Asenblut-Aufbruch (2009)

Another album utterly ruined by crappy production and lackluster playing. This is a blackened thrash album from Germany with some annoy deathcore overtones. The songs are decent enough, and there are some inspired riffs and leads, but the dry crunch of the whole annoys. I just want this to go away.

Rating: 4 out of 10

Arsis-A Celebration of Guilt (2004)

I love Arsis. They are the best technical and melodic death metal band there is. They have three full length albums and an ep, and all are superior. "Celebration of Guilt", is a good place to start with this band. The riffs and leads(oh those sweet, virtuotic leads) are classically constructed and melodic, but delivered with fierce aggression, capped off by James Malone's shredding rasp. Every Arsis album is stellar and of the same quality, meaning, this band is just fucking righteous. Can't get tired of this.

Rating: 9.5 out of 10

Armour-Self Titled (2009)

Armour are a heavy metal historical reenactment band, crafting accurate and original recreations of early 80's heavy metal. These dudes inhabit a special place somewhere between the later day NWBHM of Tokyo Blade and Jaguar, and the party hardy glam metal of Ratt and Motley Crue. All of this with a much too shrill yelper who sounds like a refugee from 1987 era Metal Blade, pulling down what would be a perfectly fine metal album. The thrash tinged 'Satan's Knights' stands up to anything in the early 80's pantheon of classics, though.

Rating: 6 out of 10

Armanenschaft-Psychedelic Winter (2008)

How do you review something this purposefully shitty? Being familiar with the black metal bedroom band aesthetic, especially the Finnish variety, I know where this slop is coming from. It's extremely raw lo-fi black metal, played with punk-like sloppiness, and a noise band abandonment of form. It's enjoyable crappy, it succeeds in setting a strange and terrible ambiance, but can they be serious? Was this really recorded on a boombox? Can you listen to this for more than 5 minutes at a time? Ahhh, impressionable youth. Some great black metal bands have had their origins sounding not unlike these cretins. These guys aren't there yet, not by a longshot.

Rating: 5 out of 10

Armageddon-Self Titled (1974)

Armageddon are one of the quintessential proto metal bands of the 70's. Not quite as heavy as Sabbath, but more noodley than Led Zeppelin, Armageddon inhabit their own obscure little place in the 70's metal pantheon with their Uriah Heep like intensity and hippy jams. Expect many long prog-like songs, acoustic interludes, and hippy jamming. Not exactly a screaming ironfest, it's a good album to mellow out to after your all day Portal marathons.

Rating: 7 out of 10

Arghoslent-Hornets of the Pogrom (2008)

Here's an album for all my polically correct friends. Wanna listen to racist death metal? I mean Klu Klux Klan inbred redneck racist kind of stuff? That's rather unfair. I can't dispute the quality of the music. This is well crafted epic death metal, in a low-rent Amon-Amarth kind of way. The riffs are heavy, melodic, and memorable. The musicianship is tight and professional, if strangely passionless. The lyrics are unapologetically racist; well written and intellectually pretentious, but woefully misguided. Yet, the beauty of death metal is that you really don't have to understand the lyrics to enjoy the music. Death metal is a personalization of evil attitudes, so if you'll find plenty fuck-headed evil in that regard. Too bad most of the emotion went into the lyrical content. More enthusiasm would have made this worth more than a few listens.

Rating: 6.5 out of 10

Arckanum-Sviga Læ (2010)

What is the meaning of a riff? What messages are conveyed? What ideals are inspire these formulations of notes and rhythmic intensity. Unless you read old Swedish, you won't get a sence of that from the lyrics. The idea that most strikes me when listening to this later day Arckanum concoction is that your destructor is a merciless but mournful monster. A learned and sensitive villain, he sees that your doom is necessary but mourns the loss of evil potential. This is a slightly more subdued affair than earlier releases, great care taken to craft intricate riffs that create textured atmospheres. Melodies almost surprise you, and you wonder whatever happened to the molecule shredding of old. Good album with thoughtful music, but I miss the din and wanton destruction.

