ACRASSICAUDA
Only the Dead See the End of War
(Vice Records)
Rating - 7/10

The trials and tribulations of Iraq’s only heavy metal band, Acrassicauda, have been documented and discussed at length in the metal press (for my own take on Heavy Metal In Baghdad, go here), and in the mainstream media, as well. In short, everyone is rooting for this band to succeed.

In terms of success, the band, now safely relocated to the United States, is finding that life here has its own share of difficulties, much to their surprise. However, although the band’s economic situation is not all that surprising to me, to their credit, Acrassicauda have capitalized on their fame and stability to manage to issue to their debut four-song EP. The EP, entitled Only the Dead See the End of War, is issued by Vice Records, a non-metal label with connections to the original Heavy Metal In Baghdad production. Also of note is the recruitment of Alex Skolnick from Testament to handle the production.

Given that a professional such as Skolnick has been enlisted, sure enough, Only the Dead See the End of War is a slick package with top-notch production, sounding similar to any modern traditional metal/ thrash metal release. Thick guitars, drums, an even mix, all are present. The four songs are decent NWOBHM- inspired proto-thrash with catchy riffs, a variation in speed, gruff vocals, and so on. Here’s the rub, though. There’s nothing about Acrassicauda that you haven’t heard before, or done a lot better, over 20 years ago. The songwriting is adequate, at best, and I must admit that I was hoping for something more. The songs also seem to have a “safe” quality about them, almost as is Acrassicauda are tentative about releasing the pent up aggression, frustration, etc that must be lurking within their collective musical muse. I very much want to see that fury unleashed.

As for the band’s future, I would very much recommend that they begin to play some live performances, get their feet wet, perhaps latch onto a regional tour featuring traditional/ thrash acts. As for their individual economic fortunes, the last thing that I want to see is Acrassicauda become the next Anvil; that is, obviously good hearted people that you root for, but are never able to fulfill their dreams, for whatever reason, and are only able to barely eke out an existence. To that end, I would highly recommend that the band members go to school, and take advantage of the many opportunities in education that would probably come their way in the form of financial aid. As individuals with aspirations towards higher education, they’re much more likely to secure funding through those avenues rather than by being an undistinguished heavy metal band.  http://www.myspace.com/wwwacrassicaudas5com http://www.viceland.com/vicerecords/
[Dave Schalek]

BLAZE BAYLEY
Promise and Terror
(Candlelight)
Rating - 7.5/10

Back in the day, I remember being only slightly impressed with Wolfsbane musically but thinking Blaze Bayley definitely had something special with his vocals.  Sadly, his style failed to mesh with Iron Maiden at all, but he rebounded quickly with his solo project which has been going strong ever since.

Promise and Terror is the man’s fifth solo outing so far and one of the best yet.  Opening with a rather classic metal track, “Watching the Night,” the album runs through a fairly diverse range of styles, moods and tempos.  “Madness and Sorrow” is quite speedy, while “1633” follows it up with a slower, epic march and “Surrounded By Sadness” is a mostly acoustic number that flows smoothly into heavier territory by the end.  While traditional metal is the core of the sound here, there are plenty of modern touches, esp. on tracks like “God of Speed” and “Letting Go of the World.”

Blaze has assembled a solid band that really seems to be gelling now and the production on Promise and Terror is solid and really allows the heaviness of the tracks to shine through.  Granted there are a few filler tracks to be had, mainly in the middle of the album, but overall Blaze has triumphed again with a collection that will no doubt please die-hard heavy metal fans who worship the classics but aren’t living exclusively in the past.  http://www.blazebayley.net
[Daniel Hinds]

DARKTHRONE
Circle the Wagons
(Peaceville)
Rating – 8/10

Fenriz’ and Nocturno Culto’s assault upon all things considered to be “modern metal” continues on Circle the Wagons, released on Peaceville Records. Darkthrone’s rancid black metal past is far behind them, and the band’s style on Circle the Wagons is a continuation of the direction of their last couple of albums. Stop reading this review right now and move on if you detest the band’s current direction.

