Helstar - Vampiro

Helstar have returned with their tenth full length album titled Vampiro, and at first glance it appears to be a continuation of Nosferatu...appears is the operative word here. If you truly dive deep down into this album, you see that it much more than a "sequel" or, and I despise this term, a "return to form." No, Helstar never lost their form. They may have lost their way in the mid nineties before their decade long hiatus but they never lost their true form. Their comeback, King of Hell, was a great album as were the two that followed. However, Vampiro is a culmination of everything that Helstar has done throughout their thirty-five year career.

From the first notes of this album, you can tell it's going to be something quite special and epic. Eerie sounds with a soft acoustic guitar riff start before a monster riff comes in and you know this album means business. "Awaken Unto Darkness" is the title of this killer opening track. The opening solo, with it's haunting eastern feel, fits so perfect. Halfway through the song it speeds it up with another kick ass riff that is reminiscent of older Helstar. New guitarist, Andrew Atwood, is an amazing fit because his solo on the song smokes with a great tone that compliments Larry Barragan's sound and style. Everything here seems to be falling into place perfectly.

Of course, this is a Helstar album so the real star of this show is James Rivera. His voice has changed little over the years but the changes it has made has only gone to compliment the band. His screams and shrieks have become his signature in their ferocity and his lower "clean" singing voice has only gotten better. He can bring that eerie, dark vibe to the songs but he also has created a way to bring out characters in his voice. "To Dust You Will Become" is a perfect example of how much dynamic his voice has taken on. I've personally known James since 1999 and seen him perform on multiple occasions as well as rehearsals, soundcheck's, etc. Prior to this album, Welcome the End from his Distant Thunder project was my favorite performance by James. This album has turned that all around. He's telling a story on this album and is using his voice, much like King Diamond, to create the atmosphere for the story and the result is just incredible.

The songwriting and the riffs on this album need mention because the opening riff on "From the Pulpit to the Pit" is catchy as fuck and the opening solo just shreds making this one of my favorite Helstar songs. "To Their Deathbeds They fell" is another killer song that seems to hearken back to the old days but is much deeper than that. The riffs are technical on this album and do remind me of Nosferatu but you can tell the modern Helstar elements are their. As I said earlier, this album is the culmination of everything they have done, mixing their modern elements with their classic riffing.

I think the fact that long time knob twister, Bill Metoyer, mixed this album is another factor that should be mentioned. I actually think the production on this album is much cleaner and more defined than on their previous three. At times it even reminds me of Destiny's End's first album. The guitar tone is especially amazing and compliments these songs so well. Combined with the brilliant song writing, killer solos, and James' skill at using his voice to actually put you into this story you get a result that is just brilliant.

As we approach the end of 2016 we start to think about what albums could be in the running for album of the year and this album is truly in the running. I knew it would be a great album just because it was Helstar but I never expected this. From beginning to end this album is pure heavy metal at it's finest. Fans of old and new Helstar can get on board with this album because, at the end of the day, one can not deny great heavy metal.

9.8/10

Megadeth - Dystopia

So Dave Mustaine is back with his newest incarnation of Megadeth. After the last two albums did not sit well with most fans of this classic band, one was forced to begin thinking that Dave was done. Topped with half of the band calling it quits I was left to wonder where would Dave go from there. Once it was announced that highly skilled axeman Kiko Loureiro (Angra) was joining the band on the new album there seemed to be some hope but even then I realized that, even with the inclusion of such a talent, at the end of the day it would be the songs that matter. So when their fifteenth full length, Dystopia, dropped, I was pleasantly surprised with the finished product.

I think the one thing working in Dave's favor here is his decision to allow Kiko and guest drummer, Chris Adler (Lamb of God), to have some creative input into the album. It's apparent because this is a well thought out album with some great moments, even some moments that are not typical of Megadeth's sound but are still great metal nonetheless. The opener, "The Threat is Real," comes out of the gate with a cool Eastern feel before it kicks your ass. The solos are incredible as one would expect from the talent on display here. Then the title track kicks in sounding very melodic with some cool lead riffing. This is not a real heavy thrash song. Instead you have a well constructed heavy metal song that has a lot of power metal elements in it. Kiko's solos are fucking incredible and some of them actually remind me of Marty Friedman. So this is where I begin to think that this is going to be a winner.

Of course you have songs like "Fatal Illusion" that has Mustaine's signature all over it. A fast thrasher with some killer guitar battles going on. I'm not a big fan of Lamb of God or that metalcore style but Chris Adler proves here that he is a pretty impressive drummer, especially on this song. "Bullet to the Brain" and "Post American World" are interesting songs that have some cool grooves to them. Dave's singing in a lower register and almost sounds like Chuck Billy in places on the former and the latter is pretty much one of Dave's pedestals to which to let us all know his political views but in a rather catchy song. It's by this time that you'll discover that the inclusion of Kiko Loureiro into this band was a brilliant idea. I can't mention his solos enough as he just shreds through every song.

The true star of this album is "Poisonous Shadows." This is a complex song with many layers and this is the song that sounds like a true group effort. After a nice clean intro the song get's that Eastern feel to it with the opening lead being so melodic and clean. Then comes the thunder with Chris Adler showing his meticulous timekeeping mixed with some serious skills. The song's darker feel is done with class and skill with the chorus adding to the epic feel of this song with it's eerie melody. This is possibly the best song that Megadeth has done in a very long time.

This album does have a few flaws which, fortunately, do not take too much away from the great moments on this album. "The Emperor" is not that great of a song and could have been left off the album. I have the Limited Edition with the two bonus tracks and you're not missing much here either. "Last Dying Wish" is the better of the two because between the silliness in which he presented the lyrics there's a pretty good tune here. The message is that he did listen to the fans and he's right, this was his last chance for me because one more turd and I would have given up on this band for good. "Look Who's Talking" is one of those songs that gives the Dave haters ammunition. As mature as this album is, this song is an immature attempt for Dave to keep his bad ass image intact, I guess. I'm not sure but whatever the case, I have little use for "I'll kick your ass" songs.

So at the end of the day, it seems Dave has redeemed himself with me, for now. He does seem to have a history putting out a monster album only follow it up with a turd so we'll see what the future has in store. All I know is that this is a really good effort by a classic band and one that caught me by surprise. I was not expecting to like this but I'm glad I was caught off guard. Now let's see how he follows this up.

8.5/10

The Storyteller - Sacred Fire

It's hard to believe that it's been almost 15 years since I discovered The Storyteller, a great metal band from Sweden that played heavy metal the right way! I instantly fell in love with their first album and followed their career for a bit before they kind of fell off the radar after 2005s Underworld, which seemed like the apex of their career. They returned in 2013 but, for whatever reason, that album completely blew by me. Imagine my surprise when I see that they released their sixth full length, Sacred Fire, last month. And what a release it is. When most of the European heavy/power metal bands are experimenting with their sound...and sucking at it, these guys delivered!


When they first arrived on the scene, some of their detractors were saying that they were nothing but HammerFall clones. My thoughts were, "What's so wrong with that?" Up until that time, HammerFall were one of the leading bands putting out speedy riff laden heavy metal. The difference is that the hammer fell hard and The Storyteller still has a few more stories to tell. This album comes out of the shoot strong with the riff heavy "As I Die." The lyrics are cheesy as fuck stories about dying in battles, Northmen, etc. and man do I love that shit! But it's the riffs and the hooks that pull you in here. And those gang "whooooaaaaa" backing vocals in the chorus are metal as fuck. The solos are just incredible and L.G. Persson's vocal delivery sounds better than ever. Then you have the galloping tempo, dual leads and catchy riffs of the title track. The verse has a nice melodic clean part in it adding to the old metal feel. Once again, the solo here is just awesome and the guitar tone is just perfect. The chorus is catchy and the gang backing vocals are just beauty to this old metalhead's ears.

