Review: Trans-Siberian Orchestra, "Night Castle"

For the past five years, I've talked with either Trans-Siberian Orchestra founder Paul O'Neill or guitarist Al Pitrelli. Every year the story has been the same: "Night Castle" will be here in the spring or soon after. This year, I didn't have to ask the question. It finally arrived -- as a double album, no less -- and I can safely say that, while I don't want the next record to take quite as long, it was worth the wait.

As with all things TSO and Paul O'Neill, "Night Castle," through the first 21 songs, follows a fairly elaborate story line. I'll leave the finer details to the listener to discover, since that's part of the magic of a TSO record, but the story involves a seven-year-old girl who meets a strange man building a magical sandcastle on a beach and a U.S. Army lieutenant about to be deployed on a Special Forces mission to Cambodia who drunkenly stumbles into a magical castle of his own. The story visits a variety of times and places before it reaches its ultimate conclusion.

The music here is also as varied as you'd expect from a TSO record. There are some heavy operatic pieces, some of the band's patented blending of rock and classical pieces, and some straight up hard rockers.

The record opens big with "Night Enchanted," originally released as a single during the holidays last year. It's a magical piece that blends bits of Verdi and Delibes with some rock courtesy of O'Neill. A heavy vocal piece follows with "Childhood Dreams," which showcases the huge voice of Jay Pierce, who reminds me a bit of Guy LeMonnier, the original big voice from TSO's debut, "Christmas Eve and Other Stories." I'd love to hear him get a crack at "An Angel Came Down," but unfortunately, he's with the other troupe this year. He's not the only huge voice here, though, as fans will hear when Rob Evan gets cranked up for "There Was a Life." (Alas, he's also on the other leg of the tour.)

After two heavy classical pieces, the band throws a straight up hard rocker at us with "Sparks," which O'Neill tells me was originally from his Broadway show "Gutter Ballet," which hopefully will hit stages in the next couple of years. The show also provided some familiar Savatage tunes from the record of the same name and the "Streets" rock opera.

Savatage fans also have another treat coming with "The Mountain," which fans will recognize as a slightly altered version of "Prelude to Madness," the band's take on Grieg's "In the Hall of the Mountain King" from the "Hall of the Mountain King" record. There are some minor changes here and there, but it's pretty much note for note.

The title track brings the first appearance from another rock vocal icon, Jeff Scott Soto. It's an intense number that's very much in the vein of Savatage. Soto also turns in a stellar performance on the record's most metallic number, "Another Way You Can Die," which is a personal favorite of mine. He shows off his more operatic range on the moving "Time Floats On" on the second disc, as well. To be honest, this record gives me a new appreciation for Soto, and, luckily, he's on our leg of the tour.

"Tocatta - Carpimus Noctem" brings another top-notch blending of classical and rock, as the band takes on Bach. Mozart's in there, too, with "Mozart and Memories." Beethoven and Chopin get their turn at the TSO treatment to start the second disc with the frantic, mysterious and powerful "Moonlight and Madness." While all of the band's work is top notch, they truly shine on these instrumental blends, and the ones on "Night Castle" are no different. The story portion of the record ends on a reflective note with the acoustic instrumental piece "Embers."

The record closes with five pieces that pay tribute to some of O'Neill's influences, tip the hat to the past and look to the future. Most recognizable to TSO fans will be the band's dark take on Carl Orff's "Carmina Burana," which has been a fiery fixture in the live show for several years now. It loses a little power in the translation to record, but is still a solid performance. Another treat for Savatage fans comes in the cover of one of my favorite 'Tage tunes, "Believe" from the "Streets" record. This version is a little closer to the planned Broadway version of the song with soulful vocals from Tim Hockenberry (who also sings on "Sparks"). As much as I like this version, to be honest the Jon Oliva version will always be the version for me, though.

One of the group's more obvious influence comes to play on the cover of Emerson, Lake and Palmer's "Nutrocker." The rocked out take on Tchaikovsky's "Nutcracker" was obviously the prototype for much of what O'Neill and TSO have done, and it features a guest appearance by Greg Lake. There's another Delibes piece with "Child of the Night," which would fit well with the "Night Castle" story. The record ends with a look forward on the rocking instrumental "Tracers," written by O'Neill, Pitrelli and Pitrelli's wife, Jane Mangini. It's perhaps the most straightforward piece on the record, but that doesn't make it any less solid.

As always, O'Neill has rounded up an outstanding cast of singers and musicians for this record and worked it to as near perfection as you can get. It's often the case that double albums feature only really one good album's worth of songs, but "Night Castle" is a definite exception to that rule. I've only just gotten this record, and I can't wait to hear what the next one will sound like. (After we get a new Savatage record, of course ... hint, hint.)

Get "Night Castle."

Review: Diablo Swing Orchestra, "Sing Along Songs for the Damned & Delirious"

One of my musical interests outside of metal has always been the jazz and swing of the Big Band era. That’s why the Diablo Swing Orchestra’s name immediately caught my attention. Then there’s opening track, “A Tap Dancer’s Dilemma,” which is one of the most interesting songs that I’ve heard in a long time. It blends classic Big Band cool with some crunching distorted riffs and gets Sing Along Songs for the Damned & Delirious off to an excellent start.

Unfortunately, there’s not nearly enough of that mix in the other nine songs on the record. After that, it reverts into more a blend of metal and musical theater. It’s not bad, as I’m also a closet fan of musical theater, but for me, it’s not nearly as exciting as that first track.

Certainly there’s no easy classification for the Diablo Swing Orchestra. Take second track “A Rancid Romance” for example. The song opens with a classical piano piece that leads in to an …And Justice For All-era Metallica riff before the Spanish horns kick in. The Metallica-style thrash riffing continues on “Lucy Fears the Morning Star.” There’s actually some pretty impressive riffing all over the record from Daniel Hakansson and Pontus Mantefors. “New World Widows” features a more modern chugging riff that sounds a bit System of a Down-ish. “Vodka Inferno” has some of the best guitar work to be found. The classically influenced bits are particularly good, and a there’s a nice interplay between dueling guitar and cello by Johannes Bergion in the middle of the song.

