a Top 5 for, my favourtie Sacred Reich song is “Whos To Blame.” My favourtie Death Angel song is “Veil Of Deception.” My favourtie Vio-lence song is “World Within A World.” My favourtie Exhorder song is “Un-born Again.” My favourtie Heathen song is “Pray For Death.” My favourtie Onslaught song is “Thrash Till The Death.” My favourtie Sepultura thrash-era song is “Beneath The Remains.” My Sodom song is “Agent Orange.” My favourtie Voivod song is “Tribal Convictions.”

I think Djent has become an independent subgenre now.

I understand that people were arguing about whether or not it was a real subgenre when it was starting out, but I think so many bands have come out sounding like eachother, so many record labels group them together, so many Djent fan sites and concert line-ups have been made that it has come online, become self-aware and is now a real genre.

People had the same problems with Thrash Metal when it was new, with Hair Metal when it was new and with Nu Metal when it was new, but now, most fans agree that they are real subgenres.

Sure they might argue about the name “Hair” is interchangeable with “Glam/Sleeze/Teeth/Pop Metal” and “Thrash” sometimes gets intertwined with “Speed.” “Nu” sometimes gets called “Rap” or “Alternative.”

There’s disagreement over all of them “Glam is just a look” “Nu is just rapping and DJs over the top” and people say the names are stupid. Nowadays, a few people say “Djent” is a stupid name and “Djent is just a tone” but there’s more to it than that, and it has become a real genre due to the critical mass of bands making Djent music.

Sure; Uneven Structure, Tesseract and Periphery are all pretty different, but so are Kreator, Anthrax and Metallica.

So are Linkin Park, Powerman 5000 and Korn.

So are Bon Jovie, Quiet Riot and Motley Crue.

In Power Metal, there’s a vast difference between Stratovarius, Helloween and Sonata Arctica. And its named after power? All Metal is Powerful.

I agree that naming Djent after a tone is unusual, but its better than naming it after a look (Glam/Hair) or the fact that it is new (Nu) is equally silly.

Maybe they should have called Thrash “Chug.” Sure, some non-Thrash bands like Motorhead and Sabbath had chugging, but that ties into the idea of how much Djent took from Messugah. Its similar to how much Nu Metal took from Faith No More and Primus. I know that some non-Djent bands have the Djent-Tone like Architects did on Hollow Crown, but that ties in with the idea of bands like Anvil and Metal Church being heavier than most Heavy Metal bands but not quite Thrash.

Maybe the name will change, but the subgenre will stick, if history is any indicator.
Maybe some of the bands will escape the tag becuase they’re too different, eg. maybe Animals As Leaders are too different than the core Djent sound like the way Slipknot are too different than the core Nu Metal sound, but overall, Nu Metal is still considered to exist.

Just go to Got-Djent.com and have a look at all the bands who play Djent music, or music similar to Djent, and check out all the similarities and differences.

Try out one song each by the top-25 most popular bands. Try that same trick for other subgenres like Black Metal, Death Metal, Hair Metal, Nu Metal, Power Metal, Doom Metal, Thrash Metal etc.
Pay attention to all the similarities and all the differences from bands still considered to be within one subgenre. Pay attention to how there are some bands or songs that are a bit borderline and ones that are definite. I believe that same balance now exists in Djent and that Djent has become a real subgenre.

Its day 34 of my third Get (Into) What You Paid For challenge. I’ve been adhering to the challenge and haven’t broken the challenge yet. To be honest it hasn’t been too challenging. Challenge, Challenge, Challenge. So; Christmas has came and went, and the kind people in my life have provided me with a brilliant collection of very-well-thought-out gifts, which has definitely taken the urge to buy myself stuff away for a while.

I’ve been given numerous biographies on bands I like (including Sabbath, Megadeth, Slipknot, Jethro Tull); Power Metal albums from Iced Earth and Gamma Ray; Prog Metal albums from Porcupine Tree, Pain Of Salvation and Tesseract; Thrash from Testament. Even a bit of Grunge in the form of the new Pearl Jam album. My listening habits from the last year are all very well served by this.

I’ve been given a massive load of comics from my friend Magnum, and I’ve been given the new Batman videogame. My gaming and reading habits from last year are all pretty well served by this too.

Pretty much, I’ve just had a massive influx of things I like and so that quells the urge to buy more things I like.