"Serpent Eyes" just fucking slays with it's speed and overall guitar work. The chorus has wonderful melodies and just pulls you in. These songs are so well written and that it's just so refreshing. Once again, these guys are living up to their name because each song seems to tell a story. But nothing can compare to the epic "Sons of the North." This song just reeks epic metal. Going from slower to mid paced in places this song is the perfect metal song. All the elements that make this the perfect song are here. The chorus is slow, epic with choir backing vocals and a feeling that you are going into battle. This song gives me the chills. The speed picks up with the dual leads in the middle all culminating into a solo that is just amazing. This is the best song on the album let alone one of the best metal songs I've heard in a while. Then you have another galloping metal anthem, "Curse of the Seven Seas." this is another stand out track just because of the riffs and melodies and, once again, those gang vocal "whoooooaaaas" coming in at the beginning of the chorus and after the solo. I don't know about you but I fucking love that shit.

There are a couple of moments on this album that are weaker than others. "In Search for Treasures, Stones and Gold" comes after "Sons of the North" and, maybe because it does follow such an epic, it just doesn't stand out to me. Not that it's a bad song but after such an epic you need something to stand out. Maybe they could have something that stands out more after that epic like "Let Your Spirit Fly," which is a speedy number with all the aforementioned metal as fuck elements. Then you have "Coming Home," which is your obligatory metal ballad and even though it's not horrible as some of the more recent metal ballads have been, it just didn't seem necessary on an album like this. "God of War" rounds it out and does so in the best way you could possibly end and album like this. Speedy and melodic this is another song that is a stand out that just screams "metal" when you hear it.

This album slays, there is no other way to put it. This is the definition of heavy metal. Maybe this can put this band at the forefront of metal, where they have always belonged. No experimenting with more progressive or modern sounds, this is how metal is done...period!

9.5/10

Visigoth - The Revenant King

When I reviewed Salt Lake City's Visigoth's 2012 EP, Final Spell, I knew this band would turn out to be something very special. I was vaguely familiar with front man Jake Rogers' blackened folk metal project, Gallowbraid so I thought I knew what this guy was made of. The EP was actually quite surprising because it was not folk metal or black metal but straight up old school heavy metal and it was really good. So when I heard that Visigoth got signed to Metal Blade Records I was awaiting their full length debut with great anticipation. The Revenant King is the name of this monstrously epic debut and not only did they live up to my expectations, they went way beyond anything I imagined.

I expected more of the same from this band because it seemed that they had a great formula and I assumed they would stick to that formula. They didn't....the threw some shit into the game. They went full on epic with a sound that could only be compared to Manilla Road's classic era. They took a huge chance on this album going for long epic songs that have many layers, instead of going straight up metal, and the result is nothing short of spectacular. Coming right out of the shoot is the title track clocking in at just over eight minutes. That could have been hit or miss for a young band like this but they not only find a way to use all eight minutes to their advantage, they created a new formula that gives this band a new identity. The song is multi-layered with great riffing, great solos, a rhythm that drives the song and melodies that are truly infectious. Vocalist Jake Rogers is a gifted singer with a great baritone that compliments the song, especially the chorus that just sucks you in. Every second of these eight minutes will have you spellbound as they take you on a journey, pulling you inside the story that they are telling.

But wait, they throw another twist into this album as the follow up song, "Dungeon Master". This song doesn't bother to be over the top epic but instead just kick your ass with major riffage all the way through, kicking it up a notch with a more speed metal oriented song. This is another song that has a great chorus as well as great guitar work. It slows down in the middle only to kick your ass with dual lead solo battles that are nothing less than godly. Another song that has this driving speedy rhythm is their cover of Manilla Road's "Necropolis." They not only did this song justice but just they killed it. It was this cover that actually made me go back and have a new found appreciation for Manilla Road. They also re-recorded "Creature of Desire" from the EP but for some reason I prefer the original. That song seemed to work better for the production on that EP and may be the only song on this album that did not seem to fit in with the rest.

For the most part, though, this album is just plain epic metal. You have songs that are metal anthems like "Mammoth Rider" with it's slower tempo and crushing riffs that even touches on doom with the riffs towards the end. You also have the absolutely heavy and pounding "Iron Brotherhood" that is the metal anthem for this generation of metal heads. Then you have a song like "Blood Sacrifice" that begins slowly, almost as if it was a ballad with clean guitars with a lead part and Jake Rogers' incredible vocals building up to an all out speed metal assault. This song just slays from beginning to end with it's catchy chorus, pounding rhythms, monster riffs, monster solos, and melodies towards the end that grab you and never let go. To round out the album they end it as they started it...with an almost 10 minute epic monster of a song, "From The Arcane Mists of Prophecy." If you thought the opener was as epic as they could get, think again. This song has so many layers and twists but never becoming chaotic or falling apart. The riffs, the melodies, and just the overall triumphant feeling of this song will make you want to pound your fist in the air.

As I said, this band took a chance it it paid off, in spades. They aren't showing off or over reaching and there is nothing here could be construed as pretentious. This band is the future of traditional epic heavy metal. The torch has been passed, they ran with it... and they will make heavy metal history. I predict only great things for this amazing band.

9.8/10

Night Demon - Curse of the Damned

They say that imitation is the sincerest form of flattery and in some cases it's true and in other cases it's not. There has been a major influx of metal bands that are considered "throw back" because of the stripped down productions reminiscent of the 80s as well as the actual music itself. Some bands pull it off real well while others are an epic fail. So it is with pleasure that I introduce you to Ventura, California's Night Demon. They pay homage to the NWOBHM with a sound that is a lot like a mix of early Diamond Head and early Iron Maiden but with their own identity and sound. The songs range from speed metal to straight up rockers with massive riffs and infectious melodies that make this one enjoyable album.

Curse of the Damned is their debut full length album and there is a major punch packed into this just under 45 minute slab of true metal. "Screams in the Night" kicks it off with a speed metal sound and with a vocal sound that sounds a bit like Sean Harris while not being a total rip off. The melodies compliment the speed metal riffs to create a fresh take on a classic sound. There is no shortage of speedy numbers like this as "Full Speed Ahead" keeps it going with a riff that almost sounds like they are ripping off "The Prince"....almost. Instead it pays homage without being lazy. There is some nice dual leads sounding like it could have been on Maiden's first two. The title track slows it down to a mid pace but with some really nice riffing and catchy melodies. The lead work on this and the rest of the album is old school almost going in a proto-metal direction. There is very little wankery here hearkening back to the days before everybody was trying to sound like Malmsteen. Yes, you heard that right...me saying that wankery is not always needed to be a good solo.

"The Howling Man" is a track that would be considered the epic track on the album, clocking in at almost seven minutes. It starts slow and eerie with a bombastic sound before it picks up the speed with the riffs kicking in after about a minute and a half. Once again the vocal melodies are catchy as fuck. Jarvis Leatherby, who provides the vocals as well as the bass, has a good voice that gets the job done without having to have a ridiculous range or having to hit the highest notes known to man. Instead he lets his melodies do the talking...I mean singing. The song slows down with a clean melodic part then leading to a bombastic finish with some really cool old school riffing. "Heavy Metal Heat" is your typical "metal" anthem that should grace any album of this kind. I'm sorry but as cheesy as this may seem, this does not get old. Massive metal riffs, gang vocals, and lyrics about metal...I fucking love it!

"Masterrmind" is a song that sounds like it's been done a billion times over but these guys seem to do it with a class and style that makes that just fine with me. From it's strong intro to the opening riffs to the vocalist singing over just the bass before the riffs kick in again, it's the melodies of the verse that shows the abilities of this band to do something that has been done plenty of times before but also sounding fresh and new. This is actually becoming my favorite song on the album. The album closer, "Save Me Now," starts off with some eerie keyboards leading into some mid paced epic riffing. The chorus is catchy with some great melodies.