But metal, jazz and musical theater are certainly not the only things on the menu on Sing Along Songs for the Damned & Delirious. You’ll find a bluesy shuffly on “Bedlam Sticks,” some Russian-flavored sounds on the short interlude “Siberian Love Affairs,” rockabilly flair on “Memoirs of a Roadkill” and even a little surf guitar on “Ricerca Dell’Anima.”

Vocally, the record is a mixed bag. Most of the operatic stuff from Hakansson and female vocalist Annlouice Loegdlund is far too over the top. At worst, as on the opening of “Bedlam Sticks,” Hakansson sounds like Elvis doing a bad Dracula impression. Likewise, Loegdlund’s glass-breaking opera vocals on “New World Widows” are more like nails on a chalkboard. It’s not all bad in the vocal department, though. There’s a bit of operatic insanity that’s cool in “Lucy Fears the Morning Star” and an interesting blend of operatic and black metal vocal stylings in “Bedlam Sticks.”

There’s an awful lot to like about this record if you’re into strange, avant-garde musical blends. Aside from the aforementioned “Tap Dancer’s Dilemma,” there’s the Peter Gunn-ish guitar riff of “Ricerca Dell’Anima” which sounds like a crunched up spy movie theme. Album closer “Stratosphere Serenade” is also impressive, opening with some nice gypsy strings, punctuated by a thrash riff. The vocal delivery on the song is a little different as well, falling into more of an alternative rock style that’s actually superior to some of the more heavy-handed operatic moments.

Though I admit to being a little disappointed that there wasn’t a heavier jazz and swing influence later in the record, I still really enjoyed it. I love the originality and general craziness. It’s a wild ride with stops all over the musical map, and it’s well worth the few bumps in the road.

Get "Sing Along Songs for the Damned & Delirious."

Review: Alice in Chains, "Black Gives Way to Blue"

I'll be honest off the top in this review. I didn't want to like an Alice in Chains record without late vocalist Layne Staley.

Staley is, perhaps, one of the most underrated singers to come out of his era. While Nirvana frontman Kurt Cobain is celebrated by the press and fans of Seattle's grunge sound of the early 1990s, Staley seemed to fade slowly away, his death in 2002 barely a footnote in comparison. Yet, you'd be hard-pressed to listen to just about anything on rock radio these days without hearing the influence of Staley's wounded moan. His was a distinctive and powerful voice, perfect for the music of the band which could go from an acoustic whisper to a heavy metal roar in an instant. In the eyes of fans, a replacement singer is sure to be a hard sell.

So, it comes as a bit of a surprise to me that "Black Gives Way to Blue" has spent the last week in my CD player without a break, and I'm enjoying it more with each listen. Just so things are straight, no, this record is not as good as Alice in Chains' 1990 debut "Facelift" or its landmark 1992 album "Dirt." It's not even as good as the self-titled 1995 record made as Staley was spiraling down into the drug-induced depression that eventually led to his death. But it's a far better album than I expected and certainly a worthy addition to the catalog.

New singer William DuVall does his best, often sounding eerily like the original, though his voice lacks much of the darkness and intensity of Staley's wails. Guitarist Jerry Cantrell also takes on a heavy share of the vocal duties, as he always has, to help create those classic Alice in Chains harmonies. Musically, the record is as solid as fans would expect, and quite melancholy as many of the songs revolve around Staley's life.

"Black Gives Way to Blue" starts a bit slowly with "All Secrets Known," which seems to be an attempt to prove early on that this record will still sound like Alice in Chains. Unfortunately, the song is a bit boring, constantly building to a peak that it never reaches. Second track, the single "Check My Brain," is the closest the record gets to an upbeat song, and it sounds a bit too much like it was written with radio in mind.

Things begin to pick up with third number, "Last of My Kind." It opens with a dark verse that puts me in mind of some of the tunes toward the end of "Facelift," then explodes with a big, driving hard rock chorus that's probably one of the least Alice in Chains-sounding pieces on the record, but also one of the most memorable moments. They follow up with the acoustic number "Your Decision" that would not have been at all out of place on the band's incredible 1994 EP "Jar of Flies." It's territory they'll explore successfully again later in the record with "When the Sun Rose Again."

The vibe gets heavy again with the droning opening riffs of "A Looking In View," an epic, cascading wall of sound with the trademark warbling harmonies from the band's early work and also some nice vocal moments for DuVall scattered throughout. Then we get the melancholy, haunting harmonies of "Acid Bubble," interrupted a couple of times with a heavier, rawer guitar riff that jars the listener, but in a good way. "Lesson Learned" offers up a nice heavy groove with a memorable melody that strikes a good balance between the gloomier material and mainstream rock.

The end of "Black Gives Way to Blue" offers up another mixed bag. "Take Her Out" opens with an interesting, exotic-sounding guitar lick, but doesn't elevate itself to the level of the really good songs here. "Private Hell" features some of the best harmonies on the record, but just seems to be missing something. The album-closing title track is the one that most directly addresses the loss of Staley, and it also pulls out some big-time firepower with piano work from Elton John. By its very nature, the song has to be very morose, and it is. I'm really undecided about the tune. I like it, but it's a big downer to end a very good record on.

Alice in Chains has served up a bit of a curve ball for me. Having heard DuVall's voice with his previous band Comes with the Fall (of which I'm not a fan), I didn't think he was at all the right person for the job. And I'll admit, my feelings are mixed in praising this record. Even in its strongest moments -- and there are many -- I have to wonder how much better "Black Gives Way to Blue" might have been were we able to hear it with the original lineup. Regrettably, that's not possible, and it's not really fair to this lineup.

