Check Out "The Devil's Rock 'n' Roll": Armour

You guys should check out Armour. If you're a fan of regular, traditional heavy metal, these Finnish metallers will be right up your alley. Actually, if you like metal in general, you should absolutely give them a look. They're a no frills, plain metal band that doesn't try to play you, and tells you what they're about right from the get go: for example, somewhat sloppy musicianship, but with memorable and fun songs you'll come back to over and over.

I won't hide that Armor isn't unique. In fact, they sound like 20 bazillion traditional heavy metal bands that rampaged through the golden years of metal (the '80s, duh!), but in today's favor of extreme kinds of metal, they're a breath of fresh air and likely an indication of things to come. I think I'd probably lump them into the NWoTHM (New Wave of Traditional Heavy Metal) labeling because bands playing pure heavy metal are popping up more and more, which is quite fantastic, and hopefully catches on further.

Crunchy guitar riffs, high pitched and scratchy vocals, and hooks galore are good descriptors of Armour's sound. Looks like the perfect formula for a metal band, am I right? My story with Armour is random, as I was visiting a college away from my own and managed to stumble into a record store, in which I blind bought their self-titled debut. I supposed I bought it based on album artwork (which is awesome, by the way!). Thankfully, I wasn't disappointed one bit and got the great, rockin' experience I had been looking for.

You're probably dying to hear a track or two. That's why I clicked the button and submitted this post, right? Don't worry, I'll give you the goods. I guarantee you won't hate them, and you'll be out and about looking for their debut as soon as possible.

Keep it metal,
The Metal Advisor

Armour - "The Time is Right"

Armour - "Satan's Knights"

Armour - "Can't Resist Your Spell"

(I thought I'd include the "single" from the album as well.)

Track Stack: Crank this One

Metalheads,

In my absence of blogging due to my studies and a number of other things, I want you to play this one as loud as possible. You know it's tempting.

-TMA

Rage - "Gentle Murders"

Mail Day: One Double LP and Two CDs

I came back from class this morning to find a haul I ordered less than a day ago sitting on my bed. YES! Amazon is definitely something, eh?

After discovering Chthonic earlier this year and being further intrigued by gogmagogical's postings about the band, I purchased their newest record, Takasago Army, as well as the one that came before called Mirror of Retribution. The jewel of the haul was Opeth's Heritage on double LP, however. I've been excitedly awaiting this album since I heard "The Devil's Orchard" and doubt I'll be disappointed with the full product because of the heavy progressive rock influence. Too bad my turntable isn't at school with me, so it may be some time before I get to hear the record in its entirety.

Hurray for mail day,
The Metal Advisor

A Look at Scar Symmetry's Full-Length Discography

Now that I think about it, I've been a Scar Symmetry fan for five years. In 2006, I felt compelled to give the band a closer look, in part due to Per Nillson's virtuoso guitar skills and because of the wonderfully silky smooth crooning of Christian Älvestam. At first, I wasn't smitten with his "what I thought to be" metalcore-style clean vocals, but I've since changed my mind, resulting in Christian becoming one of my favorite metal vocals. He's just so well-rounded and thankfully not comparable to a generic metalcore vocalist like I previously thought. Three long years have passed since his departure from the band, and the road to recovery for Scar Symmetry has been never ending with no light at the end of the tunnel. And that makes little sense because Christian wrote very little material, if any.

Symmetric in Design (2005)

Scar Symmetry's debut album, Symmetric in Design, is commendable, but the band suffers from a lack of development they would hit with the succeeding record, Pitch Black Progress. While each member is skilled at their respective instruments, underlying issues pop up as a listener progresses through the tracklisting. The biggest culprit are Christian Älvestam's clean vocals, which sound strained at times, as if he doesn't have the range he would have with later material. I'm very forgiving toward this, however, because he would significantly improve the next time Scar Symmetry hit the scene with a record a year later. Productionwise, Symmetric in Design sounds a tad dated, though perhaps not as much as other metal records. It's really a minor complaint, but for an album released only six years ago that's quite tragic. Still, good music will be good music, no matter the sound, and this album largely doesn't disappoint. Don't run out to get Symmetric in Design, but pick it up if you happen to stumble across it or spot it in the used bin.

