Genre: Death/Thrash Metal
Label: Spellbind Records (Middle East)/Lifeforce Records (Europe)
Released: March 31st (Middle East), May 2nd, 2011 (Europe)
Reviewer: Kareem Chehayeb
Nervecell is by far the most successful band in the history of the Middle Eastern metal scene. What they have accomplished has inspired many others to try and do the same. Essentially, you probably live under a rock if you haven’t heard of Nervecell and happen to live in the Middle East. Psychogenocide is Nervecell’s second full-length album, and it has lots to live up to, after their huge success with Preaching Venom in 2007. Psychogenocide was released in the Middle East under Spellbind Records, and under Lifeforce Records in Europe. The lineup still consists of Barney (rhythm guitar), Rami (lead guitar), James (vocals/bass), and Psychroptic drummer, Dave Haley, recording drums - talk about a deadly alliance!
What I always enjoyed about Nervecell is how they used Middle Eastern influences without sounding cheesy and tacky. They apply it subtly to their influences, which sound a lot like Morbid Angel, Cannibal Corpse, Suffocation, and even Nile to a certain extent. Psychogenocide has more Middle Eastern influences in there, but they also upped the amount of brutal death metal in there too. I can’t say I disapprove one bit!
The album opens up with Anemic Assurgency, a 2 minute chilling intro track with the “oud” being played with what sounds like tympanis, cymbals, and a couple of Arabian percussion instruments. There are some light backing tracks too in the background to fill up the atmosphere, and it sounds awesome.
Upon An Epidemic Scheme comes in and all hell begins to break loose. James comes in with a growl that sounds in a different range, and I knew that I was going to love this. Though I will never complain about a vocalist’s range being too similar, I think it’s awesome how James is going for mid range vocals in some parts of the album without getting rid of his lower growls, which are incredible as is. The way the song is structured reminds me a lot of Symbolic-era Death, where there was the experimentation of different time signatures and offbeat rhythms, but using it sparingly to make the song a bit more unique, unlike many bands today….
All Eyes on Them is the next track and while it delivers the same skull crushing riffs Nervecell always deliver, I can’t help but say that the interlude in this song is incredible: the short clean portion, Rami’s short but sweet solo, and the heavy breakdown with James’ growls and incredibly tight riffs. I was really impressed with the song.
The next song is one of my favorites off the album: Amok Doctrine. Though I am usually the passive stander at the metal show, observing the band’s gear and watching the musicians play, I would be a 15 year old again and headbang to this till I can’t feel my neck. The black metal-esque verse is incredible too. James tends to use high screams to layer his growls in various parts in this song and it sounds incredible. Of course, I can’t help but to notice another great interlude with this song. The riffs have a great groove to them and the leads sound great and memorable. Just like in their last couple of tracks, they use a variety of different riffs but keep them well connected. The title track, Psychogenocide, is another excellent song. I felt a little bit of Necrophagist in the intro, which always makes me happy. If anyone wants to hear the dynamic variations in James vocals, I think this the right song! It’s incredible, and I can’t help but to applaud Rami and Barney as well for the riffs on this song too.
Shunq (To the Despaired…King of Darkness) features Karl Sanders from Nile doing vocals with James. James growls in Arabic, and Sanders growls in English; holy shit. This is definitely a track you can’t miss from the album. While Nervecell aren’t the first metal band to have Arabic vocals (Kaoteon have done so in the past with Anthem of the Dead), they did a great job with it. The combination of James' deep growls (which have gotten deeper since Preaching Venom – somehow) and Karl Sanders raspy growls combine incredibly well! This song has a consistent groove to it but gets incredibly technical and sounds more like Nile and Necrophagist. Of course, Rami plays a beautifully phrased solo towards the end. I think that solo in particular is my favorite off the entire album.
The Taste of Betrayal is an instrumental track that is a lot more atmospheric and somewhat mellower than “Ratios” that was on Preaching Venom. I did enjoy the use of traditional percussion instruments in the middle of the song, before Rami unleashes an eerie guitar lick that ultimately ends the track.
Driven By Nescience comes after and puts this album back on its brutal course. It comes in with no fancy introduction with a groovy breakdown that is bound to stir up some chaos in a moshpit. I can’t help but to praise Dave Haley once again; he is an incredible drummer! A notable feature in the song too is the black metal like interlude. I thought it gave it a cool atmosphere, and I always felt that Middle Eastern influences could go hand in hand with some black metal.
