Sigh - In Somniphobia (2012)

Compared with previous albums, In Somniphobia is Sigh’s most adventurous record to date, piling layer upon layer of musical intricacy into eardrums around the globe in an attempt to further the avant-garde side of metal they helped establish. Japan’s eccentric has always been known for their mishmash of various music genres with metal, but their latest release takes their method to madness to an extreme, one that puts previously thought outlandish efforts to shame. Borrowing heavily from 2001’s Imaginary Sonicscape, not only in sound, but atmosphere, In Somniphobia blends thrash, black, and heavy metal into a cohesive package, all while covered in a myriad of influences pulled from the world’s musical palette.

Among their peers, Sigh present themselves as part of the cultured—the musicians that have studied every nook and cranny of the creative world with dreams of venturing into the bizarre realms of metal. In Somniphobia traverses the musical cosmos by fusing Middle Eastern melodies next to a seemingly polar opposite Spanish flamenco guitar, followed by a saxophone or orchestral-centered passage. Classically influenced and Hammond organ-like keyboard lines resonate for much of the record as well. While this is no surprise for a band like Sigh, this equates to their most musically dense album, even more so than the previous Scenes from Hell, which touted an impressive resume of cultural and worldly influences that was at the time the group’s magnum opus in terms of eclectics. 

Vocally, In Somniphobia is no different than Sigh of the past with Mirai’s operatic, raspy folklore complimented by Dr. Mikannibal’s growling antics that have been at the forefront of the last few records. The production, though squeaky clean and somewhat plastic sounding, is well suited for this type of layered music because it leaves no instrument hidden in the back of the melting pot’s clutter. Guitar riffs are standard Sigh fare, appropriately genius, in particular flirting with galloping and thrashier alternate picking, but despite romping through familiar territory, there’s always a sense of retreat to some semblance of avant-gardism. Whether this is for bettering the band’s sound or to craft something the metal world hasn’t heard before is only in the minds of Mirai and company. What listeners can be sure of, however, is that Sigh’s motives are not simply odd for the sake of being odd. The band has a formula in hand, and without it, their music would be a jumbled mess of inspiration.

As usual, Sigh has succeeded in condensing a plethora of ideas into a tiny package, only to revisit and improve upon their roots when the time comes to release new material. In Somniphobia represents the quintessence of Sigh at their peak, but as the band’s history typically tells, the previous album’s regime will topple in favor of an extraordinary design that renders the preceding nearly obsolete. Although it remains to be seen if In Somniphobia will be a fan favorite, there’s no arguing that it is currently the group’s glowing achievement.  

-TMA

Sigh - Gallows Gallery (2005)

The Sigh many are used to is one of the most eclectic bands in the business, working with influences from the world’s collective music artistry and somehow piecing it together along side various types of metal. While metal is no stranger to taking other genres under its wing, Sigh rewrites the book the hard ‘n’ heavy gods supposedly set in stone and opens it up to experimentation and, in the process, creates their own musical breed: avant-garde metal. The band was not always like this, however, and began largely as a black metal band, incorporating various influences as the members searched for an identity unlike any other. Sigh’s sixth record, Gallows Gallery, builds upon what Imaginary Sonicscape started--Iron Maiden-esque harmonized guitar riffs, psychedelics, and infectious melodies--but drops the raspy vocals black metal is known for.

Indeed, Gallows Gallery pitches Mirai Kawashima’s scratchy mannerisms in favor of a cleaner, tidier approach to the typical Sigh vocal delivery, but the most extreme change is that of a thin and lifeless production. Though it does nothing to accentuate the brilliant guitar work and causes the drums to sound rather hollow, it doesn’t make the album any less enjoyable and provokes listeners to dig deeper to find the hidden treasures among its cryptic layers. Each spin reveals something new, which is not surprising considering the later chain of Sigh records, and although it does seem relatively complex, it pales in comparison to the recently released In Somniphobia’s inspiration explosion that borrows something from just about every genre. 