Another reason I’ve been doing OK with not buying things is that I’m completely and drastically broke. Its easier to exert some restraint when there’s more reason to do so. Maybe I’m fianlly an adult, now that I can confidently say I’d rather be able to pay my rent than buy myself something entertaining. I’ve got so bloody much stuff already anyway that its becoming easier to shrug off the itch to get more, I’m beginning to learn some perspective and tone down my overspending.

Taking this financial situation into account, and the fact that I didn’t blog as frequently on the subject this December as I had in the previous two GIWYPF challenge months, I’ve decided to extend this one into a two-month epic. That’s right. I’ll try not to buy any books, comic books, DVDs, Blu Rays, Band T–Shirts, Books, Music or Videogames for another month, making it a stretch from December 1st to February 1st. I don’t think I’ve ever went that long without buying something of this nature since turning 18.

But if I was going to break the challenge, what would I break it on?

Riverside’s debut, Haken’s whole discography, the two Psychotic Waltz reissues, some of the more famous Fates Warning albums, and DreamTheater’s Awake all spring to mind. As does Mudhoney’s Superfuzz Bigmuff and Angra’s Angel’s Cry.

I’d also like to get the two most recent Batman collections, the Death Of The Family main story and side-stories books. Everything I’ve read from Snyder so far has been good and I’d like to be a bit more “In The Loop” with things, if it wasn’t so costly.

Oh. And there’s one new Arctic Monkeys B-side that’s came out during the challenge. I like to always buy those B-Sides pretty much as soon as they are released, this is the longest I’ve gone without getting an Arctic Monkey’s B-Side since the release of their second album.

To be honest though, I don’t think there’s much risk of me breaking the challenge. Having a massive exam schedule that requires serious, dedicated revision for, having no money, and having been given those excellent Christmas gifts should keep me busy and thinking straight.

So; today, having done my revision for the day, I’ll take a little break and do a quick little series of mini-reviews/thoughts of what I’ve been listening to lately. As you might imagine, most of it will be the gifts I got for Christmas that I’ve described above. Here goes:

I got a copy of Tesseract’s new album Altered State for Christmas. I went and saw them live about a month ago and was completely blown away by them. They were supporting Karnivool who I’d imagine were less big than them, but who weren’t. They had an annoying loud fan who wouldn’t stop screaming for songs they didn’t play (“Dead Man”) and making a clown’s horn noise. I wish that fan had kept their big mouth shut, but the concert was awesome. Tesseract’s guitarist is very tall… Anyway; This album completely lives up to my expectations. Its absolutely fantastic. Such incredible musicianship and utterly spellbinding vocals. I can foresee this band becoming huge, if there’s any justice. Also, there’s a Saxaphone solo. Always a plus for a Floyd/Tull/Crimson fan!

I think I’m going to be dedicating a heck of a lot of listening time to this record in the near future.

Keeping with the Prog theme, Porcupine Tree’s Deadwing. I’ve been craving Deadwing for quite a while now. Ever since I got into the band, Deadwing has been my number one, most-wanted album of theirs, although I’ve managed to get everything around it first.

Interestingly, on just one listen, I was able to tell instantly that is their best record. I’ve had about five or six listens now and am still firmly of that opinion. The title track and ‘Arriving Somewhere But Not Here’ are absolute gold, and ‘Lazerus’ is a haunting, magical ghost-ballad. If this had the three best songs of Fear Of A Blank Planet on it too, it would be one of the best albums of all time.

I think I might make some sort of Porcupine Tree best-of, with ‘Sound Of Musack’ ‘Drawing The Line’ ‘Normal’ and then the majority of Blank Planet and Deadwing on it.

What else have I listened to? I recently talked extensively about listening to Pain Of Salvation’s The Perfect Element album so I won’t go into too much detail about it again here. Anyway, I listened to it again while I was weightlifting and although I had understandably reduced-concentration on it, I really am impressed by this album. If you like any sort of Prog Metal you should really pick up a copy. Its only about £3 on Amazon.

Tesseract, Porcupine Tree and Pain Of Salvation are three very different bands, and they all scratch very different parts of my brain, but any way you look at it, Prog Metal is pretty well served by that trio of absolutely phenomenal records. What about Power Metal then?

I also got given Horror Show and The Glorious Burden by Iced Earth for Christmas. I’ve listened to them both quite a few times now. I like Iced Earth, they play 40% Judas Priest, 40% Testament and 10% Warning era Queensryche. Pretty well suited to me then. Both albums are great, as was Something Wicked, which I got given for my previous Birthday. The three of them together feel like one big album. There’s sort of a continum between the three of them. Its hard to explain.

