Heavy Maytal - W.M.D : "Against All Warnings"

 

This Canadian thrash band offers a neck jerking take on technical thrash. They are not obsessed with capturing a retro sound , but incorporate many elements from that time, most notably the vocal, which are a higher pitched squawk on the first track. They locked into some of these riffs in a more breakdown like fashion, which bands like Sacred Reich did back in the day as well. The fleet fingered focus on riffing is what keeps them from being cross over despite the speed poured into the verses, they have twin guitar harmonies to break this but. its till feels kinda rushed.

"Kleptomania" finds more of a Vio-lence feel taking over the sound. There are enough accents and break downs to make it interesting. It's back to pouring on the speed for "Post-Human Predator".  The relentless thrashing maintains it's momentum with " the Black Expanse". There are some audiences who just want fast rowdy playing and these guys deliver that so if that is your thing it is going to appeal more to you than listeners who want more hook and groove in their thrash, which makes the songs more enduring when you think about bands like well... the Big Four, who earned that title for good reason. 

"March of Death' shows they can write those kinds of riffs but it's more of a two minute interlude than a working song, but "the Thin Red Line" takes from it and builds it's own identity  full of guitar solos. "Already Dead' is another racing blur of hyper-aggressive riffing. The vocals are more of a an accent not just on this song, but as a whole on this album, There are more melodic guitar parts but they guitar has to do all the heavy lifting to keep you hooked despite the drums and bass still contributing . The clean guitar in the middle helps to create the kind of dynamics this album needs more of . "Painful Vengeance" starts off with a more deliberate riff, so they are capable of creating them not so much knowing how to write with restraint. I will give this album an 8, because it works on many levels thanks to the dazzling chops these guys have na there is an audience for this kind of thing. 

Heavy Maytal : Dio's "Killing the Dragon"

 

Back in 2002 the dragon Dio was referring to was technology which he felt was a danger to mankind, so it's good that he is not alive to see where we are today. There is a more focus gallop on the first song than they used on the previous album.  Whitesnake guitarist Doug  Aldrich plays on this album, which also finds Bain and Wright holding it down behind him. "Along Comes a Spider" lyrically a little darker it's more of a typical Dio rocker but it works. with songs like "Scream" and "Better in the Dark" he was working off the theory that if it was never broke why fix, and trends allowed him to go back to something closer to his original style. 

For the song to be called "Rock N Roll" the verse throb more like "Kashmir" .  The chorus is a little cheese filled. "Push" is more of an anthemic rock song.  The palm muted chug on the verse is accented by a more rock riff. I'm going to blame Doug for the parts that sound like they belong in a Ratt song. There is also a very 80s feel to 'Guilty' with the vocal production being the big difference. It's a darker song than the bulk of what we have heard so far on this album so it works for me, along with it being pretty catchy. "Throw Away the Children" sounds like he was reflecting back on his time with Black Sabbath which works for me. I prefer it to the more rock n roll feel of "before the Fall" . The organ solo was unexpected but makes sense. 

The last song is pretty middle of the road, more rock than metal, but flashy enough guitar, though it feels like the same guitar riff could be applied to todays pop country. Overall though this album works better than the previous one and I think it was a smart move on his part to just embrace who he is. I will give this one a 9.5. 

Heavy Maytal- Iron Slaught : "Metallic Torments"

This month has helped prove to me that old school metal has not gone anywhere it just went back to the undergrounds where it belongs. This is the second album from this French band. The first track just focuses on the galloping guitar harmonies. "Ghastly Obsession" finds them locking into a pretty effective chug. The drum are admittedly programmed, but sound pretty real. The vocals come in with a commanding snarl. 

What they are doing on "the Executioner " falls some where between classic Destruction and how Power Trip resurrected this sound. The vocals take on more of a growl for this one as well. The melodic guitar section giving them a more "Masters of Puppets" moment. They use a sung more power metal like vocal on "Soldier of Fortune" , which creates more sonic colors overall, though a brighter feel to the song. They balance it out with more feral speed metal attacks.  The sung vocals return for "Charme Funeste". Oh yeah it bears saying that these guys sing in their native tongue, so if that is a deal breaker for you then there you go.

"Primal Conquest" Finds the snarled vocals trading off with a hookier sung vocal on the chorus. The last song opens with melodic clean guitars. It goes into the predictable thrashing, with twin guitar harmonies, though sung vocals eventually  resurface. I will give this album a 9 not only did they nail a sound but they car about songwriting. It drops July 10th on Gates of Hell. 

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Mortiis : "Ghosts of Europa"

 Havard has been taking notes from Ulver in regards to the more synth wave direction he is heading in. Not what you expect from someone dressed up like a goblin. Its not like anyone is still bitter about the fact he is no longer making black metal as that ship sailed decades ago. The transition to this makes sense even with the vocoder autotuning the vocals. It was not that long ago he was making darkwave, and doing a pretty decent job of it, I felt like the goth scene was a good fit for him. So the electronic thing is not the problem , what is a marginal issue is it's not that dark, though thick on the atmosphere.

