Christ Illusion by Slayer
January 30, 2007 by Jo Minor · Leave a Comment
The latest release by the Thrash Metal legends, Christ Illusion marked the return of original drummer Dave Lombardo from a decade-long hiatus from the band. As with any Slayer release, the hype for this album was unrivalled and its launch was met with intense anticipation from fans.
Everything about the album spelled “successful comeback” - right down to the cover artwork by artist Larry Carroll. The no-holds-barred cover, which depicts a drawing of a disfigured Jesus Christ, was gracefully accepted by fans as it resembled earlier Slayer covers from classic albums Reign In Blood, South Of Heaven and Seasons In The Abyss.
Artwork aside, the songs in Christ Illusion pack quite a punch - it’s great to see that the aging members of the band have actually produced an album which is even faster and heavier than the past few releases. Drummer Dave Lombardo performs the best drum work in the band’s twenty-plus year career, and has actually improved from his time away from Slayer.
Frontman Araya did mention his dislike for the band’s previous outing God Hates Us All - in which Kerry King, once again, took full creative control and direction - thus leaving the other members of the band out in the cold. Araya, however, must be a bit more pleased with this album since he and Hanneman contributed a lot more to this latest effort, with positive effects overall.
The ten songs present on Christ Illusion are almost single-handedly written by guitarist Kerry King - thus explaining the overabundance of anti-religion and anti-establishment elements in the lyrics. Only 3 songs feature contributions from the other members of Slayer: Eyes Of The Insane, Jihad and Black Serenade was written by Jeff Hanneman with lyrical contributions from Tom Araya, and feature far more complex lyrical representations.
Songs like the opening Flesh Storm and the controversial Jihad (which takes the listener into a journey deep into the mind of a terrorist) are pure Thrash Metal, while Eyes Of The Insane takes us back to the more groove-laden tracks like Stain Of Mind. The first single of the album, Cult, is a worthy listen but the best track is saved for last. Supremist is the last, and arguably the best track in the album - it’s probably the best showcase of Lombardo’s lightning-fast drumming. His concrete-smashing blast beats take up the entire chorus parts of the song, and is a great listening pleasure.
The best Thrash Metal album of the year.
Between Two Worlds by I
January 30, 2007 by Jo Minor · Leave a Comment
Before I start reviewing this album, I have to say that Between Two Worlds is a musical piece that’s simply amazing!
Immortal frontman Abbath’s side project, I, released this last year and became one of the most sought after releases of 2006. As groundbreaking as it is nostalgic, Between Two Worlds is a rare blend of classic rock goodness fused with Viking Metal and Black Metal influences. The result is a spectacular, fresh listen - equally enjoyable to fans of rock and metal alike.
The album kicks off with a powerful, meaty number titled The Storm I Ride. Heavy guitars and drums pummel the listener, and the song opens the door for the other delectable tracks on offer in the album. Once Abbath starts belting out his signature raspy vocals, it’s no mistaking that I is up to the man’s high standards in music.
Interestingly, the guitar solo in The Storm I Ride, and some other tracks present in Between Two Worlds, fare much better than most of the solos in Abbath’s legendary metal band Immortal - mostly because the leads and solos here take much from the memorable guitar licks of classic rock than the forgettable solos dished out by many Black Metal bands.
What makes this album stand out, however, is the eclectic nature of the songs, and how well the elements work together in creating such unbelievable sonic passages - think Motorhead meets early-Metallica.
Furthermore, the songs here (penned by Abbath and ex-Immortal guitarist/songwriter Demonaz) are plain CATCHY. You can’t stop listening to Between Two Worlds, no matter how hard you try, and the amazing quality of the songs make each and every song stand out a lot. For fans of Immortal, there are interesting moments taken straight from albums like Sons Of Northern Darkness and At The Heart Of Winter - some of the best songwriting examples from such a remarkable band.