So, yes, DuVall succeeds and "Black Gives Way to Blue" is a very good record, possibly even a top 10 choice for the year. But fans with strong ties to the original lineup should also expect a twinge of regret and sadness to come along with the enjoyment of the album. Perhaps that's as it was intended and as it should be.

Get "Black Gives Way to Blue."

Review: Megadeth, "Endgame"

The rumors are already out there that "Endgame" could be the appropriately titled final record from Megadeth. Of course, those rumors have been swirling for the last several records.

You might say it's a small wonder that Megadeth even exists today. It's been a tumultous decade or so for the band. A few rounds of stylistic changes in the 1990s, including the awful experimental record "Risk," turned some fans off. Then there was the announcement of founder and mastermind Dave Mustaine's retirement following a nerve injury in his hand, which he eventually recovered from. The subsequent reformation included an ugly split with original bassist and long-time Mustaine collaborator Dave Ellefson, the only other constant in the band over the years, which made Megadeth an even bigger revolving door of musicians in recent years. In an effort to conquer his longtime battle with drugs and alcohol, Mustaine became a born-again Christian a few years back, which didn't sit well with a few fans of his music that has, at times, been critical of organized religion. It would be easy to understand if he just decided to call it a day.

Not only has Mustaine not thrown in the towel, but he's blasted back at his critics with two of the best Megadeth records since the 1980s, 2007's "United Abominations" and the latest, "Endgame."

"Endgame" reaps the benefits of Mustaine's sobriety and conversion, as it seems to have given him a clearer focus on the music. Like "United Abominations" before it, "Endgame" strikes a solid balance between the technical flash and mastery of the early Megadeth records and the melody and hook-based tunes of 1992's "Countdown to Extinction," which marked the band's first shift in style.

"Endgame" opens with a short instrumental piece, "Dialectic Chaos," that leads directly into the high-speed thrasher "This Day We Fight," which wouldn't have been at all out of place on the band's high-intensity records from the '80s. The more melodic side of the band comes out on "44 Minutes," a song based on the 1997 North Hollywood shootout that spawned a movie of the same name. Unlike the impressive speed and technicality of the first song, "44 Minutes" relies on a big, memorable chorus and a moodier delivery. It's a pattern that repeats throughout the record. "1,320'" revisits Mustaine's obsession with speed and features guitar work to match. "Bodies," one of the best of the more melodic numbers, would have been a perfect fit on "Countdown to Extinction," while "Headcrusher" takes listeners right back into the chaotic speedfest. None of them disappoint.

The only questionable choice here would be "The Hardest Part of Letting Go ... Sealed with a Kiss," which opens in a plaintive ballad style that amplifies the weaknesses in Mustaine's vocals and moves to a galloping number. There's a nice little almost classical-sounding riff in there, but by and large it sounds a lot like some of the weaker moments from the 1990s. The other 10 tracks on the record, though, make you forget about this one.

Of course, no one listens to Megadeth for Mustaine's voice. It's all about the guitar, and that's in fine form here. He's obviously recovered fully from the nerve injury because "Endgame" features some of his most impressive work in a lot of years. The riffs are tight and crisp, and the leads scream across the top of them like a fighter jet. Veteran metal producer Andy Sneap also deserves great credit for the mix which gives Mustaine's guitar work more bite than perhaps it's ever had.

After years of artistic experimentation, phoned in records and not knowing what to expect from Megadeth, it's nice to have them back. When you put in a Megadeth record, you want riffs that rip your face off and blazing leads that shred what's left of it. That's just what "Endgame" delivers. If it's Mustaine's swan song, they go out on a high note. I, for one, hope we can get a few more records like these last two.

Get "Endgame."

Review: Dream Theater, "Black Clouds and Silver Linings"

I'm a little late in reviewing this, but I wanted to give it some time to sink in. I bashed Dream Theater's last record on a quick review, and I ended up quite liking it. I wanted to make sure that didn't happen this time.

On "Black Clouds and Silver Linings," Dream Theater is back in full prog mode. You can tell that by the tracklist. The CD is packed about as full as it can get with music, and there are only six songs, the longest, "The Count of Tuscany," checking in at nearly 20 minutes, the shortest, "Wither," clocking about five and a half.

I apologize in advance for the length of this review, but there's so much going on that it's practically impossible to write a complete review that's brief. There are just too many twists, turns and shifts. If they wrote songs like most bands, they could get six or seven out of each of theirs.

First the good:

Album opener "A Nightmare to Remember" gets things off to a rolling start with a heavy opening that borders on extreme metal with its crunching guitars and rolling drum line until the keyboards kick in. Vocalist James LaBrie takes on a dark, cutting delivery that reminds me of Jon Oliva in places. The tune slows down about the four-minute point, but remains dark for the next few minutes. We come out at about the 7:30 mark with a bluesy, rocking, jaw-dropping solo from John Petrucci that leads to an extended bit of madness on his part. Drummer Mike Portnoy makes a vocal appearance to give a deeper sound to a thrashy bit toward the end. The record's off and rolling to a good start.

"A Rite of Passage" is one of the less adventurous tracks on the record, but also one of my favorites. It's among the shorter tunes at around eight minutes, but features some more aggressive elements in the way of vocals and guitars. It's reminiscent of their one mainstream hit, "Pull Me Under," with a catchy chorus melody.

"The Shattered Fortress" is on the gnarly side for Dream Theater, which is a good thing. It opens with a heavy riff that moves into a melody with a feel reminiscent of some of the pirate metal bands popping up lately thanks in large part to the soaring keys of Jordan Rudess. It moves back to a thrash riff about two mintues in with Portnoy providing some snarled supporting vocals for Labrie. After a soft interlude where a deep spoken word bit (Portnoy again?) trades off with Labrie's vocals and finishes strong with a rolling heavy riff that leads to more histrionics from Petrucci.

