JJP666's Last.fm Journal

en http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ Thu, 1 Jan 1970 00:00:00 +0000 Thu, 1 Jan 1970 00:00:00 +0000 60 http://www.audioscrobbler.net/data/webservices JJP666's Last.fm Journal http://www.last.fm/user/JJP666/journal The Last.fm journal for JJP666. Last.fm journals are a place to talk about all things music. My top 20 albums of 2011. http://www.last.fm/user/JJP666/journal/2011/12/18/590qw6_my_top_20_albums_of_2011. Sun, 18 Dec 2011 18:25:57 +0000 http://www.last.fm/user/JJP666/journal/2011/12/18/590qw6_my_top_20_albums_of_2011. 20. Chuck Ragan - Covering Ground
19. All Pigs Must Die - God Is War
18. City and Colour - Little Hell
17. Mogwai - Hardcore Will Never Die, But You Will
16. Cerebral Ballzy - Cerebral Ballzy
15. Dave Hause - Resolutions
14. And So I Watch You From Afar - Gangs
13. Frank Turner - England Keep My Bones
12. Thomas Giles - Pulse
11. Foo Fighters - Wasting Light
10. Fucked Up - David Comes To Life
9. Crazy Arm - Union City Breath
8. Wolves Like Us - Late Love
7. Touche Amore - Parting The Sea Between Brightness And Me
6. The Horrible Crowes - Elsie
5. Spycatcher - Honesty
4. *shels - Plains of the Purple Buffalo
3. Trap Them - Darker Handcraft
2. La Dispute - Wildlife
1. Mastodon - The Hunter

ALBUM OF THE YEAR: ROLL OF HONOUR
2007: Machine Head - The Blackening
2008: Cancer Bats - Hail Destroyer
2009: Mastodon - Crack The Skye
2010: The Dillinger Escape Plan - Option Paralysis
2011: Mastodon - The Hunter
2012: ??

Much love.]]> My top 20 albums of 2010. http://www.last.fm/user/JJP666/journal/2010/12/10/43gmg8_my_top_20_albums_of_2010. Fri, 10 Dec 2010 21:34:53 +0000 http://www.last.fm/user/JJP666/journal/2010/12/10/43gmg8_my_top_20_albums_of_2010. 20. Feed The Rhino - Mr. Red Eye
19. All That Remains - For We Are Many
18. Periphery - Periphery
17. Kylesa - Spiral Shadow
16. This is Hell - Weight Of The World
15. Brutality Will Prevail - Root of All Evil
14. Integrity - The Blackest Curse
13. Devil Sold His Soul - Blessed & Cursed
12. Rolo Tomassi - Cosmology
11. Chickenhawk - Modern Bodies
10. High on Fire - Snakes for the Divine
9. Kvelertak - Kvelertak
8. Alkaline Trio - This Addiction
7. Against Me! - White Crosses
6. Black Breath - Heavy Breathing
5. Cancer Bats - Bears, Mayors, Scraps & Bones
4. Rinoa - An age among them
3. Trash Talk - Eyes & Nines
2. Comeback Kid - Symptoms + Cures
1. The Dillinger Escape Plan - Option Paralysis.

MY ALBUMS OF THE YEAR: ROLL OF HONOUR

2007: Machine Head - 'The Blackening'
2008: Cancer Bats - 'Hail Destroyer'
2009: Mastodon - 'Crack The Skye'
2010: The Dillinger Escape Plan - 'Option Paralysis'
2011: ??

Cheers.]]> Best of 2009 http://www.last.fm/user/JJP666/journal/2009/12/23/39svwr_best_of_2009 Wed, 23 Dec 2009 22:55:48 +0000 http://www.last.fm/user/JJP666/journal/2009/12/23/39svwr_best_of_2009 TOP 20 ALBUMS OF 2009:
20. Darkest Hour - The Eternal Return
19. The Plight - Winds Of Osiris
18. Malefice - Dawn Of Reprisal
17. DevilDriver - Pray For Villains
16. Blackhole - Dead Hearts
15. The Fall of Troy - In the Unlikely Event
14. Your Demise - Ignorance Never Dies
13. Converge - Axe to Fall
12. Between the Buried and Me - The Great Misdirect
11. Paramore - Brand New Eyes
10. Gallows - Grey Britain
9. Lamb of God - Wrath
8. And So I Watch You From Afar - And So I Watch You From Afar
7. Biffy Clyro - Only Revolutions
6. Alexisonfire - Old Crows/Young Cardinals
5. The Ghost of a Thousand - New Hopes, New Demonstrations
4. Every Time I Die - New Junk Aesthetic
3. Baroness - Blue Record
2. Architects - Hollow Crown
1. Mastodon - Crack the Skye

ALBUMS OF THE YEAR - ROLL OF HONOUR:
2007: Machine Head - "The Blackening"
2008: Cancer Bats - "Hail Destroyer"
2009: Mastodon - "Crack the Skye"
2010: ??

