Review: Slayer, "Repentless"

There are a handful of bands out there in the hard rock/metal world that make a writer wonder if there’s really any point to reviewing a new release — bands like AC/DC, Motorhead and, of course, Slayer. They’re bands that do what they do, and they have a rabid hardcore following who loves every single similar note.

One of my favorite quotes from AC/DC guitarist Angus Young came in a New York Daily News interview when he said, “I’m sick and tired of people saying that we put out 11 albums that sound exactly the same. In fact, we’ve put out 12 albums that sound exactly the same.”

It’s a quote that perfectly fits Slayer, whose 12th album Repentless certainly doesn’t break from the mold of what they do. Though the thrashers have probably taken a few more chances with their music than AC/DC, reaching for a slightly more mainstream audience on 1990’s Seasons in the Abyss and incorporating some nu metal influence on 1998’s Diabolus in Musica, the basic musical elements on Repentless are not much changed from the band’s debut Show No Mercy.

15 Years, 15 Records: 2007 -- Down does it again

Initially, I didn’t like Down’s third record, Over the Under, as much as the first two, but it didn’t take long for me to come around.

The things that give Down so much appeal for me are there – that organic sound that blends all the various influences of their New Orleans home into an amazing stoner/doom sound.

Like all of their records, Over the Under is driven by those big, grooving guitar riffs of Pepper Keenan and Kirk Windstein, but this album is helped by some very personal lyrics from Phil Anselmo. “Mourn,” in particular, stand out. The song was written after Anselmo was barred from the funeral of “Dimebag” Darrell Abbott, and the emotion is raw and gritty.

15 Years, 15 Records: 2005, Zakk Wylde makes an offer we can't refuse

Zakk Wylde finally put it all together with Black Label Society in 2005 for Mafia. Sure, the band had never released a bad record to that point, but the songs, the mix, everything was just right for Mafia.

Led by the charging rock of the opening single “Suicide Messiah” and the catchy hook of the main riff of “Fire It Up,” the record was a stark contrast to the mostly acoustic Hangover Music, released just a year before. There were mellower moments, as well, though, most notably the ballad “In This River,” which Wylde dedicated to Pantera guitarist “Dimebag” Darrell Abbott.

Mafia made a promise that 2006’s lackluster Shot to Hell couldn’t keep, and it wasn’t until 2010’s outstanding Order of the Black that the band got back on track.

Best of 2010: Honorable mentions

These are the records that didn't quite make the cut for the top 10. Normally, I hold this to around five, but this year, I'm going with 10.

The year at the halfway point

I always like to take a minute at the halfway point of the year to look back at the top moments so far. To be honest, sometimes it’s hard to put together a top 10 list after six months, but it’s not a problem at all this year. It’s been a year of fantastic records, with hopefully many more to come.

The flood of good records, unfortunately, has been overshadowed by the loss of legend Ronnie James Dio, and a great deal of my music listening time has been devoted to the various stages of Dio’s superb career. Still, I’ve found plenty of time for new music, too, and here are my favorites so far.

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: 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."

Best of '07: 5. Exodus, "The Atrocity Exhibition: Exhibit A"

Since the time I would scream along the lyrics to “Deranged” while I mowed my grandmother’s yard as a kid, I’ve liked Exodus. I own most of their records and like most everything they’ve done, but, for some reason, I never really crossed over from liking them to becoming a hardcore fan. So, it’s funny that 20 years later, with most of the original members gone, I’m beginning to make that transition.

The new blood they’ve gotten in recent years has been good for them. Their 2004 record, “Tempo of the Damned” was hailed as a comeback by many fans, but I found it kind of bland. The 2005 follow-up, “Shovel Headed Kill Machine” was anything but. It topped my year-end list and set the stage for this record, which in a different year might have topped my list again.

Simply put, this is the heaviest Exodus record to date. New vocalist Rob Dukes (who debuted on “Shovel Headed Kill Machine”) continues to bring aggression that the band has never had on the mic. Guitarist Lee Altus and founder Gary Holt are locked even more tightly together on this record than on the last. Original drummer Tom Hunting returns for this record, which should please long-time fans, even if it doesn’t quite equal the work of Paul Bostaph on the last record.

