Review; Five Finger Death Punch - The Wrong Side Of Heaven And The Righteous Side Of Hell Vol. 1 (Deluxe Edition)

Track Listing;

1. Lift Me Up (Ft. Rob Halford)
2. Watch You Bleed
3. You
4. Wrong Side Of Heaven
5. Burn MF
6. I.M.Sin
7. Anywhere But Here (Feat. Maria Brink)
8. Dot Your Eyes
9. M.I.N.E. (End This Way)
10. Mama Said Knock You Out (Feat. Tech N9ne
11. Diary Of A Deadman
12. I.M.Sin (Feat. Max Cavalera)
13. Dot Your Eyes (Feat. Jamey Jasta)
14. Anywhere But Here (Duet with Maria Brink)


Five Finger Death Punch are another of many modern metal bands that divide opinion almost completely among metalheads. Add onto that factor the idea of a double album, which is always a risky move, and this band is not going out of its way to make friends. At eight years into their career, maybe it was time to take a chance, but it's a good thing they're starting off with a little help from their friends on part one of The Wrong Side Of Heaven And The Righteous Side Of Hell.

As far as album openers go, they don't come much better than the one heard here. Are FFDP a technical band; no. Are they progressive or experimental; no chance. What they are is a bare-bones, no-frills modern American Metal band that writes some cracking tunes. 'Lift Me Up' is one of the best they've written in their career, and with a great vocal appearance from Rob 'More-Metal-Than-A-Lead-Bullet-Belt' Halford of Judas Priest, the album hits the ground running. It's a catchy tune that you'll listen to and sing along to again, and again...and again! (You get the point!)

'Watch You Bleed' starts softly, but it doesn't last before the steam-train rhythms and riffs fly in. On this album it's already apparent that singer Ivan Moody is on fine vocal form, showing off the higher part of his singing range. Zoltan Bathory and Jason Hook are as functional a guitar duo as ever and Jeremy Spencer's drumming, while sometimes simplistic compared to other metal drumming, works in the context of Five Finger Death Punch. This isn't music for serious musicians, it's music for people that want to have a good time beating their chests and stomping around the pit. Some could call it stupid if they so wished but they'd be missing something, in my opinion. The ballads may seem a tad generic, such as 'Wrong Side of Heaven', but while the song writing involved isn't by any means breakthrough, there's something in Ivan's voice that sells it.

'Burn MF' could be accused of being a lazily written song. It reeks a little of Dope's 'Die Motherfucker Die' at the chorus. However, it's a good, fun tune with a good riff and some pummelling drums. The rhythmic quality in the verse's vocals shows Ivan Moody's background from much-forgotten Nu-Metal group Motograter. It's catchy, but while fans will still like it, it could be too derivative.

'I.M.Sin' is another rager, with the familiar feeling of 'fuck you' that litters much of their back catalogue. There are two versions of this song on the album; one just with the band, and the other featuring Soulfly legend Max Cavalera. Who sings his parts in Portuguese, adding a different flavour to the mix. Hearing Max's voice is always a pleasure, and as such the version without his contribution is inferior. 'Dot Your Eyes' is another song where this is the case, but instead features Jamey Jasta of Hatebreed on the second version. It's also my favourite song on the album.

'Anywhere But Here' is another ballad, another song that there's two of on the album. Both feature In This Moment frontwoman Maria Brink, but the second version is a full duet version, rather than the first in which her voice makes a scarce appearance. On paper, this collaboration looks odd, but on record both voices accompany each other well. Lyrically it's a more emotional side to FFDP that might seem out of place, but at least it shows another side to the band that some might find unexpected.

'M.I.N.E (End This Way)' is a low point on the album for me. A heartbreak ballad that has no chance of equalling the band's breakthrough single 'The Bleeding' and while I'm all up for a band putting a bit of emotion into their music, this song just doesn't do it for me.

Major talking point on the album alert; 'Mama Said Knock You Out'. An LL Cool J cover seems the least likely thing to work on a modern metal album. No doubt it'll make many people spit bullets in disgust, but here's the kicker - it's great! With another guest appearance from American rapper Tech N9ne, this tune combines the fist-to-the-face assault of bullish modern metal a la Pantera or Hellyeah with the rap swagger that the song calls for. I'm speaking as someone who's not a big fan of rap, but I really enjoyed this song, which would be a beast to hear in any metal club.