Aside from the obvious changes, Gallows Gallery is where Sigh continued to push metallic boundaries by introducing saxophones and additional winding keyboard parts, ranging from the Hammond organ to slight symphonic bits. While many will label Gallows Gallery as the band’s least metal record, I wholly disagree because the Sigh was as heavy as they had ever been. But the thin production, as well as the extra catchiness created an illusion of softness. Much of the album is blanketed in a decade warp due to various influences and travels back to the ‘70s when prog rock and organs ruled the roost. Because of this, it remains the group’s most accessible record to date, undeterred by a raw production and makes it the offering newbies should reach for as they begin to explore the band’s discography.

Gallows Gallery has one advantage on its side that other Sigh records don’t--short song lengths that make the album a breeze to sit through and enjoy, rather than dissecting obnoxious durations in an effort to truly understand the music at hand. Nonetheless, the majority of the band’s tracks aren’t intolerable in any way, but sometimes it can be a chore to sit through an LP full of nine-minute tracks. With Gallows Gallery, Sigh has fashioned a rockin’ version out of their traditional stylings and become a better band for it.

Even as Sigh changed signature aspects of their style with Gallows Gallery, they became a band open to further experimentation, testing future waters as they continued to toil away at their patented sound. The album is an attempt at something reaching back to the olden days of rock music, while meshing with elements of the current. 2005’s Gallows Gallery showed a trial and error band as they searched for what fit right under the Sigh moniker (and seriously, what doesn’t?). Recommended.

-TMA

Shadowstrike Push Start (2012)

Push Start glorifies the past.

The first thing that will grab you with Shadowstrike's music is their theme. While the band won't win any awards for standing out in power metal, their central motif and the very idea that revolves around their music is alluring because it's a novelty that many acts don't even think to toy with: classic Nintendo games mashed up with metal? Absolutely. I'll take two. The band's first EP, Push Start, is a blend of classic aesthetics and over-the-top theatrics that power metal is well-known for, with gaming at the forefront of the group's fun banter. Without their tasteful cheesiness--and, man, I mean the cheese is hot, melted, and dripping--they wouldn't have quite the same charm or appeal.

Shadowstrike calls themselves "Long Island's Most Epic Band," and despite being a bold claim, it's fitting for what their brand of power metal aspires to do. Video games and metal simply would not work without any epicness, the kind that envisions a knight coaxing a dragon from its lair in order to confront it, a full-scale battle, or even a plumber fending off a giant turtle that has plans to kidnap the princess. The band's take on power metal orbits around the melodic, less aggressive side of the style, but a myriad of excellent guitar riffs in the form of gallops and expedited alternate picking, in addition to shredded solos give the music a jolt that places it somewhere between the two sides of the subgenre. Fans of Cellador will certainly feel at home with Push Start due to the halfway meet between the two, but I'd gauge anyone into power metal, regardless of preference, will find the band enticing enough to listen to more than once.

The most important aspect of the band's preferred side of power is the uplifting, overarching chorus that compositions are often built around--Shadowstrike has the blueprint down to a T, but this might be why they don't stand out as much as they should. The already overflowing sea of power metal groups do essentially the same thing without variation, rendering them stale and prosaic; although Shadowstrike avoids the splash, they don't do much to differentiate themselves from the pack. Be that as it may, their theme is interesting enough to keep listener attention, all while having accomplished musicianship. The only obvious downside to their music is the production which places the drums ahead of other instruments.

In spite of negligible generics, Shadowstrike has taken a seemingly "un-metal" concept and incorporated it with our favorite music, be it with lyrics or aesthetic overtones. It's surprisingly top-notch, but as a now converted fan, I'd like to see more video game moments pop up in the music. Some of that 8 or 16-bit goodness would be well suited to power metal. In this case, the epic cheese can bring it on.

-TMA

SADUS

I'll be honest here. I'm not really feeling the whole post thing tonight because I've been a bit under the weather. I was just spinning Sadus' Swallowed in Black, which is a fantastic slab of technical thrash, and of course I'm going suggest that you check it out because of my extremely fond memories with the record. We'll get back to the regular reviewing rotation and occasional off the beaten track posts tomorrow. Until then, I bid thee adieu.

