Review: Holy Grail, "Crisis in Utopia"

With White Wizzard’s Over the Top being my favorite record of the year, I couldn’t help but look forward to the debut release from Holy Grail, Crisis in Utopia. What you have here is a band made up partially of former members of White Wizzard who moved on with a new name after an ugly split. While it likely wasn’t pleasant for those involved, the good news for music fans is that we got two damned solid traditional metal outfits out of it.

Review: Athorn, "Phobia"

Phobia, the debut album from Germany’s Athorn, seems to be right up my alley. In the vein of a band like Kiuas, one of my favorite discoveries of the last 10 years or so, Athorn blends power metal melodics with thrash and groove and maybe just a little hint of death here and there. I love the combination, and while it’s not a perfect melding, Phobia is a very promising debut.

In the band’s heavier moments, they sound a lot like Lamb of God, particularly on second track “Emperor of Ruins.” There’s the chunky down-tuned riffing, and vocalist Carsten Frank doing his best Randy Blythe impression. But in the more majestic moments, there’s much that will win over the power and melodic metal crowd.

Review: Firewind, "Days of Defiance"

Firewind has long been one of the steadiest, most reliable acts in the power metal genre. Despite guitarist Gus G.’s newfound stardom as Ozzy Osbourne’s latest guitarist, nothing has changed on the band’s latest record Days of Defiance.

The record comes blazing out of the gates with “Ark of Lies,” a tune that has everything fans have come to expect from Firewind. It’s a fast-paced, melodic and memorable. If anything, Gus’ guitar work here is leaner, meaner and more focused, as on the traditional opening riff of “Chariot,” the chunky riffing under the keys on “Killing in the Name of Love” or the almost thrashing opening of “The Yearning.”

Review: Kamelot, "Poetry for the Poisoned"

I’ve always liked Kamelot, and over the years, I’ve enjoyed just about everything they’ve done. But I’ve never been a hardcore fan. So maybe it’s a little strange that a record which is somewhat experimental for them has quickly become my favorite offering in their catalog.

The elements that have always made up Kamelot’s music are still there – strong melodies, operatic and dramatic flair, and, of course, Roy Khan’s powerful and hypnotic vocals. But there’s certainly a more progressive direction here. That’s always been a part of their sound, but it gets pushed a little more to the forefront on some of the tracks. There’s some flirtation with electronic sounds and a harsher vocal here and there, and the usual bombast, though still present, is dialed back in places.

Review: Dimmu Borgir, "Abrahadabra"

I’ve never been a huge fan of black metal, a dabbler at best, but hearing “Progenies of the Great Apocalypse” from Dimmu Borgir’s 2003 outing “Death Cult Armageddon” made me an immediate fan. Then again, the hardcore black metal crowd would probably tell you I still don’t like the genre because Dimmu Borgir is no longer part of it, and they’ve sold out because more than five people know who they are. Maybe they’ve got a point.

Certainly, what’s on the band’s latest effort, “Abrahadabra,” bears little resemblance to other acts in the genre, apart from the raspy vocals and a few occasional blast beats.

Review: Flotsam & Jetsam, "The Cold"

The last Flotsam & Jetsam record to make an impact on me was 1995’s Drift. While I know that some fans of the band will disagree, I consider that record one of their finest moments. I loved the more progressive slant, and as much as I like No Place for Disgrace and Cuatro, it remains my favorite record from the band. In all honesty, with the exception of High, which I found quite disappointing, I haven’t spent much time with the last few Flotsam & Jetsam records, but there was something about their latest effort, The Cold, that grabbed my attention quickly.

Review: Jamey Johnson, "The Guitar Song"

I know that many of my fellow underground country music fans consider Jamey Johnson something of a shill to the Nashville establishment, an artist to stick between a couple of glitzy pop songs every now and then to appease fans looking for real country music. I’m not up enough on the Nashville scene to make a judgment on that, but what I can judge is what I hear on Johnson’s latest double album, “The Guitar Song.” And what I hear is a lot of honesty, conviction and dedication to the roots of country music. No, it’s not perfect, nor does it deliver much that country music fans haven’t heard before, but it’s a solid record rooted in the brand of country delivered by the likes of David Allan Coe, Hank Jr. and Waylon Jennings.

Review: Accept, "Blood of the Nations"

For those familiar with my musical tastes, it might come as a bit of a surprise that I was never a big fan of Accept. Oh, I’ve got a copy of Restless and Wild and Balls to the Wall, but for some reason I never really connected with the band. When it was announced that they had found a new singer and were recording a new album, it barely made a blip on my radar. That is, until I got Blood of the Nations in my hands.

This record rocks, plain and simple. The sound will be very familiar to fans of Accept’s classic material, yet it doesn’t sound dated or hokey. It’s everything that I want in a traditional metal album – heavy, melodic and catchy as hell.

