The only honest black metal band left standing, God Forbid has pieced together a career spanning DVD filmed in their home city of New Jersey. Dubbed Beneath the Scars of Glory and Progression. Fronted by some seducing artwork and a tantalizing set list, on paper it does not look half bad, however some things are left to be desired…

Performance wise, God Forbid prove their pace, power, and the throaty Bryon Davis doesn’t fail to deliver when it comes to making 1+1=2 on the mic. Alas, where the Jersey boys fall short is on the actual stage itself.  Let it be known that a stagnant presence cannot be masked by pretty flashing lights, and for the brothers Coyle, the clean vocal patterns from IV: Constitution of Treason never seemed to make the trip out of the studio and out on to the road.  

The decision to not step outside the box and record a gig outside of their hometown does usher in some questions surrounding their given popularity from coast to coast. Is anywhere but yee ol’ hometown not good enough? Constant allusions to strife and struggle exist outside of the 4 walls of Jersey, and I’m sure even the Canadians would like to have the chance to search for a ‘better day’.

On the positive front, top tunes from Gone Forever and an oldie but goodie from Determination (‘Divide My Destiny’) make the set list cut. Led by the MyGoodEye team, the filming is A+. It’s a thrashy and pretty ‘metal as fuk’ put together DVD. The best piece of adoration must be reserved for the accompanying 2^nd disc, which provides a fans with the true biography of how God Forbid started out, and how they made it to where they are today. It is a humble outlook on band life, and is a worthy addition to this DVD package.

Rating: 6/10
Label: Century Media Records
Website: www.godforbid1.com

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      (7 votes, average: 2.57 out of 5)

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In today’s world, it seems that any old band can release a DVD, billing it as a “thrilling” live performance, with some “behind the scenes footage” that will “blow you away”, and to be fair – considering the about of bumfluff that gets pushed to market out there, that sort of marketing agenda should be reserved only for your quintessential stage show/live performance type of band (a la Rammstein, Iron Maiden, etc.). However, when DVD releases are done right in the non-arena/stadia setting, they are quite enjoyable to watch.

Unearth’s attempt at a DVD, Alive from the Apocalypse, meets the above “enjoyable” criterion on a multitude of levels. Solid production, less-than-erratic filming, a brilliant performance, and of course, come fantastic bonus footage. Despite the release being somewhat dated (recorded on October 9. 2007), the sons of Boston bring their charged presentation of metal to your TV screen. Any fan of Unearth will revel in the guitar slinging, massive breakdowns, Susi arse jiggling, and general meaty performance. Alive from the Apocalypse is a very tightly recorded live show, which will please those who frequent live gigs, and will hopefully turn the page on those who invested in Unearth’s first 10-minute DVD of absolute rubbish. Vocally, it is not sloppy, and musically it is a joy to watch, with special kudos going out to stand-in drummer Derek Kerswill who most definitely does not disappoint…

Leeching from a back catalogue of releases, the set list is an eclectic mix of old and new, which is another plus. You won’t be bored to tears with tunes from In the Eyes of Fire, and you even get a few treats (‘Only the People’, ‘One Step Away’). The only drawback is the cutting away after each song, leaving you wondering what may or may not have happened between tracks. Alas, Alive from the Apocalypse gets the “must own this” stamp if you are an Unearth fan.

Rating: 9/10
Label: Metal Blade Records
Website: www.myspace.com/testamentlegions

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      (4 votes, average: 4 out of 5)

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A band that releases the “quintessential” metal album is very ‘blue moon’, right? Perhaps not been done since the early Metallica days or maybe somewhere down the PanterA back catalogue. Combining sheer aggression, some gnarly long hair, and blistering ability, with a pinch of Native American panache, Testament has definitely come up big with The Formation of Damnation. Maybe even ‘blue moon’ big. Billy is bigger, Bostaph is bolder, and, yes, Skolnick’s barnet still has that Storm streak in it – could it get any better? Well, perhaps if a free nudie mag came with every purchase.

The one thing that really stands out on Testament’s latest musical endeavour is how their lyrics speak to the band’s maturity – they always tell a story (9/11 to the tale of fathers), are devoid of useless filler expletives, and really seem to gel with any arrangement that they are pieced into. Compare that to most of today’s trite, and a completely different picture is often painted. The Formation of Damnation is really the crown jewel in Testament’s 25 year existence as a metal act. Barring silly leather clad videos like ‘Souls of Black’, their very rock and roll career will be topped off with a `08 summer run supporting legends Judas Priest.

