Mastodon - Once More Round the Sun (2014)

Mastodon, one of metal's most loved bands, created quite a stir with 2011's "The Hunter" which saw the band turn away from the technical songwriting and harsh vocals present on their previous four albums in favor of a catchy, almost traditional metal sound. On their latest offering, "Once More Round the Sun," Mastodon creates a sort of compromise between these two extremes. Each song is catchy, yet intricately arranged and visceral. Based around the band members' life experiences, this album is one that only Mastodon could have made. It retains their core psychedelic, progressive sound while maintaining a high degree of accessibility that is sure to rope in countless new acolytes.

Cuts such as "High Road" and "The Motherload" are as bombastic as one would expect from the band that made the epic "Crack the Skye." But while they are bombastic, the band's fundamental approach to songwriting has changed since their early days. Rather than write from a structural perspective, they let the songs flow naturally and stick closer to their 70's roots (i.e. Black Sabbath, Thin Lizzy etc.) For example, "High Road" assaults you with a Godzilla-esque riff while "The Motherload" works its way into your brain with its infectious (to put it mildly) chorus. "Halloween" is the technical tour-de-force of the album yet the overall vibe is much more lighthearted than the fiery aggressiveness of, say, "Remission"-era Mastodon. Perhaps the weakest point of the album is "Diamond in the Witch House" which, before I listened to it, had me excited to hear Scott Kelly's latest collaboration with the band, but left me disappointed. It's certainly not a bad track; it simply lacks the focus and precision of the album's other songs.

That minor criticism aside, "Once More Round the Sun" is the album that is sure to unite long-time fans and new fans alike (though fans who exclusively prefer "Remission" and "Leviathan"-era Mastodon are sure to be put-off.) It clearly proves that a band can sound more "commercial" while not sacrificing its core identity. Admittedly, I felt nervous that the Mastodon sound would be even more watered down after "The Hunter" which was enjoyable but nevertheless didn't sit quite right with me. However, my fears have been allayed and this album now stands just behind "Crack the Skye" as my favorite Mastodon album. If you're new to the band then this is the perfect album to get yourself acquainted with them and if you're already a fan who wasn't too keen on "The Hunter" then this will be a pleasant surprise. I for one couldn't have asked for any more.

9.5/10

 

Accept - Blind Rage (2014)

First off: Lunar Caverns is back in business! (Hopefully for good this time.)

Secondly: "Blind Rage" is undoubtedly a top 10 album of 2014. I have a huge soft spot for mighty riffs, soaring solos, and gritty vocals - all of which this album has in spades. Since reforming the band with singer Mark Tornillo, Accept have risen to the top of the metal scene, far surpassing their 80's material (at least in my opinion). Their first two post-reunion albums "Blood of the Nations" and "Stalingrad" saw the band approach true greatness with such headbangers as "Teutonic Terror,"  "Pandemic," and "Stalingrad's" title track. However, I could never connect with the either album all the way through. Moments of greatness were interspersed with moments of "Well this could have been a bit more memorable."

But where "Stalingrad" and "Blood of the Nations" lacked pizzazz, "Blind Rage" is Accept at their most focused and memorable. It combines their 80's melodic, AC/DC-esque style with the technical, thrashy side seen on the past two albums. Each song feels completely unique and every single riff, solo, and chorus is immensely catchy. This is an album that is so memorable you'll be able to recall the chorus of each song simply by looking at its name. From the jaw-dropping solo on "Stampede" to the mournful, ballad-esque "The Curse" to the shout-along anthem "Final Journey" this is an album that will hopefully grip you from beginning to end. For those who thought traditional metal is nothing more than an 80's relic, "Blind Rage" will restore your faith in this underrated genre and prove that there are still loads more awesome riffs yet to be heard.

The future for Accept looks very bright indeed. For a 60-year old, Mark Tornillo is at the top of his game and Wolf Hoffman proves himself to be one of metal's best and most underrated guitarists. If you're looking for that one album that'll prove traditional metal's relevancy and vitality, I can think of none better than "Blind Rage."