All in all, Nervecell somehow raised the bar again. They came up with a unique new album that had all the great things Preaching Venom did, but also added something new without changing to the scope of the band. I’ve definitely been following Nervecell religiously since I saw and met them at Dubai Desert Rock Festival 2008, but I can’t help but say that this is one of my favorite Death metal albums that came out this year, and definitely one of my favorite death metal albums in general. This band constantly impresses me, and I wish I could say something negative about the album. I’d give this a 10, but no album is perfect, so this will do:
Genre: Black/Death Metal
Label: Osmose Productions
Released: February 21st, 2011
Reviewer: Spiritcrusher
If you thought Tom Araya and Dave Mustaine are pissed off, wait till you check out Kaoteon from Lebanon. Kaoteon probably describe themselves better than anyone else in the last paragraph of their intro track:
“But till then, till the local peace has been achieved; we will be known as men who will show no mercy, we will feast upon your entrails, and whenever you dare touch a piece of our land, we will bury the bullets in our flesh if we must, carve the cedars in your skin, rape your souls, and I will not waste on your women's stomachs, a drop of my semen. “
This enraged trio has been around since 1999, but only recently released their first full-length, Veni Vedi Vomui (which is Latin for "I came, I saw, I vomited”.) The band went through some issues when they started recording it a few years ago, hence the delay. The album was ultimately released under Osmose Productions this year. However, they’ve also released a few demos since 2004. The band consists of founder Anthony “Kaos” Assaker (guitars/bass), Walid “Wolflust” Shoughary (vocals), and Ziad “Blaster” Alam (drums). Silly aliases aside, these guys mean serious business.
Sound:
Not being a fan of many modern developments in metal, when I heard about Kaoteon a couple of years ago, I knew I was going to enjoy them. I hear influences from Morbid Angel, Death, Immortal, and Gorgoroth.
After the intro track (which should not be skipped) is “Jihannam wa bi’sal maser”. Ziad lives up to his alias with incredible blastbeats, Anthony’s tremolo picking is faster than lightening, and Walid is an absolute monster. This is the usual formula for a Kaoteon song, but it seems to be working for me.
Walid is one of the most versatile metal vocalists of the Middle East. While he doesn’t sing in any of the tracks, he pulls off black metal screams, death metal growls and grunts, and old Tom Araya-esque screams of anger; he is simply not human. I think a track that really shows the versatility would be One by One (Dogs Heed the Call). The blastbeats by Ziad on this track are also impeccable.
We can’t forget about Anthony Assaker, who I believe is the main songwriter for Kaoteon. Though I found the formula of his riff building somewhat too similar, there are some hidden musical gems in his writing that I hope will be more illustrious in their next release.
The combination of swiftly strummed black metal chords and chugged death metal riffs is prominent in all Kaoteon songs. It’s definitely something he did right, and makes Kaoteon unique in that way. One by One has a very unique tune that doesn’t get out of my head, and To Purge One’s Self shows huge progress in Kaoteon’s song writing. Anthony uses a clean guitar tone and plays some pretty menacing tunes, as well as a beautifully phrased solo in a clean interlude. Some of these tracks have been recorded a while back and were featured on older demos. I wonder if we’ll see a bit more of this in their newer material. It definitely made this track very unique, though it would not be great if they included this on all their tracks. Then again, who am I to tell the future?
The only thing I may question from their sound is whether the inclusion of many older songs that have been written years before some of these newer ones give a poor reflection on the sound that Kaoteon strives to create now. Regardless of that though, it’s heavy…really heavy. This isn’t something you Bullet For My Valentine fans who are upset about not finding their favorite skinny jeans at Hot Topic.
Lyrics:
Kaoteon writes very politically themed lyrics. They are outraged at the politicians of Lebanon, the rest of the Middle East, and the world. So many bands from the Middle East write about politicians and wars, but these guys do something that is a lot more symbolic. It’s not just “people dying, soldiers killing, women crying…etc” – I’ll let this excerpt from One By One (Dogs Heed the Call) do the talking:
“The Chaotic order has to be terminated
The rule of the fuck-head, down the shitter
Dim-wits, morons, shit-heads, retards
Fill the streets, dictating a future.
Fuck them all, one by one
The righteous are six feet under”
In “Anthem of the Dead”, one of Kaoteon’s older tracks and one of their most popular ones, they use words from Tunisian poet Aboul-Qacem Echebbi’s most famous poem: “If The People Choose To Live One Day”. This poem has also been chanted amongst protesters in the various revolutions taking place in the Middle East. I also thought it was really cool how they used the poem in Arabic, as opposed to a translated version in English. The rest of the lyrics of this song are in Arabic too. I thought it was a pretty awesome effort.
All in all, Kaoteon have some pretty awesome music for those who like black metal, death metal, or both. I don’t know how many progressive fans will like this, but if you happen to be pissed at your local authorities, look no further than Veni Vedi Vomui, by Kaoteon. There is lots of potential for this newly signed band on Osmose Productions. They have already shared the stage with Melecesh in Dubai’s Sandstorm Festival a couple of years ago, and will hopefully be performing more often.
Don’t walk alone in a dark alley listening to this, kids!
I give Veni Vedi Vomui a 7.5/10.
Genre: Progressive Death Metal
Label: Relapse Records
Released: March 29th, 2011
Reviewer: Spiritcrusher
At this point in time, Obscura need no introduction; their unique form of technical death metal is recognizable to most metal listeners. After releasing their 2009 album, Cosmogenesis, Obscura took over the metal scene by storm. Two years later, Obscura released “Omnivium”, and that certainly was not a disappointment at all. The album was not a repeat of Cosmogenesis, as lots of new elements were included, but any Obscura listener will enjoy this album just as much. The lineup is still the same, with founder and mastermind Steffen Kummerer on guitars/vocals, Jeroen Paul Thesseling (who recently quit) on bass, and former Necrophagist members Christian Muenzner and Hannes Grossmann on guitars and drums respectively.