The Formation of Damnation is a return to form for the guitar duo of Skolnick and Peterson. They seem to be back to what they do best, inserting some shred with an ounce of sumptuous groove. Yet what makes one smile is how old stalwart Chuck Billy hasn’t lost his throat since The Gathering. The defining metal “croon” should be a signal to all budding startups out there, Bay Area or not, thrash or not. Heed the warnings imposed by the dual lead guitarists. Bow before the bassline. Drift off to the drums. Banag your head Billy. To break this masterpiece down song by song would be foolish – it is an eleven song horn raise. Well done lads. Good to see you back!

Rating: 10/10
Label: Nuclear Blast Records
Website: www.myspace.com/testamentlegions

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      (13 votes, average: 3.92 out of 5)

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Relatively unheard of outside of the Virginia market, Dreaming of Eden are a simple rock band with a heavy emphasis on lyrical content. Delivering a determined vocal style with your regular mix of Warped Tour-esque riffage and grooves, And They Will Live Forever is a very indie driven release. As an unsigned act attempting to push the envelope themselves, going at it alone to fund such a complete release package is something rarely seen in these waters. Dreaming of Eden would not go amiss on the lighter musical parts of a Victory or Trustkill roster, considering the varied vocal tones found throughout all 12 tracks and the simple yet defined lines of rhythm. Think Thursday or Yellowcard, sans any extra string instruments that may or may not feature in these comparable acts. After a few spins, the higher vocal range of Mike Longhelt does admittedly eat away at your ears, almost becoming a monotonous higher decibel drone leaving the listener begging for more of the sporadic growls that float around from song to song…but then again, in this genre you can’t really expect too much more. Considering their Christian rock billing, look for this lot to be picked up by a leading Christian label. For effort alone, Dreaming of Eden deserves some applause, but before they run away with all the plaudits they probably need to do some shifting around in their musical arrangements and vocal department. Change it up, shuffle it around…just do something different! For a band to have appeared as background music to The Real World, perhaps times are changing for the better - not bad for an unsigned act making headway by sheer determination.

Rating: 6.5/10
Label: Unsigned
Website: www.myspace.com/dreamingofedenmusic

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      (4 votes, average: 4 out of 5)

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The last few months haven’t been the greatest for Cryptopsy.  With a new album and expanded line-up, it should be a time of invigorated excitement for the Canadian Death Metal veterans.  Instead, the band has been subject to the kind of message board crucification usually reserved for new-jack Metalcore bands.  It all started when the band announced that they were looking for a front man who can sing cleanly as well as do the growling thing after fan-favorite, Lord Worm quit again.  Adding a keyboardist to the stable didn’t exactly help matters either.  Calling the early reviews for their new album, The Unspoken King, unkind would be an understatement of massive proportions!  If anything, they’ve been scathing.

I’m not sure if the critics are listening to the same album as I am.  Sure, the band has thrown in a few left-of-center moves into their musical arsenal (at least for Cryptopsy)  but nothing that would justify the pounding the records gotten so far.  The main point of contention would be new vocalist, Matt McGachy.  Much has been said about his occasional melodic “Emo” vocal flourishes diluting the band’s heavier moments.  First off, for most of the album McGachy digs deep into his larynx and spews forth line after line with a demonic growl that wouldn’t sound out of place on any of their earlier catalog entries.  When the newcomer does go with his cleaner voice, it serves the arrangement well and makes for some compelling dynamics.  His Chino Moreno-like wailing on “Bemoan the Martyr” offsets Alex Auburn and Christian Donaldson’s pummeling guitar parts lending a juxtaposing contrast to the track that pulls you right in.

As always, Flo Mounier’s drum performances leave the listener very little time to catch their breath.  His utter command of the complex rhythm patterns is awe-inspiring.  A song like “The Headsman” shifts its tempo so much; most drummers wouldn’t be able to anchor the arrangement well enough to carry the song.  Mounier not only handles the task with ease, he somehow manages to let the chaotic parts flow seamlessly.  Check out his Uzi-sped footwork on “Worship Your Demons” for further proof of his importance to this band. 