Rating: 7.5 out of 10

Arckanum-Kostogher (1997)

If you can cut through the sheer wall of white noise, you will find one of Sweden's most consistent black metal one man show's at the peak of his art. A blizzard of an album, individual songs are not as important as creating an occult atmosphere. Folk elements are applied here and there, but the most astonishing thing about this album is the use of clean, almost monk-like vocals, endowing the music with a pagan sensibility. Other than the folk, you will not find alot if intricacy in the music, as the riffs are purely Emperor and Darkthrone derived. This is a very raw, yet forward thinking album, revolutionary for its time. Best song is Skoghens Minnen Vækks.

Rating: 8.5 out of 10

Archgoat-Whore of Bethlehem (2011)

Finland, as if suffering from an inferiority complex due to the overarching influence of their Scandinavia neighbors, is home to some of the most fucked-up sounding, primitive, psychotic and overtly Satanic raw black metal on the planet. One of the lead practitioners of this approach is Archgoat.

The chords are few, the blast beats are lightening, the production murkey, and vocals gutteral. For any of my non-metal fan readers who wonder exactly what the fuck the difference between black and death metal is...well....all I'll say is that band is probably not for you. 'Whore of Babylon' is this band's best work; every song about Satan, every note chocked with evil intention. The production has a clarity that their other albums lack, whatever that's worth.

You have to have a weirdly refined taste in metal to appreciate this sort of devolved evil and demonic chortling. Yes, my master! YES!!!!!

Rating: 8 out of 10

Anthrax-Spreading The Disease (1985)

A thrash classic. A pure expression of speed metal. Something like this is really beyond review. All you can do is stand in awe of the towering riffs and the ragged glory of a hungry band realizing it's full power. The production is a bit thin, but that is the only criticism I have of this album. Joey's Belladonna's voice is a joy to listen to, his melodic sensibilities much better suited to these tunes then on any other Anthrax album. 'Lone Justice' is a song for the ages, a sing-a-long comic book epic. I have spent many, many good hours with this album through the years. Never gets old.

Rating: 9.5 out of 10

Anthrax-Armed And Dangerous (1985)

Ahh, yes. Anthrax unleashes Joey Belladonna upon an unsuspecting world. It's such a shame that Anthrax spent all of the 90's releasing mediocre nu-metal and trashing this good man's name when his accessible voice was part of the magic that made 80's Anthrax so special. Never an evil thrash band, instead crafting power metal, and later hardcore, tinged tunes for the mosh pit, this EP is a good introduction, though it contains one duff original(Raise Hell) and a bad Sex Pistols cover(God Save The Queen). Not quite there yet, but a good listen for fanatics.

Rating: 6 out of 10

Animals as Leaders-Animals as Leaders (2009)

The shred genre is still alive and well in Animals As Leaders debut, but instead of neo-classical masturbation, jazz-fusion is the lubricant of choice on this album. This is top of the line instrumental prog metal. Complex; at times soothing; at times sterile; Animals As Leaders display a vast knowledge of music theory, complimenting their soloing with ferocious riffs and dazzling time changes. The riffs and rhythms may be more informed by nu-metal more than death or thrash, but they are always complex enough to be interesting. And the compositions are never simply excuses to jam. A great, if almost too pristine, listening experience.

8 out of 10

Anal Blasphemy-Bestial Black Metal Filth (2009)

At some point in a metal head's life, you realize that nobody really likes anything you listen to, that no one will understand why you listen to such strange/shitty/fantastic music, and that your neighbors think you are some kind of meth head/satanist. But you don't care. You don't care that the guitars are barely tuned, that the drummer started playing last week, and that the lyrics in every last song are about Satan. In fact, this is exactly why you love it. The band is absolutely uncompromising in their non-musical approach. Is it black metal? Death metal? All you know is that the band is from Finland, and that they are probably shit felching, grave gobbling Euro-zombies. Do you care? No. You just let the musical filth envelope you like a rain made of pure hate, and that those bad feeling go away for a while. Fuck the neighbors. Turn that shit up. It'll be over before the cops show up.

Rating: 8 out of 10

Anaal Nathrakh-Eschaton (2006)

This is more like it. While Anaal Nathrakh's debut was a noise without depth, jump forward a few years and you have a vast improvement. While the basic sound is an unrelenting hellbastard, there is much better songwriting, more dynamics, clean vocals. But despite these improvements, this album is still kind of hard to warm up to. Why? Maybe because it still sounds so processed? Maybe they're trying too hard? Maybe a little to gimmicky? Because they might turn into Marilyn Manson at any second? I just don't know. Blinding blitzkrieg battalion bullshitter of an album.

