Metallica at Myspace

I didn’t have high hopes for the new Metallica album and since you’ve all heard at least the singles from “St Anger” I’m sure you know why. According to producer Bob Rock the reason “St Anger” failed was because it had “no real songs” and one look at the half a hook monstrosity that was the title track would conclude most of us to agree. Others would say the real issue was Metallica’s continuing divergence away from metal. “Load” and “Reload” were both decent if not inspiring bluesy hard rock pieces, and “St Anger” was basically a more aggressive version of those works but without any of the songwriting skill.

The questions we have to ask therefore are; are Metallica metal once again and can they write real songs? The answer to both of those questions is in the affirmative. The music on “Death Magnetic” takes influence from both Thrash Metal and Hard Rock but it’s the former that’s in the ascendance here and the songwriting is as complex and progressive as Metallica’s mid 80’s glory days whilst still bearing the infectious catchiness of the black album. This is easily their best album since the black album by a long long margin and although it doesn’t touch their classic stuff, it still blows quite a good portion of the 21st century releases by 80’s metal bands out of the water

Stylistically the music draws not only from the first 5 Metallica albums but surprisingly from other metal bands as well. I can’t be the only one who remembers one of Metallica (I think it was James) proclaiming his love for the White stripes and Interpol in interviews around the time of St Anger’s release and saying he didn’t really listen to much metal anymore. Well it looks like they do now, as “Death Magnetic” shows they’ve been listening around to quite a few of their contemporaries from the 80’s thrash scene. You cannot deny the influence of Slayer on this album, and the occasional section of riffs brings to mind the likes of Anthrax and Exodus more than it does Metallica. This is still an album that is definitely Metallica through and through though.

It’s not all good news though; there are some tracks which just don’t work. “All Nightmare Long” is the albums most chaotic and adventurous track but for all those wild and reckless solo’s, the track seems to be on the fast lane to nowhere in particular and just seems to be an excuse for Kirk and James to prove they can still shred as fast as they did on “Kill Em All”. The worse track however is “The Unforgiven III” which is so bad I wouldn’t have been surprised to see it on “St Anger”. It’s cheesy, pretentious and mawkish though bizzarely at 5:42 it has the best solo on the album; a bluesy Randy Rhoads style number which is wasted on such a musical turd.

The positives however outweigh the negatives considerably with “That Was Just Your Life” getting the album off to a flying start with a whiskey fuelled vicous kick to the face. “Broken, Beat and Scarred” features an anthemic bridge that seemingly can’t be topped until you hear the even more anthemic chorus. The standout track though is “The Judas Kiss” which is easily the best thing Metallica have done for eighteen years. It has everything you could want from a Metallica song; riffs clashing against riffs, supercharged solos, and a racing chorus that gets stuck in your head like an Aqua song but except in a good way.

“The Judas Kiss” with its “Masters of Puppets” meets “The Black Album” sensibility is a contender for one of the best dozen or so metal songs of 2008 at least at this stage in the year, but “Death Magnetic” is more in the top 50 albums of the year so far than the top ten. It’s pretty good and its better than the recent albums by Judas Priest, Iron Maiden and Megadeth, but I don’t think it measures up to the latest albums by the likes of Nachtmystium, The Rotted and Earth in terms of quality in the scheme of things. Metallica are of their time, but if for the next few years they keep making decent pieces of 80’s style heavy metal like this, I doubt they will get too many complaints. It’s not “St Anger mark II” but it’s not “Master of Puppets Mark II” either. It’s a pretty good metal album, and five years ago I didn’t think Metallica were still capable of that, so who knows what they can pull out of the hat for their next album.

First of the Styigan at Myspace

As a way of getting your music out there as a new band handing out your demo to random passers-by at a metal festival is certainly a novel approach, but it’s the one that Wales First of the Stygian took and I guess since it got them this review it’s worked to some extent. First of the Stygian describe their music as “Progressive power thrash” and at least two thirds of that is true. Their straight up heavy metal approach is too straight forward to be progressive, but for what it is, it’s very promising. Taking influence from Judas Priest, Overkill, King Diamond, Helloween and Metal Church, these boys have a style that is both rooted firmly in the 80’s but is original enough to with enough songs of this calibre evolve into their own distinct sound.

Of particular interest are vocalist Tyrone Leigh Williams who seems to be able to perfectly mimic both King Diamonds hissing voice and James Hetfield circa Ride the Lightning along with coming up with a death metal growl, and bassist James Macdonald who can play one mean bass solo if he needs to. It’s not quite the finished product yet, but it’s certainly very good for a new band.

