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| Getcha Rocks Off | |
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+10MetalRob331 Chairman_Smith ultmetal SAHB Healer MetalGuy71 Fat Freddy scottmitchell74 sovdat mc666 kmorg 14 posters | |
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Guest Guest
| Subject: Getcha Rocks Off Sat Feb 03, 2007 2:01 pm | |
| I've been doing this for ages on forums. These reviews are similar to what Scott does at No Life 'Til Metal—long, short, or in between. They may also be posted at other places on the net, so if you see them don't think I stole them! Hehe. Enjoy! DEAD MAN IN RENO – DEAD MAN IN RENO ( Metalcore/Mathcore) Dead Man In Reno sounds like it could be one of those typical Hollywood cinematic turdfests that fails trying to be Pulp Fiction and The Usual Suspects with that M. Night Shyamalan twist (see Smokin’ Aces for enlightenment). But alas, Alabama-based Dead Man In Reno’s self-titled major label debut is just a typical metalcore album with a bit of that so-called math-metal thrown in just to seemingly disrupt the flow of certain songs that were doing fine without the interruption. Not quite a turdfest, but at this point the metalcore genre is rife with bands so similar to each other that there’s really nothing to hold on to with this album, it’s a sheer drop to a point that’s simply too close to the bottom of the barrel. Of course, good music is good music, even if it’s totally unoriginal, and Dead Man In Reno do manage to knock out few great tunes; but, unfortunately, they aren’t consistent enough. It took the band a mere ten days to record this album. At times, it sounds as if they may have written it in less. Musically Dead Man In Reno are very tight, managing to create a very heavy sound and the occasional intriguing riff or passage; but for the most part it’s just more of the same, nothing new. The vocalist comes off sounding less natural with his screams and more like he’s got a vocal processor plugged directly into his throat; and the occasional death metal vocals are simply ridiculous. As one would assume, none of this adds to the album, but rather takes away from it in ways that will simply baffle the listener. Songs like “She's Tugging on My Heartstrings,” “The Devil Made Him Do It” and “Cursed” have some great breakdowns, quiet passages and solos, even some piano, orchestration and clean singing that focuses on melody—something lacking throughout most of the album—but it’s just not enough to propel this album beyond a middle-of-the-road rating. The band shines on “Cursed.” They show potential for greatness on that song, and for brief moments elsewhere. But, sadly, for most of the album they’re taking the path of least resistance, a path already tread by countless other bands. Dead Man In Reno float dead in the water. They show enough creativity and talent to stay afloat in a sea of sameness, but they’ll need a good dose of creativity and reinvention in the future if they ever intend to make that evolutional transition to more solid ground. Rating: 45/100Website: http://www.deadmaninreno.com MySpace: http://www.myspace.com/deadmaninreno Downloads: From Here I Can See The Shore (Official video), Lovestainedrazorblades (Fan-made video)
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| Subject: Re: Getcha Rocks Off Sat Feb 03, 2007 2:02 pm | |
| TRENDKILL – NO LONGER BURIED ( Metalcore) With a name like Trendkill, I’d have expected this Swedish band to step outside of the box a bit more. The only trend the band doesn’t follow is the screamo verse/cleanly-sung chorus template that is followed by most bands of this style; and that surely doesn’t elevate the band to any level of originality. Trendkill approaches metalcore much in the same way as Germany’s Cataract—less cookie-cutter metal, and more of a modern death metal groove mixed with hardcore—only not as good. Going against the metalcore grain, like I mentioned, there is no clean singing; but there is also only one solo—on the song “Headshot”—and breakdowns aplenty, which is very, very typical of the genre. No Longer Buried is the band’s debut full-length, following two demos. Despite the lack of originality, Trendkill comes out swinging with brutal intent. Songs like “Dedication,” “Judge Me Now,” “Break The Silence,” and “Headshot,” with its melodic mid-section, make this album something of a guilty pleasure. It’s an album perfect for getting the blood and adrenaline flowing. There really isn’t a bad song on the album; however, there also isn’t a great song in sight. Thus, No Longer Buried stands firm a little bit right of the middle of the road. Nothing mind-blowing and nothing vomit-inducing— No Longer Buried is just good; but very typical. Rating: 60/100Website: http://www.trendkill.se MySpace: http://www.myspace.com/trendkill1 Downloads: Walking Dead, Dedication, Break The Silence (Video) |
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| Subject: Re: Getcha Rocks Off Sat Feb 03, 2007 2:03 pm | |
