Review: Bleeding Through – The Great Fire
To many metalheads, they may just be 'yet another metalcore band', but let's give credit where credit is due. Bleeding Through have always stood out for me, personally, because they're not 'just another metalcore band'. Yes, they play hardcore, yes they play metal, but Bleeding Through also incorporate sounds often heard more in other sub-genres to help create a more unique vision in the sea of metalcore. Beyond the two previous genres, Bleeding Through also make use of elements found more commonly in Swedish melodic death metal, symphonic black metal, industrial and thrash metal, to name a few.
So if Bleeding Through are that good and that unique, why aren't they more widely acclaimed? And why do most metalheads still disregard them as another bland metalcore act? Well it probably comes down to how hit and miss Bleeding Through's catalog is. The Devin Townsend produced 2008 album Declaration may have been sublime, but other albums have been more lackluster when digested as a whole.
With that said, Bleeding Through released their new album The Great Fire a couple of months back, so make the jump to find out how the band's latest effort stacks up.
Review: Echoes – With an Eye on the Shoreline & a Hand to the Sea
Those feeling depressed from the two long years it has been since Envy's brilliant last album, wash those tears away, because there's a new hardcore band on the block, and one well worth checking out.
Formed in 2010, Echoes are a post-metal band from Winchester, UK, playing a diverse blend of ambient hardcore and metal and drawing influences from artists such as This Will Destroy You, Rinoa, Devil Sold His Soul and Hans Zimmer (you can check out the band's awesome cover of 'Time' here by the way).
A couple of weeks ago Echoes released their debut EP With an Eye on the Shoreline & a Hand to the Sea (thanks for making me spend 3 weeks typing your EP title guys!) and I can't resist giving it a Dose of Metal review.
Echoes - With an Eye on the Shoreline & a Hand to the Sea
1. 'Leaving None Behind' - 5:25
2. 'Rivers' - 5:10
3. 'Safe it Seems' - 5:06
With an Eye... opens with the epic and ambitious 'Leaving None Behind'. Desperate screams from vocalist Joshua resonate over ambient melodies and explosive harmonies, succeeding in coercing emotion to the listener without reducing the music to generic Clichés and cheesy lyrics. The murky bass moves the verses forward and helps the melody flow whilst atmospheric clean guitar lines glisten upon the surface.
Next track 'Rivers' demonstrates Echoes' desire to not repeat themselves. The song is a lot gloomier in its approach, with an initial grunge sound in the verses. The bridge and chorus are more upbeat however, once again being driven by the powerful, emotional vocals and instrumentation.
The EP's closing track 'Safe it Seems' is a climatic and fitting conclusion to the demo. Providing a mix of high uplifting shrieks of guitars with pummeling drums. When the track break downs into a beautiful interlude, the final crescendo is used to create maximum impact, providing a haunting finale to what has been a fantastic start from this young band.
Overall, Echoes have made a impressive start to their career with this EP/sampler, and with it being offered as a free download via their website, there really isn't any excuse to pass up on this excellent release. Now all I can say is, bring on the full album!
Links:
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Review: Archetype EP (2011)
Who's the chick? One of my ten wives, of course.
It's been a while since I've posted at Dose of Metal. It had to happen. At some point, I had to wake up, snap out of it and realize that I'm not a rock star (or should that be metal star?), earning millions and married to my ten wives (all of which are Playboy bunnies, of course). Enter real life: A world where I have commitments, have to earn money and pay rent. We all do it, but hey, I'm still going to bitch about it - because I can.
But sooner or later, I would need to post back on DoM, for at least my sanity's sake. So here I am, and I figured the best way to get back into it, would be to post some reviews of the music I've listened to, good and bad, over the last month or so. So here we go...
Archetype self-titled EP (2011)
1. 'Decease to Exist' - 4:39
2. 'The Fault of My Design' - 3:50
3. 'The Silence' - 3:04
4. 'Into Infamy' - 4:02
5. 'Ruination' - 4:03
An EP logged in my recent purchases on Amazon comes from relatively unknown unsigned UK act, Archetype. The two-member melodic death metal band, hailing from my hometown, combine a fury of ferocious screams, death metal blastbeats and thrashy riffs, making them one of the more interesting melodic death bands in recent years.
Being an unsigned, young, two-member band, you could be forgiven for thinking that Archetype will be another generic At The Gates ripoff act with little talent. However, this is far from being the case. The amount of talent on display from the two members is incredible. Combining the groove of At The Gates, the triumphant melodies of Arch Enemy and the thrash style of early era The Haunted (before they went a bit shit), Archetype merge various styles, as well as their own unique progressive vision to craft what is a creative take on the melodic death metal genre, avoiding many of the pitfalls and clichés that a lot of their contemporaries fall into .