Rating: 7 out of 10

Anaal Nathrakh-The Codex Necro (2001)

I can imagine the reaction 10 years ago. This band is in passion of one of the most brutal, unrelenting sounds in all of black metal. It sounds that way even now. But unfortunately, it's really too much of a good thing. Everything is ridiculously distorted, to the point where the production simply cannot keep up. The bass is a fuzzed out mess, even the drum programming is drenched in it. Heavy sound effects cannot make up for lack of imagination, as this album is repetitive and a little hard to sit through. The title song is the best on the album, where this the songwriting actually equals the band's evil sonic ambitions. And that makes it just a one song album. Too bad.

Rating: 5 out of 10

Amon Amarth-Suture Riding (2011)

Amon Amarth are the kind of band, like Motorhead or AC/DC, that can take a formula and run with it for decades. The formula that these beardos excel in is melodic Viking death metal. No surprises, just pummeling riffs, heroic melodies, and death growls. Never seems to get old. Always dependable. They will never stop writing these gruff odes to Viking gods and heros. We need bands like this. They are of the earth, like coal, like iron. The songs are forged by the Hammer of Thor.

Rating: 7 out of 10

Amebix-Arise (1985)

Now I understand what Darkthrone has been doing for the past few years. That's who I thought I was listening to when I first put this on. Then I had to check the iTunes again to see if this wasn't some long, lost Venom album. Too heavy for the punks, but too sloppy for the headbangers, this is is one of the first crust punk albums. It's a classic. It sounds a whole of a lot like early Venom, same loose and ragged feel, inspired by politics and history instead of faux-Satanism. Yet there is an expansiveness that is weird, hinting at many metallic things to come, like grindcore and Viking metal. The excellent songwriting holds everything together, since the band seem ready to fall apart into chaos at any time. And keyboards on something this homely? In the 80's? What pariahs they must have been. Misunderstood geniuses always are.

Rating: 9 out of 10

Altar of Plagues-White Tombs (2009)

I hate whispers, especially when used in a musical context. It's my least favorite sound. Breathy, wretched lazy sound effects, a cheap way to convey a subdued and creepy mood. I was really getting into this dark gem, when the third song popped up and ruined the album for me. Perhaps I'm closed minded, but I see metal as a refuge from softness. I can only take a few varieties of soft, but something about the forced intimacy make me recoil and reach for the skip button. Otherwise, this is dark, bleak, and progressive black metal affair. This band is basically an Irish version of Wolves In The Throne Room; 4 very long songs, evoking many dark moods, many shades of evil. It's a journey through parts unknown of a personal hell I simply did not want to descend all the way into. You may want to go there if so inclined. Meh.

Rating: 6 out of 10

Allegaeon-Fragments of Form and Function (2010)

Are technical and melodic death metal bands really a dime a dozen these days? If so, and if most of them are nearly as good as these snarling kids, then it's a remarkable value, indeed. Their debut is chock full of great riffs, virtuotic leads, and pummeling rhythms, startling twists and turns. Certain passages recall death-core at times, which is nearly impossible for this new generation of metal head upstarts to not reference, but the true heart of this band resides in a speedy tech death. The lyrical subject matter, though is a departure for death. They are serious minded contemplations of science, theology, and power.

This album is exhilarating, takes a few listens to fully appreciate, and is a neck crunching noggin' knocker.

Rating: 8.5 out of 10

An Albatross-Eat Lightening, Shit Thunder (2001)

An Albatross's debut is the most metal of their noise rock repertoire. Imagine Painkiller and Mr. Bungle jamming with members of Today Is The Day and Integrity, but that still does quite describe how jarring this very short album is. This din is firmly rooted in grindcore, yet jazzy in it's approach, mixing circus keys and 8 bit electronics. Head rush of a genre fuck album. Will shred what's left of your attention span.

Rating: 8.5 out of 10

Agent Steel-Alienigma (2007)

These reformed thrash legends have been plugging the late 90's, an updated beast from their 80's heyday, putting out heavier material often surpassing it, while staying true to the original sound, which is poer metal tinged thrash. 2007's Alienigma is decent offering, though not full of memorable songs, but has many memorable moments, and some good headbanging. The lyrics are pre-occupied with political and supernatural paranoia. The band is in fine technical form, tight and powerful, Maiden-isms abounds, blessed by a clear production where even the bass is audible. The worse thing about this album are that the songs tend to be unfocused and dull, relying on formulas better used on previous albums, but then deviating without any clear direction or clear inspiration. But it's good for pure neck wrenching value.