Though I mentioned that Obscura bring some new ideas into this album, it still has everything that we enjoyed listening to on Cosmogenesis and their previous works: blastbeats, technical and melodic solos, slick bass licks, and riffs that could start earthquakes in the East Coast of the US (…oh wait).
Obscura opted to add some new elements in this album, and they were not subtle. The listener will notice the use of more dissonant chords and harmonies, the use of acoustic guitars, and the influence of psychedelic elements in their music. As stated before, though, that does not really compromise the influences that Obscura have had since their early days.
Omnivium opens up with Septuagint, with a beautiful intro, consisting of acoustic guitars. After a build up with the drums and bass coming in, a signature Obscura riff comes in, along with Grossmann’s flawless blastbeats. It is a fantastic track, and Obscura made sure they put everything into it. I also am a huge fan of the interlude in the middle with the beautiful interlude with Thesseling’s beautiful moving bass parts and clean singing! Though I’m not a huge fan of clean singing in extreme metal and its vast sub-genres, I think he does a good job with it, and uses it sparingly.
The next track, Vortex Omnivium, is 3 minute shorter, but is the perfect follow-up. Just like Septuagint, it sounds like the Obscura we know and love. Though I’m short on words for it, it’s everything you would expect and more. Something that really stood out for me on the track was a very proggy interlude with off-beat drumming and Thessling’s bass filling the room with some neat guitar licks trading off between Muenzner and Kummerer.
Those looking for something different should listen to “Ocean Gateways”. That was a very unexpected track on the album. It’s not as fast as a typical Obscura track and is much simpler than one would expect for a technical death metal band. The riffs are filled with dissonant chords that are simply skull crushing. Deathcore bands that have been using these chords time and time again are probably quite envious at this point. Kummerer’s gutturals send chills down my spine every time, and the bass fills up the atmosphere beautifully. It’s a must listen!
Prismal Dawn also starts with an acoustic, and sounds stunning. The melodies are beautiful yet eerie, and the classical influences of Obscura are present. Their interpretation of classical music in their metal is very different than what most metal artists have done, and that is something I appreciate. The song is incredibly dynamic, from slower off beat rhythms to crazy blastbeats. It’s definitely a unique track.
The album ends with Aevum, a mammoth 8-minute track that is far from disappointing. Like Prismal Dawn, it’s a song that has so much going on and shows how much Obscura pushed themselves to the limit on this album. The song (and album) ends with a slow riff with pounding drums that fade away with time.
The iTunes version of the album includes a cover of Cacophony’s classic track, Concerto. While Kummerer and Muenzner emulate what Jason Becker and Marty Friedman did perfectly, I was hoping for something that was a bit more unique, something that had a taste of Obscura in it. I also think they lacked the “soul” that Friedman and Becker put in their music. The solos were beautiful but weren’t as tasteful. It’s definitely worth the listen though.
All the tracks sound great, but I had to extensively review a few, because a few sentences on each track would not do any of them true justice.
I think the only negative thing about the album is that only a few of the tracks had a “hook”. Cosmogenesis’ tracks all had hooks and were incredibly memorable. For those who want a catch in their songs, not all of them on Omnivium will have them, or would be quite subtle. While talking to my friends about this album, I found that more musicians enjoyed this album than metal enthusiasts, though I don’t think it would steer anyone away from giving this a listen.
Omnivium is an album that can suck the entire planet into a black hole!
Favorite tracks:
- Septuagint
- Ocean Gateways
- Velocity
Genre: Melodic Death Metal
Label: Century Media Records
Released: May 30th, 2011
Reviewer: Spiritcrusher
Arch Enemy needs no introduction. The impact they’ve made on metal is almost second to none. It is almost hard to find a metal fan who cannot recognize Angela Gossow’s vocals, Michael Amott’s beautifully phrased melodies, Chris Amott’s insane solos, Sharlee D’Angelo’s ripping bass riffs, and Daniel Erlandsson’s skull-smashing beats. Whether one is a fan of Arch Enemy or not, nobody can deny that Arch Enemy will be remembered as one of the greatest melodic death metal bands of all time.
It’s been a really long time since we last had an Arch Enemy album out. After “Rise of the Tyrant” success in 2007, I personally had no idea what else they could come up with. I felt like after using somewhat similar formulas since “Anthems of Rebellion”, the new album could be a huge surprise to us all. After “The Root of All Evil” disappointing me (and most other Liiva fans) for being nothing more than just a series of Arch Enemy classics that are overproduced, I definitely started looking forward to the new album. They had to make this one count. I think they did a good job, but I started listening to Burning Bridges and Wages of Sin a week after listening to the new album. Most Arch Enemy fans are going to hate me for this, but I really think they could have done a much better job with “Khaos Legions”.
Arch Enemy is back, raising the black flag of anarchism. Let the revolution begin; we will rise! …Sounds slightly familiar, no?