'Diary Of A Deadman' is a strange way for the band to end the first half of the double album; it's an odd song for this band; With it's very introspective spoken-word lyrics that almost sound like Ivan's written his own eulogy. It's unsettling in a way, with how transparent and honest the lyrics are. The album closes after this very soulful tune. I find it hard to reckon what most people would make of it as a whole song, though the guitar solo heard on it is a great one.

It looked like Five Finger Death Punch had made a rash decision when they announced this double album, but as far as the first half of the album is concerned, it's solid. There's the odd dip in the song writing, and it's not exactly original stuff, but for those wanting their Death Punch fix that maybe felt a little let down by 2011's love/hate album 'American Capitalist', this album will more than suffice. I, for one, felt that 'American Capitalist' was a real let-down, with the odd solid song that couldn't save it, but now the love I had for this band after 'War Is The Answer' is peaked again.

In terms of accessible, fun metal music, its one of the best releases of the year, and will no doubt count as another step on the band's path towards arena headlining glory. Whether you like it or not, this band will get bigger yet, and detractors wont really make a difference to that.


Rating: 8/10

Review; Rhapsody Of Fire - Dark Wings Of Steel

Track Listing;

1. Vis Divina
2. Rising From Tragic Flames
3. Angel Of Light
4. Tears Of Pain
5. Fly To Crystal Skies
6. My Sacrifice
7. Silver Lake Of Tears
8. Custode Fi Pace
9. A Tale Of Magic
10. Dark Wings Of Steel
11. Sad Mystic Moon


Rhapsody Of Fire, previously known simply as Rhapsody, were once among the highest echelons of the Symphonic Power Metal subgenre. Their first five records, released between 1997 and 2002, collectively known as 'The Emerald Sword Saga', formed an impressive concept series that boasted great song writing and instrumentation. They once called their genre 'Hollywood Metal', a tag which fits the band when one takes note of their almost ridiculous bombast and over-the-top flair. Theirs was a pompous yet sincere take on the Symphonic Power Metal sound that may have not gotten as much kudos as it deserved back then.

Unfortunately, the albums since then have been poor, or worse. Neoclassical orchestration gave way to by-the-numbers use of the symphonic elements that failed to set the band apart from the increasingly overpopulated pool of bands taking orchestral elements and blending it with metal. On this album there are two new members on board; guitarist Roby Di Micheli and bassist Oliver Holzwarth. With the departure of Tom Hess last year, Di Micheli stands as the only guitarist on this album. The band has not had only one guitarist since before the year 2000, when Luca Turilli was the stand-alone guitar player. This reshaping of the band might lead some people to hope that the band may get a new lease of life. Unfortunately, this isn't the case.

An overly long intro track leads into 'Rising From Tragic Flames', with a rather uninspired and understated speed metal riff at it's backbone, the over exaggeration of the keyboard elements immediately comes across as being self indulgent on the part of composer, keyboardist and last remaining original member Alex Staropoli. The singing voice of Fabio Lione, while clearly accomplished, lacks the kind of flair or impact to leave a lasting impression and is far too often interrupted by a choir assembly to really take flight or show off any flamboyancy.

'Angel Of Light' does offer Lione opportunity to sing more freely, but it's an opportunity that's wasted, and during the chorus of this song, the second on an hour long album, the cheesier-than-a-gorgonzola-factory choir becomes the element of the album that makes me roll my eyes every time I hear it. Guitar leads seem too often to be staying in a comfort zone, playing it safe with every note to the point that you could almost predict how it will sound before you hear it. It's a shame, because Roby Di Micheli is clearly a talented player, but in the confines of this album I feels that his input has been sterilised.

'Tears Of Pain' starts with a slightly more promising riff, but it's not too long before the orchestration puts a stranglehold on it; taking the spotlight and thus the punch out of the song. The same is to be said of 'Fly To Crystal Skies', which differs only that the Metal elements of the song are minimalized even further. 'My Sacrifice' starts as a typical ballad for the genre, but lacks anything to really make you remember it. At eight minutes long, that's a real problem. You'd think the band could've fit something in to grab your attention or imagination.