Pitch Black Progress (2006)

This, folks, is the prime rib of Scar Symmetry's discography. Pitch Black Progress is the fulcrum of the band's release history, and the record that would make me truly love their music. Creativity runs high with Christian's vocals improving tenfold, Nilson's and Kjellgren's axe-work supremely heavy and riff-a-licious, and the whole band becoming one to form a tight bond of modern melodic death metal. Pitch Black Progress would seal the deal with Scar Symmetry for me, pushing them to the top as one of my favorite bands. From overall musicality, artwork, lyrics, and such, this album is essentially perfect. There aren't any casualties suffered here, and you're only hurting yourself by not checking it out. Steal car if you have to because you won't want to miss getting to the record store to pick up your copy.

Holographic Universe (2008)

After Pitch Black Progress, would it be possible to craft an album of the same caliber? It appears so. I still chuckle because Amazon suggested Holographic Universe to me shortly after it was released, and I didn't pick it up right away. A mistake on my part, yes, but better late than never, right? Similar to the prior record, the infrastructure is still firmly in place, but, dare I say it, the band picked up additional pop sensibilities. Regardless, you shouldn't be scared because the typical Scar Symmetry sound is still there, albeit to a lesser extent and with a focus on even more melody. It was a challenge between Holographic Universe and Pitch Black Progress as they duked it out for title of my favorite record, so that should tell you how great this album is. Buy this.

Dark Matter Dimensions (2009)

Well, #@!%. This is where I walked into a pitfall, only to find myself trapped, and the band damn stagnant. Because of the departure of Älvestam, two new guys took his place, one on cleans, the other on harsh duties. Two dudes to replace one? Uh, yeah. Still, they aren't half bad, but they don't have the emotion, feel, and appeal of the one who predated them. That isn't the only loss, however: the introduction of overbearing -core influences, dreary, dull, and exceedingly chuggy guitar riffs, and a general lack of creativity caused the band to fall into a steep decline. I'm not a fan of this record, and without question can call it a humdrum of sorts. Avoid Dark Matter Dimensions at all costs.

The Unseen Empire (2011)

While not on the level of the first three records, The Unseen Empire brings positive light to Scar Symmetry's situation. I must say, it has its share of listenable songs, some quite good, but when compared to earlier offerings, it sounds watered-down, and, much like its predecessor, dull and drab. If you remember, my initial thoughts on this record were positive, but the passage of time hasn't proved to be kind. Think Dark Matter Dimensions with this one, though constructed in a more consistent manner. Definitely don't run out to purchase this one. Don't look for it either, although if you do buy it, it isn't going to kill you.

So, the question remains: Is Scar Symmetry still one of my favorite bands? Yes and no. The release of the last two records have pushed the band off my personal radar, hopefully not for good, but for the foreseeable future. My heart still lies with the first three albums because creativity, development, and defining traits were in place. I reckon it helped that Älvestam called the band home on the first three records as well.

-TMA

Recent Hauls Part 4

I have quite a few albums here, a surprising influx of black metal, as well as a few records that aren't metal.

1. The best way to describe Deathspell Omega's Si Monumentum Requires, Circumpsice is a far off world smothered in blissful dissonance. While not the same level of disparity as the follow up Fas - Ite, Maledicti, in Ignem Aeternum, this record is one you can easily scare your family and friends with. In fact, I've played the record quite a few times in my room, only to have my fraternity brothers tell me it isn't music, but rather noise they can hear people dying to. That's total rubbish because I get similar comments from them concerning all my metal music, no matter the artist. What a listener is going to get with this album is extremely intelligent black metal infused with choral parts, both creepy and beautiful, with music that conveys a level of intelligence I'm still in awe about. The record primarily deals with Satanism through a religious, theological, and philosophical outlook. Good thing I don't believe in Satan. It may take a you more than a few listens to understand its brilliance, but once you do, you'll be hooked.

2. Comparative to their EP Mafia, Fleshgod Apocalypse's new record falls flat because the guys have taken their music in a new direction. That's not to say I hate Agony, but it's too much of a departure from the sound I was hoping for. And according to fan reports, I'm not the only one that feels this way. I love the orchestral and neoclassical bits they incorporated on Mafia, but with Agony, they've gone a bit overboard and pushed the guitar riffs to the back, under both the keyboards and drums. They're still audible, but to a lesser extent. The production is the culprit here and it ain't good. More listens may prove to raise the album in the ranks, but I don't have my hopes up. Highlight tracks include "The Betrayal" and "The Forsaking."