Sound:
The first thing I heard about the new album was in a short interview with Michael Amott on Terrorizer Magazine (I think). I remember him saying that the new album will have lots of elements of black metal and hardcore punk, and that it’s a bit of a step back to their roots. I thought it would be interesting. I do recall some black metal moments in some of their music (most notably in I Am Legend/Out For Blood).
Once I heard the album, I really couldn’t notice THAT much of a difference, although they were noticeable in various songs. “Cruelty Without Beauty” is filled with blastbeats and chorus with keyboards (courtesy of Per Wiberg) that give you chills.
Some of the songs were really weak to my standards. I thought Yesterday Was Dead and Gone could have been a lot more impressive. It started off pretty neatly, and got into some good moments, but I thought the chorus was weak and that the melodies were nothing very unique. I think most die-hard Arch Enemy fans will notice that in some of the songs on this album.
Needless to say, the drums are still brilliant, the bass breaks into the mix like a savage beast, and the guitar solos give me chills down my spine time and time again, most notably Bloodstained Cross. Michael Amott started off with a beautiful Baroque-style melody building up into a beautiful signature Amott solo with bends and beautiful phrasing. The three instrumentals on the track are very beautiful as well; I do wish they were a minute or two longer!
Lyrics:
Simply put, I always enjoyed Arch Enemy’s lyrics. I think the best lyrical efforts were on “Wages of Sin”, but I do enjoy the hooks they’ve had since then. I think they did a good job with Khaos Legions lyrically, but it’s nothing out of the ordinary, should we compare it to some of their previous albums. It’s all about revolution and the rise of the masses. I think one of the weaker lyrical efforts is on No Gods, No Masters. Otherwise, I think Cult of Chaos has some pretty strong lyrics.
Conclusion:
I liked this album, but it didn’t stick to me the way the others did. I find myself still listening to Burning Bridges and Wages of Sin like they were released yesterday, as well as various tracks from Doomsday Machine and Rise of the Tyrant. With the 4-year break they had to get this album done, I thought it could have been a bit better. It’s definitely worth buying and listening. The acoustic rendition of Wages of Sin’s Snowbound is really awesome as well, which I believe is not available on all formats.
Favorite songs:
- Cult of Chaos
- Bloodstained Cross
Weakest songs:
Final word:
Some of the songs will grow on you, some will hit you instantly….but, some will easily be forgotten.
I give this album a 7.5/10 … 7.5 with slight optimism that I’ll enjoy it more with time.
Genre: Gothic Metal
Label: Listenable Records
Released: March 14th, 2011
Reviewer: Spiritcrusher
It’s never too late to make an amazing breakthrough. This is probably the most memorable thing that I’ve learned about Portuguese goth-metal band, Heavenwood, after listening to their latest release, Abyss Masterpiece.
Before I begin talking about the album, Heavenwood’s lineup consists of Ernesto Guerra as vocalist, Ricardo Dias on guitars and backing vocals, and Bruno Silva on guitars as well. The album features Pedro Mendes as session bassist and Daniel Cardoso as session drummer.
The album opens up with The Arcadia Order with some pretty exciting and complex orchestrations. (Those will appear frequently throughout "Abyss Masterpiece", and we can thank Dominic Joutsen who has arranged these pieces) From the previous songs I've heard by Heavenwood, this was somewhat unexpected. It was a lot faster, heavier, and the growls are just brilliant. Overall, it's a nice opener.
The song that comes next is Morning Glory Clouds. It opens up with a beautiful choir and comes in as catchy and melodic with great combination of harsh and clean vocals. I think if you like Paradise Lost, you'll really enjoy this. The melodies are memorable and so is the chorus. After I first heard it, I couldn't get it out of my head for a few weeks
" As we delay one day for the morning glory clouds
As we remain in pain for the morning glory clouds "
All the tracks have different influences and sound very different, but it works. Right after this lighter and catchier song comes Goddess Presiding Over Solitude, a song filled with skull crushing riffs, and a beautiful symphonic bridge that works very well. This is one of my personal favorites.
Another one that really stands out is Winter Slave. It opens up and sounds like it would really work in Children of Bodom's Follow the Reaper album! It eventually shows its darker colors with more intense double bass drum beats and heavy riffs, perfectly fit. I think people who don't even listen to darker and more melancholic metal sub-genres will definitely enjoy this song.
Like Yesterday is a song I instantly fell in love with. It's got some nice doom metal influences, and the melodies are beautifully infused, whether it's the lead guitar, the piano, or the excellent vocal harmonies. The guitar solo in the song is soulful and is well done. I also should give credit to the well-written lyrics:
"Like a dreadful sound that will ever last
Forever chained to my past, when everything ́s dying fast
Even if I would be the last to feel it...Like Yesterday"
The last track I'll be covering is my favorite off this album, "Leonor". It is the longest song on the track; 6:35 minutes of sheer brilliance. This song features Miriam Renvag, who has a great voice, and people shouldn't start making references to Nightwish's new singer at this point either. She does a much better job. The orchestrations are brilliant and don't get in the way and blend in with the rest of the music. Ernesto's growls with her singing creates a beautiful clash of personalities in the song. The song has a blend of everything in this album, from crushing riffs to beautiful melancholic melodies.