Speaking of unimaginative; 'Silver Lake Of Tears' and 'Dark Wings of Steel', as well as 'Angel Of Light' and 'Fly To Crystal Skies' all begin with the same bloody guitar slide. Unimaginative doesn't even begin to cover it. 'A Tale Of Magic' may stand as a stronger song, but that's not saying much, and it's largely down to a slightly faster pace and a pretty good guitar solo. It's

The sheer (and ironic for a Power Metal band) lack of power is really unfortunate. Any and all potential for demanding bombast is either drowned by the damn keyboards or is watered down by depressingly boring vocal melodies. Personally I found it rather difficult to force myself to listen to this album straight through, even after a couple of listens. As a whole, I find 'Dark Wings Of Steel' tiresome, dull and bland. Sure, the album cover is pretty neat, but that doesn't change the quality of the musical output. It's a real shame, but this definitely isn't a return to form; instead it just seems like a reminder that Rhapsody Of Fire just aren't the band they used to be.


Rating: 2/10

Review; The Defiled - Daggers

Track Listing;

1. Sleeper
2. Unspoken
3. Saints And Sinners
4. As I Drown
5. Porcelain
6. New Approach
7. Fragments Of Hope
8. The Infected
9. The Mourning After
10. Five Minutes
11. No Place Like Home


The Defiled are one of the few UK Metalcore bands of recent years that have piqued my interest. Avoiding the typical Metalcore image of clip-on fringes and skinny jeans, they adopted a darker gothic look that seems to be more akin to Marilyn Manson than Architects. Their sound, on the other hand, is more original than bands like Escape The Fate; The integration of keyboards delivers a darkness and a different edge to the Metalcore formula, and the bands clever use of staccato guitar riffs makes them more instantly recognisable from the crowd. Their 2011 album 'Grave Times' brought them to the attention of fans and press alike. Combined with their chaotic live shows and near-constant touring efforts, which included appearances at Download, Sonisphere and Bloodstock, outlined them as a hungry, energetic, hardworking band with a lot of promise as a UK prospect on the Metal scene. Earlier this year, the band's second album was released. It is also their first after being signed to Nuclear Blast Records. A greatly anticipated release; there has been a high expectation for more Industrial tinged Metalcore anthems.

Buzzing to life with a cinematic-meets-electronic wild build up, the opening song 'Sleeper' kicks in with frontman and guitarist Stitch D's screams alongside a thrashy, straightforward riff. It isn't long before a steadier, pounding riff comes in, with some eerie keyboard work from The AvD. All the while, new drummer Needles makes his mark upon the overall fashion of the band. The chorus has all the jump up and down and sing-along appeal of the songs on 'Grave Times', and the breakdown that follows it is laced with more great atmospherics that define their sound so clearly. Lyrically, the dark, pseudo-disturbing themes are immediate, with Stitch D screaming "I am the sleeper trapped in the cell that haunts me", delivering us into the darkness.

The production used on this album is very bass-heavy, with the samples and atmospherics wrapped around the overall sound of the guitars and drums. The vocals take the back seat somewhat. They're still there to make out and are completely intelligible, but I can't help but feel that (upon first listen) this could take away from the impact of the band's brilliantly crafted choruses, such as the one on 'Unspoken'; an absolute gem of a song that would get any crowd started, whether on a headline tour, or an opening slot of a festival morning. The riffs in the song are just downright delicious, too. After a few listens, the slight niggle with the production is forgivable, you get used to it I'd say. It's an interesting approach from Jason Suecof, to make the Industrial element of this band the focal point, and it does assist the band in showcasing how different their music is from general Metalcore.

'Saints And Sinners' opens in such a way that you could mistake it for a Fear Factory song. The incredibly fast drumming shown also supports this. Here The Defiled show that they can put their Metal chops to the grind as well as any other young band, if not better. The vocals are on point, with the screams sounding as solid and energetic in their execution as we've come to expect from witnessing the band live. The AvD turns up the creepiness level on his contributions with distorted spoken samples and a tolling bell after the breakdown. His backing vocals are well placed and compliment Stitch D's, especially the deeper growls alongside the frontman's higher screams.

