Coming off a Best New Artist Award at the 2006 MTV Video Music Awards, the members of Avenged Sevenfold returned to the studio, ambitious to create an exciting follow-up to City of Evil -- perhaps overly so, as their self-titled release focuses entirely too hard on pushing the songs into non-metal territory. Their signature, blistering Yngwie Malmsteen guitar arpeggios and lightning fast double-kick drums are still evident, but the overall heavy metal thunder is diluted by their everything-but-the-kitchen-sink approach. Left alone in the studio to record the album on their own, AS show their unbridled enthusiasm to be as inventive as possible as they run through a staggering amount of production enhancements: four songs have string arrangements; violinists, pianists, and vocalists make guest appearances here and there; "A Little Piece of Heaven" is a strange Mr. Bungle type number with sax, clarinet, trombone, and trumpet, and "Unbound (The Wild Ride)" throws in the most un-metal addition of all -- a children's choir. Some of these enhancements help take the songs to the next level but most detract, and give the sensation of inappropriately mashed-up styles, like listening to a Dream Theater album on a boom box while a nearby clock radio plays Charlie FM. Vocalist M. Shadows, who required surgery on his vocal cords after Waking the Fallen shows that his training with Ron Anderson (vocal coach for Layne Staley, Axl Rose, and Chris Cornell) has been for the greater good. Rather than screaming or doing the metal growl, he sings in a few gritty voices, showing an obvious Mike Patton influence, and actually sounds pitch-perfect. His skills, and the entire band's technical ferocity, is flawless as ever, but just gets lost in a cluttered vision. Perhaps the worst culprit of their excessive studio trickery is when a Cher-esque "Believe" pitch corrector/vocoder is introduced to the chorus of "Lost," essentially stomping out a fiery '80s speed-metal jam into lukewarm embers of passé electro. While their willingness to experiment is admirable, despite the fact that they've gone overboard with their overdubs, the overabundance of studio polish leaves one to wonder if it's not because the songs just aren't as strong this time around. 
Metal music blog running for years!
Thursday, February 1, 2007
Avenged Sevenfold - Avenged Sevenfold
Coming off a Best New Artist Award at the 2006 MTV Video Music Awards, the members of Avenged Sevenfold returned to the studio, ambitious to create an exciting follow-up to City of Evil -- perhaps overly so, as their self-titled release focuses entirely too hard on pushing the songs into non-metal territory. Their signature, blistering Yngwie Malmsteen guitar arpeggios and lightning fast double-kick drums are still evident, but the overall heavy metal thunder is diluted by their everything-but-the-kitchen-sink approach. Left alone in the studio to record the album on their own, AS show their unbridled enthusiasm to be as inventive as possible as they run through a staggering amount of production enhancements: four songs have string arrangements; violinists, pianists, and vocalists make guest appearances here and there; "A Little Piece of Heaven" is a strange Mr. Bungle type number with sax, clarinet, trombone, and trumpet, and "Unbound (The Wild Ride)" throws in the most un-metal addition of all -- a children's choir. Some of these enhancements help take the songs to the next level but most detract, and give the sensation of inappropriately mashed-up styles, like listening to a Dream Theater album on a boom box while a nearby clock radio plays Charlie FM. Vocalist M. Shadows, who required surgery on his vocal cords after Waking the Fallen shows that his training with Ron Anderson (vocal coach for Layne Staley, Axl Rose, and Chris Cornell) has been for the greater good. Rather than screaming or doing the metal growl, he sings in a few gritty voices, showing an obvious Mike Patton influence, and actually sounds pitch-perfect. His skills, and the entire band's technical ferocity, is flawless as ever, but just gets lost in a cluttered vision. Perhaps the worst culprit of their excessive studio trickery is when a Cher-esque "Believe" pitch corrector/vocoder is introduced to the chorus of "Lost," essentially stomping out a fiery '80s speed-metal jam into lukewarm embers of passé electro. While their willingness to experiment is admirable, despite the fact that they've gone overboard with their overdubs, the overabundance of studio polish leaves one to wonder if it's not because the songs just aren't as strong this time around. 