Yes, this is a case of imitation truly being a sincere form of flattery. This album is just pure 80s metal fun. No frills and nothing over the top. Instead you get heavy metal that may sound dated to some but in actuality is full of hooks and melodies that make this album irresistible to any fan of classic metal.

8.5/10

Galneryus - Vetelgyus

Power metal, in the neo-classical or symphonic style, has been one of my favorite genres of metal to the point that for a while, in the early parts of this century, I listened to nothing else. Sonata Arctica, Stratovarius, Rhapsody (before "of Fire"), etc. were the leaders of the genre. But it seems all three of those bands just ran out of steam, putting out several albums that were not even close to their previous glory. Actually some were even less than mediocre. Luckily when I need that speedy, riff laden metal, those insane solos, and soaring vocals I can still count on Japan's Galneryus for my Euro-power metal.

Seriously, this band has not put out a bad album, from what I heard of them. So I jumped at the chance to scoop up their eleventh full length, Vetelgyus. Wow, what a beautiful breath of fresh air. This album is as close to perfect as any album of this genre can be. Even the intro is catchy. Yeah...the minute and a half instrumental that most usually skip on a power metal album? Well, don't skip it this time. It's actually catchy and powerful. Then you get the storm of speed and riffs with "Endless Story," the first song. The riffs are catchy and the keys are cheesy. The tempo is speedy and Masatoshi Ono's vocals are just spot on. He sings predominantly in Japanese with some lines of English thrown in. His melodies are infectious and his voice is powerful. The guitar solos are fucking godly on this song as well as the rest of the album. Another song with a monster solo is "Ultimatum." But this is not all wankery and no substance. The opening keyboard goes right into a main riff that is heavy as fuck. The chorus is catchy, but that's to be expected here. Then comes this fucking godly keyboard solo followed up by a guitar solo that gave me goosebumps.

And just when a song is finished and you say, "Goddamn that song was amazing," comes another one. "Enemy of Justice" is one of the longer songs and is absolutely amazing. Clocking in at almost seven and a half minutes, this song showcases the dynamics that make up this band. The melodies, the bombastic orchestral sound of the keys with the guitars. There's some acoustic passages as well. Everything you would want in an epic song like this. The title track is another of the longer songs. It's actually just over eight minutes and it's an instrumental. Yep, you read right, instrumental. But have no fear because they are the band who can pull that off. Of course it's a wank fest but when you can write great songs and play as good as this, a wank fest is a beautiful thing. There is a cool part in the middle where the song slows down and even incorporates some traditional Japanese music sounds. Those traditional sounds carry over to the melody leading to the last few minutes of the song. For an instrumental, it really grabs your attention and holds it.

I think that the problem with most of the bands of this genre, and especially the aforementioned bands, is the the lack of memorable riffs. With this band you get the riffs. The keys are predominant but the guitars still drive the songs. The riffs give that punch that lets you know that this is still heavy metal. "The Guide" is one of those songs that have some kick ass riffs driving the song even if the keys are in your face. This is the proper way to do this type of music. "I Wish" is a song that has some killer riffing but with some 70s sounding organ going right along with the riffs. I think of it as the "Jon Lord" effect because of that organ sound. The guitar solos on this one is fucking amazing...as they all are but this one needed to be mentioned on it's own. He goes by the name of Syu and he is just incredible on this one. Just when I thought the previous one was good. Closing out the album is, "The Voyage." This is an instrumental that feels more like a ballad than an outro. Slow, tasteful and melodic, this is the perfect way to end a perfect album.

This album is amazing, there's no other way to put it. There is not one song on this album that is less than amazing. I could listen to this album over and over again and not get tired of it. All the elements that make an exceptional power metal album are here on this album. This band is no joke. They are masters of their craft and this album is the proof. If you love, or have ever loved, symphonic power metal, then you must get this album. It's essential.

10/10

ElvenStorm - Blood Leads to Glory

It seems that in this day and age, the thought of a female fronted metal band brings to mind bands like Nightwish or Epica...symphonic metal with opera type vocals. However, back in the day a female fronted metal band brought to mind bands like Warlock, Hellion, Chastain, etc. ElvenStorm is a band that nods to the old school of female fronted heavy metal. I found this band while looking at the Facebook page of a similar band, Crystal Viper. Formed in 2008 this French quartet's second full length, Blood Leads to Glory, is an all out heavy metal assault that can stand up to any of the more established metal bands, female fronted or not. They also pay homage to the real female fronted metal from days gone by.

Now one would be amiss if they did a review of this album and not mentioned the obvious German power metal influence that seems to be all over this album. And the reasons for this comparison could be that the album was produced by Lars Ramcke of Stormwarrior and mastered by none other than the great Piet Sielck of Iron Savior fame. The appearance of these two help give this album a sound that just reeks of fist pumping, horns high heavy metal. After the intro, the first proper song, "Reign in Glory," lets you know that this band means business. Even though they are from France, this band plays German style speed/power metal and this song is a prime example of their ability to kick your ass with speed and aggression but still have those infectious melodies that the genre is known for. Imagine Stormwarrior with Doro Pesch or Marta Gabriel (Crystal Viper) singing. But they are much more than that as their own ideas show brightly on this album. Vocalist Laura Ferreux has the perfect metal voice. It seems that in places she is holding back but all in all she can hold her head high because she can stand side by side with the aforementioned ladies any day.

"Werewolves of the East" is another song that is loaded with speed, melody, and speed metal riffs galore. The soloing on this song, as well as the rest of the album, is just amazing. The dual leads and the lead riffing just add that touch that makes this type of metal so enjoying. The melodies that are produced by this style of playing are, as I said, infectious. "Temple of the Sun" is more of a mid paced rocker that slows the tempo down a bit but makes it no less metal. This song has some excellent riffs and melodies. Ms. Ferreux shines a bit more here and gives a powerful performance. This may be the "weak" song on the album but only because it relies too much on the melodies. It's not a weak track, it's just not as strong as some of the others, that in no way makes it a skipper or a throwaway. I also previously mentioned Marta Gabriel and her band Crystal Viper. Well she guests on the album lending her powerful voice to "Mistress From Hell." The title of that song says it all. This song will make you get out your metal studded wrist bands and throw horns high!

"Where Angels Dare to Die" is the band gong into epic territory for this one...and they do it well. The song is just over six minutes but there is never a dull moment in the song. It begins with slight intro section that just screams epic. After that it's mid paced with some kick ass riffing and some lead riffs adding melody. There is a riff that kinda reminds me of "For Whom the Bell Tolls" in there but all in all this just rocks. It slows down a bit in the middle only to lead up to the solo part that just gives me the chills. This shows that this band is capable of melding speed metal with traditional and epic metal without it sounding forced. Then a song like "Fallen one" just slay with an all out speed metal assault with massive riffs and screaming solos. "Sirens of Death" is another of those kick ass speed metal songs that has all the ingredients, including the gang shouted background vocals. The song slows down a bit in the middle with some cool riffing on the bridge leading to a massive solo. As I said, Ms. Ferreux sounds like she is holding back in places but not on the bonus track, Into The Fire", which is a Savage Grace cover. Here she lets loose and shows her range. It's a great cover and the band shows where their influences lie.

So the next time you think of female fronted metal, maybe you should remember that there is much more out there than the goth metal fronted opera singers. This is proof that there are still female metal singers that actually sing metal. This is an album that took me by surprise because I was not expecting it to be this good. I'm looking forward to what the future might bring this talented band. Horns up, this is essential.

