Album Review; Bring Me The Horizon - That's The Spirit

Released Via Columbia
Genre: Alternative Pop Rock


Track Listing:

1. Doomed
2. Happy Song
3. Throne
4. True Friends
5. Follow You
6. What You Need
7. Avalanche
8. Run
9. Drown
10. Blasphemy
11. Oh No


Once again we delve into the realm of controversy. That well-trodden road that many bands walk. To one side, there are people throwing them roses and on the other there are angry detractors who will sling shit and insult said band's every move. If this road was named after one band, it'd probably be the UK's Bring Me The Horizon. Lest we forget; this band was once rooted firmly among the Deathcore and Metalcore fraternity and were first considered to be an easy target for almost every journalist that needed a band to take a pot-shot at. The odd thing that happened was that they became unlikely darlings of the UK scene. Opening for Machine Head on an arena tour, headlining arena tours of their own and even starting to get some acclaim for their recorded musical efforts. Then they released 'Sempiternal' in 2013, and the floodgates opened. Joined by a new keyboardist and winding down the heaviness to a degree where the music was more electronic Metalcore. Not only that, but as a review will attest to on this very site; it was a great album. Not perfect (what album is??) but it was a step in a direction that many could get behind.

Of course, the band still got shat on by all those who were so inclined, naturally. My own viewpoint has long been to offer the band respect, regardless of my dislike for their old material. After all, this is a genre where we constantly tell people to do things their way and BMTH have done that throughout their career. They could've changed deliberately into a Death or Black Metal band, they could have called it a day, but they never did. You might not like it, but it demands respect. Now we're on the cusp of the follow-up to 'Sempiternal' and I'm a curious man, wondering if the outsiders among outsiders can do it again and make me tip my hat to them.

This is as far as the optimism goes before I pressed play on the new record. Expecting more of the same? Expecting a return of their heavier days? You'll be disappointed. Expecting a continuation of 'Sempiternal'? Once again I have to be the bearer of bad news. Bring Me The Horizon appear to have completely detached from their Metalcore beginnings in order to try and chase down bands such as Muse or Linkin Park.

"Wait, that sounds alright! Muse and Linkin Park had some good rockin' tunes back in the day" If that is your first thoughts here, again I offer a comforting arm. When I say that BMTH are taking that route, I'm referring to those two band's most poppy moments.

From the opening song 'Doomed', there is more electronic noises and sterile beats than there are riffs. In fact, any trace of heaviness seems to be an afterthought in the background. The album conceptually deals with depression and the overcoming of said condition. There's a scream to be heard in 'Happy Song' but it is thin, it sounds overproduced and is frankly a bad Chester Bennington impersonation. The rest of frontman Oli Sykes' singing is good, or would be if he wasn't singing in that god-awful whining tone that we hear from every pop rock band and singer-songwriter that is trying to come across as sensitive souls, trying to relate to all the angsty, annoying teenagers out there.

Speaking of overproduced crap and intentionally poppy tween anthems; first single 'Throne' is enough to make you vomit. Sounding like it's evolved from Linkin Park's worst moments (Of which there are many!) it's so shamelessly written as a single that you would think the band were vying for a headline slot at T In The Park and a number one in the singles charts. Look out for this band doing the single for the next Transformers film! The lyrics are absolutely retch-inducing. The chorus builds to nothing more than keyboard/auto-tune trickery that you would expect of some dance remix or two-bit pop star.

'True Friends' gets ridiculous. There are strings here and a little bit more guitar, but it feels as though the guitar is only there to assure you that guitarist Lee Malia is still in the band. The riff is nothing, just a typical follow-the-bass piece of crap. There's a little bit more aggression in the vocal, but the lyrics make My Chemical Romance look macho. 'Follow You' runs with a bloody RnB beat for Christ's sake! Sounds like something Olly Murs would release if he became sad for a day.

Really, from there on out it is easy to see that Bring Me The Horizon have finally turned their back on any semblance of metal. If that's what they want to do, fair play to them, but holy crap this album sucks worse than a broken Dyson. It sucks worse than a hooker with lock-jaw. Why is it terrible, you might ask? It would be very easy to just say "That's his opinion, he just doesn't like that style of music" but what it comes down to is a flat-out spit in the face. Just when this band were starting to bring some people around to their own Metal, just when some of the detractors were being put in their places, the band have turned their backs on the UK metal scene and the rest of our world in order to go in search of fools gold in the form of herd-based mediocrity.
So I have to find myself saying this phrase that I often scold others for;

Bring Me The Horizon are not Metal.

Start looking for another UK metal band to take the helm. May I suggest Sylosis, Savage Messiah, Ethereal or Shrapnel?


