Shadows Fall - Witchery - Ozzy Osbourne - Overkill
Shadows Fall - Retribution
Everblack Industries/Ferret Music
By Miguel Blardony
Five years ago, these guys were being hailed as the next Metallica and earned themselves a Grammy nomination by dint of a great song from what has become their landmark release, “The War Within.” Five years hence, Shadows Fall have returned to indie status, even releasing their new album themselves after a graceful exit from their mainstream label. Such are the vagaries of the music business. Yet it’s in Shadows Fall’s nature to never give in and never surrender, which probably explains the impressive discography they’ve forged these last fifteen years. They aren’t a run of the mill band either after having patented their own sound whose undeniable foundation is thrash metal, one made possible by the vision and skill of five skilled and dedicated musicians.
Thankfully for us who’ve kept the faith, the Shads’ skills are in brilliant form on this vengeful “Retribution” album. The cover art’s kinda weird—well, so is Daath’s “The Concealers”—but the music locked inside is raw hair raising goodness. From the moody instrumental opener “The Path To Imminent Ruin” to the all guns blazing thrash fusillades “King of Nothing” and “A Public Execution,” the quintet have junked their streamlined melodic thrash urges from the last record (2007’s ill-received “Threads of Life” which continues to divide fans) in favor of testosterone drenched anthems that unquestionably deliver the goods. This is mosh material, ladies and gentlemen, and believe you this reviewer, the songs here are destined to ignite many a moshpit wherever these guys choose to raise hell for an evening.
Mosh material indeed, EXCEPT for the songs here that ease the band’s heavier tendencies, such as the midtempo “The Taste of Fear” that’s supposed to have an empowering message, but the music’s too mediocre for you to take notice. Then another acoustic interlude happens near the end, followed by a furious farewell (“Dead And Gone”). Matters aren’t spectacular in the lyrical department either as Brian Fair is content to bark whatever nihilistic clichés and negative feelings come to mind. Quite a let down, actually. However, since these guys have teamed up with producer Zeuss again, perfection reigns on the overall quality of this flawed opus. So the final verdict is the album’s mostly good sharing space with the forgettable. Good enough, perhaps?
www.shadowsfall.com
By Miguel Blardony
Five years ago, these guys were being hailed as the next Metallica and earned themselves a Grammy nomination by dint of a great song from what has become their landmark release, “The War Within.” Five years hence, Shadows Fall have returned to indie status, even releasing their new album themselves after a graceful exit from their mainstream label. Such are the vagaries of the music business. Yet it’s in Shadows Fall’s nature to never give in and never surrender, which probably explains the impressive discography they’ve forged these last fifteen years. They aren’t a run of the mill band either after having patented their own sound whose undeniable foundation is thrash metal, one made possible by the vision and skill of five skilled and dedicated musicians.
Thankfully for us who’ve kept the faith, the Shads’ skills are in brilliant form on this vengeful “Retribution” album. The cover art’s kinda weird—well, so is Daath’s “The Concealers”—but the music locked inside is raw hair raising goodness. From the moody instrumental opener “The Path To Imminent Ruin” to the all guns blazing thrash fusillades “King of Nothing” and “A Public Execution,” the quintet have junked their streamlined melodic thrash urges from the last record (2007’s ill-received “Threads of Life” which continues to divide fans) in favor of testosterone drenched anthems that unquestionably deliver the goods. This is mosh material, ladies and gentlemen, and believe you this reviewer, the songs here are destined to ignite many a moshpit wherever these guys choose to raise hell for an evening.
Mosh material indeed, EXCEPT for the songs here that ease the band’s heavier tendencies, such as the midtempo “The Taste of Fear” that’s supposed to have an empowering message, but the music’s too mediocre for you to take notice. Then another acoustic interlude happens near the end, followed by a furious farewell (“Dead And Gone”). Matters aren’t spectacular in the lyrical department either as Brian Fair is content to bark whatever nihilistic clichés and negative feelings come to mind. Quite a let down, actually. However, since these guys have teamed up with producer Zeuss again, perfection reigns on the overall quality of this flawed opus. So the final verdict is the album’s mostly good sharing space with the forgettable. Good enough, perhaps?
www.shadowsfall.com
Witchery - Witchkrieg
Century Media
By Miguel Blardony
Witchery are so deliciously evil, you’re gonna wet your panties upon first listen of their latest blasphemous torrent “Witchkrieg.” As is their wont, there’s some aspect of tongue in cheek tomfoolery going on with the lyrics, but this is lost on the listener the moment former Marduk vocalist Eric ‘Legion’ Hagstedt starts screaming the lyrics. The guy’s ex-Marduk for chrissake, one of the most evil bands on earth. Though Witchery is far too melodic for your regular black metal diehard, there’s still enough anti religious scorn on the album to sunder the very heavens.