Between Two Worlds places I on the same level as the other better-known side projects, such as Demons & Wizards, and has raised the bar significantly for other Norwegian bands - who can no longer rest on their laurels and sit comfortably on their past successes. I, will no doubt, lit a fire under the feet of the other metal bands who still walk in the shadows of their past glory - Mayhem is the best example of such a band - and push the metal scene forward.
We shall wait patiently for another golden age!
Annihilation Of The Wicked by Nile
January 30, 2007 by Jo Minor · Leave a Comment
Brutal Death legends Nile return with Annihilation Of The Wicked - a defining showcase of a band resurrected with the addition of drum maestro George Kollias, alongside old timers Karl Sanders and Dallas Toller-Wade.
Annihilation Of The Wicked starts off with a rather perplexing yet pleasant instrumental intro, entitled Dusk Falls Upon The Temple Of The Serpent On The Mount. Your eyes didn’t fool you; that is the actual title of the instrumental that runs for no more than 51 seconds.
What comes next is a remarkable achievement in Death Metal, and is an unofficial part of music history.
Cast Down The Heretic is the crushing song that starts right after the end of the instrumental, and if my information is accurate than this song is the fastest song ever recorded in the history of music - the drums, which form the backbone of the song, is clocked at 245bpms (beats per minute)! Truly a feat to behold, by any standards!
If technicality doesn’t tickle your fancy, then you have to also know that the album is a great piece of recording in the sense that it’s a fantastic display of songwriting. All 10 tracks in Annihilation Of The Wicked are amazing, and truly live up to the high standards the band has set for years. From start to end, the album is a strong Death Metal experience - and it can be said the band has never had, in its years of acquiring the expertise of countless talented drummers, quite a skinsman like the mighty Greek George Kollias.
Some of the better tracks present in Annihilation Of The Wicked are Cast Down The Heretic, Sacrifice Unto Sebek, User-Maat-Re and Lashed To The Slave Stick. The songs, in usual Nile fashion, are based on archaeological and historical facts from the golden age of ancient Egypt - revealing a more educated songwriting perspective in Metal.
Here is the tongue-twisting track listing for Annihilation Of The Wicked:
01. Dusk Falls Upon The Temple Of The Serpent On The Mount
02. Cast Down The Heretic
03. Sacrifice Unto Sebek
04. User-Maat-Re
05. The Burning Pits Of The Duat
06. Chapter Of The Obeisance Before Giving Breath To The Inert One
07. Lashed To The Slave Stick
08. Spawn Of Uamenti
09. Annihilation Of The Wicked
10. Von Unaussprechlichen Kulten
Absolutely incredible! Let’s see if the band can top this with their future releases!
A Matter Of Life And Death by Iron Maiden
January 30, 2007 by Jo Minor · Leave a Comment
After reading the raving reviews of Metal forefathers Iron Maiden’s 14th studio album in just about every place, I finally got my hands on my copy of A Matter Of Life And Death.
The album is the band’s 3rd post-millennium offering - after the brilliant Brave New World and above-average Dance Of Death - and after having passed many vicious album reviews with flying colours, I soon assumed that this was not going to be just another Maiden album, but a notable one - very much worthy of the band’s outstanding legacy.
Alright, back to the review - A Matter Of Life And Death stands out more than the other 2 post-millennium albums in more ways than one: the cover, illustrated by Punisher comic artist Tim Bradstreet, is a sight to behold - and leaves fans in utter delight after the disastrous 3D cover of Dance Of Death. The music, on the other hand, deals with issues very much alive in our current time - war, destruction, religion and hate - the topics of choice for many of Maiden’s previous songs.
Lyrically, A Matter Of Life And Death takes a neutral stance on these issues, and instead of picking sides feeds the listener with a deeper, almost psychological perspective of the topics at hand. The songs, therefore, act in unison with each other - a total reverse of how the Brave New World album worked. A Matter Of Life And Death can be equaled to a huge painting that would some time before anyone can fully grasp the true beauty it holds within the boundaries of it’s wide canvas.