'As I Drown' sees the band reach out to the disenfranchised youth. The singing melodies do run the risk of sounding a bit like Bullet For My Valentine in places, but the heavier nature of the music behind the vocals as well as the aforementioned Industrial edge saves it, and the band don't lose their identity, while also managing to deliver a solid track. Any influence that The Defiled may have taken from Marilyn Manson's classic works is worn on their collective sleeve during 'Porcelain', with it's jarring, weirdly catchy introduction and verse sections, even the vocal delivery has smatterings of the God of Fuck. However, another one of those trademark choruses lies in wait, just as catchy as anything else they've written. The track brings that sense of the macabre, as well as another Thrash riff right at the end. Great stuff.

'New Approach' is probably one song on 'Daggers' that could've easily been on 'Grave Times'. It has the huge chorus and frantic verse formula and shows the hunger for success that this band shows to their credit. It also sees some of Stitch D's best screams, as well as continuing to show that the rhythm section of Needles and impressive bassist Vincent Hyde is an effective machine keeping the rest of the music grounded. 'Fragments Of Hope' is maybe a weaker point on the album, but it features a rhythmic beating in the second verse that catches the ear well. The breakdown, while fairly basic, is arguably the most brutal the band has written yet. A tasteful use of leads is also shown by Aaron Curse.

'The Infected' again shows The Defiled's strengths, and in terms of the lyrical theme, reminds me a little of the song 'Black Death' from 'Grave Times'. It's also one song where the guitars and vocals get a bit more room to breathe in the mix, mainly because the keyboards used have a slightly subtler feel to them, except from during the breakdown and the outro where the sounds used have an almost Nu Metal vibe to them. The bass loses none of it's punch though. In fact, this stands as my favourite song on the album. 'The Mourning After' sees the high screams kick out at full throttle, and the pre-chorus has an eerie quality on the vocal side. The song does have a few moments where it risks slipping into that Bullet For My Valentine territory again, perhaps due to the singing voices of Stitch D and Matt Tuck being a little similar maybe.

Perhaps the interesting point on 'Daggers' is the song 'Five Minutes', which starts simply with an acoustic guitar and some crackling samples, before Stitch D's singing presents a more vulnerable side of this band. An unexpected song to be sure, and it would be as likely to enthral some as alienate others momentarily. The harmonisation of the vocals in the chorus is done well, and the frontman shows that his singing voice has a more impressive range than some may have thought prior to this. A ballad is not what I would have expected from The Defiled, but it's refreshing to hear them step out of their familiar zone.

'No Place Like Home' comes in to close the album and does it well, with a return to the tour de force sound that the previous song interrupted. It's another song that mimics the formidable feel of their debut. The breakdown riffs are once again colossal, and the scream of "Fall to your knees and pray for forgiveness' is such a good hook it's just unfair. The album fades out with quite a triumphant feel, and rightly so. The debut record 'Grave Times' may have had a few unforgettable bangers, the truth is that there are some songs that, on record, weren't as strong. You could even call them fillers. The thing with 'Daggers' is; while some songs take a couple of listens, they are all great songs. There is no filler here, just quality songs. In that respect, I'd argue that The Defiled have surpassed their previous efforts, though those looking for their gratuitous instant-hits may debate that fact.


Rating: 8/10

Review; Avatarium - Avatarium

Track Listing;

1. Moonhorse
2. Pandora's Egg
3. Avatarium
4. Boneflower
5. Bird Of Prey
6. Tides Of Telepathy
7. Lady In The Lamp


Avatarium is the new side project featuring Candlemass bassist Leif Edling. Formed less than a year ago, the band (completed by singer Jennie-Ann Smith, guitarist Marcus Jidell, keyboardist Carl Westholm and drummer Lars Skold) has already created quite a buzz in the Metal Universe, with the new self-titled album getting a few great reviews that I've seen thus far. So, naturally I thought I'd turn my ear to it myself.

A huge, booming Doom Metal riff opens the record's first song 'Moonhorse' in a strong fashion, showing off a very tight and well suited rhythm section. Keyboards create a background atmosphere, bringing an ethereal quality. It's just as you're used to this direction that the heaviness dissipates, replaced by an acoustic guitar and Jennie-Ann Smith's vocals. With lyrics that seem to speak of an innocent child's imagination or daydreams, the overall picture is painted beautifully, like the audio equivalent of a watercolour. Immediately, I find myself drawn to speak of the purely fantastic vocal abilities on show. A deep, bluesy tone is delivered both delicately to begin with, like a lullaby. However, Jennie-Ann is more than capable of belting it out with sheer power that does nothing to falter her tone or range. Leif has done well to bring this singer to the band. I must say, towards the end of the song, and frequently through the rest of this record, she reminds me of the late, great Ronnie James Dio!