| STONEGARD - ARROWS ( Extreme Alternative Metal) Never judge a book by its cover, they say. Good advice. Upon first glance at Arrows by Norway’s Stonegard, one might me tempted to believe this is some sort of stoner-doom band. Quite the contrary; aside from the stoner rock-like album cover and seemingly apt band name, Stonegard is much more an alternative metal band than anything else, but with more of an extreme approach. They are called a stoner rock band, but I really don’t hear it. They do manage to pull in some contrasting styles to make something of a unique sound—black/death metal riffs, melodic passages, old school 70’s rock, traditional heavy metal, grunge, nu-metal, and even a little southern rock. But I think they’re versed in a more alternative metal style. Unfortunately, however, while Stonegard has managed to create quite a solid and competent menagerie of sounds and offer a nice dose of originality, Arrows simply lacks truly memorable songs. Arrows starts out with “Ghost Circles,” a short instrumental, and then kicks off with the title track, a song that initially disguises itself as a melodic death metal track. However, the vocals and verse riffs betray that notion. This song is the prototypical Stonegard song. It’s dynamic and interesting, but lacking of a truly solid hook, something that warrants repeat, on-the-spot listens. Some tracks like “Resistance” and “Goldbar” offer a more melodic distraction from the monotony, but again, they lack that endearing quality that would make this a great album. All is not lost, though; Arrows is most definitely not a bad album. In fact, it’s quite good; but generally this is going to be a one-and-done album, something you’ll enjoy occasionally, but not wish to play over and over again. Stonegard definitely has a unique formula to work with here; they simply need to focus on creating something a bit more alluring next time out. Rating: 70/100Website: http://www.stonegard.org MySpace: http://www.myspace.com/stonegard Downloads: Arrows (Live video), From Dusk Till Doom (Video from From Dusk Till Doom) Note: “From Dusk Till Doom” is from their latest album of the same name and is not quite representative of anything written in this review; it is much heavier than anything Arrows. |
| | | kmorg Metal is my Life
Number of posts : 13862 Age : 49
| Subject: Re: Getcha Rocks Off Sat Feb 03, 2007 2:54 pm | |
| Straight out of Metal Reviews! _________________ | |
| | | Guest Guest
| Subject: Re: Getcha Rocks Off Sat Feb 03, 2007 3:17 pm | |
| - kmorg wrote:
- Straight out of Metal Reviews!
Nah, I just posted them on the forum there, not on the main site. These are too short for the main site. |
| | | kmorg Metal is my Life
Number of posts : 13862 Age : 49
| Subject: Re: Getcha Rocks Off Sat Feb 03, 2007 3:52 pm | |
| _________________ | |
| | | Guest Guest
| Subject: Re: Getcha Rocks Off Sat Feb 03, 2007 4:40 pm | |
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| | | mc666 Master Sailboat
Number of posts : 9301 Age : 45
| Subject: Re: Getcha Rocks Off Tue Feb 13, 2007 3:16 am | |
| wow these sound more professional than i expected. no offense meant. _________________ | |
| | | Guest Guest
| Subject: Re: Getcha Rocks Off Thu Feb 15, 2007 3:36 pm | |
| - mc666 wrote:
- wow these sound more professional than i expected. no offense meant.
Hahaha. These are some of my more pedestrian reviews, so I wouldn't be offended. I am a writer, however, so I can write. =) |
| | | Guest Guest
| Subject: Re: Getcha Rocks Off Thu Feb 15, 2007 4:03 pm | |
| This is a review I did a while back for metalreviews.com. I wrote the review before checking to see if anyone else had reviewed it on the site (they don't allow more than one review per album). Unfortunately someone had reviewed it! Pffft. So, I try and post this review wherever I can, because it's a killer album, very unique within the the prog genre. NOVACT - TALES FROM THE SOUL ( Progressive Rock/Metal) Ken Golden is the man! For those unaware, he is the owner of three separate labels under one roof. The Laser’s Edge focuses on progressive rock ( White Willow, A Triggering Myth, Wobbler), Sensory is for progressive metal ( Zero Hour, Redemption, Wastefall) and Free Electric Sound is set aside for progressive fusion ( At War With Self). I praise him solely because everything I’ve heard from either label has been excellent. Ken Golden knows good prog when he hears it, and he doesn’t simply go for bands that sound the same. He often signs bands that offer something a bit different within the prog field. Behind The Curtain for example, sounds like no other prog band I’ve heard before. The same can be said about A Triggering Myth and even Wobbler, to an extent. Even if similarities exist, such as with Zero Hour and the upcoming Twisted Into Form, the music is always killer. Recently I came upon novAct, a prog-rock/metal outfit out of the Netherlands. I ordered Tales From The Soul shortly thereafter and it’s been in heavy rotation for the past two months. The band formed in 2001 under the name Morgana-X. They released a three song live rehearsal demo, then a follow-up promo EP called Misunderstood—which Roy (guitars) kindly sent me; thanks, dude!. They then changed their named to novAct, showcased two tracks on a split compilation called Arnhem Trolleymetaal, and finally in 2005 released this, their first full-length, Tales From The Soul. “Sharply Condemned” kicks things off with a heavy, driving riff, melodic bridges and a lush, heavy prog-rock tapestry coolly painted by Eddy Borremans’s outstanding vocals. Truly, it’s only when vocalist Eddy Borremans begins to sing that you realize there is something special about novAct. To say that Borremans is a unique vocalist in the rock/metal world is almost an understatement. I’ve read that he compares to Queensrÿche’s Geoff Tate, Pain Of Salvation’s Daniel Gildenlow, and Andy Kuntz from Vanden Plas and Abydos, among others. None are accurate, if you ask me. If I had to pinpoint a similarity in vocal style it would a heavier version of Roland Gift of the Fine Young Cannibals— gasp!