-TMA

Ghost - Opus Eponymous (2010)

Too many people write Ghost off as a gimmick--unrightfully so, if I may add--because they're concentrating too much on the band's hidden identity and not enough on the music. Let's be clear here: these Swedes aren't the buttrock that was oh-so-popular in the eighties that mostly relied on appearance over musical integrity, if not more so. Ghost ain't Poison. Instead, it's safe to say the band glorifies much of what was great about seventies rock and hard rock--soaring organ lines, thought to memorable guitar riffs, and the usual pop-laced chorus hook. Deep Purple, Blue Oyster Cult, and Uriah Heep (among others) all pitch in to form the core of Ghost's sound, but with a dash of Mercyful Fate thrown into the pot for good measure. Thoughtful Satanic imagery and mysticism had to come from somewhere, and MF is the most logical place to pick the cherries from.

Because Ghost finally got their act together and stepped up to the plate to tour the United States, I nabbed their sole release, Opus Eponymous, off my shelf with hopes to rekindle my affection with the addictive pop sensibilities and beautifully tongue-in-cheek Satanic lyricism. While it may seem cheesy or even scary, the odes to Satan are an important part of the band's identity because they fit hand in hand with the "no one knows who we are" status crisis. The intended purpose is anything but inconspicuous, but if you even have half a brain in your head, you'll realize it's meant to be a joke. Hardly anyone ever went nuts over what King Diamond and Mercyful Fate do, granted I wasn't born in the eighties with opportunity to observe the general public's attitude toward the two bands (if they even knew who they were...), but one would at least expect a little tolerance over such trivial things like these in this day and age.

Lyrics and occultism aside, Ghost's debut is very strong in the song writing department, charged with poppy chorus lines that reel listeners in with creepily dulcet tones and taunt images of metal's great leader (sarcasm intended!). Totally absent from Opus Eponymous is the technical wankery of an act like Dream Theater but replaced with a band that actually knows how to write a compelling piece of music that you'll want to come back to again and again. As much as I hate to say it, that can attributed to the shallowness of poppy hooks, which eventually grow somewhat mundane after a while. But for Ghost, it's charming because of the combination of Satanic catchiness. Hey, who knew Satanism could be so persuasive?

Much of Opus Eponymous is firmly ingrained in the '70s rock camp with the shove it needs to become metal, and once you're familiar with the sound, you'll have a general feel for the rest of the album. Each song has its own unique verse and chorus sections, with none sounding exactly alike, but the same formula repeated from "Con Clavi Con Dio" to "Prime Mover" can grow predictable. Barring the intro track and the closer, "Genesis," all songs are full of wonderfully daring poeticism, and although those two are instrumentals, they open and close the record effortlessly.

Though some might proclaim Ghost as a gimmick, the band brings fun into the metal field, twisted with Satanic prose. Their debut is astonishingly addictive, not to mention sentimental for those that lived in the '70s, and it pushes something new into the modern metal mainstream with upbeat character and pop sensibilities. The band remains accessible, but not overly so due to lyrics; based on their frivolous word choice, I'd say the next stop is hell. Whether you take that seriously or not is up to you.

-TMA

Blood Label - Existence Expires (2011)

As many of my friends know, I usually don't like metal when it's mixed with hardcore, but I reckon Blood Label is more metallic than hardcore if you subtract the vocals from the equation. That's not to say I don't like the vocals because I think they're fairly good in comparison to what we could have gotten with Blood Label's music, which is typically overly screamy and aimed straight at the hardcore crowd (hence the metalcore tag). Kenneth Klitte Jensen's pipes divide between a quotidian death metal growl and hardcore screaming/shouting shenanigans, with most emphasis placed on the latter. But, as a general rule, I still find Blood Label's Existence Expires listenable and, most importantly, metal.

