Review: Disturbed, "Indestructible"

While I do think that metal fans owe some amount of gratitude to the nu-metal movement of the late 1990s for bringing the genre back to the forefront, the truth of the matter is that it didn't produce a lot of music worth listening to. There were a few exceptions, however, and one of those is Disturbed.

I first came across Disturbed as the opening act for Pantera on a now defunct late night concert series on HBO. I was struck by vocalist David Draiman's unique vocal style and the tightness of the band and immediately went out and found their first record, "The Sickness." Unfortunately, they drifted into more generic rock territory on their second record. With "Indestructible," the band has finally found a way to integrate the two styles seamlessly. While the crazed vocalizations that became Draiman's trademark on the first record are scattered throughout the album, there are also some strong melodies that balance it out and make it seem less cartoonish.

The perfect example of this is first single "Inside the Fire," which really showcases the blending of the band's unconventional early work with amore melodic smoother sound. "Criminal" is another strong point, with a hook that's hard to get out of your head. My personal favorite is "The Curse," one of the darker tunes on the record. I don't know that it's one of the best songs on the record, but it's certainly one of the most relatable for me personally.

Draiman's manic vocals are, admittedly, still the star of the show, but it's also nice to see guitarist Dan Donegan getting a bigger chance to shine on this record. The guitar comes to the forefront on a few songs, and Donegan takes a solo on every tune. It further underscores the musical maturation process of the band from chunky detuned riffs and edge-of-madness squawks to a legitimate, well-rounded hard rock machine.

Get "Indestructible."

Review: "Guitar Hero: Aerosmith"

To hold fans of the “Guitar Hero” series over until the fourth installment arrives this fall, Activision delivers what could be the first in a series of artist-based titles, “Guitar Hero: Aerosmith.” (Rumor has it that “Guitar Hero: Metallica” is already in the works for a 2009 release).

While it’s still more of an expansion pack for “Guitar Hero III” than a new game, “Guitar Hero: Aerosmith” does manage to bring a few new twists to the table, unlike last years “Guitar Hero Rocks the ’80s.” While the game follows the basic pattern and rules of “GH III,” in career mode players must first perform two songs as an opening band before they unlock Aerosmith for that level and get to rock out on the band’s classic tunes.

The opening band numbers include classic songs from bands like Cheap Trick, Ted Nugent, Joan Jett, The Clash, Run DMC and more, all hand-picked by the members of Aerosmith. Most of them are the actual songs, rather than the covers that have dominated past installments of the game (though there are still four or five of those.) Once you get past those, there are two Aerosmith tunes and an encore to unlock a video of the band discussing its career and move to the next level.

The venues here are integral to Aerosmith’s history from the high school where they played their first gig, to Max’s Kansas City where they were discovered to the Orpheum Theatre where they reunited in the early 1980s to the Rock ‘n’ Roll Hall of Fame and halftime of “the big game.”

Perhaps the best part of this game is the playlist in career mode. Notably absent are overrated and oversaturated tunes like “I Don’t Want to Miss a Thing,” “Janie’s Got a Gun,” “Dude (Looks Like a Lady)” and the “CryinAmazaCrazy” trilogy. Instead, we get some underappreciated gems from the catalogue, like “Movin’ Out,” “No Surprize,” “Uncle Salty,” “Nobody’s Fault” (my personal Aerosmith fave) and the Joe Perry vocal on “Bright Light Fright.” I was disappointed in the decision to use the Run DMC version of “Walk This Way,” but the real version is included as an unlockable extra and that’s a minor quibble for a set list that’s heavy on hard-rocking classics and light on the newer hits.

All in all “Guitar Hero: Aerosmith” is a short, but enjoyable add-on that should whet your appetite for “Guitar Hero World Tour,” due out just in time for Christmas, of course. More of these artist-based titles would be welcome.

Get "Guitar Hero: Aerosmith" for Wii.
Get "Guitar Hero: Aerosmith" bundle for Wii.

Get "Guitar Hero: Aerosmith" for Xbox 360.
Get "Guitar Hero: Aerosmith" bundle for Xbox 360.

Get "Guitar Hero: Aerosmith" for PS3.
Get "Guitar Hero: Aerosmith" bundle for PS3.

