FOR THE LOVE OF METAL
Rather than being labeled a horrible listen, this album is simply unsatisfying. After listening to tracks from Malevolent’s previous studio release, Doomsday X, it seems that something is missing. Depth is absent, vocals lack vigor and there is nothing audibly fresh in terms of musicality
To reiterate, change the band’s name to something inoffensive and mediocre, to better reflect the music contained within, and I’d be more apt to give this a moderately higher mark. But to so thoroughly tarnish the memory of classic Tank with this half-assed schmaltz is inexcusable and pointless.
Much like what the duo of Bob Pantella and Jim Baglino brought to Monster Magnet’s latest record Mastermind, the groove on this album is killer. You’ll find yourself nodding along, grooving in your seat when you didn’t even realize you were paying attention.
Despite my quibbles with the lyrical content, this album is a great piece of throwback metal, Andy Sneap harnessing the classic 80’s Accept sound and bringing it into the 21st century. Their last Udo-less effort may not have aged well, but Blood of the Nations is timeless.
Mercy is a brave step forward for Sweet Cobra; it’s the sound of a band evolving from the damn-and-blast hardcore of its origins, and progressing into something more powerful in the dynamism that this newfound maturity brings with it. An incredible album.
Hellbound readers, we’re sure that by now you are all familiar with our Natalie Zed, right? Natalie was our big grand prize winner way back in January, taking home more than 50 CDs + and shortly after she received her huge box ‘o CDs, Ms. Zed asked us over at Hellbound HQ if we’d be interested in running reviews of her winnings if she did postcard sized reviews of the albums. How could we say no?
So, after a really, really long layoff (sorry NZ!), here is Natalie’s fifth installment (reviews #41 – 48 for those keeping stats at home) in what Hellbound likes to refer to as “Postcards From Natalie Zed”…
Of course, no “best of” anthology could tell the whole story of this incredible band. There are some essential deep-album tracks missing, so once you’ve got a dose and you’re feeling that bittersweet Anekdoten bliss, you’ll need to check out the albums in full.
It’s a real testament to the song-writing ability and musicianship of a band when they can have superstar guests on their album but don’t really need them. Poetry for the Poisoned features such notables as Bjorn ‘Speed’ Strid (Soilwork), Simone Simons (Epica), Jon Oliva (Jon Oliva’s Pain, Savatage, Trans Siberian Orchestra) and hotshot guitar player Gus G. (Firewind, Ozzy) but all of the songs would have done just as well without the famous help.
By Jason Wellwood For the most part I can never really understand just what it is that Dave Wyndorf is talking about in his…
“One great aspect of the music of Kataklysm lies in its applicable lyrical content and fan connection by constant consideration of live performance. Tracks “Push The Venom” and “Hail The Renegade” have that moshpit-ready tone evoking imagery of successful stage presence with a responsive thrashing audience. It is important to decipher the differences between artists made for small-venue to large stadium shows or, on the contrary, zero desire to tour at all.”
Kataklysm’s latest death metal offering is discussed by Ola Mazzuca.