Review: Black Label Society, "Order of the Black"

The four years since Black Label Society’s last outing, the lackluster Shot to Hell, have been quite tumultuous for bandleader Zakk Wylde. He’s had some pretty serious health issues, been forced to give up the booze and been kicked out, then brought back in, then kicked out again of Ozzy Osbourne’s band. The good news for fans is that, sometimes, adversity creates good music, and Wylde definitely has his groove back on Order of the Black.

The newfound energy here probably stems just as much from taking a needed break as from the turmoil of the last few years. In the early part of the decade, Wylde was pumping out a new Black Label Society record every year, and no matter how prolific you are, there’s only so long you can keep that up and continue to produce good music.

Review: Soilwork, "The Panic Broadcast"

Often when a beloved band member makes a comeback, there’s a tendency for fans to heap praise on that record when it’s not always completely warranted. To my ears, that’s kind of what’s happening with Soilwork’s “The Panic Broadcast.” The truth of the matter is that Soilwork has rarely disappointed me, and “The Panic Broadcast” is a very good record. But the return of guitarist Peter Wichers has returned and, just about everywhere, people are gushing about this record. To me, though, it’s another in a steady stream of Soilwork releases, and certainly not a better record than their last outing “Sworn to a Great Divide,” which was, for me, something of a comeback record.

Review: Nevermore, "The Obsidian Conspiracy"

Nevermore’s latest outing, The Obsidian Conspiracy, is at once recognizable as a Nevermore effort yet still not quite like anything they’ve done before. The primary hallmarks of the band’s style are there: tight performances, fantastic musicianship and the unmistakable combination of Jeff Loomis’ blazing guitars and Warrel Dane’s distinctive vocals. But there’s something of a peeling back of the more progressive elements that have become a bigger part of their sound over the years and certainly a toning down of the aggression of their last outstanding effort, This Godless Endeavor.

Review: Danzig, "Deth Red Sabaoth"

When it comes to Danzig, the first three records, in my book, are certified classics. After that, it’s a mixed bag. Yeah, I know most everybody loves IV, but I’m in the minority that thinks it’s just a mediocre record with a few great songs. Blackacidevil, well, let’s just not go there. Satan’s Child and I Luciferi both have their moments and failures for me, and I do have to be honest and say that I’ve never heard Circle of Snakes in its entirety after getting pissed off at his publicist at the time who sent me a “review copy” containing 45 second clips of each song. Really?

So I approached Deth Red Sabaoth hoping for good things, but expecting another mediocre outing. I love a surprise, and I certainly got one here.

Review: Exodus, "Exhibit B: The Human Condition"

I understand that there are some people out there who don’t like Rob Dukes-era Exodus, and I get that. But I, for one, love it. The three records that feature Dukes, including this latest effort, have been some of the heaviest and most aggressive in the band’s entire catalog.

If you didn’t like The Atrocity Exhibition: Exhibit A, then Exhibit B will not likely be to your tastes either. In tone, style and heaviness, the two records are quite similar. The songs here are, for the most part, fast, brutally heavy and on the long side.

Review: Jon Oliva's Pain, "Festival"

I’ve been a fan of Jon Oliva since the first time I heard Savatage, and I honestly don’t think that anything he’s ever touched has turned out remotely bad. (OK, I do try to block out Fight for the Rock). In my mind, he’s one of only a handful of creative geniuses in metal, and he never seems to sit still. He took Savatage from a traditional metal outfit to a symphonic metal force working with producer Paul O’Neill and has even transitioned the basic Savatage sound into commercial success with the symphonic rock spectacle of Trans-Siberian Orchestra.

Even still, the transition that he’s made with his new outfit Jon Oliva’s Pain has been fascinating to me.

Review: Kiuas, "Lustdriven"

I’ve been telling everyone who will listen about Kiuas since I first discovered them with 2005’s Spirit of Ukko. It was a convincing blend of power, thrash, folk and just a touch of death metal that was a highlight of my listening that year.

They’ve gone through a few phases since then while keeping basically the same sound. Their last outing, 2008’s excellent New Dark Age focused more on the heavier end of their sound. The newest, Lustdriven, trends more toward the power and thrash end of what they do.

Review: Overkill, "Ironbound"

So many good records have come across my desk so far in 2010 that I’ve actually had to neglect a few that are likely to make my top 10 list for the end of the year. One of those is Overkill’s latest, “Ironbound.”

Despite the fact that I was a teenager during the band’s heyday, it was much later before I actually came to appreciate Overkill. But even if I had never come around to them, this album would certainly be enough to make me a fan.

Review: DareDevil Squadron, "Out of the Sun"

The members of DareDevil Squadron wear their varied influences on their sleeves on their debut album Out of the Sun, and, to be honest, it’s quite refreshing. There’s a dash of traditional metal here, a bit of 1970s hard rock there, a pinch of 1980s sleaze, just a touch of blues rock and even an occasional hit of down-South twang here and there, and it all comes together in a fun, high energy effort that’s totally old school, but doesn’t sound dated.

Much of what’s found on Out of the Sun may seem a bit out of character for three of the five members – vocalist Andrew Ross, guitarist Angus Clark and bassist Chris Altenhoff – who are perhaps better known for their work with the symphonic rock project Trans-Siberian Orchestra. Though there are shades of that background in places on this record, it’s much more of a stripped-down, raw and rocking affair.

