FOR THE LOVE OF METAL
Volition is the album the band should have made after Kezia (2005) and Fortress (2008). The perfect blend of songwriting and technicality makes this record a true standout. This baby is a prime candidate for my end of year list.
All in all, Comeblack is a pretty good record, it’s not going to take the place of the classics but it’s a pretty awesome way to let those of us who never saw the latest incarnation hear how things would have sounded.
Even without any accompanying video footage too, Nugent’s Setlist translates incredibly well; culling essential tracks from the extended edition reissues of Free For All and Cat Scratch Fever as well as essential tracks from Intensities In 10 Cities and Double Live Gonzo and Live At The Hammersmith ’79, Setlist assembles a very vivid track list that does conjure the images of a wild-eyed Nugent (check out how “Just What The Doctor Ordered” leads in, and you’ll get it) relishing in the moment – the lights, the attention, the spectacle – and it is the guitarist’s element; he loves every minute.
This reissue of Raw Power is satisfying because, unlike so many of the more “adventurous” re-workings of the material, this release stays true to the original; even leaving some of the noticeable flaws (like the clipping that might be from volume or from a little bit of tape left mangled in “Your Pretty Face Is Going To Hell” intact) in place to imply the rough, warts-and-all initial recording process.
Ignoring the laughable title of the album, from note one of the album’s lead-off track, “One,” there’s nothing particularly original or attention grabbing about any aspect of the record.
The problem with Sound Awake is that it’s just too clean, too polished and too pretty because, in addition to the statesmen of goth, Karnivool also mixes in a significant amount of pop sensibility which hinders the whole procession.
Adam Wiills photo gallery of Joe Perry Project live at Air Canada Centre in Toronto on Thursday, February 4th, 2010.
All of a sudden Slayer’s new album trades the metal in their thrash for a heavy dose of hardcore, the infusion of which makes Slayer sound exactly like Black Flag did around 1985.
Metallica may not be for everyone. You may love them or you may hate them. Some that attended the concert may have been there to accompany a family member or friend and others may have gone in large groups. Whatever the case may be, it was a damn good show. No matter what age, ethnicity or gender, the lyrics and music of Metallica have always been able to reach an endless amount of individuals.
Ola Mazzuca reviews the second of two recent Toronto stops by Metallica and entourage earlier this week.
“It’s Judas Priest, man. Judas-effing-Priest!” And really, that’s just about all that needs to be said. That name, it’s a ritual, a mating call, a summons to arms, a bonding focal point. When you hear a bunch of yahoos yelling out “Slaaaaayeeeeerrrrrr!” you know the chances are very good that a Slayer show has just let out nearby. But when you hear “Judas-effing-Priest, man!” regardless of the setting, there’s no doubt that metal is about.
Hellbound speaks to bassist Ian Hill about this summer’s British Steel anniversary tour, stopping in Toronto this Thursday.