Having said that, A Matter Of Life And Death doesn’t possess any songs that stand out more than the rest - all the tracks present in the album are equally enjoyable, and of course, that means this offering won’t fare well with the older generation of Maiden fans who aren’t accustomed to the progressive elements present in the band’s newer albums. On the other hand, Metal fans who demand a progressive listen that matures over time would fondly accept A Matter Of Life And Death into their hearts and minds.
A Matter Of Life And Death is a very strong effort from a timeless band, but the success of their previous masterpieces will always cast a shadow on their newer studio offerings - which has evidently driven the band to give us more quality material.
A remarkable listen!
Up The Irons!
The Stormrider Rides Again
January 30, 2007 by Jo Minor · Leave a Comment
Iced Earth seems to be a band that keeps getting better over time - like fine wine, mastermind Jon Schaffer and his gang of musicians - armed to the teeth in talent - looks to carve their name in stone as one of Metal’s best outfits.
Since the inception of Iced Earth in the early 90s - which was formed after the demise of Schaffer’s band Purgatory - the band was been known to release albums of the utmost quality. As of today, have astounded thousands, even millions around the world with the release of such outstanding works like Something Wicked This Way Comes, Horror Show, Burnt Offerings, and The Glorious Burden - just to name a few. Even their live album - the triple-disc Alive In Athens - has garnered rave reviews from the Metal media, and is an excellent showcase of the band, doing what they do best, in a live environment.
What is it that drives Jon Schaffer to single-handedly write all of the music and keep the band going - even through the worst of disputes and line-up changes?
Schaffer is the founder, songwriter, rhythm guitarist and backup vocalist of Iced Earth - and the only member to survive all the incarnations of the band. He sees to the hiring and the firing of band members as he sees fit; a rather dictatorial approach to leading and managing a band, but this method seems to work just fine. No one wants uncommitted or untalented musicians in a band, and Schaffer knows that more than anyone else in the business.
Having seen to the hiring and firing of perhaps a dozen (or even more) band members in Iced Earth, Schaffer has seen to the letting go of racists and thieves in this band - and this way in the earlier days of the band. Nowadays, he has set his standards much higher - I can safely say that he would dismiss anyone in his band for pettier misbehaving.
Maybe it is this form of leadership that has helped Schaffer get only the best musicians for his brand of Power Metal infused with elements of American Thrash Metal. Only recently did he cut off the services of a lead guitarist, who apparently committed rape a few years before.
Nonetheless, this form of leadership is essential to maintain the unique sound of Iced Earth. Schaffer is a firm disciple of the music laid down by Heavy Metal legends Iron Maiden and Judas Priest - yet, he only incorporates their elements in the most tasteful way into his brand of Metal. He can easily turn Iced Earth into a Priest or Maiden clone - especially now, since he has the likes of Tim ‘Ripper’ Owens, formerly of Judas Priest - but he knows better than to shamelessly parade another tribute band.
Ripper Owens infamously replaced Matt Barlow - who left to pursue a career in law enforcement after the 9-11 tragedy, much to the discontent of Iced Earth fans around the world who deeply appreciated Barlow’s terrifying screams and deep, emotional singing - and has not been fully accepted by the band’s legion of die-hard fans yet.
Iced Earth are currently finishing up their double album opus, based on the story of The Antichrist present in the Something Wicked This Way Comes album. They have enlisted the services of Brent Smedley - the drummer fans can hear on the Alive In Athens CDs - and the albums are expected to be released a year apart. Too long a wait for the Metal fans who have anticipating these albums for years.
State Of Despair
January 30, 2007 by Jo Minor · Leave a Comment
Music has the ultimate power of transcending borders, and influencing people all over the globe. This has been done for years and years, and music has the ability of reaching out to more people than any other art form - it can safely be said that more people recognize Michael Jackson’s name than they would recognize a character in a popular movie, say, for instance, Indiana Jones or Spock.
