Well hello Tuesday! What a great day (as always) for music and music lovers alike. Bands get to released their highly anticipated albums and in turn we get to crank the s**t out them for all to hear (whether they want to hear it or not haha). I think this is a good win-win for both parties. Hell, even the record labels are happy. Well, that's if you actually purchased the album (digital or physically). If not, then you're just an asshole to them. haha
OK, so now that we got that rant out of the way, I highly encourage you all to read a lil bit of the reviews to get a feel for the albums being released. And then actually making the move to buy them at your local record shop or an online retailer (Side note: RIP Sam 'The Record Man' Sniderman) . I have gone through a couple of these albums (As I Lay Dying, Monuments, This Or The Apocalypse, Steve Harris, Car Bomb, Mumford & Sons, etc) and I can tell you now that you won't be disappointed with the releases. There is some great material in these LP's and some of the album will just simply blow you away with production quality, song structure, album artwork and any other little detail your head can come up with. Cheers!
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AFGM: As I Lay Dying Gets Awakened & Cauterized!
"Jordan Mancino lays back on a big groove for 'Defender' that's perfectly countered by Josh Gilbert's bass. At the eye of this perfect storm, Lambesis ruminates on life with his inimitable clean croon and oppressively beautiful scream. Everything culminates on 'Tear Out My Eyes'. It clearly evinces the chops of each member with one of the band's biggest hooks ever at the center.
At the end of the day, As I Lay Dying’s Awakened blazes to life with brilliant melodies and bludgeoning grooves. Honing their patented sound into a tighter and more technical monster than before, the band have crafted their best album yet. It’s a high watermark for modern metal, and it’s going to wake up the entire genre.
The risk was well worth it." -Artist Direct
"And while there are other noteworthy mentions such as 'Frontline', 'Down To Nothing' and 'In Darkness', there are just as many songs, if not more, that feel void of any real interesting or enduring substance. Tracks like 'Cash King', 'One Good Thing', 'Blood Of Saints', 'Drama Queen' and 'Journey’s End' basically did nothing for me. Sure, they were all decent, but not a single one captured enough of my attention to warrant multiple spins. They all seem to be missing the necessary 'it' factor that a song MUST have in order to capture the very heart of any listener.
To me, what made their previous efforts so memorable (especially Threnody) was the fact that from beginning to end, not only was I drawn into the beautifully destructive nature of the music, but also Klavborn’s dark, insightful narrative. With this album, however, I just don’t have the same level of connection this time around. In my opinion, Blood Of Saints sounds like a grab bag of Threnody B-sides with a few haphazard ideas mixed in for good measure. That aggressive elegance infused with uber-catchiness found before just simply isn’t there.
What I found so disheartening about Blood Of Saints is that it just feels rushed. Very few songs really resonate and most leave you desperately wanting and needing more. While it’s not a bad album per se, it surely isn’t a good one either. Blood Of Saints is a slightly above average record that, instead taking the Engel name to new heights, will most likely leave the band trying to find their footing in a very crowded market once again." -The New Review
AFGM: GNOSIS -An Interview With Monuments
"At only nine tracks/40 minutes long, Gnosis never outstays its welcome. In fact, you’ll probably find yourself going back for a second listen very quickly. Take ‘Blue Sky Thinking’ for example; Rose commands your attention by alternating between cleans and screams through slightly off kilter vocal melodies that only add to the album’s intrigue. The result is one of the best songs to be released this year. Elsewhere, ‘Doxa’s pummelling drum fills do battle with Rose’s expansive vocal range for one of the more impressive moments on the album.
Fuelling comparisons with their American counterparts Periphery, Rose and Spencer Sotelo (Periphery vocalist) join forces on final track ‘Denial’ in a duel vocal assault, proving to be more than enough to make any djent fan boy wet their pants in excitement. Sotelo’s higher register provides a welcome contrast to Rose’s more gravelly voice, giving rise to a touch more melody compared to the previous eight tracks.
Despite the turmoil the band has been through, the result is completely and utterly worth it. Monuments have released what is an excellent debut and the perfect base to build on as they grow as a band. Yes, it's raw and somewhat straightforward in terms of songwriting, but that is a huge drawcard. Gnosis is sure to be one of the metal albums of 2012." -Sputnik Music
"Long time fans will not be disappointed by the record, as the glue that holds Pro-Pain’s sound together is omnipresent throughout, as demonstrated by 'Bitter Pill' and 'Judge.' The album’s punk/Oi/NWOBHM style closer 'Zugabe' is a peculiar finale to the record, yet tastefully done to show that the band does not have to adhere to limitations with their ode to the old school.
In many ways, it is fitting that the record closes with a power sing-a-long, perfect for allowing the repeat button to be pushed, with the stereo getting slightly louder the next time through.
Overall, Straight To The Dome is a fine and powerful record that allows the band to continue forward, while keeping long time fans satisfied. A tour through their back catalogue will affectionately demonstrate to any listener the reason why this record clearly stands as one of Pro-Pain’s best yet.