Metallica - Live In Athens 2007
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After the inevitable waiting about for the guys to arrive we were taken backstage and lined up ready to meet the band we have been following for many years. One by one they emerged. Rob was first, he seemed in good form, very happy to pose for a few snaps and see how we all were. Next up was Kirk, again he seemed his usual calm self making general chit chat and posing for photo's. To be honest, it took up until now for me to relax a little and prepare some questions for James & Lars. Big Jim strolled round next, he was quite shocked as I was English! I think he was expecting a 100% Greek M&G! We debated about the possibility of playing Breadfan or even changing the opening song, I got a generic "We'll put it in the suggestion box" reply but he genuinely came across as a nice bloke. Was I star struck... just a tad. After about 5 hours (slightly exaggerated) or so, Lars made it out, he too was shocked to be speaking to an Englishman in Athens! We spoke for some time about the set and the possibility of No Leaf Clover making a return. He was well up for it!!! Shame it didn't get an airing til Sunday at Wembley, maybe I planted the Clover seed!?! Lars was amazing though. He genuinely seemed to enjoy speaking to the fans and didn't seem just to go through the motions of "sign, picture & move on". Considering it was well under an hour before show time, he seemed happy to take his time and make sure all the M&G winners got to have a chat.Monday, January 1, 2007
The Cult - Ceremony
year 1991 review:After the impressive, if inconsistent, Sonic Temple I was
eagerly anticipating Ceremony, as The Cult were proving one of the last great hopes for the survival of rock music as it was then known. But, if Sonic Temple contained songs which were more hit than miss, then Ceremony completely reversed that trend. During the process of writing Ceremony The Cult had disintegrated into just Ian Astbury and Billy Duffy with Charley Drayton and Mickey Curry being drafted into the band for the recordings. But, such was the disillusionment of lead singer Astbury and the drug abuse problems which were ripping the band apart, he immediately announced that the next Cult album would diverge in a completely different musical direction.
I'm sure there's some form of message running through the album but it's certainly difficult to understand. It has something to do with fear that environmental damage is bleeding the planet dry and that the only way to redress the balance is to return to the American Indian ceremonials of worshipping the land. This is strange enough but mixed in are songs about sex ("Bangkok Rain"), alcohol abuse ("Heart Of Soul") and allusions, I think, to drugs ("White"). Maybe Astbury sees all these as evidence of damnation. Whatever, Ceremony is good but also too clever for its own good. review source
eagerly anticipating Ceremony, as The Cult were proving one of the last great hopes for the survival of rock music as it was then known. But, if Sonic Temple contained songs which were more hit than miss, then Ceremony completely reversed that trend. During the process of writing Ceremony The Cult had disintegrated into just Ian Astbury and Billy Duffy with Charley Drayton and Mickey Curry being drafted into the band for the recordings. But, such was the disillusionment of lead singer Astbury and the drug abuse problems which were ripping the band apart, he immediately announced that the next Cult album would diverge in a completely different musical direction.I'm sure there's some form of message running through the album but it's certainly difficult to understand. It has something to do with fear that environmental damage is bleeding the planet dry and that the only way to redress the balance is to return to the American Indian ceremonials of worshipping the land. This is strange enough but mixed in are songs about sex ("Bangkok Rain"), alcohol abuse ("Heart Of Soul") and allusions, I think, to drugs ("White"). Maybe Astbury sees all these as evidence of damnation. Whatever, Ceremony is good but also too clever for its own good. review source
Slipknot - Vol. 3: The Subliminal Verses
Recording information: The Mansion At Laurel Canyon, Los Angeles,
California; Akadamie Mathematique, Los Angeles, California; Sound City, Los Angeles, California. Far removed from their rap-metal roots, these masked men of extreme metal show no signs of relenting with VOL. 3: (The Subliminal Verses). For this brutal chapter of the Slipknot story, the jagged sound of fierce heaviness and moody melodicism is executed deftly, as Slipknot ducks crossover cliches and nu-metal formula. Esteemed studio guru Rick Rubin captures the group's raw intensity with sonic reverence, a feat not easily achieved with bands of this style. VOL. 3 delivers all the elements that Slipknot fans have come to expect and demand. From solid, catchy choruses ("Duality") to fearsome blasts of noise and percussive gymnastics ("Three Nil," "Welcome"), and borderline balladry ("Vermilion Pt. 2"), unsettling emotions and images are vividly depicted for the listener by this notorious Iowan ensemble.
California; Akadamie Mathematique, Los Angeles, California; Sound City, Los Angeles, California. Far removed from their rap-metal roots, these masked men of extreme metal show no signs of relenting with VOL. 3: (The Subliminal Verses). For this brutal chapter of the Slipknot story, the jagged sound of fierce heaviness and moody melodicism is executed deftly, as Slipknot ducks crossover cliches and nu-metal formula. Esteemed studio guru Rick Rubin captures the group's raw intensity with sonic reverence, a feat not easily achieved with bands of this style. VOL. 3 delivers all the elements that Slipknot fans have come to expect and demand. From solid, catchy choruses ("Duality") to fearsome blasts of noise and percussive gymnastics ("Three Nil," "Welcome"), and borderline balladry ("Vermilion Pt. 2"), unsettling emotions and images are vividly depicted for the listener by this notorious Iowan ensemble.
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