The album is capped off with the epic "The Count of Tuscany," which while a bit too long, certainly shows off the band's skills. It opens with a heavy Rush influence before moving to an "Images and Words" feel. LaBrie's vocals here are in a very classic hard rock mode, and he uses the more aggressive vocals he's worked on recenlty here as well. The slow, atmospheric interlude that kicks in around the 10-minute mark probably could have been cut drastically from its four-minute run time and helped the song. A simple, Pink Floyd-ish acoustic piece follows that leads into a majestic close.

Now for the not-so-good. The ballad "Wither" is certainly the weakest link here. It's the most straightforward song and thankfully the shortest, and really doesn't have much excitement at all. "The Best of Times," despite some strong moments, is a bit too vanilla for my tastes as well, and goes on far too long at 13 minutes.

If you pick up the three-disc limited edition of the record, you'll also get a collection of cover songs that has some real fun in store. My favorite, unsurprisingly, is their fairly faithful cover of the underrated Iron Maiden tune "To Tame a Land." The Dixie Dregs' "Odyssey" gives the a chance to really put in a musical workout with its twists and turns. They pay tribute to a big influence with a cover of King Crimson's "Larks Tongues in Aspic Pt. 2," and rock out on Rainbow's funky "Stargazer." Perhaps one of the most interesting of the cover songs is a medley of Queen tunes, "Tenement Funster," "Flick of the Wrist" and "Lily of the Valley," and it doesn't disappoint. I like the fact that they chose three lesser known Queen numbers instead of a big hit. In fact, I like that about all of the covers, and I don't think there's a bad one in the bunch. It's well worth the few extra bucks for the limited.

It goes without saying that the musicianship here is impeccable and masterful. The band members continue to boggle the mind on all levels and frustrate wannabe musicians like myself who realize that, even if they spent the next 40 years locked in a room with their instrument, they'll never be that good.

In the end, I'm glad I gave the record some time to grow on me, as my initial impression was much the same as the last record. I still think there's a little too much "show off" on "Black Clouds and Silver Linings." Don't get me wrong, what Dream Theater can do is incredibly impressive, but I think that sometimes it comes at the expense of the song. It's not a record for casual listening on the drive to work (there are songs on here that would cover the morning drive, the afternoon drive and the next morning's drive), but like most of their efforts, something that needs to be experienced in full and digested.

Get "Black Clouds and Silver Linings" standard edition.

Get the 3-CD limited edition.

Review: Tyr, "By the Light of the Northern Star"

My introduction to Tyr came a few years back when I was asked to take on "Eric the Red" for another site. I’d read rave reviews about it all over the Web, but personally, I was unimpressed. In all honesty, I found the record fairly boring. It’s been a while since that review, and I really hadn’t thought much else about the band from the Faroe Islands. Now, I’m faced with their latest, "By the Light of the Northern Star." Maybe they’ve changed or maybe it’s the fact that I’ve been enjoying a lot more folk metal lately, but whatever the case, this record is a completely different experience.

"By the Light of the Northern Star" grabbed me instantly with the majestic opening riff of “Hold the Heathen Hammer High” (video below) which morphed into a blazing power metal-influenced lick. But the icing on the cake is the chorus, which is just killer - chest-pounding, testosterone-driven bravado delivered with an infectious melody. “Trondor I Gotu” keeps the winning streak going with a great guitar riff after the opening chanting. The verse of the song brings in the first hint of 1980s rock influence that will get bigger later in the album. (Not to worry, they haven’t gone hairy, but there are certainly some more commercial threads running through some of the tracks.)

That ’80s sound is most noticeable on the opening of “Northern Gate,” which opens with a big sing-along style chant that will return throughout the song. The tune, like a few others here, has a very heavy Manowar vibe to it. That’s most notable on “By the Sword in My Hand,” which with Eric Adams on vocals would practically be a Manowar tune. That doesn’t stop it from being one of the better moments on the record, though, with that huge, warrior-metal chorus.

Things taper off a bit after that track, though. “Ride” has a bit too much of the 1980s influence in it for my tastes. “Hear the Heathen Call” and the title track aren’t bad songs, but they don’t stand up to the songs that came earlier on the album.

The record closes with two brief instrumentals which are both quite nice. “The Northern Lights” is an acoustic folk number, and I’m a sucker for those. It’s a well-done piece that just doesn’t last long enough. “Anthem” is a more bombastic classical-influenced number in the vein of Trans-Siberian Orchestra.

One problem that I had with Eric the Red was in the vocal department, but there are no problems here. Heri Joensen’s vocals are spot-on for the style, as are all of the instruments. In fact, I’ve got no complaints at all with By the Light of the Northern Star. I think I’ll have to go back and check out the last few to see what I might have missed.

Get "By the Light of the Northern Star."

(Review originally published at Teeth of the Divine.)

Review: Saint Deamon, "Pandeamonium"

Inevitably, as a reviewer, you get to that point, usually staring at a stack (or virtual stack, these days) of mediocre albums, where you question why you bother. Aside from the records by known bands where you pretty much know what to expect, you'll find a few you like (which are easy), a few you hate (which are even easier) and tons of middle-of-the-road records where you struggle to say anything good or bad about them. Then, maybe a couple of times a year, one comes off the stack that reminds you why you spend time listening to all the others.

When I gave Saint Deamon's "Pandeamonium" it's first spin, I didn't expect much. I thought the band name was a little corny, and it was a power metal record - a subgenre known for more than its share of cheese. My preconceptions were immediately shattered by the throbbing, Dream Theater-inspired riffing that opened the first song, "Deception." The band eschews the typical over-the-top arrangements and bombast of the genre, focusing instead on tighter songwriting and memorable songs. It's a welcome respite from a genre where bands often try to outdo each other with the grandeur of their concepts.