Review: Opeth, "Watershed"

Here's one of the few bands left in metal that can, seemingly, do no wrong. Easily the most creative band in the genre, Opeth can release anything from a full-on death metal record to a soft, acoustic record with no metal at all, and fans won't bat an eye. They've done both.

"Watershed" finds the band at the top of its game, blending all the facets of its music into a product that is, honestly, like nothing else that you'll hear (outside of a couple of bands that have tried unsuccessfully to copy them in recent years). Soft balladry is followed by pummeling metal, interrupted by a shimmery jazz guitar run, some nylon-string classical guitar and capped off by some bluesy Hammond organ riffing. Sometimes all of that comes in the same song, and it's all brought together by the tremendous musicianship of the band members and the versatile vocals of Mikael Akerfeldt. Even those who don't like metal should be able to appreciate the musicianship on a song like the 1970s prog rocker "Burden," on which you'll find no metallic sounds whatsoever.

It's really hard to single out one or two songs on this record, because if you don't take the piece as a whole, you're missing out, but I'll give it a shot. "Heir Apparent" is the heaviest number on the record, opening with one of the most crushing open chords you'll ever hear, made all the more heavy coming out of the acoustic opener "Coil." Add to that a great, heavy riff on the death metal verse, and you've got perhaps the best song on the record. "Burden" shows the band's progressive leanings to full effect, while "Porcelain Heart" walks the middle ground, blending in a bit of folk, classical and metal.

I've heard Opeth described as death metal, progressive, extreme progressive, forest metal, art metal and several other variations. The truth of the matter is that they're a band that defies description, and that's a rare thing in this age of metal.

Get "Watershed."

Review: King's X, "XV"

I'm much later than promised on this one, but it's still well worth noting.

Anyone whose read my reviews knows that I love bands that break the mold and do something a little different. King's X was one of the first of those I discovered. I was watching Headbanger's Ball (the original) back in the late '80s when the video for "Over My Head" came on. Here was this lanky, mohawk-sporting black guy (a rarity in itself in those days of metal) with an incredible voice, wailing over music that drew as much influence from gospel and soul as it did from Black Sabbath.

It's been almost 20 years since that discovery, and I've had my ups and downs with the band from the outstanding first five records to the hit and miss experimentation of the late 90s and this decade. The band's latest, "XV," though, stands as perhaps its best since 1994's "Dogman." Those tight Beatles-like harmonies that the band has always been known for, here become more like the harmonies of an energetic gospel choir, and that change is announced early on the chorus of record opener "Pray." It also signals that, perhaps, there's a little more anger here than in the past, a point proven later in the record on the charging "Move" and the dark "Love and Rockets (Hell's Screaming)."

That's not to say it's all anger. The record is varied with songs like the bubble-gum "Rocket Ship," the joyful "Go Tell Somebody" and the sardonic "Broke." Drummer Jerry Gaskill also takes a turn on the mic for the first time in a number of years for "Julie." It's a strong comeback for King's X, without a bad song to be found. The song here requests "If you like what you hear, then go tell somebody." Consider somebody told.

Get "XV."

Review: Volbeat, "Rock the Rebel/Metal the Devil"

I love offbeat stuff, and when this record was pitched to me as “Elvis metal ‘n’ roll,” I just couldn’t resist taking a listen to it.

I’ll start with what could very possibly be my favorite song of the year so far, “Sad Man’s Tongue,” the band’s tribute to Johnny Cash. It opens with a country flair and that patented Cash beat. Vocalist Michael Poulson comes in with his Elvis vocals and a melody and lyric that owes more than a little to “Folsom Prison Blues.” After the first verse, it explodes into some hillbilly chainsaw rock, with a thrash interlude and a little bit of groove metal thrown in on the breakdown. It’s an absolutely perfect piece of redneck rock ‘n’ roll that’s right down my alley. I really wish there were more songs like this one on the record, where they just let go and rock.

The rest of the record is heavily influenced by Danzig, Black Sabbath and thrash. It’s good stuff, but, by and large, lacks the character of “Sad Man’s Tongue.” They’re at their best when they blend in the countrified sounds, like the slide guitar that opens “The Human Instrument,” or the blues-based riffs, as on “Soulweeper, Part 2.” The punkish, heavily Misfits-influenced “Devil or the Blue Cat’s Song” and the Sabbathian riffs of “River Queen” are other standout moments on the album, and it closes strong with the groove of “BOA (JDM).”