Maybe he wants to start making soundtracks for A24 movies , as that is the vibe we are getting from "Return to the Old Fields" The song takes more form in the final minutes but drifts more often than not. "The Faith That Fades Away"  has a sparse ritualistic beat , and the layers of vocals are pretty cool, it does finds things moving in a somewhat more brooding direction which I approve of but could use more of a bass line to give it a backbone. If it was not for the vocal arrangements it would fall on the side of being more focused on a sound than songwriting. 

There is more of a solid groove to "Violent Silence". The vocals are more androgynous than what you expect from this project, making me think of the Pet Shop Boys. I like the future pop leanings that flow through the song. "Transcending Morpheus" is atmospheric in almost a more Dead Can Dance direction. There is a little dynamic ebb and flow but not enough to hook you in .Not even the robotic vocals can make it more potent. Four and a half minutes in there is more of a groove, but it can't gain momentum by then    

It's odd that a song called "Tundra Heart of Hell" would sound like old Depeche Mode.  There is more of a 90s new age feel to "Tribes of Dystopia" but the vocals anchors it. The last song works well enough , it's a little darker vocally. He puts more guts into his delivery to create more dynamics. I will give this album a 9, once I warmed up to and got use to the change it grew on me. It comes out June 26th thanks to Prophecy Productions. 

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Heavy Maytal- Dio's"Magica"

 By 2000, I was pretty much jsut listening to hardcore shit like Converge or at the other spectrum the Cure, so this fell between the cracks and I have never listened to this album before. Craig Goldy returns for Dio's concept album. Jimmy Bain from Rainbow also showed up for bass duties."Lord of the Last Day" is the first actual song. It is slow and deliberate, bordering on doom, but not too anchored in nostalgia. It is interesting to hear Dio reach down and pull some lower notes out. "Fover Dreams" has more of a "Man on Silver Mountain" feel to its groove. It works for what they are doing here. 

It feels like they are jamming their way into "Turn to Stone," which would work well live. There are some soulful vocal embellishments by Dio in places on this one. Not the strongest chorus, but not opposed to this song either. Part of the concept is the robot voices, adding narrative, so maybe the theme is robots vs magic? "Feed My Head" is a little darker with great lyrics. "Eriel" has more of a "Holy Diver" gallop, but it does not feel too recycled. 

"Challis' takes modern drive and applies it to a more 80s rock sound. The riff carries echoes of "Cat Scratch Fever".  There is some interesting guitar work that opens up "As Long as it's not about Love."It starts off as more of a ballad, Dio showing off the more tender colors his voice is capable of capturing while retaining power. It never takes off but stays in a more dramatic, expressive place. There is a folkish intro to "Losing My Insanity," but with that song title, it would be too muh of a Spinal Tap moment for them not to kick into metal at some point. It's not the heaviest song on the album, but it has more of a swing to it. He has obviously become aware of folk metal by this point in time. 

"Otherworld" carries the typical not quite doomy throb that his solo work is known for, then the album takes a turn. There are two pieces called reprises before launching into the 18-minute of Dio's book on tape entitled. "Magica Story" so for the purpose of this album I am not going to include it nor was I really interested in story hour myself. I will give this one a 9 as despite it's ambitions and story telling it feels the least inspired .    But Dio is singing that elevates it over most metal albums from this period.

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Heavy Maytal- Elvenking : "Rite of Disclosure"

This Italian band blends power metal with folk to create something that remains relevant in the bigger picture of European metal. Their stage cosplay is darker than what they actually sound like, which manages to not be too happy for me to struggle to get through the first song, but hopefully, there will be less frolicking ahead, and they will dig in a little more as they are riding the line right now, but it works for what they are going for in the opening track. They already have 12 full-lengths under their belt, so they know what they are doing. 

There is almost a Bon Jovi-like candence to the singer's voice, which does not sell me on the bigger picture and makes me take it when they growl about the devil in the second song a little less seriously, though sonically it all somehow comes together. Three songs in, it's clear that this touch of cock rock is just how they are, and the choruses are going to be hit or miss with me, as some of them are too happy for my tastes. What does fall within my tastes but hits me weird is the cover of King Diamond's "The Arrival" which lacks the darkness of the original; the lower vocals work, but the falsetto finds them hitting the notes but not capturing the eerie feel. It's better just not to try to cover King Diamond in my book. 

"Children of Decadence sounds like what I expect from modern folk metal, jsut enough grit to be metal. It races along and has some shredding in the mix; it is hard to tell if it is coming for synths or fiddles, but I do not care enough to click on YouTube, as at the end of the day, it almost sounds the same. You can hear how both King Diamond and Cradle of Filth continue to be influences, with a more theatrical twist to what goes down. The ballad "Man of Iron" confirms that he can sing, but offers little else. "Salt on the Earth' closes the album. The vocals remind me more of Venom, but the song itself is not that raw. It's ok a little different than the rest, so they are not boring, though falling in the middle of the road when it comes to heaviness, if that. I wish it were darker, but if you are a teenager who likea folk metal, then this is a must. I will give it an 8.5. 