Rating: 7 out of 10

Acid Witch-Witchtanic Hellucinations (2008)

This is more like it. Acid Witch's debut is, indeed, a good fucking doom album. The riffs and guitar tone are massive, the vocals gargly and creepy, the lyrics campy without being too self conscious, and it's all punctuated by some sweet psychedelic touches here and there. This band never takes itself too seriously, and the playing is loose, but not sloppy. Heavy stuff, man. Lot's of fun.

Rating: 8 out of 10

Acid Witch-Stoned (2011)

Michigan's Acid Witch have unleashed a self-conscious hipster metal album upon the dozens. Their death/doom amalgamation is sufficient, provide heft and heavy grooves, but most of the thought and passion seem to have gone to the lyric department; this is some sort of horror concept album. They are somewhat amusing, but ultimately comes across too much of an in-joke. The vocals are a razor gargled wheeze, and when not buried in the mix, are kind of annoying. The comes the whisper song, complete with The Omen and The Exorcist keyboard stylings. Lame. Many of the songs have intro samples culled from horror movies, but do not help the unoriginal songs. The best thing this album has to offer are the heavy doom riffs and competent musicianship, featuring some good old school guitar solos, but ultimately, it just makes you want to pull out your old Electric Wizard and Cathedral albums.

Rating: 5 out of 10

Ace Frehley-Anomoly (2009)

20 years later, it's 2009, and ol' Ace is still doing his thing, still not giving a fuck what anyone else thinks of his outdated hard rock, just as long as the loyal fans are happy. So here, he is, a wealthy man in his 50's, having nothing left to prove, releasing his best solo album since the 70's. It's a good hard rock album. The songs are solid, kind of loopy without being too out there, and almost confessional. This is an older Space Ace, and though he still writes songs about girls like he was a teenager(kind of creepy, always is), there are reflective for Ace type moments. There is a poignancy absent from earlier albums, like on "A Little Below The Angels". It's cliche, it's hokey, but if you've grown up with this stuff, it's irresistible.

Rating: 8 out of 10

Ace Frehley-Trouble Walkin' (1989)

Hard rockin' Ace Frehley didn't quite fit in with the glam queens of the 80's. They packaged him as Motley Crue's goofy older brother, or Poison's weird uncle, fresh out of AA, and ready to rock hard clean and sober. You'd see him on MTV once in a while, or he'd show up on Morton Downey Jr, big goofy grin on his face, like he's ready to ask Gene or Paul when the reunion starts. At least you couldn't accuse him of lack of enthusiasm. Trouble Walkin' is a likable album, cliche's and all. Gone is generic singer Todd Howarth, with Ace's ragged approach to singing being a definite plus. Frehley's sound is more rooted in classic rock than sleaze metal, more Sweet and T-Rex than Motley Crue. The tunes are genuine in their love for the 70's, at least in songwriting, since the production is pure 80's. All in all, another unpretentious collection of likable rock 'n' roll from the Space Ace!

Rating: 7 out of 10

Ace Frehley-Frehley's Comet (1987)

Kiss' likeable goof Ace Frehley's second solo album was kind of embarrassing to like back in the day. The lyrics are dumb, sub-retard level ponderings and celebrations of pussy. Oooo baby baby stuff all the way. But it's just likeable enough to get over. It's unpretentious fun, a decent old school glam infused rock 'n' roll album. Even the really bad songs, have a certain charm. If you get past the cheezy lyrics, this album is a good diversion, nothing more. Ace sings half the songs, and generic classic rock crooner and guitar player Todd Howarth share vocal duties.

Rating: 6 out of 10

Accept-Breaker (1981)

Accept emerge as a force to be reckoned with in the metal pantheon with 'Breaker', the last album to feature bass player Peter Baltes AOR croon on any commercially oriented tracks, Udo is allowed to carry the album, his ferocious growl finally maturing, adding power and majesty to otherwise gentle power ballad "Can't Stand The Night". The angry rocker "Son of a Bitch" is the album's centerpiece, absolutely rude and satanic for it's day, now comes across as a bit of novelty song. It still packs a cathartic punch, though. The rest of the album is standard but enthusiastic early 80's heavy metal. Good album, not a classic.


