Well, hello everyone and welcome back (my fellow Canadians) from a nice extra long weekend. Funny too how I was reading through my daily articles and even Metal Hammer jumped on the Thanksgiving festivites and did a review of why Canada is awesome! I tend to agree with them and if you feel otherwise, then check out the article they posted about it.
OK, so back to the grind here. Another Tuesday and another stack of albums being released today across North America. And even though my site is pretty much all online, I still recommend you all to hear to your local record shop (or online retailer) and grab a few of the albums hitting shelves. If you follow my Facebook posts, I have noted that both The Acacia Strain and Coheed and Cambria are streaming their albums in full for your reviewing pleasure!
I have also had the chance to dive into a few other albums being released (Nonpoint, BTBAM, Inhale Exhale, Texas In July, etc) and as usual, I found some merit and tunes worth cranking on your system, so be sure to sample as many of these albums as you can. Some great music for great listeners!
"After listening to The Parallax II: Future Sequence about 50 times I am still only semi clear of the full story, but I do know it ends in death, destruction, sadness and armageddon. What remains to be seen though is whether this is Between The Buried and Me's farewell album all wrapped up in a concept story? Maybe I am reading to much into it or maybe the sadness and loss I am feeling at the end of the album is so strong it is leading me to make up my own incorrect conclusions. Either way, The Parallax II: Future Sequence is a career defining album by Between The Buried and Me that has finally equalled, and potentially topped their 2007 epic album Colors. Whether it is actually better doesn't really matter, what matters most is that Between The Buried and Me are back on form again...finally! The Parallax II: Future Sequence moved me so much that I put together my own artwork entitled 'My Astral Body Headspace' that was inspired by The Parallax II: Future Sequence. It is worth noting I did this artwork BEFORE Between The Buried and Me released their video for 'Astral Body' and, whilst they are still different, it is eerie to see how my interpretation of The Parallax II: Future Sequence and what I thought was going on in this album was pretty much spot on." -Alt Sounds
"While songs like 'The Way I See Things', 'Left For You', 'Another Mistake' and 'Pandora’s Box' would be considered the more “mainstream” selections on the album, fret not, because nothing is lost at all. Each one of these songs is soaked with memorable melodies, giant hooks and enough grit to keep your head moving for days. Also, Johnny K’s (Staind, Disturbed, Drowning Pool, Soil, etc.) famed super thick and ultra crisp production skills really bring out the best of what Nonpoint have to offer. This is undoubtedly their best and most complete sounding record since Statement.
If you are looking for high-energy and high-octane wrapped in a nice neat package, look no further than Nonpoint’s latest self-titled endeavor. Unlike their last three releases, this album sees the band find their focus and brings them full circle in their career. Twelve years after their defining album, Statement, it’s clear that Nonpoint are a reinvigorated and rejuvenated outfit that clearly sees nothing standing in their way. Dare to take that chance and stand if front of them? Well, you better watch out or you might just get steamrolled." -The New Review
"To get to specifics—the opening two tracks, 'The Reckless And the Brave' and 'Backseat Serenade', set a solid path for the rest of the album to run on, and are among the strongest on the record. (I dare you not to wind up singing one of these two songs the rest of the day after hearing them.) Other standouts include the very sing-able lead single 'For Baltimore,' as well as 'Outlines,' which tastefully blends some electronic elements into one of the record’s most passionate tracks. Interestingly, the greatest dichotomy on the album happens between tracks 5 and 6; 'So Long Soldier', one of the record’s edgier tunes, sees the band venture most toward its punk roots, while the bland follow-up 'The Irony Of Choking On a Lifesaver' sounds more like it belongs on the last record, and really could have been dropped from the track list.