I enjoyed all the songs off this 12-tracked album, but I felt like some of the songs could have been a bit better. Of course, what defines "good" and "bad" is all subjectivity, but in this case, some of the songs were just amazing that it blew some of the others out of the water. In the end, though, this is a great album.
On a more personal note, this band has been around since 1996, and after reading about their long history (mostly filled with tragedies and unfortunate setbacks), the production of a great album after all this time is very inspirational. Heavenwood are up there with their fellow Portuguese goth band, Moonspell, in my opinion.
Favorite tracks: Leonor, Goddess Presiding Over Solitude, Like Yesterday, Fading Sun
Genre: Melodic Death Metal
Label: Metal Blade Records
Release Date: March 29, 2011
Reviewer: Spiritcrusher
I decided that I'm going to drop out of university, build a ship, sail across the Atlantic, destroy and eventually pillage the entire world. Yes, I just finished listening to Amon Amarth's album, Surtur Rising. Yes, it was awesome. No, Johan can't really sing like Serj (Tankian) in that cover of Aerials, but it still kicked ass.
Amon Amarth's latest album, Surtur Rising, doesn't seem to be much too different than Twilight of the Thunder God, but certainly stands out with some of its tracks, and is another great release worth BUYING. [Ed note: Spiritcrusher is super serial about this! Click here to order the record via iTunes]
The album opened up with War of the Gods and it was nothing less than awesome. It feels like Amon Amarth. It sounds like Amon Amarth. It probably smells like Amon Amarth, but I have a cold so I wouldn't know. Heavy riffs, and an EXCELLENT solo. It's catchy (and in a good way)…which is strange, because I tend to be put off by "catchy" songs.
Next track, Tock's Taunt - Loke's Treachery Part II is the second part of Hermod's Ride to Hell - Lokes Treachery Part 1 from With Oden on Our Side, and it has a totally different vibe than War of the Gods. It all about the low chugged riffs in this one. This really gives off the "viking" vibe of the band. I have to say I really enjoyed this and how both songs are so different yet fit together really well.
Destroyer of the Universe is an interesting track that blends in the older more aggressive Amon Amarth (I'm thinking Army of Darkness) with the newer more melodic songs from their last few albums. It comes off as a really upbeat song that blends in heavy riffing with some sweet melodies. I can picture that song being a fan favorite!
The Last Stand of Frej is definitely a track that stands out. It's not as fast, but it's heavy and melodic regardless. It's another song with a great battle-vibe but not the typical upbeat into battle one, which is always a nice change. I always feel like writing about the struggling warrior going through a living hell is a lot more intense than about hyping up for battle…maybe it's just me.
The rest of the tracks of this album are all fantastic, and all play a special role in making this album unique, although I do admit, I would have appreciated a few risk-taking elements in ALL the songs. I feel like some of the songs were very creative and had some new ideas in there, but some of the others seemed to be the same formula. Regardless of that, I loved all the songs and can't wait to see them live in May. [Ed note: Spiritcrusher should be interviewing the band during their stop in Boston; if all goes well and he doesn't have a cold, as he unfortunately did during the Jesse Leach interview last month, we'll be offering an audio interview with the band.]
An interesting comparison of Twilight of the Thunder God to Surtur Rising would be like System of a Down's Toxicity to Steal This Album; very similar music elements, but both still are able to stand out yet complement one another.
Speaking of System of a Down, how about that Amon Amarth Aerials cover? Many people were disappointed and thought Amon Amarth are on the verge of selling out. To be honest, I thought it was an enjoyable cover. I don't think Johan's singing in the chorus was that great, but Amon Amarth dropping the tuning made it all the better. The double bass viking metal build up in the end just made it all the better. This is what I love about covers; a band takes a great song and interprets it in their own way. I think it's great how they took a song from such a contrasting band. It's not only about emulating the song, but giving it a new perspective or a new identity!
Overall, Amon Amarth put out a great release worth buying. The artwork is beautiful, and so are the songs, although I do wish a few more risks were used in some of the tracks. Needless to say, however, I felt that they had a nice variety in the tracks in terms of their dynamics whether it's chugging riffs to melodic licks, from fast double bass drums to groovier rhythms. Some will like Twilight of the Thunder God a bit more, but I can't imagine anyone hating this album.
Excellent job, Amon Amarth; I raise my battle axe on behalf of Metality!
Genre: Thrash/Groove Metal
Label: Century Media Records
Release Date: March 21st, 2011
Reviewer: Spiritcrusher
Most unexpected album of the year? I know it's still March 2011, but I can really say that The Haunted's latest new album, Unseen, was something that I don't think most fans really expected. It's definitely a transition from the "thrash" label many fans put on them. If you expect this album to sound just like "Made Me Do It", then that's not what you're going to get. To be fair though, I did like this album, but I needed to give it a few listens.