The riffing throughout the record is brutal, cutting and memorable, beginning with the blast of “Riot Act” which clocks in as the shortest track on the record, but packs plenty of punch into that running time. Most of the songs, in the thrash tradition, are longer numbers which allow the band to stretch out a little, but they never let up in intensity through, arguably the best song on the record “Children of a Worthless God” and to the crushing closer “Bedlam 1-2-3.”

There is a little respite from the brutality at the end of the record if you care to wade through 10 minutes of silence (one of my pet peeves – just give me the other song already) with “Bonded by Banjo,” a bluegrass version of “Bonded by Blood.” Sure, it’s kind of goofy, but it gives the listener a little laugh after the heaviness and seriousness of the rest of the record and shows that no matter how pissed off they may be, the band still has a sense of humor about things.

With thrash rising among younger bands and a new generation coming around, it’s nice to see that some of the old guys can still kick their asses.

Read my review of Exodus' "Shovel Headed Kill Machine."

Get "The Atrocity Exhibition: Exhibit A."

Review: Exodus, "Shovel-Headed Kill Machine"

Ah, now this is more like it. A lot of my old thrash-loving friends went crazy with last year's release of "Tempo of the Damned." I just couldn't get into it the way they did. The sound was there, but I didn't hear the energy of Exodus. I definitely hear it on this album.

Before anyone points it out, I realize that it's hard to really consider this an Exodus record. It's basically Gary Holt and four other guys at this point. But based on what I'm hearing, maybe fresh blood is what was needed. The most obvious change, of course, will be new vocalist Rob Dukes, who replaces Steve "Zetro" Souza. Correction, who blows away Steve "Zetro" Souza. I grew up on Exodus with Souza vocals (I was a latecomer to the band), but Dukes offers a voice that can easily pull off Souza and Paul Baloff vocals, but has a little more rage in it. Of course, no one was concerned about Paul Bostaph taking over the drums. We all know what he's capable of. The third lineup change, Lee Altus, provides a seamless complement to Holt's guitar work. I was a little bummed at the loss of Rick Hunolt, but Altus fills in nicely.

Now, to the music. It kicks you in the head from the first song and never lets up. I popped the CD in, and before I was a minute into the first song, "Raze," I was already grooving. It remains one of my favorites on the album, possibly because I can visualize my office when Dukes rages "Light this motherfucker like a roman candle, burn this bitch straight to the ground." (Note to any overzealous law enforcement types who might be reading: It's called releasing frustration. I have no plans to burn my office. I need the job). Personal feelings aside, this is a beautiful, blazing thrasher to get the album going. It lets you know upfront what's to come.

Clocking in at over eight minutes, "Deathamphetamine" offers up a slab of pure, unadulterated Exodus, a sound from the glory days of the band. The same goes for most of the songs on the album. If "44 Magnum Opus" doesn't get your blood pumping, then you should probably go to your nearest funeral home and make arrangements. Easily one of the strongest songs on the album is "Going, Going, Gone," which adds the hooks of "Fabulous Disaster" into the mix. In fact, the whole album reminds me a great deal of a cross between "Fabulous Disaster" and "Pleasures of the Flesh." It's got a nice mix of the hooks and the faster, more aggressive early sound of the band.

The only place that the band misses on this album is by occasionally focusing on tired subject matter, see pedophile priests in "Altered Boy." But when the music is this solid, who cares what the songs are about?

Go get this album. It's a true thrashterpiece, the likes of which we haven't heard in a while.

Get "Shovel-Headed Kill Machine."

Review: Original Soundtrack, "Alone in the Dark"

By all accounts the movie stinks, but for metalheads, the soundtrack is worth the price of admission.

"Alone in the Dark" is the first big Hollywood production to boast an all extreme metal soundtrack, and this is no collection of throwaway tracks. It's got some of the heaviest hitters in the business.