The only true miss on the record is “Radio Girl” which has a bubble-gum feel and seems a bit out of place with the darker material found elsewhere on the record.

For the most part, Poulson lives up to the Elvis comparisons, although there’s a lot of Glenn Danzig and at least a touch of Peter Steele and James Hetfield in his vocals. Poulson and Franz “Hellboss,” who has since left the band, provide some top notch riffing throughout the record.

How much you like Volbeat will probably depend on your tolerance for Poulson’s unconventional vocals. Admittedly, they don’t really seem to be the best fit with a few of the songs, but for others they’re perfect. It’s a solid record, but I still can’t help but wish the rest of it weren’t just a little more like “Sad Man’s Tongue.”

Get "Rock the Rebel/Metal the Devil."

Review: Judas Priest, "Nostradamus"

It’s a shame that, in one of his prophecies, Nostradamus didn’t foresee that Judas Priest would one day record a two-disc concept album about him. Maybe he could have warned them that it may not be the best idea.

The idea of a concept record about Nostradamus had me scratching my head to begin with. I kind of had an idea that it would be this bloated, overbearing, self-important piece of work, and that’s pretty much what Judas Priest delivers.

It starts well with the nice traditional riffing of “Prophecy.” The song is catchy enough that I can overlook the silly lyrics and overly melodramatic tone. By the end of the song, I was thinking this might not be so bad. And, in truth, it’s not. There are enough good songs scattered around this record to make one pretty good CD. “Pestilence and Plague” has a nice, galloping power metal feel to it, something we’ve rarely heard from Priest. “Death” is a morose, Sabbath-influenced track that might be the best of the dark numbers. “Conquest” has a cool, exotic vibe to it, thanks in large part to Halford’s vocal delivery. “Persecution” is a ripping ending to the first CD that leaves a good impression, and the title track provides a solid late-record spark with some Painkiller-style riffing, even if the vocals are, again, a little silly.

Even the flamboyant operatic stuff is not all bad. “Revelations” is a very dramatic piece of music, one of the strongest here, even if it does sound a little dated on the more metal parts, and “Alone” is one of the highlights of the second disc, opening with a Pink Floyd-ish moment before kicking in with a nice, plodding metal riff.

So, what’s the problem? Well, there are a few. For one thing there are far too many short interludes and intros on the record that really go nowhere. It feels like almost every song has some sort of intro track. The album is belabored by overbearing, and if I’m being honest, pompous tracks that are essentially the band trying to force the listener to recognize how brilliant this record is. I’m not buying it. British Steel is brilliant. Screaming for Vengeance is brilliant. Painkiller is brilliant. None of those records needed to point that fact out for listeners to recognize it.

Only a handful of the songs here are what I would truly call bad, “New Beginnings” being the notable exception — a pop ballad that’s easily the low-point of the record and possibly of the band’s career. But many of the songs just don’t seem to go anywhere. “War” is the perfect example. I listen to it, and I feel like it’s building up to some big release, some sort of crescendo, and then it never comes. Instead we move right into another slow, tortured song after another. Sitting through track after track of that just gets interminably boring somewhere around the middle of the second disc. I’m praying for a “Painkiller” to come blow the top of my head off, but hell, I’d almost settle for a “Turbo Lover” — at least it’s got a hook.

By and large the album is well put together and well composed, and perhaps as a Broadway-style piece, it might work. Unfortunately, that’s not what I want from Judas Priest. If I was looking for Broadway-style metal, there are many bands out there that do it better. What I want from Judas Priest is straight-up, balls out, traditional metal, and there’s far too little of that to be found on Nostradamus.

Get "Nostradamus."

Review: Motley Crue, "Saints of Los Angeles"

It’s about time that Motley Crue remembered what they do best.

Since their first breakup in the early 1990s, they’ve struggled to find their identity. For those who haven’t been keeping score, it started with the heavier sound of 1994’s self-titled record with vocalist John Corabi. It was a solid record, arguably one of the best in their catalog from a musical standpoint, but a lot of longtime fans didn’t buy into Corabi. That resulted in the return of original singer Vince Neil for the dismal 1997 effort "Generation Swine," where the band tried to show off its “artistic” side. Really bad idea.