Musically, the band are on fire for the entire EP, with vocalist Danny McAuley screaming with conviction often unseen with modern metal acts. Musically, Matthew Phillips' guitar harmonies interweave with violent chords and pummeling drums. Additionally, the demo is full of some powerful hooks, melodies, and brilliant solos that make this a must have for fans of melodic death metal. The most interesting aspect of the songwriting, however, is the use of motifs throughout the EP, creating continuity between tracks.
Melodic death metal fans looking for something new and fresh, look no further. It's short and sweet, but for just 3.45 Great British Pounds, you can't go wrong with this entry EP from newcomers Archetype.
Stream the entire EP for free at Myspace - I know, remember that? I wonder what Tom is up to.
Blast From The Past: Judas Priest – Rocka Rolla
As a huge metal fan, I am surely a huge Judas Priest fan. Well the two are synonymous after all, because JP are in fact one of the very founders or our genre and not all metalheads today realize just how much they owe to Priest for their favorite bands sound!
It may have been Black Sabbath who introduced the world to dark / doom metal, but It was Judas Priest who were the first mainstream act to have the “Heavy” guitar double attack, they were the first along with Motörhead to bring the biker image to metal with the leathers and Rob’s Harley becoming a stage mascot. So even if you have never really gotten into this band, its well worth giving them a try and at least having something of theirs in your collection, because without them, there would simply not be the sounds that we know and love today and they have done some great songs through the decades.
Live Review: Rammstein 11-08-2011
It's not every day I get to write an article like this, so it gives me much pleasure to be the one to bring it to you. Fresh off the start of their Made in Germany 1995-2011 tour, I give you a review of Rammstein's latest tour offering.
What's it like? Actually, here's the thing: if you're planning on seeing them on this tour, I'd say the best option is not to read this or any other reviews or watch any clips, because you'll be spoiling much of the show. In case you don't care, well, by all means make the jump!
Dose of Krisiun
What with Guido’s excellent Death Metal onslaught stomping on our eyeballs this week, I think now is as good a time as any to review Krisiun's new magnum opus – The Great Execution.
Even though executed superbly, is it possible for a death metal album to have too many slow tracks? Yes it is. Does The Great Execution have too many slow tracks? No. But if the fence were any narrower opinion wouldn’t be able to straddle it.
So is it any good? Yep it’s excellent, in my humble opinion, if you like death metal there is no reason why you won’t like this, although to be fair in a couple of places it’s more metal than death metal -- but the Kolesne brothers are playing with such conviction it’s hard not to be swept away.
I dunno if different releases will contain different content but track 11 on my copy is a re-recording of 'Black Force Domain' from their first album released back in ’95. Personally I liked the original fine as it was but there’s nothing wrong with this re-recording either.
Excellent going to work sitting on the bus/tube music, and certainly worth 4.5 skulls out of 5.
Blast from the Past: Machine Head – Supercharger
Yep, that's right. I'm going there. Seen by many as the 'black sheep' of Machine Head's discography, and part of a period in the band's history that fans largely like to pretend merely did not exist. Supercharger isn't the most popular of albums and was viewed by some critics as being a further divergence from "real metal", instead having more than a nibble on the nipples of nu-metal. Dammit Machine Head, you shouldn't have stared into the eyes of Medusa!
Regardless, earlier this month, Supercharger turned 10-years-old. That's right, it's the tenth anniversary and what better time is it, to review the most controversial of Machine Head's releases (well, besides The Burning Red maybe)?
Make the jump fuckers before I get all bulldozer on your ass. It's Supercharger time y'all.
Review: Machine Head – Locust Vinyl (Metal Hammer)
Today sees the release of the new issue of Metal Hammer magazine in the UK. The magazine is celebrating 25 years "of keeping it heavy" making this issue a very special edition. No, I'm not on Metal Hammer's payroll, nor am I receiving commission for advertising the magazine, but as someone who was brought into the digital age kicking and screaming, the "free" Machine Head vinyl really does appeal to me. For years people, friends and lovers, have mocked me for clinging so tightly to CDs under their own misguided delusions that "MP3s are better". Now I get to enjoy the sweet analogue sounds of Machine 'fucking' Head on vinyl and I'm #winning as always.
