Review: Soulfly - "Conquer"

One of the most anticipated records of the year for me was Cavalera Conspiracy, reuniting Sepultura vocalist/guitarist Max Cavalera and drummer Igor Cavalera. Though it’s been eclipsed in my mind by records released since, it was an outstanding effort, and I thought it would be tough for Max’s other band, Soulfly, to compete. So I find myself a little surprised with how much I’m enjoying this record.

No, Cavalera doesn’t try to reinvent the band in any way. Most of what you’ll hear here you’ve also heard on previous Soulfly releases. Take for example, the second track, “Unleash,” which reintroduces the tribal sounds and rhythms. Sure, we’ve heard it before, but it’s still really good. That’s kind of what I’d say about the whole record.

One of the big differences between this record and the Cavalera Conspiracy record is in the guitar work. This record is loaded down with big, memorable guitar riffs that stand out in your memory after the record is over. The loping opening riff of “Warmageddon” and the bouncing, squealing riff of “Doom” stand out. After a nice movie soundtrack opening, “Blood, Fire, War, Hate” also gets the album started off on a good note with a nice riff.

The best tunes on this record, though take a slightly different path. Cavalera has long experimented with world music on Soulfly records. Sometimes it’s worked, sometimes it hasn’t. When it does, it’s great, as on the opening of “For Those About to Rot,” where we get an unexpected blast of almost Primus-like sound to open, a nice, chunky bass line and then world music sounds scattered throughout. The best track on the record, “Touching the Void,” however, delves back into metal history, drawing inspiration from Sabbath for the slowest, yet most interesting song. The breakdown section here is spectacular, plodding, heavy and just catchy as hell.

The record also ends on a high note with the instrumental “Soulfly VI.” I’m normally not a fan of instrumental intros and outros, and there’s nothing particularly heavy about it, but there is something strangely calming and soothing, particularly after the violence of the previous tracks. It’s a good song to chill out with.

Cavalera continues to have some lyrical challenges. Yelling “scream motherfucker” five or six times doesn’t really constitute a chorus in my book, but lyrics have never been his strong suit and after this long, it’s tough to ding him for it.

Musically, this is a solid record, perhaps one of the best in Soulfly’s catalog. Certainly it contains some of the more memorable tunes they’ve done, and it just comes off as a little tighter and more cohesive than the earlier Cavalera Conspiracy release. Perhaps that record was a little more rushed, or maybe it will take a little time for the songwriting chemistry to return after the years apart. Whatever the reason, I’m surprised to say that I actually think Conquer is the better record. Both are well worth having in your collection, though.

Get "Conquer" (standard version).

Get "Conquer" (CD and DVD version).

Review: Extreme, "Saudades de Rock"

I was still in the throes of my rock star dream when Extreme released its sophomore effort, "Pornograffitti," in 1990, and I spent months with guitar in hand trying to copy Nuno Bettencourt's licks. I never did get all the licks down, and probably never will. But, putting aside the simplistic overplayed megahit "More Than Words," it remains one of my favorite guitar records ever.

Now, a reformed Extreme (minus drummer Paul Geary who now manages the band instead of playing with them) has delivered its first record since 1995's "Waiting for the Punchline," and there's good news and bad news.

First, the good news. The shred is back. I've been quite disappointed by Bettencourt's work since the breakup of Extreme, and I've often felt his talent was wasted in more recent projects. Here, he delivers up licks likely to keep me trying to twist my fingers into pretzels for months to come. Vocalist Gary Cherone and bassist Pat Badger also deliver fine performances. Cherone shows great range on the variety of sounds here and proves himself to be a better singer than I ever gave him credit for.

Then, there's the bad news. After a strong first five tunes, you'll be hitting the skip button -- often.

"Saudades de Rock" lacks the flash of "Pornograffitti," but it also lacks the pompous artiste turns of "III Sides to Every Story," so I guess it balances out. What it delivers is a pretty good collection of 1970s influenced rock, playing up to the influence of Queen ("Star") and Aerosmith (just about every tune on the record.) As mentioned above, the first five songs on "Saudades de Rock" are solid, ranging from the poppy "Star" to a hard rock groove on "Comfortably Dumb" to the country-flavored "Take Us Alive." After that, the better performances are scattered. There's an overabundance of ballads here, as you'd sort of expect, and only the U2-influenced "Ghost" makes an impact. The rest are just sort of there. Track 10, the Aerosmith-meets-James Brown funk rocker "Slide," is one of the best on the record, but after that you can really skip back to album opener "Star" without missing much.