Many metalcore bands are severely lacking the metallicness to actually be worthy of the classification and often have too much -core to be called anything remotely metal, but the thing is, the band isn't metalcore in the newfangled sense with poppy modernity and other hallmarks characteristic of the recent style of the subgenre. These Danes retain a huge chunk of old world hardcore in their sound, incorporating groove metal and very small amounts of death and thrash metal, though for the most part, they lean toward the hardcore/groove side of the spectrum and progress with their ideas from there. Because there isn't much advancement to be made in either hardcore or groove metal, the majority of the tracks sound alike, chugged and heavily palm-muted riffs and groovy skin bashing dominating nearly all of Existence Expires' 32 minute run time. However, it isn't exactly a downfall because most of the songs are relatively well-composed and offer a nice respite from the normal wave of music that makes its way through my playlists. In a sense, I view Blood Label's EP as fairly fresh because I don't associate myself with the style on a regular basis.

Though a portion of the tracks sound similar, there are some highlights to be had like the mosh-worthy and music video material "Traitors Beware" as well as the almost thrashy "Mutiny," which ushers a jammin' feelin' like the guys were rocking out just for the hell of it. You'll be chanting "THERE WILL BE BLOOD!!" right along with "Traitors Beware" with your fist pumping in the air. Guaranteed. Particularly entertaining is the title track, which is nothing more than a creepy, organ-composed intro to "Into Perpetual Fire," but it really sets the mood and shows the band has composed side, instead of the frenzied, destructive one normally associated with metal and hardcore. The rest of the songs, while good, remain borderline pedestrian and don't stick in quite the same way the previously mentioned four do.

Blood Label sets out to defy the commonplace metalcore trends and largely succeed, while still being recognizable as part of the subgenre. Existence Expires is a revitalizing take on the stale brand of music, but it isn't without weaknesses, namely the lack of distinction between tracks; nonetheless, as a general rule of thumb, the band has a start to something interesting here, especially if they can flesh out a little bit more of their death and thrash metal influences. When Blood Label hits their stride, they rock hard. I'd just like to see an album full of that moshy goodness.

Give this one a try,
The Metal Advisor

Newk - Heavy Life (2010)

After being mighty impressed with Newk's previous album, Glorious Warrior, which gathered something in the B range from me in terms of how good I thought it was, I concluded it was time for me to hunt down Heavy Life, the group's latest album, released in 2010. The record isn't much different than Newk's previous efforts, but it boasts an improved production as well as slightly better song writing. The chorus hooks are exactly what I've come to love and expect from the band, but I can't help but feel some of these tracks were left over from the previous writing sessions. It's true what they say: a band's material will always sound similar to what came before because it's the same group composing the music. However, in Newk's case, it's not specifically a rehash, but rather a different take on their patented formula.

I'll say this much: It was an agonizing wait for Heavy Life to travel across the sea from South Korea to my doorstep in the United States. For months I had been enjoying what appears to be the lead single from the album, "We Need," through its music video, but I was never able to find a place to purchase the album until I finally took the plunge on Amazon where a record store in the band's home country was offering worldwide shipping. Even though I paid somewhat of a hefty sum when compared with a normal CD, it was worth every cent I threw down on virtual counter for it. Like I implied earlier, if you've heard Newk before, you'll love this record, and maybe even proclaim it as their best. The production is much less cloudy than Glorious Warrior and packs a punch this time around, rendering the finalizing job on past material weak and lifeless with lack of bottom end and metallic crunch. Song writing is very strong, too, which is typical of Newk, and the tracks grab you faster, making you subconsciously hum along in no time at all. Glorious Warrior took countless listens to really understand because it was so hard to differentiate each track from one another, but Heavy Life pelts listeners with loads of distinct melodies--some peculiar for the band; others familiar.

Nothing on Heavy Life hasn't been done before, but Newk executes their take on traditional heavy metal very smoothly, creating a mix of memorable rockers and slower clean pieces. From synth laden tracks like "We Need" to the delicate string plucking of "널 보내고" to the double bassing strewn out in various songs, a smidgen of variety is scattered throughout the album as you make your way through the tracklist, but for the most part once you've heard one cut, you've heard it all. This is common for Newk because they're stuck in their styled bubble, but at least they're honest and upfront about what's in the package. As long as you like heavy metal's stylistic origins, you'll love Heavy Life. The only song destined for the trash is "Thank You" because it reminds me of a sappy acoustic ballad an eighties band would have plopped down on their recording resume to make big bucks.