Rating 7 out of 10

Accept-Russian Roulette (1986)

Accept's most underrated album is probably best keep that way. There is a decent collection of songs on this album, but it's best remembered for the Ball To The Wall rewrite, "Heaven Is Hell." And there is nothing wrong with it, Udo's psychotic delivery puts it over, though the rest of the band sounds a bit sluggish. And the drum sound is atrocious, a card board sounding thud, such an annoying bass kick. Teutonic anthem 'Aiming High' is the highlight of the album, all the album production flaws mysteriously corrected; it is rousing and fist pumping. The title track is another highlight, but goddamn that drum sound. The rest of the album is filler, a trap many high profile metal bands from the 80's fell into, lazily writing two or three good songs per album, sending one off to the radio stations, and the others popping up live from time to time. Just anther Accept album, completely deserving of it's 'underrated' status.

Rating 6 out of 10

Accept-Restless and Wild (1982)

And at last freed from record company shackles, the fascism of 'hits', Accept are finally able to define metal in it's purest form, with a vengeance. Rawer less polished than later albums, this is perhaps their tightest and most bruising album in their repertoire. "Faster Than A Shark", the first speed metal song, the best example of the new found ferocity only hinted at on previous albums. The title track is a supreme anthem, riffs, chorus, and Udo in perfect fist pumping synchronization, drums pounding away with necessary unsubtlety. Ballads? Ballads come here to die. This was first rate brutality circa 1982, so severe, so righteous, so German. Happy German style choruses are insanely happy. Even the cowbell moments are brutal. Ein Schwien!!!

Rating: 9 out of 10

Accept-Balls To The Wall (1983)

And here you have it.....the genre standard bearer. Heavy riffs, sparkling 80's production values,
the homoerotic lyrics, Udo's bestial gargle, all culminating in the eternal anthem "Balls To The Wall". Accept would rewrite this song from time to time throughout there career. This album stands the test of time against any of the other classics of the 80's. That said, it's still kind of a time capsule, a reflection of what shocked the elders in the day, but harmless now. In the end, only the riffs endure, those classic riffs.

Rating: 8 out of 10

Accept-I'm A Rebel (1980)

"Listen, you German swines, you play these gay ass songs so we can get a hit single. Or else!"

And thus, Udo and the boys are forced to fit into mold forced upon them by the evil company. But this is not a bad album, rather quaint by today's standards, especially the anthemic, happy chorused title track. It just comes across as fast and loose rock 'n' roll with extra heft in the riff department. They are one album away from becoming the monsters who would define Teutonic metal. But listen to that funky bass line! I guess they had to contend with the bass player back in the day, since he croons two of the songs in a commercially pleasing fashion. Udo Dirkschneider scared the shit out of everyone in 1980. Ahhhhhhkkkkkkkkkkkk!!!!!!!!!

Rating: 6 out of 10

Absu-Absu (2009)

My favorite album of 2009 is fucking perfect. A mash-up of everything true and righteous about thrash and black metal. Perfect riffs to suit every song, terrifying drumming, impeccable dynamics and arrangements. I guess older Absu is crazier and more obscure, more 'cvlt', but this just fucking rules. I love this!!!!!!!!!! They killed a 1000 lemurs so Yog Shaggoth could bless this album with his cock tentecles!!!!! Arrrrjhhhh!!!!!!!!!!!!!!

Rating: 10 out of 10

Abramelin-Deadspeak (2000)

This obscurity form Australia is just an example of well executed old school death, kind of in the Immolation vein. Technical and tight without showing off, capable of blistering speeds without staying in hyper drive at all time, crushingly groovy in the mid tempo range. Emphasis on songs and riffery. Brutal. Thrilling. Definitely nothing new being shown here, but who the fuck cares. This is just good death metal, just above above average.

Rating: 7 out of 10

Aborym-Generator (2006)

Another creepy yet well produced industrial hell from a band who are falling into a formula. A few well placed electronics here and here, a full industrial excursion there, and you have an Aborym album. Not nearly as experimental or adventurous as previous albums, this is more comfortably metal and is almost symphonic at times. Worth your time but not great.