The title track sets the tone for the record right out of the gate with a heavy helping of NWOBHM influence and just a shade of Savatage coming on the verses. It’s aggressive, energetic and signals good things. The band locks into a groove on the 1980s hard rocker “Punishment Fits” and then delivers a performance reminiscent of Paul Di’Anno-era Iron Maiden with “Forgotten Son,” which also features an undeniable chorus attack. Fourth track, “Back Lounge,” completes the introduction to the band with an irresistible, purely 1980s sleaze boogie about life on the road that’s lyrically perhaps a little silly but all done in tongue-in-cheek fun. It also offers a nod to where the band was born – during a conversation in the back lounge of a bus sparked by a session of viewing vintage Maiden concerts.

From there, DareDevil Squadron begins to explore the hard rock soundscape a little more. “Hero Falls” reminds me of Thin Lizzy’s “Jailbreak” with the start and stop riffing from Clark and fellow guitarist Aurelien Budynek and the half-spoken, half-crooned vocal style that Ross takes on. The most ambitious number on the record may be the protractedly titled “Chronicles of Sorrow Part 1 – An Eternity of Forgetfulness.” Ross breaks out the mandolin on the tune that opens with a Led Zeppelin flavor and casually morphs into a 1970s prog-rock piece. There’s a more metallic rumble toward the middle of the song, but the art rock leanings remain. The song shows the versatility of the band (as if the members’ past work doesn’t), but ultimately, I have to admit I prefer the more straight-up rockers.

They get back to that with the catchy “Streets of Montmartre” which has an arena rock sound, but keeps just a touch of the prog they showed off in “Chronicles.”

Two of the best songs come near the end of the album. “Power Trip” brings the funk, opening with a cool wah-wah guitar lick. The song feels a little like Kiss in places, but with superb musicianship (though I will say that the brief rapped bits might not have been the best idea.) That’s followed with the groovy blues rocker, “Faith Hope Love,” which is the smoothest song on the record. There’s a classy bit of ZZ Top’s Billy Gibbons in the guitar sound and coolness drips off Ross’ vocal delivery on the verse.

They close the album with a straight-up, no excuses tribute to a major influence with “Lillian.” It’s a pure piece of Thin Lizzy worship that the band members readily cop to.

The five members of the band have a diverse background, with stints in hard rock, metal, symphonic rock and even bluegrass outfits. I find it interesting to hear the versatility of Ross here since for the last few years I’ve only really heard him sing huge operatic numbers like “An Angel Came Down” with TSO. Those performances certainly show his talent level, but he’s equally adept at the traditional metal and old school hard rock sounds found here. Clark has certainly also made a fan out of me with his impressive TSO performances, and his role here is perhaps the biggest surprise since I’m used to hearing him play sweeping, majestic passages. Here, he gets a chance to just cut loose on some down and dirty rock, and the results are great. Budynek is no slouch himself, and the team of Altenhoff and drummer Jason Gianni drive the groove of the record.

In all honesty, I can’t really find a single bad thing to say about this record, and that’s pretty unusual. I like it from start to finish. At the risk of sounding like the crazy lady on that stupid pest control commercial, it just … makes me happy. It rocks, it’s catchy and it’s fantastic fun. What more can you ask for?

Get "Out of the Sun."

Review: Armored Saint, "La Raza"

While I’m thrilled that Anthrax’s Scott Ian came to his senses and reconciled with vocalist John Bush, in a way I’m kind of glad they had the split. As a result, we end up with the first set of new material from Armored Saint since 2000's “Revelation.”

While the outings from Armored Saint have been few and far between since Bush left to join Anthrax in 1994, they’re always worth the wait, and “La Raza” is no exception.

Review: White Wizzard, "Over the Top"

When I wrote my review of White Wizzard’s High Speed GTO last year, I said that if they could deliver an album as good as the title track of that EP, I’d proudly wear the T-shirt, despite my inner editor’s strong objections to their spelling of the word wizard. Well, folks, my shirt is on the way because their full-length debut Over the Top may well be the best traditional metal record you’ll hear this year, or any year in recent memory.

Review: Shooter Jennings, "Black Ribbons"

It’s taken me several listens to finally get my head around this latest release from Shooter Jennings, and I’m sure it will take me quite some time yet to reach a final verdict on this unexpected turn.

It doesn’t come as a huge surprise to me that “Black Ribbons” is not a country record. Shooter’s rock ‘n’ roll roots run almost as deep as his country ones. He started his musical career in a rock band, he’s known to break into a jam of Black Sabbath’s “Sweet Leaf” while performing his own “Busted in Baylor County,” and the last time I interviewed him, we spent an enjoyable few minutes discussing the merits of Sabbath’s underrated 1975 album “Sabotage.” Pair that interest with the fact that his last record, “The Wolf,” was a more traditional country album, and it stands to reason that the rock would be out in force on this one. What is surprising, though, is the tangled web of influences that mix and mingle.