Number 13 proves that the band is not done. In what is probably the most honest record they have done since Act of God, Pro-Pain is a band that has brought out their arsenal with this outing. Straight To The Dome not only lives up to its name, but is also merits a spot in your music collection." -About.com
"I wish this album was flawless, as far as I'm concerned it comes really freakin' close, but a few wrong moves hold Dead Years back just a little bit. There were clean vocals on Haunt What's Left, and they worked quite well, Ricky is actually a solid singer. The problem is, he leaves the singing to several others on this album. According to the band, Ricky's performance here is much more demanding than it was previously, and he simply wouldn't have the energy to pull off these clean choruses live. It was a smart move in theory, but the singing provided by the others never fits the band's sound like Ricky's voice did. The other issue is that there's really no need for them to be there. Sometimes clean vocals enhance a chorus or a certain section, but here they just feel tacked on to add some diversity, which they didn't actually need to do. When you have a lead vocalist with as much range and emotion as Ricky displays here, there's really no need to add anyone else to the mix.
The other problem... Yeah, we're talking about Metalcore, it would have to be breakdowns wouldn't it? They aren't bad, but they certainly aren't great. They don't match the outstanding quality of the rest of the record. Like the cleans, they make brief appearances and only do a little bit of damage.
The immense amount of things this album does right pound it's few mistakes into the ground, when your finish your listen it shouldn't be the little flaws that stick in your head. They're easy to get over and easy to forgive.
On top of everything else, this album really has it's own identity, as I believe all records should. Many bands in this genre tend to stick with an established sound and change very little from record to record, but This Or The Apocalypse have successfully kept their identity and managed to make an album that can catch you off guard, having many differences from previous works.
Dead Years is an amazing album, and the best This Or The Apocalypse have put out yet. Nobody should pass on this one." -Sputnik Music
"For a relatively unknown band to be handpicked by Metallica to play at their Orion Music + More festival this past summer is, you know, just a slightly big deal. And while Thy Will Be Done’s inclusion in that fest has no doubt made some previously unaware fans take notice, their groove metal is solid enough to merit attention in its own right. The band’s third release, Temple, is a six-song EP that really lets the musical low end take the stage much as it does on God Forbid’s output. The most intriguing of these tracks is the single 'You, the Apathy Divine,' which is perhaps what got them on Metallica’s radar in the first place. But even though Temple is an engaging listen, it’s hard not to wonder what a full-length would have sounded like. As far as stop-gap releases go, this one is a bit of a cliffhanger that, for better or worse, leaves us wanting more." -Sammi Chichester (Revolver Magazine)
"Are there problems? Of course. So austerely earnest they make Mike Scott of the Waterboys seem like Kid Rock, their blazing sincerity can take on a certain sententious tonnage. Ghosts That We Know is so spare it hurts and opens up too late in its 5:40. It’s followed by Lover of the Light, and then Lover’s Eyes for three 5 minute-+ songs that sound like a suite that never gets out of the church pew. 'You’ll never see my bleeding heart,' he sings in the stark Reminder, and you want to say, friend … we see it. 'I will not speak of your sins,' they sing in Broken Crown. But the entire album does. They don’t crank it up again until Hopeless Wanderer’s powerstrum, and then only briefly. It is a sombre ending we find in Not With Haste.
Thing is, this is a Rebecca Black world. It’s a Fri-day Fri-day world. And it’s awful hard to dismiss the Sunday sermon elements here when they come wrapped in such conviction, from players whose aspirations are as artistic as they are arena." -Montreal Gazette
"The fact that in real life Armstrong is a 40-year-old family man doesn’t necessarily mean he can’t carry off a nasty one-night-stand song like 'Stay the Night.' But in this case, he fails to communicate the youthful dash of humor the song would need to move beyond its obvious expressions of desperation and contempt.
Only two songs reflect the perspective of the band’s actual age. 'Loss of Control' presents a guy who has discovered he has nothing in common with those he knew in his past. 'Rusty James' sketches a lost soul who clings too hard to a scene that long ago passed him by. Consider it Green Day’s answer to Billy Joel’s 'Angry Young Man,' a perspective suitable to middle-age.
For the most besotted fans, the songs’ form alone may please. They have a reliable energy, from the speedy beats of 'Let Yourself Go' to a Who-like windmill of chords in 'Angie Blue.'
A few tunes do stand out, like 'Sweet 16,' which boasts a Mercy Beat-like melody, or 'Kill the DJ,' whose itchy guitar recalls the Clash’s in 'Rock the Casbah.' But ultimately, 'Uno!'s attempt to reclaim Green Day’s early spirit just sounds like a reduction of it. Let’s hope the next two installments move the story forward." -NY Daily News
"Push And Shove leans more toward ’80s influenced LA pop than it does ska. Several of the tracks have reggae/dancehall influences laced in, but they don’t overwhelm. First single 'Settle Down' is perhaps the most classically 'No Doubt' song on the album. While it divided fans, it’s actually a ballsy return to the pop scene: A six minute single – who does that?! – with an imperial string prelude and a dubby breakdown so chill that you briefly think the song has ended.