Another breakup followed, with drummer Tommy Lee leaving and the late Randy Castillo stepping in. In 2000, the band again tried to placate fans displeased with the direction of "Generation Swine" with "New Tattoo." An attempt at a return to their glam success of the 1980s, the record, for the most part, contained a collection of lame songs that would make the worst ’80s hair band cringe.

So then it was time for another reunion. "The Red, White and Crue" “best of” package brought us two very promising new tracks in “If I Die Tomorrow” and “Sick Love Song,” easily the best tune the band had recorded in 15 years or so. There was some excitement, but tempered. After all, fans have been there before.

The good news is, this time, they got it right. No electronic noise, no alternative, no plaintive ballads about band members’ children, just straight up rock. While "Saints of Los Angeles" is certainly no match for "Shout at the Devil," it is a return to what you want from a Motley Crue record: sleazy, three chord anthems about sex and partying. It’s music to turn off your brain, pick up a drink and rock out with.

There are some stinkers here. “The Animal in Me” takes itself too seriously. It’s too hard to get past the goofy lyrics of “Chicks = Trouble” to enjoy the pretty good blues rock stomp of the music. The tough guy bravado of “Goin’ Out Swingin’” doesn’t translate musically, and “Down at the Whisky” retains that thin, lifeless, going-through-the-motions feel that sank "New Tattoo."

But when they’re on, they’re really on. A concept record of sorts, since almost every song here is about the band, the best moments come when Motley Crue embraces their past and delivers some raunchy, glitzy, mindless rock ‘n’ roll. The title track is a standout moment, reminiscent of the "Dr. Feelgood" era. There are also some hot grooves to be found throughout the record on songs like “Mutherfucker of the Year” and the record’s second-best track “This Ain’t a Love Song,” which reminds me a lot of “Primal Scream” from their first “best of” compilation way back when. They rock out in fine form on the bouncing “White Trash Circus,” and tip the hat to Alice Cooper on “Just Another Psycho” - a song that’s begging for a guest shot from Cooper, but unfortunately doesn’t get it.

If you hated Motley Crue in the 1980s and wish that era in rock history would go away, then likely nothing will change with this record. If you’re a fan that wandered away during the band’s lost years, you should definitely give "Saints of Los Angeles" a listen. The record has its ups and downs and doesn’t completely match the energy of their heyday, but it’s easily their best work since 1994’s "Motley Crue."

Get "Saints of Los Angeles."

Review: Iced Earth, "I Walk Among You"

I’m a big enough man to admit when I’m wrong, but in this case, I’m not. Tim Owens owns Matt Barlow in Iced Earth, and this EP is the absolute proof.

Those of you who have read my rants here or talked to me on the forums at Teeth of the Divine won’t find any surprises in this review. It’s no secret that I loved Owens and how he sounded in Iced Earth. The return of Barlow aside, there’s a big difference between this teaser for the upcoming record and last year’s "Overture of the Wicked," the teaser for "Framing Armageddon." "Overture of the Wicked" got me really fired up. I loved the re-recordings of the original “Something Wicked” trilogy with Owens, who gave them a little more aggression. They were stripped down, sleek and heavier than the originals. Combined with “Ten Thousand Strong,” arguably the strongest track on "Framing Armageddon," it made me want to get my hands on the record as soon as possible. Instead of that effect, "I Walk Among You" makes me almost dread the upcoming record, as I’m afraid it will be the first Iced Earth record that I truly detest.

Let’s start with the title track. It seems that, if you’re looking to pump up interest in the new record, you’d choose one of the best songs on it to put out there on an EP. If that’s the case, Iced Earth fans are in trouble. “I Walk Alone” isn’t an awful song, but there’s nothing to recommend it either. It doesn’t have a great riff like, say, “Burning Times.” It doesn’t have a memorable chorus hook like “Ten Thousand Strong.” Basically, it doesn’t have anything. It’s a run-of-the-mill filler song for Iced Earth, and I don’t understand why you’d choose to showcase a piece like this.

