A lot of people are compiling their lists of favorite albums, bands, movies, television shows or whatever of the decade.  I decided it would be fun to try to get a list together for my favorite albums of the decade.  I was initially optimistic about the list, but I quickly realized how lame the past decade has been.  Anyway, these are my personal albums of the decade.  I’m sure most of you will either hate the bands or albums.   A lot of these are sort of sentimental picks.  Many these albums got me through some tough times.  Others were my introduction into whole new genres.  Some are bands that grew on me and have left a huge impression.  I encourage you all to make your own lists.  I would love to read them.

The List

1. Between the Buried and Me – Colors (2007) link
2. At the Drive-In – Relationship of Command (2000) link
3. The Mars Volta – De-Loused in the Comatorium (2003) link
4. Coheed and Cambria – In Keeping Secrets of Silent Earth: III (2003) link
5. Circle Takes the Square – As the Roots Undo (2004) link
6. Muse – Absolution (2003) link
7. Jimmy Eat World – Bleed American (2001) link
8. La Dispute – Somewhere At The Bottom Of The River Between Vega And Altair (2008) link
9. Thursday – Full Collapse (2001) link
10. The Mountain Goats – All Hail West Texas (2002) link
11. The Number Twelve Looks Like You – Mongrel (2007) link
12. The Fall of Troy – Manipulator (2007) link
13. Café Tacvba – Cuatro Caminos (2003) link
14. The Postal Service – Give Up (2003) link
15. Three 6 Mafia – The Most Known Unknowns (2005) link
16. Queens of the Stone Age - Songs for the Deaf (2002) link
17. Ted Leo & the Pharmacists - Hearts of Oak (2003) link
18. The Blood Brothers – Young Machetes (2006) link
19. Rodrigo y Gabriela – Rodrigo y Gabriela (2006) link
20. mewithoutYou – [A-->B] Life (2002) link
21. Tenacious D - Tenacious D (2001) link
22. Paramore – Riot (2007) link
23. Taking Back Sunday – Tell All Your Friends (2002) link
24. The Plot to Blow Up the Eiffel Tower – Dissertation, Honey (2003) link
25. System of a Down – Toxicity (2001) link

Honorable Mention

• Alkaline Trio – From Here to Infirmary (2001) link
• Strike Anywhere – Change is a Sound (2001) link
• Blink-182 – Take Off Your Pants and Jacket (2001) link
• NOFX – War on Errorism (2004) link
• Job For a Cowboy – Doom EP (2005) link
• At All Cost – It’s Time to Decide (2006) link
• The Smashing Pumpkins – Machina and the Machines of God (2000) link
• Bloc Party – Silent Alarm (2005) link
• Cursive - Mama, I’m Swollen (2009) link
• See You Next Tuesday – Parasite (2007) link
• Protest the Hero – Kezia (2005) link
• The Darkness – Permission to Land (2003) link

Thank you, Between the Buried and Me.

California’s Winds of Plague might be the ultimate metal guilty pleasure.  Let me start this off by saying that the awesome Metal Inquisition has already blogged about this band extensively (and hilariously), but I only recently decided to actually check them out for myself.  I’m sure I’ve already lost all my kvlt points for copping to liking Annotations of an Autopsy, Job For A Cowboy and Suicide Silence in the past, so what the hell do I have to lose.

Winds of Plague get lumped in with the “deathcore” genre.  I’m guessing this is because their music prominently features breakdowns and their merch is available at Hot Topic.  But then again, most music critics that make these decisions as to what category/genre/movement bands get lumped into are half-retarded, and the average metal fan that supports these categorizations is full-on retarded, so we’ll go ahead and ignore the deathcore tag alltogether. If anything, Winds of Plague are a complete genre trainwreck of Dimmu/Cradle-esque Euro-symphonic metal and Hatebreed-style toughguy metalcore, and just like a real-life trainwreck, it’s nearly impossible to look away.  Are they actually on to something with this rather improbable collision of styles that paints aural pictures of Jamey Jasta violently fornicating with Shagrath, spewing forth the members of Winds of Plague as their infernal rape-children?