Although I appreciate the band’s current direction and themes, musically, F.O.A.D. and Dark Thrones and Black Flags didn’t really do much for me, and each album only garnered a couple of listens before I moved on. That may change with Circle the Wagons as the songwriting, for whatever reason, is just better and the songs stay with you afterwards (I actually found myself humming the clean lyrics/ vocals of the opening track, “Those Treasures Never Befall You.”)

The blackened punk style of their last few albums continues, but there’s also a great deal of proto-thrash and melodic nods to the NWOBHM. Think early Motörhead with strange dashes of melody, a cleaner version of Venom, and even ‘80s hardcore with working class lyrical themes, and you’re pretty close to the mark. All of it is suitably catchy, probably more so than the last few albums.

As always, Fenriz and Nocturno Culto write about 40 minutes or so of songs for Circle the Wagons, play them, record them, and pretty much leave it at that. Given Darkthrone’s prolific nature, I do wonder, though, when the band will play out this style and decide to switch gears again.  http://www.myspace.com/officialdarkthrone
[Dave Schalek]

THE DEVIL’S BLOOD
The Time of No Time Evermore
(Ván)
Rating - 8.5/10

Been following this unusual outfit for a while now and glad to see them finally getting a more high-profile release and the attention they deserve.  Hailing from The Netherlands - the Mecca of unclassifiable rock/metal bands - The Devil’s Blood have summoned a sound that is equal parts 60s art rock, 70s psychedelia and even some touches of 80s hard rock and metal (check out “Christ or Cocaine” for example).

Armed with a truly talented female vocalist (sorry, I don’t have any band member info handy) who is the antithesis of all the current ethereal, gothy singers, instead going for a vibrant, gutsy approach that remains thoroughly melodic and compelling.  Fortunately, the music complements the voice perfectly and listening to songs like “Queen of My Burning Heart” and “I’ll Be Your Ghost,” it is obvious that a lot of thought has been put into the song arrangements and creating just the right atmosphere.  Equally, the lyrics convey a seriousness of purpose that belies the B-movie band name and logo.  While some bands use Satan as just another shock tactic, it is clear that music is part of a greater ritual for these guys, giving the album an emotional and spiritual depth not often heard these days.

Trying to describe the sound of The Devil’s Blood is surprisingly difficult, short of vague comparisons to Roky Erickson and Black Widow, so you really should check out their MySpace page and get a taste this seriously unique band.  http://www.myspace.com/thedevilsblood
[Daniel Hinds]

EREB ALTOR
The End
(Napalm)
Rating - 8/10

Ereb Altor is a Swedish duo, consisting of two members of doom metallers Isole, namely Crister Olsson and Daniel Bryntse.  Although hardly any more cheerful than Isole, Ereb Altor does close in a bit more on the epic metal territory of Viking-era Bathory and bands like Falkenbach.  The resulting mix of dark riffs, clean vocals and grandiose arrangements makes for a thoroughly engrossing listen.

“The Entering Myrding Prologue” is a slow-burning intro to the album that rolls straight into “Myrding,” a grinding tale of despair that harks back to classic Solstice (UK).  “Our Failure” follows a similar path with some slightly heavier riffing, while “A New But Past Day” has a bit more of a folk swing rhythmically, with plenty of the big Bathory-esque chants that litter the album as a whole.

The second half of the album consists of the three-part “The End” piece.  “Vargavinter” is first and feels a bit one-dimensional compared to the rest of the album, reminding me a bit of early Borknagar at times.  “Balder’s Fall” starts off with some elegant acoustic work and spoken vocals before plunging back into full-on Viking metal.  The mid-section features some nicely constructed vocal harmonies as well.  “The Final War” is a near twelve-minute monster that closes the record, taking some of the album’s doomier paths along the way.