Damn you Metal Hammer, you made me pick up your "fan pack" magazine in order to get a physical copy of Unto the Locust (fuck digital copies), and now you've tricked me into buying your 25th anniversary special. Ah well, so I guess it's time for me to clean the dust off my (*cough* dad's) record player and blast some Machine Head goodness.
Machine Head - Locust vinyl (Metal Hammer 25th anniversary exclusive)
1. Locust (Album Version)
2. Beautiful Mourning (Live)
3. Bite The Bullet (Live)
Side A begins with the song 'Locust' taken from the band's latest masterpiece, Unto the Locust. Those that heard the early 'advance mix' were no doubt disappointed with the track (I know I was), but the final album version kicked ass with a better mix and within the context of the album. Now imagine what it sounds like on vinyl and with huge Wharfedale professional speakers. The bass destroys and song as whole sounds incredible. Although not the best track on the album ('I Am Hell' could have really benefited from the vinyl treatment), it still makes for a great start to the record.
Side B contains the two live tracks. 'Beautiful Mourning' is a great track from The Blackening and a good choice since it doesn't always get as much attention compared to other tracks on the album. The performance is flawless and makes for a phenomenal listening. It's almost like the band are performing right in front of me. Each riff, each note, and each blast of the drum is played with complete precision. Final track 'Bite the Bullet' is also played brilliantly, but makes for quite an odd track choice. The song is far from being a favorite for me, but regardless, Machine Head are once again on fire.
Short, sweet, but definitely worthy of the £4.99 price. For more information on the magazine, click here.
Nektromantheon – Divinity of Death
Nekromantheon were formed in 2005 in some dismal corner of Norway, so I apologize for jumping on their bandwagon this late in the day, however I saw them play at the Live Evil bash at The Underworld in Camden (organized by Fenriz) and they absolutely blasted, so since then I’ve been meaning to pick up their debut album Divinity of Death, and now I finally have it.
When Slayer changed my musical perceptions all those years ago, showing me that there is indeed beauty in brutality I fell in love with thrash – it just seemed to tickle a part of my brain which is rarely tickled by any other form of music. But that was eons ago and over the years Decent thrash has become harder to find than rocking horse shit. Until now.
Divinity of Death really is rather good, and for a debut album it’s even better – yes I know they’ve had an EP and a couple of splits out, but I never heard them and this is their first full length product. Needless to say if you like thrash, you will like this album.
I don’t want to sound picky, but if Divinity of Death has one teensy weensy fault it’s that the singer has a very... Shall we say unvaried approach to his art. Doesn’t really matter as the album is only like 30 minutes longn and what he does he does really well, but it would be nice if he varied his approach just a tad, if only to prove that he can.
A jolly fine album, which easily warrants:
Blast From The Past: Slipknot – Iowa
Ten years ago, one band decimated the hundreds of Nu Metal bands and Pop artists taking up the chart slots. Armed with nothing but dark boiler suits, silly masks and sheer ferocity, Slipknot single handedly managed to bring Metal, real Metal, to the top of the charts with sophomore album, Iowa. Regardless of what you may think now, or what your opinion's of the quality of Slipknot's output, there's no denying this band have achieved a hell of a lot in their career.
The 13-year-old in me loved Slipknot. They were heavy, they were dark, and they said "fuck" a lot without jumping around like a clown (apart from Clown, as he obviously, erm, was a clown) while sporting a red cap. I hated people, and Slipknot hated people too (see 'People = Shit'). Ten years later, I still hate people, but Corey whines like Chad Kroeger in Stone Sour now and I've discovered "better" bands. Despite this, of course the band are re-releasing Iowa (Read: $$$), so now seems like the perfect time for a retrospective on the album. So what are you waiting for? Hurry up and make the jump.
Review: Machine Head – Unto The Locust
Four years after the phenomenal success of The Blackening, Machine Head return with Unto The Locust. As one of the most eagerly awaited albums of the year, the 'Head have everything to prove. Can they follow up with a similar successful album or will they lose steam, just like they did after their second studio album The More Things Change?
The band like to act as if The Burning Red, and especially Supercharger, never happened. I can understand that, because as a huge Machine Head fan, I like to act as if that never happened as well. But these two Nu-Metal albums actually did get released, therefore a lot of people doubt the band is able to keep up their momentum.
As much as I love this band, I've got to admit that I expected a lot from this album, but feared for the worst. These guys might be the ones that wrote the amazing 'Descend The Shades Of Night,' but they're also the ones who wrote the abysmal 'American High' -- with the exception of Phil Demmel.