3. Oh yes, Sigh. My introduction to the band was just only in August with the excellence that is Imaginary Sonicscape, a brilliant mix of black metal, traditional heavy metal, hard rock, rock, jazzy bits, psychedelics, electronica, and classical music. Intrigued and astonished by the band, I decided to pick up Hangman's Hymn, a more recent album that has accolades of fans. Needless to say, it was a good choice because the record is a great combination of thrashy black metal covered in symphonics paired with great lyrics. While much more straight forward and easier to get into than the record that introduced me to the avant-garde black metal band, Hangman's Hymn is an essential part of a Sigh fan's collection right behind the utterly amazing Imaginary Sonicscape.

4. I should have paid attention to the reviews on Metal Archives. I typically ignore the opinions of critics and amateurs alike because there are quite a few albums I love that people seem to hate. But with Domination, the reviews were spot on, to a T, in fact. The first half or so of the album sounds like something off of the superlative Covenant, but the second half completely falls on its face. I'm left thinking: "Is this really the Morbid Angel I know and love?" I suppose I should have taken into the consideration the band is one people claim went downhill after 1993. But that's just it. I let my ears do the judging instead of someone's thoughts in cyberspace. When pitted against Altars of Madness and Covenant, Domination is skippable, unless you want to use the album as a coaster because of the amazing artwork (that may have been a bit too harsh...).

5. Album of 2010 anyone? Kvelertak is another act I can add to my library of music in dialects that aren't English. Apparently Norwegian is an easy language to learn, but I won't be studying it any time soon unless the guys in Kvelertak as me to join their band (har har!). Kvelertak is a smooth blend of black metal, hardcore, punk, and a heavy dosage of rock 'n' roll I just dare you to try and hate. Sure, the vocals aren't the greatest because they literally hopped train from a hardcore band, but once you accustom yourself to them, I guarantee you'll be in for the time of your life. If you like rock 'n' roll, you'll love this slab of rockin' goodness.


5. For info on Carpathian Forest's Through Chasm Caves & Titan Woods, see my post here.

6. Yet another I've already included in my blog. For info on Velvet Cacoon's Genevieve, see my review here.

7. "Yeah, okay, what the heck is this?" Those were my initial thoughts about this record. Yeasayer's Odd Blood comes off as experimental at first, an interesting derivative of pop and electronic music, but once you've heard it a few times, it really does click. For the most part, I love the album in its entirety, but tracks like "Ambling Alp" and "I Remember" come off as significantly weaker than the rest of the record. Nevertheless, Odd Blood is very much worth your time, especially if you want to delve into other genres of music like I did. This album is a fun look at what pop, electronic, and experimental music can do when they are mashed up with one another.

8. From the magnificent mind that is Yasutaka Nakata, we have capsule's 12" release called Starry Sky. I'm not afraid to admit capsule (always spelled with a lower case "c") is my favorite musical project at the moment because the duo is an absolutely fabulous take on the electro house subgenre of house-style electronic music. I painstakingly sourced this vinyl from a record store in Japan, and it proved to be worth every penny, dime, nickel, cent, you name it. I'm happy to say the three tracks on this record, "Starry Sky," Reality," and "Sugarless Girl," differ from their counterparts on the CD version. They enjoy extended lengths, new parts, and, most importantly, significantly better sound quality than the CD. Now I just have to see if I can nab the other vinyl releases that are so sought after by capsule heads like myself. Sadly, they are extremely hard to come by.

9. This is the last one for now. I swear. Another favorite artist I have from the Japanese music scene is Aya Kamiki (上木彩矢), a lighter rock artist. I first discovered her through a video on YouTube where she was covering Deep Purple's "Smoke on the Water" and was amazed at how strong her voice is live. I've heard two of her releases, Secret Code and Are You Happy Now?, which are fun and generally fillerless listens all the way through, so I decided to grab what I could for a good price on Amazon. What I picked up turned out be a single (君去りし誘惑) with an unreleased track I hadn't heard before. Check her out if you haven't. See the video I referenced here.

-TMA

Made My First Visit to a Pawn Shop Today...

My first visit to a pawn shop was filled with treasures galore, all CDs for a measly $3.00 each. I was super stoked to find a small collection of metal, especially Vicious Rumor's Welcome to the Ball as I've been meaning to get into them for a very long time. The rest of the albums were icing on the cake. All five have little to no scratches and play perfectly. There are a couple Alice Cooper albums that I may decide to grab come Monday, but for now I'll be rocking out to these five, especially Vicious Rumors. I wasn't really sure about getting Winger's debut because I don't find them that great of a band, but for three bones, why the heck not?