I can see really progressive and "groove" elements in this. I can also see some influences coming from more modern melodic death metal bands. Overall, this is an interestingly different sound than before. I think I'm going to focus on the more unique songs off this album.
The album opens up with "Never Better". It begins with an increasingly strong build up to what would be expected as a thrash riff, but it turns into a really hard-hitting progressive metal song. The vocals aren't as harsh, as Peter Dolving seems to focus much more on singing than screams/harsh vocals as he seemed to have done so in previous albums.
The next track just shocked me quite a bit. No Ghost is something for those groove metal fans out there. It's quite melodic, but also has a really "chuggy" riff over a "slow" beat, at least for The Haunted's standards. It's another song that was quite unexpected.
Disappear is a track I actually really enjoyed. Not necessarily fast or hard hitting as one would expect, but I enjoyed the melodic riffs, and I thought Dolving did a great job with the singing. It was reminiscent a bit of In Flames to a certain degree, which I enjoyed.
I also really enjoyed Motionless. I think this song could fit in The Dead Eye album. Nice heavy riffs, awesome buildups to some cool thrash riffs, and Dolving sounding much more pissed off than usual. I think any of The Haunted fans who are bitter about the new album can at least give this song credit.
For all the progressive rock/metal fans, I think you guys would really enjoy The Skull. The intro's clean tapping riff and harmonized singing with the eery leads that pop up sound pretty good. Here's the catch though, it builds up to the more heavier sound that most The Haunted fans will be familiar with from their previous albums.
Ocean Park is a 50 second track with Peter Dolving singing with nothing but acoustic guitar and light rain in the background. It was very unexpected but an interesting transition to the next song The City, which I LOVE.
The City is heavy, fast, melodic, and of course the prog/groove fans will probably enjoy the riffs which are a creatively written. It all picks up into a really cool hard hitting song, with gang vocals and all the good stuff that comes in such a combination. The next song, Them, is another thrashy song that most of the fans of the older albums would like, with a GREAT solo.
All Ends Well is interesting track. It's a nice mix of progressive riffing and catchy melodies. It shows that The Haunted are adding more and more progressive elements in their music, but want to keep their songs catchy.
Their final track, Done, does the same thing. It's heavy and hard hitting but goes with experimenting their time signatures with the rhythm of their riffs. It sounds good. The leads that appear in the song are enjoyable too.
All in all, this is NOT Made Me Do It. This is quite an experimental album with lots of progressive and groove elements in there. I think we're going to see a lot more of this in their future material. However, for all the fans who miss their songs with more elements of "thrash", there are quite a few tracks that still have those elements that are reminiscent of their older material.
Personal favorites:
- Motionless
- Dissappear
- The City
Tracks most of The Haunted's fans never saw coming:
- No Ghost
- Never Better
- Catch 22
- Unseen
I'm going to give this album a solid 7.5/10
I can't say this is my favorite album, but kudos to the band for making progress with their music based on their own decisions and not appealing to anyone. Some of the tracks on this album are absolutely outstanding, and some of them are simply an acquired taste. It's still worth the listen! The Haunted once again present a well done album.
[By: Spiritcrusher]
Yes, I live in Boston. You can now all stalk me and tell me how cool I am for stalking musicians. Oh, and if you’re a BrokenCYDE fan, you can probably come and try to pick a fight with me…or probably a snowball fight since we’re talking BrokenCYDE fans here.
Point is, I had the great honor of interviewing and meeting Jesse Leach in person (not that I didn’t look like a complete idiot and make a fool out of myself half the time). This was before his last stop for his American tour for Times of Grace. Once I arrived by the venue, I called the tour manager, Kyle, and he came out. It was a priceless introduction. “So you’re ‘Spiritcrusher’?” I just shrugged, told him to call me Kareem, and got on with it. The first thing he told me that Jesse was really chill but was the least ‘metalhead’ of a musician anyone could find. After Jesse meeting me at the bus, we went in. I said hello to Adam, Joel, and the rest of the band, acting like I was worth shit, and I was locked up in some small room in the back of the bus with Jesse. I don’t want to know what usually went on there. I could guess, but I’d rather not share.
The gig itself was pretty good. The venue is really small, but fit quite a few people. Amon Amarth are playing there in May, and I have no idea how they’re gonna fit any of their Viking props there. The first band that played was a local opener. Unfortunately, I couldn’t’ figure out their name, but if you ever see a big vocalist with a mic inside a carved beer can, then that’s the band! They had a nice combination of Pantera, old school Mastodon, and even just a bit of Sepultura. It was mostly along the lines of old school Mastodon. They were pretty good. The two main opening acts on the Times of Grace tour were War of Ages and Straight Line Stitch. War of Ages put on a great show. I don’t think they’re extremely creative, in terms of not sounding like pretty much most metalcore bands, but I enjoyed watching them live and they did a great job. Straight Line Stitch was cool too. It’s always nice to see a female metal vocalist, but their drummer just blew me away as well. Obviously, neither are really my favorite bands and aren’t necessarily my cup of tea most of the time, but I have to say they both worked the crowd well and seem like really chill people. Of course, I was just counting breakdowns with my friend, and I nearly got to 40?