10/10

 

Within Temptation - Hydra (2014)

At first this album really disappointed me, but after a few listens I've grown to appreciate it. I still consider it a major step down from the phenomenal "The Unforgiving," but "Hydra" certainly has its share of memorable tunes that are some of the best in WT's catalog. The track "Paradise" featuring the one-and-only Tarja is certainly one of the band's crowning achievements and is my favorite off the album. Other tracks such as "The Whole World is Watching" and "Silver Moonlight" are highlights of WT's hard-rock/symphonic rock hybrid sound, and while they may be off-putting to fans of the band's earlier style, they are undeniably catchy and I find it's quite difficult to resist their charms. "Hydra" may not be the band at their peak, but it's a solid offering from a seasoned band that has enough power to stand on its own. If you're deciding which WT album to show to friends/family who are unfamiliar with the band, then this one is a good bet as an entry level piece.
8.5/10

 

Iced Earth - Plagues of Babylon (2014)

Having regained their stride with Stu Block's entrance in the band on "Dystopia," metal legends Iced Earth's 11th album is a very worthy successor even if it doesn't quite live up to the expectations set by its predecessor. On "Plagues of Babylon," the band seem to have focused on accessibility in terms of very catchy choruses, simplified song structures, and less screaming. This results in a somewhat more generic sound, but one that eventually grew on me. There are some really strong songs on this album including the title track, "If I Could See You," "Cthulhu" and "Democide." The rest of the songs are very good even if some of them (especially "Highwayman" and "Peacemaker") feel out of place. In terms of innovation, there are guest vocals for the first time (I think) from such metal celebrities as Russell Allen and Hansi Kursch and the songs "Highwayman" and "Peacemaker" have a distinct country sound to them. Otherwise, it's the same Iced Earth sound you know and love. And I can't really fault them for that. At the end of the day, it's just a fun album with some really cool riffs and excellent choruses. I'm not gonna complain too much about that.
8.5/10

 

Hell - Curse and Chapter (2013)

When you've got a hankering for good ol' fashioned traditional metal, then might I so humbly suggest to you this little gem of an album? Hell formed back in the 1980's but only put out their first album in 2011. Now they're back with their sophomore release and it's very tasty indeed. The riffs are simply excellent and the vocals are delightfully theatrical. While the lyrical themes are very serious, the music comes off as pure fun and catchiness. I really like "Human Remains" (their debut album) but this one is a clear improvement in my mind. It's pretty safe to say that this is my top traditional metal album of 2013.
9/10

 

Iron Maiden - Powerslave (1984)

For my 400th post, I decided to review another one of my all-time favorite albums. Enjoy!

All the 80’s era Maiden albums are such classics. It’s hard to choose my favorite, but I had to choose Powerslave because Aces High and the title track are my two all-time favorite Maiden tracks. Plus it has one of the best metal album covers of all time. What impresses me the most about Iron Maiden besides their rock-solid songwriting abilities and the legendary vocals of Bruce Dickinson is their lyrical topics. They write songs about such a wide array of literary, historical, military, political and even philosophical subjects which adds an extra level of power to their music. Powerslave discusses such subjects as ancient Egyptian mythology, the Doomsday Clock and fencing. Oh and let’s not forget that they have one of the best drummers of all time as well as some of the best solos. As on all their albums, Nicko McBrain and the three guitarists shine brilliantly and make some incredibly ambitious music. All these elements coalesce into a perfect package on Powerslave. With Powerslave, as well as with Number of the Beast, Iron Maiden cemented themselves as the leading NWOBHM band and one of the best and most influential heavy metal bands of all time. 
10/10

Pagan Altar - Mythical and Magical (2006)

And now for another little gem I discovered: Pagan Altar may not be the most famous NWOBHM band of the 80's, but they are certainly one of the most unique. Their keen sense of melody, a hallmark of the NWOBHM sound, in addition to their penchant for atmospheric doom and incorporation of folk (reflecting the pagan motif of their band name) all make for a highly rewarding and engaging listen. It has a distinct vintage, proto-metal feel to it even though it's most definitely a metal album. If there's anything that drags the album down, it's Terry Jones' vocals which take some time getting used to after which they seem to fit the music. Minor complaints aside, this is a really strong, even addictive record that hearkens back to 80's metal while subtly incorporating the style of Black Sabbath. Not only is it an intriguing musical experiment, but it's also a great record that metal fans of all stripes should hear.
9.25/10

Saxon - Sacrifice (2013)

Somehow, I've been missing one of the most important traditional metal bands of all time and have only gotten into them within the past few days. I'm glad to have discovered them now because this legendary band's 20th album is everything you'd want from a band such as them: pounding, heavy riffs, nice solos, good vocals, and all around fun, rocking music. You might say that it's surprising to hear men in their 60's playing metal so well, but then again we just had killer albums released from Deep Purple and Black Sabbath so it's not all that surprising anymore. This is a band that clearly have not forgotten their roots and can still please their fanbase. If you're looking for a solid, straightforward slab of heavy metal then this album should be on your list.
9/10

Black Sabbath - 13 (2013)

Can't even believe I just typed that heading. The first Sabbath album with Ozzy since Never Say Die! in 1978 was one of my most anticipated albums of the year. Therefore, like the Steven Wilson record, I'll post a track-by track review and then try to get a sense of how everything fits together.