With the release of the Decimate the Weak album,  the band gained some notoriety for their mildly hip-hop flavored song “Reloaded” and video for the song “The Impaler” which features the band up in the club and exhibiting behaviors that could best be described as mad wiggerish.  While the hip-hop influence seemed to get blown waaay out of proportion by some parts of the metal media, “Reloaded” does feature some of my favorite metal lyrics of all time:

“We’ve got the world in the palm of our hands / Busters fall down when we’re barking commands / Atlas ain’t got shit on our steez / kick out the chair and get on your knees”

(Music video for “The Impaler”… clearly P-Diddy ain’t got shit on Winds of Plague’s steez.)

Thoroughly intrigued by what I had heard and seen in my research, I decided to give their new album, The Great Stone War a shot.  Apparently it’s a concept album about an apocalyptic fantasy battle at the end of humanity’s reign on Earth… or something like that.  This, along with the album’s Warcraft-worthy album art lends yet another level of head-shaking WTF to the band’s schtick.  One minute they’re posturing like gangsta rappers, the next they’re releasing an album that makes one wonder if they’re sitting around playing Dungeons & Dragons in their backwards caps and mesh shorts.

(The Great Stone War album cover… now where are my 12-sided dice?)

Ultimately, my descent into the world of Winds of Plague has left me with more questions than answers.  Regardless, I can’t help but enjoy this bizarre, epic cross-genre clusterfuck, where sword-wielding, hobbit metal Tolkien-nerds collide in a moshpit wall of death with wack nu-hardcore meathead mouthbreathers. Either they’re one uniquely confused band or they simply don’t give a fuck and have no qualms about mashing up these styles, whether or not it looks good on paper and haters be damned.

http://www.myspace.com/windsofplague

I am going to write this review of Friday’s GWAR show at Northern Lights in Clifton Park, NY with the assumption that many people reading this have never heard of the band, and/or have never seen them in concert.  To state it as simply as possible, GWAR is a heavy metal band that has now been around for 25 years.  There is an entire mythology as to their alien origins and their path of metal music and destruction here on Earth.  It’s an amusing tale that you can read about on their website, if you’re so inclined.

From a strictly musical standpoint, GWAR is a decent metal band – they throw in elements of thrash, speed metal, and even a little punk for good measure, but mainly they’re pretty straightforward heavy metal.  Their music is not necessarily memorable, but they do have some catchy riffs and head-banging beats.  But GWAR has not stayed around this long because of their music.  GWAR’s live act is what has kept them playing for 25 years to a diverse and devoted cult following.

As you can see from the photo, the costumes are quite elaborate.  They’re a cross between alien technology, sado-masochistic bondage gear and demonic ugliness.  Lead singer Oderus Urungus sports a cartoonishly large black phallus to compliment his thong underwear.  So just seeing these guys perform their songs in this getup is quite amusing.  But it’s what happens during the songs that truly defines the band’s shtick.

Weird alien characters, politicians and pop culture icons manage to appear on stage during each show (in the form of giant foam rubber costumes).  GWAR and/or their minions then proceed to kill, maim, torture, rape, cannibalize and otherwise dismember these characters, while the band blasts their metal music into the crowd.  And if that’s not enough, when these poor souls are being ripped apart, fountains of fake blood, vomit, semen and other excremental fluids are sprayed into the adoring throng of mosh-pitters and crowd surfers; red, blue, green and black streams gush forth from intestinal cavities, decapitated heads, and even from Urungus’ giant black unit.

Each GWAR tour utilizes a narrative of sorts, derived from their mythology, to half-heartedly explain the appearance of weird characters during the songs.  It’s half-hearted because the audience really doesn’t care – they just want to see blood and guts.  It’s all very silly and immature and cartoonish, but the band obviously knows this, and thus doesn’t – nay, can’t – take themselves seriously.  But they keep it just serious enough that you get sucked into their world for 80 minutes or so, and enjoy the fun, mindless entertainment while you’re there.