After having said that, however, there seems to be an invisible power holding music back in our beloved country, Malaysia. While we live in a peaceful and prosperous nation, the state of music here is in shambles.
Censorship is the biggest and most prominent enemy of the music industry, especially to such urban genres of music such as rap and heavy metal, but in Malaysia there seems to be a form of overzealousness when it comes to censoring material here.
Our national media is severely censored, but that’s reasonable and well acceptable because authorities and the people in general do not want children to be exposed to certain harmful elements. That’s all fine and dandy - but banning certain bands just for their band names?
This might sound almost politically-charged, but I don’t care.
Megadeth - a band well known to metal fans as one of the earliest pioneers of thrash metal, was labeled as a black metal band. And what timing - this ridiculous issue popped out moments before the band was scheduled to play in Malaysia for the first time. I bet the people responsible for this fiasco still jubilate over their victory to this very day.
Megadeth frontman Dave Mustaine, being as direct as ever, stated in an interview how superbly stupid this whole thing was. He even went on to criticize the authorities, calling them incompetent for not doing their homework before banning Megadeth. Justified, I might add. If we can’t openly criticize the powers behind such absurd stunts, then Dave did the talking for us. He could well be a formidable leader someday.
At one time, if I’m not mistaken, even the band’s records were banned from record stores nationwide. Oh, the stupidity.
Censorship might also contribute to the rampant cases of music piracy in Malaysia as well. Just think about these scenarios: you pop a CD you just bought into your stereo, only to hear beeps and scratching sounds which are not a part of the songwriting intended for the listener to enjoy. The next possible option would be to buy a pirated CD that costs a quarter or less than the original - just so you can enjoy complete, uncensored tracks. Moreover, you might not even be able to find music you’re looking for in our music stores, thanks to ludicrous prices.
Call me ridiculous, but this is happening all over the nation.
The prices of records, on the other hand, influence piracy even more than censorship. This is a gigantic issue that causes losses of millions to the local and international music industries - yet, there isn’t much done to protect the ownership of artistes and bands that live on the hard earned money they make from their music. The average Malaysian, on the other hand, can’t beat the temptation of owning music for a fraction of the cost - I can get a pirated CD for RM5 to RM15 when an original might cost anywhere from RM25 to RM120 (prices are crazier for imported CDs, of course).
After describing these main factors, one can not overlook the pathetic state of music we live in. Sadly, though, there are no heroes to save this drama - now or ever.
Mysterious Melodies Part II
January 30, 2007 by Jo Minor · Leave a Comment
Choir of the Damned by Kreator
Taken from Pleasure To Kill
Choir of the Damned is the opening track to the Pleasure To Kill album - which is the best album the band has produced, and one of the greatest Thrash Metal albums of all time; second only to Slayer untouchable masterpiece Reign In Blood. The track starts off with gripping electric guitar parts, and towards the mid point of the song the entire piece takes an altogether different shape; the modern sound of electric guitars give way to melodic classical guitars. The classical guitars and percussive effects in the background shape a very medieval era sounding piece which is subtle yet resounding enough to demand the attention of the listener.
Dusk Falls Upon The Temple Of The Serpent On The Mount by Nile
Taken from Annihilation Of The Wicked
Another album opener, this piece from American Death Metal titans Nile captures the essence of the band’s inspiration: the mystic land of Egypt and its glorious history. The track starts off with a mandolin (or another similar-sounding instrument) carrying the main tune, with delicate atmospheric sound effects in the background. No longer than 51 seconds long, this opening track is a as deceiving as it is entertaining - for as soon as it ends, the next song (as with all the other songs in the album) smashes the senses of the listener with the band’s trademark concrete-shattering guitars and drums.
Requiem by Opeth
Taken from Orchid
It would be difficult to pinpoint and highlight just one instrumental from a band known for intricate instrumentals, but the Swedish Melodic Death Metal kings have a masterpiece in their hands in the form of Requiem. Clocking at just over a minute long, Requiem is a captivating arrangement of acoustic and bass guitars; their strings gently plucked to reveal a haunting and memorable melody. Other such instrumentals from this famed band include Patterns In The Ivy, Ending Credits, Hours of Wealth and Epilogue.