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Truck Violence; "the Weathervane is my body"

 

These Canadian hard-core kids are venturing further into noiserock in their sophomore release, which finds a more angular dissonance steering the songs. The vocals are monaded and howled, as they steer the boozy sonics with a precise ugliness to create something beautiful. Some moments might not be as overtly metal as where a band like Chatpile, who crosses over into sludge, goes, but could have a similar appeal.  It's not until the song "Completed By Christy" that they dip back into their more melodic side with the hints of folk and country music peppered in. At times, this reminds me of a band like Iceage, who gradually expanded beyond their punk roots

 They more fully commit to this kind of backwoods twang on "House Caught Fire." "New Jesus" is pretty dynamic in their approach, with a more explosive lead into what might be considered the chorus, which is not far removed from Black Flag. It ebbs and flows between the more melodic guitar riff and the dense din of guitar. There is less blending of their folky side with the more intense weight of what they are doing on this album, but it is still an interesting listen, certainly heavier than their first album. But they do switch gears by pulling out a banjo midway into "Your name, it's waiting". This blending leads to a more memorable riff that answers this shift. 

The riff rings out and hammers you in equal measure on "Stomach as a tower..." with things not breaking down to a more atmospheric introspection till midway in. "Gerard, be quiet" takes the time with a strum that contemplates rather than confronts. "Kindly Wash Yourself" opens in a more subdued folk and builds into something that brings to mind a 90s indie band like Sebadoh. The chords ring out with an effective ache. What they do on this album is a continuation that works, but I am going to give it a 9.5, as there is something about the first album that made it hit with me a little more, but this one might just need to grow on me. Out June 26th on the Flenser

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Heavy Maytal - Dio- "Angry Machines"

 

In 1996, my taste in music leaned more toward industrial music like Skinny Puppy or heavier death metal, so this one slipped under my radar when it came out. It's heavier than the previous album. The opening track has a darker, more deliberate crunch. Seven albums in, this would be the last to feature Vinny Appice on drums. It flopped commercially as things were being steered in the direction of White Zombie and Marilyn Manson, so traditonal metal was falling between the cracks. To Dio's credit, he is not layering the vocals to sound like Alice In Chains or deviating from what he does, just producing it to sound heavier. The more thrashing "Don't Tell the Kids" is not the best choice to deliver this, but it doesn't suck, as these wily vets still know what they are doing.

"Black" has a little more of a staccato bounce to its groove that reflects the 90s. Dio also carries a little more of a snarl. But it's not like he was trying to be Korn. Jeff Pilson's bass adds more bite than he used to use in Dokken, for sure. They return to a heavier doomier tone for "Stay Out of My Mind". Thanks to the production choices, Dio's vocals glide with a smooth, eerie quality over the music. Midway into the song, things take a bizarre atmospheric turn.  "Big Sister" has a more modern metal stomp. Dio's vocals are similarly handled in the studio as was done on the previous song. "Double Monday" blends the punchy grit of the riffing with more melody.

"Golden Rules" is not as focused as the previous song, as the guitar falls back into a palm-muted shuffle for the verses. The chorus does not take advantage of this approach to let it explode more. Some cool, darker moments slither in the transitions. I  like the darker mood that opens "Dying in America," and the verse riff is pretty cool.  His voice is given space in the mix. "This is Your Life" closes the album. It's a ballad that is doesn't suck but is not his most inspired song, either. Overall, this album was a pleasant surprise, and there are some cool grooving songs on here that reflect where metal was at, and  to show how Dio remained sonically relevant. I will give it a 9.5  

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Heavy Maytal -Evergray : "Architects Of A New Weave"

 

Swedish progressive power metallers Evergray have been at this for some time now. Their 2004 album "Inner Circle" was the last I gave a listen to, and it was a little too bogged down in the conventions of the genre to keep my interest, but things have changed. The guitar tone has grown denser to compete with the sound of modern metal. The singer and keyboardist are the only two members left over from those days as they now have the drummer from Shining, and Bassist from Therion in the fold, as well as the guitarist from Scar Symmetry. There is a heavier double bass attack bridging things, and the vocals might still be dramatic, but keep things in a more melodic and brooding direction.

On a song like "Heaven" you can hear the soulful nuance in his voice, but there are fewer Deep Purple vibes. When this sort of things goes wrong and do not infuse this level of balls into things, it ends up sounding more like Europe, which is a plight they have avoided this time around. The songs are also not just bookends for guitar solos, though there is no lack of them. "The Script" is more melodic, though it avoids becoming a total power ballad. It finds a big dynamic punch on the chorus to create a more anthemic feel. At times, it reminds me of Iced Earth in this regard, but not as dark or gritty, though darker than the last time I heard them. 

The pace picks up a little on "Leaving the Emptiness." It's a little more upbeat mood-wise. Almost making me think of Christian rock. In fact, I had to confer with the rob0-lords of AI to make sure this was not the case. Just because something is too happy for my tastes does not mean it is a Christian band, lesson learned. "Longing" is a more emotional outpouring of melody that finds them well adapted to today's musical landscape. With strong, almost poppy hooks. Unlike many prog-leaning bands, they have learned that restraint is your friend when it comes to songwriting, and leaving space for the vocal is crucial. Lyrically, it's a little more hopeful than what I prefer, but not everyone is a depressive maniac. 

Mikael from Dark Tranquility lends his voice to " A Burning Flame." To their credit, it's working off the epic 80s metal sound, though it feels more like middle-of-the-road mainstream metal, but it's well done, and the vocals continue to pull their weight. "Call of the Lions" falls closer to what a band like Kamelot does, but with a little less melodrama. The guitar solo to this is very melodic.  "Chains of Shame" keeps the emphasis on a modern metal groove and the melody that is locked in, though it doesn't feel all that heavy to me. The album closes with "The Prophecy," whih is both spacious and grandiose. The vocals soar around what feels like the body of the song. Overall, this is a great improve to the band who learned to become relevant I will give this a 9.

