Nightrage -- 'Descent Into Chaos' [review]

Nightrage
"Descent into Chaos"
(Century Media Records)


What is there not to love about the Swedish metal supergroup, Nightrage? The group features a veritable who's who from the European metal scene in it's ranks: ex-Exhumation axe-slinger Marios Iliopoulos handling lead, rhythm and acoustic guitars; lead guitarist Gus G. who has previously worked with Firewind and Dream Evil; bassist Henric Carlsson who worked with Cipher System; ex-Septic Flesh drummer Fotis Benardo; and most notably, vocalist Tomas Lindberg formerly of At the Gates, The Crown and The Great Deceiver.

The combined force of the members allows the band to craft sick, melodic metal, heavy on the epic riffs and twisted back beat with the perfect twist of death metal vocals.

It would almost seem as if it was the duty of any fan of heavy metal to seek out the latest Nightrage album, "Descent into Chaos."

The disc, the band's second offering, explodes out the gate with "Being Nothing," complete with machine-gun drumming and Lindberg's comfortable growl. Gus G. and Iliopoulos run rings around each other with each riff, making even the simplest structures seem like epics.

From the opening notes the band sounds tight-as-hell and never lets up. From the choking riffs of "Phantasma" or the intricate guitar-play in "Drug," to the old-school metal feel of "Poems," there isn't a weak link in this set. Even the haunting instrumental "Solus" swings from beauty to brutality in its short couple of minutes.

Of particular note, "Frozen" features Dark Tranquillity's Mikael Stanne contributing some cleaner vocals to juxtapose Lindberg's intense guttural howls. Coupled with that, the song (like most of the others) is chock-full of solos. And speaking of solos, it doesn't get much better than the crushing "outro" guitar work on "Omen" (and I particularly enjoy the ethereal undercurrent throughout the track).

Everyone shines on this album. The guitars are thick, the drumming is spot-on, the vocals are killer and the bass work, though subtle, pretty much holds the package together.

Nightrage might be flying under most people's radar and that's a shame. You have no idea what you are missing and owe it to yourself to check this album out. There is no reason this band isn't being pointed to as leaders in the genre, in the same fashion as The Haunted or In Flames.

Limp Bizkit -- 'The Unquestionable Truth (Part 1)' [review]

Limp Bizkit
"The Unquestionable Truth [Part 1]"
(Flip/Geffen Records)


"Imagine accepting the truth..."

While many were quick to point out that the latest Limp Bizkit seemed like trademark Limp Bizkit material infused with the soul of Rage Against the Machine, it's really just the band reverting back to original form. "The Unquestionable Truth [Part 1]" sees the band pulling influence from the more abrasive material off it's debut album, 1997's "Three Dollar Bill, Y'All," and expanding on it to great result.

Limp Bizkit wasn't always the rollin' hip-pop rockers that the fickle fans loved to love and loved to hate. Before Fred Durst became an attention whore ... before guitarist Wes Borland left a band that was simply "only producing music for money" ... before he did it all for the nookie ... even before the originality of a George Michael cover turned a struggling metal band into superstars, Limp Bizkit was crafting hard-hitting, riff-heavy anthems of aggression worthy of a spot upon the heavy metal mantle. And now, after spinning it's wheels on one album that never saw the light of day (which was set to feature the song "Crack Addict") and spending much time on a well-publicized search for a replacement guitarist after Borland had left the band due to creative differences (the group released "Results May Vary" in 2003 with Mike Smith, formerly of Snot, on guitar), the band is back to its old form.

Clocking in under 30 minutes, "The Unquestionable Truth" seems more like a re-introduction to the band than an actual new album (I'd even go as far as to refer to it as an EP for all intents and purposes). Spread over seven tracks, each featuring 'The' in the title, this new album is chock-full of riffs galore (courtesy of Borland who rejoined the group late last year), sick bass lines and lyrics that actually border on thought-provoking and mature ... all this leads to a much more sinister sound overall.