Times of Grace really stole the show for me. It was cool to see Joel from Killswitch Engage be part of their live setup (at least for now). Also, it’s the third time I’ve seen Adam D perform, but the first time without a cape. I guess that’s good. I wouldn’t wear a cape if I were performing songs about the darkest and deepest extents of my misery. I thought it was cool that his parents came out to support him. I was really impressed with how all the fans knew the lyrics to EVERY SINGLE SONG. The album just came out in January and the band hasn’t been around for a long time. I definitely have to give kudos to the fans as well, apart from one really annoying kid who kept singing to every War of Ages songs with his arms up in the air. That isn’t bad until we realized he’s got body odor worse than someone who camped out at Wacken for a week without a shower.
Here's how my interview with Jesse went:
Kareem Chehayeb: Hey Jesse! So, tell me, how’s everything going lately?
Jesse Leach: It’s been going great man. Tour’s been amazing: kids coming out, singing along…it’s great man. Today’s our last day, and it’s kinda a bittersweet day…
Kareem: Awesome, so this is pretty much a small tour. You guys only had a few stops right?
Leach: Well it was full US, but we basically just stuck to the coastlines and didn’t really hit the Midwest. It was kinda a last minute thing, because we weren’t really sure if we were going to tour. So when we decided we were going to tour, we all got set in motion a bit later than usual than planning ahead, so that’s why it kinda is the way it is.
Kareem: So, are we gonna expect some larger tours this summer? I mean people have been enjoying this album!
Leach: Yeah, it’s tough. As soon as we’re done with this, Adam goes to the studio to produce a band. And then after that, there are no plans as far as the US; we’re looking at the UK and Europe in June and July in Canada. But as of right now, we’re trying to piece something together for maybe May, some more US dates. Right now, it’s just kinda up in the air.
Kareem: A few years ago, we saw the reformation of Carcass, whose guitarist, Michael Amott, also plays for Arch Enemy. They toured together, and used to co-headline each other’s gigs. Arch Enemy’s drummer also covered up for Carcass’s drums. Given that Adam is part of Killswitch Engage and Joel is part of your live lineup, have you guys thought of that?
Leach: I don’t know. I don’t know if that would even be a good fit, I mean it honestly hasn’t even been discussed…not even a thought in our minds. Killswitch is definitely a much bigger band, so it might help Times of Grace but it might even harm it. So, at the moment, it hasn’t been discussed.
Kareem: So, Killswitch Engage played the Middle East with As I Lay Dying, Korn, Machine Head, and more at Dubai Desert Rock Festival 2008. There was a pretty large turnout. Have you ever thought of performing in the Middle East at one point or another in your career?
Leach: Oh man, I’d take anything man! I’ve never performed overseas in my career! So, for me, I’d love to do something like that! I’d love to hit Australia, Japan, and all those places too!
Kareem: Did Adam or Joel ever bring up their experience in Dubai?
Leach: No, actually. They haven’t brought it up honestly. Now that you mentioned it, I should ask them about it!
Kareem: Given we’ve been talking about touring so far, do you have a dream band that you would like to tour with?
Jesse: Yeah, but they don’t exist anymore: The Clash. They’re one of my favorite bands of all time. As of now, though, there is a band called Thrice that I really love, and I’ve been talking with management…and they’re a band we have to tour with at some point!
Kareem: I really hope that works!
Leach: Yeah I hope so too man!
Kareem: You’ve had some experience playing live, have you had any embarrassing moments you want to share with our readers?
Leach: Fortunately, not really! I think that when you’re confident in yourself, even when things sorta get flubbed, you can kinda cover it up and just roll with it. I think that’s the beauty of playing live…you just don’t need to admit your mistake or making the mistake into something else. For the most part, I mean I dropped the mic a few times, but nothing really crazy.
Kareem: “Times of Grace” is very different than your other active project, The Empire Shall Fall. I want to quote Adam from the official website when he says “there is always a light at the end of the tunnel. I know the lyrical content was inspired when he was sustaining an injury. Can you tell us a bit more about what the lyrics mean to you?
Leach: I mean pretty much…to keep things very general, because I’m a huge fan of not explaining things too much, because I love the idea taking their own interpretation of the words, but my lyrics come from a place of darkness and pain that I was going through. There were a lot of dark times and depression. But throughout all that, I was able to maintain my hope and my faith, and that’s kinda where I’m coming from. You know, like being in the darkest depths of your soul and then finding a way through the grace of God to rise up above it. So this is kinda what the record represents to me; pulling up from a dark time.
Kareem: Now, this experience was different in the recording studio, because Adam pretty much recorded all the instruments and did some vocals, and you did the main vocals too. I mean, it was pretty much just the two of you guys in the studio. Clearly with the lyrical content being so deep and meaningful to the both of you, it must have been an interesting and intimate experience as close friends and band mates as well. So how would you describe the process of recording for such an emotionally driven album, as opposed to recording an album with a usual 4 or 5-piece band?