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Heavy Maytal- Dio's "Strange Highways'

One of Dio's heavier solo albums, where he carried the energy from the "Dehumanizer" sessions into this one. The staccato riff in the verse of the opening tracks reminds me a bit of "21st Century Schizoid Man," but the song rocks out pretty hard. Tracy G's playing on "Firehead' makes this feel almsot more like solo Ozzy. The opening track sets the bar pretty high for the rest of the album, but Dio proved he can still be relevant in a post-grunge world. The title track features a great vocal performance from Dio as the verse riff crunches into a doomy territory. It is darker than the previous song. Jeff Pilson's bass crunches through to bring more weight to the riffs. 

According to Tony Iommi "Hollywood Black " does, in fact, go back to the session they did with Dio, as they demo'ed it out, but did not use it, so Dio resurrected it for this album. It works well enough. At this juncture in the album, he is beginning to get back in his formula when it comes to marching metal anthems. This can also be heard on "Evolution," which has more of a 90s groove to it. "Pain" adds more urgency and passion to the verses of "Pain". There is a dark power-ballad dynamic in place for "Give Her the Gun." I also enjoy Dio's more melodic moment, as his softer vocal is more nuanced. 

"Blood From a Stone' is a more straightforward rocker. The first song that has felt like filler to me, but even then, it works for what they are doing. "Here's to You' is another fast-paced rocker, less rock n roll and more metal than something like "We Rock" that is similarly paced. The last song is less memorable for some reason, it works, but doesn't hook me in. I will give this album a 9.5, so not quite perfect, but he benefited from this reset, and this is an underated album that put him ahead of most of his peers during this time.

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Heavy Maytal- Dimmu Borgir : "Grand Serpent Rising"

 One of Norway's biggest bands, and one of my faves, they have picked up where they left off with the last album, the first actual song that is not a dramatic symphonic-tinged intro."Ascent" has just enough blast beats in the periphery to remind you they were once a black metal band, but that is far from the primary focus. The flash and finesse of the guitar solo on this solidifies their roots in classic metal. There is a similar shifting of arrangements that we heard back on "In Sorte Diaboli". What is more interesting is the darker, more melodious atmosphere to "As Seen in the Unseen." The drumming that explodes when they build it up as you expect them to continues to excel as Daray is still behind the kit. The creepy spoken vocals with heavy effects are, of course, making an appearance. 

"The Qyrptfarer" comes clsoer to bringing the type of hooks that have not been at the forefront since "Abrahadabra." That is not to say they are not bringing the big sound you want from them. It's tradmark grandiosity in peak form. I do like the creepy descending passages that sound like they are from a haunted house ride. "Ulvgjeld & Blodsodel" or 'wolf debt blood guilt' was the first single, which features a return to vocalizing in Norse again. It brings the big symphonic bombast that has become their calling card. With a very deliberate marching riff as the backbone. Choral chants and folk sounds buried deep in the mix add needed color. 

"Repository of Divine Transmutation" offers a respite from the thunderous riff churning for a minute before cranking back up into a more blackened sentiment, for a few seconds, but they wrote the book on how to make this dynamic so muh so that they took themselves out of the genre. The guitars are catchier here. Shagrath is doing nothing new, but refining what works for him. He makes declarations with a snarl more than outright screaming or growling. Majestic guitar harmonies chime in. The speed up in bursts makes it a brief stab to accent what they are doing. "Thus, An Alchemist Remembers" opens with a more traditional metal riff and shifts into the brooding symphonic metal that dominates this album. There are passages of clean guitar to give some breathing room. 

"Phantom of the Nemesis' stands out for me as it works off a different throb that is bigger and darker. The guitars feel more nuanced on this one. Ironically, Shagrath is snarling about how nothing is new under the sun, when this is another song that sounds like it could have been on "In Sorte..." but that was one of their best albums, so it is hard to argue against this. They speed along similar lines and drape "Recognizant" in similar sonic colors as what they have been on the other songs thus far. Perhaps this just needs to grow on me. "At the Precipice of Convergence" is more memorable than the previous song, though it takes its time winding around the intro. There is more of his croaking talking on this one. The more vampiric talking also shows up, which is fine by me to switch things up, but it does feel like they are very deliberately peddling their trademarks. The guitar solo is a bit chaotic, which is the most different element on this one, but it falls into place, as you want it to. 

Once you come to terms that ICS Vortex is not sweeping in to save the day with a big operatic hook, then the bar is pretty low for what they can deliver, which is creepy riffs that are catchy, and they deliver this with "Shadows of a Thousand Perceptions". They create more breathing room going into the last song, wisely opening with a very steady drum beat.I was not expecting it to be an instrumental, but at least it's a change of pace and very melodic. I woill go ahead and round this up to a 10, as it's better than the last album, and delivers what they know fans want, even if it feels a little formulaic in this regard, I think it will grow on me.

