Less Thrash, More Hash: Megadeth's Th1rt3en is Skippable (2011)

Not wanting to be one-upped by my buddy Gogs, who reviewed the album months ago, it's my turn to put in a word or two about Megadeth's latest. Surprisingly enough, when I went to purchase Th1rt3en shortly after it came out, I had a tough time finding it at Best Buy. BEST BUY. The most mainstream electronics store in the United States hardly stocked any copies of new material from one of the best known metal bands in the world. Is this signaling the death of the CD? In some ways, yes, but to not carry Megadeth's newest record in the compact disk section, no matter how small, is ridiculous to me. Certain music still sells, especially because Megadave got his cash in and recognition with Guitar Hero. Nevertheless, I grabbed one of the last copies. Was it worth it? Not really.

First thoughts: the new record sounds positively stale. Admittedly, Megadeth hasn't been great since 1992's Youthanasia, which pioneered a more heavy metal-based direction for the band, and though Countdown to Extinction signaled the beginning of the shift, year '92 perfected it. That was the last truly enjoyable thing Dave and his ever changing crew put out, but I digress. Th1rt3en comes across as compilation of left over rejects (Wait... "New World Order" and "Millennium of the Blind" didn't make a certain record...) Dave didn't deem suitable for one of the albums from the '90s, specifically Youthanasia. In short, uninspired is an excellent word for Th1rt3en's plight. At least a few great tracks call Endgame home, despite being largely forgettable; likewise, the new album has a few fun tracks, but I'd be fully content with never hearing it again in my life. So let's see here: Metallica, Slayer, and Megadeth recently released bland, nondescript albums. At the moment, Anthrax is the guiding light. What the @#$%?

As much as it pains me to say it, Dave is probably too comfortable with his fanbase, who gobble up everything he releases, proclaiming it god's gift to man. We, the hardcore fans who appreciate good music, suffer. I can't say I blame him because his rocket to the top in recent years has been pure genius. While Megadeth without a doubt isn't the biggest name in metal today, the moniker is up there with the best of 'em.

Performance-wise, the band is tight enough, but the drive, charisma, and creativity, everything essential for a metal band, are missing. Dave's vocals are tired and weak. His riffs are bland. The only thing that reminds me of a healthy Megadeth are the suitably-placed political lyrics that I'd much rather have left out of my music. Nonetheless, they're there, and while they don't break anything, they don't make anything either. Although the band is in-sync, and I don't hear any obvious flaws floating around in Mustaine's little dream world, Megadeth seems to be playing it safe with toned down drumming and guitar sections. More accessible for the nonmetal audience, I suppose. Of course, this could totally be fault of the left over tracks from other writing sessions that just weren't good enough, but it comes across as a slap in the face, and I don't like it.

Well, Mr. Mustaine, what have you got to say for yourself? You haven't made me and a lot of other fans happy. It genuinely feels as if you rushed the album just to fit the record company's wishes. And if those rumors are true, I'm even more disgusted. Megadeth will have to come back with something utterly mind blowing to pull me back into the fold. Rust in Peace, Youthanasia, and Peace Sells... are calling my name. At least they won't let me down.

Tracks you should take away from Th1rt3en are few, far, and between, but "Sudden Death," "Public Enemy No. 1," and "Black Swan" are decent enough.

-TMA

Sneak Preview of New Demetori Material!

I don't know about you guys, but I've been waiting for this announcement ever since I got into Demetori over the summer. Masaru is such a fantastic guitarist and has a great knack for writing memorable riffs that once I put a Demetori album on, I can't stop listening to it. As per some people on Last.fm, I discovered a mash up clip of sneak previews from the upcoming record. I'm excited for it, even if it doesn't have much variation in sound from past material. As long as Masaru stays consistent in his adaptations of the music he chooses to base his compositions on, I'm entirely fine with that.

If you already liked Demetori, you'll be satisfied. If you're a newcomer, I don't think you'll be disappointed either.

-TMA

Anyone Remember Spectre General?

Alright, so these guys aren't exactly metal in this particular guise, but does anyone remember the heavy metal band Kick Axe? If you're cool enough to dig into the catacombs of the internet like I'm guilty of doing, you'll likely know the band changed their name due to legal troubles when they recorded two tracks for 1986's The Transformers: The Movie. I mean, seriously, was any little kid really going to put the pieces together and realize Kick Axe might mean Kick Ass? Absolutely not. Suggestive my ass.

Spectre General - "Nothin's Gonna Stand in Our Way"

Despite modern age society being overprotective over a word choice or two, not to mention other inconceivably small things parents threw fits about in the '80s (specifically W.A.S.P. or Judas Priest lyrics causing suicide: what a joke...), Spectre General is actually pretty dang good at the core; the music isn't too far removed from that of Kick Axe, though I've only heard one of their records, and it's great fun to rock out to, maybe air guitar a part or six. From the bands the producers could have potentially chosen from for the soundtrack, I'm not exactly sure how Canadians Kick Axe made the cut, but they definitely brought the goods and were certainly in line with what was popular in the mid eighties.