9/10

Accept - Blind Rage

Accept is not just any band, they're an institution in metal. Officially formed in 1976 their roots go back to 1968. This band is an absolute favorite of mine, and most metal heads, based on their contribution to metal during it's infancy. Albums like Restless and Wild and Balls To The Wall were instrumental in getting me into metal and hold a special place in my "Metal Heart." After numerous splits, reunions, and hiatuses, the band went back to the drawing board and in 2009 the band reformed with a new vocalist and a new energy. They released two balls out metal albums and it appeared that not only were Accept back, they were back with a vengeance.

Accept's newest and 14th full length album, Blind Rage, is actually the perfect successor to the two previous albums. Once again we have guitar driven heavy metal as only Accept can do it. This album is just full of quality riffs and enough hooks to grab you. What's different here is that the songs seem more thought out. You have straight up rockers like the opener, "Stampede." This was a teaser that the band released back in July. I thought it was a great song then and I stand by that. It's melodic but with enough aggression to make it believable. The guitar work is just amazing. There's solos galore...which is right up my alley. Then you have "Dark Side of my Heart" that could have been on any of the 80s albums. This song just reeks of the 80s with the slow verse leading up to the arena rock sounding chorus and 80s metal gang vocals. Another bad ass solo on this song makes it an Accept classic already. Then you have an all out ass kicker like "Trail of Tears." This is a speed metal Accept at it's finest, fast but yet melodic and catchy.

But even with the diversity in the sounds, this is still an Accept metal album. It does seem a bit laid back in it's approach but I think it's because of the production. The production on this album reminds me a bit more of the old school sound. It doesn't sound so compressed and over loud. The guitars aren't as ballsy and crunchy as Sneep usually likes them. And it fits the music well. As I said, the songs feel more thought out. There's everything that we all love about Accept, the melodies, the ballsy riffs, the gang backing vocals but with songs that have more meaning. And the lyrics are really heavy on this one. I think that's where the Blind Rage comes in. Some said that the title of the album is a bit misleading because this is such a laid back album but I think they are overlooking the lyrics. "200 Years" is a fucking ominous prediction that sends a message that we need to think about what we, as humanity, are doing to this planet and each other. Rage means a lot of things and after listening to these songs, the title of the album fits like a glove. The aforementioned "Trail of Tears" is another example. You want to get pissed, look that up once...it truly happened.

"Fall of the Empire" is the epic number on this one. This song is a mid paced song that is an all out metal epic from the riffing to the melodies to the choruses with those Accept backing vocals. A song about mutual destruction we see the blind rage showing up once again. But the song just rocks with that main bluesy riff and the solos that sound almost like Ritchie Blackmore. To contrast you have a song like "The Curse" that shows that Accept does cheesy right. Yeah, the song is a bit cheesy but it's such a great song. With a slow main riff and verse it picks up a bit at the chorus. It spotlights Mark Tornillo who's voice sounds quite good where he cleans it up a bit...not so much of the gargling with glass sound. But the song is catchy and well written. Again the guitars are just amazing with the riffing and solos adding melody and providing the texture of the song. Those leads in the background make me love the song even more. The lyrics aren't really as cheesy as I've heard some say but are actually quite thought provoking. "Final Journey" is the closer and is there to make you never forget that you just listened to an Accept album and you are much better for it. A faster number it has some great riffing and an infectious melody.

There's a few moments on the album that didn't work for me but they were very small issues with a few parts on a couple of songs. Nothing that really takes that much away from the album. This is a great Accept album that is a touch better than the last two just based on the maturity of the songwriting. These guys have had an interesting career but it seems that after all of these years they have finally found the ingredients to consistently release quality albums. Bring 'em on.

9/10

HammerFall - (r)Evolution

HammerFall is one of those bands that some love and some loathe. I actually discovered "The Metal Age" right at the dawn of the internet age. The release of 1997s Glory to the Brave was one of the most exciting times for me because it seemed that old school metal was still not only being made but being made well. I hopped on the HammerFall bandwagon right away and Legacy of Kings sealed the deal for me. I was a fan boy. Their formula for fast melodic power metal songs with anthemic choruses and cheesy chivalry lyrics was exactly what I love about traditional metal. So what do they do? They slowly move away from that formula to become a band I hardly recognize anymore.

Lets face it, their last two albums were absolute shit. No Sacrifice, No Victory was just weak with no ideas. It sounded phoned in. Infected was another turd that did nothing but pick up where the previous had left off. Gone were the anthems that defined this band. Don't get me wrong, not everything they did after Legacy of Kings is as lackluster as those last two but you could see where they were heading. So, of course, leading up to this album we get teasers that Hector looks like he did on previous album because Andreas Marschall did the artwork like on the first three. Frederik Nordstrom was at the knobs again. Here we go...another "back to roots" album. Then they release two teaser tracks, "Bushido" which sounds like it could have fit well on Renegade and "Hector's Hymn," a kick ass HammerFall song that could have been on either of the first two. My anticipation is growing now. Then the album drops...and drops hard. The two previously mentioned songs and a song called "Origins" is all that's worth it on this album. Yeah, there are some nice solos and good guitar work in places but the songs are just sad.

I already mentioned the album opener, "Hector's Hymn." This is classic HammerFall through and through. Speedy and melodic. The warrior lyrics are back in full force. So I'm starting to think that this might turn out to be a true return to form. As I mentioned before, "Bushido" could have been on Renegade. The title track has some okay ideas but it just sounds phoned in. The gang backing vocals seem out of place with the rest of the song. Not horrible but just not up to the standards they set for themselves in the beginning. "Live Life Loud" sounds like it's trying to be an anthem but instead it just comes off as sounding way too cheesy, and not in a good way. It plods along and just doesn't have any personality. This is where the disappointment starts to come in. Those fuckers! Did they really think that we would buy this shit just because there's a real HammerFall song on it? Now my disappointment is turning to bitterness. "Ex Inferis" is "Templars of Steel" all over again. So now they're recycling their more stale riffs to try and pull the wool over our eyes. The chorus is the only thing worthy on this song.

"Origins," as I mentioned previously, is the other really powerful track on the album. It's fast and the riffing is quite good here. The chorus is true HammerFall and is catchy and melodic. The bridge is the middle is the only thing that seems out of place. Great song but they infused some bad ideas into the middle to make it seem a little less believable. the solos are kick ass. The ballad before it is just awful. HammerFall has made some good ballads and some really bad ones. This is one of those bad ones. But a lot of times the bad ballads can be overlooked but not here. It just adds another notch in the filler section. It's sad that there is this much filler on an album by a band that can write songs like "Hector's Hymn" or "Origins." I don't think that they are out of ideas as much as I think that they have rock star disease. Maybe they think they don't have to work so hard to create memorable songs because their fan base is large and loyal enough to allow them to get away with being lazy. Fuck that! I've been a fan since the beginning and I'm pissed.

At the end of the day, it could be said that this album is better than their two previous because it actually has good songs on it. It may be only three but it has good songs. Oh well, as long as I can still listen to Legacy of Kings I will do so, and forget that this album even exists.

3.5/10

Unisonic - Light of Dawn

When Michael Kiske left Helloween (and metal) in 1993 it seemed to have caused an unbalance in the universe. Sure, Helloween had just released a ghastly album that was as far from metal as anything could be, but we at least thought he would resurface in something metal. He has the voice for metal. His vocals on the two Keeper of the Seven Keys albums were textbook metal. Those two albums alone pretty much created what would become power metal. But, instead, he removed himself from the music he was born to sing...the music he was destined for. He did some guest spots teasing us as if he would return to metal but it appeared his future in metal would be just guest performances.