—and the clean tones of the legendary Otis Redding. Maybe this isn’t the sort of thing a metal fan wants to hear, but that’s what I hear. Tales From The Soul is, simply put, an amazing album. From progressive rock/metal anthems like “Hope And Fear,” the Jeff Buckley tribute “The Eternal,” “Path Of Daggers” and the heaviest track on the album, “The Rider,” to the more melodic songs like the goth-influenced “Flower,” it is clear novAct rival the greatest prog-rock/metal bands out there today. The slight gothic touches reminiscent of To/Die/For adds yet another dynamic that makes this band stand out from the pack. The interwoven guitars and keyboards create space for Borremans’s stunning vocals; the solo work is precise and fits perfectly, beautifully. The bass and drum work don’t go on any proggy tantrums, but they hold it all together, creating a solid foundation for the stars of the show: the guitars, keyboards and vocals. Everything about this album is brilliant. From the music to the production, lyrics and artwork; it’s all outstanding. I’ve had this album for quite a while now, I’ve listened to it virtually every day since and its quality has not diminished yet, it sparkles brighter after each listen. Not only is this one of the best prog-rock/metal albums I’ve ever heard, its undoubtedly one of the best albums I’ve ever heard overall. Nothing more needs to be said. Ken Golden couldn’t have a more appropriate last name (clearly his first name is great, too), novAct and Tales From The Soul are both simply that: Golden. Rating: 95/100 Website: http://www.novact.nl MySpace: http://www.myspace.com/novact Downloads: The Rider, Eternal Life (different version taken from the Morgana-X Misunderstood promo), Sharply Condemned (Live video) and The Rider (Live video) |
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| Subject: Re: Getcha Rocks Off Sat Feb 17, 2007 5:06 am | |
| SEEMLESS – WHAT HAVE WE BECOME ( Hardcore Stoner Rock) I always find it odd when a band finally hits “the big time” and key band members quit. Back in 1998 Kilgore, formerly known as Kilgore Smudge (and Stain, and Smudge before that), released A Search For Reason; the album took off, landing the band a slot on Ozzfest, giving them a quickly multiplying fan base. Then, after seven years, as the band was on the rise, vocalist Jay Berndt abruptly quit the band. Kilgore’s days were over. Similarly, Jesse Leach of Killswitch Engage followed a similar path. After the band hit it big with Alive Or Just Breathing, he abruptly quit the band in 2002. Killswitch Engage carried on, tapping Howard Jones of Blood Has Been Shed to take up the (inferior) vocal slot. Jesse Leach resurfaced a few years later in Seemless, a band featuring ex-members of Shadows Fall, Overcast, and another ex- Killswitch Engage alum, singing on their self-titled debut album. The band follows a similar path tread previously by Only Living Witness, a cited influence. They combine hardcore and groovy rock riffs that often border on stoner rock. Vocally, Jesse Leach only touches on his previous metalcore style, opting here for a soaring, cleaner tone. The debut was already written when Leach joined the band; What Have We Become is the band’s first collaborative effort with Leach. This album is heavier than the last, more raw, but still groovy as hell with a hardcore sensibility; evident on tracks like “In My Blood,” “Cast No Shadow,” and “Seven.” A good dose of melody accompanies “Eyes Of A Child,” “Parody” and the album closer, “…Things Fall Apart.”What Have We Become is another great album that just falls short of the greatness showcased on the debut. However, there’s nary a reason to not check this one out. Rating: 75/100Website: http://www.seemlessband.com MySpace: http://www.myspace.com/seemless Downloads: Cast No Shadow (from What Have We Become), Numb (from What Have We Become), Cast No Shadow (Video from What Have We Become) and Lay My Burden Down (Video from the self-titled debut) |
| | | Guest Guest
| Subject: Re: Getcha Rocks Off Sat Feb 17, 2007 5:12 am | |
| Delete me!
Last edited by on Sat Feb 17, 2007 9:36 pm; edited 1 time in total |
| | | kmorg Metal is my Life
Number of posts : 13862 Age : 49
| Subject: Re: Getcha Rocks Off Sat Feb 17, 2007 6:27 am | |
| Not sure what you are talking about. It looks fine to me _________________ | |
| | | sovdat Heart of Metal
Number of posts : 1786 Age : 37
| Subject: Re: Getcha Rocks Off Sat Feb 17, 2007 2:33 pm | |
| The forum was screwed up few hours ago with ads all over the place.
Anyway, keep up with the good work, Eyesore! | |
| | | Guest Guest
| Subject: Re: Getcha Rocks Off Sat Feb 17, 2007 4:00 pm | |
| - sovdat wrote:
- The forum was screwed up few hours ago with ads all over the place.
