New Videos - December 2020 Part Two

Well, I barely made it!  I wanted to get this one up before the end of the year.  I've got another interesting mix of bands, all of which seem to show that 2021 will be a promising year for rock and metal.  Check'em out!

Not sure where these guys were hiding, but they have this neat, bluesy hard rock with lots gritty vibes.  I'll have to check out more of their stuff if it's going to have these kinds of riffs and grooves.  Just real straight-forward, crunchy stuff.

Evergrey already has another album on the way, continuing their emotional and crunchy prog metal sound.  I admit I still haven't listened to much of these guys, despite liking their sound.  Maybe I can change that in the upcoming year, and them putting out another album doesn't leave me much room for excuse!

Despite this album's delays, I'm still looking forward to this sci-fi epic from Orden Ogan.  Crunchy riffs, soaring vocals (with neat little glitch effects), and a slick, polished atmosphere in their production.  It's not as strong as their last single, but pretty solid, nonetheless.  

I'm mostly familiar with Glass Hammer through their first two albums with Jon Davison, as I was curious about him when he joined Yes as their new singer.  This song is a rerecording of a track they wrote in the 90s for a special release on their website.  As expected, it has a lot of the qualities of 70s prog rock, notably Yes and ELP.  I know folks have given them a hard time for their kind of derivative sound, but I honestly don't think it's bad thing, and it sounds good here.

Let's finish with something that's clearly aiming for a classic sound.  Pounder is pretty straight-forward metal, calling to mind the likes of late 80s Iron Maiden or Metal Church.  What caught me off-guard was the nice vocal harmonies on the chorus, add an extra touch to some solid riffing.

Last Played - December 2020 Part Two!

Finally, I feel like I'm catching up on things I wanted to listen to, actually getting to some albums that released this same month!  While there are too many releases in a year to really listen to everything I want to, I feel like I've done well for 2020.  Here's what I've played this time!

Kansas - The Absence of Presence

After enjoying many of the singles, I figured I had better squeeze in Kansas's latest effort before the end of the year.  While I did enjoy their last album, The Prelude Implicit, I did feel if the members weren't feeling their age, as the album was a touch on the sluggish side.  Here, they double-down the progressive side of their sound, now with Tom Brislin (Yes, Anderson/Stolt, The Sea Within) on the keyboards.

The result is an interesting album, featuring plenty of lush layers and noodly guitar and violin leads, and plenty of going back and forth between the instruments.  The riffs felt particularly crunchy, and I do think they recaptured more of the classic sound this time around, though I also felt like there was a strong dose of Neal Morse in here as well with the very polished, uplifting prog rock style he's known for.

I liked most of it, with highlights being the title track and "Throwing Mountains," both of which show the band really going big and epic.  "Propulsion 1" felt driven for a short instrumental, and "Animals on the Roof" is rather quirky.  However, the proggiest track is the last one, "The Song the River Sang," as it starts off with this dramatic energy that builds up pretty well, before hitting a quieter section full of pokey notes that just loop in their own way.  Very strange.  Still, a fascinating album from a band with a long history of straddling the line between prog rock and hard rock.

Majestica - A Christmas Carol

If my previous remarks about how I enjoy both Trans-Siberian Orchestra and Twisted Sister's Christmas album, then it should be no surprise that I was pretty excited for this one.  I mean, power metal telling a classic Christmas story?  I couldn't wait!

And that's pretty much what they're going for: telling Dicken's A Christmas Carol with tons of double-kicking drums, symphonic theatrics, and high-speed riffing.  Everything here has that extra layer of cheese that makes power metal so decisive.  The extra twist they've done, though, is that they've worked in the melodies of several classic Christmas songs (or carols, if you will), ranging from "Deck the Halls," to "Joy to the World," making the album a bit more a delight than I expected.

For example, I did like the shifts in mood on "Ghost of Marley," and the interesting shift during "Ghost of Christmas to Come" from a kind of polka sound to an epic 6/8 section based on "Carol of the Bells" (one of my personal favorite carols).  The story-telling does take center stage though, as is the nature of such a concept album, and as a consequence, I don't know if the songs really hold up as individual tracks.  It may take a few more spins this season to really decide how I feel about it, but I'm glad this band took the time to do something that's pretty fun to listen to.

Iron Savior - Skycrest

I can't believe they have another album out already.  I was still digging the songs from their last one!  Still, I'm not one to turn up my nose at more epic power metal, and Iron Savior seems to be a pretty consistent band at it.

If there are any differences from the last one, there's a bit more variety, as well as a few more symphonic touches, in my opinion.  I wasn't sure if I heard them as much on Kill or Be Killed.  Also, I don't think this on is as much of a concept album as their earlier ones, as they have all sorts of themes, from end of the world stuff, to werewolves, to a power ballad, to a song that's more fantasy (I guess even Iron Savior gets tired of military sci-fi!).

However, this doesn't mean there's any real deviation in style.  It's still gritty, German-styled power metal, full of fist-pumping choruses, crunchy riffs, and Piet Sielck's iconic voice plowing through it all.  I don't think this one is as strong as Kill or Be Killed overall, but there were a few standouts, such as "Skycrest" and "Hellbrearker" going epic in 6/8, the metal anthem "Raise the Flag," and the closer "Ode to the Brave."  Despite only being familiar with their more recent stuff, I'm getting the impression that this band is a sure thing each time they come around.

---

This year's Top 5 is going to be very interesting, I must admit.  I don't know if there's a real standout winner this time, like there was with Monkey3 in 2019.  Still, 2020 was no slouch, and it will take some serious consideration to decide what was the best.

As for the rest of this year, I think I'll try to get in at least one more videos article before the end of the year.  However, I'm already prepping for next year and the articles I have planned, which should be fun.  Until then, rock on! \m/

New Videos - December 2020!

I'm still trying to wrap up videos for this year, and I've got quite the variety here for you.  We're starting to see some previews of what next year will be like, and it seems as promising as ever, with plenty of rock and metal to look forward to.  

I clearly need to get on this album, as I think I've liked every video they've put out for it.  This is definitely the band on their proggier side, with shifts in tempo and mood throughout, with shades of their classic 70s sound.  Kansas has really turned into an interesting and curious band, recently.

W.E.T. is another one of those supergroups that Frontiers Records like to put together, this one being from multiple AOR groups.  I've featured them before, but now that they've got a new album coming, I'll have to check them out more fully.  This is an interesting track, with heavy riffs and a lighter chorus, but solid enough all around for my tastes.