Northern Lights was packed on Friday night, and GWAR draws an eclectic mix of people.  There were metal-heads for sure, eager to mosh it up.  There was a punk element as well, which makes sense since GWAR embraces a punk attitude of non-conformity and absurdity.  The Goth scene was also represented, attracted by the horror and evil.  From the opening notes of GWAR’s set, the crowd responded very enthusiastically, and GWAR did not disappoint.  I will admit that I did not bother to check out the names of any of the songs they played, because honestly, it really doesn’t matter.  The show is what counts for GWAR, and put on a show they did.  Michael Jackson made an appearance with a giant mutated baby – after dancing around a bit, Urungus ripped off Jackson’s face to reveal a bloody mess beneath.  That horrific infant would later get impaled by Urungus’ giant sword, much to the crowd’s delight.  A 7-foot robot appeared during a later song, looking like something out of Godzilla film. But we soon discovered that it had flesh and blood underneath its metal frame; when its arms were ripped off, a fire hose-strength stream of blood doused the crowd.  For the encore, our president himself, Barack Obama, jaunted on stage wearing a crown and carrying a cane.  He presented GWAR with some sort of medal for kicking ass, at which point Urungus grabbed the cane and nearly decapitated Obama with it (nearly, because his head was dangling from his neck).  The song began, blood began to spurt from Obama’s neck, and then he danced around to the song, head dangling and blood flowing.

Obviously GWAR is not for everyone.  It’s over-the-top offensive for the sake of being offensive, it’s gross, it’s goofy and disgusting and so much fun! A GWAR show is not a music show – it’s performance art.  But most performance art is supposed to be taken seriously, even though when you see it you want to laugh sometimes at how silly it is.  GWAR knows it’s silly – ridiculously silly – and so everyone laughs, including them.  GWAR is an entertainment machine, pure and simple.  I don’t own any GWAR music – I don’t think it’s good enough (or interesting enough) to stand on its own.  But when you see the show, it all works marvelously.  And judging from the soaked clothes and smiling faces leaving the venue Friday night, the GWAR machine can probably roll on for another 25 years.

Hitting the stage before GWAR was Phoenix-based Job for a Cowboy, who may want to consider taking their name literally and look for work elsewhere.  As death metal bands go, they were extremely average, uninventive, and dull.  There were occasional moments of good riffs and guitar soloing, but there were few tempo changes and little crowd interaction by the lead singer, who was very hard to understand during the few moments he did try and address the Capital Region mass.

By contrast, opening band The Red Chord was much more enjoyable.  The Boston-based grindcore/death metal band had some killer riffs, a sharp sound, and their short set featured a great 5-minute instrumental segment.  Lead vocalist Guy Kozowyk was very engaging, even going so far as to call out the type of mosh-pitting he wanted to see, like a square dance caller at a hoedown:  “Circle pit, right now!”  “Crowd surfing, let’s go!”  It was very amusing, and the crowd, many of whom had apparently made the trek from Beantown to see the band, gleefully obliged.

This GWAR show gets 4 out of 5 stars.

Job For A Cowboy

Misfits

A Day To Remember

The Strokes

GWAR
Job For A Cowboy
The Red Chord

$20 online
$25 at the show
7pm doors
all ages

Estilo:

Death Metal

Tamanho:

22.08mb

Tracklist:
1. Catharsis for the Buried (intro)
2. Entombment of a Machine
3. Relinquished
4. Knee Deep
5. The Rising Tide
6. Suspended By the Throat

Preview (MySpace)

DOWNLOAD (MEDIAFIRE)

Yes, folks, it’s true: As the shock-rock veteran poses for our camera, he oc­casionally stretches his hand toward a helpful-looking young fellow whose only job appears to be passing Manson a gob­let filled with a few fingers of Mansinthe, the neon-green absinthe that he produc­es in Switzerland. Slayer guitarist Kerry King, Killswitch Engage singer Howard Jones, Trivium frontman Matt Heafy — each arrived at our shoot with a publicist or manager (or both) in tow. Tom Araya even brought his wife and kids, who watch the Slayer frontman throw devil horns with the seen-it-all indifference of a bunch of roadies. But only Manson rolled up with a guy to hold his cup.

Of course, if that’s the kind of excess it takes to produce work as brilliantly twisted as Manson’s new The High End of Low (Interscope) —his first album with bassist Twiggy Ramirez since 2000’s Holy Wood, and the only one so far this year to lead with a single titled “Arma-goddamn-motherfuckin-geddon” — then we whole­heartedly endorse the practice. In fact, if the economy doesn’t improve, we might even consider applying for the gig.