So after all, Unto The Locust could be absolutely killer or it could make me kill myself. Make the jump to read my review of Machine Head's seventh studio album, and let's hope it's not my suicide note.
Review: Whitechapel – A New Era of Corruption
Deathcore is lame, pure and simple. It's scientific. By mixing the elements of the extreme styles of Death Metal with the gayness of Metalcore, you're left with something that resembles a farting fish. A farting fish with a hell of a lot of stolen At The Gates riffs in the background.
However, much like the English Language in regards to grammatical rules, for every genre rule, there are at least a million exceptions, if you're willing to look hard enough.
After hearing a song by Whitechapel earlier this year, and being rather impressed with it, it's time to review the band's latest album, A New Era of Corruption (released in 2010), and find out if the band can be one of these so called exceptions. Make the jump, fuckers.
Review: Rise to Remain – City of Vultures
Rise to Remain are a Metal band from London, UK, more often known as 'that band led by Bruce Dickinson's son'. Despite some critics arguing the band have risen to fame due to vocalist Austin Dickinson's rich and famous father, Rise to Remain have still received rave reviews for their live performances as well as their first 3 EPs, even winning some awards along the way.
Last week the band released their debut album, City of Vultures, and Dose of Metal has the only verdict you're ever going to need. Make the mother-fucking jumpalump for my review of one of Britain's fastest rising Metal bands.
Review: Staind – Staind
Oh noes, Staind have dun got heavy, yo'. And no, I'm not reviewing Staind twice, you'll be happy to know, but instead their new album (out tomorrow in North America) is very originally self-titled, as the band have run out of album names, as well as musical ideas.
So first, a little history lesson for the 3 people out there that care. Basically, the first couple of (3 at a push - and a hard push at that) Staind albums were pretty heavy. And by "pretty heavy", I mean not heavy at all. The albums in question, were never quite as shit as the shit that followed that "heavy" shit. If you get what I'm saying? So I guess after going all 'middle of the road' on our asses, and sales flopping more than my penis flops after seeing your mother, the band decided they need to go back to their roots for all 10 of their remaining fans. Fun times, right? Another piece of useless trivia, is that the band were discovered by Fred Durst of Limp Bizkit fame, so we have so have something else to blame him for.
So if you're a Staind fan, make the jump off a high cliff for my exclusive review. Or if you're just intrigued to find out if the band can pull off a 'return to roots' album, or have a morbid sense of humor, you may also want to check it out, as my attempts at writing are both awesome and hilarious at the same time.
Review: Anthrax – Worship Music
Worship Music, Anthrax's tenth studio album, does not just come along with over sixty minutes of music, it will always be remembered for the happenings surrounding the band between 2007 and 2010.
When Anthrax announced their new vocalist -- until then, a mostly unknown Dan Nelson -- in late 2007, a lot of people were skeptical. Parallels could be drawn to the initial reactions John Bush received in 1992, who was also unknown to mainstream audiences despite his critical success with Armored Saint. Even though Bushthrax split their fanbase into two camps -- those who still loved the band and those who wished for a comeback of Belladonna -- the band finally released a critical acclaimed album in 2004. At the time hailed as a comeback to form, We've Come For You All marked Bush's last album with Anthrax.
People who were skeptical of Dan Nelson were proven right when he was fired from the band, in 2009. Even though the band had finished recording Worship Music by then, they decided not to release it with Nelson's vocals. After a short comeback stint of John Bush, Joey Belladonna returned to Anthrax in 2010. The band returned to the studio to rewrite and rerecord the album with him.
Worship Music is not just Anthrax's first album with Joey Belladonna since 1990's Persistence Of Time, it's an album that was four years in the making and saw three different singers. All of them were considered to record vocals for it and two of them actually recorded vocals for it.
Even though every Anthrax fan still has it in mind, you have to put all of it aside and listen to the album with an open mind. I tried and you can read my thoughts after the jump.
Featured Shit
- Review: Bleeding Through - The Great Fire
- Review: Echoes - With an Eye on the Shoreline & a Hand to the Sea
- Review: Archetype EP (2011)
- Interview: Jed Simon (Zimmers Hole, ex-Strapping Young Lad)
- Blast From The Past: Judas Priest - Rocka Rolla
- SOPA - We asked for opinions
- Interview: Ben Whitfield (Colonel Blast, Condate Records)
- Interview: Stefan Horn (Jack Slater, Excrementory Grindfuckers), part 2
- Interview: Stefan Horn (Jack Slater, Excrementory Grindfuckers), part 1
- Top 5: Machine Head albums
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