Rating: 7 out of 10

Aborym-With No Human Intervention (2003)

This is Aborym's best album, as inhuman as the title suggests. It is a perfectly weird, creepy melding of black metal, electronics, and a serial killer vibe. It is annoying at times, too, with all the clicky beats and such, but the weird vibe makes it worth putting up with. And the black metal is indeed from Satan, so your metal heart knows there is respite. A cyborg of an album, no soul and loving it. Attila Csihar of Mayhem, the vocalist for this outing, is at his throat singing best.

Rating: 8 out of 10

Aborym-Psychogrotesque (2010)

This is perhaps the album Morbid Angel should have made this year? This is a better melding of industrial/electronica to extreme metal than that latest experiment. But if you've been following this band for a while, then you know there is nothing really new here, other than a more seamless melding of industrial grime. There are some good riffs here, and the production is nice and shiny, but most of the songs are unmemorable and there are too many of them. And do they really need to be all trendy with the sax? Fortunately, that only turns up for one song. Now go find it.

Rating: 6 out of 10

Abigor-Time is the Sulphur in the Veins of the Saint... (2010)

This album is an avant-gard metal masterpiece. One of my favorite albums so of 2010, it is 2 songs, each close to 20 minutes long, of angular weirdness, an abstract journey into mysticism, philosophy, and theology that manages to quote Albert Einstien, and even weirder, The Bible at length. All these musing taking form in a strangled gargle that deviates into chanting and spoken word at times. Employing electronics and all manner of excellent musicianship, this is a wild blackened prog metal ride. An amazing achievement in music. Nearly perfect.

Rating: 9.9 out of 10

Abigor-Orkblut - The Retaliation (1995)

I intend to post alot more on this blog, but the reviews are going to be shorter and more to the point. I will be obsessively listening to every album on my iTunes, posting my thoughts and rating each one. I'm tired of trying to write long reviews to post on Encyclopedia Metallum, since I never read the overlong bulk of reviews that site has to offer and skip to the shorter ones, anyway. Only really talented writers can successfully pull off an ineresting long review, and I am not one of them, and most of what's posted on there is tedious crap. I've had quite a few accepted, but their acceptance criteria is sketchy and arbitrary. So far, I've used this blog as a place to workshop my reviews for that site, but fuck it, they will stand alone from now on. Enough whining.

And now with the first album, The Black Metal semi-classic from 1995, 'Orkblut - The Retaliation', by Abigor. It is scalding, but short, collection of black metal songs sandwiched between shorter instrumentals. The production is rather thin, the acoustic and keyboard sections sounding much clearer and three dimensional . The song "Battlefield Orphans" is fucking crazy, a Viking metal blast that hints at the avante gard leanings of later albums. Otherwise you will find cold, blasting but standard issue black metal.

Rating: 7 out of 10

The Black Dahlia Murder: Ritual (2011)

Melodic death metal. Flurry of tuneful riffs, guitar leads, frantic and precise drumming, non-existent bass, and vocals that alternate between shrieks and growls. Music kind of fades into the background, and the distinction between songs is not clear. That's the basic description.

This band has been labeled death-core in the past, but I'm not hearing many stereotypical breakdowns. "Blood In The Ink" contains a slower part that employs annoying whispers. Leads are excellent. The addition of former Arsis is a real boon to the band. Unfortunately, most of these tunes descend into a generic fast blur, making it decent enough back ground music, but nothing to get that excited about. The songs are best when things slow down to a heavy crawl and more dynamics are employed, like on "Stirring Seas Of Salted Blood", which is the best song on the album.

The lyrics, if you bother to decifer the screams, tend to be ham handed, but are of an occultist bent, and are interesting. Take this shocking nugget:

I fill the mouth with semen while the head still blinks and shakes,
Ten seconds is the window,
Another child has met his fate.
I hold the grisly treasure skyward,
Have a laugh into its face,
Bless all Earth’s most precious children with my blackened love insane.

Precious. There is more standard satanic fare, like on "Carbonized in Cruciform" reaching for a gothic Victorian tone, but not quite getting there:

Unearthly ritual,
Bloodlet thine human sow.
In flames his face appears,
Black intentions crystal clear.
Darkly the mass has encircled in silence,
The hooded look on the skies they are threatening terrible storms,
Protesting this crucifixion.




But all and all, dispite the excellent axe work and ferocious attack, too many generic songs pull this album down.