-TMA

Sorry for the sideways photo. Click on it to see more detail.

Favorite Metal Riffage Part 4: Morbid Angel's "Pain Divine"

I apologize for the overload of Morbid Angel, but just last week I received Domination in the mail, resulting in me blasting the Floridian death metallers even more than I usually do. Of course, that's a good thing. The arrival of Domination brings my Morbid Angel collection to a paltry three records, but, sadly, I'm underwhelmed with it because half is pretty good while the other pales in comparison. I suppose should pay attention to the reviews on Metal Archives, but I've encountered quite a few albums the community seems to dislike that I've really loved. Meh.

Due to Domination being rather mediocre, especially for band who brought Altars of Madness to the metal masses, I've been revisiting that very record and Covenant over and over and over. I can put on either of those records regardless of mood and enjoy them because they're my feel good music that never gets stale. These records ain't Illud Divinum Insanus, which is a rather fetid attempt on Morbid Angel's part that permanently stained their name. If f you're considering buying one of them, just purchase both and kill two birds with one stone.

It's rather tough for me to pick one song when taking two excellent albums into consideration, but since I've been listening to Covenant today, I'll pick a track from that one. Obviously I'm going to go with "Pain Divine" because I love the shouting out the lyrics:

"Release this fury
Malediction
Cursed existence
Writhing in this life of dissent"

Yeah, they're pretty epic.

Nevertheless, I can't concentrate solely on the lyrics because it would be akin to reading a poem without a musical backbone of some sort. What specifically draws me to the song is the way the instruments mesh together to form a wall of sound and a mountain of speedy tremolo picked guitar riffs that threaten to destroy a listener. Indeed, I can't forget about Vincent's vocals which sound absolutely vicious, the way death metal vocals should. This is unquestionably a perfect example of a death metal song.

Without a doubt, Morbid Angel is one of my favorite bands.

-TMA

Morbid Angel - "Pain Divine"

Discoveries of the Week Part 11

As of late, I've been on a bit of a kick with music in different languages. It's fascinating to me, and it makes music fresh again. It's not that it was getting stale, but it gives me something else to explore. On that topic, today, I decided to give a professor at my college a visit beacuse I wanted to hand off Morbid Angel's Altars of Madness to him in an effort to have him give "good" death metal a listen. I can't think of a better way to get into death metal than with one of the albums that established the subgenre. But that's not what I want to post about.

While I was chatting with him, he passed along an act to me called Tierra Santa, a Spanish band of the heavy/power metal variety who have apparently been a staple in the scene in Spain. I find this interesting because many of these bands don't get an opportunity to get worldwide exposure because their lyrics are in their native language. People need to open up their minds to other dialects because they're certainly missing out on a lot of great music by not doing so.

Looking into Tierra Santa's music leaves me a little surprised because they've had a long string of albums, which theoretically should have gotten them exposure. The band started in 1992 under the alias Privacy (what an odd name...), but changed their name five years later to Tierra Santa, a much more fitting moniker, especially for one of the power metal ilk. Musically, the guys are typical heavy metal with keyboards hovering over the guitars, in addition to some harmonies sprinkled about. There's nothing wrong with that, however, because Tierra Santa is good at what they do. Because I'm not familiar with the band yet, I'll only post one song to give you idea of what they're like.

-TMA

Tierra Santa - "Septima Estrella"

Thoughts on K.A.S.K.'s Brutal Abstraction

Certainly not the happiest album cover, right?

Let me preface this by saying I love being contacted by bands who ask me to listen to their material and hope for me include it in my blog. I like the feeling of getting personal with the music I know and love and talking to the bands is one of the best ways to do it. I genuinely appreciate bands who ask me to include their music in my blog, even if their music isn't exactly my cup of tea. 

That said, I was recently contacted by Marcin "Kwiecio" Kwiecinsk, the bass player of K.A.S.K., a young and upcoming deathcore band from Poland. Smaller bands such as these guys are generally my specialty because they enable me to talk about the music on a somewhat intimate level that I may not be able to achieve with bigger acts like Judas Priest or Obituary. If you've been reading my blog, you'll be very aware I'm not the biggest fan of deathcore; I typically find it uninspired and littered with generic breakdowns that do nothing for the music. Many deathcore vocalists are exceedingly pedestrian and can often be seen as an afterthought next to the instrumental work around them, although if the band is generic, the band is generic, and nothing can be done to save the band's tunes. At first glance, it would be a cinch to label K.A.S.K. as a bandwagon band who has jumped into the deathcore train. However, K.A.S.K. are slightly different in that they draw more influence from death metal over modern, uninspired hardcore and metalcore, which is a total bonus in my book. Nonetheless, there is a collective blanket of breakdowns scattered around the good parts of the music that creates a rather fatiguing experience that I'm very, very rarely in the mood for. In spite of that, I give this Polish deathcore group great props for their bravery in contacting me because I will not be an easy sell.