TOP 20 GIGS OF 2009:
20. Cancer Bats (supported by The Plight and Take A Worm For A Walk Week), ABC2, Glasgow, 29.4.09.
19. This is Hell (supported by Dead Swans and The Blackout Argument), Ivory Blacks, Glasgow, 7.4.09.
18. Never Say Die! Tour 2009 (Architects, Despised Icon, Horse The Band, As Blood Runs Black, Oceano, iwrestledabearonce, The Ghost Inside), The Arches, Glasgow, 2.11.09.
17. This Will Destroy You (supported by And So I Watch You From Afar), Ivory Blacks, Glasgow, 23.10.09.
16. Blackhole (supported by The Plight and Throats), King Tuts, Glasgow, 15.9.09.
15. DevilDriver (supported by Behemoth, Suicide Silence, Trigger the Bloodshed and Malefice), Garage, Glasgow, 20.10.09.
14. Funeral for a Friend (supported by We Are the Ocean), QMU, Glasgow, 25.3.09.
13. The Bronx (supported by Fucked Up and Rolo Tomassi), Garage, Glasgow, 27.2.09.
12. Lamb of God (supported by Dimmu Borgir, Unearth and Five Finger Death Punch), 02 Academy, Glasgow, 15.2.09.
11. Architects (supported by Misery Signals and A Textbook Tragedy), Cathouse, Glasgow, 19.1.09.
10. The Fall of Troy (supported by Thisfamiliarsmile), King Tuts, Glasgow, 16.11.09.
9. All That Remains (supported by The Haunted), Garage, 20.1.09.
8. Gallows (supported by Every Time I Die and The Ghost of a Thousand), ABC, Glasgow, 8.5.09.
7. The Ghost of a Thousand (supported by The Computers), King Tuts, Glasgow, 3.7.09.
6. Eastpak Antidote Tour 2009 (Alexisonfire, Anti-Flag, Four Year Strong and The Ghost of a Thousand), 02 Academy, Glasgow, 16.10.09.
5. Rockstar Taste of Chaos Tour 2009 (Killswitch Engage, In Flames, Every Time I Die and Maylene and the Sons of Disaster), 02 Academy, Glasgow, 27.11.09.
4. Biffy Clyro (supported by Manchester Orchestra), Barrowlands, Glasgow, 3.11.09.
3. Evile (supported by Trigger the Bloodshed and Mutant), Cathouse, Glasgow, 20.4.09.
2. Mastodon (supported by Valient Thorr and Take A Worm For A Walk Week), ABC, Glasgow, 7.6.09.
1. Rolo Tomassi (supported by Grammatics and Pulled Apart By Horses), Captain's Rest, Glasgow, 22.4.09.

Merry Christmas.]]> Killswitch Engage - "Killswitch Engage" http://www.last.fm/user/JJP666/journal/2009/10/04/326su0_killswitch_engage_-_%22killswitch_engage%22 Sun, 4 Oct 2009 18:21:51 +0000 http://www.last.fm/user/JJP666/journal/2009/10/04/326su0_killswitch_engage_-_%22killswitch_engage%22 Massachussetts metalcore pioneers disappoint on album number five

TRACKLISTING:
1. "Never Again" (3:09)
2. "Starting Over" (3:51)
3. "The Forgotten" (3:18)
4. "Reckoning" (2:41)
5. "The Return" (4:29)
6. "A Light in a Darkened World" (2:51)
7. "Take Me Away" (2:46)
8. "I Would Do Anything" (3:22)
9. "Save Me" (3:47)
10. "Lost" (3:45)
11. "This is Goodbye" (4:17)
12. "In a Dead World" (Bonus Track) (4:14)
13. "Rose of Sharyn [Live]" (Bonus Track) (3:48)
14. "My Curse [Live]" (Bonus Track) (4:27)
15. "Holy Diver [Live]" (Bonus Track) (5:08)

It is no exaggeration to suggest that Killswitch Engage's influence over heavy metal in its 21st century guise has been as great as that of any of their peers. Indeed, 2002's groundbreaking album "Alive or Just Breathing" was the catalyst for a plethora of bands following in KSE's steps and adopting the band's style of combining melodic and hardcore vocals, backed by a powerful array of guitar harmonies, thrash-inspired percussion and crowd-friendly choruses. "AOJB" was merely the second in a line of four near-flawless records that cemented the band's status as the eternal leaders of this "melodic metalcore" scene. This position of dominance, however, perhaps plays a role in the reaction that the band's second self-titled album, and fifth overall, is bound to provoke. "Killswitch Engage" is no disaster, but given the incredible standards that Killswitch have consistently set in the past, fans and critics alike have every right to expect much better.

Ultimately, one of the most surprising aspects of "Killswitch Engage" is the poor quality of songwriting. This is not true of the entire album, but there is a formulaic, repetitive nature to many of the tracks, including "A Light in a Darkened World" and "Never Again", an ominous indication that new ideas are in short supply. Howard Jones' lyrics are weak in places, but there is no denying that he still has one of the most impressive voices in metal, as "Lost" and the anthemic "Reckoning" demonstrate. Guitarists Adam Dutkiewicz and Joel Stroetzel indulge in some brilliant trademark riffs on "I Would Do Anything", and single "Starting Over" would rank with much of the band's previous material, but elsewhere, there is alarmingly little on offer. Killswitch Engage's position as one of the world's most revered metal bands is not under threat, but there is no avoiding the fact that this will be remembered as one of the most inadequate releases of 2009.

BEST TRACKS: "Starting Over", "I Would Do Anything".

OVERALL ANALYSIS:
Song structure: 8/10.
Originality: 5/10.
Diversity: 7/10.
Progress from previous material: 2/10.
Album structure/consistency: 6/10.
Production/mixing: 9/10.
Lyrics/artwork: 6/10.
Staying power: 6/10.
Overall musicianship: 15/20.

SCORE: 64%.

"Killswitch Engage" is available now via Roadrunner Records.

UPCOMING REVIEWS:
Darkest Hour - "The Eternal Return",
DevilDriver - "Pray For Villains",
Blackhole - "Dead Hearts",
Lower Than Atlantis - "Bretton",
Every Time I Die - "New Junk Aesthetic",
Evile - "Infected Nations",
The Number Twelve Looks Like You - "Worse Than Alone",
Paramore - "Brand New Eyes".

Cheers for reading,
JJ.