'Pandora's Egg' continues in a similar fashion; underlying clean guitars let the gentle singing set a melody before the heavy, Sabbath-worshipping riffs lead to more powerful vocal dynamics. The lead playing of Marcus Jidell suit the band well and are flamboyant enough to save the whole sound of the band being bogged down within the somewhat simple and sometimes restricting boundaries of Doom Metal. There is almost a classic rock feel weaved between these songs. In fact, the song 'Avatarium' with its darkly mystical sense of melody, fantastical theme and massive chorus, seems slightly reminiscent of Dio-era Rainbow. The hidden hero of this band already seems to be Carl Westholm, whose very tasteful use of the keyboard gives the songs a sense of majesty and fullness.

'Boneflower' changes things up a bit, with slightly faster pace in the verses and a haunting, ghostly vocal performance. The song has a few twists and turns, with the almost psychedelic keyboard break and the dramatic shift in tempo between the verses and the chorus. It's a well placed song that clearly displays that Avatarium's music is not forged with a formula in mind. Everything feels more organic than that.

The songs never span less than five minutes, with two breaking the eight minute mark, but they don't feel long. There's enough going on within each song to captivate the listener's imagination and demand attention, whether or not the listener even realises it! There's plenty in each song that is catchy enough to get stuck in your head four hours, and the chorus of 'Bird Of Prey' is a prime example. It is safe to say that the star of the album is Jennie-Ann Smith, though the band as a unit functions impeccably, each musician perfectly complimenting what the other does.

The intro for 'Tides Of Telepathy' is played over a marching drum line. After which, the grandiose combination of the bass-heavy rhythm section and the soaring singing come back again in the now-standard fashion. 'Lady In The Lamp' on the other hand, opens with a very beautiful slide guitar, and then gives way to the arpeggios and vocals, with a very bluesy lead pleasing the ear. Hell, it's all very pleasing to listen to. No doubt, Metal fans who are just in the music for punch-in-the-gut heaviness and violent or angry lyrics barked by a hairy lunatic would disapprove, but this is an album with a real artistic vision that transcends Metal to some degree. There is a lot on this record to appeal to many different tastes. Simply great music, is possibly the best way to put it. Larger than life and beautiful, this is easily one of the best debuts I've heard all year. I can't wait to see how things go for Avatarium.


Rating: 9/10

Review; Deicide - In The Minds Of Evil

Track Listing:

1. In The Minds Of Evil
2. Thou Begone
3. Godkill
4. Beyond Salvation
5. Misery Of One
6. Between The Flesh And The Void
7. Even The Gods Can Bleed
8. Trample The Cross
9. Fallen To Silence
10. Kill The Light Of Christ
11. End The Wrath Of God


It's strange thinking about Florida as a Metal fan; It conjures thoughts of sun, sea, Disneyland, family holidays...and some of the greatest Death Metal bands that have ever emerged! With bands like Death, Hate Eternal, Obituary, Morbid Angel, Atheist, Cynic and Six Feet Under, to name but a few, Florida will more than certainly be remembered by Metalheads as probably the most important hotbed of Death Metal pioneers that the genre has seen.

As far as my vote is concerned; the unholy beast of a band that is Deicide has always been my favourite of the Floridian Death Metal bands. Between frontman Glen Benton's bowel-churning vocal abilities and the Jesus-bashing lyrical content, there's a lot to appeal to my ears, not to mention the consistently great and understated instrumental capabilities the band have brought to each of their now eleven records, throughout all the line-up changes, the quality of the band's output has never disappointed me. Now the band's latest offering of evil brutality is upon us, and I've been dying to get my ears around it.