Leach: Definitely a lot more intimate and a lot more honest…I think that’s why the album came out the way it did. There wasn’t much distraction from other people and other opinions. It was literally just he and I, and we were really on the same page on what we wanted to get out of this record and how we wanted to convey our emotions. There were many moments where it was very deep and we’d talk about life and it was very heavy…but Adam being who he is, there was lots of laughter too. Which is great, because it’s nice when you’re not in a great place to have someone make you laugh and he’s one of the funniest people I’ve ever met in my life. So it was a balance between light-hearted laughter about fart jokes and everything that he does, and being able to have a deep conversation soon after. It was just an easy environment to let things just flow
Kareem: So do you feel like the songs came out stronger more than anticipated?
Leach: Absolutely…I didn’t expect the record to be as cathartic and powerful as it became.
Kareem: Now, we know that The Empire Shall Fall is writing some new tracks now?
Leach: Yeah apparently they have 5 songs…I only heard one though. The Internet’s been crappy here. But in 2 weeks or so, I’m gonna meet up with those guys and rehearse and see what they’ve done. I can’t wait to start working with them again!
Kareem: That’s great! So can we expect an album?
Leach: I think we’re planning on doing a bunch of EPs…a 5 song EP here and 5 song EP there. We’re talking about maybe doing 3 and making them all connect somehow, almost like a loose concept to the lyrics, feelings, concepts and tones….The plan is that we’re making them available digitally and also on vinyl, for people who like the old school stuff.
Kareem: The Empire Shall Fall’s track “Lords of War” was on the first Metality compilation with bands like Daylight Dies, Norther, as well as many other bands, many from the Middle East. Have you had the chance to check out other tracks from the compilation?
Leach: Honestly, dude, I haven’t. I’m sorry! It’s just been a busy year, bro! But I’m aware of it! Haha, I’m sorry!
Kareem: You’re also in another project called Seemless, you guys have been on hiatus since 2009?
Leach: Yeah, it’s pretty much done…it’s done…it ran its course. We went our respective separate ways. All very good friends, I just felt like it ran its course. We thought we’d put it to bed. I’m still interested in doing a blues-rock project, probably solo. I’m a huge fan of blues music.
Kareem: What sort of blues music are you into?
Leach: Well I’m more of a rock-blues guy. I love the old school cats. I’m a big fan of Ray Charles. I’m a big fan of the Allman Brothers. I warm up to them every night. I really love Robert Johnson, how can you not if you like blues? Anything that’s got blues, I’m sure I’ll dig it.
Kareem: Do you have any hobbies that are not music related that you enjoy doing in your spare time?
Leach: Food! I’m a huge foodie. I love food. I like wine, beer, and scotch. What I love to do, if I get a bottle of wine, I’ll make something that goes with it. If I make dinner, my wife and I will pick a beer that goes well with it. To me, that’s a passion. I absolutely love. I’d like to be a chef someday. I mean I feel like I am a chef but I don’t have the degree, but whatever.
Kareem: Do you have any long-term goals that aren’t necessarily music-related?
Leach: To be happy… That’s it man. If I can be happy, then God’s blessed me…maybe someday have a family, children, I don’t know. But right now I’m really happy with the way the things are, and hopefully my career continues on the way it’s going. Every day is like a therapy session out here on the road singing these songs. There are moments where I forget where I am because I’m in the moment of my lyrics. It’s been wonderful for me.
Kareem: We talked a bit about the blues bands you’re into, but what else have you been into?
Leach: I’m a huge reggae fan. I love King Tubby, Jacob Miller, and into some stuff like Capleton, Sizzler, Bob Marley obviously was a huge influence. To me, Reggae music and Dub just has this rhythm that feels right with me. I’m also a huge fan of underground hip-hop, a lot of the stuff from the 90s. I love Tropical Quest, Anticon Crew; I love all kinds of music. I’m actually the least bit a “metalhead”. I’m more of a “punk-hardcore” kid, and I got into all types of music growing up. I do enjoy performing metal, but not much metal on my iPod.
Kareem: It’s good to be eclectic with music anyway.
Leach: Yeah I think it helps with writing more interesting things too!
Kareem: A lot of the readers on Metality.net are young musicians and want to hear from their heroes and idols. So can you give some advice for young musicians who aspire to be successful with their work?
Leach: To me, what is most important is maintaining your integrity and not losing sight about why you started playing music in the first place. I find that many young musicians who get caught up in this “rock star” mentality who are pushing so hard to being successful tend to lose sight in why they play music and the reason behind it. So, I say stay true to yourself and always be honest as a musician…and hold high your ethics and your artistic mindset, because that will sustain you in the long run. That’ll get you more than any greed or desire to be a rock star will ever get you.
Kareem: Of course, the deepest question of all: are you a cat or dog person?
Leach: That’s a tough one, man! I like both! I’ve had both too. Ideally, man, I’d say dog. Dogs win over. That’s for sure.
Kareem: Well, that’s it. Thanks again, Jesse! Good luck with everything in the future
Leach: Yeah, no worries, man! Thank you brother!
Make sure to visit TIMES OF GRACE online, for all the latest updates. The band recently announced that they will be performing at this year's Download Festival, with more shows to be confirmed.