Anyway, keep up with the good work, Eyesore! Yeah, and those three replies (the WTF?, the blank one, and the one where I mention the code) were all supposed to be another review, but it wouldn't post. Weirdness. A mod can delete them if they want to. |
| | | Guest Guest
| Subject: Re: Getcha Rocks Off Sat Feb 17, 2007 9:35 pm | |
| HOLLYWOOD HAIRSPRAY VOL. 5 – VARIOUS ARTISTS ( Rock) Perris Records is one of the few labels out there that still focus on releasing old school 80s rock. Many consider the genre to be dead and gone. Of course, those who love this style—myself, whose music obsession began with 80s rock, included—know better. Rock music—glam, 80s rock, hard rock, melodic rock, AOR, etc.—is, however, quite alive and well. Perris Records released the first Hollywood Hairspray compilation back in 1992, exposing fans to new bands, from all over the world, playing an older style, and reacquainting them with some old favorites like Pretty Boy Floyd and Jetboy. In 2006, Perris released this, the fifth installment of the series (and also the sixth volume later in the year). Volume five starts with “Instinct Animal,” an outstanding and extremely catchy track from Chris Laney ( Zan Clan, Animal). The song is like a cross between Trash-era Alice Cooper, Bon Jovi and Def Leppard. If only this song set the precedent on this album. Unfortunately, like with most compilation albums, what we get is a fairly broad range of songs, in terms of quality. A band called Hollywood is up next with a song called “Hearts On Fire,” a pretty good glam rock tune; but the song lacks balls—which is pretty much glam rock in a nutshell (no pun intended)—and, while catchy, is fairly unmemorable. Some other standouts include the power ballad/melodic rocker “Hold On To Your Dreams Tonight” by Gunshy, “Dancin’ On My Grave” by Sweet Cheater, and a gritty, hard rock number by Dirty Rig (featuring Kory Clarke of Warrior Soul) called “Suck It.” And though the album isn’t complete crap, there are some turds floating around the bowl— “Forever Damned” by Deadthings and “Merry Go Round” by Jack Viper deserve a good flush. The rest of the songs make for a decent listen, but overall, there’s nothing mind-blowing to sink your teeth into. Hollywood Hairspray isn’t essential listening, but it’s also not without its charm. On a somewhat useless note, the artwork for volume five and six includes a scantily-clad Jen Hilton (http://www.jenhilton.com) (NSFW), something of a new 80s rock poster girl, who has also recently been seen on all three Trixie albums and the latest Bang Tango offering. Rating: 60/100Website: http://www.perrisrecords.com MySpace: http://www.myspace.com/perrisrecords Downloads: Instinct Animal/Hearts On Fire (Medley)
Last edited by on Sat Dec 29, 2007 12:31 am; edited 4 times in total |
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| Subject: Re: Getcha Rocks Off Fri Mar 30, 2007 2:33 am | |
| TO-MERA - TRANSCENDENTAL (Thrash/Gothic-Influenced Progressive Metal)As the years go by, I’ve become less and less impressed with new female-fronted metal bands; much in the same manner as power metal. That’s not to say I haven’t come across many great bands or albums, just that I’m not really surprised anymore. To-Mera, however, is a little different. To-Mera approach the female-fronted metal thing from a decidedly more progressive angle than most other metal bands boasting a female vocalist—bands that seem to mostly come from the gothic side of the spectrum. Gothic elements are present here, but like fellow newcomers Echoes of Eternity, with a few subtle changes—aggressive vocals replacing or accompanying the female vocals, less atmospheric musical passages, etc.—To-Mera would undoubtedly be labeled a progressive thrash band. Fronted by the beautiful Julie Kiss, former Without Face vocalist, she will undoubtedly be placed in the promotional forefront of the music and other band members, but there is much more to this band than a pretty face and cleavage. Vocally, Kiss is run-of-the-mill, but her sweet, sultry, and strong voice leaves no room for complaint. She is backed by a solid four-piece consisting of Lee Barrett (bass), Tom MacLean (guitars), Paul Westwood (drums), and Hugo Sheppard (keyboards).Transcendental starts with “Traces”, an instrumental that begins with some vocal-only melodies that remind me of Lisa Gerrard (Dead Can Dance), and, indeed, until the guitars and drums kick in, this could be a lost Dead Can Dance track. It’s not until the second track, “Blood,” that you’re really introduced to this band. The song goes for the throat with some frenetic thrash riffs that intermingle with soaring vocals, piano and orchestral flourishes. “Dreadful Angel” follows suit, but steps up the progressive element, with mid-song interludes that boast what seem like improvised jazz jams in between the progressive thrash assault, it’s like going in and out of the Alice in Wonderland rabbit hole. This formula is put to use throughout the entire eight-track, hour-long album, though things never get tedious or monotonous; the band manages to make each song unique. Some songs are faster, showcasing some almost-death metal riffs (“Phantoms,” “Born of Ashes”), while others are slower and more experimental (“Obscure Oblivion,” “Realm of Dreams”).While I don’t think To-Mera completely live up to the pre-release hype they received, I also don’t think that hype was that far off the mark. Fans of more structured music will find Transcendental a little hard to digest, with its shifting stylistic sands; but those who’re fans of gothic metal and progressive metal, even oddball progressive bands like A Triggering Myth, will find a lot to offer here. The promo sheet says this album is “ambitious, epic, and forward-thinking”, and I can’t find any argument with that statement. Some of the more progressive and experimental moments can occasionally take away from that particular song, derailing it a bit, but those moments are few and far between, making To-Mera and Transcendental worthy of your attention, indeed.Rating: 75/100Website: http://www.to-mera.comMySpace: http://www.myspace.com/tomerabandDownloads: Dreadful Angel, Born Of Ashes, Blood (Video)