The first thing you know of this album is the distorted voice, saying "Some men just want to watch the world burn", which would set the tone for a Deicide album better than almost any sentance. Then with a triplet-powered stampede of guitars begins the music itself. Alongside some fairly standard-for-Death-Metal drumming, the album is off to a predictable but strong start. Riffs are solid and the execution is tight. All the while, Glen Benton's signature growl completes the sound, while the lyrical content appears to address the subject of terrorism. 'Thou Begone' brings in the first salvo of lyrical ammunition aimed directly at religion and the religious. It's arguable that this lyrical theme, which continues into 'Godkill' and 'Beyond Salvation' without relent, is repetition on the band's part, but with the impact of Benton's voice and the similarly powerful impact of the vocabulary that he applies to his lyrics it doesn't present itself as a problem. Instead of evolving the formula that is used in their material, Deicide push it onwards, adding to it like chapters added to a book.

With the lyrical content covered, it's worth mentioning the high class production on this album. Of course, producer Jason Suecof has lent his expertise to many other solid albums including Trivium's 'Ascendancy', The Black Dahlia Murder's 'Ritual' and The Defiled's latest album 'Daggers'. The nuances put onto a portion of the vocals, wherein Glen's voice is preceded by a fade-in of a sample of itself, giving the vocals an ominous, demonic feel that lends itself to what Deicide stand for perfectly. Everything else in the mix sits perfectly, with drums, guitar and bass guitar all perfectly audible, as opposed to many other Death Metal albums that bury the bass so far under the electric guitars that there's almost no point for it to be there. So, a quick well done to Jason Suecof for his contribution to this record.

A major strength that this record has is that none of the songs hit the four minute mark. I cite this as a strength because it keeps everything trimmed and concise. If a band like Deicide were to go attempt a long epic song eleven studio albums into their career it would be boring. We know this band's sound, as previously stated. The metal world now knows exactly what a Deicide album will sound like, so keeping the songs so choppy and to-the-point helps prevent the brutal in-your-face approach from becoming quite so old, even at this point. Was this a conscious decision on the band's part? Who knows, but nonetheless I find it worth mentioning.

Ultimately, as the album comes to it's conclusion with the venomous 'End The Wrath Of God' any fan will be left satisfied. I know I am. 2011's 'To Hell With God' was a great album in my opinion and is one that I revisit almost regularly, but I've come to like 'In The Minds Of Evil' even more, which is saying something. As far as I'm concerned, Deicide are still a band that are at the top of their game, and even though they haven't done anything here that will blow the minds of those familiar with their back catalogue, they've very effectively reminded everyone that they are the undisputed titans of insane, twisted, gory and blasphemous Death Metal. Get this album, you won't regret it.


Rating: 8/10

Review; Sepultura - The Mediator Between Head And Hands Must Be The Heart

Track Listing:

1. Trauma Of War
2. The Vatican
3. Impending Doom
4. Manipulation Of Tragedy
5. Tsunami
6. The Bliss Of Ignorants
7. Grief
8. The Age Of The Atheist
9. Obsessed
10. Da Lama Ao Caos


Sepultura need little introduction to most people in the Metal community, at least that's true when you speak of classic records like 'Arise', 'Chaos A.D.', or 'Roots'. The band's efforts post-Cavalera brothers have garnered a great deal less euphoria for the Brazilian band. Something of a criminal shame considering that the Derrick Green fronted incarnation of the band has seen the release of solid records like 'A-Lex' and 'Dante XXI'. Not to mention the simplistic pleasure of the 2011 album 'Kairos'. Recently though, it's come to my attention that this year's release 'The Mediator Between Head And Hands Must Be The Heart' has seen a spike in interest for the Seps. It's coincidental that Soulfly have recently released the brilliant 'Savages'. Now, lets see which wins between them.

After a droning, intense beginning, music comes in with ferocity that I haven't heard from Sepultura in some time now. Anyone looking for an album like 'Kairos' should look elsewhere. Lyrics like "I saw the worst in the human nature, My hands are stained with blood of death" have real impact, or at least they do after you can get your ears past the music under which the vocals are almost hidden in the mix. This issue with the production, which was surprising considering that the band are working with 'Roots' album producer Ross Robinson, prevented me from instantly taking the album on, if I'm honest. However; after a few listens, it's not so much of a bother.

Musically, the album starts about as solid as it gets. Andreas Kisser delivers some riffs that could cut diamonds on 'The Vatican'. New drummer Eloy Casagrande is out to wow us all with incredible dexterity and power at the kit. The human mountain that is Derrick Green is on great vocal form. Combine that with guitar solos that show that Andreas is a massively underrated lead guitarist and you have all the elements of a great album. 'Impending Doom' shows off the band's knack for a slow, pounding number that tells the nearly over-told tale of how mankind is pushing itself over the proverbial precipice.