Fans of the Viking metal genre will no doubt love this record but it should also have some crossover appeal to the doom crowd as it certainly has enough heaviness.  While I was never able to get into Isole, I am pleased to say Ereb Altor is an altogether more engaging prospect and The End is well worth getting.  http://www.myspace.com/erebaltor
[Daniel Hinds]

GAMMA RAY
To the Metal
(AFM)
Rating - 7/10

Gamma Ray is pretty much an institution at this point, as much a defining factor in European power metal over the last twenty years as any band you can name.  Kai Hansen and company have had their ups and downs along the way and To the Metal falls kind of in the middle.

Part of the problem is the track order seems a little less than ideal.  “Empathy” is a good song but it’s a slow starter and a bit on the epic side to make for a proper opener.  “All You Need to Know” is a weird mix of fast/heavy verses and an overly lighthearted chorus, reminding one more of Helloween than Gamma Ray in that respect.  “Time to Live” is a decent but somewhat forgettable cut, but “To the Metal” sets things right again with it’s anthemic, Accept-like attack a fist-pumping smash.  Iron Maiden makes its influence felt on “Rise” while “Mother Angel” has a definite 80s groove to it along with some stellar soloing.  “Shine Forever” is an intriguing mix of slap bass and full-throttle Painkiller-era Priest, though again slightly marred by the overly happy chorus.  “Deadlands” and “Chasing Shadows” are both more classic-sounding Gamma Ray and quality tunes, while “No Need to Cry” closes the record with a rather bland power ballad.

After the video for “To the Metal,” expectations for this album were perhaps a bit too high.  To the Metal is not one of Gamma Ray’s stronger releases, despite a few standout tracks sprinkled throughout, but still outshines the average power metal album.  http://www.gammaray.org
[Daniel Hinds]

GRIFTEGÅRD
Solemn, Sacred, Severe
(Ván)
Rating - 8.5/10

After much underground buzz and one EP several years back, Sweden’s Griftegård have finally delivered their debut album.  Churning out a thick, heavy brand of doom metal, it is satisfying to hear that Griftegård has managed to put their own stamp on the genre without repeating past glories.

“Charles Taze Russell” (named for the infamous minister that gave the world the Jehovah’s Witnesses) is the perfect introduction to the band’s style.  Leaden riffs, world-weary yet melodic vocals and an unpredictable arrangement conspire to create a compelling song.  “Punishment & Ordeal” spans eleven minutes of pure doom metal bliss, taking almost monotonously simple riffs and adding just the right touches to build them to a level of genius.  It even has a tranquil bit in the middle ala “Rime of the Ancient Mariner,” further emphasizing the heavier sections.  The religious themes on the record spill over into the music on the hymn-like “Noah’s Hand,” a serene diversion before the listener plunges back into the gloom with the brooding and aptly named “The Mire.”  The only disappointing track is closer “Drunk With Wormwood,” which meanders for a good three minutes through some tepid piano and awkward half-spoken vocals before picking up.

While much of the doom scene these days seems to have been co-opted by the sludgier and more abrasive elements, it is incredibly refreshing to hear a band like Griftegård inject the melody, atmosphere and musicality that forefathers like Candlemass and Solitude Aeternus brought to the scene back in the day.  Solemn, Sacred, Severe is not likely to be a party favorite or spawn any radio singles but for 45 minutes of slow-motion headbanging ecstasy, you are not likely to find anything better in 2010.  http://www.myspace.com/griftegrd
[Daniel Hinds]

HEIDEVOLK
Uit Oude Grond
(Napalm)
Rating - 9/10

Another excellent band that calls The Netherlands home, not to mention one of my favorite bands in the pagan/folk metal scene in recent years, Heidevolk do not disappoint with their third outing.  The title apparently translates to ‘The Old Soil’ and is a good match for the lyrics (in Dutch), which deal with the usual Heidevolk themes of folklore, nature and history.