The roll continues with second track, "The Only One Sane," a soaring track with just a touch of the unbalanced. It's got some nice melody shifts that will feature more prominently later on the record. But the track that really sold me on the record is the fourth, "Eyes of the Devil," which opens with a thrash riff, reminiscent of "Justice"-era Metallica before shifting into a more typical power metal mode for the verse and chorus, which is, as it should be, huge and memorable. It's a song that even folks who hate power metal on general principle could appreciate.

The band can also muster the pomp and bombast of others in the genre, as they prove on the epic, seafaring tune "Oceans of Glory," and there are moments of the majestic sprinkled throughout "Pandeamonium." They work, but I'm more drawn to the simpler structures, like the galloping riffing of "Fallen Angel" or the blazing "The Deamon Within," which reminds me a lot of classic Iron Maiden in its verse vocal melodies.

There are a couple of tunes here that fall a little more into a typical power metal sound, primarily the slower numbers like the title track and "A Day to Come," but they're the exception. More often, you'll find yourself humming along with an insidious melody like the chorus of "Fear in a Fragile Mind" that remains with you throughout the day.

There's nothing new or earth-shatteringly different about the music here, but its played with passion and conviction - a rarity in a genre that, if we're being honest, can be a little paint-by-numbers. There's also a refreshing lack of the pomposity and grandiose concepts that often plague power metal. The songs are focused, well-played and stand on their own. It's a good record for those who prefer the pioneers of the genre.

While it serves as my introduction to the band, "Pandeamonium" is actually the sophomore effort from Saint Deamon. You can be sure that I'll be seeking out their debut very soon.

Get "Pandeamonium."

Review: Amorphis, "Skyforger"

There are some records that make you want to roll down the windows, crank the stereo and head out on the highway. Then there are records that make you want to lay back, close your eyes and let the music wash over you. Amorphis' latest, "Skyforger," is firmly in the second category.

I discovered the Finnish folk/progressive outfit with their 1996 record "Elegy," and quickly went back to pick up 1994's "Tales from the Thousand Lakes." Their output for the next eight years, though, was somewhat disappointing as the band moved toward a mellower, more experimental sound. In 2006, they began a surprising comeback with the addition of new vocalist Tomi Joutsen. The music began to get heavier again, and the punctuating death growls of "Elegy" started to creep back in. The trend continues on the band's third record with Joutsen.

"Skyforger" returns to a source that's been a goldmine for the band over the years -- Finnish literature. The songs on the record tell several scenes from the "Kalevela" from various characters' viewpoint. The opening track "Sampo" gives a good overview of what listeners can expect from this record. It opens with an upbeat piano run that's joined quickly by a harmonizing guitar riff that builds to a fairly aggressive vocal delivery from Joutsen. The chorus is melodic and memorable, and after a brief, soft interlude, the band gives us a heavier piece in the middle that sees the first (but certainly not the last) hint of the growled vocals on the record. It gets "Skyforger" off to a very good start.

That's followed by the first single, "Silver Bride." It's an energetic number with a more upbeat and straight-ahead rock approach. It lacks many of the subtleties of the opening track, but it's still solid, with another memorable chorus -- really what you'd expect from a first single. "From the Heaven of My Heart" returns things to the folk sounds, and has a real "Elegy" feel to it. There's an almost commercial turn on "Sky is Mine," which opens with an undeniable guitar riff that may be one of the happiest-sounding pieces I've ever heard from Amorphis. The whole song is high-energy and upbeat, almost to the point that you're thinking they're looking for a mainstream hit. That notion is quickly put to rest with the appropriately named "Majestic Beast" that follows. It is indeed an epic, snarling beast of a song with some overtones of Opeth's heavier material. It's one of the many highlights of the record.

One of the things that Amorphis did in their experimental period was to play around with non-traditional metal instruments, and they continue to do that here. The mournful flute (at least I think it's a flute, I apologize for not being up on my woodwinds) at the beginning of "Highest Star" is a great touch and a nice contrast with the heavier chorus of the song.

If there's a song on the record that is one of those roll down the windows and head out on the highway numbers, it's the title track. It opens with a jaunty acoustic piece featuring more woodwind sounds and traditional instrumentation before transitioning into a heavy chorus that builds and builds to the deathly growls on the end.

The record closes just as it opened with one of the strongest numbers, "From Earth I Rose." It's another high energy number that perfectly blends heaviness with melody and brings together all of the elements that have come before. The folk melodies and instrumentation, aggressive sounds that rub elbows with death metal and a huge, memorable chorus. It brings the record full circle.

"Skyforger" brings to fruition a promise that the band made with "Eclipse" three years ago, a return to the more metallic sounds of the past, while taking elements from the experimentation of the middle years to augment that sound. It's easily the band's best work since "Elegy" and, quite possibly, its equal.

Get "Skyforger."

Review: Alestorm, "Black Sails at Midnight"

Scottish pirate metal outfit Alestorm has to be one of the best musical discoveries I've made in years. Their debut record, "Captain Morgan's Revenge," was one of my favorites of 2008, and their latest outing "Black Sails at Midnight" is even better.

After teasing fans with the "Leviathan" EP, which featured two of the songs from "Black Sails at Midnight," ahead of a U.S. tour earlier this year, Alestorm has unleashed 10 tracks with nary a skip to be found. The biggest thing you'll notice on this record is that the band seems to be getting very comfortable with a signature sound. The first record had a lot of folk, but also had a few straight thrash numbers. The influence is still there on "Black Sails at Midnight," but every song here features some sort of folk metal touch.

The strongest track to be found on the record is probably "Keelhauled," which opens with an accordion and violin stomp before adding a battering thrash riff and an infectious chorus reminiscent of the title track from "Captain Morgan's Revenge." It's high energy, great fun, and it has an outstanding violin riff. How often do you get to say that about a metal record? The other track that will probably get your attention quickly is album closer "Wolves of the Sea," which first appeared on "Leviathan." It's a galloping cover of a bad Latvian pop song that works like a lucky charm for Alestorm. The silly "hi-hi-ho" and "hi-hi-hey" chorus worms its way into your head like the theme song of a children's show and gets stuck there. (I'll admit that between my repeated listens to "Keelhauled" and my son requesting "Wolves of the Sea" over and over, the rest of the record has gotten a bit shortchanged.)

