We had the honor of chatting with heavy metal legend Joey Vera of Armored Saint all about their new album Punching the sky (read our review here) out now on Metal Blade Records. Joey talked about the future of the music industry and what it might look like post-COVID19, how the band writes together, his personal preferences in production and recording styles, his take on livestreams, the progress he is making on his other projects such as Fates Warning and Motor Sister, and more! Buy the album here and check out our chat! Continue reading
Showing no visible signs of wear and tear, classic Los Angeles metallers Armored Saint return with eighth studio album Punching the Sky (Metal Blade). Noted for their consistency in both output and personnel, you have to go all the way back to 1987’s Raising Fear (Chrysalis) to find a studio album with a different line-up. A surprising level of stability considering two lengthy hiatuses and the untimely death of original guitarist Dave Prichard.
The year 2000 is very memorable for many things, exceptionally in music. As pop dominated the airwaves with releases such as, N*Sync’s No Strings Attached, and Britney Spears’ Oops I Did it Again, an album that was forced by the media into the new category nu-metal was about to become historic. Continue reading
When listening to Forgotten Days (Nuclear Blast), Pallbearer’s fourth full-length, it’s hard to remember a time when they were ever this riff-driven. The title track sets an immediate precedent with its beginning feedback transitioning into pummeling yet catchy verses, a surprisingly hooky chorus, and a softer bridge that manages to keep the momentum going. ‘The Quicksand Of Existing’ and ‘Vengeance Ruination’ serve up even more heaviness in the album’s second half with the former’s straightforward chugs standing out. Considering past jabs I’ve made about Pallbearer being one of the most riff-adverse groups in Doom Metal, it’s a very refreshing change of pace.
Spirit Adrift could’ve followed the more accessible bent of 2019’s Divided In Darkness with more of the same but chose to mix things up to an even greater degree with their fourth full-length album. The tug o’ war between Doom and Traditional Metal that has defined their style has turned in the latter’s favor with more songs taking on upbeat tempos. The lyrics have also undergone a noticeable attitude adjustment with a decidedly optimistic outlook and an emphasis on metaphysical galactic imagery. There are enough common denominators to help Enlightened In Eternity (20 Buck Spin/Century Media) fit in with their established trajectory, but it may be their most drastic sound shift thus far.
Formed in 2004 and based in Tehran, Angband plays a style of Power Metal in the vein of American groups like Iced Earth and Jag Panzer rounded out with elements of Prog and Persian traditional music. Their fourth full-length album, aptly titled IV (Pure Steel Records), is their first to come out since 2012’s Saved From The Truth as well as the first to feature Tim Aymar of Control Denied/Pharaoh fame on lead vocals. The prospects are exciting, but the actual execution ends up being a rather mixed bag.
After nearly two decades spent exclusively on the live circuit, Blue Oyster Cult returns with their fifteenth full-length album, The Symbol Remains (Frontiers Records Srl). In a way similar to the recent releases by fellow Seventies Rock legend Alice Cooper, the band opts for a kitchen sink songwriting method. The fourteen tracks play out like a career retrospective of sorts, exploring a variety of moods between classic-minded rockers, synth-heavy AOR numbers, and atmospheric occult excursions.
2015 proved to be a productive year for the Russian/Welsh act, Venom Prison when they released not one, but two EPs. Their ambition has continued to grow since then by deftly demonstrating the cunning and extreme of their Modern Death Metal sound. This budding band made noticeable waves in the scene when they released their second full-length, Samsara (Prosthetic Records) last year. Vocalist Larissa Stupar presented this rare rage that she and the whole band developed into a massive, contagious fury. Now, these guys are ready to exhibit how much they’ve grown in the last five years. Primeval (Prosthetic Records) is a compilation of their first two Eps re-recorded and reinvigorated.
I want to open this review by saying that the talent and obvious skills of all the musicians involved in this record is undeniable, these are musicians that have been proving over and over again why they are recognized as some of the top artists in their genre and why they have the following they have. Having said that, this solo album by John Petrucci (Dream Theater) was not for me. And though we can argue that this kind of album is for a specific sector in the Progressive Metal realm, I truly cannot digest music that is made to show off the skills that “x” or “y” musician has in their instrument and that is my perception of Terminal Velocity (Sound Mind Music/The Orchard).
Metal heavyweight Corey Taylor has officially made his solo debut with the release of a full record. This new space has granted him the freedom to create songs you’d never find on a Slipknot record, for better or for worse. If you follow Taylor’s career exclusively because of Slipknot, CMFT (Roadrunner) might not be worth your time. But, for fans of Stone Sour, the collection of different hard rock styles and adjacent alternative influences are sure to please. Continue reading