As always, I'm a sucker for epic power metal, and this band has caught my attention.  Sitting somewhere between Gamma Ray's lighting speed riffing and Stratovarius' symphonic keyboards, this some excellent metal right here.  Another band to add to my ever-growing list of music to catch up on.

I'm not quite sure what to make of this, actually.  Technical melodic progressive metal with two lead vocalists and an aesthetic borrowing from 80s gritty sci-fi films.  Epic, yet visceral, with lots of jarring time-signature changes.  At the very least, they're on my radar now, and I'll have to check out more!

So here's a project centering around Joel Hoekstra, who has been a guitarist for Whitesnake and TSO (among others).  While the song is decent hard rock, it has quite the lineup, with Russell Allen on vocals, Vinny Appice on drums, Derek Sherinian on keys, and Tony Franklin on bass.  I'm definitely curious to see what else these guys have for 2021.

So they did another silly music video of them playing in their car.  I like their little flag.  As for the song, it's another one of those metal anthems, along the lines of Judas Priest or Saxon.  Still, Piet Sielck sings it with authority, and the riffs are solid, so I can't deny that it works.  Raise the flag, indeed!

Last Played - December 2020!

December already!  As winter settles in, I thought I'd listen to some classic stuff before I got back into current releases.  This article certainly has an odd mix, as it features the last of a legendary band, a significant transition for another renowned band, and the debut of a power metal band that might not be as famous, but certainly holds a reputation of its own.  Here's I've listened to lately!

Led Zeppelin - Coda

After John Bonham passed away, the band decided to call it a day and move on, as the idea of going forward as Led Zeppelin without him didn't make sense to them.  However, they did see that bootleg copies of their concerts were still being bought and sold, so Page decided to give the fans one last collection of songs by pulling together various live and outtake tracks from across their career into a compilation that would work as a bookend to their legacy.

The result is quite the hodgepodge of material.  The first half is definitely the bluesier of the two, feature two covers from classic blues artists.  "We're Gonna Groove" has some pretty funky and jazzy riffs, while "I Can't Quit You Baby" has some great solos and playing from Bonham and Page.  The second half is mostly outtakes from the band's last album In Through the Out Door, along with a drum solo.  The three outtakes are okay, not much different than the quality of stuff on ITtOD, with "Wearing and Tearing" being a reaction to punk rock, as the band tries to prove they still have chops.

Unfortunately, much of the album is marred by an odd mix that seems to make Plant sound like he's in a tunnel.  Perhaps Page was just throwing on what they had around, so they didn't get much polish, but I don't know if proper production would have improved things much.  At least Bonham gets one last good performance on "Bonzo's Montreux," featuring solid playing and some interesting drum effects.  Honestly, the best track is "Walter's Walk," as the band sound the most alive.  It has an interesting groove and a lot of energy, definitely reminiscent of the band's heights in the early 70s.  Otherwise, there's not much to recommend, and was likely made for the diehard Led Zeppelin collectors anyway.

Genesis - A Trick of the Tail

I'm still working my way through some classic prog, this time going with the first Genesis album after Peter Gabriel's departure.  When I reviewed The Lamb Lies Down on Broadway two years ago, I mentioned that I struggled with the Gabriel-era stuff.  I think it's just a tad too weird for me.  I was kind of hoping that this one would be a little easier to get into, and to some extant, it was.

Right off, Phil Collins is definitely a more accessible singer.  While Gabriel was good for the outlandish stuff, this definitely has a closer-to-earth vibe in the lyrics and presentation.  Of course, the rest of the band hasn't changed much, as they pile on the layers for mood and effect, but we do get the first few inklings of a more streamlined sound, with "Squonk" and the title track feature a more poppy vibe.

While I do think I enjoyed this more than Lamb, there's still some quirky stuff in here.  Lots of dreamy vibes, occasionally broken up by a more aggressive section in the middle of the song.  I think a lot of it has to do with a greater emphasis on Banks' keyboards this time around.  I think the songs I liked best were "Entangled," with its interesting build up towards the end, and "Los Endos" being a nice mix of themes and ideas from the album.  Definitely still proggy, and proof the band had a future post-Gabriel.  I could see this one growing on me, maybe.

Freedom Call - Stairway to Fairyland

After listening to some classic rock and some classic prog, I was ready for some classic power metal, and decided to give this German band's debut album a listen.  I had a good idea of what to expect, and certainly got it: tons of uplifting choruses and melodic leads, with a flair for the fantastic.

While the band does develop their own style eventually, this early effort shows more of their influences, with large helpings of Gamma Ray and Trans-Siberian Orchestra, of all things.  The result is a kind of back-and-forth between full-on high speed tracks and more dramatic songs with symphonic flourishes.  They also do the sudden a cappella style on a later chorus that DragonForce would later incorporate into their style.  Stand outs for me were the opener "Over the Rainbow," and "Tears Falling, as well as the more dramatic closing tracks of "Holy Knight" and "Another Day."  

Like TSO, there's also a story being told, working as the concept that holds the album together.  A people of a fallen empire wander the lands, plagued by their sins and regrets, when they meet a group of guardians who tell them of a promised land maintained by a child-like holy one who was born under a holy star.  This chance at hope inspires this forsaken people to go on a quest to find the titular stairway and relief from their suffering.  It's no great tale, but is a decent enough framework for the songs, much like Gamma Ray's Land of the Free or Metallium's State of Triumph.

I don't know if I'd say that Freedom Call's debut is great album, but there is certainly solid stuff on here, and they do break it up with slower, more dramatic songs in-between all the double-kicking power metal.  It's certainly ambitious for a debut, and to their credit, they mostly pull it off.

---

As always, I hope everyone is staying warm and safe.  I plan on finishing this year strong, with a few more articles on the way.  I intend to get at least one more "Last Played," featuring Majestica and Iron Savior, and maybe a few more New Video based ones.   We'll see what I eventually get around to.  Until then, rock on! \m/

New Videos - November 2020 Part Two!

Well, I hope you had as good of a Thanksgiving as I did, especially one that rocks this hard.  Here's another bunch of new videos from all kinds of bands to help you stay awake through the holidays!

After Walk the Sky blew me away earlier this year, the band has been busy on a new track that they're releasing, along with a bunch of live tracks, in an EP they're calling Walk the Sky 2.0.  This is the new track, and it's heavy.  One of their grittier ones for sure, but very solid and very much in their style.  Great work!