Donaldson and Auburn turn in a stellar collection of riffs that match Mounier’s knack of combining aggression with sheer dexterity.  Auburn’s ornate solo run on “Resurgence of An Empire” is reminiscent of Andy LaRocque’s work in King Diamond’s band.  With all of the hoopla surrounding the album’s supposed “softer” direction, the guitar team isn’t receiving their due praise.  When all is said and done, The Unspoken King is the work of a band not giving into to notion of what a Death Metal band has to be.  These are musicians who are willing to risk everything despite whatever limitations the genre’s so-called rules might have set.  There might be moments where they reach and fail.  There are way too many breakdown parts for my taste and Maggie Durand’s keyboard colorings sometimes come off a tad forced but there isn’t anything offending enough here to sink the collection. The Unspoken King might be too much for the so-called “purists” to accept but ultimately, Cryptopsy only have to answer to themselves.

Rating: 7/10
Label: Century Media Records
Website: www.myspace.com/cryptopsy

By Carlos Ramirez

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      (26 votes, average: 2.69 out of 5)

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If you followed the Powerviolence and Grindcore scenes of the mid-90s, chances are you came across Benumb. Lead by one of the underground’s biggest cheerleader/supporter, Pete Ponitkoff, the band was virtually inescapable through a series of albums, EPs, compilation appearances, and string of self-booked tours throughout the U.S. After they spilt in the early 2000’s, drummer John Gotelli continued to work with Vulgar Pigeons, a band he had been playing in when Benumb wasn’t active. Ponitkoff would go on to spend time in the military as part of Operation Iraqi Freedom. After a few years away, Ponitkoff and Gotelli have returned with Agenda of Swine.

Fans of their earlier material will not be disappointed by the band’s lethal blend of Grindcore and Thrash Metal. Waves of Human Suffering is brimming with over-the-top screaming, frenzied fits of speed, and the kinds of guitar riffs that wouldn’t have sounded out of place on Napalm Death’s mid-period output. Jeff Lenormand and Jason Behan’s guitar performances are accomplished but still carry enough attitude to truly compliment Ponitkoff’s insane asylum vocal attack. Check out the violent tempos of “Lost in Apathy” and “Fragments of Reason” for two blistering examples of the Agenda of Swine potency. Like most of Ponitkoff’s lyrical work in Benumb, again he takes on the social ills of the world with the same kind of vitriol. There are a lot of bands doing this kind of thing but few are doing it with even half the heart AoS are tackling it with.

Rating: 8/10
Label: Relapse Records
Website: www.myspace.com/agendaofswine

By Carlos Ramirez

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      (4 votes, average: 5 out of 5)

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Grindcore and Napalm Death are as synonymous as Indie-Rock geeks and Arcade Fire.  So when it was announced that Napalm Death’s longstanding bassist, Shane Embury (he would be playing guitar for this project) was enlisting his band mate Danny Herrera (drums) along with Brutal Truth’s Kevin Sharp (vocals) and Danny Lilker (bass) to record a new album under the name Venomous Concept, Grindcore fans just about lost their minds in anticipation!  A few seconds into Poisoned Apple, their second album, first without Buzz Osbourne of The Melvins, and it’s clear that isn’t going to be some kind of foray into ambience like many of their counterparts take.  Make no mistake, this is collection is as ugly as it gets.

Reference points can be traced back to Discharge, Lärm and the ferocity of Japanese speed terrorists, S.O.B.  Sharp’s vocals haven’t sounded this acidic since Brutal Truth’s early material.  His buzz saw-like delivery on tracks like “Water Cooler” and “Life” is textbook Grind but it’s so powerful that it’s hard to imagine anything else replacing it.  Danny Herrera’s blast beats cut through Embury’s riff blitzkrieg with precision and Lilker’s fuzzed-out bass was tailor-made for this kind of stuff.  With the participants here, it’s no surprise that Poisoned Apple succeeds but the level of quality it reaches might take some by surprise.

Rating: 8/10
Label: Century Media Records
Website: www.centurymedia.com/us/

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      (5 votes, average: 4.2 out of 5)

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Sweden’s Tiamat have been knocking around the Metal underground for nearly twenty years.  Throughout their career, they’ve taken many stylistic leaps and really tested their audience’s attention capacity and loyalty.  Their boldness should be applauded but like any other band that jumps from one style to another from album to album, they’ve had as many misses as they’ve had successes.