So, where is this kind of music in movie soundtracks today? Oh wait. Most mainstream music is quite silly these days and lacks anything musically intriguing. 

Hope I dug up memories for some of you with these tracks.

-TMA

 Spectre General - "Hunger"

Late Night Music Discoveries are the Best.

Yo, yo, yo! I'm insanely excited right now because I stumbled upon these heavy metallers called Newk just a little bit ago, and I'm totally addicted to the track "We Need." Now I just need to track down the record this song is from.

I love obscure music that's actually good.

-TMA

Recent Hauls Part 6

More music falls into my hands so soon? Duh.

Both share eerily similar cover art.

I stopped by one of my favorite record stores called Twist & Shout (located in Denver, CO), only to be overwhelmed with the amount of people browsing the selection of metal. Normally I can waltz right into the back of the store and freely roam the few rows of metal CDs, but today there happened to be quite few metalheads sifting through the section, even a few ogling at the vinyl. I managed to walk out with Agalloch's Marrow of the Spirit double LP (clear vinyl to boot!) and Gallowbraid's Ashen Eidolon, which I picked up used for tidy sum of $7.99. Gallowbraid's EP has been on my list for quite some time now, but I never knew just where to purchase it; I'm thankful some unlucky soul decided to let it go.

-TMA

Recent Hauls Part 5

1. As of late, there has been an influx of bands playing in the vein of the fathers of death metal (old school death metal [OSDM]). Vallenfyre is riding the wave just like the rest of 'em, but there's one thing that sets them apart - enlisted are members of Paradise Lost, At the Gates, and My Dying Bride. First impressions lead to visions of nothing more than a metal super group, but the vibe quickly fades when the quality of the material is taken into consideration. Songs are composed in such a way that they don't come across as amateurish - wouldn't that be an embarrassment for highly experienced musicians such as these? In any case, A Fragile King merely feels like an attempt to bring back an old school sound laden with doom metal influences, all while having a good bit of fun. Highly recommended if you want something crushing with a razor blade guitar sound.

2. Sometimes music comes to me by chance. In the case of Kylesa, I received a free tour poster in the mail and decided it wasn't "right" to have a piece of memorabilia without owning any music. While it hasn't completely sunk in, Static Tensions is a very good slab of hardcore and sludge with a dash of metal sprinkled in a few places. Sometimes people will tag Kylesa as sludge metal, but I fail to hear enough of a metal influence over hardcore to call the band metallic. In the end though, music is music, and this album is very good, certainly an excellent introduction the band. Maybe now I can proudly display the poster on my wall and not feel guilty about it.


3. Yeah, yeah. I know I already submitted a post on Riot's Immortal Soul earlier today, but this is definitely one of the best albums released all year. Check out my blurb here.

4. I'm a closet k-pop fan. Actually, no. I'm openly a k-pop fanatic. I can't get enough of it. I finally got around to picking up a physical copy of 소녀시대's (Girls' Generation) latest record after having digital files since its release. The Boys is an excellent and entertaining record, definitely their most consistent, but not for the music connoisseur on a search for deep music. I wouldn't call it mindless, but I can throw The Boys on whenever I want something fun to chill out with and not feel obligated to analyze what I'm listening to. I don't recommend this unless you want to add something sugary and sweet to your musical diet, but if you're feeling open minded, go for it. Not your normal metalhead's cup of tea, but it checks all the right boxes for me.

5. Before I nabbed Wishbone Ash, my exposure to the band was limited to a song here and there. I always enjoyed what I heard, but I never got the "man, I gotta have this" feeling. Too bad for me beacuse I was missing out on some positively excellent '70s rock. Isn't this always the predicament? THERE'S TOO MUCH MUSIC OUT THERE! Two of the six tracks are over 10 minutes, so I suppose you might file this under progressive rock, but none of the record is fit for easy listening because the normal listener would call one of the six minute tracks "long beyond belief" (as serious music listeners, we know this is not the case). Nonetheless, I wouldn't have the group's debut any other way. "Errors of My Way" is an absolute monster, and probably my favorite from the record.

6. About midway through 2011, I fell in love with hip hop, most notably jazz hop; artists like bugseed, Haiiro de Rossi, and Funky DL are among my favorites, and I eventually decided I needed to make the jump over to regular ol' hip hop. After the suggestion from a buddy, I grabbed MF Doom's Operation: Doomsday. Musically, it provides an array of nice beats, but I never could get used to MF Doom's awkward sense of rhythm and tone of voice. This record is labeled as a classic by the hip hop community, so I found myself determined to get into it, and with enough persistence I made it grow on me, but, to be honest, it was tiring. I can't recommend it right off the bat, but only after you've explored what hip hop has to offer (check out jazz hop, hint hint!). Your perception of the album might be different than mine, however.