Eschewing a pretentious intro, the band get right to business for the thundering title track that cranks open this can of infernal worms. As an appetizer for the dish to come “Witchkrieg” is an excellent declaration of intent and if you listen closely, you might catch Kerry King’s solo…somewhere. That’s right, Kerry Fucking King is on the album. Slayer gimps must be thrilled to their toes to be reading this. But the truth is, dear Kerry’s contribution here is so miniscule you’ll likely miss it. This writer certainly did and only realized the extent of the guest spots here when he checked Metal-Archives.
And yes, the guest spots here make the album doubly attractive as Witchery have made an effort to get the best shredders in thrash. Aside from King, there’s Gary Holt and Lee Altus of Exodus, the one and only Andy LaRocque, plus Hank Sherman and Jim Durkin. That’s a certified guitar symphony considering the already impressive duo of Patrik Jensen (The Haunted) and Richard Corpse (Séance) keep busy grinding out riff after riff throughout the album. Besides the thrash, Witchery have always taken pride in being one of the few extreme metal bands whose heavy metal can wind around grooves, blastbeats, hard rock hooks, and that rare novelty called black n’ roll.
Though the band are at the height of their powers on the faster tracks, it’s on the midtempo anthems that Witchery showcase how versatile they really are. “Conqueror’s Return,” “The God That Fell From Earth,” “Devil Rides Out,” “Hellhound,” and “One Foot In the Grave” are sterling examples of masterful songwriting married to evil intentions. Oh yes, evil. There’s so much of it lurking in this album. Erik Hagstedt really is a sick bastard. Buy this album for a taste of his terrifying charm.
By Miguel Blardony
Witchery are so deliciously evil, you’re gonna wet your panties upon first listen of their latest blasphemous torrent “Witchkrieg.” As is their wont, there’s some aspect of tongue in cheek tomfoolery going on with the lyrics, but this is lost on the listener the moment former Marduk vocalist Eric ‘Legion’ Hagstedt starts screaming the lyrics. The guy’s ex-Marduk for chrissake, one of the most evil bands on earth. Though Witchery is far too melodic for your regular black metal diehard, there’s still enough anti religious scorn on the album to sunder the very heavens.
Eschewing a pretentious intro, the band get right to business for the thundering title track that cranks open this can of infernal worms. As an appetizer for the dish to come “Witchkrieg” is an excellent declaration of intent and if you listen closely, you might catch Kerry King’s solo…somewhere. That’s right, Kerry Fucking King is on the album. Slayer gimps must be thrilled to their toes to be reading this. But the truth is, dear Kerry’s contribution here is so miniscule you’ll likely miss it. This writer certainly did and only realized the extent of the guest spots here when he checked Metal-Archives.
And yes, the guest spots here make the album doubly attractive as Witchery have made an effort to get the best shredders in thrash. Aside from King, there’s Gary Holt and Lee Altus of Exodus, the one and only Andy LaRocque, plus Hank Sherman and Jim Durkin. That’s a certified guitar symphony considering the already impressive duo of Patrik Jensen (The Haunted) and Richard Corpse (Séance) keep busy grinding out riff after riff throughout the album. Besides the thrash, Witchery have always taken pride in being one of the few extreme metal bands whose heavy metal can wind around grooves, blastbeats, hard rock hooks, and that rare novelty called black n’ roll.
Though the band are at the height of their powers on the faster tracks, it’s on the midtempo anthems that Witchery showcase how versatile they really are. “Conqueror’s Return,” “The God That Fell From Earth,” “Devil Rides Out,” “Hellhound,” and “One Foot In the Grave” are sterling examples of masterful songwriting married to evil intentions. Oh yes, evil. There’s so much of it lurking in this album. Erik Hagstedt really is a sick bastard. Buy this album for a taste of his terrifying charm.
Ozzy Osbourne - Scream
Scream – Epic
by Jeffrey Easton
What can you possibly say about an OZZY record release that has not been said yet? Nothing, that’s what. He has received every accolade known to the recording industry and with Scream that will not change. He has shelled out yet another solid stellar record that reeks of classic OZZY and I would expect no less. After the shelling your ears receive from opening track Let It Die you get into what will be his signature track from Scream, Let Me Hear You Scream. How many times have you heard him argue that from the stage and thought why is that not a song? You have it now and it needs to be played loudly. Life Won’t Wait is another slow building to powerful riff song that he always does so well and his new guitar layer Gus G. is up the rising task. OZZY does touch on religion of course with Crucify and a swipe at war once again with Fearless and a dark look into human nature with possibly one of the best OZZY songs in Latimer’s Mercy. The closing track, I Love You All, seems to be the farewell. The last song OZZY will release? If so, it was a touching farewell and a great way to close the metal chapter that OZZY created so long ago. OZZY is the consummate vocalist and the material that he has created for Scream is second to none. If this is indeed it, I salute you OZZY for what you have done for the metal community and what your legacy will continue to give for years to come.