Armed with a new record deal after a few years in slumber, Tiamat have returned with Amanethes.  The new album finds them returning to their Metal roots a bit more than their most recent outings which had them falling more into a Goth-Rock feel.  They explore a doomier sound on “Will They Come?” and “Raining Dead Angels” retains the Death Metal flavorings that brought them a world audience so many years back.

So yes, Tiamat have given their older fans what they’ve been asking for these last few years.  The problem is, while the band has delivered the kinds of riffs that recall their more popular songs, the material isn’t compelling enough to hold your attention.  Besides the stellar stomp of “Equinox of the Gods,” nothing in the performances really jumps out at you.  Front man, Johan Edlund has proven he has the musical vision and know-how to lead the band on albums like Wildhoney and Clouds.  On Amanethes Edlund seems to be unfocused or perhaps, uninspired.  Whatever the case, the album suffers without the charm and dynamic performances that made the band triumph at their peak.  Ultimately, Amanethes, as an album, falls flat of delivering on the promise of “Equinox of the Gods.” 

Rating: 5.5/10
Label: Nuclear Blast Records
Website: www.nuclearblastusa.com

By Carlos Ramirez

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      (6 votes, average: 4.33 out of 5)

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Credit should be given to Warrel Dane for his unwavering dedication to all things metal.  He’s been releasing often great if not always essential, since the late 1980’s weathering it out through every flavor of the day that has plagued the music industry.  First with major label pedigreed thrashers, Sanctuary and then with underground workhorse, Nevermore, Dane has stuck to his artistic guns no matter what the tastemakers said.  When Century Media announced that they were going to release a solo album by the singer, the metal community didn’t know what to expect.  What he turn in a more traditional power metal tinged album like his latter work with Nevermore or would he go in a completely different direction all together? 

From the cascading riff of “When We Pray,” that opens the album, it’s clear what kind of first impression Praises to the War Machine is setting out to make.  This is the type of slow-burning metal anthem that Dane and Nevermore have perfected on their recent efforts.  The last line in the chorus, “…cause nothing ever changes when we pray” really stands out and the kind of sentiment heavy metal can get behind.  Well, unless you are signed to Tooth & Nail Records.  Most of the album follows the blueprint of 3 or 4 killer riffs and a huge chorus done in a mid-tempo stomp.  Songs like “August” and “Obey” are fine examples of this.  The former’s chorus section has one of the album’s better guitar parts reminiscing Savatage’s darker output.  Former Soilwork guitarist, Peter Wichers lends his expert playing and also acts as the producer.  He does a great job of keeping a cohesive sound and getting top-notch performances from Warrel and the other musicians who also include James Murphy (Obituary, Cancer), Jeff Loomis (Nevermore) Dirk Verbeuren (Scarve), Jim Sheppard (Nevermore, Sanctuary) and Matt Wicklund (Himsa).

While this is a metal album in most regards, Dane does take some stylistic chances on the album and sometimes he hits a homerun but he does miss the mark at times.  He tries his hand at some introspective material on “Feel Failure (Hail Yesterday)” and it comes off feeling a bit forced.  The better parts of the song are his Geoff Tate sounding vocal delivery and the heavier later sections but the overall arrangement leaves a lot to be desired.  Dane tackles two covers which couldn’t be more different from each other!  The first is his version of goth-rockers Sisters of Mercy’s “Lucretia My Reflection” which he doesn’t mess with too much in terms of arrangement and overall feel.  The other cover is his take on Simon & Garfunkel’s “Patterns.”  For a singer in Dane’s genre to take an old folk song, and one as dynamic as this one, and twist it into a perfect metal song speaks volumes about the breadth of his talents.  Little did I know when I put this album into my stereo that my favorite track would be a cover of a mid-60’s folk song!  Dane has definitely earned the right to make another solo album from the power of this debut collection.