It's hard to go wrong with Iron Savior, I feel.  While, this song is not as strong as the first single, it's pretty solid, straight-forward heavy/power metal.  Sielck still sound great, though, finding that middle point between Kürsch and Dirkschneider.  The album drops next month, and I'm really looking forward to it!

Dee Snider's last solo album was quite the barn burner, and this extra track from a recent live album is much very much in that same gritty, crunchy vein.  I'm really curious to see if he will continue on this path he started 3 years ago, because it could lead to some more great metal.

Inglorious is a band with a really solid blues-rock sound that feels classic without really sounding like anyone specific.  Maybe Whitesnake?  I've liked their stuff before, and this new one has their style in spades.  Nice, crunchy guitars and Nathan James just wailing like a champ over it all.

While I wasn't that impressed with their debut album, I never doubted the talent of these guys, and just from this song, I think there's promise.  There's more energy, and Trewavas gets to do some nice bass lines.  Not sure how I feel about the two different album versions, but the music at least sounds promising.

Another solid power metal track from these guys, though this one makes me think of Sonata Arctica, with the layered keyboards and a tempo that isn't fast or mid-tempo.  While like the last one, I'm not blown away exactly, but it has solid riffs and melodies, and Marco Pastorino brings a lot of confidence to the song.

Last Played - November 2020 Part Two!

Now that we're coming down to the end of the year, I'm listening to all kinds of stuff.  This article is gonna keep it classic, for the most part, featuring some old school riffing and attitude.  Let's get into it!

Anvil - Hard 'n' Heavy

Anvil is another name I had seen around, but never really gotten to.  I know they sometimes get name-checked as a major influence on better known bands, like Metallica.  I also haven't seen that documentary that got made about their history, though I do know that kinda put them back on the map, in a way.  So I've started with their first album (originally released under the band name Lips before switching to Anvil and rereleasing it later), and I have to say, it's not quite what I expected.

First, I will say that I did expect the sound to be sort of between hard rock and heavy metal, and that's definitely the case here.  Listening to it made my think of those early glam and pop metal records from the likes of Motley Crue or Def Leppard.  When they decide to up the tempo, there's also a dash of Motorhead in there as well.  Sort of a Canadian NWOBHM band, if that makes.  And they sound pretty good, clean riffs, not exactly consistent with the tempo sometimes, but confident in how they want to sound.

However, the main problem is the lyrics and their delivery.  They tried to go for a bawdy, suggestive tone, as if trying to out-do AC/DC or Van Halen, but they don't have much charm or thought to them, often just talking about picking up girls and sleeping with them.  The result, along with Steve "Lips" Kudlow's cheesy delivery, is something a horny high school boy would think is boundary pushing for the early 80s, but just comes across as shallow, and honestly kinda ruins the music for me.

Still, there's some neat bits here and there.  "School Love," and "Oooh Baby" have some nice riffs, and "Bedroom Game" is an interesting attempt at a kind of speed metal.  However, the rest is kinda forgettable. Even the Rolling Stones cover really doesn't add much but some metal chugging to the iconic original.  Maybe there next albums provide a clearer picture of their influence, but for now, this just seems like a mere footnote in the history of rock and metal.

Sorcerer - Lamenting of the Innocent

I'm always down for some epic doom metal, and this was another band who's name I'd seen floating around that genre.  Then when I learned that they're fellow countrymen of Candlemass, I figured I had better sit down and give these guys a shot by listening to their latest album.  However, I was pretty thrown by what I'd heard.

You know when a power metal or prog metal band will record a really slow but heavy song to try and shake things up?  (Like "Eternity" by Stratovarius or "Paralyzed" by Dream Theater.)  Basically, that's Sorcerer's whole sound.  You might think that sounding slow and mean would be classic doom, but that's usually with an intentionally thick production and fuzzy guitar tones, like Candlemass or Saint Vitus.  However, here, we have a very polished production, and very clean tones.  Also, most doom vocalists have a kind of haunted and tormented delivery, but again, with this album, Anders Engberg is as clear as a bell, and throws in some vibrato like Roy Khan, or has a more emotional tone like Mark Basile of DGM or Tom Englund of Evergrey.  Basically, I went in expecting doom and got slow, melodic prog instead.  It's weird!  With me being new to the band, it could be that this is just how they sound, but it still threw me for a loop.

That being said, it is by no means bad.  Engberg is a great singer, bellowing out classic doom lyrics with ease (songs about hope and despair, God and Satan, good and evil, fire and brimstone, etc.).  And guitarists Kristian Niemann and Peter Hallgren have plenty of great, chunky riffs, but also have tons of melodic solos and guitar harmonies, like Helloween or Iron Maiden.  The songs often hit seven or eight minutes, but they never felt long.  I think I liked what I heard, but I'm probably going to have to listen to it some more in order to reconcile how I really feel about it.  It's the most un-doom I've heard a doom metal album sound!

AC/DC - PWR/UP

Well, this ended up being one of the surprises of the year.  AC/DC was in rough shape the past few years, with Brian Johnson losing his hearing, Phil Rudd getting in trouble with the law, and the death of Malcolm Young.  So when rumors started leaking about the band getting back together with a new album halfway through 2020, it was pretty sudden.  Featuring more riffs from Malcolm before he had passed on, the album was made in tribute to him.

As for the music, well, you get what you expect with AC/DC: blues rock so old school, it has tenure.  What I noticed on this one was the backing vocals doing some different things other than just singing along with the chorus.  There are Wooo's and Oh Yeah's and the interesting shift in the chorus on "Systems Down" that has the guys singing a different rhythm than Johnson.  I'd have to go back and listen to some of their other albums to hear if they've done this before or not.  It's not a game-changer by any means, but it does liven things up a little here and there.

Overall, this album is very much like Rock or Bust: straight-forward rock that's good while it's on.  While there are some stand out tracks like "Shot in the Dark" and "Demon Fire," the rest is pretty standard stuff from these guys.  I still think they have yet to top Black Ice, when considering their recent output, but certainly not a bad effort.  

---

Well, this one came out a little quicker than I expected, but I kinda threw that Sorcerer album in on a whim.  Still plenty to listen to before the end of the year, though.  I hope everyone is staying safe and staying warm, and have a happy Thanksgiving, if you're in the states.  Until then, rock on! \m/

Anniversary Series - 2015!

Once again, I didn't have much for 2015.  Looking around, there seem to be a lot of good albums I clearly missed, so I'm going to do what I did last time, and review a bunch of albums instead.  

