Heavy Maytal- Iron Maiden's "Final Frontier"

The band's 2010 album was darker and grittier, though also more sprawling and epic, as heard in the almost nine-minute opening track, which takes two and a half minutes to build. I remember liking this album when it came out, but giving it another listen, I can appreciate the sonic layers captured here. This is not like other Maiden songs, which is impressive, though midway it busts into something more accessible to Maiden fans, as hookier vocals kick the door down. 

"Mother of Mercy" is more melodic with a rare strum coming from the guitar. Bruce sounds great, though past the age of soaring vocals, he works with what he has and has retained much of his power. The song builds into the expected gallop, though more mid-paced. You can hear the opening riff off "Coming Home' and know exactly who this is. Some of the best guitar solos from this era of the band, the song has its twists and turns without being overtly proggy, as everything flows well. "The Alchemist" is a more uptempo song that recaptures the direction the band was heading in on "Poweslave" just with the bombast dialed back with age. However, it gets the point across. 

"Isle of Avalon" starts off with a darker tension, which is always hte side of the band I appreciate the most, but the chorus rockets into the realm of their anthems. The choruses are really strong on this album; Dickinson puts a great deal of hooks in them as you can hear on "Starblind". There is more of a folk feel to the beginning of "The Talisman".  Not the first time we have heard this from the band. It occupies the first two minutes before the band comes galloping at full power. Bruce is knocking the top notes out of the park very casually. One of the reasons I like doing these stints of digging into my favorite artists' discographies is it gives me a chance like this to rediscover songs I had forgotten about. "The Man Who Would Be King" also follows their melodic, mysterious intro formula before working its way into something more powerful and metallic. This time is more atmosphere creating a fantasy environment for the epic guitar harmonies to emerge from. They jam out a bit on the instrumental section. 

They close the album with the 11-minute "Where the Wild Wind Blows." When it comes to their sprawling prog adventures, I normally expect things to start in a more subdued fashion like this, after all, they are going to have to have peaks and valleys to keep your interest. This intro part is two minutes before building to a more frolicking folk metal type riff, which, of course, they are the originators of. With three guitars, they can also fill up some time by giving everyone the chance to step into the spotlight. Here, they give this instrumental space, just over two minutes, so nothing excessive. Nine minutes in, they return to the guitar solos.  Metal is about sonic excess, but they use restraint and instead break things back down into the opening theme. This is another underrated album from this later period of the album that you should give a chance, as I give it a 10.  

Makes My Blood Dance : "Z3r0 2 LGHT $p33d!"

The project from New York plays a dancey, upbeat version of modern goth rock. It has more of a neon feel than typically being dark, though even on the opening track, there are moments when they ebb into a more organic atmosphere. Much like Mindless Self Indulgence or more recent Marilyn Manson, the electronic elements are balanced out by actual instruments. "Black Summer" is darker than the first song. It almost feels like a 90s alt-rock power ballad, though it swings into a more hip grinding groove. I suppose you could even throw in Orgy as a point of comparison. 

"Impossible Odds" has a robotic vocal that chimes, but overall it's a brighter, more dance-oriented song. Yes, even with the gang vocals. There is a much more Orgy sound despite the more emotional atmosphere on "Your Little Hand in Mine". I am also getting "Issues" era Korn vibes at times. Though it's poppier than any of the artists I have used as musical reference points so far, the lements of those artists still leave their thumbprint on what is being done here. "Lately' features Macy Gray, which is odd on a few levels. The overall sound is too happy for my tastes. 

I prefer the mood on "Heavy Metal Armour" whih is not metal at all. But works off a decent groove. There is also an element to what is going down here that reminds me of the band Strvngers, though this is not as dark. "Forget to Let it in" has more of a 90s alt-postindustrial feel, though the production is a little too slick and takes the edge off it. I had to listen to it twice, as the first time it did not really grab me. There is a marginally more organic rock feel to "Invisible Friend' which benefits from the dynamic arrangement. The overly emotive vocals work for this kind of music but can be either a selling point or a deterrent, depending on the audience. "Spin You Around" splits the difference between 90s goth rock and early 2000's emo pop. I will give this an 8.5, as it leans perhaps too far in a birght pop diretion and could stand to be darker, but I am sure some kids will be into this, it's well done for what it is. takes you back to the days of Myspacce. Out June 5th on Metropolis Reccords. 