However, in 2009, the planets seem to align and balance returned to the universe as Mr. Kiske decided to form a band with Dennis Ward from Pink Cream 69. Funny thing is that Kiske's replacement in Helloween  was from that very band. So Unisonic was formed and played the first onstage performances for Kiske since leaving Helloween. Then he brings in Kai Hansen, of all people, on the guitars. Could this be? Could it be that Michael Kiske is going to return to heavy metal after all? Well yes he did, folks. The first Unisonic album was the beginning of something quite incredible as we hear Kiske singing as if this was 1989 all over again. It was as if the split between Helloween, Kai Hansen, and Michael Kiske never happened. Are we in the Twilight Zone? No, this was really happening and it was beautiful. Now the question on everyone's mind was, is this a fluke or would they keep this momentum going?

Well folks, I'm happy to say that not only did they keep the momentum going, they surpassed the debut by leaps and bounds with their second full length, Light of Dawn. They teased us with an EP earlier this year so it was no secret that they were working on new material but I had no idea it would superior to the debut. As a matter of fact, the more I listen to this album, the more likely this will become one of my favorite power metal albums of the year. Then again, to call this merely power metal would be a bit inaccurate. Instead, what we have here is a fusion of power metal with arena rock with straight up heavy metal. And it doesn't stop there as there are so many dimensions to this album. Sure, there is some straight up power metal on here like the album opener, "Your Time Has Come." It is here that we see that Michael Kiske is capable of sounding better than he did 25 years ago! This song could have been on Keepers I or II. We have all the elements here: double bass, speedy riffs, neo-classical dual lead riffs, and a monster solo. And we have Mr. Kiske's amazing vocals delivery.

"For the Kingdom" was part of the EP teaser they released earlier this year and this is another power metal song that has some interesting tempos and riffs. It also has a chorus that is catchy and just outright amazing. The solo on this song is just a shred fest, as you would expect on a power metal album. "Find Shelter" is probably the third and final song on this album that would fit into the typical power metal mold. Kiske is hitting high notes that are so massive and perfectly pitched. Although not as fast and heavy as the previous two, this is an amazing power metal song with so much melody and atmosphere. But it is also full of the other components that are visible on this album. Yeah, the typical double bass and fast riffing is present. Yeah there are monster solos on this song. But there is some melodies on here that tend to go in a more arena rock direction. I won't use hard rock because nowadays that just means something totally different than it did back in the day.

Of all the songs that would not really fit into the power metal mold, "Exceptional" is one of the best. Kiske's vocal delivery goes from his lowest register to his highest in this song. The song is driven more by a quirky guitar sound looping through the song. There are some metal riffs going on and the song has pretty much the same mid paced tempo throughout but it's the melodies that are just infectious. The chorus is catchy and melodic that you can't help sing along. Towards the end when the chorus repeats to the end, Kiske hits this fucking high note in the background that is out of this world. Time has been very good to this man, yes it has. Then you have "Night of the Long Knives." This is a monster of an epic song. This may not be the heaviest metal but this is one of the best songs that Kiske has ever been involved in. It has some nice riffing and monster solos but the melodies are what drives this song. They're beautiful...that's all I can say. This is the best song on the album, hands down. You have to listen to get it, there's no other way to describe it.

"Throne of the Dawn" is a straight up metal rocker. No power metal and nothing flashy, just a kick ass metal song. Kiske is in top form, as he is with the rest of this album. The riffing is crunchy and metallic. The solos shine once again on this song. This is just fun heavy metal almost reminding me of a Gamma Ray song in places. I guess Kai had more of a hand in this one. In contrast, the band slows it down a bit on two songs here, "Blood" and the album closer, You and I." I think "Blood" is the better of the two since it's not just a slow meandering song but has some catchy melodies after a slow opening. Kiske's range is, again, on show here as the song begins with him singing some really lower register notes. He reaches a higher register on the chorus but not like some of the others on here. I'm not sure why I'm drawn to this song rather than the other but I am. Maybe it's because "You and I" just doesn't go anywhere.

So, yes, all is right with the world. We can be rest assured that Michael Kiske has returned to heavy metal where he belongs. With two albums in, it appears that Unisonic is a band that will keep gaining momentum. This album is much stronger than than the debut with better and stronger songs. If you loved the Keeper of the Seven Keys albums then you should love this because, in my eyes, this is the true follow up to the two.

9.5/10

Crystal Eyes - Killer

Sweden's Crystal Eyes is not a name one usually hears during a discussion about power metal which is a shame since they are quite the diamond on the rough. Forming in 1992 and releasing several demos and a compilation, they released their debut full length in 1999.  I have to admit that my knowledge of them is rather limited since I only have ever owned their 2005 release, Confessions of the Maker, which featured none other than the incredible Daniel Heiman of Lost Horizon fame as session vocalist. That album was really good despite the surprisingly uninspired vocal effort by Mr Heiman.


So now we are in 2014 and Crystal Eyes have released their seventh full length, Killer. Back on the vocals is their original vocalist as well as guitarist, Mikael Dahl. I actually like this guy's vocals. He is all over the place sounding like everyone from Atilla Dorn in places to Kai Hansen others to screams that could have been done by Eric Adams, all the while having his very own sound and personality. His return to the mic is a welcome return and has even made a really good album better with his delivery. The songwriting here also must be credited since the songs are well done and catchy with plenty of hooks to keep you interested. Why this band isn't one of the more well known in their genre is beyond me because this album can stand with any of the more established bands. The title track and album opener is the perfect example of what I'm talking about. Kick ass riffing starts the song off with a "killer" (seems that the album name is perfect) verse leading to a catchy chorus that reminds me of Gamma Ray a lot. The solo on this song is really good and their is many more on the album that are even better.

"Warrior" is another song that is just catchy as fuck with a verse that is melodic with massive traditional metal riffing leading to a bridge that hooks you in and then they lay an awesome chorus on us. That's how heavy metal is done. Dahl's vocal delivery is one of the best on the album here with just an amazing sound and range. The beginning of "Hail the Fallen " has another vocal delivery that shows that Dahl's range is a force to be reckoned with. As much as I love Daniel Heiman, I think Dahl fits this band's music much better. Then we have "Forgotten Realms" which is a cross between metal ballad and epic metal. The melodies are just infectious on this song and the epic feel of the verses and chorus just adds to the beauty of it. Starting off with some nice clean sounding guitars this song just builds to become an epic monster with massive riffs and a killer solo all without forsaking the melodic hooks. This is, easily, the best song on the album. "The Lord of Chaos" is a riff fest with more of a speed metal feel. It's loaded with hooks and melodies but the riffing is what's impressive the most here. The chorus reminds me of Gamma Ray in a way. The guitar work on this song is actually impressive when you combine the riffs and the solos.

The ballad is a staple of traditional/power metal but it seems that even the more established bands have been faltering in that aspect lately. However, I'm happy to say that Crystal Eyes has actually created a power metal ballad that not only can I listen to, but actually like...a lot! "Dreamers on Trial" is not cheesy or sappy, but instead it's a ballad that has that metal anthem feel to it. The metal has not been sacrificed as there is plenty of riffs and a solo that gives me goosebumps. This is how the metal ballad is done. "Dogs on Holy Ground" rounds out the album with a chorus that reminds me of "Dogs On Leads" by Accept for some reason. As a matter of fact, the riffing on most of this song has an old Accept feel to it making it stand out a bit from the rest of the album. 

As I said earlier, I do not know why this band is not as well known as their peers because they can deliver an album just as powerful and just as good as any out there, and this album is proof of that. The album is called Killer because it is just that, a killer heavy metal album.

9/10

Judas Priest - Redeemer of Souls

Where to begin with this review? I mean, come on, it's Judas Priest. The Metal Gods. This band defined heavy metal for the generations that followed. There's no question that this band single-handedly took what Sabbath started and refined it to create heavy metal as we know it. It actually pains me to write this review because Judas Priest was my first metal band back with the release of Unleashed in the East. I blew my the speakers on my parent's console stereo while losing my voice trying to emulate Rob's vocals on The Green Manalishi at 13 when my voice was changing, facing possible damage to my young tender vocal chords. This was music like I've never heard...a young metal head had been born!