Before I made this decision, I did have a few songs on my Spotify playlist that I did want to talk about, as they are curious handful of prog rock songs.  "Wassail" by Big Big Train has this interesting folky vibe that really taps into a sense of ancient traditions that makes the song quite memorable.  "Codpieces and Capes" by The Tangent is a quirky homage and satire of the classic 70s prog rock bands.  And then there's "The Call" by The Neal Morse Band, which really has some neat mood shifts and builds to a great conclusion.   I remember stumbling across these on a "Best of" list by the Prog Report.  You'll probably see a few others on there that made it to my Spotify playlist.  I also added a few tracks from Disturbed's album, particularly their renowned cover of "The Sound of Silence."

Well, that's that.  Here's some reviews!

Visigoth - The Revenant King

Visigoth is another band I've seen around, hearing bits and pieces over the past few years, but I've never sat down with one of their albums until now.  They're very much in the vein of classic epic metal and US power metal.  Drawing upon the heritage of bands like Manilla Road and Omen, and adding in a healthy dose of role-playing games, both video and tabletop, this band is about taking listeners to fantastic lands, and sounding big in the process.

Right off the bat, the guitar tone is massive, like they took Candlemass's tone and tightened it up a little without losing any of it's power.  And then Jake Rogers' vocals come in.  He's a great vocalist who really projects, giving authority to whatever he's singing, holding those notes out with power.  Together, the result is a massive wall of sound that perfectly balances epicness and grittiness.  Despite these long song-lengths, the time just blasts on by, filled with great vocal melodies and well-played solos.

They do mix it up here and there, with songs often shifting tone and tempo.  "Mammoth Rider" in particular has both a fast, shred-friendly part followed by a straight-up doom metal section, all held together by the atmosphere they build.  Other highlights include "Dungeon Master," straight from Dungeon & Dragons; "Iron Brotherhood," a great anthem to metal music and its community, "Vengeance," a classic tale of tragedy and triumph, and "Creature of Desire," an ode to riding fast on a motorcyle.  Honestly, this album is great, with tons of crunchy riffs, noodly solos, and catchy lyrics.  Fans of old-school metal will found a lot to like, if they haven't found it already.  Epicness from start to finish.

Cain's Offering - Stormcrow

So after Jani Liimatainen left Sonata Arctica, Cain's Offering was one of first things he put together, working with Timo Kotipelto of Stratovarius.  The result was Gather the Faithful, a very solid power metal album that felt very much Jani's former band.  Years pass, and they decide to put together another one, this time recruiting Jens Johansson, also of Stratovarius, and the result is another great power metal album!

While the addition of Johansson definitely gives this album much more of a Stratovarius flavor (you'll hear that harpsicord from "Black Diamond" more than once on here), the big difference from the first album is the orchestrations.  The first album was certainly powerful and epic, but this reaches to Nightwish or Rhapsody of Fire levels of symphonic arrangement, as the layers add so much more to the melodrama of the album.  And melodrama is very much the order of the day, as the lyrics deal much with relationships and feelings, but not necessarily in a bad way.  Even "I Will Build You A Rome" gets pretty sappy, but I'm not ashamed to admit I rather liked it that way.

As for the music, it's great stuff.  While not every song is amazing, a lot of it is, with tracks like "Constellation of Tears," "The Best of Times," "Stormcrow," and the bonus track "Child of the Wild" providing excellent power metal.  Even the instrumental "I Am Legion" is incredibly epic.  Kotipelto is top notch, Johansson displays his excellent fingerwork, and Liimatainen is not slouch either.  Power metal fans would be foolish to ignore this one (like I did for five years!!).

Billy Sherwood - Citizen

Fans of Yes may know Billy Sherwood as the current bassist for the prog rock group, but his history with Yes goes much further back, assisting with the Union album and YesYears compilation, and later helping the band with their Talk tour.  He and Chris Squire then began writing material that would result in their next album Open Your Eyes.  While it didn't sell well or please the fans or win any awards, it's always been a fond favorite of mine.  Billy would go on to help write The Ladder, go on to make several tribute albums, working with all kinds of musicians, before being brought back to Yes to play bass in place of an ailing Squire, who would pass on shortly thereafter.

I bring all this up as I think it helps contextualize my feelings on this album.  I admit I haven't gotten into Sherwood's solo stuff much, so when I decided to make his 2015 effort the third album I review for this anniversary article, I could tell right off that this sounds a whole lot like his work on the Open Your Eyes album.  I'm not sure if I can quite define what those qualities are, maybe something with the production, the songwriting, or the vocal harmonies (or all three!), but he has a very distinct style that I just don't hear from anyone else.  Still, it's a style I like, and I hear it in spades here, so I'm already on board from the start.

Context aside, what we have here is a slightly proggy melodic rock album with the concept of a soul (the titular "citizen") being reincarnated throughout humanity's history, allowing Sherwood to write songs about various historical moments and people.  Another feature of the album is the bevy of guest artists.  Not only do we get tons of Yesfolk appearing (notably one of Chris Squire's last recordings is on the first track), but also the likes of Steve Hackett, Jordan Rudess, John Wesley, and Steve Morse.  Even Alan Parsons comes on to sing a track for this.

My overall opinion?  Decent.  Some of the songs maybe run a little too long, and it's definitely more musically dense and complex than OYE was, but that might be a consequence of the number of guest artists on here.  However, I do hear plenty of the things I like about Billy Sherwood's style, so I'll have to listen to it more to unpack it more.  This one could grow on me.

Last Played - November 2020!

Things are definitely getting cold now!  However, I'm still keeping on with new releases, as well as an old classic, for this article of Last Played.  Impressive stuff, to be sure.  Here's what I've listened to lately.

Arctic Rain - The One

I have to admit I should be thankful to Frontiers Records for finding these AOR bands across the world and bringing them to the world's attention.  I really do feel like they bring back a lot of the fun for rock music, and Arctic Rain is another solid entry in their catalog.

Hailing from Sweden, this band provides a mix of early 80s AOR with some of the shinier pop metal of the same decade.  Think Night Ranger or Def Leppard mixed with some synths you'd expect from Journey or Asia.  While the vocals do take center stage (Tobias Jonsson gets tons of space to shine), there really is some solid crunchy riffing from guitarist Magnus Berglund, which I wasn't expecting honestly.  Made the album rock a little harder than most of the AOR I've heard.

That being said, there aren't any real surprises, but the album holds together pretty well.  I quite liked the uptempo tracks, such as "Breakout," "Lift Me Up," and "Take Me To Your Heart," but there are also some great anthemic tracks, like "Lost," and "Madeleine."  Overall, it's a solid album that's consistent in keeping the energy high all the way through.