Heavy Maytal - Eradikated : "Wiring of Violence"

 

This Swedish thrash band leans pretty heavily onto the more punk side of thrash on the opening track, with the taunt Slayer like riffing anchoring them in metal. Their lyrics are often political, and spilt out in an angry fashion that is suited for that they are doing. Though everything races at you with such ferocity, I lost track of where I was by the third song and had to go back and give things a better listen. "Mortality" carries a more metallic chug. The vocals are accented more like Nuclear Assaults' though not screamed in the same manner. "Again I Rise' finds them wisely changing things up to gather a more deliberate purpose that pays off as it's the best of the first three songs. Gang vocals in the chorus help break things up. 

"Culling" find the drummer going more ballistic. It hammers in a more straight ahead fashion, though the vocals are pretty well articulated. It's not as catchy as the previous song. Seems like some very deliberate winks in the direction of Slayer riff-wise. "Tsar" is another rapid blitz, with the lyrics yelled at you wit ha caustic spit flying. They are all in on the Slayer tribute with "Precipice". But it works fairly well, as it's driven by a cool riff. There are a few places where he comes closer to singing. The title track charges at you head first with a more punk intensity. It's a bout a mass-shooting, and barrow a little from "War Ensemble". 

"Confession Obsession" might not be the most original thing I've heard but the guitar is pretty powerful and makes for one of the album's strongest moments. "Ashes" finds a hooky more melodic chorus tempering the rush of the punk thrashing that overtakes the verses balancing it out. I will give this one a 9 despite it's blatant Slayer influence as it's a great deal of fun. 

Heavy Maytal- Iron Maiden's "A Matter of Life and Death"

I now remember why I liked this album so much when it came out. Aggressive and rapid riffs but still allowing for melody. Bruce's vocal lines flow better than what we heard on 'Dance of Death". The more progressive vibes to "These Colours Don't Run" groove impressively. It has one of the album's strongest choruses to deliver a huge epic sound. Nicko's drumming is even more dialed in to give the songs the needed punch. The middle section holds the tension to set up the guitar solos. 

Bruce's voice sounds pretty youthful against the odd time, almost Tool-like pulse of "Brighter Than a Thousand Suns". Some pretty mean crunchy riffs on this do not sound dated and lack the nostalgia grab their peers tend to go for. It makes sense, as at this point, they had been playing festivals and seemed to have paid attention to where music was going. I am surprised that this album did not sell better outside of their fan base. In 2006, we were entering a phase where people began to stop buying music. They do lock into their classic gallop, but it is not looking back at the 80s for approval. 

"The Pilgrim" has more of a classic Maiden feel. The chorus is not quite as catchy as the previous songs. The verses to "The Longest Day' are darker where they have the huge anthemic chorus they are known for, which they swell into, shifting the mood. "Out of the Shadows" is a moody power ballad of sorts, and more melodic works really well; Bruce shines here. 'The Reincarnation of Benjamin Breeg" is another powerful performance from Beuce, it's a deliberate and dynamic rocker that is more effective than pouring on the speed and guitar harmonies. 

By this time in their career, it is clear they have developed a new formula that takes a power-ballad-like dynamic to open a song, before transitioning into what you more typically expect from this band. This can be heard in action on "For the Greater Good of God". Though this means being expanded in epic prog metal for this song. "Lord of Light' starts off with a darker tension, before exploding into the gallop at the minute-and-a-half mark. The last song, "The Legacy," goes from being a folkish ballad to one of the most epic post-"Fear of the Dark" moments the band has summoned, and Bruce flexes his pipes as he gets up there. This album still holds up and is the most underrated in their catalog I will give it a 10.

 

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Apostle : "A Splinter in the Infinite Noumenon"

 This Atlanta trio plays a dark, chaotic take on hard-core that at times has the desperate sound of screamo. The opening g track "Exiting the God Hologram" finds atmospheric dissonance colliding with a feral frenzy. There are bits of breathing room allowed to create tension. The sound swirls around you in a more experimental way than what you normally get from this sort of thing, as it ends with a more expansive post-rock atmosphere. "Illusion of Loss' finds the main vocal squawked in a more abrasive manner than what the music seems to be calling for at this point, though it's a murky sonic swamp of sounds that floods your ears here. 

"Swine' is a noisy, punishing barrage. The vocals begin to feel a little like a one-trick pony, though they are layered with a more typical hardcore shout. Blackened tremolo-picked guitars cut through the murk. They are almost getting lost in their own chaos here. "Distortions of Light" finds samples being woven around dreary post-rock guitar before colliding with things in a more downtrodden sludge manner. I like the dynamic juxtaposition with this one, as it is dark enough for me to forgive the vocals for sticking to the same old, same old. The noisy ambiance is one of this album's defining traits and the band's strong suit. It is almost shoegazey in places. 