The disc explodes with "The Propaganda," with the chunky Borland riffage taking center stage immediately. The "fun" is gone from Durst delivery, replaced by anger and rage. The lyrical flow seems much more deliberate, almost like a rant, with more thought-out and smarter lyrics.

Sam River shines on bass throughout the album, especially on the lead single "The Truth." The riffs are frantic and intense and John Otto does a great job of holding everything together from his perch behind the drum kit. And as solid as "The Truth" is, there's still material on here that's even better. "The Priest" is a schizophrenic affair, with the same heavy theme from the preceding tracks. In fact, apart from the funky interlude of "The Key" and the melody of "The Surrender," this is a steamroller of an affair with the album's best track, "The Story," as inspired a concoction as anything Bizkit had done earlier in its career.

The production seems intentionally low-key on this effort, probably to give the album an underground air. The drums come across tinny at times (though nowhere near as jarring as on Metallica's "St. Anger" release), the overall sound comes across as murky and Durst's vocals aren't as crisp-sounding as they could have been. The result though, instead of sounding underproduced, almost makes the listener feel like they're watching the album getting recorded right then and there.

Overall, Limp Bizkit has put out its strongest release since its debut. Sure, they probably saw more success a couple of years ago, but if the band can keep on this track, it'll actually turn into a band with staying power instead of something people wish would just fade away.

Children of Bodom -- 'Trashed, Lost & Strungout' [review]

Children of Bodom
"Trashed, Lost & Strungout"
(Century Media Records)


Hailing from Finland, Children of Bodom continue to prove themselves as part of the metal elite in the European metal scene. Lead guitarist and front man Alexi Laiho, drummer Jaska Raatikainen, bassist Henkka T. Blacksmith, guitarist Roope Latvala and keyboardist Janne Warman continue to craft killer, melodic heavy metal to rival the best the genre has to offer.

The band's last album, 2003's "Hate Crew Deathroll," landed on many best-of lists for the year. The group toured throughout 2004 and are currently holed up in the studio crafting an album for release this fall.

In the meantime, fans can make due with "Trashed, Lost & Strungout," a new EP showcasing the band's crushing sound.

The title track off the EP is fast-paced riff-heavy thrash song brimming with melody (what is becoming a trademark Children of Bodom sound). Picking up where the band's last album left off, the album pulls from older influences like Slayer or Anthrax and infuses a more modern twist (in the vein of newer In Flames) to create a twisted wreck of a metal masterpiece. According to the band's fan site, Scythes of Bodom, the band premiered the track during a summer tour last year. After making an appearance on back-to-back nights at two festival dates, the bands stopped playing it as bootlegs started to pop up online (though the band used the song on a couple of fall mini-tours).

The EP also features the debut of the new track, "Knuckleduster." More mid-tempo, the track comes across like a hefty blend of Godsmack, Sepultura and In Flames. The riffs are intentional and crushing, Laiho's vocals are as crisp and angry as ever and there's some fantastic solos featured in the song.

The band does a great job of twisting a cover of Alice Cooper's "Bed of Nails" (originally recorded for Cooper's 1989 release, "Trash"). While the guitar has the hint of the pop-rock sound from the original release, the scratchy vocals, Warman tearing it up on the keyboards and the sick drumming and bass-work gives the song a modern feel. Then, the band seems to flip a switch right before the end of the track, turning into a meta-death metal number with the double-kick drumming and a more rapid delivery.

Rounding out the set is a cover of Andrew WK's "She is Beautiful." While it's pretty obvious Children of Bodom is performing the song, the band stays true to the source material, albeit souping the track up slightly with a fuller guitar sound and more guttural vocals.

Clocking in at just under 15 minutes, this EP is either a taste to tide fans over until the next album (due out this fall) or a cheap introduction to a band any metal fan would gladly add to their collection.