All Time Low never actually went anywhere; they just sort of lost their way for awhile. But Don’t Panic is such a solid return to the best elements of this band that is almost plays like a comeback album. It’s a well-crafted record that is certain to make a lot of fans very, very happy." -Music Is My Oxygen Weekly
"'Hell or Hallelujah,' the first single, sounds like a Motorhead rip off — in a good way, filled as it is with a rolling momentum worthy of a band with the experience of 19 earlier studio albums in its arsenal. 'Outta This World' features the couplet, 'You and me we're like TNT/Light the fuse that's inside me,' with no irony whatsoever. The first singer/songwriter to transform the insta-classic outsider anthem 'Freak' into a cover for a new generation wins a gold star (and probably Simmons' eternal contempt). Ryan Adams?
In fact, were 'Monster' released not by a star-man and a demon whose 40 years in the rock business is peppered with ridiculousness — reality shows, close-minded Simmons rants, hilarious concept albums, gluttonous live albums, microbeers and everything else (insert ridiculous KISS related product here) — this record might touch an audience beyond the band's usual fan base. But these creatures are uninterested in irony. They've got business to tend to." -L.A. Times
"A few flaws really bring Indicator down in places it could be much better. All of the songs follow the exact same song structure that is so common in this genre. After two albums, it seems as if the habit to make all of their songs sound the same has grown on them. Changing up the vocals and riffs don't do much to cover this problem up. Another thing that bothered me is that there are two pointless tracks, one being a 14 second intro and the other a 16 second interlude. Onward To Olympas could have integrated these few seconds into one of the other songs but seem to throw it in for no reason at all.
These flaws aside, Onward To Olympas has released yet another album that makes me proud to say that they are from my city. If you have been a fan of their previous works or are a fan of the genre, I suggest that you give Indicator a listen. It will certainly get more than a few from me." -Megusta Reviews
"Wednesday 13 returns with 2 new songs, 2 remixes, 1 acoustic version of a former crowd favorite and 3 tracks that revisit the grave of his former recordings. This release is to promote his Oct/Nov 2012 world tour." -Amazon
"Shimmying between bright beats from Josh Eppard and Zach Cooper's curling bass lines, 'Goodnight, Fair Lady' is a theatrical exercise in instrumental fireworks with more signature crooning from Sanchez. 'Key Entity Extraction II: Holly Wood the Cracked', 'Key Entity Extraction III: Vic the Butcher', and 'Key Entity Extraction IV: Evagria the Faithful' is the most expansive and entrancing series in the band's history yet. It's bound to be face-melting live.
'Subtraction' wraps everything up with a blissful intergalactic send-off, illuminating just how beautiful the band's music can get. Ultimately, Coheed and Cambria shift not only their own evolutionary course but that of alternative music as a whole here. The Afterman: Ascension isn't just a step up for them; it's a step up for rock, prog, or whatever you want to call it.
The best part is there's another album coming…" -Artist Direct
OK, so I got to talking with Quigs from The Monolith and he brought up the Converge review I posted. As much as everyone is entitled to their own opinion, I did have to agree with him that this review seemed to be very negative, when a fair amount of the reviews came back positive. So this got me thinking to maybe add two reviews to give both sides of the spectrum for this album. You are encouraged to listen and form your own opinion of course, but maybe this will help even the scores.
"For the uninitiated, the hybrid sub-genre ‘metalcore’ is punk played with the cartoonish evil of metal, crossed with metal played by punk delinquents. It’s the best of both worlds, and a squalid creation dreamt up by Converge, Boston’s most degenerate band. At this point we should be toasting another album of peerless intensity, but by trading nonsensical time signatures and atonal bursts for fluidity and stadium rock, they’ve subtracted from their former wretchedness. Though dependably abrasive, anthems of doomed youth just aren’t as brilliantly nihilistic when they sound like they’ve got AC/DC’s Angus Young on guitar." -NME
"Sustaining such a high rate of devastation is no longer enough to get by however and the band are fully aware of this. To that end they cultivate a subtle blend of diversity. One that blooms through an array of wrenched sonic convulsions, sputtering thunderous drumming, vitriolic retching and wiry bass lines. While the majority of the songs on this effort sound like an amalgamation of immolation and home dentistry; it’s through the jagged texturing and smeared palette that the material really shines.