Still, when it rocks, it rocks, and when Bettencourt cuts loose, he's as impressive as ever. It's definitely worth a listen for fans of the band or great guitar.

Get "Saudades de Rock."

Review: Alice Cooper, "Along Came a Spider"

For the past few years, Alice Cooper has been trying, with limited success, to recapture the sound and feel of his 1970s heyday. Those records, "The Eyes of Alice Cooper" and "Dirty Diamonds," had a little problem, though. While some of the tunes hit the right note, both albums had several songs that sounded like they were written by Vincent Furnier, the aging 50-something rocker who spends more time on the golf course than on the stage.

This time around, though, he nails it. A concept record revolving around a serial killer in love, "Along Came a Spider" is pure Alice, a guy who Vincent Furnier would be quick to tell you has never held a golf club unless he was clubbing someone over the head with it. This is perhaps one of Cooper’s more twisted creations. It’s a much darker record than his last two, and is filled with his trademark black humor, not the least of which is the often bouncy and happy-sounding melodies that accompany dark turns in the storyline.

I’ll be honest and say that, in the lead up to this record, I was hoping for something more in line with the heavier sounds of his 2000 record "Brutal Planet." He only delivers that on one song, “Vengeance is Mine,” which features guitar work from Slash. The lack of that heaviness, however, is not a disappointment. Most of the songs on this record are firmly rooted in Cooper’s classic 1970s blend of punk and garage rock with the occasional bit of metal or Broadway thrown in.

The only real misses on the record come in the form of the ballad “Killed by Love,” the latest failed attempt to recreate “Only Women Bleed,” and the showtune-influenced “Salvation,” which seems a bit out of place and doesn’t connect with the rest of the story.

The remaining songs on this record are all rock solid. Cooper delivers catchy garage melodies and memorable hooks on tunes like “Catch Me If You Can,” “(In Touch With) Your Feminine Side,” “Wrapped in Silk” and “The One that Got Away.” Perhaps the best example of the blending of twisted thoughts with happy-go-lucky, bubblegum rock comes on the track “I’m Hungry.” There are some less tongue-in-cheek dark moments scattered around the album, most notably the maniacal “I Am the Spider,” which closes the record.

This is easily Cooper’s best work since "Brutal Planet."

Get "Along Came a Spider."

You Gotta Hear This: Helion, "Bad Dreams | Broken Shadows"

When last I heard Helion, on their 2006 EP "Mercury Rising," they were a damned solid, but pretty straightforward power/prog outfit. It was one of the better records that I heard that year in the style. Two years and a lineup change later, I could almost be listening to a different band. The good news is, it’s a better band. "Bad Dreams Broken Shadows" is a bit heavier and a bit more modern than their previous effort, but still keeps the melodic elements that made Mercury Rising so good.

What immediately slaps you in the face about this version of the band is the vocals. Newcomer Simo Autio has not only brought some welcome melodic death vocal stylings to the mix, he’s given the band a chance to create a completely different atmosphere from their last outing. The riffing of Autio and primary songwriter Jaako Kunnas is a little faster and heavier and Lauri Heikkinen’s keyboards have more in common with Children of Bodom or Soilwork than Dream Theater here. In short, Bad Dreams Broken Shadows sounds a bit like what might happen if members of Soilwork, CoB and In Flames got together for a proggish side project - and that’s a very good thing.

The new direction becomes immediately apparent on opener “Dreamcatcher” with its Bodom-esque synth lines and some nice melo-death screams on the chorus. “Liquid Veil” blends the new and old, with the growls on the verse and a catchy, melodic chorus more reminiscent of those on Mercury Rising. A little Opeth influence begins to creep in around the edges on the third track, “Blood of Phoenix.” Perhaps the most progressive track on the record, it showcases the versatility of the band and makes a lasting impression. “Tell No Tales” is another strong number, opening with some NWOBHM inspired leads before settling into a galloping melodic death snarl for the verse and returning to a Bruce Dickinson-inspired bridge. The record closes with the ballad “Broken Mirror.” Ballads are not my favorite thing in the world, but this one is nicely done with some cool guitar leads and the best clean vocal lines on the record, proving that, despite the heavier tone of Bad Dreams Broken Shadows, they can still do the straightforward prog ballad if they want.