There's also a maturing (well, as mature as guys wearing pirate outfits can get) of the songwriting here that's perhaps most noticeable on the soft, clean guitar work that opens semi-ballad "To the End of Our Days." It's so delicate that it seems out of place on this raucous record, but that's what makes it so striking. While the rest of the song shows some of the weaknesses in Christopher Bowes' salty dog vocals, it's undeniably piratey.

Unlike "Captain Morgan's Revenge," which had a few duds, every song on "Black Sails at Midnight" works, and there's a pleasing variety. The record opens with the blistering guitar riffing of "The Quest" which sets the energy level high. "Leviathan" provides an epic, seafaring number. "Pirate Song" is a storytelling tune that has a bit of sea shanty in it. The soaring instrumental "No Quarter" shows off the band's musical prowess and proves that it's not just the lyrics that make this "pirate metal." Guitarist Dani Evans, who has switched over from bass, gets the spotlight on the song, and impresses. There are also some nice nods to songs from the last record in "No Quarter," particularly a melodic bit pulled from "Set Sail and Conquer."

Bowes also gets credit for his keyboard work. In general, I think keyboards don't belong in metal, but I'll make an exception for these, which are perfect and give the songs the feel of a pirate movie soundtrack. It's particularly solid on "Chronicles of Vengeance," where the keys are the primary instrument.

One more note on this record that most of you won't hear: Often, in an attempt to thwart file-sharing, record companies put voiceovers on promos where a recorded message plays over the music on a regular basis. In general, I detest them and won't review a record that features them because it disrupts the flow of the music. This one was done quite creatively, though, in a pirate voice that reminds you "piracy is a crime." I couldn't help but laugh every time it came on, and I give the record company kudos for that one. (Though I still hate voiceovers.)

If you don't take your metal too seriously, check out "Black Sails at Midnight." I guarantee you won't have more fun listening to a metal record this year.

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Review: Lazarus A.D., "The Onslaught"

Having grown up on the first wave of thrash in the 1980s, I've been largely underwhelmed by the offerings from the new thrash movement. In general, they get the speed and technicality right, but they miss those pesky little things like melody, hooks and originality. Enter Lazarus A.D. and the remixed and remastered version of their independent 2007 release "The Onslaught," which serves as their introduction on Metal Blade Records.

This is one of the few records from the neo-thrash movement that will likely stay in my collection. You'll note the difference from the very beginning of the record with the catchy guitar riff that opens "Last Breath." Here's a band that truly learned something from the best that the thrash genre has to offer. You'll notice the slower more pronounced riffage of a band like Metallica in the early going before it morphs into something more in line with Exodus. Fast and heavy, it definitely is, but like the bands of the 1980s, you can also hum the song from start to finish and it will stick with you. Likewise with the infectious main riff of the first single "Thou Shalt Not Fear," which features even more Exodus influence -- oddly the more recent version of the band with Rob Dukes on vocals.

Lazarus A.D. is certainly not averse to the speed side of the equation, as you'll hear on the pounding opening of "Damnation for the Weak" or the second riff of "Forged in Blood," but it's never speed for speed's sake. Even at their fastest, the songs remain memorable and make an impact on the listener. Speed serves the song, not the other way around.

As noted above, the primary influence here is Exodus, and those moments provide some of the high points of the record, like the catchy verse melody of "Who I Really Am." But there are plenty of nods to the other titans of the genre. You'll find some chunky Metallica-style riffs on songs like "Absolute Power," sprinklings of Slayer as in the "Reign in Blood"-ish opening of Rebirth, a little Anthrax-style riffing on "Revolution" and some Dave Mustaine-like lead breaks sprinkled throughout. All in all, it's a nice mix of styles that offers moments of recognition, but never sounds copycat.

Bassist/vocalist Jeff Paulick has a nice thrash voice, somewhere between growling and singing. Thrash vocalists are often overlooked with the instruments being the focal point of the music, but that balance is a hard one to achieve and many singers over the years have come off sounding goofy in trying to pull it off. Musically, Lazarus A.D. delivers exactly what good thrash should. The guitar work of Dan Gapen and Alex Lackner is top-notch and drummer Ryan Shutler provides a solid backbone for their crunching riffs and soaring leads.

It will be interesting to see where they go from here. They've already put themselves at the forefront of the movement because "The Onslaught" absolutely shreds anything released by most of their neo-thrash brethren.

Get "The Onslaught."

Review: Heaven and Hell, "The Devil You Know"

Metal bands of the world, look on this creation and despair. It doesn't matter how fast you play or how low you tune your guitars. It doesn't matter how high you scream or how deep you growl. You will never be as heavy as the almighty Black Sabbath.

Sure, the name on this record says Heaven and Hell, but we know the truth of it. And if you don't, the first few notes of album opener "Atom and Evil" will certainly clue you in. This is the reformation of the second incarnation of Sabbath, featuring vocalist Ronnie James Dio and drummer Vinny Appice, along with original members Tony Iommi and Geezer Butler. It's also the most powerful record from the Sabbath camp since 1980's "Heaven and Hell."

In an age of screams and growls, guitar histrionics and machine gun-like drum lines, Heaven and Hell delivers up 10 tracks of beautiful simplicity. It's melodic, it's powerful and it's about as heavy as you can get. But it's far from old-fashioned -- more like timeless.

Let's start with the first single "Bible Black," which is arguably the best song the band has recorded since the title track of that 1980 album they took their new name from. It opens with a soft, clean guitar riff and builds to a sinister crescendo that features all of the best elements that classic metal had to offer -- a memorable guitar riff, great melody and fantastic vocals from Dio. It's a trend that's repeated throughout the record, which offers a nice mix of the slower dirge-like tunes like "Atom and Evil" and "Breaking into Heaven" and more upbeat numbers like "Eating the Cannibals" and "Neverwhere."