AC/DC - Let There Be Rock

While I am trying to catch up on 2020 releases, I still get the hankering for something classic.  This time, I threw on some more AC/DC, partially in anticipation of their new album, and partially because it's hard to go wrong with the boys from Australia.  

Of course, like I said in the past, reviewing AC/DC is probably pretty pointless.  We already know what to expect, so instead, I'll just focus on what I think stood out on what is my first listen of this record. Once again, I've listened to the international version, which has a slightly shorter version of "Problem Child" instead of "Crapsody in Blue."  (I'll have to dig up that track later somewhere.)

The big songs here are "Let There Be Rock," with Bon Scott evangelizing the origins of rock music and a bunch solid solos from Angus; and "Whole Lotta Rosie," a song that really speaks for itself, honestly.  Additionally, I felt "Dog Eat Dog" was pretty solid, and could probably fit right in on Back in Black. "Problem Child" is good again, though I don't know if it really helps this album.  The rest is pretty standard stuff.  I don't think this album is as strong as some of their others. Dirty Deeds Done Dirt Cheap was probably better overall, I think.  Still, it's got some classics and certainly doesn't hurt their catalog by any means.

DGM - Tragic Separation

After enjoying the three tracks they released in the past three months, I knew this album would have to be a priority for me this year.  I admit I've only listened The Passage from them before this one, but these Italian prog metalers really know how to balance technical chops with melodic epicness, centered around Mark Basile's emotional and dramatic vocals.

The talent this band has is on full display.  Basile is laying it all out there, sounding massive all the way through.  Simone Mularoni's guitar riffs are technical and chunky, as usual.  I don't know if they're the most memorable riffs, but they are amazing to listen to in the moment.  Of course, this being prog metal, there's also tons of layers: keyboards, strings, guitar harmonies, it's all here, and the production ensures that it sounds amazing.

If there are any problems, it's that the band pretty much sticks to one tone all the way through.  "Surrender" breaks things up a little by having more of a rock vibe, and "Curtain" is an instrumental closer that's nearly just cinematic ambience.  Still, if this kind of melodic prog metal is your thing, DGM has it in spades.  From the great opener "Flesh and Blood," this album has tons of great songs.  Other stand outs are the title track, "Stranded," and "Silence."  Just solid epicness from beginning to end, and highly recommendable.

---

I think I'm going to try and get at least two more of these articles before the end of the year.  That should give me plenty to consider for my Top 5 article, though that DGM album is a strong contender already!  Of course, it will have to compete with what Lovebites and Rick Wakeman released earlier, and we still have AC/DC and Iron Savior coming up!  I don't know if I've heard a clear winner like Monkey3's Sphere from last year, but it should be an exciting list nonetheless.  Until then, rock on! \m/

New Videos - November 2020!

More videos!  The good stuff just never seems to stop coming out.  Here's another handful as we get into November, featuring a good mix of styles.  Turn it up!

Yup, another one from Spirit Adrift.  This one starts off with a kind of bluesy groove, thanks to the bass, before going into a stompy doom/heavy metal track.  I really liked the little licks the guitarists played here and there.  I clearly need to give this album a listen because I'm liking everything I'm hearing from it.

This is a completely new group, offering up some symphonic power metal, much in the vein of later Kamelot or Serenity.  The band name is a bit of a mouthful, but Marco Pastorino's vocals really soar over everything.  Perhaps not a great track, but certainly shows promise.

Black Stone Cherry is another one of those groups that I keep seeing around, but just haven't gotten to.  Here, they have a kind of southern-fried post-grunge, making for a solid rock, short, effective rock song.  I know I've been wanting to dig into these guys for a while, and I suppose now is better than never.

I've always been a fan of Trans-Siberian Orchestra and that Twisted Sister Christmas album, so the opportunity for a new Christmas metal album appeals.  Of course, there's a chance it could be bad, but this certainly isn't!  Giving some classic carols a symphonic power metal boost, this one is right for the season!

I've been listening to a few tracks from these guys, and they seem to be proggy power metal in the vein of Kamelot and Angra.  The riffs certainly have a more technical feel, but singer Vasilis Georgiou is definitely channeling Roy Khan for some dramatic heft.  Neat stuff!

Vanden Plas may have a style they stick to, but I can't deny that they know how to work it.  Melodic prog metal is a style that's been working for them for years, and it works again here on this one.  Always such a good balance between being crunchy, epic, technical, and soaring.

Last Played - October 2020 Part Two!

So I'm finally catching up on some 2020 stuff.  However, I know I've still got plenty I haven't even touched yet!  Hopefully, I'll get to some good stuff before the year is out, especially with AC/DC and Iron Savior coming up.  For now, though, here's what I've been listening to lately!

One Desire - Midnight Empire

One Desire was the band that blew me away back in 2017, which was about when I discovered Frontiers Records.  I really liked their approach to the pop metal 80s sound that made it seem lively and accessible.  It's been three years and they've finally followed up with their second album.  Once again, we get an album that's full of 80s energy, but with a slick, modern polish, which is why I loved the first one.

If there are any differences, there's more variety, I think.  Some songs are on the crunchier side, like "Shadowman" and "Battlefield of Love," while others make more use of acoustic guitar stuff, like "Rio" and "Only When I Breath."  Another track that's pretty solid is "Through the Fire," which starts off like an acoustic ballad, but then builds and builds into this rock epic.  I also think the production is slightly better than the last album (which is saying something!).  I also got a pretty big Europe vibe from some of the tracks.

However, it doesn't get too far away from the anthemic pop metal they established from their first album, so those looking for more of the same will not be disappointed.  One Desire maintains their standard for solid song-writing and rockin' tunes.  

Judicator - Let There Be Nothing

So while I've been checking out various videos, I came across one for this band's new record.  At the time, I wasn't too impressed by the song, but I was curious about a band who sounded a lot like Blind Guardian, but focused on European History.  After a while, I decided to give their latest album a shot, and I have to say I'm quite impressed.  

It tells the story of Belisarius, a great general of the Byzantine Empire, contrasting his military conquests with the his dilemma of dealing with an unfaithful wife.  The lyrics and music are more dedicated to telling a story, resulting in lyrics that can be a little clunky here and there.  However, it's all performed quite admirably, with John Yelland's vocals belting out all the melodrama the scenario provides.  It's definitely an album that demands attention, reading the lyrics as you listen, and maybe looking up a few names on Wikipedia just to understand the context.