In short, as I work to sum up this album in a concise little paragraph, Heavy Life is an improvement over Glorious Warrior, not only in song writing, but in production and memorability. It's instantly accessible and less samey than what I've come to expect from Newk, but it doesn't wander too far from its roots in fear that a drastic change in sound will occur. I open my arms to the band experimenting, but, ultimately, it's only up to them if they want to walk down that path. As I wait for their next record, I'll be spinning this one on a regular basis, and my anticipation remains high. Let's just hope they can top this one because, in all honesty, it's going to be quite tough.

-TMA

Short Break

Posting will be on a short hiatus until Friday because I'm swamped with exams. Expect something cool by the time I start things back up.

-TMA

Insomnia Creep - Hallucination City (2011)

Insomnia Creep is one of the first bands I remember running across in the mad dash to sort through albums I needed to review. Their debut, Hallucination City, has been sitting in the cache for some time now, and I'm ashamed it has taken me this long to get around to it because I've frequently spun the album since I received it and it never fails to satisfy a quick, catchy melodic itch. The record checks all the right boxes for a band in the style, from soaring guitar leads to heavy riffs, but I find the production almost fake sounding, overly plastic and too manufactured. While I assume the record is self-produced, I won't directly blame the band because of the availability of digital studio software today, but I wish it sounded a bit more real and down-to-earth.

At the core, Insomnia Creep is a pleasant blend of clean guitar tones and melodic, yet chuggy guitar riffs. The band is charming and interesting enough to indulge in on a regular basis, mainly because of the excellent clean guitar sections and a slight black metal influence that pops up on a handful of the tracks. Of course, there is a significant memorability factor to Insomnia Creep's music as well, which further draws you in and doesn't let you go. Beefy, crushing drumming backs the mix and gives the music power, but this is where the effects of digitalism begin to slowly creep to the forefront--Insomnia Creep doesn't actually have a drummer. Guitarist Giacomo Casile crafted and programmed the most prominent aspect of the rhythm section himself (It's nearly impossible to hear the bass on this album!). Even though my suspicious are indeed correct, I generally do not like drum machines unless the band is truly able to mask the heavy smack of a computer-generated snare. In spite of that, memorable guitar leads and song writing are enough for me to overlook a drum machine in favor of real instrumentation.

Aside from the drum machine, Hallucination City is rather weak in the vocal department, primarily in the higher range because it yields weak, poorly intonated, and tuned results. Harsh vocals aren't much different, as they lack raw power and feel rather monotone, even among the pitch-changing cleans that plague the album's track listing. As it stands, they're not absolutely awful, but there is room for improvement, especially as Insomnia Creep enters the studio to record their second album. Hallucination City is devoid of guitar solos, too, which the bulk of melodic death metal has; however, I find the band pulls it off admirably, and the exclusion of a harmonic squeal here and there isn't missed because the band put extra effort in lasting song writing--clearly diamond in the rough.

My final opinion echoes my first thoughts: Hallucination City is a good record, but it has a sprinkling of flaws that bring it down to an amateur level, one that has hindered the band from pushing past the boundaries that leave them in the background to more popular acts. Vocals can be improved, a drummer can be welcomed into the mix, and the production needs to be worked on to the point that it sounds somewhat organic. In contrast, strong song writing and melody usage are very good. I remain conflicted, but this is still an engaging record aside from a handful of shortcomings that drag it down to a below average listen.

-TMA

Check Out: Lunarsea

Thanks to a friend from Sweden, I had the fortune of hitting it big with Lunarsea who take a slightly more technical riffing approach to melodic death metal, but retain supreme catchiness. My introduction was with "The Apostate," which is the pinnacle of the sound, and I imagine once you hear it, you won't be able to get it out of your head. The band hails from Rome--interesting because I don't know many acts from the area, but I'm fixing to change that based on what Lunarsea brings to the table.

