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TheBigBlack's Rock Top 10 |
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Powderfinger
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Korn
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Limp Bizkit
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Jet
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Jane's Addiction
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Blink-182
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Radiohead
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Muse
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The Butterfly Effect
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The Mars Volta
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TheBigBlack's Rock Honourable Mentions |
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Jebediah
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Led Zeppelin
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Pearl Jam
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TheBigBlack's Metal Top 10 |
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Type O Negative
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Arch Enemy
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Virgin Black
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Akercocke
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O.S.I. (Office Of Strategic Influence)
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For many heavy music fans 'progressive metal' is a place they generally avoid going to. It is understandable, as most progressive music isn't likely to simply entertain, but instead forces you to pay attention and put in some real effort to unravel it. With complex and often lengthy passages, and vocals generally more operatic than heavy music allows, these bands leave most listeners confused - and often bored. When O.S.I. first emerged, formed by guitarist Jim Matheos of Fates Warning and keyboardist Kevin Moore of Chroma Key and Dream Theater, it seemed this would be another band creating complex music for a small group of listeners. From the moment 'The New Math (What He Said)' starts the influences of the two main men shine through, but this is something very different. The music is still complex, but it feels as though the passages where a mass audience would lose interest have been excised, getting straight the point. At only three and half minutes the track is an instrument, and sets up the listener nicely for what they will hear over the next 45 minutes. Track 2, 'O.S.I. (Office Of Strategic Influence)', smoothly transitions from the last song with barely a space to show the album has moved on from the opening track. Vocals are handled by Moore, and although his voice isn't amazing, it perfectly fits the pseudo spoken-passages he places in each song. There is moments of big metal glory, with super heavy breakdowns appearing suddenly, but nothing here is over used or outstays its welcome. 'Horseshoes And B-52's' is like an industrial horrorshow, before moving onto simpler moments like the moody 'Head' or the Filter-like 'Hello, Helicopter!'. The album's centerpiece, the 10+ minute 'shutDOWN' has prog-royalty in Porcupine Tree's Steven Wilson providing vocals, and is for its majority a grinding megalodon. Although the album is very listenable, there are still moments of progressive oddity, such as the electronic-tinged 'Memory Daydreams Lapses', but listened to as an album (rather than individual songs) these moments work as a beautiful contrast to the heavier tracks. There is a chance that this is an album that will open the door to those who would normally avoid anything with the word 'progressive' in the title, providing to listeners a sort of beginners guide. |
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Katatonia
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Dimmu Borgir
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Green Carnation
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Opeth
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Metallica
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mk's Metal Top 10 |
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Alchemist
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Cradle Of Filth
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Edge Of Sanity
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The Haunted
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Fear Factory
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Dimmu Borgir
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Cryptopsy
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Opeth
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Firstly I have to stop myself from writing an essay on this release. It IS brilliant. Opeth released Deliverance and Damnation 5 months apart. It seemed a deliberate attempt to highlight to fans that future releases will not be full of heavy death metal vocals and that Mikael will truly embrace is love of Prog. Nothing wrong with that - we knew that would eventuate. This is an amazing piece of work from Mikael. For some reason, from first listen I loved it. His vocals perfectly match the music composition, which itself doesn't deviate to far from song to song. I do have to point my favourite song 'Closure' which has that middle eastern sound from the middle. Listening today still brings back the same memories from my first listen. Incredibly bold release, and it worked for the band, given the acclaim it has received. |
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Metallica
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It's way past time to review this beast of a record. Yeah that's right - I'm in the minority, along with TheBigBlack, that absolutely love this release. We all know the lead up to its release. Heck a movie was made for the making of. Personally as you know, I strayed away from the band in the 90's and they had minor success in the post lack album releases during, but dang did this release knock my teeth to the back of my throat on first listen. Let's get straight into it. Opener 'Frantic' introduces the listener to a sound that is not familiar to Metallica fans. The songbook from previous releases is out of the window. Take notice of a band that has gone through hell and back and with the first track you can see the anger they hold. Possibly from the years it has taken them to put something new out. Perhaps getting to the point to almost break-up. This is a big 'eff you' to any of the doubters. 'Frantic' delivers one of the best lines I've heard - "My lifestyle determines my deathstyle." Speaking of anger, track 2, the title track, focuses specifically on that anger feeling. Mixed with some moody, slow paced verse, building up into a fast-paced chorus is well orchestrated. For track 3 'Some Kind Of Monster' my immediate thought is this is as close a link as you might have to their back catalogue. Very straight forward verse, chorus, verse mid-tempo but with the frenetic Lars drumming where it suits. 'Dirty Window' is flat out the head down, bum up frenetic anger (I should stop using that word). Possibly their heaviest song on the record perhaps. 'Invisible Kid' is a little strained for me to be honest. It isn't the best song on the record but still full of speed, however the topic and the output probably marks this as a low-light on the record. I had planned to review each song but it'll end up a long review so from here a few highlights to look out for. 'Shoot Me Again' has the most brilliant intro. The thumping drums actually linked into the drum beat. Love it. Great song also. 'The Unnamed Feeling', which had episodes on future releases, is a very "pull at the heart-strings" song. And the final track which is different to what you expect from any final track that Metallica put together for their albums. Equally this puts a perfect end-point on a record that no doubt was difficult to put together. All up - if you pair this release with what the band had been through for the previous 5 or so years, there was a time where us fans thought they were done. So in some respects we just wanted something from them. With St. Anger I think they delivered that and more. Yes, it is different, but hey - some of you might have a different hair cut (or no hair anymore) since the 80's so just accept it and thank the almighty Beelzebub they still exist! Welcome Rob to the band. Only good things can come from here (which in hindsight reviewing this is 2025, we know do). |
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Arch Enemy
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