Colosseum at Myspace

Not to be confused with the 60’s prog rock pioneers or the American Sludge-core band on Relapse Record, Colosseum are the latest in a long line of traditional funeral doom metal acts that have come out of Finland. They follow in a long line of such acts such as Thergothon, Skepticism and Shape of Despair but whilst taking ample influence from these acts, they have their own take on the genre. It is a more guitar centric take that owes a very slight debt to Paradise Lost era Gothic and some of the more tuneful displays that Esoteric have put on. The vocals are suitably gruff and uninviting and interplay with the despairing yet humane synth lines.

It’s not what they do though, but what they don’t do which makes them worth your while. A lot of  second wave funeral doom acts drench their songs in keyboard lines. Yes the synth is almost as important as the guitar in finnish style funeral doom, but if it is louder than the guitar line then as metal itself it fails. The synths in good funeral doom are supposed to add to the ambience and pathos of the music and on “Chapter 1: Delirium” this is exactly what happens. The momentum of the perpetual sorrow of this record is seemingly never-ending, and Colosseum has proven themselves to be a definite band to watch out for which future releases.

Baroness at Myspace

“The Red album” is a record that is of the age it was created but yet seems ageless. Combining  both metal influences (Mastodon, Isis, Opeth, Floor) and non metal (Fugazi, Yes, Tool, Pink Floyd) influences to give birth to a sound that is so individual its hard to describe. The foundation of this sound is Stoner tinged progressive metal that is both extremely technical yet flows organically. More than in most metal releases, the vocals play second fiddle to the guitars. The leads and riffs twist and turn down many musical passageways and wormholes yet each songs highly unique and memorable melodies remains as a central cornerstone anchoring the experimentation and innovation that happens in each song.

Baroness could certainly teach the Symphony X’s and other widdle-fest lovers out there how to do progressive metal properly. This musical technicality with a deep emotional resonance and an a ambience that harks back to the early 70’s glory days of prog rock itself. The production is warm and earthy and gives the music a splendidly human feel to it. There are notable psychedelic touches to it with the cosmic “Wailing Wintry Wind” being a notable example with its calm and chilled out Pink Floydian intro segueing into a post rock influenced stoner rock epic that although having a fairly relaxed tone has just the right amount of drama and tension.

There are some Appalachian folk elements with “Cockroach en Fleur” country acoustic instrumental being a prime example. Baroness are one of many acts to be hailed as “the new Mastodon” but they are perhaps the only of one those acts who could not only equal such a tag but might go on to beat Mastodon themselves in the Progressive metal stakes.

Devildriver at Myspace

There comes a time in most trend-hoppers time when the first trend they attached themselves to dies and they hop onto the next. This doesn’t just apply to teenagers but to musicians. Bullet for my Valentine, Atreyu, and Norma Jean all started out as rap/nu metal bands, but perhaps the most famous trend hopper of modern metal is Dez Fafara. Fafara made his name donning fishnet tights on his arms and a  terrible gothic haircut fronting stereotypical nu metal band Coal Chamber. When the wheels came off that wagon, Fafara created a new band aimed at targeting the new trend in metal in an absolutely cynical fashion. With their Melodic death influenced metalcore sound, their boneheaded lyrics and the ubiquitously annoying Fafara, Devildriver seemed custom made to appeal to every “true metal” teenage knucklehead wanting to get into “the real heavy shit” in the most superficial fashion possible.

The one thing that strikes you about “The Last Kind Words” is how falsely perfect it sounds. It sounds like it was constructed by a committee to appeal to a certain audience. The chord progression and musical ingredients are tried and trusted to a level that sounds sterile and stale. Elements are taken from every obvious source and used in an exceedingly obvious way. Imagine the first band you formed with your mates in your teens. It was probably influenced by what can be called training wheels metal, (eg, Pantera, Iron Maiden, Metallica, Megadeth, Slayer etc) as that’s the stuff you knew and loved. Now imagine a bunch of guys with 10 years experience in music theory who know exactly what they are doing trying to do the same thing but with a modern “core” edge.

That might be a dream come true to a lot of metal fans, but it’s not mine. Metal, even accessible and commercially viable metal has to have a real dangerous edge to appeal to the discerning metal fan in even the slightest capacity. Metallica, Iron Maiden, Pantera and co took influences from bands that weren’t popular then and certainly aren’t popular now. The same can be said for Opeth, In Flames, Lamb of God, Shadows Fall etc whatever you may say about their current career choices. Devildriver are a lot heavier than the likes of Bullet for my Valentine and Avenged Sevenfold but they are just as unthreatening and safe. Just like Coal Chamber are barely remembered today, I doubt Devildriver for all their popularity will be remembered after they split up. Just like Coal Chamber this shit is just too tame and teen friendly to be long lasting.