Killswitch Engage Killswitch Engage All That Remains As I Lay Dying Parkway Drive Trivium Five Finger Death Punch Chimaira Lamb of God]]> Alexisonfire - "Old Crows/Young Cardinals" http://www.last.fm/user/JJP666/journal/2009/09/26/31gw6c_alexisonfire_-_%22old_crowsyoung_cardinals%22 Sat, 26 Sep 2009 20:15:45 +0000 http://www.last.fm/user/JJP666/journal/2009/09/26/31gw6c_alexisonfire_-_%22old_crowsyoung_cardinals%22 Canadian post-hardcore champions grow up, but the tunes are still there

TRACKLISTING:
1. "Old Crows" (4:17)
2. "Young Cardinals" (3:38)
3. "Sons of Privilege" (3:21)
4. "Born and Raised" (4:01)
5. "No Rest" (3:37)
6. "The Northern" (4:28)
7. "Midnight Regulations" (4:11)
8. "Emerald Street" (3:16)
9. "Heading for the Sun" (3:45)
10. "Accept Crime" (3:14)
11. "Burial" (4:18)

As the groove-laden opening bass hook of "Old Crows" gradually ascends into a gargantuan, galvanising, accomplished main riff, one would be forgiven for double-checking whether or not they were in fact listening to Alexisonfire. The general style and mood of "Old Crows/Young Cardinals", the fourth album from Ontario, Canada's most revered sons, suggests that Dallas Green and co's appetite for uncompromising, adrenaline-fuelled punk rock may be on the decline as they enter their late twenties, but in its place is undoubtedly some of the most ingeniously-crafted, atmospheric and melodically ambitious music the band has ever committed to record. It is definitely a more mature sound than that heard on 2006's "Crisis", now often regarded as a modern classic, but it is by no means a complete departure, as the likes of summer anthem "Heading for the Sun", second single "No Rest" and the simply mindblowing "Sons of Privilege" demonstrate with total aplomb.

However, there are also key differences between "Old Crows..." and AOF's previous material. Lead vocalist George Pettit, for instance, has combined his trademark screams with melodic vocals, and when backed up by the supreme tones of guitarists Wade McNeil and particularly Dallas Green, Alexisonfire are even more of a force to be reckoned with than they previously were. This vocal trinity comes to fruition on the impressive "The Northern", a somewhat eerie affair with lyrics taken from an American slaves' hymn. Beautiful closing track "Burial" has the serenity of much of Green's work under the guise of City and Colour, while the stunning "Midnight Regulations" is a relentless array of probably the most irresistible vocal melodies one could wish for. It is AOF's songwriting capabilities, however, that really make "Old Crows..." what it is - an awe-inspiring, wholly relevant record that will more than satisfy anyone who has ever taken an interest in this remarkable band.

BEST TRACKS: "Midnight Regulations", "Sons of Privilege".

OVERALL ANALYSIS:
Song structure: 9/10.
Originality: 8/10.
Diversity: 8/10.
Progress from previous material: 8/10.
Album structure/consistency: 8/10.
Production/mixing: 9/10.
Lyrics/artwork: 7/10.
Staying power: 9/10.
Overall musicianship: 17/20.

SCORE: 83%.

"Old Crows/Young Cardinals" is out now via Roadrunner Records.

UPCOMING REVIEWS:
Killswitch Engage - "Killswitch Engage",
Darkest Hour - "The Eternal Return",
DevilDriver - "Pray For Villains",
Blackhole - "Dead Hearts",
Lower Than Atlantis - "Bretton",
Every Time I Die - "New Junk Aesthetic",
Evile - "Infected Nations",
The Number Twelve Looks Like You - "Worse Than Alone".

Cheers for reading,
JJ.

Alexisonfire Old Crows/Young Cardinals Dance Gavin Dance A Day to Remember Underoath Saosin Emarosa Thrice Enter Shikari]]> The Ghost of a Thousand - "New Hopes, New Demonstrations" http://www.last.fm/user/JJP666/journal/2009/09/17/30olt6_the_ghost_of_a_thousand_-_%22new_hopes,_new_demonstrations%22 Thu, 17 Sep 2009 20:14:44 +0000 http://www.last.fm/user/JJP666/journal/2009/09/17/30olt6_the_ghost_of_a_thousand_-_%22new_hopes,_new_demonstrations%22 Brighton's hardcore kings unleash the soundtrack of the summer

TRACKLISTING:
1. "Moved As Mountains, Dreamt Of By Sea" (2:29)
2. "Bright Lights" (3:49)
3. "Knees, Toes, Teeth" (2:41)
4. "Canyons Of Static" (2:52)
5. "Split The Atom" (3:15)
6. "Neptune" (2:49)
7. "Small Mercies" (1:17)
8. "Nobody Likes A Hero" (2:59)
9. "Running On Empty" (2:36)
10. "Fed To The Ocean" (3:32)
11. "Good Old Fashioned Loss" (6:29)

Even the most ardent opponent of The Ghost of a Thousand would struggle to deny that the volume of critical acclaim the Brighton hardcore quintet have received off the back of one solitary album has been formidable. Tom Lacey and co's 2007 debut "This is Where the Fight Begins" was a raucous, incendiary affair with a thirst for the occasional rock 'n' roll groove, and latest album "New Hopes, New Demonstrations" offers up a more mature, refined sound, where the rock 'n' roll influence is far more prominent. In fact, at times rock 'n' roll is the dominant force over TGOAT's trademark hardcore style, as groove-laden anthems "Knees, Toes, Teeth" and "Split The Atom" demonstrate effectively. Despite this slight departure, however, the overpowering, epic nature of the band's hardcore style of old remains constant, and when one combines the two styles it makes for a fresh, perhaps even unique sound.