"Oscillating Polarities" finds the screaming continuing as the beatings improve their morale.There is less of attempt at the guitars creating melody here, as things just sink into the blood soaked feeding frenzy with death metal growls joining in. They do return to a woozier shoegazing guitar tone, that is allowed to ring out amid the temper tantrums. The noise eventually consumes the hardore heart of this song. 'At Ease' closes the album. It is over seven minutes long but almost a minute of fat could have been trimmed off that lead in. It's not as frantic, but I  am more focused on where the meldoeis are going to come from and how is this going to hook me in. They are less certain about this part and try to just wash things away with hypnotic post-rock.I will give this an 8.5 as I appreciate the direction they are experimenting in, perhaps in time they will grow into this sound and be more song focused, Drops on Terminus Hate City June 5th. 

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Heavy Maytal - Metal Church : "Dead to Rights"

The 14th album from the legendary thrash project helmed by Kurt Vanderhoof, who is the sole original member, now features an all-new line-up, including former Flotsam & Jetsam drummer Ken Mary, who also played on Alice Cooper's "Raise Your Fist and Yell" album, along with Megadeth bassist Dave Ellefson. For what they are doing, you can't ask for a better backbone to drive these songs. The opening track is pretty impressive and delivers what you want from them. This is the 6th album that guitarist Rick Van Zandt has played alongside Kurt, so he knows the deal. 

This leaves vocalist Brian Allen from Vicious Rumors having to step into the path previously tread by some great singers like David Wayne and Mike Howe. He kind of splits the difference between the two, which on the second song causes them to sound more like Exodus, though he does give an impressive, well-rounded dynamic performance on the title track. So far, it does not feel as dark as the early years; it does feel like they move in a Megadeth direction at times, perhaps due to Ellefson's involvement. The first time this comes to mind is on "Deep Cover Shakedown".While Allen goes into his higher register on this one and it is driven by a headbanging chug, it does not feel as catchy as the previous song, and the lyrics are not the best. 

"Feet to the Fire" is a workable balance between heavy drive and melody. The vocals juggle a raspy snarl with soaring croon. The best lyrics so far are on the thrashing "The Show". It's a fitting commentary on the world today. "Heaven Knows" is on the more Megadeth side of the thrash gallops with an Accept-tinged power metal flying over it. 'No Memory' goes over onto the more power metal side of things, which is not as effective as when they lock into a more Megadeth-like groove on 'Wasted Years".  They are touching on things like Big Pharma that more bands need to be doing. "My Wrath" feels less like Metal Church and more like Exodus jamming with Megadeth, so a hybrid thrash. Wayne and Howe are dead, so this sounds as muh like Metal Church as we are going to get, so they excelled at keeping it going. I will give this album a 9.5. 

9.6

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Heavy Maytal- Iron Maiden's "Dance of Death"

 

The band's 13th album is the one Bruce album I have spent the least amount of time with. It opens with a high-energy song with a rather dumb repetitive chorus. It makes me think of Van Halen. Not a terrible song, but I expect more from them when Bruce is around. There is a similar energy to "Rainmaker," but all the moving parts are higher functioning. The chorus works much better. "No More Lies" feels like something from "Fear of the Dark", which is wehre they started writing these types of darker songs. The guitar playing here is very nuanced. The vocal production on this album is way better than anything from the Blaze albums. It does build up until the thunderous chorus. With three guitarists, the solo sections have grown. 

"Montsegur" is heavier and an unrated Maiden song, I have never paid attention to til now, which is why I enjoy digging back into these albums I never gave enough of a chance. The title track is the kind of epic galloping frolic that is what this band is known for. So they are doing what you want from them. "Gates of Tomorrow" feels a little happy for my musical taste buds, but it's well-executed and sounds like them. "New Frontier" is more of what I want from them, as it has more of a metallic attack. "Paschendale " is Adrian Smith writing what he thought would be the typical Maiden epic, and he did a pretty good job of it, as it has a heavier stomp. 

There is a darker, more majestic feel to "Face in the Sand" that works well. The guitar riff to 'Age of Innocence' has a heavier chug than what you typically expect from them, but it works for where they were in 2003. This is juxtaposed by a poppier melody on the chorus, yet it all seems to gel. The odd choice of their first acoustic song to close the album is awkward, but you can't resent them for trying new things. But after listening to it several times, it never really hel my attention that well or felt memorable. Overall, this album works and recaptures what we love about the band more often than not so I will give it a 9.5. 

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