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Heavy Maytal -Dio's "Lock Up the Wolves"

It's been thought that this album is where Dio fell from his peak popularity. I remember being unsure of the line-up change spearheaded by the inclusion of 18-year-old Rown Robetson, who has a blues-rock feel to his playing rather than the more overt style. Yngwie keyboardist Jens Johansen and AC/DC drummer Simon Wright were also part of this new line-up. The main difference lies in the guitar tones, as Robertson is a great guitar player with ample chops displayed in "Born on the Sun".  It plays off many of the typical Dio tropes, but they still have gas in the tank. 

"Hey Angel" was the lead single, which leans more in the direction of where commercial metal was going, particularly with the layered vocals on the chorus and the drum sound here. But the songs is pretty good, and hold up to Dio's standard. After this, Dio would need to get his batteries recharged by reuniting with Sabbath for the heavier "De-humanizer" album, after which his solo albums would be more on track with where metal was heading, but when it comes to the transitional records going into the 90s, he fared better than many of his peers, though this is a far cry from "Painkiller". 

"Between Two Hearts" follows the Dio "power ballad' formula with the softer melodic intro, but this time a blues-based verse that modulates into a creeping palm-muted groove that snakes around the sparse almsot doomy drumming. It's his best vocal performance so far on this album, as it is very soulful. There is some interesting guitar playing going on in "Night Music." They default to the more typical dynamic ebb and flow on this one, but it still works thanks to Dio's magic pipes. I think what I sensed back when this came out in high school was that it wasn't as heavy as what he had done up to that point, though I saw him on this tour, and it worked for me live. 

While the lyrics are a little silly, the title track has to be my favorite song on this album, as it's the one I have returned to the most over the years, thanks to the vocal hook on the chorus. It is also darker and heavier than the previous songs. The bluesy swagger of " Evil on Queen Street" benefited from Rowan's playing. A song like "Walk on Water' works in this context, but it goes to show that if Dio had not done a reset and kept making albums, he would have gone to the well too many times going into the 90s. "Twisted" certainly helps to cement this as Dio's most blues-based rock n roll album.  

"Why Are They Watching Me" is more of a return to form with a great vocal performance from Dio, despite revisiting many 80s metal tropes. "My Eyes" closes the album. The verse riff is more like classic Dio before it ebbs back down, but his softer vocal performance is pretty stunning, so no omplaints about this formula. Which could apply to this album as a whole, sure it's a shift in a more rock direction, but when I was combined with Dios raw vocal talent and Rowan's enthusiasm, they made this work, so I will round it up to a 10, as the songs that come close to fillere were better than where hard rock was heading during this time. 

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Heavy Maytal- Warning : "Rituals of Shame"

 

The doom band from 40 Watt Sun's main man, Patrick Walker. The most striking thing is the haunting plea of his vocals, which glide over the depressing, lingering instrumentation. Everything feels very organic; it is mixed in a manner that gives the vocals more than enough room to do their thing. The guitars are not loaded down with an overabundance of gain like most doom bands, but they ring out with despair, while the minimal patter of drums keeps things moving. With their first album coming out in 1999, it is clear that this band was a strong influence on what Pallbearer does. 

While they are paced at a depressive tempo, I would not call this funeral doom, as it's not dark in the same way, but it does drift close to that sound. Lyrics also play a much more important role in the songs than the heavier strain of doom. He is a great lyricist, so this only plays in the song's favor. "Stations" finds more melancholy being poured into your ears. It slowly begins to build momentum while staying at a very speculative wandering tone. Lyrically, he is expressing wanting to escape from the outside world, which is certainly relatable. 

It's fitting that a song titled "Night Comes Down" would move in a darker, doomier direction."Landing Lights" finds them sinking further into the despair alluded to in the previous song. The pleading purity of his reedy tenor continues to impress. If he were singing Irish folk music, you might not blink, but here the results are more dynamically beautiful in the manner it provides contrast. The last song "Teacher" finds a similar languid, depressive feel drift over the song. The vocals continue to flow similarly to how they have been. The droning lathargy of this one does create a dynamic uncertainty by the time you get to the album of the album, but it still works. In some ways, it makes me think of Ian Anderson singing for Black Sabbath. The melody this winds around to reminds me of "Fade into You" by Mazzy Star. Which is a pleasant twist of fate. I will give this album a 10 as it's one of the best doom albums I've heard this year so far, as it is unique in its melodic sensibilities. This album drops June 19th on Relapse.

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Third Realm : "Escape Sequence"

 

This project brings a hard-hitting take on industrial's more EDM side. This does not mean they are compromising the aggression; in fact, the opening track is hitting harder sonically because it is not falling back into 90s nostalgia, but brings the kind of uncompromising attitude that industrial music used to have before too many of the artists got preoccupied with blending into safer mindsets, to not upset the fragile younger fan base merging.  This album goes back to not giving a fuck. They are not always in your face and confrontational, allowing for some ambaince and mood to a song like "Drain Me". This might appeal to the more dramatic old school dark wave fans, as it blends with future pop sensibilities. 

"Twist the Knife" takes futuristic synths and bleeds the desperation and melancholy from them to accompany the very emotional vocal preformance. The yare not so preoccupied with capturing the synth sound from a certain era that they forget about songwriting, as the vocals have a great deal of purpose in these songs. At times, they flirt with a more Depeche Mode-like feel. There is a slow build to "By My Side" that lures you out onto the dance floor. Some old-school techno melodies haunt the background here. Things get darker for "the Damage Has Been Done," which, much like the opening track, highlights what I feel sonically is the strongest side of the project, though I understand the need to have the more melodic songs to provide a dynamic contrast. 