Nevertheless, the frenetic hardcore for which TGOAT are renowned still exists on "New Hopes, New Demonstrations". The ferocious "Running On Empty", for instance, is undoubtedly one of the band's finest works to date, while "Neptune" and "Bright Lights" are also uncompromising blasts of hardcore euphoria. Vocalist Tom Lacey sounds as remarkable as ever; his unmistakable, impassioned roar remains unrivalled, and his ability to interchange between this and Dennis Lyxzen-esque melodic vocals deserves huge credit. This is never more plain than on blistering opener "Moved As Mountains...", an absolute behemoth of a track where the riff work of guitarists Jag Jago and Andy Blyth particularly stands out. This is merely a fantastic start to an album whose standard remains high throughout. Guaranteed to please broad-minded rock fans as well as hardcore purists, the Brighton boys' second full-length certainly lives up to all expectations.

BEST TRACKS: "Running On Empty", "Moved as Mountains, Dreamt of By Sea".

OVERALL ANALYSIS:
Song structure: 7/10.
Originality: 9/10.
Diveristy: 9/10.
Progress from previous material: 9/10.
Album structure/consistency: 7/10.
Production/mixing: 8/10.
Lyrics/artwork: 8/10.
Staying power: 8/10.
Overall musicianship: 16/20.

SCORE: 81%.

"New Hopes, New Demonstrations" is out now via Epitaph Records.

UPCOMING REVIEWS:
Alexisonfire - "Old Crows/Young Cardinals",
Killswitch Engage - "Killswitch Engage",
Darkest Hour - "The Eternal Return",
DevilDriver - "Pray For Villains",
Blackhole - "Dead Hearts",
Lower Than Atlantis - "Bretton",
Every Time I Die - "New Junk Aesthetic".

Cheers for reading,
JJ.

The Ghost of a Thousand New Hopes, New Demonstrations Gallows Dead Swans Blackhole Cancer Bats Hexes The Plight Lower Than Atlantis]]> Your Demise - "Ignorance Never Dies" http://www.last.fm/user/JJP666/journal/2009/09/08/2zwuyj_your_demise_-_%22ignorance_never_dies%22 Tue, 8 Sep 2009 20:01:38 +0000 http://www.last.fm/user/JJP666/journal/2009/09/08/2zwuyj_your_demise_-_%22ignorance_never_dies%22 UK hardcore youngsters offer up sublime, diverse array of infectious anthems

TRACKLISTING:
1. "Ignorance Never Dies" (2:13)
2. "Burnt Tongues" (2:55)
3. "Nothing Left But Regret" (2:18)
4. "Antipode" (3:07)
5. "Hypochondriac" (1:06)
6. "Dreaming Of Believing" (2:01)
7. "TF" (3:13)
8. "Unknown Dub" (5:07)
9. "The Clocks Aren't Ticking Backwards" (3:35)
10. "Feels Like There's Something Dark Inside" (4:47)
11. "All I Never Want To Be" (2:17)
12. "Great Shape" (3:19)
13. "Black Veins" (4:25)
14. "Blood Ran Cold" (3:05)

From the moment the ominous, soaring crescendo of intro "Ignorance Never Dies" relentlessly devours everything and everyone in its path, it is glaringly obvious that St. Albans hardcore crew Your Demise have struck gold with the album of the same name. The band's second full-length is as fresh and exciting a record as anything this genre is likely to produce this year, and is bursting at the seams with a whole host of blistering anthems that will no doubt become live favourites in the very near future. "Burnt Tongues", for instance, possesses a deeply infectious quality that is certainly aided by a thunderous main riff, but the track refuses to stick to the steady pace and therefore comes into its own when faster, thrashier elements are explored. Similar comments can be made of the likes of "Antipode" and "TF", and it is this level of consistency that will surely place this band among the leading lights of the currently thriving UK hardcore scene.

It almost goes without saying that good songwriting skills are required in order to write a string of consistently excellent songs, but this is a quality that particularly shines through in Your Demise's work. The ways in which "Feels Like There's Something Dark Inside" and "The Clocks Aren't Ticking Backwards" build such an overpowering, intense atmosphere with the use of fairly basic riffs is proof that these guys really have mastered the art of writing a hardcore song straight out of the top drawer. The epic, all-encompassing "Black Veins" is an obvious highlight, but what really captures the imagination is the inclusion of some drum 'n' bass and dubstep interludes. Of course, these styles might not be to the typical hardcore fan's taste, and "Unknown Dub" does tend to drag on, but it is nevertheless refreshing to see such an ambitious move from such a promising group of lads. All in all, this is a fantastic breakthrough from a band with enormous potential.

BEST TRACKS: "Black Veins", "Burnt Tongues".

OVERALL ANALYSIS:
Song structure: 9/10.
Originality: 8/10.
Diversity: 9/10.
Apparent potential: 9/10.
Album structure/consistency: 9/10.
Production/mixing: 8/10.
Lyrics/artwork: 6/10.
Staying power: 8/10.
Overall musicianship: 17/20.

SCORE: 83%.

"Ignorance Never Dies" is out now via Visible Noise Records.

UPCOMING REVIEWS:
The Ghost of a Thousand - "New Hopes, New Demonstrations",
Alexisonfire - "Old Crows/Young Cardinals",
Killswitch Engage - "Killswitch Engage",
Darkest Hour - "The Eternal Return",
DevilDriver - "Pray For Villains",
Blackhole - "Dead Hearts",
Lower Than Atlantis - "Bretton".

Cheers for reading,
JJ.