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| Subject: Re: Getcha Rocks Off Thu Apr 26, 2007 5:11 pm | |
| LYCHATHIA – WITHIN THE WALL (Doom-Death)Lycathia is a band from—well, I’m not sure. I could find out, but one can only be so enthusiastic. Lycathia is a doom-death band: epic song structures, guttural male vocals alongside angelic female vocals, and a good dose of atmospherics—keyboards, piano, violin, etc. Within The Wall is possibly their most recent release, but it could be ten years old. I’m simply not sure. Like I mentioned, the band features a male and female vocalist; whether or not other members are involved here is up to speculation. Lycathia could be the Slipknot of doom-death, with nine members of questionable gender. Or they could be the WHAM! of doom-death. I’m simply not sure.Within The Wall features four untitled tracks. Each has an average length of eight minutes. The songs follow a similar path of mid-paced doom with harsh death metal vocals interspersed with clean, melodic female vocals. The songs are broken up by quieter, orchestral passages, which give each song a little breathing room, creating just enough space and beauty for the listener to grasp onto. The songs are very well done, but they follow the same format, a predictability that detracts from any sense of song-to-song individuality. Fans of Slumber and Swallow The Sun would likely find something to sink their teeth into on Within The Wall (if you’re even able to purchase it; I don’t know if that’s possible).Now, it should be noted that this band is actually called Lycanthia, not Lycathia, and the album title is Within The Walls, not Within The Wall. Unfortunately the band felt that reviewers should do all the legwork when it comes to reviewing their album and supporting their band. The EP came as a CDR with the band’s name and album title—incorrectly!—scrawled across the booklet. No other information was given—no tracklisting, no band biography, no discography, no band member information, no website URL—zilch, nada, nothing. So, tell me, why should a reviewer care to spend his personal time promoting a band that doesn’t seem to care themselves? Why should music fans care about supporting a band that seemingly isn’t interested in creating a product worthy of their hard-earned dollars and time?When I was younger, I remember spending entire weekends pressing up homemade demo tapes. We spent hours upon hours designing the artwork, recording hundreds of demos to cassette via boomboxes, photocopying (double-sided) all the inserts for each tape, and then sending them out to magazines and fans worldwide (if the band was popular enough). Of course, with today’s technology a band doesn’t need to spend hundreds and hundreds of hours creating a product for their band. But Lycanthia could have spent more than five minutes creating theirs. I realize that the end “musical” product is what we review here, but bands/labels are what we support. And when the bands/labels seemingly don’t care, should anyone else? Rating: 50/100Website: N/AMySpace: N/ADownloads: N/A
Last edited by on Sat Oct 27, 2007 2:07 am; edited 1 time in total |
| | | Guest Guest
| Subject: Re: Getcha Rocks Off Fri Apr 27, 2007 2:16 am | |
| ICED EARTH – OVERTURE OF THE WICKED (EP) (Power Metal)So…the promo of the new Iced Earth EP has inevitably leaked. And, of course, the turds of the world have been tearing it to shreds. (Typical of the Blabbermouth generation.) So let me set things straight. People are slamming the production, saying it's terrible. Let's put it this way, the production is very good as it is, on a leaked version no less. It can only get better with an official release, but is fine as is. I realize the promo has been released, and leaked versions have likely been ripped from the promo, but one should never judge a final product on something that simply is not that. However, I do have the promo, and it is safe to say that these recordings lack that certain “punch,” that bottom end, as we first heard on The Glorious Burden. Most importantly, though, the production is still very good on this EP.“Ten Thousand Strong” is a great opener. It’s a simple song—and I believe this version is an edited version of the one that’ll appear on Framing Armageddon—that gets straight to the point, goes right for the throat. It's a heavy song with great riffs, a great chorus, and great vocals from Owens. But while “Ten Thousand Strong” is a great appetizer for things to come, it’s safe to say that the spotlight will be shined brightest upon the re-recorded Something Wicked trilogy (originally on Something Wicked This Way Comes with Matt Barlow on vocals). This new version of the trilogy is excellent, but only after the initial shock of hearing all the changes—and changes are exactly what Jon should have made when re-recording these songs! If you’re expecting something like the original versions, go listen to the original versions. Now, as good as I think these new versions are, they’re very different, and I'm sure people—as you can