Rating: 0/10


Links: http://www.bmthofficial.com/
           http://www.columbiarecords.com/

Album Review; Five Finger Death Punch - Got Your Six

Released Via Prospect Park
Genre: Groove Metal


Track Listing:

1. Got Your Six
2. Jekyll And Hyde
3. Wash It All Away
4. Ain't My Last Dance
5. My Nemesis
6. No Sudden Movement
7. Question Everything
8. Hell To Pay
9. Digging My Own Grave
10. Meet My Maker
11. Boots And Blood


Five Finger Death Punch have been real contenders for the big metal throne since their inception. It felt like only a matter of time before they followed in the footsteps of the metalcore-transcending Avenged Sevenfold and played Wembley Arena and headlined Download Festival. Their Wembley date is fast approaching, and I'd easily bet on them being a good shout for that festival headline slot in 2017 if not '16. The only thing that remains is to see whether or not 'Got Your Six' is the album that should be taking the band to these heights.

The opening title track is the kind of muscular throw-down that you would expect of FFDP, and a good ode to mosh pit mentality that is bound to set bodies flying even in the esteemed Wembley arena. 'Jekyll And Hyde', on the other hand is exactly the kind of track that makes you err and umm about this band. People talk about how their music is dumbed down, but this track is really shameless when it comes to this, and sees Ivan Moody repeating lines that have been used in previous albums. I mean god damn, it's catchy but that doesn't help the cheap taste it leaves in your mind.

Following two tracks 'Wash It All Away' and 'Ain't My Last Dance' are about as close to balladry as the band has ever gotten, though the latter still has moments of chunky riffing that help it along a bit. Ultimately, while it is nice to see a band show their lighter side, people look to FFDP for knuckle-headed workout anthems. 'My Nemesis' is a bit closer to this, but still contains the kind of self-pity in its lyrics that can make some post 'American Capitalist' songs drag a bit.

'No Sudden Movements' has more bit to it, complete with a good rhythmic drive and some of Ivan's better growled roars. An interesting riff that differs from Zoltan Bathory and Jason Hook's usual chug-like-an-industrial-train style. It's more the kind of song one expects of the band that set fury to the road with 'War Is The Answer', whilst offering a little twist on the usual formula. 'Question Everything' has moments of good propulsion to it as well as those lighter verses that just don't quite translate. It's not the clean singing, before that assumption is made; Ivan's singing voice is great but the song itself just doesn't feel focussed enough.

'Hell To Pay' is a little more in line with the band's earlier years, and is all the better for it. Catchy, well written and strong enough to start justifying FFDP's lofty position. 'Digging My Own Grave' goes back into ballad-territory, though it has a much more honest feel to it than the previous ballads on this album. 'Boots And Blood' on the other hand is easily the most aggressive thing on this record. It's constantly profane and a big middle finger to those who have wanted this band to fail. If you're looking for the word "Fuck", this is where you'll find it. You might just get to vent as you do.

There is a lot to fault with 'Got Your Six' and it's clearly not the band's best record. It's better than the second half of the double album that they released but there are too many of those whining songs that we've heard this band do a little too often, and very rarely with as much impact as 'The Bleeding'. Are Ivan, Zoltan and the crew trying to prove that they're more than purveyors of anger and violence? Perhaps, but I think I would rather that they did bring some more of the brawn of the first two albums. When they sound angry, they really do but it isn't present often enough on this album. I've seen this band live a good many times and I have long been willing them to succeed but if this is the terms they are succeeding on then I'm not entirely sure that they wont lose as many fans as they gain, as this album comes across more as a hug than a death punch.


Rating: 6/10

Links: http://www.fivefingerdeathpunch.com/
          

Album Review; Disturbed - Immortalized

Released Via Reprise/Warner Bros. Records
Genre: Alternative Metal


Track Listing:

1. The Eye Of The Storm
2. Immortalized
3. The Vengeful One
4. Open Your Eyes
5. The Light
6. What Are You Waiting For?
7. You're Mine
8. Who
9. Save Our Last Goodbye
10. Fire It Up
11. The Sound Of Silence (Simon & Garfunkel cover)
12. Never Wrong
13. Who Taught You How To Hate


Seemed odd, didn't it? One minute, Disturbed are one of the biggest metal bands going, playing festivals everywhere, selling out venues and scoring number one albums with each release that followed their acclaimed debut. The next thing we know, the band starts a hiatus in 2011 that goes on and on without word. Sure, the members had their side-projects and such but all we really wanted was Disturbed back. Back in June, we literally saw the band reawaken (well, their mascot) with the revelation that the band had been working on a record in complete secrecy, which is no small feat in this day and age. Called 'Immortalized', and now upon us, it is time to see if the band can live up to the hopes of their fans.