Your Demise Ignorance Never Dies Dead Swans Brutality Will Prevail Get Fucking Dead Deez Nuts More Than Life Lower Than Atlantis CDC]]> The album reviews are back! Beginning with: Chimaira - "The Infection" http://www.last.fm/user/JJP666/journal/2009/07/21/2vulem_the_album_reviews_are_back!_beginning_with:_chimaira_-_%22the_infection%22 Tue, 21 Jul 2009 16:57:21 +0000 http://www.last.fm/user/JJP666/journal/2009/07/21/2vulem_the_album_reviews_are_back!_beginning_with:_chimaira_-_%22the_infection%22 Mark Hunter and co fail to make any significant progress on album number five

TRACKLISTING:
1. "The Venom Inside" (4:05)
2. "Frozen In Time" (4:05)
3. "Coming Alive" (3:05)
4. "Secrets Of The Dead" (4:25)
5. "The Disappearing Sun" (4:24)
6. "Impending Doom" (6:05)
7. "On Broken Glass" (3:46)
8. "Destroy And Dominate" (4:42)
9. "Try To Survive" (4:40)
10. "The Heart Of It All" (14:20)
11. "Warpath" (Bonus Track) (4:19)

A mere handful of bands have contributed more to the American metal resurgence of the current decade than Ohio sextet Chimaira. Over the course of the band's three most recent albums in particular, Mark Hunter and co have formulated a unique, aggressive trademark sound, barbarically heavy in places, melodically intricate in others. The development of this no-holds-barred style came to fruition with the 2007 release of "Resurrection", an ambitious, remarkably well-crafted offering that has proven itself to be a classic over time. Unfortunately, however, Chimaira have come nowhere close to matching these standards on latest release, "The Infection", surely prompting fans the world over to fear that these mainstays of the NWOAHM scene have long surpassed their peak.

To suggest that "The Infection" is a total disaster would be grossly wide of the mark, as Chimaira's proven songwriting abilities and overall innovation are evident once again. A notable example of this is the heart-rendering opening riff to "The Venom Inside", where guitarists Rob Arnold and Matt De Vries indulge in a serene, inspired dual, which is perhaps the perfect start to the album. The main body of the track is based around a slowly-paced yet seismic main riff, reminiscent of previous anthems such as "Inside The Horror". While "The Venom Inside" is a decent enough song and a fine opening to the album, however, its lethargy sets an unwelcome precedent to "The Infection" as a whole, which rarely ventures out of first gear. The problem lies therein.

There are, however, moments to savour among this collection of unusually slow tracks. For instance, when "Impending Doom" eventually comes to life, Mark Hunter's monstrous cries sound as euphoric as ever, acting as an ideal backdrop to Arnold and De Vries's epic riff work. The way in which "Coming Alive" never ceases to evolve is fascinating, while drummer Andols Herrick and bassist Jim LaMarca stand out on impressive single "Destroy and Dominate" due to its quirky changes in rhythm and tempo. The influence of keyboardist/sampler Chris Spicuzza can be heard on the latter, as well as on the intense "Secrets of the Dead", although this particular track also highlights that Chimaira's decision to part ways with producer Jason Suecof was ill-advised.

There is no doubt that some of the most memorable moments from "The Infection" occur when Chimaira take the rare decision to perform at a moderately fast pace. "On Broken Glass" is the only track that remains fast throughout, so the fact that it is one of the album's standout tracks is perhaps inevitable. Fourteen-minute instrumental epic "The Heart of It All" also contains bursts of breakneck speed, but it is the intricacies that truly shine, most notably Arnold's blissful clean guitar intro. "The Disappearing Sun" is another highlight; Arnold and De Vries build the foundations of a wholly dark tone with the use of Despised Icon-esque deathcore riffs, while Herrick comes to the fore during a frenzied thrash section which also sees Hunter at his most lyrically innovative.

There is no getting away from the fact, however, that these impressive, creative songs are simply too few and far between to make a substantial impact. Unfortunately, the likes of "Frozen In Time" and "Try To Survive" are more likely to be remembered, purely because they fall so short of the sky-high standards Chimaira have consistently set since the "The Impossibility of Reason" era. The legacy left behind by "The Infection" will not necessarily be that of a poor album, but of one which signalled a lack of energy and a lack of ambition from a band once renowned for possessing both of these qualities in droves. Taking into consideration the level of competition that Chimaira are faced with, one hopes that they can fulfil their proven capabilities next time around.

BEST TRACKS: "The Venom Inside", "The Disappearing Sun".

OVERALL ANALYSIS:
Song structure: 7/10.
Originality: 5/10.
Diversity: 6/10.
Progress from previous material: 3/10.
Album structure/consistency: 7/10.
Production/mixing: 6/10.
Lyrics/artwork: 8/10.
Staying power: 7/10.
Overall musicianship: 16/20.

SCORE: 65%.

"The Infection" is out now via Nuclear Blast Records.

UPCOMING REVIEWS:
Your Demise - "Ignorance Never Dies",
The Ghost of a Thousand - "New Hopes, New Demonstrations",
Alexisonfire - "Old Crows/Young Cardinals",
Killswitch Engage - "Killswitch Engage",
Darkest Hour - "The Eternal Return",
DevilDriver - "Pray For Villains".

Cheers for reading,
JJ.

Chimaira The Infection Lamb of God DevilDriver God Forbid Machine Head Roadrunner United Ektomorf Unearth]]> Gallows - "Grey Britain" http://www.last.fm/user/JJP666/journal/2009/05/23/2qtyyy_gallows_-_%22grey_britain%22 Sat, 23 May 2009 14:05:56 +0000 http://www.last.fm/user/JJP666/journal/2009/05/23/2qtyyy_gallows_-_%22grey_britain%22 Watford's punk heroes return with lyrically damning set of pulsating anthems

TRACKLISTING:
1. "The Riverbank" (2:28)
2. "London Is The Reason" (3:11)
3. "Leeches" (3:46)
4. "Black Eyes" (2:51)
5. "I Dread The Night" (3:39)
6. "Death Voices" (3:55)
7. "The Vulture (Acts I & II)" (6:02)
8. "The Riverbed" (3:57)
9. "The Great Forgiver" (2:14)
10. "Graves" (2:42)
11. "Queensberry Rules" (4:16)
12. "Misery" (5:09)
13. "Crucifucks" (7:59)