While the Blind Guardian comparison is easy to make, especially with Yelland sounding a lot like Hansi Kursch, this band falls a little closer to the US power metal, with a heavy dose of progressive metal, as tempos and moods shift to match the needs of the story.  Still, I enjoyed a lot of it, with plenty of meaty riffs, noodly solos, and awesome vocal harmonies, though I do wonder if the production isn't a little on the muddy side.   As a consequence, the songs do kind of blend together, as there isn't much to differentiate them from each other. However, as an album, it's definitely a solid experience, telling an interesting story with a Shakespearean fervor.

Those Damn Crows - Point of No Return

Hey, remember when I was freaking out about this band a year ago?  I finally listened to their album!  Based out of the UK, these guys provide a very polished post-grunge sound, making me think of the likes of early Daughtry, or The Calling, with a few heavier riffs here and there.

Overall, it's a pretty fun rock album.  Shane Greenhall puts a lot of charm in his vocals, and band keeps songs riffy without really being bogged down with heaviness, making for a rather light listen for hard rock.  A lot of that has to do with the production, which keeps things tight and clear.  They won't be winning any heaviness awards, but they make up for that with some pretty catchy tunes to go along with their mid-level crunch.

However, there isn't in the way of variety.  There's a piano ballad on there, but otherwise, the songs are pretty straight-forward, mostly jamming at a mid-tempo level.  I will say that that band does get riffier as the album goes on, which is interesting.  Stand outs are songs I've showcased before, but also "Send the Reaper," "Long Time Dead," and "King of Second Chances."  Honestly, though, it's a consistent rock album from start to finish.

---

I think I still have plenty of time to get a few more of these in before the end of the year.  Still, I can't believe October is over already!  This year has been crazy on multiple levels.  I hope everyone is staying safe and gets the chance to hear some good, uplifting music to deal with the chaos.  Until then, rock on! \m/

New Videos - October 2020 Part Two!

I'm back with some more videos!  Definitely got a good mix of things this time, including prog, power, AOR, and even something dark to finish things off.  Let's get started!

I admit I hadn't heard of this band before, but I guess they've been around for 20 years already.  They seem to be a blend of prog rock and metal, going back and forth between solid crunching and nice atmospheric sections.

Frontiers Records seems to crank these kinda bands out like clockwork, but here's another AOR melodic rock group from them, and I can't deny that they've got this nailed down.  Solid rock with great synths backing it up, sounding like the early 80s never left.

Man, I need to sit down and listen to this album.  DGM always satisfies.  This one is more uplifting and has more of a rock vibe, but that doesn't make it any less of a melodic prog metal epic.  Great stuff, once again.

I can't believe Iron Savior is already putting out another album.  I really enjoyed their last one, and this looks to be more of the same: double-kicking, riff-laden, melody-driven, epic power metal.  I'm definitely excited!

Vanishing Point may be from Austrailia, but they fit right in that Italian Prog Metal style.  Chunky riffing, tight melodies, epic vocals, orchestral sweeps, it's got it all.  Looks like this is another band I'll have to dig into.

Let's finish with something spooky!  Blue Oyster Cult is back with a new album after nearly 20 years, and this cut features their darker side quite well.  Melodramatic, with a rather rocking bridge that shows some nice fingerwork from the guitarists, it makes for a moody tune that works well for this Halloween-themed month.

Anniversary Series - 2010!

It turns out that I haven't actually listened to that many albums from 2010, so I'm doing things a little differently.  I'm going to treat this like a Last Played article, but with a focus on 2010 specifically.  That way they won't clutter up the normal Last Played articles with albums I'm just going to end up talking about here anyway.

Of course, I did have a handful of songs for my Spotify playlist before I made this decision, mostly stuff from Accept's Blood of the Nations, which I reviewed back in June.  Such a great album!  I've also threw in a handful of others, such as Grave Digger singing about Scottish Clans, a few tracks from Disturbed and a sludge metal band called Sonic Brew, and "Screaming Eagles" and a few others from Sabaton's Coat of Arms.  Now on to the reviews!

Amberian Dawn - End of Eden

Before they picked up synth-pop and were covering ABBA songs, Amberian Dawn was a more straight-forward symphonic power metal band whose first album I enjoyed very much.  It felt like Stratovarius with Nightwish's orchestra behind them, and I still consider it one of the best power metal albums ever made.  Their second one was more of the same, but not as strong, I think.  And now I've picked up the third one for this anniversary article!

Right off, I notice a greater emphasis of classical styles in the orchestrations (including an entire non-metal symphonic track), which makes the songs sound much more dramatic.  However, at the same time, I think there's too much emphasis on atmosphere and storytelling, resulting in less catchy and memorable songs.  River of Tuoni had some really catchy choruses and riffs, but I haven't heard them make a comeback at all.  The lyrics are also a little clunky, as the cadence and melodies don't seem to match very well.  I know I've had similar problems with Dragonland and Rhapsody of Fire.

That's not to say this album is bad by any means.  There's still plenty of epicness, and they do spice it up a bit by varying the tempo and the mood.  For example, "Ghostly Echoes" has a more gothic tone, with some pretty chunky mid-tempo riffs and "War in Heaven" has a doom metal quality to it.  The solos are also pretty solid, featuring some pretty high-speed fingerwork on both the guitars and keys.  It's solid stuff, but I don't know if I could say there are any real stand-outs.  (And, unfortunately, this album isn't on Spotify for some reason, so I can't include any of it in my playlist below!)

First Signal - First Signal

So after the members of Harem Scarem decided to break up and work on other things, singer Herry Hess worked with Frontiers Records to create First Signal, a band focused on that classic 80s AOR sound.  I know I've featured a few of their more-recent tracks here, but I thought I'd listen to their debut for this anniversary article.

And it's a solid piece of work.  There's a really good balance between the synths and guitars, without one dominating the other.  Hess himself is great, as he definitely sounds comfortable and confident with this style of music.  As is the case with these things, the songs are pretty predictable.  A few rockers here, a few ballads there, some nice solos, nothing really explosive or experimental, but of course that isn't the intention.  I'm sure it was a pleasant surprise for Harem Scarem fans at the time.  I don't know if there is anything particularly amazing, though "This City" is a good opening track, and "Naked Desire" has a thicker crunch in its guitars that I liked.  It's fun while it's on, making for some easy-going melodic rock.

Haken - Aquarius

Haken is another one of those bands where I had heard a lot of good things, but never got around to.  So for this article, I thought I'd listen to their first full-length album, which happens to be a concept album about a mermaid who gets caught and shown around in a carnival, only to end up being the savior of the world from a massive flood.