Mudvayne -- 'Lost and Found' [review]

Mudvayne
"Lost and Found"
(Epic Records)


Mudvayne exploded onto the national scene in 2000 with the release of "L.D. 50." Despite having an EP under its belt (1997's "Kill I Oughta"), this was the first taste most fans had to the band that mixed vocals delivered with a psychotic edge and heavy, groove-laden riffs with start-stop tempos. Add into the mix a helping of ethereal "mood" music and interludes and you have Mudvayne's debut album.

But as good as "L.D. 50" was, it was also a little too eclectic for it's own good. The thread holding some of the songs together was just too fine and the interludes were, at times, simply forgettable.

Then, in addition to the musical problems, the band was type-cast as face-painted madmen, with the image (every member was painted up) soon overtaking the message of the music.

2002's "The End of All Things to Come" was an image overhaul of sorts. The music became more focused, albeit less intense. The band lost the facepaint but replaced it with an alien theme.

With two (or three if you want to include the re-release "The Beginning of All Things to End") full-length albums under its belt, Mudvayne was still looking for the album to make or break the band.

"Lost and Found" is that album. Simply put, it's nothing short of a homerun.

"Lost and Found" pulls in the best elements from the band's entire career and strings them together as a metal masterpiece. There's the tempo-changes, but they make more sense now and come across as less experimental. The vocals drift from the growls seething anger to the melodic delivery Chad Gray is more than capable of pulling off. The groove from the band's debut EP is utilized. Truthfully, this album is the culmination of all the band's previous work. And it doesn't hurt that the band finally put away the image and the members are presented simply as themselves.

"Determined" is the perfect opening track for the album, an exclamation point and mission statement all at the same time. Featuring the trademark growled, scratchy vocals and fantastic rhythm section, the song is probably one of the hardest-hitting tracks the band has recorded.

"Happy?" is almost the perfect juxtaposition to such a track, more melodic and gentle in delivery (similar to "Not Falling" off the band's second album). There's the stutter-step tempo but (again) it seems to actually drive the song instead of pull attention away from it.

"IMN" is the best of "L.D. 50" wrapped into one almost-six minute track: there's the frantic tempo-changes, the sick bass work, the full array of vocal styles and, while Ryan Martinie's bass-work is subtle at times, at others it takes center stage to amazing effect.

Even when the band goes out on a limb this time, everything seems to blend together perfectly. The album's longest track, "Choices," which runs just over eight minutes in length, drifts back and forth between melody and driving force. And the distorted "inny, meeny, miny, mo" that breaks up the verses during the opening verses sounds crazy at first, but soon fits in so well you hardly notice it. Gray's singing has never sounded better during the track's driving bridges and choruses. The song unfolds to an epic as Greg Tribbett is let loose on the guitar and Gray punctuates his guitar bridges with scratchy exclamations.

When listening to the album, it's impossible not to note how grounded everything sounds thanks to Matt Mcdonough's solid drumming. He can lay down a brutal wall of sound like the album's opener, or offer up a more subtle back-beat in songs like "Forget to Remember" (thought he still comes across explosive during the choruses).

Overall, "Lost and Found" is a glimpse at a band at its absolute best. This is the album Mudvayne's fans knew the band was capable of, and an album that will convert countless others to the fan base.

Definitely one of the band's best, "Lost and Found" is also a contender for album of the year. A great metal release ... a great album in general.

Corrosion of Conformity -- 'In The Arms of God' [review]

Corrosion of Conformity
"In the Arms of God"
(Sanctuary Records)


Everyone has an extended family, and the metal community if no different.

You've got the grandfather you're close to: Black Sabbath.

The bad-ass father: Slayer.

The kids you're tight with: Trivium, Killswitch Engage, Shadows Fall.

The cousins you see once in a while: In Flames, The Haunted, Children of Bodom.

And the crazy uncle you see once in a while but you know is going to give you a good time: Corrosion of Conformity.

Well, that crazy uncle is finally back, and he's been gone far too long ...

Corrosion of Conformity is back with a vengeance. Pulling from its "Deliverance"-era sound, COC has pushed the blues-edge back into the mix and crafted a superb metal offering, "In the Arms of God," a true return-to-form.