After that, Jon Schaffer returns to his usual tricks of re-recording old songs with the new singer. Unlike the Owens re-recordings last year, which I thought were great reworkings of the original material (which I still love, as well), the re-recordings with Barlow border on unlistenable. “Setian Massacre” and “A Charge to Keep” are OK, but pale in comparison to the originals. “The Clouding” is vomit-inducing. I had to force myself to listen to the whole song for the first time for this review, and to be honest, I’ll probably never listen to it again. Barlow’s voice seems to drone rather than evoke any emotion, and the song is just dead and lifeless.

Though I discovered Iced Earth with Barlow at the helm, I make no secret of the fact that I’m an Owens fanboy, and I think Iced Earth sounded their best with him behind the mic. I know there are a lot of fans who disagree with me, and that’s fine. I’ll still check out the new record because I love the band, and I want it to be a great record. I can’t help but think, though, that I won’t be able to listen to it without thinking how much better it might have been with Owens.

Get "I Walk Among You."

Interview: Shooter Jennings

Fans of Shooter Jennings probably noticed a slightly different attitude when his latest release, "The Wolf," hit stores. While there were still rockers like record opener "This Ol' Wheel" and "Higher," the record has a decidedly more country flavor than his previous efforts.

"We wanted to use a lot of those traditional instruments and do some really wild stuff with it," Jennings said. "I feel like it is more of a country record. It's not necessarily defining what my next direction is going to be or anything like that, but it's a storytelling record to some degree, so we wanted to keep it as rootsy as possible."

Though this record is his most country outing, when he's at home or on the bus, Jennings is as likely to have Sabbath on the stereo as George Strait, particularly the band's sixth record, "Sabotage." He's even incorporated the riff from the band's "Sweet Leaf" into a song from his first record, "Busted in Baylor County," and has been known to play more of the song live.

"I really do love George Strait's music, but if you don't listen to Sabbath, you're not going to totally get me altogether," Jennings said. "If you haven't put on 'Sabotage' before and listened to it from head to toe at least once in your life, you're probably not going to get the whole picture of my music."

So fans shouldn't worry, he said. Jennings is not giving up the rock.

"I love rock 'n' roll, and I'm definitely not going to turn my back on rock 'n' roll," he said.

It's an attitude that, perhaps, has cost him some traditionalist fans of country, who aren't crazy about the rap-like vocal he delivers on "This Ol' Wheel" or the rock 'n' roll lifestyle that he often sings about.

"I'm a big fan of pure country, and I'm proud that I can get a lot of the pure country fans," he said. "But I'm not out there aiming to get the pure country fans. I'm aiming to get my own kind of fans, and if the purists don't like it, they don't have to listen to it."

It's a testament to Jennings' crossover appeal that he was recently asked to play both on Charlie Daniels' Volunteer Jam tour and a few dates on Rage Against the Machine/Audioslave guitarist Tom Morello's Justice Tour. He's been equally accepted by both crowds, and that mix of fans is what he's after — people who can appreciate both rock and country.

"That's kind of my point," he said. "It makes me feel accomplished to do that."

He's also making a habit of playing with Louisiana artists. On his last record, "Electric Rodeo," Tony Joe White made a guest appearance. This time around, it's legendary fiddle player Doug Kershaw guesting on "This Ol' Wheel." The pairing came completely by accident. Jennings had gone to a guitar store in Los Angeles to buy a 12-string guitar for one of the songs on the album. The guy who sold him the guitar was Kershaw's nephew and played with Kershaw's son in a band.

"That was such a funny situation," Jennings said. "He said, 'hey, if you want any fiddle, my uncle is Doug Kershaw, he'll do it.' So I gave him my number, and like an hour later, he called. We flew him down there, and he cut the track and really killed it, and we had a great time with him."

"The Wolf" features a wide mix of sounds from a cover of Dire Straits' "Walk of Life," which Jennings says was a random decision after hearing it on the radio one day, to very traditional country. There's also perhaps a bit more of his legendary father, Waylon Jennings, on songs like "Old Friend," "Time Management 101" and particularly "Concrete Cowboys." He takes comparisons to his father as a great compliment.

"It's kind of a ballad of a modern-day drifter," Jennings said. "I feel like the instrumentation on it was really simple and raw, and that's what we wanted to do. The melody on it is really like my dad's or Willie's or something like that. He's always with me. He was very influential in my life, a good friend of mine, a hero of mine. I couldn't deny that to anyone."