From the moment the ominous, haunting strings of The Riverbank, the spinechilling intro to Gallows' sophomore album Grey Britain, spookily build towards a triumphantly commanding opening riff, it is apparent within an instant that the Watford punk quintet intend not only to progress their own raucous, unrivalled sound even further, but also to leave their mark on a UK music scene that is distinctly lacking in originality and intensity of this kind, both in terms of music and lyrics. While 2006's debut Orchestra of Wolves was unquestionably an impressive piece of work, as illustrated by the vast amounts of critical acclaim that the band has gained, not to mention an admirably substantial fanbase, the album was recorded and produced by the band themselves on a shoestring. With revered producer Garth "GGGarth" Richardson, the mastermind behind Biffy Clyro's Puzzle and Rage Against The Machine's legendary self-titled debut, at the helm this time around, however, it is no wonder that Grey Britain is nothing other than a consistently thought-provoking, mindblowing barrage of the finest hardcore. While Richardson's presence is influential, though, the majority of the credit must lie with Frank Carter, Steph Carter, Lee Barratt, Stu Gili-Ross and Lags Bernard. The five members of Gallows really have stepped up their game with regard to songwriting, technique and general musicianship, which is the main reason why, come December 2009, fans of heavy music the world over will undoubtedly regard Grey Britain as one of the standout releases of the previous twelve months.

A notable example of the advances made by Gallows in terms of songwriting is London is the Reason, a track that has already become a live favourite among fans owing to its cool, contemporary style. The understated yet irresistible riffs provided by guitarists Steph Carter and Laurent Bernard act as the perfect backdrop to Frank Carter's rage-infested preaching, and there is a clear improvement in the production quality, which adds to the track's larger-than-life nature. Furthermore, if Frank Carter's lyrical stance was not already apparent, it certainly comes to the fore here. As the album title may suggest, the charismatic vocalist's view of Great Britain is a bleak one; he generally sees this country as being the lowest of the low, and politicians, racists and the police are among those who come under fire. Carter's perspective on the state we find ourselves in is documented in the grotesque yet strangely intriguing artwork created by the man himself. Of course, some will agree with Carter's thoughts while others will no doubt argue that Britain's position is no worse than that of any other country, as areas of the Third World, for example, face much tougher obstacles in daily life than most of us could ever imagine. Whether or not one agrees with Carter need not be an issue, however, as Grey Britain is such a musically astute, complete punk rock album that it is an essential purchase for any fans of the genre.

Black Eyes is a great example of the overpowering combination of extremely frank lyrics (no pun intended) and powerful punk rock that Gallows execute so well throughout this album. An attack on the British political system which has perhaps turned out to be more apt than had been anticipated, this is a no-holds-barred, all-encompassing anthem that should also be hugely popular among Gallows fans for years to come. Leeches and The Great Forgiver both illustrate Frank Carter's belief that religion is a beacon of false hope for millions. The former is a measured yet explosive offering that again highlights the band's impressive songwriting abilities, while the latter is as fast and furious as it gets, a brutal assault that, by Carter's own admission, is the ideal soundtrack to a circle pit.

While Carter's lyrics undeniably strike any listener to a considerable extent, his vocal style has also changed quite drastically since Orchestra of Wolves. Throughout the entire record, the vocalist adopts a brutally harsh, corrosive tone, which is effective as it makes him sound even more pissed off than his lyrics may suggest. This can be heard on the remarkable Crucifucks, where the line "Great Britain is fucking dead" in particular has a spinechilling lasting effect due to this almost superhuman texture in Carter's voice. The track itself acts as a platform for the band to introduce a whole host of new elements to their sound, most notably the intricate, epic orchestral section which closes the album, a fascinating moment that provides the listener with some necessary time to reflect on just what they have experienced over the last fifty minutes. Gallows also explore previously unchartered territory on The Vulture (Acts I & II). Act I is a sombre, acoustic affair where Carter, uncharacteristically yet successfully, opts for melodic vocals that enhance the track's haunting atmosphere, while Act II, the first single to be taken from the album, repeats the lyrical theme of Act I in typically abrasive, uncompromising fashion.

Graves begins with phenomenal pace and power, Lee Barratt's ferocious drumming acting as the perfect compliment to the frantic riffage on display. The track's status is elevated significantly halfway through, however, when Biffy Clyro frontman and god Simon Neil adds his unmistakably smooth tone to proceedings. A Simon Neil/Frank Carter duet really is hard to beat. This is one of several tracks on Grey Britain where Gallows really highlight the bleakness of their message through the technical nature of the music, as well as the lyrics. The Riverbed, for instance, is an extremely dark, perhaps even depressing piece of work, centred around an absolutely seismic main riff. Carter's refrain of "Let it rain on me" seems fitting given the crushing instrumentation that accompanies it so effectively. Queensberry Rules is equally dark but no less enjoyable. The highlight occurs when the song suddenly erupts towards the end, Frank Carter passionately screaming yet more intense lyrics with ferocious vigour before a heartstopping conclusion. Another example of a track where sheer dejection is a prominent influence in all areas is the brilliant Misery, where a surreal piano intro shortly descends into a bombardment of the fiercest hardcore imaginable. In many ways this is the heaviest track on the album, and is certainly one of the best, the highlight being one of the finest breakdowns to be heard this year, complimented by the inspirational, rallying gang chant "Misery fucking loves us, and we love her too", which pretty much sums up the message and atmosphere of Grey Britain as a whole.

To contrast with this overall sense of anguish and desolation, there are some tracks that adopt a much more positive tone. Of course, the lyrical side of the likes of I Dread The Night and Death Voices is still somewhat grim, but guitarists Lags Bernard and Steph Carter are on particularly inspiring form, as their riffs on both tracks are the basis for some truly uplifting, anthemic punk rock. The main riff in Death Voices is colossal, and is most explosive when it reappears after a truly awesome acapella section. I Dread The Night is undoubtedly one of the album's main highlights. A track that grows in intensity and creativity as it progresses, guitarists Bernard and Carter combine perfectly once again with the rhythm section of Barratt and Gili-Ross, and the chorus really is a moment to savour.