If you look at it, this band has only had a few periods where they had consistently quality albums. The 70s were the period where the band produced some the finest metal the world has ever known. The 80s were loaded with radio friendly songs due to the band having commercial success. Painkiller in 1990 is lauded as setting the bar for future Priest releases. The 90s and into the early 2000s...well, we won't even go there. In 2003 Rob Halford returned to the fold and it seemed all would be right with the world. After one okay album and one absolute catastrophe 2014 brings us a new Judas Priest album, Redeemer of Souls. The hype leading up to this album was the band making statements of this being the heaviest they've done in years. The teasers released were even decent enough for me to be cautiously optimistic. Sadly, the finished product is not what I expected at all. Instead we have an album that is inconsistent with a few songs being good but most being mediocre at best.

So let's start with what's good about this album. The band starts off good with "Dragonaut." The title is silly but the song is pretty good. The song has a nice riff in the beginning and has high energy. It is a decent album opener. Actually the only other high energy song on the album worthy of being an opener would have been "Battle Cry." The title track is also a song that can be catchy at times and is one of the songs that got my hopes up for this album. "Sword of Damocles" has a really cool 70s vibe in the opening riffs, a catchy chorus, and is actually a pretty cool song. The solos on these songs are good as Ritchie Faulkner is a worthy replacement for K.K. Downing as far as solos go. Another song that just screams 70s Priest is "Crossfire." This song could have been on Sin After Sin...maybe only as filler but it still could have been on there. That bluesy riffing has always worked with Priest and it still does after all these years. Even Rob hits some high notes, which is rare on this album. His voice is competent since he's always had a good tenor and baritone to his voice. This is the best song on the album and the best song the band has written in a long time.

Well, that's it folks. The rest of the album is just plain mediocre. "Halls of Valhalla" shows the band over reaching as they did on Nostradamus. It may have been a better song if they shaved about two to three minutes from it but at six minutes long it becomes redundant. Same with "Secrets of the Dead." In fact that song sounds like a leftover from Nostradamus. "March of the Damned" sounds so safe and Halford's vocals are so monotone he actually sounds like Ozzy in places. "Hell & Back" is just awful. It begins like a ballad and although it picks up the pace a bit, it just doesn't keep me interested. Instead it plods along with no balls or direction. The chorus isn't even that catchy. "Metalizer" is the worst offender because you can tell the band is trying way to hard to be heavy and it just doesn't come off the way it should have. Not sure if it was the production or what but it just doesn't work. The riffing is just chugging riffs that sound like they could be heavy but instead they just plod along. It's speedy in places but not enough to save it. The solos are the only thing that's good about this song.

I'm torn because this could have been a better album. There is proof on this very album that this band still has some chops and can still write catchy tunes. I'm not sure what they were trying to do with some of these songs but sometimes the "let's try to be heavy again just to be heavy" doesn't work. Instead it comes off as old men trying to capture some of their former glory. It's embarrassing. Some claim this is the best they've done since Painkiller, and they are right. But what is that really saying? It's the best of their worst? I'm not sure what the future holds for this band. I really wanted to love this album but there's so little to love.

5.5/10

Grave Digger - Return of the Reaper

Grave Digger. The name, in and of itself, just screams heavy metal. Forming in 1980 the band is still going stronger than ever. I'm not a huge fan of their 80s material as I think they hadn't found their own identity yet. At that time, I thought they were a second rate Accept worship band. Yeah, their 80s albums were fast and heavy but lacked direction. We all know how Chris Boltendahl and company tried to break through commercially with Digger...an epic fail to say the least. The band returned with 1993s The Reaper and it was pretty much a success with fans and critics alike. As the 90s progressed it seems the band was finally finding their own identity and sound.

So here we are in 2014 and it seems there is no stopping this band. Their sixteenth full length album, Return of the Reaper, is just that, a return of some seriously bad ass heavy metal as only Grave Digger can release. What can we expect, you ask? What they have always good at, massive riffs, killer hooks, and Mr. Boltendahl's gargle with glass vocals that just add to the awesomeness of this album. After a short intro, which is the title track, we get the ball rolling with "Hell Funeral." This is a classic Grave Digger speed metal song with some serious riffing. As a matter of fact these are some of the best riffs this band has ever produced, and that's saying something. The guitar tone is crunchy as fuck and fits the riffing well. The chorus is catchy which is nothing new for Grave Digger. There is such an aggressive overtone here and that is another thing that adds to the beauty of this album. "Wargod" comes immediately after and just crushes you with the riffs, speed, and aggression of the opener.

And it doesn't stop. All through this album you have crusher after crusher. "Road Rage Killer" is a speed metal number with pummeling riffs, crushing speed, and a chorus that will stick with you. These songs are seriously catchy and it all has to do with the riffing. The guitar work on here, as far as the riffing goes, is just incredible. As I said earlier, the riffing on this album is some of the heaviest and best that this band has ever written and I'm sure the credit can go to Axel Ritt. "Satan's Host" is another one of those speed metal numbers that just slay, and does so in under three minutes as does "Resurrection Day" The riffing and the hooks are undeniable on both of these songs. Then you have "Tattooed Rider" that starts off with a synth part that almost makes you think you're listening to "Turbo" by Judas Priest for the first few seconds. But then you realize that the riffing is so much heavier and the chorus on this song is probably the best they've done in a long time.

Which leads me to "Season of the Witch." This is a song that was hit or miss with a lot of people but it was truly a hit with me. That slower tempo with the crushing riffs just reeks of "Avalon" and no one does this kind of song better than Grave Digger. The chorus is absolutely killer and has become one of my all time favorite Grave Digger tracks. Another bone of contention has to do with Axel Ritt. His riffing is just incredible, no one can deny that, but sometimes his solos just don't cut it for me. My biggest fear when hearing the samples of this album would be that Ritt's solos would turn me from this album. Some of his solos are good and catchy and some just leave me wanting something....not sure how to put it. Schmidt and Lulis played such good solos, I was afraid that Ritts solos would cause the songs to suffer. Thankfully they didn't suffer and, although there is not as much wankery as I would like, the solos are classy and well done.

This band has been around for over 30 years and it seems there is no stopping them. The riffing is some of the heaviest they've ever done and Boltendahl sounds incredible. This album is heavy fucking metal defined. The energy here is just amazing for a band that's been around as long as they have. I have a feeling that this band will keep delivering quality metal for many more years to come.

9/10

Daker Half - Never Surrender

Australia's Darker Half has been labeled as thrash throughout their career. Having not heard their previous albums, I would assume the thrash tag only fits the previous releases because this is not a thrash metal album. I didn't say it wasn't good, I said it's not thrash. This is actually a much more melodic power metal in the German style. I have a strong urge to compare this to late 90s Angel Dust. Having formed over a decade ago, they released their debut in 2009. Their new release, Never Surrender, is a strong album that has all the elements to be great power metal album. It seems they try too hard in places but they completely nail it in most.

 As I said before, if they were a thrash band, they have made a drastic change because this is melodic, epic and riff laden traditional metal. We have anthems like the album opener "Nemesis" with a chorus that is just catchy as fuck with really nice melodies.The guitar work is pretty good. The solos are tasteful and melodic. A little more wankery would have been cool but they are still very good. This band writes really cool melodies and this is one of those songs that is loaded with those melodies. "Stranger" is a mid paced epic number that has cool melodies with a catchy chorus and a nice solo. There's a couple of things that do not quite fit like some of the dual riffing and and the higher note guitar chugging that goes on in the beginning before the verse. The organ part that flows in there has a nice feel to it, though. That's one of my frustrations with this band. When they are on they are on but they seem to try a little too hard in some areas.