One thing that jumps out right away is the fact that Heidevolk aren’t of the plodding or doomy persuasion, opting instead for a much more upbeat and energetic brand of folk metal.  “Nehalennia” bursts forth straightaway with a driving riff and folky melodies.  The vocals throughout the album are a clean baritone, with effective use of vocal harmonies.  “Ostara” is built around an incredibly catchy riff and even breaks out into some fairly manic near-black metal in the middle.  A certain triumphant vibe permeates “Dondergod,” while “Alvermans Wraak” is an effective mostly-instrumental track, with some chanting toward the end.  The one mellow track is “Deestring,” a beautiful and effective combination of acoustic guitar and violin.  Album closer “Best Bij Nacht” is another standout tune, featuring a classic heavy metal riff laid across a really unique and irresistible rhythm.

Having two lead vocalists that work so well together is really an asset and helps give Heidevolk that special something that distinguishes them from the rest of the scene.  Of course, top quality songs, musicianship and production don’t hurt either, and the result is one of the finest pagan metal albums (or even just metal albums) I’ve heard all year.   http://www.heidevolk.com
[Daniel Hinds]

NEVERMORE
The Obsidian Conspiracy
(Century Media)
Rating - 7/10

Nevermore is one of those bands that I really want to like but can never fully get into them.  Dead Heart in a Dead World was the one album that came the closest, combining the band’s amazing musical skills, top-notch production and a collection of their most memorable tunes.  Since then, however, something seems to be missing and it feels like they might be trying too hard to stay current and become more complex with each record.  The Obsidian Conspiracy is a bit more streamlined but is still lacking… something.

The album opens without warning, slamming straight into “The Termination Proclamation,” a driving, double-bass heavy track.  Vocalist Warrel Dane almost sounds a bit restrained here, though Jeff Loomis’ guitar work is as flashy and impressive as ever.  “Moonrise (Through Mirrors of Death)” is built around a really generic nu-metal riff, though does gain points with a strong chorus.  “And the Maiden Spoke” is another frustrating track, combining some killer, twisted riffing and a complex arrangement with some poorly placed spoken bits that just kill the flow.  “Emptiness Unobstructed” is surprisingly straight-forward, even having some (gasp!) commercial potential to it.  In a good way.  The band experiments with multi-tracked vocals on “The Day You Build the Wall” mostly to good effect and even relaxes enough to deliver some pseudo-balladry on “She Comes in Colors,” though even there it eventually builds into proper heaviness.

Frankly, and this is of course a matter of personal taste, I think the decision to go with downtuned guitars way back when really led Nevermore on the wrong path.  It tends to give the songs a somewhat muddy, generic feel that robs them of their full potential.  The somewhat sterile production doesn’t help matters either.  After five years since the last studio album, it is a bit disappointing that The Obsidian Conspiracy isn’t the roaring return to form that one would hope for, but still it is a decent record and easily the band’s best since Dead Heart.  http://www.myspace.com/nevermorefans
[Daniel Hinds]

NYSEIUS
Militiae
(ATMF)
Rating - 7.5/10

The year 2010 is, if nothing else, the year of French black metal.  So many releases from emerged from France, from bands new and old, and many of them have been above average if not stellar in quality.  Nyseius have been around in one form or another for eight years now but this is the band’s debut and it’s a reasonably impressive one at that.

Following an ominous intro, the title track kicks in full-on.  Nyseius plays a somewhat classic brand of black metal, filled with blastbeats, relentlessly grim vocals and icy riffs that convey the proper sense of brutalized melody.  Although the verses tend to be pretty straight-forward, thrashing affairs, there are plenty of twists and turns along the way to keep the 8+ minutes from dragging.  The rest of the album (save for a short outro) follows in pretty much the same format, though “Endless March” does feature a particularly cool and doomy mid-section.