As the old cliche states, the second album is always the most crucial and potentially damaging of a band's career. This is most certainly true of Gallows; as admitted by the band themselves, Orchestra of Wolves brought a level of success and popularity that exceeded their most ambitious expectations, a level of success that was thought to be an unattainable goal for bands with such an intense, heavy hardcore sound, and this in turn adds to the already existing pressure of following up any debut album with an even more impressive offering. However, Frank Carter and his bandmates really have pushed the boat out with the astounding Grey Britain, and to attempt to deny that this album is anything other than remarkable would be an impossible task. There is no doubt that Orchestra of Wolves was an excellent record, but Gallows have somehow improved in virtually every area of their sound, which is no exaggeration but is also no mean feat. Frank Carter's lyrics, and the album's politically-charged theme as a whole, may be the most noticeable aspect of Grey Britain for many, which is reasonable considering the sheer boldness, honesty and relevance of Carter's words. When the intricacies of Grey Britain are examined, however, it becomes apparent that the songs themselves are as well-crafted as they are diverse, and the technical abilities of all five band members are on display for all to witness. These are just some of the factors that make up this awesome piece of work, and those who have somehow avoided this vital band so far will no longer be able to ignore them. There are some who believe punk is dead, both in terms of ideology and music. Punk is very much alive, and Gallows are the living, breathing proof.

BEST TRACKS: "Misery", "I Dread The Night".

OVERALL ANALYSIS:
Song structure: 8/10.
Originality: 9/10.
Diversity: 9/10.
Progress from previous material: 10/10.
Album structure/consistency: 9/10.
Production/mixing: 10/10.
Lyrics/artwork: 10/10.
Staying power: 8/10.
Overall musicianship: 17/20.

SCORE: 90%.

"Grey Britain" is out now via Warner Bros in all good music outlets.

UPCOMING REVIEWS:
Your Demise - "Ignorance Never Dies",
Chimaira - "The Infection".

Cheers for reading,
JJ.

Gallows Grey Britain The Ghost of a Thousand Cancer Bats Blackhole Dead Swans The Bronx Your Demise This is Hell]]> Mastodon - "Crack The Skye" http://www.last.fm/user/JJP666/journal/2009/04/16/2nkdmc_mastodon_-_%22crack_the_skye%22 Thu, 16 Apr 2009 19:12:12 +0000 http://www.last.fm/user/JJP666/journal/2009/04/16/2nkdmc_mastodon_-_%22crack_the_skye%22 Arguably the world's greatest band unleash their most progressive material yet

TRACKLISTING:
1. "Oblivion" (5:47)
2. "Divinations" (3:39)
3. "Quintessence" (5:27)
4. "The Czar" (10:54)
5. "Ghost of Karelia" (5:25)
6. "Crack The Skye" (5:54)
7. "The Last Baron" (13:01)

Always a band more willing to buck trends than follow them, progressive metal heroes Mastodon have had an immensely profound effect on the heavy music scene over the last nine years, to say the very least. The quartet, from Atlanta, Georgia, have continuously blended elements of extreme styles of metal with post-rock and prog influences, a combination which has culminated in a truly unique sound which is now instantly recognisable. Rarely has there been a musical entity with as much ambition and willingness to expand its horizons, both conceptually and musically, as this remarkable band. Indeed, rarely has each release from a particular band been met with as much critical acclaim as is seemingly the case whenever Brent Hinds, Bill Kelliher, Troy Sanders and Brann Dailor unleash their invincible resonance in the form of another awe-inspiring record. In particular, 2004's Leviathan and 2006's Blood Mountain, two albums that the writer of this article most certainly ranks among his all-time favourites, were both seen as the most impressive albums of the year of their release, and even among the greatest albums of the decade, by substantial sectors of the music media and music fans alike. It is no wonder, then, that new release Crack The Skye has been hotly anticipated for some time. The wait is finally over, and the results are quite incredible. But what else have we come to expect from this band?

When listening to Crack The Skye, it instantly seems apparent that Mastodon have made a conscious decision to depart from the styles developed on their previous releases, and explore previously unchartered musical territory. Given this particular band's track record of pushing the boundaries of metal and successfully marrying contrasting musical genres together, this really is saying something. This somewhat obvious change in musical direction becomes apparent almost immediately when Brent Hinds' spinechilling introductory riff to Oblivion starts the album in eerie fashion, followed by cautious drumming from Brann Dailor that instantly conjures up an old-school prog vibe. Having already proven himself as arguably the most skilled drummer in metal, Dailor surprises the listener by providing some vocal input for the first time, which is a combination of the styles of the two resident vocalists in Mastodon, guitarist Hinds and bassist Sanders. Hinds is responsible for perhaps the most significant contribution to the track, however; the vocal melody he opts for during the chorus is as insanely catchy as it is unexpected, while his solo triggers as much emotion as is perhaps possible. Much has been said about the now infamous head injury sustained by Hinds at an awards ceremony in 2007, which resulted in prolonged head trauma, and prior to the release of Crack The Skye there was much concern over how this would affect Hinds in terms of writing music. On the evidence of Oblivion the incident has had some sort of effect, as the raw passion and enthusiasm portrayed by the guitarist's heartfelt vocals and solos is plain for all to hear. Thank goodness, then, that something positive has come out of such an awful experience.