The biggest perpetrator in K.A.S.K.'s music are the been there, done that metal sections you know you've heard somewhere before. Just about every breakdown on the Brutal Abstraction can be copied and pasted to a deathcore band of your choice. I find the death metal-inspired sections pretty decent on the whole, but nothing to jump up and down about because they're merely tapping their influences there. Once again, the music struggles with an unequivocal level of universality. Like many fledgeling bands, K.A.S.K. suffers a tad in the vocal department. The vocals on this EP are tolerably average and don't do much to enhance the music, especially when compared to pure death metal acts, and I find myself hoping for a vast improvement upon the release of new material. Brutal Extraction enjoys a reasonably good production, certainly one that many small bands would kill to have because the sound is clear, has good separation of instruments, and isn't so overzealous in computerization or presentation.

If K.A.S.K. was to marginally clean up their song writing, they would make a fundamental improvement, quite possibly rocketing their music above that of their deathcore peers. It isn't simple to make something unique in this day and age, especially in metal, so I can not fault K.A.S.K. too harshly. Dropping most of their breakdowns or crafting them in way that sets them apart from other deathcore is ideal. I strongly recommend K.A.S.K. give Man Must Die a listen, so they can hear how interesting breakdowns are concocted from the melting pot of ideas. On the contrary, I can speak positively of the band's charisma because, judging by the energy on Brutal Abstraction, the guys seem to have a drive to make music, a passion that should carry them well into their potential full-length. If they become a bit more multifaceted, we could potentially have a winner on our hands.

-TMA

K.A.S.K. - "Brutal Abstraction"

The Mighty Iron Maiden

Thinking back on it, all those years ago, Iron Maiden was the band that got me into metal. The album Powerslave was apparently the one that did it for me because, according to my parents, I used to sit in the back seat of the car, headbanging and begging for Iron Maiden to be put on over and over again. To this day, that Egyptian-themed cover goodness is my favorite album, likely to never be dethroned. My mother didn't exactly approve of a two or three year old looking at album covers adorned with Eddie either, so she hid the cassette covers from me, eventually throwing them away in the process. Luckily, I still have the exact cassettes laying around the house. I don't ever play them because I have the albums on vinyl or CD, but they hold a special place in my heart. 

Over the years, I've seen Iron Maiden live four times, amassed quite a collection of band memorabilia, had Mr. Harris throw me his sweatband at one of the shows, and even have the Iron Maiden Signature Stratocaster that was made only in 2001. It's safe to say I was once Maiden obsessive at one point in my life. I remember when Iron Maiden was the only [well, almost] band I listened to (insert Judas Priest as well). However, I've become a bit more critical of the band and generally expect more from them when they release new albums. The last two records have been decent. I'll say that much. But they don't hold a candle to the golden age era (1980 - 1988), and they don't stack up well against Brave New World or Dance of Death. 

It's very strange because a band with as high stature as Iron Maiden shouldn't do the same boring stuff again and again. Long, drawn out clean intro + a transition into the heavier part of the song. Rinse, lather, and repeat. Come on guys, I know you can do better. They seem to have settled into comfort zone, and one that they won't be able to make it back out of. Of course, I can complain all I want, but Maiden is going to be Maiden, and do exactly as they wish. That's the beauty of it. 

I suppose my point here is even though I don't exactly adore the most recent two albums, Iron Maiden is still one of the defining heavy metal bands. Their influence on music and relevance to the current metal scene is undisputed and can not be disputed. They have made essential contributions to metal that can not be ignored. They are archetypical of metal. Iron Maiden is like a philosophical aspect of metal music, a thinking man's band at that. Okay, so maybe I went overboard there, but you get the idea that Iron Maiden is one of the most important metal bands to grace the planet. 