"As Darkness Fades" has some nice riffing and some nice melodies in the verse. The chorus is catchy and there's that organ in there again. This is another epic number that actually has an early Tad Morose feel. They pretty much nailed this one. "End of the Line" is another one where the band seems to stick to a streamlined formula and not trying to over do it. The twin leads are nice and kind of reminds me of early Nocturnal Rites. The solo on this one is killer and shows the skill is there. The chorus is catchy as fuck and the background vocals are nicely done. The vocalist actually can sound like Tony Kakko in his mid range, like on the title track, but he sounds like he really is straining to hit some of the higher notes and his "head voice" needs some work.

This band is a really good band that might be trying a little to hard to be great. I think they can achieve that level but they need to look at what works for them and what doesn't. This not a bad album, by any stretch. This is a good album that had potential to be great but fell a little short. I can't see this band being a thrash band so if this is a new direction for them, I think it's the right move. Pull back on trying to be epic and just go for a balls out heavy metal and this band could do great things.

Thanks to FullBlast!PR for the digital promo.

7.5/10

Falconer - Black Moon Rising

Falconer is one of my all time favorite bands, period. I'll get that out of the way in case you got some hint of bias in this review. Ever since I heard their brand of folk inspired power metal with the Ian Anderson (Jethro Tull) vocals I was hooked. They made one fuck up in their career, they allowed vocalist Mathias Blad get away (briefly) and although those albums aren't horrible, it still wasn't the same. They came back to their senses and once Mr. Blad was back all was right with the world. Formed by guitarist Stefan Weinerhall out of the ashes of the viking metal band Mithotyn, a lot of what made that band was brought over to Falconer to create something really special.

Now the band comes with their eighth full length album, Black Moon Rising. This album is just incredible with massive riffs, amazing solos and incredible vocals. This band has lost nothing over the years and is one of those rare instances where a band, fifteen years into their career, can make an album that can stand up against their own classics. The album opener is a song everyone is familiar with since they released is a few months ago as an album teaser, "The Locust Swarm" is a beast of a song and the perfect opener for any metal album. The riffing is insane. There's even some blast beats and tremolo riffing in there as well. The chorus is catchy and melodic thanks to the amazing vocals. The melodies and choruses are what this band is known for and there's no shortage of those amazing choruses on this album. "Halls and Chambers," "In Ruins," and  "At The Jester's Ball," are just a few examples of how infectious the melodies and choruses are. Then we have the solos in this album, which seems to be the best of any previous Falconer album. The title track has a solo that's just godly.

The folk elements proudly show through like on "Scoundrel and the Squire." You can tell by the title that this song will be folk heavy. Then you have a song like "Wasteland" which is just riff after killer riff. It's fast and ballsy but melodic. Then there's "There's A Crow on the Barrow" which is just a Falconer classic with it's galloping tempo and duel lead riffing. This song could have been on either of the first two albums. What sets it apart, though, is the soloing which is miles beyond anything they've ever done. Then you have the heavy as fuck riff fest "Age of Runes" which is probably my favorite song on the album as it just slays from beginning to end. A mid paced song with serious riffs this could be one of the heaviest songs they've done. Midway through the song there's a really heavy riff and this melodic wah wah solo that just reeks of something like Grave Digger. What impresses me the most here is how they added a few new tricks in with their signature formula to create another dynamic to this already incredible band.

After fifteen years and eight albums some bands would just go down the safest route possible and put out a mediocre album to satisfy labels. fans, etc. Not Falconer. Instead they add even more elements into their sound to create an album that raises the bar for their contemporaries. Seriously, if you are a fan of heavy metal music at all, no matter what the genre, you need to give this a listen. This is one of the best power metal albums released in a long time and I can even see it appealing to those who don't always listen to this genre of metal.

9.5/10

Ambush - Firestorm

So traditional heavy metal is making a come back. Yeah, I know, it never left. What makes this new crop of heavy metal bands different is that fact that they not only is their music reminiscent of the early 80s but he finished products actually sound like they were produced in 1984. Sweden has produced two of my favorite bands of this movement, Enforcer and Screamer. Now we can add Ambush to that list of Swedish bands that take me back to my youth when heavy metal was taking form creating it's own identity and not just an offshoot of hard rock. This album reminds me of my high school days and makes me remember what made me fall in love with heavy metal to begin with.

The band was formed in 2013 and has released their debut album called Firestorm and they could not have picked a better title because this is truly a firestorm of balls to the wall traditional heavy metal. The band's influences are easy to see as they take from Judas Priest and Accept all the while adding their own identity. Yeah, there are some major cliches here but that's the beauty of it all. They come out firing from both barrels with the title track. A fast headbanging track that reminds me of both of the aforementioned bands. At times the vocalist has an old Halford vibe to him but it's not a ripoff (*cough Ralf Scheepers cough*). The song is loaded with trad metal riffs and hooks with a chorus that is catchy all the while adding in the "gang" backing vocals. The solos are what you would expect, blazing and somewhat technical. This is your typical heavy metal album opener and it just takes me back. This is heavy fucking metal at it's finest. No, there is nothing original or earth shattering going on here just well written heavy metal songs that take me back to the old days.

These guys write good catchy songs and I guess that's what makes them stand out from other bands that are emerging doing the same things these days. "Hellbound" is another catchy song that sees vocalist Oskar Jacobsson going in Halford territory and doing it well. He can hit some serious high notes. A mid paced number, the song itself kinda reminds of an old Saxon song. In contrast, the next song, "Don't Shoot (Let 'Em Burn)," is almost a speed metal song that is riff laden with soaring vocals and another amazing solo. The guitar work on this album is absolutely brilliant. Not overly technical or with too much wankery going on but instead used to complement the song. The main riff as well as the "gang" vocals in the chorus of "Molotov Cocktail" reminds me so much of Accept but with enough of it's own identity to be a song that actually pays homage to their influences. And for them to be able to do that but at the same time write songs that are catchy as fuck makes this album that much more enjoyable. The chorus and backing vocals on "Natural Born Killers" is actually worth getting this album in and of itself! Another song where everything just fits together perfectly.

I can listen to this album over and over again all the while reminiscing about the old days. Even the album's length is a throwback being only thirty-seven and a half minutes, about the average time for any metal album from 30 years ago. This band and album is much more than a throw back. Any band can be a throw back band but to do it while creating songs that are good and catchy is a sign of a band that is serious about heavy metal. Everything I love about metal is packaged in this album. This is a young band that is full of energy and I'm excited to see what they bring to the table in the future. If you love heavy metal at all then this album is essential.

9/10

Absolva - Anthems to the Dead

UK's Absolva is a band formed in 2012 by members of Fury UK and has had a strange history. After releasing one full length in 2012 they released a live CD and live DVD in 2013, which is strange for any band. Lead guitarist and lead vocalist Chris Appleton is the brother of Luke Appleton who, along with being a member of Fury UK with brother Chris, is the current bass player for Iced Earth. So now Absolva has released it's second full length album, Anthems of the Dead and what you get is some melodic riff driven traditional metal. Guest appearances on this album by bassist brother Luke on a few songs as well as Saxon axeman Doug Scarratt tells you what should be expected.

This band is not going to be known for creating anything groundbreaking but instead they just play heavy metal that's catchy and loaded with riffs. It seems that Chris Appleton is the star of this show being two of the best parts of this album, the vocals and the lead guitars. Vocally he sounds a bit like Jonny Lindqvist (Nocturnal Rites) with a touch of Andi Deris (Helloween), although he has much more of a range than either when he wants to and only sounds like those guys in his mid register. The solos on this album also stand out because of his sheer technical abilities as well as the fact that they are catchy and tasteful. The opener, "The Devil's Mouth" starts things off with massive traditional metal riffs and blazing melodies. Mid paced for most of the song there are some impressive speedy parts and the bridge before the solo has a great melody and a high note by Mr. Appleton worthy of Daniel Heiman. As a lead guitarist he reminds me of Criss Oliva a bit in his execution.