If you're looking for an introduction to the metal world, this two-disc set is your best bet. It covers all the bases from the goth metal of Lacuna Coil and Nightwish to the classic thrash of Death Angel and Exodus, the Gothenburg style of In Flames and Dark Tranquillity, the hardcore of Agnostic Front, the black metal of Dimmu Borgir and Cradle of Filth, the stoner rock of Fireball Ministry and the experimental metal of Meshuggah and Mnemic.

The album takes a look back at some of the best releases of the past couple of years. High points include tracks from Fear Factory ("Cyberwaste"), Machine Head ("Imperium"), Diecast ("Medieval"), Shadows Fall ("What Drives the Weak"), God Forbid ("Gone Forever") and Arch Enemy ("Dead Eyes See No Future").

The album also offers fans a preview of Soilwork's latest album, due in early March, with the title track "Stabbing the Drama." (Take my word for it, the new Soilwork is killer. Watch for my review in a couple of weeks.)

The bottom line on this soundtrack is that if you like metal, there's something here for you.

Get "Alone in the Dark."

Interview: Tim Roth of Into Eternity

In the more extreme subgenres of metal, fans can be fiery and fickle. Bands that stray from the norm walk a fine line between adulation and anathema. The line has been widened recently by Canada's Into Eternity.

The hybrid band takes elements of the progressive rock of Rush, Dream Theater and Fates Warning, and blends them with the snarling, brutal sound of death metal. It's a mix that band members weren't sure would fly, but they knew it was what they wanted to do.

"When we originally did it, we weren't signed or anything, so we didn't have anything to lose," said vocalist Tim Roth. "We were doing it because that's what we wanted to hear in a band. That's just always how we were going to do it, no matter what."

So far, Into Eternity has been lucky. Their latest album "Dead or Dreaming," which was released in the U.S. last year, has created quite a buzz in the metal community for its marriage of soaring three-part harmonies and ethereal keys with fire-breathing growls and even the occasional blastbeat from drummer Jim Austin.

"People either like it or they don't," Roth said. "But the people who really dig it, they seem to be really hardcore into it, so that's pretty cool."

Into Eternity began with Roth, Austin and bassist Scott Krall in Regina, Saskatchewan, Canada. The area didn't have a lot of opportunities for rock and metal musicians, so the band's task was difficult from the start.

"No bands ever came through our town - it just never happened," Roth said. "We weren't influenced like if we were living in L.A. and saw wicked metal bands everyday, but I guess that kind of worked for us."

Instead of working their way up through a club scene, Into Eternity self-financed their debut album and bombarded record labels and rock radio stations with it. Roth says there was a lot of interest, but no one was willing to offer a contract. Eventually, they signed with DVS Records in Holland to produce "Dead or Dreaming" and spent time building a fan base in Europe. When they returned home to Canada, Century Media signed them to a five album deal and released "Dead or Dreaming" in the United States.

This week, Into Eternity made the 40-hour drive to New Orleans to kick off their first ever U.S. tour, which will stop in 24 states over the next two months.

"I can't wait," says Roth. "I want to leave today. Just over the Internet, we've gotten e-mails from people in all of these states who like the album."

Roth expects the tour to be a bit more successful than the band's first U.S. date, the Milwaukee Metalfest this summer. Into Eternity drew a bad slot on that show, playing at the same time as thrash metal titans Exodus. Roth says there was no competition - even he wanted to see Exodus. Still there was a silver lining in the small crowd.

"There weren't a lot of people there," Roth says with a laugh. "We were playing next to Exodus, and I was so mad because Exodus was a band that I grew up on. But the people that were there, they dug it for sure."

Following the Valentine's Day opener in New Orleans, Into Eternity will criss-cross the country through March, then play dates across Canada on their way back to their hometown. There won't be a break after that. They're set to go back in the studio in April to record a new album, and possibly their first music video. The album should hit shelves in the summer, and then it's back on the road.

"As long as you're in the public eye, I think it's a good thing," Roth says. "You can only do so much over the Internet. We don't have videos and we're not on a ton of radio, so you've got to tour to build that fan base. We plan to tour as much as possible."