A song like 'Trespasses' keeps the detached backing vocals feeling just as crucial as the leads. 'Sadness Comes Home' features a divebombing riff that sounds as if it were ripped from an Iron Maiden solo and jolted with a downed power line. 'Vicious Muse' is led by militantly cavernous drumming that shoves the listener along on a veritable forced march. The looming bass on the title track rings out with ominous intent, only to have the rest of the outfit form like a frenzied funnel cloud overtop of it. Everywhere Converge go they create some bleak new horror to experience.
The fact that the album eventually begins to dissipate and slow down following the carnage of its initial detonation only adds to its charm. It’s a riveting and enthralling experience—but it is also ultimately as divisive and unapologetic as the rest of their catalogue. Converge aren’t known for taking half measures and 'All We Love We Leave Behind' continues this practice. -The PRP
"Because this was such a different type of album, I was able to get a little more wild with my influences. There’s a section inspired by one of my favorite bands, Beirut. There’s also a guitar solo that is an ode to Blue Album-era Weezer, and my punk roots are evident all over the album.
Writing metal versions of Christmas songs has always been a challenge for me because the songs are driven by simple vocal melodies with the only variety in the lyrics. We decided to take the songs and go the instrumental route - the main melodies are there, but this record has a lot more to it then that. The songs have sections of music that flow in and out of the classic melodies we've all come to recognize. There is a lot of substance in these songs- more than you'd find in your typical cover.
To some, the concept of a metal Christmas album may come off as silly and a waste of time, but I think this record has plenty of original ABR substance to interest even the biggest Scrooges out there.” -JB Brubaker
"That being said, fans of the band will arguably find plenty to dig into with this record lyrically, as Bennett waxes in his usual schemes about everything you’d expect him to from religion ('Our Lady') to distaste in others ('Dust and the Helix'). But where records past have felt somewhat compiled from front to back besides an obvious cathartic nature for those hoping to blow off a little steam, Death is the Only Mortal hides his feelings among a veil of musings and expressions concerning angles and ideas of death. It’s not that there’s necessarily a story to be told here, but the ideas and thoughts certainly string together a bit of a continual arc through bits and pieces of the record – even if it isn’t his best writing to date. Where in 'Doomblade' he seemingly speaks at one point for his outspoken nature (‘In a world filled with lies, you learn to appreciate truth’), other times the message is not quite as cut and dry ('The Mouth of the River'). But for someone such as myself who enjoyed Wormwood because of particular imagery and lines, this record finds that needed balance between those lines that hit your psyche like a lightning bolt and building up to those without taking away from their climactic nature.
I would be hesitant to believe Death is the Only Mortal will change any opinions of the band, as they’ve merely retooled and expanded a bit more on the successes of their earlier writings for an album that is crushingly heavy and ripe for us to shout or scream along to it. But in rippling the delving guitars and gripping drums with a tenacity that is tough to deny, The Acacia Strain find themselves again with just the right recipe – giving us a much more concentrated opportunity for catharsis in the key of anger." -Absolute Punk
"My critiques of the album as a whole are few in number, but necessary to mention for our purposes here. First of all, the album feels a little thin. Unless I was listening to it on a really good stereo, I had a hard time hearing the low-end. Secondly, there were times when I felt like I was in the middle of a science experiment with no control group. For all of the instrumental gymnastics, I kept looking for straightforward and catchy moments to sink my teeth into. Those sections are definitely present on Movement, but they are not generally the focus of what is going on. My finally complaint stems from my own personal taste. As a nerd, I really like music that tells a story and takes me on a journey both mentally and emotionally. Movement succeeds in getting me to the edge of my seat — like a beautifully choreographed sword fight set against a tranquil backdrop. As awesome as that sounds, it leaves you wondering what all of the fuss is about and if there is any ultimate resolution.