After a short intro track, the title track hits in with a familiar tone and David Draiman's inimitable vocal attack. It's rhythmic, uplifting and gets you back into the empowering mind-set that the band have long given their fans. After that, the first track revealed from the album 'The Vengeful One' comes through the speakers like the world-conquering powerhouse that it will no doubt prove to be on stage. The riff is classic Donegan, the lyrics have the kind of fist-in-the-air theme that we love Disturbed for. Even at this early point it is clear that Disturbed are back and largely unchanged.

'Open Your Eyes' is a faster tune with a simple chorus, another politically-charged lyric and a lot of energy. After this, 'The Light' provides exactly that; a lighter side to Disturbed's usually dark themes and presentation. Lyrically uplifting and bound to put a smile on your face. It also displays a point that I've been making to all those who label Disturbed as Nu-Metal, as this song shows that the frontman is inspired by reggae rather than rap. As a fan of reggae and Disturbed, this song is a highlight, as is 'You're Mine', though it has a heavier tone and has "live favourite" written all over it. 'What Are You Waiting For?' is a good song, but maybe too close to the earlier cut 'Open Your Eyes'.

'Who' sees Draiman performing the odd grunt and noise that made him a talking point back in the day and it may be that element or the grittier tone that makes it sound like a throwback to the 'Believe' album. The following track 'Say Our Last Goodbye' shows off the vocal range, but doesn't hit you straight from the off, instead being a song that is liable to grow on you or be skipped during the play through. Strangely, 'Fire It Up' is a weed-smoking ode that one would not expect of a band like Disturbed, and while it may prove jarring on the first listen, its chilled-out vibe does act as a damn-good hook.

This band is no stranger to cover songs that make you say "...Really??", but Simon & Garfunkel's 'Sound Of Silence' would be the song I would never have bet on this band playing. Don't let the long odds fool you, though; this one is fantastically done. It comes across just as much the sombre epic as it should, complete with piano, strings and one of David Draiman's most transparent and impressive vocal performances yet committed to tape.

Ultimately, one could think to moan that Disturbed have just released more of the same, but at the end of the day if it isn't broken, don't fix it. More of Disturbed's sound is what we wanted, and its exactly what we got. The songs are all written to the high standard that had been laid down as a precedent and each member's performance is tight and well played. They might not be throwing breakdowns and all the other modern clichés at you left, right and centre or tying their sound in with the current trends but I would much rather they didn't. I had waited for this record and it has not disappointed.


Rating: 9/10

Links: http://www.warnerbrosrecords.com/
           http://www.disturbed1.com/?frontpage=true

Album Review; Ethereal - Opus Aethereum

Released Via Candlelight Records
Genre: Black Metal

Track Listing:

1. Nomicon
2. Overwrite The Archetype
3. Unholy Ungodly
4. Psalm Of The Deciever
5. Devouring The Forsaken
6. Contorted Utopia
7. Aethereum
8. Waking Death


Founded in Liverpool over a decade ago, Ethereal have slowly but surely refined their black metal sound through two prior EP’s and a rigorous touring schedule, including support slots for bands like Fleshgod Apocalypse and Gorgoroth. ‘Opus Aethereum’ is the band’s first full-length, and it’s an intriguing beast that shows Ethereal’s worth more with each listen. The sound itself is equal parts traditional and modern, due to the steady supply of accessible hooks, musical dynamics and the symphonic bombast. There are shades of death metal to be found within the in-your-face instrumental attack, but at its heart this is grandiose black metal with no pretence. From song to song this record maintains a relentless drive that is attributable to the concise execution of each track as much as songs themselves being very well written. The production of the album matches this band completely, as each and every element of sound is remorselessly aimed straight at the listener’s temple. Ethereal have managed to avoid the pratfall that suckers in many other new black metal bands; they don’t come across like a shameless throwback to the Scandinavian scene of yore. Instead, Ethereal already sound very much like their own entity. You can practically feel the years of effort and pure determination bursting from the speakers like a caged beast, and that kind of urgency and fury is exactly what a band like this should possess, and what could see Ethereal climbing higher in the scene.