The songs here range from the more speedy power metal types to songs that have those mid paced gallops but each song is unique in and of itself. This album does not get boring because of the variety of songs on here.  The title track is one of the more speedy to mid paced songs that has riffs that are crushing and melodies that are infectious. The bridge leading to the chorus has both clean and acoustic guitars that is melodic and catchy slowing down in the middle to a beautiful passage right before the solo comes in and takes you away. This is how I like my metal...varying sounds that compliment and add dimension to the songs. "The Alter & The Cross" is an acoustic number that is only two and a half minutes long but is one of the better ballad type songs I've heard from any of the big named traditional/power metal bands of late and a nice way to bridge the first and second half of the album.

The second half of the album kicks things right back into high gear with "Live for the Fight" which is an ass kicker from start to finish with some impressive riffing mixed with great melodies. This half of the album also sees the band going in a more epic territory with longer songs like "Soul Remains" clocking in at around six minutes but with enough going on to keep you interested...and headbanging! The solos are fucking godly full of melody and feeling. "Silent Sacrifice" ends the album with a combination of galloping tempos and slower acoustic passages with great melodies. This seems like the only time on the album where the band seems to be overreaching a bit. The song clocks in at just over seven minutes and there are a few spots in the middle that could have been axed to make the song a bit shorter but the solo that follows kinda makes up for it.

All in all this is a balls to the wall heavy metal album. It has everything that a fan of traditional metal could want, soaring melodies, classic riffing, and monumental soloing.I'm not all that familiar with their parent band, Fury UK, but I do know that I like this band. With only two full length albums, I'm hoping there will be more from this band in the future.

8/10

Brainstorm - Firesoul

Germany's Brainstorm is a band that has been in existence since 1989 but didn't seem to be able to release a full length until almost a decade later. I'm not sure why because in the world of German power metal this band is criminally thrown to the back burner in favor of the more popular and successful acts. I do believe that the more serious metal fan is well aware of this band's brand of power metal that actually has an emphasis on power. I actually had the good fortune to meet them about a decade ago at ProgPower V and they were down to earth guys that played a set that absolutely slayed! So now we have their tenth full length album, Firesoul, an album that is actually one of my favorite albums of the year.

As I said, this band is considered power metal but their sound does not resemble many of the bands that are considered definitive bands of power metal. They do use some keyboards and symphonic elements but what makes this band stand out from the rest is the riffs. This band uses a crunchier guitar sound with heavy as fuck riffs that seem to fit in more with USPM than with the bands to whom they they share a continent. The opener, "Erased by the Dark" are typical of the Brainstorm sound. This song may have symphonic keys but they do not drive the song. Instead riffs, riffs and more riffs drive this song as well as all the songs on this album. Vocalist Andy B. Franck actually sounds like Harry Conklin on a lot of the songs on this album. This is the best I've heard his voice sound from all the albums I've heard by this band. The title track kicks off with a more traditional flare with the main riff reminding me of old school metal but with that heavy guitar sound that gives this band a heavier feel. The chorus is catchy and the remainder of the song is full of hooks and massive riffs.

The remainder of the album sees the band throwing some variety in the mix with their signature pounding riffs, soaring vocals, and classy solos leading the way but with enough melody to not be a one trick pony. "Descendants of the Fire" seems to kick your teeth in with it's powerful riff work and blazing speed while "Entering Solitude" is a more melodic number with it's traditional metal intro riff and softer parts in the verse. "Recall The Real" is another melodic number with a catchy as fuck chorus that you can not help but sing along to. The keys are subtle but still enough to add that dynamic making this one of the band's best songs in a while. This is Brainstorm doing epic anthems as only they can. This variety is typical of this band as they seem to rely on writing both heavy metal anthems as well as heavy as fuck riff fests so there's something for everyone on this album. Then there is a song like "Feed Me Lies" that combines the heavy riffing with the infectious melodies in the chorus making this another song that will stick in your head. This song's vocals has that Harry Conklin vibe going on again.

There seems to be an energy on this album that may have been missing with the previous couple of albums giving you this feeling like the band has been rejuvenated. Solid songwriting and flawless execution is the formula here making this album by this veteran band an album that is not only worth getting but essential. This is power metal with actual power but with a melodic side that gives this band a very unique sound. Once again this year, a veteran German band has released a quality album. If you are a metal fan and let this album slip by you, you are doing yourself a great disservice.

9/10

Helstar - This Wicked Nest

Helstar is a band that has been around, in one form or another, since 1981. Vocalist extraordinaire, James Rivera, has one of the best voices in metal and their first four full lengths are metal classics that did not get the exposure that they deserved for whatever reason, which is criminal in my opinion. The 90s were even less kind to this band as their only release in the 90s was scorned by fans and critics alike. In 2001 James put together a Helstar (sort of) band that toured Europe and the USA and it seemed that a spark was ignited for the band again. In 2006 the band was reunited with the Remnants of War line up and they began to write music together once again releasing King of Hell in 2008 and Glory of Chaos in 2010.

So here we are in 2014 and the band's ninth full length album, This Wicked Nest. Now let me get this out of the way here, this is a different era of Helstar and if people were thinking that they were going to get repeats of Nosferatu over and over again, they might be disappointed. I do know that the new direction started with King of Hell alienated some fans of their older material and that's sad because what we have is a heavier and more straight forward band. This band still can write monstrous riffs and ridiculous technical solos of which there is no shortage on this album. This is an angry Helstar and it's that anger that makes this music that much better. Coming straight out of the shoot is the album opener and the song that was released as a teaser, "Fall of Dominion." This is a balls out riff fest with James' screams that are just blood curdling. This song is a straight ahead thrasher but still has good melodies. The chorus is catchy and James' voice sounds great on those choruses. The solos are insane as Larry Barragan and Rob Trevino are two of the best guitarists in the business. "Eternal Black" comes in and is another crusher with some killer riffs that seem a bit more technical in places and there is some parts that are reminiscent of the old days. This is a straight forward headbanger. James sounds evil on this song as his screams are a bit more gravely on this one.

The rest of the album is petty much the same with more fast pummeling riffs but with great melodies provided by Mr. Rivera. The title track is another song that just pounds you with modern thrash riffs and James' signature screams. The solos stand out again...because they just do! As I said before, this is a modern Helstar that was not satisfied remaking their classics over and over and it's very apparent that they wanted a more modern take on their brand of metal. It took me a few listens to really soak in what was actually going on here and as much as I love those classics, there has been many years between them and James has made a lot of music with a lot of different musicians of different styles. This album is a mix of everything that James has ever done. This album is proof that this band is not done yet and songs like "Soul's Cry," "It Has Risen," and "Defy The Swarm" show that they are not afraid to throw in the influences they picked up a long the way. James was flirting with a black metal shriek ten years ago and he has thrown even more of those types of vocals mixed in with his classic screams. These types of vocals actually fit with the aggressiveness of the songs and sheer brutality of the riffs.

I've been anticipating this release since it's announcement and I'm more than satisified. There were a couple of moments that didn't quite grab me. The instrumental, "Isla de las Muñecas" was okay but given that it was written by Larry Barragan and Jeff Loomis (ex Nevermore) I expected more. "Cursed" was a slower song that was almost Helstar doing doom metal and that song took the longest for me to really "get." Nonetheless, this is another solid release from a band that is considered legends in heavy metal and this album is another reason why.

8.5/10