-TMA

Check Out: Plasmajet

As I continue my travels through the Japanese metal scene---which is quite good I may add--I decided I'd bring Plasmajet your way, a band that presumably had something good up their sleeves, but never had the chance to realize the potential. The act has been broken up for at least four years now, and I'll tell you I'm a little disappointed because, if their EP This Moment was any indication of what was going to come next, we're missing potentially great music. It's not hard to describe their sound, which is stylistically similar to many European melodic death metal bands, but they had a smattering of electronic influences that quietly crept into the music, creating a nice atmosphere change in the overall mood. Nothing big, mind you, but something different from the norm and very listenable.

I can't speak for anything except This Moment, but the majority of the work on the EP is groovy and memorable, a must for bands in this particular subgenre because melodic death metal relies heavily on harmonized riffs and leads. The vocals are a tad weak, but nothing to complain about; I'm normally accustomed to a deeper growl regardless of the kind of death metal I'm listening to, but Plasmajet's vocalist still does a good job of checking all the right boxes, although just enough to sound decent. Most impressive, however, is the song writing. I find the songs up there with the best--you'll have them them in your head for days. "Doom's Eye" introduced me to the band, and I reckon it's a good place for you to start, too.

-TMA

Hexa Mera - Descent into Decay (2011)

Sloppy, yet inspired, Hexa Mera hurls themselves across Brussels and out into the greater Europe area. The band is relatively young, forming only two years ago, but strives to make it big beginning with their EP entitled Descent into Decay. I guess I'm slightly lukewarm on the release mostly due to the vocals, clumsy musicianship, and awkward song writing. Peculiar start-stop sections and unrefined transitioning are my main compalints, but there seems to be a burning passion for what Hexa Mera does in the music. Like a lot of young bands, I think these metallers have some degree of potential, but they need to learn how to harness their eagerness and control the reigns called arranging a song.

What I really appreciate about the record is its honest production values and guitar rawness. Drums are relatively polished in comparison with the mixing on the guitar, but that doesn't detract from the EP's overall presentation and only reminds you that this is a demo-like release. Vocals are slightly recessed and in balance with the instruments.

New Meshuggah Track: "Break Those Bones Whose Sinews Gave it Motion"

Okay, yeah, I've never liked Meshuggah much because their music plods and is all across the board a bunch of humdrum, but I still think posting the new track is worthwhile no matter how late I may be to the party. "Break Those Bones Whose Sinews Gave it Motion" was intentionally leaked early last month, and it appears to have gotten a decent response from everyone besides myself, but you shouldn't be phased just because I find Meshuggah dull. Most people will find something redeeming about them. My bad for posting it so late!

-TMA

Optic - Drown the Earth (2011)

Optic is a neat little five-piece progressive metal band from Long Island, New York. The group's Drown the Earth EP hit the metal scene late last year and shows impressive promise for a rookie act--surprising because I normally consider many fledgling progressive bands to have underdeveloped and lacking songwriting finesse. Comparable to bigger contemporaries such as Dream Theater, Optic specializes in the usual prog madness, but with the inclusion of a several influences, mainly a blackened quality that manifests itself in the vocals of the first track "Drown the Earth." Aside from the harsh vocals, the song is typical progressive metal, albeit exceptionally catchy and memorable, and highly reminiscent of the band's forefathers. The second cut, "Moment of Impact," is a tight instrumental, about half the length of the first track and showcases Optic's instrumental chops.

As expected, odd and funky time signatures appear everywhere across the Drown the Earth, though thought to songwriting is never pushed to second base in favor of technicality. More often than not, I find progressive bands "forget" how to arrange a piece of music and largely focus on musical skills instead. Such is not the case here. The biggest contributor to the accessibility are the vocals, which often layer themselves atop one another in an effort to create interesting, atmospheric harmonies, as well as the lush piano/synth melodies. Both are particularly engaging when viewed as a pair and generally the backbone of the music in terms of memorability, with the rest of the instruments powerfully backing the melodic package. I hate to say it, but this is the kind of music Dream Theater should be writing today. Optic's got the formula nailed.