"Leech Parade" does not employ beats that hold the same level of malice as some of the previous, more industrial-leaning, but the heavily effected vocals pick up the slack in this regard. It's another example of how the attitude of the song provides more of the punch. It might be the album's darkest song yet. There is more overt thump to "Compliance Pulls the Trigger." The vocals shift to a higher pitch, creating a different attitude and more of an early 2000s feel as it crosses over into "goth". "Rockets" shifts the mood almsot to the other end of the spectrum with a more Pet Shop Boys feel. I appreciate the dynamic range it introduces. There is still a lingering melancholy to this whih works for me. The beat keeps it's it from becoming too much of a ballad. The deeper you get into the song, the more you can hear the Depeche Mode influence returning. While I enjoy the two remixes of 'The Damage Has Been Done," I am not including them in this review for the purpose of scoring this album. 

With that said, this album surprised the hell out of me and impressed me, a feat when you consider how much dark music I review over the course of the year. There has not been anyone else who has dropped a club-ready set of bangers like this, so I am going to give it a 9.5 and see how it grows on me, if you are into 'goth" laced edm with a future pop sensibilty to the production then this album is for you and even if you don't think you are into that kind of music then you should still check it out as it has gone above and beyond, and are just good songs genres be dmaned. 

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Heavy Maytal- Dio's "Dream Evil"

Since I have already reviewed 'Sacred Heart" just last year, I am skipping ahead to this album, which I wore out when it came out. It was darker than bands like Twisted Sister and Judas Priest were doing at this time. Craig Goldy replaced Vivian Campbell on this album, which factors into a shift in sound.  The opening track is pretty heavy on guitar solos and your typical Dio uptempo opener. But lyrically brilliant as he asks questions like "do you come alive with neon kills the sun shine?" Why yes, I do. The title track is one of his all-time strongest songs. The verses are pretty typical for him, but the chorus is perfectly produced and performed. There are moments in "Sunset Superman" that remind me of his Sabbath years, though the chorus is certainly the kind of anthem Dio was known for cranking out. 

Dio's take on power ballads was different from others from this era. There was a more mystical atmosphere to them that can be felt in the languid melody that leads off "All the Fools Sailed Away".  In some ways, it is not unlike some of Ozzy's work in this regard. Though this feels more menacing when it kicks in on the verse. Lyrically, there is also more depth than Ozzy's solo work, though the subject differs greatly. I had totally forgotten about the keyboard solo leading into the guitar solo on this song. 

"Naked in the Rain" sounds like it could have been left over from the "Sacred Heart" sessions. Craig Goldy's most impressive playing is on "Overlove". "I Could Have Been a Dreamer' shows the more emotionally sentimental side to some of Dio's anthems. It is consistent with who he is, but balanced out by songs like "Faces in the Window". The last song, "When A Woman Cries" has more groove to it and despite the shredding leans towards the shadow side of Dio though the darkest song on the album. I will give this underrated album a 10 as it has held up over the years, even with the synth prescence carrying over from "Sacred Heart". 

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Heavy Maytal- Orga Mecha : "Humanity.exe"

 

This California band offers a sci-fi-themed take on power metal. The synth doubles up the guitar part to help paint this picture. Vocalist Melissa Pinion of Stygian Crown uses her head register more than expected to capture the metal yodel of old. In and of itself, this is not the most original thing I have heard, but they stir the elements in well enough for this to work. They also have all the shreddy riffs you might want from this kind of thing. When belting from her chest register, she does not have the power of her male counterparts, but perhaps that is just this song. 

The riffs are not just trying to be Judas Priest but also embrace the groove metal of the 90s. The more emotive tone her voice shifts into for " Idols and Gods" works better as it paints them less into the nostalgia corner. The chorus strikes me as a little underwhelming. There is something odd about her vocal style, like she sings behind the beat to create a bluesy feel at times. The synth accents are a juxtaposition to this. It is also a good example of how a mix can shift the entire genre of a sound, as they synth dominant mix makes it feel more prog. 

"Steel Mandible Swarm" has more of a rock feel. I think the vocals need more effects on them to blend in more with the synth sound.  At timeS like the varied influences being brought to the table gel better in some places. "Swords Held High" has a riff that carries a similar swing to "Walk."  When they lean in a darker direction, it works better than when they don't, but they are inconsistent in this regard. The second half of the song is loaded with shredding solos if you are into that kind of thing. There is more of an 80s synth sound applied to "The Persistent Age". Her vocals float over the songs rather than being punchy and locked in to create hooks, so they feel awkward in places. The vocals could have used more love in post-production. 

"Lathe of Heaven" has a more powerful chug to it. But the song loses focus some where around the guitar solo. So far, the sci-fi elements have been marginal, but they come more to the forefront on " Let This Be Your Final Battlefield." The last moves with more drive, though there is a great deal going on, but it also winks in the sci-fi direction they were trying to push this album toward. I appreciate the effort, even if the execution and production is spotty in places, mainly with the vocals, so I will give this one a 7.5. If you want weird proggy power metal and not too picky about vocals, this album is for you. 