Rating: 9/10

Links: https://www.facebook.com/EtherealDarknessUK?fref=ts
           http://www.candlelightrecords.co.uk/
           https://www.reverbnation.com/etherealblackmetal

Album Review; Entrails - Obliteration

Released Via Metal Blade Records
Genre: Death Metal

Whether you look at Entrails as the classic Swedish band who never made anything past a couple of demos in the 90s or as the resurrected band responsible for the widely revered ‘Raging Death’ album, one thing is for sure; you’ll be anxious to hear this record. You might find the starting portion of the record to show a large difference quality of the songs. ‘No Cross Left Unturned’ sees Entrails announce what would appear to be the arrival of yet another twisted old-school Swedish death metal record, but this is succeeded by ‘Epitome Of Death’, a rather ore confused track that sees the guitar duo of founding member Jimmy Lundqvist and new recruit Penki trying to incorporate the death march into the end of the tracks, and rather than being cool or suiting the deathly aesthetic of Entrails, it just ends up sounding very Spinal Tap. After this shaky start, everything then carries on to be as retro as one would expect, from the riffs to the steady tempos, the melodic hints and the gnarled vocals. There are tracks that catch the ear from the first few listens, such as ‘Skulls’ and the sinister ‘Midnight Coffin’, and the album runs pretty seamlessly, but it’s a little too clear to hear that there’s nothing here that is quite as essential as what we heard on ‘Raging Death’, which is undeniably deflating. All that said, ‘Obliteration’ is worth the time it takes to listen to it, and is an enjoyable listen without a doubt, but it wouldn’t surprise me if some people stick to the recent Entombed A.D. and Bloodbath records.

Rating: 7/10

Links: https://www.facebook.com/Entrails666
           http://www.metalblade.com/us/

Album Review; Dulcamara - El Anagonista

Released Via Art Gates Records
Genre: Melodic Death Metal

Track Listing:

1. La Eternidad Genetica
2. Pariah
3. Cuestion De Honor
4. El Antagonista
5. Gehena
6. El Arte De La Degradacion
7. Donde Nacen Las Pesadillas
8. Invencibles
9. Romance Mecanico
10. Ciudadano Ejemplar
11. Dioses Antiguos

An epic feel and keen ear for melodic hooks seem to be the fundamental ingredients behind Dulcamara’s fourth release. While the overall sound is very obviously rooted in the melodic death metal scene, it’s the use of synths and the heavy groove throughout the album’s eleven tracks that help prevent the album from sounding derivative. Every component of the band is given their room to shine bright; whether it’s the impressively powerful vocals on show during ‘Cuestion de Honor’, the Morton-meets-Amott riffing showcased on ‘Pariah’ or the beautiful piano cadences giving the third dimension to ‘Gehena’; Dulcamara prove themselves to be a tight, efficient unit. It might come across as a tired cliché to say this, but this is an album that is best consumed as a whole. Obviously, the lyrics are all in Spanish, but don’t let the language barrier put you off, as this is a multi-faceted band that knows how to keep the flow of an album constant without losing the attention of the listener or ending up with an album that sounds the same from track-to-track. ‘Donde Nacen Las Pesadillas’ demonstrates perfectly that this band can write instantly memorable music with little to no difficulty. This record deserves a place of distinction in any metal fan’s collection for this year.

Rating: 8/10

Links: https://www.facebook.com/dulcamaracomanches?fref=ts
           http://www.artgatesrecords.com/

Album Review; Divahar - Divarise

Released Via Sleazy Rider Records
Genre: Black Metal

Track Listing:

1. Shadows
2. Blindness
3. Call Of The Fire
4. Alien
5. Ravenstone
6. Into The Heights
7. Areakan
8. Insane Silence

Here we have a relatively solid and concise debut album from this Armenian all-female band. Through the eight tracks present here, there are enough mid paced riffs (mid paced for black metal), pompous symphonic arrangements and scattered grinding salvos to please fans of the genre. There is a paradox to be found in the album as there is ambition on show, but too often the songs themselves feel safe, rather than displaying the sinister venom that is present in the best black metal releases.

It is clear from ‘Shadows’ and the ominously grand first single ‘Alien’ that there is enough musical ability in the four-piece to pass the test, especially from the band’s vocalist Dev, but it’s puzzling to hear that even though keyboards and orchestration play a prominent role in shaping the sound of the band there isn’t much to be found in the way of dynamics from song to song. The decidedly off-kilter ‘Call Of The Fire’ is the most obvious exception to that statement, and the stand-out track on the album.

A treat for the black metal faithful is to be found on ‘Blindness’ in the form of a guest appearance from Mayhem vocalist Atilla Csihar, whose demented tones lift the song a step higher than it otherwise would have been. There’s not much else on here that could be described as special, although there is a hint of potential to be heard. If a future release is given a huge cinematic approach then Divahar could be onto something more worthwhile.

Rating: 5/10

Links: https://www.facebook.com/divaharband?fref=ts
           http://www.sleaszyrider.com/index2.html