Hopeless Optimism by Warmen
Taken from Unknown Soldier
Warmen started off as a side project of Children Of Bodom’s keyboard wizard Janne Warman, but soon began grabbing the attention of Metal fans worldwide after some brilliant albums. While the band’s songs and albums may vary rather drastically (Warmen has had a plethora of guest musicians on board throughout its years alongside the permanent members) all 3 albums of the band are linked together through Janne’s distinct passion for classical music and Power Metal. Hopeless Optimism is a 5-minute long instrumental opus which is progressive, powerful and melodic - trademarks of any good Power Metal song.
The Call Of Ktulu by Metallica
Taken from Ride The Lightning
Ride The Lightning has got to be the band’s finest display of songwriting, as all 8 songs in the album are extremely well written and executed. The birth of this instrumental piece took shape from departed bassist Cliff Burton’s interest in the writings of H.P. Lovecraft - a master of fictional writings. At just under 9 minutes long, The Call Of Ktulu is a progressive piece that was also performed live by the band with an orchestra during Metallica’s S&M DVD recording to raving reviews by music fans.
Ex Nihilo by Dark Tranquillity
Taken from Damage Done
This instrumental piece was a first for the pioneers of Swedish Melodic Death Metal - who have never recorded an instrumental in their recording career. Ex Nihilo starts off with a brilliant guitar piece which is then accompanied by the band’s unmistakable distorted guitars, bass and drums. It’s interesting to see how the band managed to write an instrumental that fits in perfectly with the rest of the songs of Damage Done, as all the songs in the album have a common feel to them.
Mysterious Melodies Part I
January 30, 2007 by Jo Minor · Leave a Comment
Heavy Metal is viewed by outsiders as a style of music that thrives and survives on youthful rebellion and primal anger; yet for those who truly understand the art know that melodies play an indispensable part in this particular genre.
Within its many incarnations and sub-styles, Heavy Metal is a treasure trove of memorable melodies and haunting hooks, usually bathed in mystifying atmospheric sounds; thus creating aural landscapes that dissolve the existence of reality. The sheer artistry and creativity of musicians that live within the walls of Metal is indescribable; and a listen to these captivating sonic passages into the unknown would truly be an unforgettable journey into the brilliant labyrinths of sounds sculpted by brilliant minds.
She Mourns In A Lengthening Shadow by Cradle Of Filth
Taken from V Empire or Dark Faerytales In Phallustine
Haunting, yet equally entrancing, it would take a million words to describe just a second of the endless beauty captured by this instrumental track by one of England’s best known Metal exports Cradle Of Filth. In the vein of a motion picture soundtrack, the piece utilizes clever orchestral arrangements that support the main synthesizer tunes present in the song. It’s sad to see that the band has long forsaken their practice of including meaningful instrumental tracks, such as this masterpiece, into their newer albums in favor of simpler, catchier tunes.
The Wanderer by Emperor
Taken from Anthems To The Welkin At Dusk
At just under 3 minutes long, this gem by Norwegian Black Metallers Emperor stands as the only instrumental track in Anthems To The Welkin At Dusk - arguably their best album to date. By using distorted rhythm guitar work and employing the services of the band’s drum wizard Trym, The Wanderer is a lot different from other instrumentals in the genre - the guitars and drums create a solid sonic foundation for the main synthesizer tune, thus creating a nice blend of melancholy and intensity.
The Quest Of Enigmatic Dreams by Old Man’s Child
Taken from In Defiance Of Existence
A pleasant surprise from yet another landmark Norwegian Black Metal band, The Quest Of Enigmatic Dreams is a mesmerizing classical guitar instrumental. The main guitar melodies could have well been taken straight out of the courts of a medieval castle, and the double guitar work is arranged to perfection by Old Man’s Child mastermind Galder. The man’s decision to insert this near-minute long track smack in the middle of a fast and brutal Black Metal album is rather perplexing, though, but it would be unwise to question the decisions of a seasoned and very talented musician.