7. Much like Operation: Doomsday, Katatonia's Viva Emptiness is proclaimed a staple in the band's discography. As this is my only experience with the band and from what I understand after reading fan opinions, this is one the best albums Katatonia released after they switched from a doomy death metal style to a depressive rock/metal sound. I absolutely love the album musically, but some of the lyrics just make me cringe, especially the usage of cursing on a few of the tracks. I don't find profanity necessary at all. The bleak depression comes across sufficiently, and the cursing only makes me take it less seriously. Aside from that, I love the record and can indeed recommend it to those of you that haven't heard these Swedish metallers.

-TMA

The Boys are Back in Town: Riot Returns with Immortal Soul (2011)

Maiden and Priest - start taking notes. This is how you do heavy metal, instead of overly boring and drawn out pretentious "creativity" you both committed to recording for your last albums.

It's been five years since Riot's last release. Despite not giving that one a listen, I was still very excited to see what the band had in store for 2011, and I wasn't let down in the slightest. But I did have my doubts because, since reuniting in 2006, they went through a period of ups and downs, most notably losing Tony Moore once though, thankfully, he decided to return. 

Although Riot isn't exactly known outside of cult circles within the metal community, their importance can't be argued, and Immortal Soul carries on the tradition that began with Thundersteel, a culmination of heavy, speed, and power metal the band took up after they decided to move away from their heavy metal and bluesy hard rock roots. The decidedly perfect Riot lineup (Thundersteel era minus Mike Flyntz who joined up for the next record) is together once again, and the results could not have been more grand, especially because the band is churning out music comparable to their glory days. Most surprising, however, is how good Tony Moore sounds after taking a lengthy break from the music scene. While he isn't pitch for pitch matched with his Thundersteel performance, his voice is in tip top shape, besting his peers Bruce Dickinson and Rob Halford. My only qualm with his performance is how he chooses to use his head voice when he can clearly hit the desired pitch. Check the chorus to "Wings are for Angels" as example. I find it hard not to compare Moore to Bruce and Rob beacuse the tracks on this album capture what those two bands should be putting under their legendary namesakes. He is without a doubt superior vocally at this point too.

A little less surprising is the rest of the band's performance because I don't expect a deterioration of their personal musicality. Jarzombek remains a living legend behind the drum kit, Reale still offers punchy, melodic, bluesy, and shredtastic leads, and the rest of the guys are solid as ever, though they don't stand out in any way. The song writing is typically based around the same type of hookage that appeared on Thundersteel, which is definitely a throwback to the glory days. Intentional or not, I like it. Songs split between heavy/speed/power metal bashers and more melodic, slower tunes. Not so different than previous releases. I'm particularly happy that there aren't any ballads on the record either as it showcases Riot's powerful return to the metal scene.

Apart from rumors and talk across the internet claiming Immortal Soul as comeback of the year, I didn't know what to expect from a newly reunited Riot. But all the big talk turned out to be well deserved hype because the record really is a natural extension of Thundersteel. Better late than never, I suppose - a mere 23 years later. Reale and the boys have crafted something energetic and creative defying their ages, hinting at what Riot could potentially offer the community in years to come.

Step up your game, Maiden and Priest.
The Metal Advisor

Dirk Verbeuren Joins Malevolence; Details on New Material Emerge

Ever wondered what Portuguese metallers Malevolence have been up to? Well, after close to 11 years of relative obscurity, the band is once again ready for action.

Interestingly enough, Malevolence recently teamed up with Soilwork drummer Dirk Verbeuren (not including the plethora of other bands he has drummed for) for the release of their third album, which remains untitled until further notice. The writing process has been ongoing since May of this year, and though Verbeuren was not present for much of the composing, his vast experience enabled him to catch up, earning him a spot as a much valued member of the Malevolence team. 

Dirk's interest level in the band has been extremely high, and he says he's ready to lay down his skin bashing to the raw, unadulterated tracks Malevolence is known for.

For more info, or samples of Malevolence's music, find them on Facebook or Myspace.

No release date has been set for the band's third record, but you can be sure you'll read about Malevolence again on The Metal Advisor.

Good luck, guys!
The Metal Advisor

Vader - Welcome to the Morbid Reich (2011)

Let's preface this by saying this might well darned be album of the year. Prior to this record's release, I had very little exposure to Vader, but I was always intrigued by something about them, particularly their reputation as death metal veterans alongside Morbid Angel, Obituary, Death, and similar influential bands in the subgenre. Vader had the "it" factor if you will, but I never got around to checking them out, which, to be honest, only hurt me because I missed out on some bloody exciting music. And not only that, I assume Welcome to the Morbid Reich's cover art pushed me over the edge with its positively old school vibe that oozes originality in an age filled with sterile computer-generated images. From an artistic standpoint, even the album cover is a plus to the experience.