-TMA

Iron Maiden - "Seventh Son of a Seventh Son"

A Short Analysis of Power Metal

Power Metal: there are a variety of different styles within the subgenre, most of which I find enjoyable, but some are bit too cheesy for my tastes. I tend to favor the USPM of the '80s that was habitually aggressive and speedy, taking a chunk of its influence from thrash, as well as general aggressive power metal that can come from anywhere. Effectively, these can be a combo of heavy metal and thrash, pushed to the brink with interesting and hard hitting melodies that are memorable at the same time. Even though bands still exist that play aggressive power metal, the number has significantly declined. I'd like to see more bands pop up in that style. I miss them. Metal groups I enjoy in that vain are Leatherwolf, Liege Lord, Omen, Helstar, and so on. Power metal with cojones is the best.

Symphonic and proggier power metal bands are quite interesting. They're not cheesy, and they don't sound like the ever so dreaded frolic in the meadow (more on that later). I love their integration of orchestral elements, sprawling passages, and various influences (Neoclassical anyone? Although it can be present in all types of power metal...), and technical ideas that may not be present in conventional or other styles of power metal. Bands that exemplify this style are mid-to-later period Blind Guardian, some Fates Warning, Serenity, Heavenly, and others (though you may want to lump Heavenly into the cheesy variety. Fit to your personal definition). 

Moving on brings us to the cheesy variety of power metal. Numerous European bands are stylistically guilty of playing this over others. I have no problem with a little cheese; in fact, what would metal be with out a slice of Havarti? Nevertheless, when the cheese gets to be too much, I instantly turn away from the music. I don't want to frolic in the meadow when I'm listening to my metal, but I'll admit I enjoy a few bands in this style, though they are few, far, and between. I could mention Helloween, as some of their material is rather cheesy, but they have their fair share of darker, heavier, and punchier tunes that clear them of this label. They did start off primarily as a speed metal band after all. Bands to generally avoid in the cheesy style are Freedom Call, Dragonforce, Sonata Arctica (though I'll say I like them), and others. The "European cheese sound" just ain't my thing.

I'll post up a few songs for you to analyze, enjoy, and rock out too. That's what The Metal Advisor is all about, right?

-TMA

USPM / More Aggressive

Liege Lord - "Fear Itself"

Helstar - "Harsh Reality"

Jag Panzer - "Licensed to Kill"

Blind Guardian - "I'm Alive"

Symphonic and Progressive

Blind Guardian - "Precious Jerusalem"

Serenity - "Reduced to Nothingness"

CHEESY!

Freedom Call - "Warriors"

Crystal Eyes - "Time Flight"

Just a Recent Purchase...

Velvet Cacoon's Genevieve has quite possibly the most extravagant slipcase on the planet, thanks to a luxurious velvet outer cover, and a grandiose silver lining that outlines the logo. If you remember, I wanted to snag a copy of it on record when I first reviewed the album. The only pressing ever made was released back in 2007, 1,000 copies being black, the other 500 marble purple. I was fortunate enough to find the black version. Brand new, too. I guess it was my lucky day!

Apologies for the iPhone photo quality, but you get the idea. This cover really is a work of art.

I'm spinning it as I type this,
The Metal Advisor

The velvet is very a nice touch. Same for the sliver foil.

Gotta love Southern Lord for releasing Genevieve on vinyl.
It's a double LP, in case you were wondering.

Crank it Up to 11: LOUDNESS

Based on what I've heard, both the semi-"famous" Thunder in the East and the recent King of Pain, the Loudness crew know how to write catchy and hard-hitting metal songs that will stick with a listener for ages. I find it hard to believe that Loudness was overlooked back in the '80s and criminally underrated in the process, especially today where they're relatively unknown. I'm not sure how big they are in their home country (Japan), but in USA I'd be hard pressed to find a soul outside the internet that's familiar with them.

It's been a bit of a trend for me to flashback to moments in my life when I picked up an album or to my initial impressions, so I'll do it here, too. I remember being vaguely familiar with Loudness some years ago, but it wasn't until I came across Thunder in the East while on a vacation in Colorado that I began to understand the band. If you were to call any of Loudness' output well-known, TitE would be the one that would fit the bill. It's heavy and riff-oriented, yet it remains accessible at the same time. This is the kind of album I can give to someone who isn't a metalhead and have them enjoy it. Loudness is hard to hate, even if you claim to dislike metal.

That being said, I'd like to post two cuts both from Thunder in the East and King of Pain. These two tracks will slightly contrast one another because one is an earlier piece, the other modern. I'm looking forward to hearing everything in between the two albums (and the one after King of Pain). I have no idea why it's taken me so long to fully check out a band as good as this one.

-TMA

Loudness - "Get Away"

Loudness - "King of Pain"