What’s this column about (a.k.a. Part 1)?…
And on with the show …
Children of Bodom
Hate Drew Deathroll
Century Media
Finland’s favorite son, Children of Bodom has a storied past and continue to get tighter and more aggressive with each release. I find none more head-banging-ly enjoyable as 2003’s “Hate Crew Deathroll.” The band seethes from track to track like a locomotive on speed. The album is a perfect blend of controlled rage: vocals bordering on death metal; explosive rhythm; cascading drums; even the synth riffs fit the groove perfectly, sounding almost like guitar solos. The earlier releases were a little heavier, but “Hate Crew” is a nice, tight package of backwater metal. Of note, the explosive one-two opening punch of “Needled 24/7” and “Sixpounder” …
Nightwish
Once
Roadrunner Records
Who would have thought metal could sound so beautiful? Combining metal with the feel of opera, Nightwish if one of the few metal outfits that fully encompass both ends of the spectrum (unlike Arch Enemy or the more commercially popular, or at least well-known, Lacuna Coil). From my review of the album: “The band fuses a solid offering of European metal (read: heavily orchestrated, elaborate, epic in scope and usually catchy) fused with orchestral vocals courtesy of front woman Tarja Turunen (who is trained in classical singing).” The music, for the most part, is undeniably metal, from the guitar solos to the hard-hitting drumming and frantic bass lines. But the band is technically-sound enough to slow everything down and throw out a track like “Creek Mary’s Blood” or “Kuolema Tekee Taiteilijan,” which sounds like something out of a score for “Lord of the Rings” instead of a metal track. Prior effects seemed a little too meandering at times, but “Once” strings together a complete album. With Turunen no longer in the band, it will be interesting to see Nightwish fill her shoes.
Opeth
Ghost Reveries
Roadrunner Records
Opeth is almost impossible to completely describe with words (meaning, it’s so much more to actually hear the band play). Essentially the Tool of the European scene, Opeth creates haunting, ethereal masterpieces of sound, pulling influence from all corners of the genre and beyond (I definitely hear some jazz in there); organ work, a nice blend of death and (soaring) clear vocals (totally unlike anything in the recent hardcore/metal sound that emerged over the past couple of years). Every song is an epic and, after hearing “Ghost Reveries,” it’s clear the band is fast-becoming the preeminent metal band in the genre.
The Haunted
rEVOLVEr
Century Media
Rising from the ashes of At the Gates, The Haunted had some big shoes to fill. The group finally did so with “rEVOLVEr,” an album that featured the return of original vocalist Peter Dolving. It’s a tight, well-executed metal outing, full of classic guitar and bass riffs and blistering drums. But it’s Dolving that really pulls the show together. I read a review of the album accusing the band of finding the perfect middle ground between chaos and precision. I like that description. The band isn’t completely extreme (think a mid-career Pantera). The trio of “99,” “Liquid Burns” and “All Against All” make this one of my favorite releases of ’04 … the truth is, there isn’t anything on here I don’t like.
In Flames
Colony/Clayman
Nuclear Blast Records
I almost wanted to avoid In Flames completely, given the polarized nature of the fanbase (those that love the early years, those that prefer the band’s new direction). Personally, I’m a huge fan of “Reroute to Remain,” — the blend of soaring melody and gritty metal. That’s my pick. But I know deep down that it really comes down to “Colony” or “Clayman” for the band’s pinnacle offering. How ironic since the point between these discs delineates the band’s “shift” in sound. Heavy on keyboards, heavy on monster riffs, real heavy on the raspy vocals, I learn toward Clayman because that’s the sound that introduced me to the band. In the end, you can’t go wrong with any of the three releases. Sweden’s In Flames is one of the most charismatic and unique (from an instantly-recognizable sound standpoint) bands in the European scene. The group’s more recent efforts have seemed a little tired, but with a trio of potential new classics in the vault already, In Flames is a band impossible for metal fans to overlook.
Let’s try this quick and dirty:
Dragonforce:Inhuman Rampage — If you like your metal epic in both scope and nature, with a heavy helping of old-school (think classic Maiden or Priest), then this is the release for you. Almost every song is a least seven minutes long, but it’s more like “hey, we have a solid three minute tune, let’s tack on four minutes of solos” … and I wouldn’t have it any other way.
Soilwork:Stabbing the Drama — Soilwork finally got it right … a nice blend of all-out heavy metal with a sprinkling of melody here and there. Fans were mad that the outing lacked the group’s trademark solos, but I actually think it makes everything flow together that much better. If you’re looking for a fun headbanger, look no further.
The Project Hate:Armageddon March Eternal — As much as Nightwish perfectly blends metal and opera, The Project Hate does it to the extreme. This album is like a cross between Ministry, Nightwish and Meshuggah, and that’s not a bad thing. While the album may be a little tough to track down, it’s totally worth it.
Susperia:Unlimited — While not the most recognized group on the metal scene, Susperia offers up a hearty helping of power, black, thrash and death metal … force-formed into a metal-rock amalgam of comfortable noise.
Evergrey:Recreation Day — Another one of those bands that deserve way more recognition than it gets, Evergrey has a slew of impressive offerings. My favorite: “Recreation Day.” Whether it’s the driving force of the opening track “The Great Deceiver” or the dirge of “Fragments,” nothing on here is a miss and the album never seems to grow old.
And that’s that. It’s been fun, thanks for reading and take it easy. …