Peace Of Mind by King Diamond
Taken from House Of God
The last song of yet another brilliant concept album by the greatest storyteller in Metal history, Peace Of Mind is the finale of the tragic story that takes shape in this album. The instrumental piece starts of with riveting guitar parts, which are soon accompanied by the band’s rhythm section towards the 0:54 mark - and the amazing guitar solo (contributed by guitar maestro Andy LaRocque) that starts soon after makes Peace Of Mind one of the best tracks in the album.
Moondance by Nightwish
Taken from Oceanborn
Moondance is a stunning piece from Finnish Power Metal greats Nightwish - and with all of the band’s songs, it can be said that songwriter/keyboardist Tuomas Holopainen had everything to do with the inception of this folk-tune-meets-metal masterpiece. Moondance starts off as a melodic piano piece, and after the 0:18 mark it goes into full gear with other instruments joining in to create an amazing array of sounds - but it doesn’t stop there. The track goes through a number of progressions until it finally stops right after the 3:30 mark - leaving the listener in a euphoric state.
Metallica’s Finest
January 30, 2007 by Jo Minor · Leave a Comment
Metallica’s over twenty years in the music business can be compared to a successful space program - where the remnants of a rocket are seen by thousands on earth in the form of space debris burning bright upon it’s re-entry into earth’s atmosphere, long after it has carried out it’s primary mission of carrying a priceless payload into the sky.
Just when they lost their popularity with the Metal die-hards - thanks to their misadventures in music and forgettable commercially successful endeavors - they have been warmly accepted into the mainstream by the likes of MTV, who, for some strange reason, seems to be showering the band with so much coverage after almost twenty years since their last respectable album, …And Justice For All.
And it didn’t help matters that they were acknowledged as MTV Icons, shortly after the release of the terrible St. Anger.
To help us forget about these frightening situations, let’s take a look the real Metallica - best described by their first four albums: Kill ‘Em All, Ride The Lightning, Master Of Puppets and …And Justice For All.
Kill ‘Em All
Ten hell-raising Thrash Metal tracks make up this fun, enjoyable album - full to the brim with youthful and rebellious rock ‘n roll feel to it all. Many of the band’s most memorable songs are present in Kill ‘Em All - including the brilliant The Four Horsemen, Cliff Burton’s mystifying bass solo Anesthesia, and the anthem-like Seek And Destroy.
The killer guitar combination of rhythm guitarist James Hetfield and then lead guitarist Dave Mustaine (currently in the band he single-handedly created to rival Metallica, Megadeth), combined with the thunderous bass playing of Cliff Burton, created an album that was as groundbreaking as it was nostalgic.
Kill ‘Em All was a taste of better things to come.
Ride The Lightning
Brilliant, unadulterated and frighteningly good - Ride The Lightning came soon after the release of Kill ‘Em All. It proved to be a much better and far more mature release than their debut, and with the quality and creativity of the songs on display in Ride The Lightning it was proven that the band was destined for even greater success.
Believed by many Metallica fans to be the band’s finest album to ever see the light of day, Ride The Lightning was a diverse and truly memorable album - having within its boundaries the eardrum-shattering Fight Fire With Fire, the tear-jerking ballad Fade To Black, the Biblically-themed epic Creeping Death and the monumental instrumental track The Call Of Ktulu.
This is a superb display of an energetic band at its creative peak.
Master Of Puppets
Hailed by many to be the band’s best album, Master Of Puppets is a far more focused and rigid effort than Ride The Lightning. The album possessed a healthy dose of progressive elements and Hetfield’s trademark guitar riffs, and inevitably had lengthier songs - there are three songs that run for more than eight minutes long, and none of the songs in Master Of Puppets are shorter than five minutes long.