already read across the net—will hate on them simply because they aren’t comparable to the originals. The changes are mostly of the subtle variety, but they still make a big difference. And again, without changing things these re-recordings would have been pointless.The approach of this new version of the trilogy is like that on the Gettysburg trilogy from The Glorious Burden. It's very atmospheric, far more symphonic and orchestral—which is exactly what Jon promised, by the way. “Birth Of The Wicked” remains largely the same as the original, but “Prophecy” is where the immediate changes are noticed. The opening is much more atmospheric, and different in structure; the build-up in the beginning is more subtle, and when it finally kicks in the riffs don’t hit nearly as hard as one would expect (unless they’ve not heard the original); the solo has been changed a bit, and the ending is slightly different. After a few spins, though, everything seems very natural. The problem is trying to not compare it to the original. “The Coming Curse” is without the original piano intro here, which is unfortunate because that intro sets the song up very well. This new version just kicks right in without any build-up. Again, the main portion of the song is very similar to the original, with only slight changes. The mid-section and ending is where the most changes occur. Where the original had Gregorian-like chanting, this new version adds a prominent female voice to that mix. It changes the emotive aspects of the song drastically, but luckily not for the worse. It is very important that one acknowledges that the original trilogy and this new version are both different enough to stand on their own merits. People will compare, and people will hate, but, like I said, once you get over the initial shock it gets better and better with each spin. These new versions lack a little a bit of that good old oomph! when it comes to guitar tone, even when compared to “Ten Thousand Strong,” but the re-recordings are very respectable. And they offer enough change musically and vocally to appease those that felt Jon was crazy for re-recording them, or that Owens could never match Barlow’s great vocal performance on the originals. The fact is, Owens made these new versions his own, and Jon took the songs to a new plateau. Whether better or worse is up to the listener, but if you look forward and not back you should find great satisfaction in the re-recordings. And in using the excellent “Ten Thousand Strong” as a measuring stick, one can expect great things from Framing Armageddon (Something Wicked Part 1) (scheduled for release later in the year).Rating: 80/100Website: http://www.icedearth.comMySpace: http://www.myspace.com/icedearthofficialDownloads: Dracula (Live Video), Declaration Day (Video), When The Eagle Cries (Video), The Reckoning (Video) |
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| Subject: Re: Getcha Rocks Off Thu May 10, 2007 10:59 pm | |
| OVERLOADED – HAIL THE KINGDOM (Hard Rock)People are always saying rock music is coming back. Wishful thinking? The fact is rock music never went away; the media spotlight did. Part of what made the 80s rock scene so great was the way fans and mainstream media embraced the genre. It was larger than life. And it was a blast. Those days are gone now; it's simply now a microcosm of what it once was. But there are still bands out there kicking out that raw, in-your-face rock music. So while the overblown gusto may be gone, the music will always remain. Overloaded—hailing from Detroit, the self-proclaimed "rock city"—is one of those bands still laying down that old school rock. They claim to be a heavy metal band, but they're not. There are some metal influences, but overall Overloaded is a rock band.They formed in 2004 and released Hail The Kingdom, their debut album, in 2005. Hail The Kingdom is an unabashed throwback to the glory days of rock, and it immediately proves just that with the bombastic, guitar-driven, sexually-charged, hook-laden opening track, "Beaver Fever." Vocalist Chris Gillen sounds like a cross between Sammy Hagar and Todd Lewis (Toadies, The Burden Brothers)—strong, dirty and powerful. "War Of The Worlds," "Where Are You Running To?" and "Feeling Overloaded" follow the same stylistic path, the latter being something of a local hit, and a song that garnered the band a lot of attention from rock fans and big name sponsors. With Hail The Kingdom being only seven songs deep, a dud or two is fairly noticeable. "King Of The Landfill" and "Cyclone" are two duds; they simply offer nothing in the manner of hooks, nothing for the listener to sink his teeth into. The album closes with "Sick," a mellow, bass-heavy number with a mild hook that would have been better served in the middle of the album, leaving a stronger, heavier track to close things out. So while not without flaws, Hail To The Kingdom is most definitely a solid release.A few months after this release, Overloaded released Hellfire, a follow-up 5-song EP. The EP quickly went out of print, so in 2006 the band released a self-titled album featuring Hail To The Kingdom and the Hellfire EP, minus the tracks "Sick" and a cover of "Crazy Horses" (originally from the Hellfire EP). You can still order Hail To The Kingdom and Overloaded. A new album entitled Regeneration is due sometime this year.Rating: 70/100Website: http://www.overloadedmusic.comMySpace: http://www.myspace.com/overloadedDownloads: Feeling Overloaded, Beaver Fever, Shotgun City (from the Hellfire EP) |
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| Subject: Re: Getcha Rocks Off Fri May 11, 2007 1:24 am | |