But first thing's first: Welcome to the Morbid Reich is quite a pleasant introduction to the realms of death metal and Vader in general--its brutality kicks you in the face and keeps you down and out, but for some reason you still come back for more. The first day I had the album, I must have spun it, at the very least, five times because with each listen it grew better and better, more listenable and attractive from an aural stand point. The last metal record I remember having such an attachment to showed its face over two years ago, and that's saying something because I typically don't get overly addicted to an record. Songs, yes. An entire album? Less frequently. Really, only once in a blue moon does such a thing happen.

Vader has thrown everything you know and love about death metal into the collective melting pot with Welcome to the Morbid Reich, but with unmatched imagination and creativity. Guitars, which range from chuggier pieces to rapid tremolo picking to extremely thrashy riffs are king of the hill and reminiscent of the early days of death metal. In short, there's nothing tedious about the album when you consider how accomplished it is musically. The drums do an excellent job of driving the music with break neck fills and devilishly possessed double bass pounding, and the bass, while never deviating far from the guitar, follows alongside at a sort of hypersonic speed. Melodious guitar solos contrast and grace the mix with expertise. The accomplished musicianship is likely due to the fact that the only original member, Peter (Piotr Paweł Wiwczarek), has opted to gather a group of younger musicians who are proficient and efficient at their craft, offering a breath of fresh air into Vader's brand of death metal. Of course, he is no slouch himself as he plays guitar and bass, on top of that offering his growled vocals. But we can ponder the question: without Peter would Vader really be Vader? I think not. For a 46 year old man, he is unquestionably at the top of his metal game.

Each track on Welcome to the Morbid Reich is flawlessly composed, compositions ranging from blindingly speedy numbers to more subdued but aggressive pieces like "Black Velvet and Skulls of Steel," with its cranium crushing palm-muted guitar riff. Even the intro tracks "Ultima Thule" and "They Are Coming..." are delightful because they create intense buildups to the metal sustenance following them. As a whole, the band sounds very tight as if they've been playing together for years--in reality, every musician barring Peter made their first appearance on the record. It's remarkable when you think about it.

As I put my thoughts to this post, I spun Vader's newest. It's still as strong as the day I received it in the mail, showing no signs of creeping boredom that threatens to rear its head when you know you've worn out a record out by playing it too much. Dare I say it, I'll continue to play this album at least once a day for a few more months. I played it multiple times when I strolled through the gardens of Versailles, and I played it when I wrote a 15 page paper. Heck, I even play it when I'm laying in bed at night. What it really boils down to is my personal playlist including it multiple times a day. It's rare I can say that about a record. As Darth Vader would say: "The force is strong with this one."

Don't miss out, folks.

-TMA

French Metal Part Un: ADX

The guillotine is so fitting. I love it.

So I'm back from Paris: I hate to say it, but the search for metal wasn't exactly successful, although I did have the time of my life, and I plan on going back in the very near future. One way or another I will find French metal in the flesh, but for now, the internet is my friend. I can literally key word "French metal" into Google and come up with endless results.

The interwebs isn't how I found ADX, however. Right before I left for Paris, a friend suggested ADX to me as a taste of what French metal could be like. I already had a few metal bands from the area on my palette (like the amazing Deathspell Omega), but these guys weren't an act I had heard of before. I like them quite a bit because they have a typical classic heavy/speed metal sound, but the song titles and lyrics are in French. I'll admit I'm not the fondest of the French language, but something about hearing it in music frees any aversion I have and makes me want to pick it up. I suppose that's the language barrier I fought with when I first arrived in Paris rearing its head, though I'm happy to say I finagled around it after a few days, and held my own. Nearly everyone in Paris knows English to some extent--it's whether or not they want to communicate with it over their native language. If you're nice, they'll eventually come around. Or just ask if they speak English in French. I'm guilty of doing that more than couple times.

In any case, that's me rambling and not enough about ADX. Time filters out bands that didn't get the exposure they deserved (or obliterates the ones that need to fade into obscurity so your ears don't bleed from hearing them). ADX is the unfortunate result of never crossing the pond from France and time not being particularly nice. They're lost in a sea of endless metal bands; those lucky enough to dig them up will be rewarded. The debut, Exécution, is a great slab of speedy heavy metal, easily served to any metal fan from the '80s and beyond--the cool thing is, ADX is still around tearing up Paris and feeding hard and heavy music to the masses. Okay, so maybe I'm exaggerating, but despite breaking up once or twice, they're still around, going strong. Too bad I didn't run into them while in Paris. The only evidence of metal was the lone soul in the Maiden shirt. I guess that's better than nothing.

Tune in for part two,
The Metal Advisor