Almost all of the songs in this album are live favorites, except for maybe Orion (Instrumental) - but then again, the band has been lately playing the Master Of Puppets album in it’s entirety at some live shows - which shows that even the band members themselves have accepted this masterpiece to be their favorite one as well.
Master Of Puppets displays a thoughtful and progressive Metallica.
…And Justice For All
As progressive as Master Of Puppets, …And Justice For All was just as complex as well. The album reeked of death and war, and dealt with other tragic issues as well. Overall, this was a gloomy album, perhaps so because it was the first one to be released after the demise of the well-loved Cliff Burton.
The album suffered from poor production, which undoubtedly hampered the effect of the songs present in this album - including the nearly ten-minute long title track.
The last respectable album from Metallica, its release marked the inevitable end of the glorious age for the band.
Metal Renaissance
January 30, 2007 by Jo Minor · Leave a Comment
We are witnesses to a renaissance in Metal.
The year 2006 was the turning point for the whole of the Metal genre, and this year we will be truly grateful for some of the best album releases in the works now. In 2006, we saw rather significant comebacks from the older (and bigger) names in Metal - Slayer’s Christ Illusion (and the world tour that followed) was a tremendous return-to-the-roots affair, Iron Maiden’s A Matter of Life and Death was, beyond doubt, one of their best efforts in recent years, Amon Amarth’s brand of Viking Metal got even better with the release of With Oden On Our Side, and Deicide’s The Stench of Redemption was a Death Metal masterpiece, by all means.
We were also treated to the salivating news of legendary bands like Judas Priest, Iced Earth, Megadeth and Metallica working on new material to be released this year. Judas Priest - arguably the biggest Metal outfit out of Britain save for Iron Maiden and Black Sabbath - is still working on their concept album, based on the trials and tribulations of the mystic Nostradamus, who has mysteriously predicted some of the biggest events in history hundreds of years before they actually happened. This should be something to look forward to!
America’s greatest hope of heavy metal Iced Earth currently in the studio, tidying up their double album affair based on the story present in the Something Wicked This Way Comes album - and knowing them, there will be no lack of quality in those upcoming albums!
Veterans of the thrash metal scene Metallica and Megadeth are both working on their albums, and it will be no surprise as to which band will win the hearts of the die-hard metal fans with release of their albums. While Metallica has all but submerged beneath the waves of their commercial success and over-inflated egos, Megadeth is still - and just barely, at that - staying afloat, holding their heads just above the rising waters. Personally, I think that both releases will be forgettable.
Fledglings of American Metal Lamb of God came out with a remarkable effort last year as well. Their album Sacrament was critically acclaimed by fans and the snobbish media alike, and was a sign of considerable improvement. Sacrament takes them a notch higher than other wannabes - like Shadows Fall - who claim to be the next best thrash metal band. While we welcome their overall improvement, we hope the limitless amounts of commercial success they have been getting lately won’t affect their musical ventures.
We were also treated to some pleasant reunions - black metal warriors Emperor and Immortal announced their reunion, and subsequently, live show dates, to the thunderous cheers of black metal aficionados worldwide. This only bodes well to the Metal scene, as these bands have proven, time after time, how amazing they are - and indirectly hold the flames of black metal burning bright. We hope to see many quality releases from them as well!
Even better, we recently heard that one of Metal’s greatest singers Ronny James Dio will once again team up with the members of Black Sabbath (sans Ozzy Osbourne, of course) under the name of Heaven and Hell - named after the breakthrough black Sabbath album with Dio on vocals - and have already scheduled their tour dates. This unprecedented reunion is just what we need to see some traditional Metal of the highest quality on stages around the world. Truly remarkable!
Another great Metal vocalist, Phil Anselmo of Pantera fame, will be touring with his band Down. Due to the tragic slaying of ex-Pantera guitarist Dimebag Darrell, Phil was on a hiatus and his return to live performing will only enhance the state of the Metal scene today.
Let’s hope for even better breakthroughs this year!