The production here is fairly thin but not primitively so and it works with the music’s atmosphere.  It’s hard to find any real fault with Nyseius but the songs do tend to sound a little samey, a fact only somewhat placated by the overall shortness of the record.  http://www.myspace.com/nyseius
[Daniel Hinds]

SACRILEGIOUS IMPALEMENT
Cultus Nex
(Hammer of Hate)
Rating - 8/10

Hailing from Finland, this blackened trio seems to be made up of folks already serving time in various other outfits.  Given that fact, there must be some commitment here because the results displayed on Cultus Nex are actually quite good.

The order of the day here is raw, riff-oriented black metal with vocals that border on death metal at times.  The opening track has a nice slow, marching riff that draws the listener in effectively.  Tracks like “Total Annihilation” and “Revelations…The Coming!” offer a great deal more speed and variety, with the guitar tone maintaining a suitably creepy tone even on the faster bits.  The final track is an untitled bonus track which follows a more mid-tempo rhythm with some pagan metal leanings and makes for a nice bookend with the album intro.

Sacrilegious Impalement aren’t going to win any originality awards (for their music or name) but for genre fans, Cultus Nex is a worthwhile investment and pleasing enough to warrant repeated spins.  http://www.myspace.com/sacrilegiousimpalement
[Daniel Hinds]

SAYYADINA
The Great Northern Revisited
(Relapse Records)
Rating- 8/10

Swedish grindcore is amongst the most potent on the planet with plenty of highly regarded bands, both known to the masses and relatively unknown. Sayyadina have been off the radar since the release of their last full-length in 2007, but an appearance at the Maryland Death Fest last year and a signing to Relapse Records, at least for this release, has greatly increased the band’s exposure.

The Great Northern Revisited is a compilation of past work from Sayyadina, and is appearing on Relapse Records with the intent of introducing Sayyadina to a wider North American audience. The Great Northern Revisited features hard to find tracks from various long out of print 7-inchers and hard to find compilations. Thirty tracks are presented in all, including four new songs, clocking in at a respectable 35 minutes.

Composed of members of death metal giants General Surgery and the now sadly defunct Nasum, Sayyadina are balls out grindcore treading very close to crossover giants of yesteryear. I’m greatly reminded of bands such as Cryptic Slaughter and, in particular, Attitude Adjustment, with a definite infusion of hardcore in the all out assault, but with much greater speed than the aforementioned genre pioneers. And an all out assault is exactly what you get on The Great Northern Revisited as each short blast of a song is a brute force kick to the head with incredible speed and infectious riffing. With very few exceptions, none of the songs are greater in length than about a minute or so, just as it should be, and you barely have to time to catch your breath before the next blast begins.

Rather than becoming monotonous, Sayyadina skillfully mix things up a bit with a few interesting interludes in some songs, such as an odd bass line and a “near jazz” experience on “Stagnation,” the longest song on the compilation at just over two minutes. The variation of the songs and the skill with which Sayyadina pull off their assault should result in the band staking out a claim in metal’s collective consciousness. Needless to say, The Great Northern Revisited comes highly recommended.  http://www.relpase.com http://www.myspace.com/sayyadinagrindcore
[Dave Schalek]

SLARTIBARTFASS
Funkenfeuer
(Ketzer)
Rating - 8.5/10

Here we have another folk/pagan release, this time emanating from Germany.  Unlike other bands who are more than happy to simply follow the Bathory blueprint (not that there’s anything wrong with that), Slartibartfass have really fashioned a totally unique take on the style, as evidence by just the first three tracks.