| RHAPSODY OF FIRE – TRIUMPH OR AGONY (Symphonic Fantasy Metal)Once known as simply Rhapsody, after more than ten years the band found themselves having to amend their name due to illegal use of a trademark and copyright infringement. So Rhapsody Of Fire they became. I'm not sure who owns the rights to the name "Rhapsody," but I'm willing to bet that had Christopher Lee—famous but most recently famous for his role as Saruman in the hugely successful Lord Of The Rings movie trilogy—not been featured—and promoted heavily—on 2004s Symphony Of Enchanted Lands II: The Dark Secret I would be reviewing Triumph Or Agony by Rhapsody. There would be no Of Fire nonsense. Either way, it's irrelevant. Rhapsody Of Fire it is. It's just another layer of cheese on top of the massive amount the band already had on the table.Over the course of recent albums, Rhapsody Of Fire has been receiving a steady amount of flack from fans wanting the faster, heavier, more power metal style the band showcased on earlier albums. As time went on, the theatrics and symphonic elements tended to overshadow that early style, serving up a decidedly weaker dose of the metal they became known for. If "Rhapsody Of Fire" makes little sense, Triumph Or Agony is a very apt album title. Some will find the album to be a triumph in symphonic, bombastic, theatrical metal; others will find it to be another agonizing nail in the coffin of what once was. Many—like myself—will find themselves in a tug-o-war between the two.Triumph Or Agony begins with a standard intro, the two-part "Dar-Kunor," which is actually a very good intro with a nice climactic build-up. The title track follows, and Luca Turilli and company show that they're not incapable of writing a classic-sounding Rhapsody song. The song is symphonic, but the guitars are upfront and heavy; the vocals are big and grandiose, and not drowned out by a choir of a thousand voices. "Heart Of The Darklands" has all the same attributes, only this track is faster and heavier. Both are great songs. The album takes a sharp left turn with the folkish "Old Age Of Wonders," rife with orchestration, flutes, violin, male and females vocals, a big choir, and teeny-weeny guitars with funny names plucked precisely to give off the annoying visual of silly, drunken elves and hobbits dancing around a campfire—naked. (I just puked a little.) The album then drifts to and fro between lighthearted, symphonic folk metal and a more mid-paced, heavier style. No song matches the intensity of "Triumph Or Agony" and "Heart Of The Darklands." "Silent Dream" comes close, as does parts of the epic 16-minute plus "The Prophecy Of The Demon Knight." But no other song quite reaches back far enough to appease the detractors of the band's latter day evolutionary transformation. Rhapsody Of Fire is the same old band of recent times. None of this is to say these songs are bad—quite the contrary! In terms of symphonic metal, Triumph Or Agony, to my ears, is largely a triumph. It's not an album I'll reach to as often as Legendary Tales or Dawn Of Victory, or even the first Symphony Of Enchanted Lands album—which I find to be the perfect balance between Rhapsody Of Fire's latter day symphonic metal and early vaunting take on power metal. Triumph Or Agony won't change the opinions of current or previous fans of the band. It's good enough to please those who didn't jump ship while the band slowly shifted styles; and it's bad enough to solidify the opinions of those who have vilified the band and its stylistic departure. Triumph or agony.Rating: 75/100Website: http://www.rhapsodyoffire.comMySpace: http://www.myspace.com/rhapsodyoffireband Downloads: Triumph Or Agony (Fan-made video), Triumph Or Agony (EPK) |
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| Subject: Re: Getcha Rocks Off Sun May 13, 2007 8:07 pm | |
| 40 BELOW SUMMER – THE LAST DANCE (Nu-Metal)Run! 40 Below Summer is a nu-metal band.Still reading? Good. Let it be known that 40 Below Summer is a great nu-metal band. Formed in 1998, the band quickly self-released a full-length—Side Show Freaks (1999)—and an extremely limited (10–15 copies) promotional EP—Rain (2000). They were signed shortly thereafter and released their major label debut—the outstanding Invitation To The Dance (2001)—which was then reissued on another major label in 2002, after a corporate merger. In short time they released a follow-up—The Mourning After (2003)—and the band was dropped a year later. In 2005, after two original band members quit, 40 Below Summer disbanded. However, in 2006, the band resurfaced with The Last Dance, a demos/b-sides album featuring nine unreleased tracks, including a cover of Guns 'N' Roses' "It's So Easy." The Last Dance also includes a DVD featuring the band's—at the time—final live performance, a few additional live performances, interview footage, and a video.History lesson aside, The Last Dance is what you'd expect from a demos/b-sides release: it's a mixed bag. "New Age Slaves" is a great, groovy, double-bass-filled, anthemic piece with a catchy chorus. "5 Of A Kind" is largely the same: catchy, groove-laden, typical nu-metal; and very good. Things slow down with an excellent modern rock ballad "Tell Me Now," and "It's About Time" cranks things back up with its rollicking groove, simple yet addictive chorus, and Clutch-like verses and mid-section. Beyond this, the album largely follows the same course, with only the oddball and eerie "Alaskan Thunderfuck" standing out from the norm. And then there's the cover of "It's So Easy," which mostly stays true to the original, only