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Heavy Maytal -Dio's "the Last in Line"

 

The 1984 sophomore album feels more aggressive than it's predcessor, with more uptempo proto thrashers balanced out with Dio's commitment to melody, but a song like "I Speed at Night" almost feels like Judas Priest, but with flashier Motley Crue-like drumming. The anthemic opener 'We Rock" finds strong vocal melodies flowing over the faster riffing, driving it. The title track is one of the most recognizable songs outside of Dio's fanbase. Despite being more dynamic and melodic than "Holy Diver", his previous hit is just too infectious to be beat, despite this being the highest charting album for him.

They reach a more deliberate middle ground with "One Night in the City." This is one of the rare lyrical moments that brough things into the more modern urban landscape, despite some of the medieval metaphors that he could not shake. The guitar gives him more room to flex his powerful pipes on this one. It's the first song that I really noticed the synths on. Vivian Campbell has established himself as a guitar hero on this trip to the studio. "Evil Eyes" is another uptempo rocker that follows what we now know of as the typical Dio formula, but it was fresh when this album came out. 

"Mystery" is a more radio-friendly anthem that sounds like it was the precursor to 'Hungry for Heaven". It's catchy enough, so it works for me.  "Eat Your Heart" is more deliberate and powerful. Lyrically mroe typical of the times in certain ways, but it was more fun in those days, so there is that. "Egypt" is a darker song, with lyrics that encapsulate what Dio does. I will give this album a 10, it's a great metal classic. 

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Heavy Maytal - Iron Savior : "Awesome Anthems Of The Galaxy"

It is no mistake that this German power metal band sounds like a more pumped-up version of the Scorpions. This album is a collection of 80s pop covers that the band is tackling. It opens with "Fame" the dramatic Irene Cara anthem, which they take in the expected direction, while being true to at least the vocal, along with the layers of backing vocals. The Mike and the Mechanics song "All I Need Is a Miracle " lends itself to their bright and over-the-top take on metal. There is a magnitude of harmony guitar layers, though the verses stick to what made the original work, by giving the vocals room to breathe. I prefer what they are doing here to the previous song.

Pat is pulling the vocals pretty well for 62, though he is getting some love in the studio. I am not sure Jermaine Jackson's "When the Rain Begins to Fall" needed to be covered, though it lends itself to this kind of treatment well. They certainly have a thing for "Flashdance," as there is also a cover of "Maniac" here. It's a better song, so of course, that results in what they are doing here working better. As a song, it's darker than the first few songs they have chosen, while working off the typical 80s writing formula. They don't get too carried away on the chorus, so it works better than what we have heard so far on this album. 

The problem with this style of metal is that it often sounds too happy and does not carry enough danger and darkness to it, making it sound less heavy than other approaches to metal. This can be heard on Aha's "Take On Me," whih has a more haunting sound than their version which finds the melody leading into the verses to become to hipper. When it gets to the chorus, you are gone, you are expecting the note to be nailed Judas Priest, and instead, the power is produced out of it. I like the original, so this is a little bit of a disappointment, but they tried with what they are working with. I do not have any emotional connection to Frankie Goes to Hollywood, so their version of "Relax." does not really leave much of an impression on me, though they are clsoer to the original than expected, and have a chunky riff thrown in for good measure. 

Jesus Christ, what is the deal with their fixation on 'Flashdance" as we also get a version of 'What a Feeling." His voice does not feel as layered in effect on this one. I never really cared about the chorus of this one, but they pull it off. Then they go into a power ballad for "Against All Odds." This finds the drums driving it more than the Phil Collins version; this tempo does not allow for the vocals to take their time and explore the nuance of the original. Instead, it comes across more like Sammy Hagar-era Van Halen. I hate Journey, so I went into their cover of ' Seperate Ways" expecting something along the lines of Dream Theater. What ends up happening is not that bad; in fact, it is one of the album's heavier moments. But now I can not unhear the Sammy Hagar element. 

The song selection begins to improve with the Pet Shop Boys 'Suburbia." Though with the wailing guitar solo and the vocals, it is hard to trace back to the original until the chorus, and even then, the more aggressive drumming and soaring vocals obscure it. "Here Comes the Rain Again" has a lurking darkness in the urgent delivery Lennox brought to the original; the drum's momentum continues to push the tempo away from it.  They make some poor song choices that can't be redeemed, then use a similar formula on them or make them worse by pushing the bpm up on things like "She's Like the Wind" and "Forever Young". 

"Since You've Been Gone" sounds more like Queen here. A little too happy for my tastes, but it's a well-done cover of a better song rather than some of the turkeys they should have left buried. Blondie's "Call Me" is heavy in it's on way for new wave, but they work off this, though it's not as dark as the original, but keep the drive more appropriate It's well done but often to upbeat and celebratory for my taste so I will give this one an 8. 

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Trelldom : "...by the Word..."

 

This project steps even further into a bleak sea of chaos and further from their black metal beginnings, which is fine. It's more dynamic than black metal tends to be, so much like Ulver, they outgrew the bounds of the sub-genre. They do play at a more aggressive uptempo speed on 'This Moment the Life of a Memory, but there are few traces of the metallic roots of Gorgototh. Kjetil Moster, who played sax on the last album as a session musician, is now a full-fledged member of the band, and his presence can be felt muh more on this album. On this song, Gaahl just mutters his way through in a low voice, but the first two songs showcased his continued vocal growth, as he takes on higher, lighter tones. 