I continue to be impressed with Helion, particularly listening to tracks like “Blood of Phoenix” and “Tell No Tales,” and wonder how they’ve managed to fly under the label radar. Maybe this record will get them some attention. I said it about Mercury Rising, and I’ll say it again about this one, the self-released "Bad Dreams Broken Shadows" is a better record than a whole lot of the stuff that I get from labels. While I don’t think Helion has quite reached its full potential just yet, you should remember the name. You’ll hear it again.

(Editor's note: Unfortunately, since the original writing of this review a couple of months back, vocalist Simo Autio has decided to leave music altogether, leaving Helion once again without a vocalist. It's a shame because there's a lot of talent here, and I'd like to see them get it together and get some exposure. This EP is still well worth checking out, though.)

Visit Helion's site.

You Gotta Hear This is an occasional feature about a band you probably haven't heard, but should. If you have a band you'd like featured here, drop me an e-mail. If I like it, I'll write about it.

Review: Todesbonden, "Sleep Now Quiet Forest"

Female-fronted bands, especially the soprano-style, haven’t fared very well in my reviews recently. By and large, I’m a little tired of that style, but just as I’m ready to write it off completely, along will come a record that really connects with me. That’s the case with the latest from Todesbonden.

This is how the style should be done. Rather than layering those vocals over typical power metal riffs as so many bands do, Todesbonden bonds the music and the vocals beautifully. There are Celtic influences, Middle Eastern influences, classical, medieval balladry, and, of course, metal.

Rather than simply trying to impress the listener with her vocals, singer Laurie Ann Haus uses her complete range to complement the songs here. Though she’s the creative power behind the band, the focus is not always on her vocals either. On songs like “Surya Namaskara,” her chant is but one instrument in an instrumental that builds to a nice, crunchy metal crescendo.

Album opener “Surrender to the Sea,” is more akin to what you may be used to hearing from this style of music, but it has much more in common with Blackmore’s Night than Nightwish. That’s the key on Sleep Now Quiet Forest - everything here comes off as more authentic than other bands in the style. The mournful gypsy fiddle that pervades tracks like “Trianon” and “Fading Empire” is striking. The keys are at times mournful, at times playful. There’s a real reverence for the classical instruments and styles that they weave into their music. In fact, I might go so far as to call this a world music record that happens to have metal influences rather than the other way around.

Don’t get the wrong idea, though. The record still rocks on tunes like the aforementioned “Surrender to the Sea,” the dramatic “Sailing Alone” and the epic “Battle of Kadesh.” Todesbonden just knows when to use the metallic emphasis and when not to try to force it into a tune.

Certainly, Todesbonden won’t be everyone’s pint of ale, but those who enjoy true traditional folk sounds with their metal should be pleased.

Get "Sleep Now Quiet Forest."

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Review: Testament, "The Formation of Damnation"

I'd like to call this a comeback record, but the truth of the matter is, Testament never went anywhere. Sure, it's been quite a while since they've put out a new album, but unlike many of their contemporaries, their 1990s output -- records like "Low" and "The Gathering" -- were every bit as solid as the early works. Of course, I guess it could be termed a comeback since it's a reunion of four of the five original members of the band (drummer Louie Clemente bowed out for health reasons.)

Though often overshadowed on the 1980s thrash scene by the bands referred to as "the big four" -- Metallica, Megadeth, Slayer and Anthrax -- Testament produced some high-quality music that matched, and at times surpassed the bands that grabbed the spotlight. They continue that trend here. It's almost as if no time has passed since guitarist Alex Skolnick left the band in 1992, and they pick things up with a lineup of songs that sound like a cross between their early work on records like the (IMO) classic "The New Order" and later albums like "Low."

After the expected instrumental intro "For the Glory of...," the band launches into the first true song, "More Than Meets the Eye," which will take fans back to Testament's glory days -- and it's actually not one of the strongest moments here. There's a nice range from very melodic pieces like "Dangers of the Faithless," which features the most memorable hook on the record, to full-on assaults with even a little touch of death metal, like the title track.

Check out "Henchmen Ride" for an all-out old school thrasher with a great squealing riff, or "Killing Season" for a great thrash groove.

Get "The Formation of Damnation."

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."