Opening with sick, bluesy riffs, the album lead-off track, "Stone Breaker," soon tumbles over itself into a thick, sludgy metal anthem. Front man Pepper Keenan's vocals are instantly recognizable, as his intent, crisp drawl spews forth the lyrics with angry abandon. Bassist Mike Dean and drummer Stanton Moore do an adequate job backing up Keenan, but its him and fellow guitarist Woodroe Weatherman that anchor the riff-heavy COC sound.

There's hardly a break between tracks as the steamroller of "Stone Breaker" gives way to the more up-tempo yet just-as-crushing "Paranoid Opioid," which in turn offers little reprieve before Keenan is screaming over the foreboding opening notes of "It is That Way."

The beauty of "In the Arms of God" is that the band seems to have turned its back on the crisp production offered on "America's Volume Dealer" (the band's last studio album released in 2000). On this new beast of an album, the group has embraced an almost garage-band like sound, reminiscent of early Black Sabbath material blended with southern rock.

Standout tracks would have to be the aforementioned "Stone Breaker" and "Paranoid Opioid." But there seems to be little in terms of weak tracks -- the spoken-word verses of "Dirty Hands Empty Pockets (Already Gone)" are the perfect juxtaposition to the faster bridges and chorus (definitely vintage COC), while the slower "Crown of Thorns" comes across as the band's attempt at its own "Planet Caravan" (to use the Sabbath analogy).

Sandwiched in between is some of the best straight-forward southern-fried metal this side of Black Label Society.

It has been far too long since COC was on the scene and this is one hell of a welcome back party.

Bury Your Dead -- 'Cover Your Tracks' [review]

Bury Your Dead
"Cover Your Tracks"
(Victory Records)


"Cover Your Tracks" is the stereotypical Victory Records release from days of long ago (before the alternative-rock, "emo" explosion). It's hardcore to a T. Bury Your Dead's sound is eerily reminiscent of Hatebreed during the "Satisfaction is the Death of Desire" days, yet there's just that little something missing.

In fact, there's little to distinguish Bury Your Dead from the slew of other hardcore metal acts that have come and gone over the years.

Despite this fact, the band has crafted a solid, straight-forward hardcore release: 12 tracks clocking in at just over 30 minutes with most songs failing to break the three minute mark.

"Cover Your Tracks" is 12 tracks of in-your-face hardcore: throaty vocals, chugging guitar riffs, subdued drumming and bombastic bass work. Track after track unfolds as a brutal hardcore anthem, mixing in the occasional metal element (a groovy riff here and there with some crazy chord progressions).

Out of the mediocrity is one shining gem however: the pseudo-melodic "Magnolia." The guitar is just crunchy enough, the drumming is insane and the song has a crazy melodic hook. If you're interested in checking the band out, start here. "Magnolia" is the type of song that can make you fall in love with a band. And once you've fallen in love with Bury Your Dead, you'll be able to forgive the lack of originality and fully embrace "Cover Your Tracks."

"Risky Business" almost employs a similar structure, however the melody is replaced by a metal edge. The guitars come across like they were filtered through water but the vocals are spot on, especially towards the end as the lyrics, "You crossed the line from enemy to casualty the day you disrespected me," play over and over again.

From a production standpoint, the distorted guitar seems to be an intentional effect, but the drums come across as hollow at points and the bass unfortunately gets lost in the mix.

Also of note, the band chose to title every song after a Tom Cruise movie: from "Top Gun" (the album's opener) to "The Color of Money" to "Legend." Hell, the band even used "Losin' It" and "Outsiders," though unfortunately there's no "Taps."

At just over a minute long, "Losin' It" has to be the band's theme song: the lyrics are simply the band's name (with an expletive thrown in for good measure) chanted over and over again.

But it takes more than an interesting marketing decision to craft a good album. Bury Your Dead are worth checking out, but the band will have to work at actually making people want to keep listening.