Recent Hauls Part 8

Oh yes. This stash is mostly composed of records I've been wanting to get my hands on for some time now. The Vader obsession continues with The Ultimate Incantation and Impressions in Blood bringing the collection to four albums. I seriously think Vader might be my favorite band right now, and if they decide they are going to hit up the USA on tour for Welcome to the Morbid Reich, I'd probably freak out and immediately find a way to get tickets short of selling one of my organs. As for Sigh, I mostly grabbed Scenes from Hell because the other two albums I have are flawless and purely avant-garde in nature, something that could only come from the twistedly awesome mind of Mirai, and because Sigh's new record is due out in about a week. I'm never joking around when I say some of the best metal in the world comes from Japan. And lastly, Goatwhore's newest was purchased on a random whim based on gogmagogical's latest review, as well as A Haunting Curse's status as the first death metalish album I bought on my own. 2006 seems like it was so long ago...

1. Scenes from Hell is no different than Sigh's previous albums in terms of concept. I reckon for most people the band's music will be too odd upon first listen and may slightly sour them on Sigh--the mix and match of genres is what some might call an acquired taste, suitably eclectic to accomplish the desired goal of constructing a new take on metal, but not simply done just for the sake of being done. Mirai and friends are among the Einsteins of our favorite music, which in my eyes is an accomplishment in and of itself, and I remain psyched for each new Sigh release I'm able to get my hands on. Scenes from Hell is probably one of the most musically over-the-top albums I've added to my growing collection, and while the production does tend to mask many of the parts, you discover something new every time you spin the record. Occasionally an atypical production is key to mixing the pot to craft something new.

2. I'll fully admit that Goatwhore's name is terrible. I've firmly held that opinion since 2006 when I stumbled upon their music on XM satellite radio, but that's just it: I let the music do the talking instead of a stupid little moniker. So far, I'm immensely enjoying Blood for the Master as there is a thumb more black metal than the last one and it appears to be more uniform than A Haunting Curse, although only time will tell if that assessment sticks. I particularly like the inclusion of black metal aesthetics mashed with thrash and death metal elements. I suppose it would be appropriate to label Goatwhore and this release blackened death or thrash metal because the band certainly isn't black metal in its purest form, which shows strength in overlapping subgenres. Despite Goatwhore's rising popularity, they've stayed true to their roots and ripened with age. Elitists can walk the plank; their princess is clearly in a different castle.

3. This is exactly what I expected because Vader is one of the most consistent in the business. Impressions in Blood is the same idea in terms of quality, much like Welcome to the Morbid Reich and Litany, but with each track taking a slightly different approach to Peter's formula, ultimately resulting in the same ol' Vader we know and love. I'd argue that if you've heard any lick of the band's material, you'll have an idea of what this is going to sound like, which involves impressive musicianship, catchy song structuring, and blazing drumming. If anything, give "Helleluyah!!! (God Is Dead)" a listen because it's among the most memorable death metal you'll ever hear. Too bad about the horrid cover art.

4. Dropping in 1993 during the golden age of death metal, The Ultimate Incantation is Vader's first full-length. The sound is still recognizable as Vader, but it's rawer and primitive when compared with the band's later releases. Peter's vocals are much deeper than they are today, reaching terribly low into the realms of growling, and the music is still the same thrashy death metal madness I've come to love the band for. The Ultimate Incantation is somewhat atmospheric when compared with the later albums, which I find myself often longing for when listening to Vader over and over and over as I'm known to do. Sterile productions are largely the culprit. Death metal of the early period always had a certain attitude surrounding it that captured the enthusiasm and charisma radiating from the young subgenre.

-TMA

Loudness - Thunder in the East (1985)

As with any truly fun review, I can't afford not to begin with a nostalgic, sappy moment that relates to the band or album in some sort of way. Before I grabbed Loudness's famed Thunder in the East, I knew who the band was, even had heard a song here and there, but I was never that familiar with their output, though I knew they were clearly legendary in the traditional heavy metal scene. They were, after all, the very first metal from Japan to gain worldwide acclaim and an American record deal--certainly no small feat--so I always slapped myself for not getting into them sooner. But that was years ago. I ended up buying Thunder in the East from a music store located in Denver, Colorado based for the fact that I was supposed to have something by them. You know those albums you pass by in the record store and realize they're a staple in nearly in every metalhead's collection? Yep, those.