Right off, this is definitely jazzier than most other prog metal bands, incorporating a lot of different sounds.  I also had impressions of Evergrey, Dream Theater, Rush, The Flower Kings, and even Rick Wakeman.  It's really a curious mix of jazz-fusion, prog rock, and metal, like a rock soup.  That being said, none of it feels too jarring or schizophrenic, even when the calliope kicks on for some of the carnival parts.  It also even throws in some harsh vocals for the first two songs, and I was kind of expecting more of those as they seemed to be representing narrative turns in the story.

As for that story, while certainly aiming for a melodramatic tragedy, some of the details feel a little out of order.  For a moment, I wasn't sure if "Eternal Rain" should be before "Aquarius" in the timeline.  Then again, maybe fixating on it misses the point, as much of the lyrics seem to settle on the abstract side, especially towards the end.  I think the flood still happens, but the mermaid sacrifices her life so that her blood will force humanity to evolve so that they can live in the seas now.  Maybe?

Anyways, it works for making some solid prog metal.  Even for all the jarring shifts in tone within the songs, they all still seem to fit the story well, in their own way.  Of course, they also allow ample opportunities for plenty of soloing and mixed-meter sections to show the band's skills, and they are quite talented.  This is definitely an album I'll need to listen to a few more times to really unpack it, but first impressions are quite good.

---

Well, that was a little different. Hopefully I'll have more for 2010 when this cycle of years comes back in 2025. In the meantime, check out the playlist below and let me know what tracks you think I missed. Until then, rock on! \m/

New Videos - October 2020!

I feel like these last few months are gonna be nuts for me.  So much material to cover, so little time!  Hopefully, I'll be able to cover all that I want to before the year ends.  In the meantime, here's some new stuff I liked.

Starting off with something a little different, Lunatic Soul is a side project for the singer of Riverside, and it seems he's got some interesting vibes for this one.  It starts off kinda folky and moody, but it ends up building to this rather energetic ending that still feels moody and cinematic.  Fascinating piece of music for sure.

Of course, I'm not going to ignore the new AC/DC.  It sounds pretty standard, much like their material on Rock or Bust or Black Ice.  Solid, mid-tempo blues rock like the boys have been playing for over 40 years.

Here's Spirit Adrift again, and it's still kinda different from the other two I've featured.  This one starts off with more of a rockin', NWOBHM vibe before hitting the halfway mark and going for classic Black Sabbath for the second half.  Already, this album seems to quite the variety.

Pyramaze is another band I've seen around, but never heard.  This seems to be more on the melodic prog side, with a heavy dash of melodrama, like Evergrey or Darkwater.  Supported by some symphonic elements, it's a pretty solid, slow-paced piece of epic metal.

I can't believe Vanden Plas is back with another album.  I never did get around to their last one!  VP has always walked on the melodic side of prog metal, and this is no different, though they do throw in some mixed meter for good measure.  I'm rarely disappointed by these guys.

Let's close this one out with some nice AOR.  I guess Michael Palace has been bouncing around the Frontiers Records catalog for a while, and it shows.  This is 80s-tastic and anthemic as anything else that label has released.  Nothing new, but it's a nice, crunchy track of a style that definitely doesn't get enough attention these days.

Last Played - October 2020!

Oh, look!  Another Last Played!  I can't believe its October already.  I need to get cracking on those new releases.  In the meantime, here is some stuff I've listened to lately.  Lots of straight-forward, fight-pumping rock!

Accept - I'm a Rebel

Despite being familiar with their sound and history, I haven't really listened to many of Accept's albums.  While I'm way past my 1980 anniversary article, I felt like giving this a shot anyway.  At first, it's obvious that the band doesn't quite have their iconic sound, but it's still a decent chunk of rock, sitting comfortably between AC/DC and NWOBHM, with a dash of disco.

I'm not kidding.  Both "Save Us" and "I Wanna Be No Hero" have this disco beat, with the bouncy bass lines.  I'm guessing it's an attempt to capture the success of Kiss's "I Was Made For Lovin' You," and they're not as bad as you'd think.  Another curious factor is, despite having the iconic Udo Dirkschneider (even this early, his voice has a lot of charisma), they have two songs sung by the bassist Peter Baltes.  He's not bad, in fact, though he's given the acoustic ballads, which end up being just okay.

The main impression is a band being pressured for a more mainstream sound, but the result is a pretty forgettable album, though Wolf Hoffmann does have some solid solos on here.  Even the title track, which happens to be a song written for AC/DC (they recorded it but never released it), feels lackluster.  Only "Do It" sounds like the kind of metal the band would later be famous for.  Still, it's fun while it's on, if nothing else.

AC/DC - Rock or Bust

Speaking of AC/DC: there's news breaking about a new album coming from the Australian rock masters.  As I was going over those details, I realized that I hadn't listened to their last album, Rock or Bust.  I know I rather liked a lot of Black Ice, as I felt the band captured their classic style very well, so I was curious to see how much of that carried over, despite the six year gap.

Of course, the band has a sound as regular as the tide: straight-forward blues rock designed to be as distilled and toe-tapping as possible, and this one is no different.  If there is any distinction, Rock or Bust is shorter than any of their other albums, and that Malcolm Young didn't perform on it, as he had retired due to his health.  However, he gets plenty of song-writing credit, as he was working on these songs with Angus while they were touring. The band decided to have his nephew Stevie take over on rhythm guitar.  However, I don't think I can really tell a difference.  With stuff this simple, it's more about the song-writing anyway.

Like I mentioned when I reviewed Dirty Deeds Done Dirt Cheap, there may not be much point in reviewing an AC/DC album.  There certainly are some catchy songs, like "Rock or Bust," "Baptism by Fire," and "Sweet Candy" that have the punchiness of Black Ice, and "Dogs of War" is nice, gritty take on their style.  As for the rest, it's pretty standard stuff, but not really their strongest effort.  As expected, it's solid rock that shows the band isn't quite out of gas yet, and here's hoping that their next one proves the same.

Eclipse - Paradigm

I can't believe it took this long to get this album.  I was excited for this nearly a year ago.  Still, better late than never, I guess.  What we have here is some really great hard rock, built off of the 80s AOR mold, but isn't afraid to get metal in the riffing from to time.