Rating: 7 out of 10

Ihsahn:After (2010)

For me, it's easier to sum up what's wrong with an album than what perfect with one. Great albums exist as if a part of nature, like elemental monuments waiting to be realized. Poor albums are music realized with blinders on, and reveling the faults like filling a hole in the ground with your critique.

After, Ihsahn's third solo album, is one of those earth elementals, a fucking great album; great in how it makes the saxophone seem like a completely natural instrument for a metal album. That's because the focus of this album is on the songwriting, and not random experimentation. Vocals range from clean and melodic(Ihsahn has a very expressive pure singing voice) to terrifying screeching. The riffs, much chunkier this time, compared to the tremulous black metal technique of previous albums, are quality, somewhat simplified(that is, catchier), but very textured. What's breathtaking is when the saxophone is used where you were expecting a guitar riff, or lead melody line. I've heard this album described as jazz metal/fusion, but I don't think that's true. It's all streamlined prog metal, and the sparingly used sax simply adds another texture to the music. Keyboards are also used, perhaps even more sparingly, and are tasteful. The somewhat slick production values are a plus, as no instrument is ever lost in the mix, and is a stark contrast to sheets of white noise employed by Ihsahn's former band, Emperor. The song that sums up the albums approach best is the second song, "A Grave Inversed". It starts out as familiar, frantic black metal fare, but the unexpected sax line thirty seconds in knocks you on your ass, and it's wild, uncharted territory for there on out.

The mature lyrics are not explicit in expressing turmoil, evoking more a quiet horror, letting the music express the more violent emotions. Take this line from one of the quieter moments on the album, from the 10 minute epic "Undercurrent":

Quiet surface
Blurred reflection
Heaven's mirror
Calm awaiting

Like glass until it breaks
Like glass until it breaks

And take this line from the amazing song "Frozen lake On Mars", opening riff expressing the wonder of exploration, and reads like more traditional metal fare, but coming to a more existential and melancholic conclusion:

blue eyes like frozen lakes on mars, made fury
that there once was life inside
blue eyes like frozen lakes on mars,
the cold remains the fires died

After is my favorite album from 2010. Highly recommended.

Rating: 9.8 out of 10

Morbid Angel: Illud Divinum Insanus (2011)

Oh, how the fan boys on Encyclopedia Metallum wailed. I think's it's impressive that an album with 19 reviews can average 30%. That makes it worse than St. Anger. Worse than Risk.

I liked this album. It's not nearly as bad as they say, though far from their best. It's an industrial tinged album in the vein of Ministry, with some Laiback influences thrown in here and there. This album marks the return of David Vincent on vocals and bass. The album is cut in half between the more traditional death metal songs and the industrial tracks. The death is standard issue Morbid Angel, helped along by the crisp production, and the drum program is barely noticeable, and actually helps with the precision. 'Heretic', their last album, was buried in muddy sound, and the clear distinction of instruments is welcome. The best of the death metal songs is 'Nevermore', with it's ferocious mid-pace precision, dissonant riffery, and psychotic ambiance. It's classic Morbid Angel. The other death metal songs chug alongs at varying speeds, but tend to be unmemorable, except come solo time, as Trey Azagthoth is in fine form.

And then there are the new forays into industrial metal, most certainly influenced by David Vincent's tenure with The Genitorturers. They all sound unmistakably like Morbid Angel, except for the awful Radicult, the only real embarrassment on the album. It is a Marilyn Manson throw away, complete with cliche whispers over palm muted riffs, and even if the song contains a few sharp riffs, it's just sad that they are wasted on such a stinker of a song.

But on the otherhand, there is the awesome, monster motherfucker that is 'Destructos Vs. the Earth / Attack'. It is a slow crawling and relentless chugathon, a fun(!) B-Movie romp that explores new territory for the band. The clearly enunciated lyrics and the music meld perfectly in a crushing, earth shattering groove. It is so good that it nearly overshadows all the other songs on the album. The other industrial songs aquite themselves just fine, not The Berzerker heavy or fast by any means, but this is definitely not Rob Zombie territory, either. Above all, the quality of the riffs and guitar solos shine through.

Anyway, this is not a bad experiment by any means. I can understand the change in direction, since they have been treading water ever since 'Formulas Fatal To The Flesh'. So you should calm down, lighten up, and not let your conservative attitudes towards death metal hamper your enjoyment of the good tunes this album has to offer.

Rating: 8 out of 10