Rating: 7/10
Label: Century Media
Website: www.myspace.com/warreldane

By Carlos Ramirez

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      (5 votes, average: 5 out of 5)

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With so many newer bands playing technical death metal these days, it’s refreshing to find a band that infuses early 90’s styled song craft to their approach.  Metal Blade has just released Dying Vine, the debut album from Pennsylvania’s Aletheian and the young band definitely has done their influences justice.  All the usual ingredients that you would expect from a tech-death album are present.  The intricate rhythm patterns, hyper sped guitar lines and complex song arrangements are abundant throughout the length of the album.  The vocal lines float in and out of the chaotic tracks with a commanding presence that works wonders for the flow of the material.  Front man Joel Thorpe’s style ranges from screechy grunts to lower, more traditional death metal schooled vocal jabs.

While the songs certainly have a modern stylistic footing, some of the sections had a certain feel to them that looked backwards for inspiration.  There were aspects of the band that reminded me of older greats like Pestilence (Spheres era) and Atheist.  The combo even goes as far as to cover the mighty Cynic’s “How Could I” from their essential, Focus album.  Now when you dare take on a song of this caliber, you better know what you are doing!  Luckily for Aletheian, they not only live up to the lofty challenge, they also actually manage to inject their unique stamp on the1993 gem.  Dying Vine isn’t the kind of album you crank in your car on the way to the Slayer show but for those of you who love highly skilled death metal with plenty of structural twists and turns, I couldn’t recommend it enough. 

Rating: 8/10
Label: Metal Blade Records
Website: www.aletheian.com

 By Carlos Ramirez

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      (4 votes, average: 4.5 out of 5)

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This North Carolina band play the kind of melodic-rock that was just makes you want to get in your car, roll the window down and sing-along! In this day and age of metalcore bands screaming and growling their way through entire records, it is refreshing to find a band where the singer actually weaves melodies instead of deconstruct them. Secret Lives! of the Freemasons have been slugging it out in the VFW Hall and basement circuit for the past few years and 2008 finds them releasing their debut album for Victory Records. Hopefully the label’s considerable resources can help the six-piece get the kind of recognition they rightfully deserve.

Their carefree arrangements and hooky guitar refrains recall Hot Rod Circuit’s poppier moments. Their entire approach actually brings me back to 1999, when bands like this were more common. The band relocated to Winston-Salem and recorded Weekend Warriors with producer Jamie King who is known more for his work with heavier bands like He Is Legend and Between the Buried and Me. The move paid off in spades as his crisp mix fits the bouncy arrangements perfectly. The songwriting is also impressive with fully realized lyrical ideas and dynamic shifts around every corner. The dissonant chords that push and pull the verses of “Dirty Laundry” set up the kind of triumphant chorus that most bands would kill for! The award for most impressive track goes to “Why We Run.” From beginning to end, this one never lets up from delivering one earworm after the other! Time will tell if Secret Lives! of the Freemasons can reach the larger audience that Victory Records can help them reach but what is certain, they deserve it.

Track Listing:

01. Chug and Leave
02. Mascara
03. Dirty Laundry
04. The New Whack
05. Feels Like Home
06. Why We Run
07. Airplanes
08. There’s Wolves Out There
09. Painting Monsters
10. The Death of
11. Xanax
12. Life Begins at 40 oz.

By Carlos Ramirez

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      (5 votes, average: 4 out of 5)

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With the current old-school thrash revival in full swing, it’s great to find newer bands exploring other bands outside of the obvious influences.  Sure, most of the younger bands mine their inspiration from bands like Slayer, Testament and Exodus but there are a few bands cropping up who are casting their nets wider.  Indiana upstarts, Phantom Witch throw in vintage NWOBHM (Angel Witch, Tank) styled riffs into their speed metal attack showing off their great taste in the process. 

Newly signed to Heavy Artillery in the States, Phantom Witch will soon be releasing their 4 song mini LP and old-school metalheads should have this band on their radar.  The power-trio gets the mood right with bassist/vocalist Rick Cope’s distinct vocal style.  His snarl really fits the primal riffing and fast-paced tempos put down by drummer Joe Zito.  The promise is here but nothing on the 4 songs featured here really popped out at me.  The band surely has the talent and power to make a compelling full-length (which is in the works) but all they do on this 12” mini LP is show off their promise.

Rating: 6.5/10
Label: Heavy Artillery
Website: www.heavyartillery.us

 By Carlos Ramirez

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      (6 votes, average: 4 out of 5)

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