The first thing I noticed was the production which gives the songs a ton of punch.  They all sound massive, and beg to be turned up.  The band is all on point, with vocalist Erik Mårtensson really giving his all on these songs, carried by the massive riffs and rhythms backing him up.  While I knew that "Viva La Victoria," "Mary Leigh," and "Delirious," were solid songs, but I didn't expect the rest of the album to be just as good!  The album just has this driving energy all the way through.  Even the slower songs like "Shelter Me," "When the Winter Ends," and "Take Me Home" rock pretty hard.  I also want to point out "United," "The Masquerade" as highlights.

Seriously, this could have been a Top 5 contender for 2019.  I had a blast listening to this, and I'm sure I'll be listening to it more, as well as digging into this band's discography.  If their albums are even half as good as this, it will be worthwhile.  Quality hard rock from top to bottom.

---

Well, that was some pretty fun stuff.  Like I said earlier, I'm planning on hitting the 2020 releases here at the end so look forward to that.  In the meantime, I hope you are all staying safe and well.  Until next time, rock on! \m/

Last Played - September 2020!

The year is winding down and I'm finally catching up on some current releases.  While I didn't intend to, this article is pretty much staying in the symphonic and power metal spaces with a trio of albums I've been highly anticipating.  Let's get into what I've been listening to this month.

Allen/Olzon - Worlds Apart

After salivating over the singles for this album in my New Videos articles, I finally listened to it.  The result is pretty straight-forward symphonic metal, with the main gimmick being the two titular vocalists.

It's an interesting pair.  Allen's vocals are passionate, full of emotion and energy, while Olzon's vocals are more cool and ethereal, matching the album artwork very well.  While on some songs, only one is singing (Olzon's songs sound a lot like her work in Nightwish, naturally), but I think the album shines best on songs that have both of them singing together, as the contrast of their voices makes the song more dramatic and powerful.  As for the rest, Frontiers Records has brought in Magnus Karlsson for more riffing and shredding, and he's got some decent solos here.

Fans of symphonic metal will find nothing really new here, as it establishes it's bombastic tone from the beginning, and doesn't vary at all.  The lyrics are also kind of basic, full of vague and abstract lines about relationships and emotions.  However, what's here is still well-executed.  The singles "Never Die" and "Worlds Apart" are still great, and I really enjoyed "Lost Soul" with that massive riff.  If you enjoy the work of either singer, you'll find plenty to like here.

Lovebites - Electric Pentagram

Japan has always had a long history with rock and metal music, going back to the early 80s (if not earlier), so hearing great metal from Japan is not surprising.  Even with the band consisting of five women isn't that weird, as there have been plenty of examples of women playing and/or singing great metal before.  However, as for Lovebites, they really know how to get my head banging!

Right off the bat, this group is very talented.  The guitarists Midori and Miyako stand out the most, not only playing some great riffs and melodies, but their solos are incredible as well!  Lightning fast, but not too shred-heavy so that you get lost in all the notes.  The rhythm section of Haruna and Miho keep the pace fast and tight, with Haruna fiercely double-kicking her way through it all.  Asami's vocals do take some getting used to, though, as it's pretty clear English is not her first language.  She also lays the vibrato pretty thick, like Tobias Sammet of Edguy, and I know that kind of voice isn't for everyone.  Still, the lyrics aren't so complicated that you won't know what she's singing, and she delivers them with a lot of gusto, so her voice never feels out of place.

As for the songs, they're generally pretty solid.  Looking at the song lengths (every one of them is over five minutes), you might think the album would be a slog, but I felt like the time was used quite well, actually.  The highlights for me were "Holy War" and "When Destinies Align," which gave me some big Gamma ray vibes.  I was a bit afraid that the album was going to be kind of samey throughout, but they do mix it up a bit.  "A Frozen Serenade" and "Swam Song" have more of a symphonic metal style, while "Thunder Vengeance" and "Set the World on Fire" are more thrashy.  And "Raise Some Hell" sounds like it could fit on a Judas Priest album.  The only ones I felt weren't as strong were "Today Is the Day," which feels a bit phoned in; and "The Unbroken" which tries to do this swing-step thing with their power metal sound, and it doesn't really work.  You also might feel like some of these songs belong as the intro to some fantasy anime series, which doesn't bother me (I am a bit of an otaku), but might bother others who don't care for that kind of bombastic energy.

Still, I highly recommend this album.  I was impressed by this group back when I discovered them two years ago, and they haven't disappointed here.  Not a perfect album, but certainly a very good one!

Primal Fear - Metal Commando

Just to recap, I discovered this band through Rulebreaker, which ended up being the best thing I'd heard all of 2016.  Their follow up Apocalypse was more of the same, but I felt it wasn't quite as strong.  However, after hearing the singles for this new album, I admit I had some high expectations.  Unfortunately, the rest of the album is just kinda okay.

To be fair, this isn't anything really new: the band has been playing chest-pounding heavy/power metal since the 90s, but I feel like the songs just aren't as strong as they could be.  The band is clearly still talented, with same solid riffing, slick solos, and Scheepers's iconic Halford-like vocals.  "I Am Alive" remains a good opener, full of double-kicking fury, and "Hear Me Calling" is still an interesting ballad, with the chorus turned up to 11.  "My Name Is Fear" has some pretty nice Helloween-like leads, and "Raise Your Fists" has this fun 80s metal energy, like a Turbo-era Judas Priest track.  However, the rest don't really do much more that hasn't been done better on Rulebreaker.  Sure, it's full of solid, mid-tempo stompers and a few faster tracks, but none of it seems to get above average for me.  Even the 13-minute epic "Infinity" doesn't really feel like well thought out.  It's like they had half a ballad and half a decent power metal song, and just made segues back and forth between the two before adding a symphonic section at the end that doesn't really match everything before it.  There's also a version of this album with a second bonus disc with a few extra tracks, but it's not much different than the rest of the album (though "Crucify Me" does have some interesting energy).

I can't help but wonder if I didn't just set myself up for failure.  I keep hoping I'll get another Rulebreaker from this band, but I guess that album was a peak, and after two albums, they've slid into a kind of comfortable pace for themselves.  I think I liked Apocalypse more than this.  Perhaps I'll find more to like once I listen to it more, but for now, somewhat underwhelming.

---

So, there's a few more down.  I intend to try and get through another handful of 2020 albums before the year is out so that I can have at least a solid top 5 for the year.  However, I have to admit I don't know if I've heard anything to really top Paragon's or Monkey3's work from last year.  Even Metal Commando isn't as strong as Iron Savior's Kill or Be Killed.  Well, I suppose there's still a few months left to be surprised by something.  Until then, rock on! \m/