Iommi, metal's all-time undisputed riffmaster, is in better form here than he's been in years. The strongest riff is perhaps the ultra-heavy opening licks from "Follow the Tears," which is also overall one of the strongest songs on the record. But almost every track here has those solid, lasting riffs that have been the hallmark of Iommi's career. While I don't think there's anything here as iconic as "Sabbath, Bloody Sabbath," "Symptom of the Universe" or, of course, "Iron Man," they do stick with you better than those on even some of the previous Sabbath records.

It's also nice to hear bassist Geezer Butler, who I've always felt was the real backbone of Sabbath, getting a little love on this record, too. His thumping bass lines add to the overall heaviness of the record, and he even gets the spotlight on "Double the Pain," opening with a bass lick similar to the classic "N.I.B." He and Appice are locked in perfectly on this record, running like a well-oiled machine.

That, of course, brings us to Dio. One of the greatest, some (and I'm one of them) would say THE greatest metal vocalist of all time. His voice just oozes metal. At the age of 67, it's not quite as clear and smooth as it was 30 years ago, but it's still better than most of the singers out there. His work here on songs like the aforementioned "Bible Black" and "The Turn of the Screw" is impeccable, which is really what you expect from him.

While they're using the name Heaven and Hell because of some silly dispute with Ozzy Osbourne's camp (despite the fact that Iommi used the Black Sabbath name for years when it was just him and three guys he picked up off the street), you can call this what you want. Call it Heaven and Hell, call it Four Cuddly Kittens, if you must, it's still Black Sabbath and it's still the heaviest thing going -- even with the members in their 60s. Guys a third their age could learn quite a bit by listening to this record.

It's only April, but I'll be stunned if I find a record better than "The Devil You Know" this year.

Get "The Devil You Know."

If you can't wait until the album hits shelves on Tuesday, get an early listen to the full album at VH-1.

Review: Lacuna Coil, "Shallow Life"

Dance beats are not something that I look for in music. Quite the opposite, in fact. They're usually something that will make me run as far away as I can. Which makes it really puzzling why, as I was driving to work this morning, I was blasting "I Won't Tell You" off Lacuna Coil's latest record "Shallow Life," due out Tuesday. More troubling, I hit repeat -- twice.

It's a theme that runs throughout this album from the Italian goth rockers, which is perhaps their most commercial effort to date, but is also undeniably good.

After kicking around since the mid-90s, Lacuna Coil captured some attention outside the metal world with the release of 2002's "Comalies," an amazing record that offered a blend of melancholy tunes and hook-laden rockers. The follow-up, 2006's "Karmacode" just didn't hit me right, though. The bouncy, more commercial approach on the record didn't appeal to me. Which again, brings me back to wondering why I'm digging "Shallow Life" so much.

Certainly, there are bits on "Shallow Life" that go back to the "Comalies" and earlier sound, but the bouncy rhythms and more commercial elements are still there, too. Perhaps it's the blend. After opening the record with the more rocking "I Survive," they dive right into the high energy "I Won't Tell You," which like I said, is really a dance song (albeit a heavy dance song). That's followed by mid-tempo numbers "Not Enough" and "Not Afraid," which both have more than their share of heavy guitar riffs to go with the quieter, more introspective moments.

Then the energy gets kicked up a notch for the surprisingly fun "I Like It," which finds singer Cristina Scabbia showing some real attitude, being flirty and caustic by turns. (Did I just use the word "flirty?" First dance beats and now this, I must really be losing my edge.) The song is absolutely infectious, and one of the high points of the record even though it's the poppiest track to be found.

"Underdog" is one of the heavier tracks here with some nice thick guitars and a more prominent role for male vocalist Andrea Ferro. Normally with Lacuna Coil, I prefer Scabbia's vocals and like Ferro in a supporting role (it was one of the problems I had with "Karmacode"), but occasionally it really works to give him a heavier load. It works again on the first single "Spellbound," where Ferro delivers the verse, turning the chorus over to Scabbia for a response. It's a high energy, rocking number and perhaps the best on the record.

There are a few stumbles along the way. The ballad "Wide Awake," despite being interesting in the beginning seems to drag after a while, and the title track, which closes the record, seems a bit of a downer to close a really good album on.

While the standout numbers are "I Won't Tell You," "I Like It" and "Spellbound," there are plenty of very solid songs to be found on the record. "The Pain" is a slow number with an unusual melody, but really catchy. The striking chorus of "Unchained," combined with some nice crunchy guitars also provides a much needed shot of energy toward the end of the record.

Scabbia and Ferro's vocals are really spot on, the band is tight and the record sounds great. The hooks come often and they stick with you. Everything seems to fall into place for a pleasant surprise.

Is it commercial? Definitely. Does it have some very non-metal elements? Absolutely. Is it the equal of "Comalies?" I don't know. I'll reserve my judgment on that. What I do know is that it's an amazing record, and once you hear it, you won't be able to get it out of your head.

Get "Shallow Life."

Review: Luna Mortis, "The Absence"

I was a bit surprised on picking up Luna Mortis' "The Absence" to find that I'd heard the band before. I remembered reviewing 2006's "Way of the Blade," which they recorded under the name Ottoman Empire. I didn't remember being very impressed by it. Maybe I should dig it out and give it another listen because their debut as Luna Mortis is a completely different story.

Blending elements of thrash, power metal, progressive and even melodic death metal, the Wisconsin-based band takes its cues from all over the metal map. Opener, "Ash," starts with an old school thrash gallop, then drops into an entrancing prog/power mode before exploding into a snarling Swedish-influenced death metal monster. It settles into a blazing power metal mode for the bridge before returning to a prog chorus. In some hands, that could become an unlistenable hodgepodge of styles. Here, though, it flows smoothly and naturally, which is the real appeal of Luna Mortis.