On The Glorious Burden, there’s a nifty bit where the lead guitars play the rhythm of “Johnny We Hardly Knew You.”

Interestingly as well; The Glorious Burden has Tim Paper Owens on it instead of Matt Barlow, who at the time had left the band to join the US Police force in the wake of 9/11. He’s a perfect replacement for Barlow. Both are brilliant at high screams, both sing with manly authority and both do a fine impression of Forbidden’s Russ Anderson. I don’t know if its actually the guitarist doing those bits. Could be. They’re so similar across the two records. I’ve also got given their live Blu-Ray for Christmas, so I’ll have a look when I get a chance to watch it, and see if I can crack this mystery. Is Schaeffer the phantom Russ Anderson impersonator? Or do both Barlow and Ripper both have that one particular style really well honed?

This record makes me want to try out the two Ripper-Era Priest albums that I avoided. Tim is certainly an incredibly talented guy. Replacing Halford can’t have been easy. Just look Blaze Bailey. The fans really didn’t go for him even though he’s very talented. Also – Maaaaaaaan hunt. Maaaan, Hunt. Manhuntmanhuntmanhuntmanhunt.

In addition to the serious, Thrashy, USPM… I’ve been listening to the fun, bright, melodic German Power Metal of Gama Ray. I’ve been hammering their 2007 album Land Of The Free II recently; its met with mixed reviews, but I really like it. Its such a fun, energetic, and pleasant record. The guitar solos are magnificent. Kai is one of my favourite guitarists of all time. I read a lot of people complaining about stealing that bass-bit from Maiden’s Rhime Of The Ancient Mariner. Gama Ray frequently steal bits from Priest. They’ve even stole bits from Deep Purple. Its just something you have to deal with. Its still a good song. I don’t know, maybe I should be harsher, but, I just can’t help but love everything Gamma Ray do. Its difficult to listen to Gamma Ray and not just be put into a good mood. I’d absolutely love to see them live. I wish I’d been a fan when they did that tour with Helloween recently. That must’ve been brilliant to behold.

Also, after having listened to Tesseract, I had another listen to Periphery. Periphery’s album is such a shapeshifter. Every time I’ve heard it I’ve listened to it in a completely different way. Sometimes I hear it as a radio-friendly Metalcore record, sometimes I hear it as a crushing desne Messugah-influenced affair, and sometimes I hear it as a rapid-fire, all-over-the-place, highly technical, Protest The Hero style modern prog mish mash.

That’s happened to me before, with Machine Head’s Burn My Eyes. I’ve heard it in completely different ways at different times. Makes you wonder what your ears and brain are up to.

Its also interesting just how different it is to Tesseract’s album. Its like the difference between Anthrax’s Spreading The Disease and Megadeth’s Peace Sells But Who’s Buying. Both are defining albums of Thrash, but both sound vastly different. Same goes here. Animals As Leaders’ Weightless album is as vastly different as those two are from eachother yet again. Perhaps that’s throwing Slayer’s Hell Awaits into the second albums by Thrash bands analogy. If all those Djent bands are Thrash, then what does that make Messugah? Judas Priest?

Oh. Y’know what. I can add three more things onto the “to-do-list” / risk-of-me-buying-these pile. Skyharbour, Monuments and Circle’s new albums.

Anyway, there are some seriously brilliant songs on this record. I particularly love ‘Erised’ and the single, ‘Scarlet.’ The whole album is fantastic though; the musicianship and vocals are incredible. There are parts that are so heavy, parts that are floaty electronic dreams and a lot of memorable clean choruses. Periphery – Love that shit.

I forgot just how good Tool’s Undertow album is. I usually think of the subsequent three albums when I think of Tool. There are some seriously fun, memorable, enjoyable riffs on this album. Some damn catchy vocal parts, some interesting lyrics, and it’s a lot more succinct and serious than I remember. I guess having gotten into all the Tool-influenced bands recently also helped. And the grunge; there’s a slight bit of grunge about Undertow that I may previously have been put-off by.

Speaking of being put-off; I think the thing about the carrots made me forget about all the completely awesome songs on the record. Tool usually have one or two little comedy moments or unusual additions, so I don’t know why that particular one took over. Well, at least I know better now. Songs like ‘Intolerance’ and ‘Bottom’ are absolute gems. I can see this working its way into a much more regular rotation from now on.

Ok; that’s enough for one installment. I’m going to have to keep it up all the way through January. Let’s hope I stick with the whole financial-discipline thing a while longer, ey?