coming from a nu-metal perspective.Fans of the band's previous output will be satisfied with The Last Dance; but this release surely won't convert any non-believers. All nine songs are good, and a few are great. The production is a little weak, as the guitar tone sounds a bit thin, and the drums occasionally sound a bit on the weak side. The bass is clear in the mix, but like the guitar it's missing that bottom end. The DVD is an added bonus. The live footage looks and sounds great; and the interview footage with band members gives the fan a real good insight into 40 Below Summer's existence—and subsequent non-existence.Though they broke up, 40 Below Summer has played a few shows since then. They've also released The Last Dance, and they're re-releasing the Rain EP with seven bonus tracks in July (2007). Rumor has it that their debut, Side Show Freaks, will also be re-released in the future. So while the band has broken up and members moved on (with Black Market Hero and the excellent Anja), 40 Below Summer still have something left for the fans, and The Last Dance is a worthy addition to their discography. Rating: 65/100Website: http://www.40belowsummer.comMySpace: http://www.myspace.com/40belowsummerDownloads: Relapse (Video from The Last Dance), Rope (Video from Invitation To The Dance), Self-Medicate (Video from The Mourning After) |
| | | scottmitchell74 Jada Pinkett Smith's Cabana Boy
Number of posts : 9052 Age : 50
| Subject: Re: Getcha Rocks Off Sun May 13, 2007 8:10 pm | |
| Thanks dude...good reviews! | |
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| Subject: Re: Getcha Rocks Off Sun May 13, 2007 11:39 pm | |
| Thanks! I've got 15 reviews to do, so expect this thing updated a lot in the coming days! Haha. Sucks for me! SKID ROW – REVOLUTIONS PER MINUTE (Modern Rock/Punk/Country Rockabilly)Skid Row have come a long way since the days of "Youth Gone Wild" and "Monkey Business." After two classic 80s rock releases—Skid Row and Slave To The Grind—Skid Row struggled to match the greatness of those two albums with their third full-length album, Subhuman Race. An increasingly volatile relationship between vocalist Sebastian Bach and the rest of the band effectively sent Skid Row to an early grave. However, the band did not stay dead. In 2003 the band released their fourth album, Thickskin; this time featuring the very capable and new lead singer Johnny Solinger. While more modern rock (reference 3 Doors Down, Seether, et al.) than 80s rock, Thickskin was a decent effort. The album featured some very good songs, especially "Ghost", which could have been a top 40 hit—for any band not named Skid Row. And that's the problem. Skid Row is yet another band not willing to let go of a name that is far too synonymous with what they're clearly not anymore, and never will be again. Very few bands can make that generational leap, and the name "Skid Row" will likely always have that "washed up 80s rock band" stigma. Regardless, for the open-minded, Thickskin is a fairly solid release. And now we have the follow-up, Revolutions Per Minute.While Thickskin had some oddball tracks—like the horrendous updated punk cover of the classic "I Remember You" (titled "I Remember You Two")—Revolutions Per Minute plays like a compilation album. This time out the band seems to have just gone into the studio and recorded whatever came to mind—while drunk. Revolutions Per Minute jumps from modern rock to punk to—puke—country rockabilly nonsense. "Disease" starts thing off, and it's a solid modern rock tune with a slight punk vibe and a nice hook. The sleazy rock anthem "Another Dick In The System" follows, and again it's a very good song. The walls crumble right after. "Pulling My Heart Out From Under Me" is a quasi-acoustic pop rock song, while "When God Can't Wait" is trying way too hard to be Dropkick Murphy's (and would be a respectable song coming from that band). "White Trash" makes Sum 41 seem mature. And the hoedown starts sharply at track 8; "You Lie" is a twangtastic, country rockabilly turdfest—a song we're subjected to twice, this version and the virtually identical Corn Fed Mix bonus track. The one other song worth mentioning is "Strength," an excellent modern rock take on the hit song by The Alarm. The rest of the songs bounce back and forth between styles; making for a seriously uneven, confusing, and difficult listen.If Skid Row decided to record a stylistically consistent album, they'd do well in either style presented on this album—if they pandered it to the right fans. Unfortunately Skid Row has rock fans, and rock fans want rocks songs, not country, or rockabilly, or punk songs. Somewhere on Revolutions Per Minute there's a great modern rock EP. Getting to it, though, is simply far too much of a chore.Rating: 30/100Website: http://www.skidrow.comMySpace: http://www.myspace.com/skidrowDownloads: When God Can't Wait (Fan-made Video), Ghost (Video from Thickskin), Thick Is The Skin (From Thickskin) |
| | | Fat Freddy Metal, Movies, Beer
Number of posts : 37953 Age : 54
| Subject: Re: Getcha Rocks Off Mon May 14, 2007 10:55 am | |
| Ouch! I guess I'm alone in this, but I liked that Skid Row album, I thought it was way better than Thickskin. "You Lie" seems to get the most hate from reviewers, but that song cracks me up every time I hear it.
Judging from all the bad press that CD has gotten, I have a feeling that if I ever meet one of the Skid Row dudes and tell him that I really liked "Revolutions Per Minute," they'll reply "WOW, so YOU'RE the guy? We thought you were just a legend, man!" | |
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