Things move back into faster territory for 'Manipulation Of Tragedy', whilst showing on two distinct occasions that Paolo Jr. is more than proficient on the bass guitar. The overall sound of the album does borrow from Sepultura's entire back-catalogue, and while the tribal beats that made them truly stand out from their contemporaries are present, the focus seems to be leaning more towards the murkier pseudo-Death Metal sounds of earlier Sepultura works such as 'Morbid Visions', walking the fine line between Death and Thrash. 'Tsunami' sees the frontman coming out with some high quality vocal hooks, and while the vocals do remain obscured in some way in the mix, the larynx shredding screeches of Kisser that back up Green's throaty roars ring through for added impact.

'The Bliss Of Ignorants' is weaved with the aforementioned tribal percussion that keeps Sepultura's identity open for all to see. Unfortunately the riffs in this tune pale next to many Sepultura riffs and the solo is more Slayer than Sepultura in places, but whether that's good or bad is up for debate. The percussion elements on show, which includes a solo section towards the end of the song do keep the song from being labelled as bad, but it's arguably a lacklustre song musically for this album, which is a shame considering the demanding screams of "Our freedom now!" that would've otherwise been the final selling point on the song. The beginning of 'Grief' is altogether strange, with a mournful vocalisation and plodding sound that is out of place on what has generally been a high-energy record. As the band comes in, it's fair to say that the full song does achieve the mood that it's name suggests, but it's simply not what I look for in a Sepultura song. Something of a misfire, in my opinion.

Luckily things go back on the upward trajectory during 'The Age Of The Athiest', which sees the energy return as Derrick Green launches into another verbal assault upon religion, politics and the current sheep mentality of many. Of all the tracks so far, this one would be the best addition to Sepultura's live show. On 'Obsessed', things start with a slow build that leads into a rather muddy sounding song that has its moments but never really reaches the heights that it threatens to through the bulk of the song.

'Da Lama Ao Caos' is a Chico Science & Nação Zumbi cover that has a lot of that tribal percussion courtesy of Derrick Green, some catchy guitar riffs and a very strange vocal performance that sounds very out of place on a Thrash/Death Metal album. There's a long bout of silence as the main album itself is obviously over, then at 17:34 into the track, there's a seven and a half minute long percussive solo that is more infectious than the song that took up the first four and a half minutes of the track. A disappointing end to what had the early promise of being a great addition to the Sepultura canon.

I won't deny that the album was generally concise and solid with a few truly standout songs, but at this point in the game, Sepultura needed to do more than what they have done. There are enough people that have pretty much abandoned the band post-Cavalera brothers (a MASSIVE injustice!), and what once was a global giant of a metal band has been relegated to a smaller league than they should be in, and I can't help but feel that part of the problem may be inconsistency. Sepultura is a band capable of much more yet, which makes this album somewhat frustrating. Solid effort, but only time will tell if it is counted among the classic albums that this band has released.


Rating: 6.5/10

Review; Carcass - Surgical Steel

Track Listing:

1. 1985
2. Thrashers Abattoir
3. Cadaver Pouch Conveyor System
4. A Congealed Clot Of Blood
5. The Master Butcher's Apron
6. Noncompliance to ASTM F 899-12 Standard
7. The Granulating Dark Satanic Mills
8. Unfit For Human Consumption
9. 316L Grade Surgical Steel
10. Captive Bolt Pistol
11. Mount Of Execution


The return of Carcass has set the Metal world ablaze. For any poor sod unfamiliar with the legacy of this UK band - Carcass were spewed forth from Liverpool, England in 1985. After a few demos they went on to release 'Reek Of Putrefaction' in 1988. In a very short amount of time they became a founding band of the Grindcore scene, alongside Napalm Death and Extreme Noise Terror. Album number two, the seminal 'Symphonies Of Sickness' was a continuation of the sound, but featured a distinct flavour of Death Metal. The follow-up 'Necroticism - Descanting The Insalubrious' almost completely abandoned the Grindcore format in favour for Death Metal. It was also their first album with Michael Amott.

