Review: Symphorce, "Unrestricted"

Fans of Symphorce are likely to be split on their latest record, Unrestricted. The album moves the band farther away from the progressive and symphonic elements of their earlier work and puts more of a straight-ahead hard rock spin on their sound.

Album opener “The Eternal” gives us a dark piano intro that sounds promising, but quickly moves into a groove-driven traditional metal/hard rock guitar riff. I like it, since I happen to be a fan of groove-driven hard rock, but those looking for the band’s old sound will likely be disappointed. “Whatever Hurts” takes the shift a step further, opening with a very 1980s hard rock influenced guitar riff. Vocalist Andy Franck also uses a more restrained vocal style on much of the record, particularly on this track. There’s a Nevermore-ish bent to “Whatever Hurts,” and his vocals sound a bit like a cross between Warrel Dane and Dave Mustaine. A huge memorable chorus on the song should win over just about any fan of melodic metal, though.

Review: Circle II Circle, "Consequence of Power"

I’ll preface this review, as I usually do, by admitting to my fanboy admiration for Savatage and the projects of the various members. That said, Zakk Stevens’ Circle II Circle has never completely connected with me since the band’s best effort, their debut record Watching in Silence in 2003. Their last outing, 2008’s Delusions of Grandeur, might have done that if it hadn’t been for the awful mix on the record. Their latest effort, Consequence of Power, sounds much better than the previous, but still is a bit flat and dry in places.

Musically, though, there’s a nice mix here. Naturally, with Stevens’ vocals out front and in your face, there will be comparisons to Savatage, and as with past Circle II Circle efforts, there’s much of his old band. But he offers up some variety, too.

Review: Spiritual Beggars, "Return to Zero"

I remember being a little taken aback the first time I heard Michael Amott’s side project Spiritual Beggars. Being familiar with his work in Carcass and Arch Enemy, what I heard was not at all what I expected, but being a classic hard rock fan, I enjoyed it.

The band’s latest effort, Return to Zero, doesn’t change the formula a whole lot. Perhaps it dials back the psychedelic and puts a little more hard rock edge out front, but it won’t be a foreign sound to fans of previous records. There’s a heavy 1970s rock vibe on this record and a strong Deep Purple influence.

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: White Wizzard, "Shooting Star"

So it’s been about six months since White Wizzard’s full-length debut, Over the Top, blew me away. It’s a record that will most certainly be near, if not at, the top of my year-end list. But much has changed for the band in those few months. They’ve lost a guitarist and singer Wyatt Anderson, who turned in a such a fantastic performance on that record. This single serves as both a tribute to the late Ronnie James Dio and the introduction of new singer Peter Ellis.

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.

Blast Beats: Disturbed, Jaldaboath, James LaBrie

Here are quick shots of a few more recent records:

Disturbed, "Asylum"
After delivering their best effort since their debut with 2008’s “Indestructible,” Disturbed had me really looking forward to this record. Much like “Believe,” the follow-up to their debut, “Asylum” is a disappointment. The songs here are not as catchy as those on “Indestructible” and, like “Believe,” they lean more toward the mellow and melodic. I know a lot of people don’t like David Draiman’s “monkey screams,” but to me, when he uses the more melodic approach, his vocals are like wallpaper, and that’s the case here.

Review: Halford, "IV: Made of Metal"

A glance at the cheesy, amateurish cover of Halford’s IV: Made of Metal, likely wouldn’t inspire metal fans to give it a second glance if not for the fact that it bears the Metal God’s name. Luckily for the legendary screamer, it’s not what’s on the cover, but what’s under the hood, and Rob Halford’s latest effort with his solo band has the power where it counts.

That’s not to say that there’s not plenty of cheese factor to the music, too. The chorus of the title track is practically made out of aged cheddar. It’s silly and campy, particularly at the beginning with the quintessentially 1980s synthesizer. But it’s a tasty variety of cheese. I dare you to listen to it a couple of times and then get it out of your head. It’s insidious in the same way as the theme songs of the kids’ shows my son watches on TV.