1. "End of the Beginning" - First thing you notice when this song comes on is the crisp, clear production thanks to (surprisingly) Rick Rubin. Next thing is the fact that this sounds a whole lot like the self-titled track from 1969. That's not a bad thing actually. I mean, most bands repeat certain elements in their music and do a good job at it. This is certainly the case here, and it's great that Sabbath are making actual doom again. As for Ozzy, he sounds pretty good even if the vocals sound a bit too forced in this part. Iommi's work is great both here and throughout the entire album. The part that starts around 5:30 really sounds like classic Sabbath as does the second solo.
9/10

2. "God is Dead" - The single we've all heard. The structure is pretty similar to "End of the Beginning" and the lyrics are quite dark as expected from Sabbath. There was mixed reaction to this song when it first came out and I think it's the weakest of the bunch. Still very good though.
8.5/10

3. "Loner" - Here's where things really pick up. It has a great driving riff with incredibly catchy vocal melodies and fabulous acoustic interludes. Structurally, it's very creative and diverse and recalls some of the most creative moments of early Sabbath. Plus, the production on the solo makes it sound very vintage. "Loner" may not quite fit with the rest of the album, but I just really love it. For me, it's already a classic.
10/10

4. "Zeitgeist" - This song not only serves tribute to the timeless "Planet Caravan," but also takes the sound in new directions and adds a lot of intricacy to it. It's an absolutely gorgeous tune which is capped off by Iommi playing a wonderful acoustic solo - something Sabbath fans aren't used to hearing. This is definitely a highlight of the album for me and one of the best ballads by a metal band that I've heard in recent times. It may not have the same nostalgic magic that "Planet Caravan" has, but it's still incredible as a modern expansion on that song.
9.5/10

5. "Age of Reason" - This one sounds like it was ripped right out of the Dio/Heaven & Hell era. It's an epic song with a big riff that morphs into an even bigger one complete with an orchestral backing track. Then it actually gets a bit proggy with some interesting time changes and complex drumming. It's definitely the most epic song on the album and probably my favorite of the longer tracks.
9.5/10

6. "Live Forever" - Extremely dark lyrics here, probably the darkest on the album. The chorus is very catchy and Iommi delivers yet another awesome solo. As one of the shorter songs, it's not quite as appealing as "Loner" in terms of creativity but it's still a great song.
9/10

7. "Damaged Soul" - This song is truly one of Iommi's finest moments in his entire career. For the first time in many years he's back to playing straight-up blues and he's doing a fantastic job at it. Ozzy's harmonica work perfectly complements the guitar as does Geezer's free-style bass playing. All in all, this is the original stoner band showing the modern stoner bands how it's done. Absolutely amazing song.
10/10

8. "Dear Father" - This is probably the heaviest song on the album. It has a really mean riff that recalls Iommi's more recent work. It's pretty cool how they repeat the intro to the self-titled song at the end of this one. It's a good track, but I think it could have been a bit more dynamic and not quite as long.
9/10

9. "Methademic" - Wait did I say "Dear Father" is the heaviest song? Nah, it's this one. Iommi lays down an absolutely monstrous riff here. This one is an upbeat, headbanging type of song that most fans probably think the band didn't have in them. Hats off to Sabbath for such a wicked track.
9.5/10

10. "Peace of Mind" - This is another Dio/Heaven & Hell era sounding song. It's decent, but nothing really special to be honest.
8/10

11. "Pariah" - This track features another awesome, heavy riff and is about as good "Methademic." Iommi really belts it out here especially in the solo. This song's lyrics deal with religion, perhaps, in the most exclusive way of any track on the album. It's another rocking tune that Sabbath should feel proud to have created.
9.5/10

So what's the final verdict on this album? Well, it certainly exceeded my expectations as far as what a group of 60+ year old men (and a 40-something year old drummer) could create. It takes some of the best elements of classic Sabbath and modernizes them. It's an amazing accomplishment for this band and if it's their very last album then they went out with a hell of a bang. 

On the other hand, I'm not prepared to give this album a perfect score as there are some faults. For one thing, I was hoping there wouldn't be as much Dio/Heaven & Hell era material here as there is since it's just not as innovative as the early 70's stuff both in terms of riffs and overall structure. However, there is still some of the latter which makes me very happy. 

Another issue, and this ties in with what the last one, is that there could be more variation. I think there are one too many long songs that could have been shortened down and packed with more varied and interesting material. For example, if you compare any of the epics on this album to "War Pigs" or "Hand of Doom" you'll see how much more inventive the band was back then. I'm not saying they should copy the exact same formula they had back then, but they could have spiced up the songs just a little bit more.