Divinations was the first single to be taken from Crack The Skye, which is understandable considering the fact that it is the only track on the album that measures in at under five minutes in length. A completely different beast from the opening track, this is Mastodon's ode to straight-up 1970s classic rock. It is an irresistible hybrid of the band's typical abrasive, heavy style and the more straightforward rock 'n' roll textures of that era, with riffs and choruses that are mesmerising and anthemic in equal measure. It is enhanced by an absolutely stunning guitar duel from Hinds and Kelliher, which seems to continuously elevate until the chorus returns once again, more epic than before. This blends seamlessly into the phenomenal Quintessence, where Mastodon build a platform from which they can unleash their truly creative and versatile tendencies. There is a real sense of contrast about the track, as an unconventional verse riff accompanied by Hinds's unmistakable drawl acts as the ideal compliment to a refrain where Sanders's typical ghostly bellow looms over an all-out assault of fierce riffage. The track gains momentum and brutality towards the end, where Hinds and Kelliher in particular indulge us all with some inexplicably enjoyable harmonies.

If someone were to find all of this a little too much to take in, then they may also struggle to cope with the fact that Crack The Skye is actually a concept album. In fact, it surely has to be one of the most conceptually ambitious and complex musical works of modern times. The concept centres around a crippled child, whose soul leaves his body and flies through a wormhole in the Sun, only to find himself in Tsarist Russia, in the company of an Orthodox sect called the Khlysty. The members of the sect take the boy under their wing, and he becomes involved with divinations, where the Khlysty try to connect with the spirits of the dead. The boy's soul then becomes immersed in Rasputin's body, at a time when Rasputin is aiming to usurp the Tsarist throne and is therefore about to be murdered. When Rasputin is killed, the souls of the boy and Rasputin travel back in time together, until Rasputin takes the boy's soul back to his body. When the boy awakes, he is no longer crippled. Believe it or not, this is the concept in its most basic form.

Those who are unable to come to terms with such an ambitious concept, and many people are, need not fear as Crack The Skye is no less enjoyable an album if there is a lack of understanding of the story behind it. The concept can be applied to each track individually, but undoubtedly the most effective representation of this is 10-minute epic The Czar, or to give it its full title, The Czar: I. Usurper II. Escape III. Martyr IV. Spiral. There are so many elements incorporated into this stunning piece of work, which begins with chilled yet ominous organs and acoustic guitars, which combine ingeniously with the brilliantly harsh vocals of Hinds. This smooth vibe abruptly transforms into a Sabbath-esque riff that soon erupts into an absolutely extraordinary fusion of prog and funk. This may be one of the most infectious moments of Mastodon's entire back catalogue, and Sanders's vocals are a joy to behold. The pace drops slightly for the third of the four parts, where Hinds embarks on yet another outstanding solo, where both technical ability and powerful emotion are prominent. The track ends as it starts, allowing the listener to attempt to reflect on what they have just witnessed. This is the true definition of a musical journey, and the relationship between the music itself and the aforementioned story is almost spookily accurate.

Ghost of Karelia is a little more straightforward, but no less intense. Undeniably reminiscent of Sleeping Giant, from 2006's Blood Mountain, the track adopts intriguing time signatures, and uses fascinating guitar and percussion effects that enhance the larger-than-life mood created. This is where Sanders most effectively displays his vocal talents; there is an interesting contrast between his eerie melodic vocals and his harsh growls, and both styles reinforce the notion that he sounds like some form of supernatural being. The title track is another standout moment from Crack The Skye, and Mastodon have once again enlisted the services of Neurosis vocalist Scott Kelly, whose spellbinding bark is a welcome addition to the fold. The riffs found on this track are influenced by everything from underground sludge metal to the most melodic of prog rock, and the chorus is one of the most awe-inspiring, overpowering pieces of music you could ever wish to hear. The standard remains remarkably high for the closing track, 13-minute opus The Last Baron. A blistering concoction of the most mind-boggling prog, the most spaced-out classic rock and the funkiest rock 'n' roll, this is very much a melting pot of everything that has made Crack The Skye such an incredible album, and indeed everything that makes Mastodon the bravest, most visionary and most supremely gifted band there is.

There is no doubt that Crack The Skye is a hugely important chapter in the story of the relentlessly extraordinary eight-legged musical monster that is Mastodon, but it also holds added significance for two members of the band in particular. As was mentioned, Brent Hinds has found a new style of playing, some would say a new lease of life, after his horrific injury, and the fact that he has recovered so strongly is proof that he deserves huge credit both as a person and as a musician. Furthermore, the album is dedicated to Skye Dailor, sister of drummer Brann, who committed suicide at the age of 15, and the drummer has spoken at length of his pride of continuing the honour of Skye in the form of the dedication. With such significance, however, comes a desire for ultimate greatness, and while Crack The Skye unquestionably sees Mastodon alter their style more apparently than ever before, Dailor and Hinds, as well as Sanders and Kelliher, can rest assured that their work is done, because the album is absolutely glorious. It would be fair comment that Crack The Skye is more of a progressive record than a metal record, and on this basis some metal fans may argue that such albums as Leviathan and Remission are of a better standard, while the more prog-inspired corners of the fanbase will see this as Mastodon's most accomplished work to date. Whichever opinion you take, or indeed if you are not familiar with Mastodon's previous work and are therefore unable to judge, one cannot deny that Mastodon have produced something beyond the realms of what seemed possible, both in terms of the ingeniously complex concepts and the truly inspirational, awe-inspiring music. It is an absolute privilege to have this band in our lives, and long may it continue.

BEST TRACKS: "Quintessence", "The Czar".

OVERALL ANALYSIS:
Song structure: 10/10.
Originality: 10/10.
Diversity: 9/10.
Progress from previous material: 9/10.
Album structure/consistency: 9/10.
Production/mixing: 9/10.
Lyrics/artwork: 10/10.
Staying power: 9/10.
Overall musicianship: 20/20.

SCORE: 95%.

"Crack The Skye" is out now via Reprise Records in all good music stores.

Cheers for reading,
JJ.

Mastodon Crack the Skye Baroness High on Fire Gojira Isis Kylesa Burst Neurosis]]>