The title track takes a minute to churn through the dense atmosphere. The eerie ringing of the chords will appeal to black metal fans even in the absence of blast beats. There is an ominous rumble to it that is dynamically aggressive enough to get the point across. The saxophone adds to the din with its wails. Gaahl finds the space to put his voice in this storm of sound, which is a feat. "Folding the Mind" finds them reating more space. The vocals have a more solemn doning chant to them. It feels a little more like a jam, even with some restraint being applied here. 

On "The Word-Choose to Vanish," the drums hold the atmosphere together long enough for the guitar to take the reins. The vocals are more of a low texture, as things build like a free-jazz jam. Things get really murky with the ambiance it sinks into. They get more intense on the buzzing build of the last song. The depressive vocals have more purpose here. The saxophone seems intent on causing chaos, but it works for what they are doing here.I will give this a 9.5 despite this not being as saong focused a the previous album, as I respect what they have created here, and the willingness to explore new places.  

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Heavy Maytal- Dio's "Holy Diver"

Ok, now it's time to dig into Dio's solo album. Sure, Dio is also what he named the project, but it's clearly his band. This album is perhaps his best. I guess we will uncover that as I tackle his work, the only album I won't be reviewing again is "Sacred Heart," which I already covered last November. "Stand Up and Shout " is a faster, more aggressive anthem that serves as a suitable anthem. His calling card for his solo work is, without a doubt, the metal classic and title track.  The vocal is perfect, the lyrics mysterious, though he has gone on record saying "ride the tiger" which comes from a Chinese proverb that states 'he who rides the tiger is afraid to dismount. Not sure where the stripes being clean come into play. 

"Gypsy" is more of a straightforward rocker that works off its energy. Dio belts it out with more grit but the vocal hooks are not as memorable as the first two songs. "Caught in the Middle" has more groove and gives his vocals a clearer space to occupy, thus a better vocal performance from him. It is more upbeat musically and the chorus more melodic. He adapted to the 80s well. "Don't Talk to Strangers" is darker , is more subdued vocal tone sets this up for when things take dynamics shift that is foreshadowed in the lyrics. This shift makes it even more sinister. "Straight Thru the Heart" sounds like it could have been written during his Black Sabbath days. The melodic middle section is a staple in the Dip songwriting formula, but it also showcases some nuance in his voice.

It's cool going back and listening to these albums as I was 12 when I first got this album, and had almost forgotten about the song 'Invisible' which taught me how melodic metal can be while still packing a punch. Lyrically there is a lot going on here with the story it tells , which Google might not want me to lay out in detail for you here with it's abuse themes. If the keyboards were not present on "Rainbow in the Dark' were not present, I might like it more. Dio's vocals are great but the synth sound ruin the chorus for me as it makes it too happy.  

"Shame on the Night' has a darker creep to it. His lyrics are great , and vocals runs remarkable. This album is a classic but I am going to give it a 10 which is a perfect score, but it does not quite hit the 11 mark like some of Maiden's albums, but that does not mean it's not in the upper tiers of classic metal, someone the sound might just be a product of the time but it's flawlessly performed. 

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Heavy Maytal- Savage Master/ Mystic Storm : "The Power / Wandering Time"

 

This split mini-album from these two bands is set firmly in the days of yesteryear. Savage Master is no stranger to us here, as I really enjoyed the last album, "Dark & Dangerous," that found them moving in a darker direction, but it will be my first time checking out Mystic Storm. Savage Master's first track is more anchored in rock n roll and high on high energy. "The Last Kiss" is similarly paced, though with a marginally darker mood. There are some more deliberate passages. 'The Power finds them locked in a more midtempo headbanging chug that is not unlike Accept or the Scorpions. The pace picks up on the chorus. The songs are all very compactly arranged; they do not break any new ground, though they might lean in a more rock direction. 

Russian band Mystic Storm starts off the first of their three songs with spooky ambiance before, going into 80s worshipping proto thrash lead by what might be considering King Diamond like  falsetto wailing if it was not coming from a woman which makes it a blended register soprano jump, since it's easier for a woman's vocal chords to flip over into this . I like the melodic guitar passages injected in their. I might actually like them better than what Savage Master was doing as it's darker in a more Mercyful Fate direction. The title track to their contributions has a more deliberate menace,. It does slowly build into more of a gallop the time the vocals come in. I am also picking up an old Scorpions influence. 

The last song from these guys "Into the Abyss" has a more Maiden like harmony guitar run, with a very 80s palm muted riff driving the verses. The chorus being darker and more melodic. The melodies she uses a more darkly powerful than what we heard from the more rock approach Savage Master used. It is kinda of weird to rate an album like this but the best way to think of it is that I would give Savage Master's songs a 9as they were a well composed representation of what they do as a band, even though it's a snap shot of them moving in a more rock direction, they did this in a manner that is true to who they are. With that said Mystic Storm's three songs would get a 9.5 as they made we want to search out their other music and dive deeper into who they are. This drops on  Shadow Kingdom June 24th. 

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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.  

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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. 

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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. 

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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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