The album opens with “Schleier der Vergangenheit,” a folky instrumental that features bagpipe at the center.  The band actually has a dedicated bagpipe player so this clearly isn’t just a gimmick for the intro.  Next up is another instrumental, “Ein Ruf aus fernen Zeiten,” which features a very light, orchestral sound take you on quite a journey in less than four minutes.  “Der letzte Winter” is the first song where any actual metal comes into play, mixing heavy, triumphant guitar riffs with the bagpipes and gravelly vocals (all the lyrics in German, btw, if the titles didn’t give that away).  The lengthy title track is next, heralded by Jew’s harp, piano and sinister vocals before sliding into a nice metallic groove.  But even this doesn’t last too long before the song takes a bizarre turn into ambient and electro-industrial territory.  “Die Mär von der schönen Lau” is one of the folkier tracks, taking some bizarre pseudo-psychedelic turns in the middle.  “Schwabenkinder” kicks off in full raging black metal mode but like the other tracks, it quickly veers off into uncharted territory.  The remaining songs are equally as diverse, without ever repeating ideas from previous tracks.

Slartibartfass have certainly created a unique sound, with their complex mix of folk, metal, orchestral, electronic, death, thrash, you name it.  Granted, this leads to the band starting to lose the plot now and again, but they do an admirable job of keeping it all together.  To my ears, the more mellow instrumental and folk bits were really the highlight and would love to see them focus more on this aspect of their sound in the future.  Still, Funkenfeurer is a fascinating listen, rich with atmosphere, and makes a fine addition to any pagan/folk metal collection.  http://www.myspace.com/slartibartfassmusik
[Daniel Hinds]

STYGIAN
Fury Rising
(Mortal Music)
Rating – 6/10

This is really all that you need to know about Philadelphia’s Stygian: The quartet originally got together to play covers and worship at the feet of their favorite band; that is, Metallica. Once mastering various Metallica songs, Stygian set about writing their own material, which is nothing more than a carbon copy of Reload- era Metallica.

If this appeals to you, read on. If not, move on to the next review. OK, Fury Rising is not that bad, although you pretty much know what you’re in for about five seconds into the first song. Pacing and riffs are taken straight from Metallica’s mid to late ‘90s playbook, an era of Metallica that most of us would like to forget. However, Stygian have really latched on to this era as their chosen sound (I suspect that Stygian’s fan base consists of the “Metallica-is-the-heaviest-band-in-the-world” crowd), and pull it off with reasonable panache. The songs are fairly catchy heavy rock and roll, the songwriting is decent, the musicianship is more than adequate, and vocalist Frank Leary is a dead ringer for a crooning James Hetfield.

However, as well as this homage to a specific version of Metallica is pulled off, most listeners will probably find themselves getting bored with Fury Rising quite rapidly. Fury Rising smacks of being a one trick pony, and Stygian should expand their musical identity in order to be more than barely one notch above a cover band.  http://www.stygianrock.com/ http://www.myspace.com/mortalmusic
[Dave Schalek]

TAROT
Gravity of Light
(Nuclear Blast)
Rating - 8/10

For those unaware, Tarot is Marco Hietala (of Nightwish fame)’s original band, which has kept going since.. holy shit, 1985?  So a good decade longer than Nightwish has existed - pretty impressive that he has kept it going even with all his duties with Nightwish the past 9 years.

Tarot plays a far more straight-forward power metal style than Nightwish, though they have also kept with the times pretty well sound-wise if Gravity of Light is any indication.  “Satan is Dead” kicks things off nicely, featuring a big, crunchy riff and Marco’s powerful trademark vocals.  Keyboardist Janne Tolsa adds some nice touches throughout, giving it a bit of that Rainbow elegance.  “Hell Knows” is a slower but no less heavy number, reminding me of Stratovarius with its epic quality and big chorus.  “Caught in the Deadlights” takes a slightly more melodic/commercial direction but still works, while “I Walk Forever” has a real anthemic quality.  The album is pretty solid, with only a couple of songs like “Magic and Technology” and “Gone” coming across as a bit ponderous for their own good.

Production-wise, you couldn’t ask for me with everything sounding full, bright and perfectly balanced.  Tarot is destined to always be in Nightwish’s titanic shadow but hopefully more people will check them out as there is plenty of quality metal to be discovered here and Gravity of Light is a great place to start.  http://www.wingsofdarkness.net/php/index.php
[Daniel Hinds]