While it certainly is not perfect, I cannot say enough good things about this album. It struck all of the right chords (pun definitely intended) with me. I have no problem admitting that after a few songs, my butt was firmly planted in a seat aboard the nostalgia train to subjective land. Even so, if you like hard rock with a sharp technical edge — if you like raw music that sounds like it was made by humans rather than computers — you owe it to yourself to give Movement a serious listen." -The New Review
I'm going to do the same for this one, considering it seemed very scathing and really only gave a small potion of what the album had to offer. So get the good with the bad.
"Sylosis has been persistent in their output, but with an album as lackluster as Monolith, maybe some extra time between albums would have cemented the strides the band has taken in the last four years. Some intriguing ideas are present, and the instrumental work is flawless, but few songs connect on any level beyond the initial listen.
It’s fine to want to take a breather in the middle of a song, but not when it drags or sacrifices the bubbling energy generated beforehand. Monolith is another step back for Sylosis, who has yet to follow through on the immense possibilities of their last two albums." -About.com
"Sylosis is special to me. Despite not enjoying most thrash metal, they’ve grown to be one of my absolute favorite bands. Each release they’ve provided has been something special, despite some shortcomings. Monolith is without a doubt the pinnacle of their songwriting abilities. It combines the right amounts of thrash, death, and progressive metal. It’s an hour-long tour-de-force that takes you on an emotional rollercoaster. As Josh Middleton sings the last few lines in the acoustic ending of track 'Enshrined,' you can’t help but feeling a sense of conclusion. Monolith is without flaw and is sheer, heartfelt brilliance." -The New Review
"So I have decided to give One Reality a four. A few details did drag it down for me. As much as I love the melody and immersion of this album sometimes I do just want to move and this album failed to pump me up in such a way. The songs are all very similar which means they all are excellent but the album could still do well with a bit more variation. The same could be said of the vocals. Now I’m not advocating they include clean singing or anything like that but they could use more variation such as gang shouts. This is utilized once to great effect but nowhere else in the album is this sort of thing found. Although these problems are persistent they in no way detract from what is clearly a beautiful album. I would exhort Texas In July to explore ways to add variation to their music in future releases but for now this album will more than suffice." The New Review
"None of these songs reinvent the wheel: not the Clash-infused lead-single, not the Magic-era Springsteen-posturing ('It Won’t be Long (Till We’re Not Wrong Anymore)' or 'Have Mercy on him Now'), and certainly not the traditional roots-rock approach of the album’s best songs. But The Wallflowers have always been a band that excelled at bringing new life to things we’d heard before, and that remains true on Glad All Over. It’s far from their best record and I might have expected a little bit more after a six year hiatus, but for my first favorite band, I’m willing to let a few things slide. Maybe Springsteen did break their spirits back in ‘97, but I prefer to believe that they gave him the exuberant rock ‘n’ roll experience he needed to realize how much he wanted to have the E-Street Band beside him once more. Either way, it’s great to see an outfit as tight as The Wallflowers still trucking, twenty years down the road from their debut and fifteen years past their last scrape with 'relevance.' Here’s to another twenty more...even if that popularity never comes again." -Absolute Punk
"It’s ‘Reasons’, though, that supports the theory that as the Californians have spent more time being stoned, their creative process has matured. The most obvious progressions are the band’s clearer song structures and Lee Spielman’s vocals. The frontman screams his way through 14 songs in 22 minutes, as co-vocalist Spencer Pollard roars like a territorial lion from the shadows behind. The pair are explosive, and joined by guitarist Garrett Stevenson and drummer Sam Bosson, they cater for every element of hardcore as the album lingers on the edge of metal and the West Coast toxicity of The Bronx, Circle Jerks and Black Flag. ‘Apathy’ is the music you get at the kind of upbeat punk hangout that often causes a police presence around these lads, and ‘Fuck Nostalgia’ will send fist-pumps through your iPod.
The album closer, ‘For The Lesser Good’, captures the blistering energy that makes the band so thrilling for anyone who likes their hardcore punk as unpolished and unpretentious as the day the genre was born. It comes at you again and again like a demonic puppy over the course of its 28 seconds. It is the very essence of Trash Talk." -NME
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