Vocalist Mary Zimmer has a nice middle-ground voice for female metal singers. While she can pull off the expected angelic bits, there's no overbearing soprano. She's, at times, reminiscent of Lacuna Coil's Cristina Scabbia, mixing tenderness and toughness, and her vocals are often hypnotic, as on the pure prog number "This Departure." That is, of course, when she's not snarling like a rabid beast on the death metal-influenced portions of the record. Guitarists Brian Koenig and Cory Scheider deliver tight, memorable riffs along with smooth and enticing leads. There's nothing incredibly fancy in their guitarwork, but it's perfect for the sound of the band.

Over the course of the record, Luna Mortis bounces in and out of styles with reckless abandon and marvelous results. The title song is pretty much a full-on melodeath number with just a few interludes of the more mellow stylings. It's an interesting counterpoint to a song like "Forever More," which is more of a straight-ahead European power metal number with soaring chorus vocals and upbeat guitar riffs. But the true strength of Luna Mortis is when they blend the styles together with songs like album opener "Ash," the aggressive thrasher "Never Give In" and the haunting "Phantoms."

"The Absence" is sure to bring plenty of comparisons, and if I had to simplify things, I'd say Luna Mortis reminds me a little of a cross between Dream Theater and Arch Enemy. But I think that would be really shortchanging the band and the ground they cover. The songs are memorable, the transitions are seamless, and though the year is young, I'd guess this record is destined to be one of my favorite of 2009.

Get "The Absence."

Review: God Forbid, "Earthsblood"

This record had the misfortune of coming out on the same day as Lamb of God's "Wrath," and has gotten a bit shortchanged in my listening because of that. It's a shame, too, because this record is easily as good, if not better.

God Forbid came to fame as part of the metalcore movement which blended elements of metal and hardcore. While the subgenre quickly stagnated, a few bands progressed and improved. God Forbid's last record, "IV: Constitution of Treason," was one of the best of 2005 and showed a band on the move. It was a more melodic, more complex record than their previous work, offering a wider range of sounds. "Earthsblood" continues on that path, bringing in even more progressive influence.

That's not to say that God Forbid can't still deliver the blocks that built the subgenre -- chugging guitar riffs and shouted verse vocals mixed with more melodic and catchy choruses. They prove it with "War of Attrition," which despite being one of the more typical metalcore numbers is also one of the best on the record. They can still deliver a solid breakdown as well. Just check out the ferocious segment from "Empire of the Gun."

But what makes "Earthsblood" truly interesting is the even more varied progressive and melodic elements the band adds. Sometimes it doesn't work quite as intended. "The New Clear," for example, perhaps takes those aspects too far and comes off sounding a bit like a metal band trying to play Santana. But when they blend together, as on "The Rain," it's well above and beyond what the other bands in the subgenre are doing.

The star of this record, as with the last, are the guitars of Doc and Dallas Coyle. They unleash some primo riffs here, most notably on the thrashing opening of "Shallow" and the old-school hard rock opening of "Walk Alone." The vocals see some changes as well. Lead vocalist Byron Davis still rages away, but the record features more clean vocals and harmonies, which are used particularly effectively to punctuate Davis' snarls on the epic title track.

While many of their contemporaries in the metalcore subgenre stagnate and fade, God Forbid continues to push forward and get better with each record they release. "Earthsblood" is yet another triumph for what may be one of the most underrated bands in the metal world right now.

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Review: Lamb of God, "Wrath"

My appreciation for Lamb of God was a slow evolution. After hearing their debut "New American Gospel," I pretty much wrote them off as boring and repetitive. The follow-up, "As the Palaces Burn," was a little more interesting, but the first song from the band that really caught my attention was the stop and start riffing and stronger melody of "Laid to Rest" off their major label debut, "Ashes of the Wake."

It wasn't until Lamb of God's last record, 2006's "Sacrament," that they completely won me over. With stronger melodies, more expressive vocals from frontman Randy Blythe and a strong thrash influence, it became my favorite record of that year and made "Wrath" one of my most anticipated releases of this year.

On first take, "Wrath" offers a bit of a throwback to their earlier records. The hooks don't come quite as easily here as they did on "Sacrament," and there seems to be an effort to make the record sound heavier. Still, the thrash influences that they picked up on "Ashes" and "Sacrament" shine through. The band locks into an almost Pantera-like power groove on occasion. "Dead Seeds" may be the best example of that, bordering on Pantera worship at points, but it pops up in smaller doses throughout the album. There's also more of the Testament influence that we heard on Sacrament, particularly in Blythe's vocals early in the record on songs like "In Your Words," and the chorus of first single "Set to Fail."

While the hooks here aren't always conventional, they do have a way of burrowing into your head. A couple of listens to a song like "Broken Hands" and it will play in your head for days.

When the more melodic newer sounds of Lamb of God collide with the old intensity, it's also a potent mixture. Check out the venomous "Fake Messiah," one of the strongest performances here. It opens with a pounding snare, reminiscent of "Black Label" from the band's debut record, but offers much more musically and melodically than anything from that record.

Blythe continues to expand and explore his vocal range, even throwing in some clean vocals here and there throughout the record. The style is reminiscent of Phil Anselmo and a far cry from those monotonous roars of the band's early work. Guitarists Mark Morton and Willie Adler continue to improve their chops as well with some great riffing and a little more exploration and layers on top of those chunky riffs. They also add to the variety by blending a few mellower passages into the raging attack including a couple of brief acoustic interludes.

Will the heavier parts of "Wrath" be enough to win over those long-time fans that were turned off by the stronger melodies and hooks of "Sacrament?" I don't know. But it's certainly a satisfying record for those of us who were won over by those same elements. "Wrath" manages to walk that fine line between melody and heaviness that few modern bands seem to be able to hold.

Get "Wrath" (standard edition).

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