Lyrically, the album is stacked with funny, baked phrases like 'I’m on a hit and run, a yummy yummy yum' on 'Easy' or the title track’s rap: 'We be on another level like we’re doing yoga!' But Gwen’s gained wisdom with age, delivering wry doses of reality like 'You’re… making me weak and that’s a comment, not a compliment' from 'Dreaming The Same Dream.'
'Undone' may be the saddest ballad No Doubt has ever recorded. Gwen delivers one of her purest, most plaintive vocals, with a lyric that’s tempting to read into: 'I’m in trouble, help me / No one needs you more than me.' She recently told Marie Claire that she and husband Gavin Rossdale are 'better…than ever.'
What a rare thrill to hear a band produce an album so strong 26 years into their career. Gwen, Tony, Tom and Adrian deliver eleven near-perfect songs adding up to what may be the most listenable, kick-ass pop record of 2012." -Idolator
"Now with this new album, Steve takes Richard, David, Grahame and Simon through their paces and on the whole they deliver an album that is good old fashioned metal, great to listen to and crunching in its final execution. Richard Taylor’s vocals will come under intense scrutiny and whilst they are not as domineering as Bruce Dickinson’s, they cope with the high musical demands set by Steve Harris.
Although the songs themselves may appear to be out of the ‘put to one side bin’ of Maiden’s career that shouldn’t detract the listener from the enjoyment that they will no doubt get from hearing them. On songs such as Karma Killer, Us Against The World and These Are The Hands, Richard Taylor’s voice matches the drive of Steve’s vision for this new band.
It may have been a long time coming but Steve Harris’ debut solo album was worth the wait, an interesting aside from the Maiden man and very enjoyable." -Liverpool Sudent Media
"There are scores of EDM specialists crafting new approaches these days, from Grammy-winning Skrillex to live beat-maker AraabMuzik to up-and-comers like HeRobust. Amid their inventive progressions, Deadmau5' latest album feels a tad old and dusty.
'Superliminal' is all buildup and very little payoff. You'll be left waiting minutes for the drop, and perhaps scanning forward to the next track in hopes of getting the pulse racing. Good luck.
'Fn Pig' is one of the few tracks on board with some sizzle. It's an eight-minute track that teases you for the first two before any semblance of a proper beat emerges. But once it gets going the bass line grabs you by the shoulders and refuses to let go. It's an addictive, repeat-worthy track.
But mostly, we find Deadmau5 longing for some sort of house music yesteryear. On 'Maths,' the corny digital samples feel extremely dated and required a much smarter approach than this." -Huffington Post
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"Broken Bones will appeal to the old school Dokken fans That classic sound is here (though maybe slightly heavier) and it’s the perfect companion to Lightning Strikes Again. To be fair, some filler slips through such as 'Waterfall' and 'Blind' but I’ve always felt filler was pretty much a given when it comes to this band.
Don’t get me wrong, this IS a good album. 'Empire' is heavy and the best choice to open the album, 'Broken Bones' are 'Fade Away' are classic Dokken, 'Today' is a pleasantly different type of ballad I would not have a expected from this band, almost New Age sounding, 'Best of Me' sticks in your head and 'For The Last Time' also has a classic sound while adding some great melodic moments as well.
Another enjoyable effort from these guys. Dokken fans shouldn’t miss out and won’t be disappointed." -Metal Excess
"On his eighth studio album, guitarist Cook steps away from his flamenco default and offers 15 moody, easy-listening pieces, supposedly inspired by what he considered the spareness of Adele’s smash, 21. On the surface, the disc has an elevator-music smoothness that sends it receding into the background, but Cook’s relentless precision and perfect tonality on the nylon strings will not be denied. There’s an airy beauty to soft, atmospheric tracks like Diminished and Fields of Blue, with quiet blues (I Put a Spell on You), jazz (Miles Shorter) and bossa nova (Child’s Play) broadening the palette. Add the stirring, delicate interplay between Cook’s instrument and Chris Church’s violin and this aural sketchbook becomes an excursion filled with modest pleasures." -Montreal Gazette
"In general, though, the band’s material is as well constructed and fully realized as ever, bridging country-western styles with punk- and chamber-rock sensibilities. From percussive and bass-anchored songs to others driven by piano and guitar riffs, Bitter Drink, Bitter Moon tells as much of a musical story as a lyrical one. And that’s no small feat, as singer Adam Turla maintains an Old West lyrical tone while ranging his vocals from a Johnny Cash baritone to a high croon and even a spiteful hiss. Befitting the album (and its new label), Turla’s words about loss, lies, and loneliness are delivered with a cinematic beauty that recalls moonlit nights and warm whiskey." -Alarm Magazine
"This violent, rhythmically intoxicating cut—which features guest growling from Gojira mainman Joseph Duplantier—is sure to incite some off-kilter headbanging. Oh, and just wait for the final breakdown, which sounds like a Mack truck downshifting down the side of a mountain." -Guitar World
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