It was the 1993 album 'Heartwork' that saw the bands go in another direction, and made them pioneers in the emerging subgenre of Melodic Death Metal. Many fans didn't take too kindly to the band's change in sound back then, but the album stands as a landmark classic within the subgenre that it helped to forge. They then went on to release 'Swansong' in 1996. This was seventeen years ago now, in which times there have been a few break-ups, reformations and now-legendary festival appearances including Wacken Open Air and Bloodstock Open Air, among many others. It is only now, without Michael Amott, (who's primary focus has always been Arch Enemy) that Carcass return with new material as a three-piece. Guitarist and Vocalist Jeff Walker, Bassist and sometimes-vocalist Bill Steer and drummer Dan Wilding present 'Surgical Steel'...and it's a cast-iron Extreme Metal classic!

Opening with an instrumental intro in the form of '1985', which consists of guitar lines that almost sound like a lead that Iron Maiden forgot to write, it provides a foreshadowing of the greatness you're about to experience. Within seconds, any ill-feeling towards the band for not giving us any music for nearly two decades is obliterated. Then comes the first full song 'Thrashers Abattoir', which annihilates any worries on what Carcass would sound like in the 21st Century. It's a short, seemingly effortless statement of intent, and a furious one at that. Already the band sounds more vital than pretty much any band half their average age. 'Cadaver Pouch Conveyor System' carries this on with some more melodic moments added and a brilliant Thrash-like riff underneath a catchy guitar solo. Vocally, Walker and Steer are on top form.

As the album carries on into the third track which has a very modern groove to it, there's no denying the sheer power of the music on display. The tag of Extreme Metal has been applied to many, many albums in the 21st century, many of which have seemed to lack ant real conviction of the label applied to them. A lot of bandwagon-jumpers have caught the scene's interest simply for being the latest name in Black, Death or whatever niche of Metal it is they seek to inhabit. True extremity is something that the Metal world has lacked for some time. It only seems right that a band like Carcass would be the ones to give the scene a bloodied boot up the ass.

'The Master Butcher's Apron' breaks into a slow, stomping riff in mid-song that proves that Carcass have never been a one-trick pony. Their faster works may be what whips us all into a frenzy, but if riffs like the one heard in the aforementioned song don't make you bang your head, you're probably losing the function of your neck muscles! Throughout the record, the band's penchant for gore-laced lyrical content has been on constant display. The drumming of Dan Wilding is more than proficient for Carcass' music' Blastbeats are impeccable and every strike of a drum or cymbal falls in the right place and never feels wasted. Carcass are clearly a band made up of masters of their individual crafts the same way that a band like Revocation or Motorhead are. The tightness of the rhythm section and the flurrying guitar licks at the start of 'Noncompliance to ASTM F 899-12 Standard' are the perfect show of this very fact.

'The Granulating Dark Satanic Mills' shows the side of Carcass that gave birth to 'Heartwork' a little more obviously, but as a whole the album does seem to combine the Grindcore sounds of their 'Reek Of Putrefaction' debut or 'Symphonies Of Sickness' with the aforementioned 'Heartwork', resulting in a balance of the sounds in their repertoire that flows with ease where it could easily have sounded like a muddy mish-mash of former glories. Whether this was a calculated move or a result of spontaneity barely matters after a few listens. The riff - vocal - riff structure in 'Unfit For Human Consumption' gives the song an anchor in the starting days of Metal. Some more sublime guitar leads fit the near-virtuosic musicality in with the brutality of the band like a glove. '311 L Grade Surgical Steel' and 'Captive Bolt Pistol' strike a similar chord as the previous songs without being tiresome. You're too busy trying to pick your jaw up off the ground to get bored with this album. Boring, this certainly is not!

The last song 'Mount Of Execution' starts with an unexpectedly slow series of clean guitars then leads into almost Doom-tinged territories that yet again have an almost classic-metal vibe to them, perhaps inadvertently showing the bands initial influences from back in the day. Then just as you think the album has come to a close, the best riff I have heard in a long fucking time comes in and lets Jeff Walker solo over it one last time, leaving the listener craving the next Carcass album to further cement the bands name in the history pages of Heavy Metal, just as Surgical Steel has this year. In a word - Brilliant.


Rating: 10/10