BUY IT!
http://www.ozzy.com/us/home
by Jeffrey Easton
What can you possibly say about an OZZY record release that has not been said yet? Nothing, that’s what. He has received every accolade known to the recording industry and with Scream that will not change. He has shelled out yet another solid stellar record that reeks of classic OZZY and I would expect no less. After the shelling your ears receive from opening track Let It Die you get into what will be his signature track from Scream, Let Me Hear You Scream. How many times have you heard him argue that from the stage and thought why is that not a song? You have it now and it needs to be played loudly. Life Won’t Wait is another slow building to powerful riff song that he always does so well and his new guitar layer Gus G. is up the rising task. OZZY does touch on religion of course with Crucify and a swipe at war once again with Fearless and a dark look into human nature with possibly one of the best OZZY songs in Latimer’s Mercy. The closing track, I Love You All, seems to be the farewell. The last song OZZY will release? If so, it was a touching farewell and a great way to close the metal chapter that OZZY created so long ago. OZZY is the consummate vocalist and the material that he has created for Scream is second to none. If this is indeed it, I salute you OZZY for what you have done for the metal community and what your legacy will continue to give for years to come.
BUY IT!
http://www.ozzy.com/us/home
Overkill - Ironbound
Nuclear Blast/E1 Music- 2010
By Miguel Blardony
Hot damn!
Overkill may be the first word in old school thrash metal, but there’s nothing old school about “Ironbound.” Not the slick production and certainly not the energy crackling through the ten songs on this quintessential release. Quintessential indeed since “Ironbound,” being the sixteenth studio album in Overkill’s storied career, sums the very quintessence of the band, which is unadulterated metal.
The album’s beginning sees the band take a subtle route as D.D. Verni clunks away at his bass until the rest of the guys hop aboard. Once “The Green And Black” is in full swing the listener is treated to a sprawling thrash anthem complete with guitar shred pyrotechnics and the ageless Bobby ‘Blitz’ Ellsworth’s raspy vocals. By the time it wraps at almost the eight minute mark the title track ignites and it’s joy, joy, joy to hear the quintet swinging away like they were teenagers again. The rest of the album stays consistent for most of its duration though tempos do vary, from the mid tempo romp “The Goal Is Your Sol” to the final desperate recklessness of “The SRC.” But even among such magnificent offerings most glorious highlights are the creepy “Head And Heart” and the bareknuckle “Bring Me The Night” blazing away with gusto.
Ever a seasoned wrecking crew, Overkill’s long-serving personnel are in good condition for 99.9% of the album. Blame it on the newfangled rash of thrash groups or the endless cycle of comebacks from bands who called it a day back in the uh, day, but a fire was lit under Overkill’s ass during the previous year. Needless to say, “Ironbound” sounds as if these guys were starting from scratch, blessed as it is with eager-to-please vigor married to a genuine relish for the headbanging art form. Whether its Bobby Blitz’s peerless pipes, Ron Lipnicki’s teeth-loosening percussion, the imitable D.D. Verni’s throbbing bass lines, or the avalanche of riffs and leads from the Tailer-Linsk guitar duo, “Ironbound” has Overkill all guns blazing. Expect to be blown away.
By Miguel Blardony
Hot damn!
Overkill may be the first word in old school thrash metal, but there’s nothing old school about “Ironbound.” Not the slick production and certainly not the energy crackling through the ten songs on this quintessential release. Quintessential indeed since “Ironbound,” being the sixteenth studio album in Overkill’s storied career, sums the very quintessence of the band, which is unadulterated metal.
The album’s beginning sees the band take a subtle route as D.D. Verni clunks away at his bass until the rest of the guys hop aboard. Once “The Green And Black” is in full swing the listener is treated to a sprawling thrash anthem complete with guitar shred pyrotechnics and the ageless Bobby ‘Blitz’ Ellsworth’s raspy vocals. By the time it wraps at almost the eight minute mark the title track ignites and it’s joy, joy, joy to hear the quintet swinging away like they were teenagers again. The rest of the album stays consistent for most of its duration though tempos do vary, from the mid tempo romp “The Goal Is Your Sol” to the final desperate recklessness of “The SRC.” But even among such magnificent offerings most glorious highlights are the creepy “Head And Heart” and the bareknuckle “Bring Me The Night” blazing away with gusto.
Ever a seasoned wrecking crew, Overkill’s long-serving personnel are in good condition for 99.9% of the album. Blame it on the newfangled rash of thrash groups or the endless cycle of comebacks from bands who called it a day back in the uh, day, but a fire was lit under Overkill’s ass during the previous year. Needless to say, “Ironbound” sounds as if these guys were starting from scratch, blessed as it is with eager-to-please vigor married to a genuine relish for the headbanging art form. Whether its Bobby Blitz’s peerless pipes, Ron Lipnicki’s teeth-loosening percussion, the imitable D.D. Verni’s throbbing bass lines, or the avalanche of riffs and leads from the Tailer-Linsk guitar duo, “Ironbound” has Overkill all guns blazing. Expect to be blown away.