All these issues pale in comparison though to the sheer greatness of this album. It may not be pioneering an entire genre like the first six albums did nor can it match up to those records music-wise, but it's still an incredibly strong effort by a band that has beat the odds to deliver what is certain to be one of the best metal albums of the year and one of the best in Sabbath's discography. 
9.25/10      

Ghost - Infestissumam (2013)

Notable Swedish occult rockers Ghost made quite a stir after their debut "Opus Eponymous" with its unabashed Satanic lyrics and the band's provocative dress. It seems that these rising stars are bound to become one of Sweden's most popular bands (if they haven't achieved that status already) after their dazzling sophomore album "Infestissumam." The songs are somewhat catchier/poppier than on the debut, but the music is just as good and those who have high expectations for this album will not be disappointed. Like their counterparts in Ancient VVisdom, Ghost manage to make evil music that doesn't sound evil. In fact, it's so catchy that one would be forgiven if one thought Papa Emeritus was singing about flowers and hippies rather than the various aliases of Satan or what have you. Anyways, this might just prove to be the "pop" album of the year for me and no matter what your religious persuasion I can't recommend "Infestissumam" enough.
9.5/10

 

Volbeat - Outlaw Gentlemen & Shady Ladies (2013)

Volbeat's fourth album, featuring ex-Anthrax guitarist Rob Caggiano, doesn't show much in the way of innovation or progress for the band, but it does fulfill the band's artistic purpose which seems to be writing catchy, rockabilly-inspired metal tunes. Indeed, pretty much all the songs on this album are very catchy and sure to make tap your foot or hum along or whatever it is you do when listening to catchy music. On the other hand, the album does get a bit samey and repetitive after a while which is why it might not be a good idea to listen to the whole thing in just one sitting. But again, this is still a really solid record with lots of good riffs and hooks. If you want straight-up, no frills metal then this band/album should be one of your go-tos.
8.5/10

Darkthrone - The Underground Resistance (2013)

This is the first of Darkthrone's non-black metal albums I've had the pleasure of listening to and though I admittedly prefer their black metal era, this is still a very good metal album. On "The Underground Resistance," Darkthrone show unabashed love for their influences including such heavyweights as Iron Maiden, Metallica, Motorhead, and Celtic Frost. Considering the punkish aesthetic and occasionally semi-harsh vocals employed, one can see that the band have not completely abandoned their roots. Besides the last two tracks being unnecessarily long, this is an enjoyable album filled with great riffs and epic songs. It would be hard even for the diehard fans of their old stuff to not appreciate such a convincing, well-written album as this one.
9/10

Enforcer - Death By Fire (2013)

Borrowing liberally from classic bands such as Motorhead, Metallica, and Iron Maiden, Swedish band Enforcer have delivered a slab of metal that honestly sounds better on paper than in practice. Most of the songs just fall kind of flat and don't really grab me. The big exception to that, and my favorite track on the album, is "Crystal Suite" which is an excellent Maiden-esque instrumental piece. Otherwise, I would still recommend listening to this album, but don't expect to be blown away by it.
7.5/10

Bloodbound - Tabula Rasa (2009)

I'm glad I came across this album because it's a slice of awesome traditional metal with great Dio-esque vocals. All the songs are catchy and have great riffs which is always a plus in metal. The album does get to be a bit samey which drags it down a bit, but it's not too big a deal considering the talent of this band.
9/10

 

Helloween - Straight Out of Hell (2013)

The latest Helloween album doesn't break any new ground, but then again why does it have to? They have a winning formula that appeals to fans of both traditional and power metal, and it wouldn't really make sense to change it at this point. On the other hand, this does reduce the variety of the album to a rather disappointing level. That's not to say that this a bad album at all. In fact, it's plenty catchy and packed with very strong riffs. Overall, it's yet another slab of enjoyable poppy metal from a legendary band. But, if you're looking something that'll really catch your attention and set itself apart from the pack then there's other albums you should be checking out.

8.5/10

Accept - Stalingrad (2012)

I hadn't really paid much attention to this band until I heard this album. Traditional heavy metal may seem boring and unimaginative to some, but with so many great riffs and solid tunes on this album one can't help but be in awe of this band's musical talent. Another thing to point out is that even though this is a concept album, there is no sacrifice of the music to the story. Instead, they complement each other quite nicely. Not to sound cliched, but these guys know how to rock (or metal as the case may be.)

9/10

Holy Grail - Ride the Void (2013)

Holy Grail are all about good, ole fashioned heavy metal a la Metallica, Maiden, Priest etc. If you're into the whole classic metal revival thing going on nowadays then I can't think of any other band that does it as good or better (aside from White Wizzard.) This album is chock full of catchy riffs, catchy vocals, and overall great songwriting. I haven't listened to their previous stuff, but judging by this album alone I can say that they are a highly talented band that should appeal to pretty much any metal fan.
8.5/10