Fortunately for headbangers with money problems of their own, this year’s Mayhem lineup promises a seriously righteous bang-to-buck ratio: In addition to Manson, Slayer, Killswitch, and Triv­ium, the month-long trek —which kicks off July 10 in Sacramento and wraps up August 15 in Dallas —also features Bul­let for My Valentine, Job for a Cowboy, All That Remains, Cannibal Corpse, Behemoth, God Forbid, Whitechapel, the Black Dahlia Murder, and Mushroom-head. Thirsty for details (and maybe a little Mansinthe), Revolver sat down with Manson, King, and Araya, as well as a handful of other Mayhem heavy-hitters, for a series of in-depth chats about what showgoers can expect.

It seems everyone discovered a winning formula with this summer’s Korn show at The Shrine Mosque: Book a big-ticket national act, set up a battle of the bands among big-drawing locals to determine the opener, apply revenue from the battle of the bands to help offset the cost of the big-ticket national act. The formula returns October 17 with another battle of the bands–this time at The Outland Ballroom, as opposed to Remmingtons Downtown–to determine the opening act for Lamb Of God when the band comes to the Shrine with Gwar and Job For A Cowboy November 7. The lineup? Glad you asked. Peep it after the break.

There are five bands in all competing for the opening slot. We’ll list them alphabetically:

Extreme Hate Frequency

Fiera

The Murlesque

Six Shots Till Dawn

Violent End

The winner, as we alluded to before, gets to play at The Shrine Mosque as the opening act for Lamb Of God, something no local act would normally be afforded the chance to do otherwise. You’ll get to decide which of these fives bands gets said chance, thanks to the ballot that comes with your paid entry to the show. The band with the most ballots cast for it at the end of the night wins.

You know I normally don’t post much about pop stars, but I’ve found a new respect for one Hannah Montana or Miley Cyrus as she may or may not be known as.  She’s really come into her own and shown her true colours with her latest effort.  I’m sure this song will shoot straight to the top of the charts and cement her as the greatest singer in the world right now.

Enjoy.

Lamb Of God have announced that they will be hitting the road this fall in support of their newest album Wrath, along side of Gwar and Job For A Cowboy. The tour will hit cities all over the US and Canada and will also include a set of support shows with Metallica, whom they have toured with twice before.

09/14 – Nashville, TN – Sommet Center
09/15 – Cincinnati, OH – US Bank Arena
09/16 – Memphis, TN – Minglewood Theater
09/17 – Indianapolis, IN – Conseco Fieldhouse
09/19 – Montreal, QC – Bell Center
09/20 – Montreal, QC – Bell Center
09/21 – Providence, RI – Lupos at the Strand
09/22 – Montclair, NJ – Welmont Theater
09/23 – Pittsburgh, PA – Amphitheater at Station Square
09/25 – Oklahoma City, OK – Bricktown Events Center
09/26 – Lubbock, TX – Lonestar Amphitheater
09/27 – Austin, TX – Austin Music Hall
09/28 – San Antonio, TX – AT&T Center
09/29 – Dallas, TX – American Airlines Center
10/01 – Ft. Lauderdale, FL – Bank Atlantic Center
10/02 – Jacksonville, FL – Plush
10/03 – Tampa, FL – St. Pete Times Forum
10/04 – Atlanta, GA – Philips Arena
10/05 – Orlando, FL – Hard Rock
10/07 – Little Rock, AR – Clear Channel Metroplex
10/08 – Wichita, KS – Cottilion
10/09 – Des Moines, IA – Val Air Ballroom
10/10 – Fargo, ND – Playmakers Pavilion
10/12 – Winnipeg, MB – MTS Centre
10/13 – Minneapolis, MN – Target Center
10/15 – Cleveland, OH – Quicken Loans Arena
10/16 – Knoxville, TX – Valarium
10/17 – Charlottesville, VA – JPJ Arena
10/18 – Charlotte, NC – Charlotte Bobcats Arena
10/20 – Norfolk, VA – Norva
10/21 – Raleigh, NC – Disco Rodeo
10/23 – Atlantic City, NJ – House of Blues
10/24 – Big Flats, NY – TAGGS
10/25 – London, ON – JLC
10/26 – Toronto, ON – Air Canada Centre
10/27 – Toronto, ON – Air Canada Centre
10/29 – Moncton, NB – Coliseum Hall C
10/30 – Halifax, NS – Cunard Centre
10/31 – Quebec City, QC – Colisee Pepsi
11/01 – Quebec City, QC – Colisee Pepsi
11/03 – Ottawa, ON – Scotiabank Place
11/05 – Ft. Wayne, IN – Pierres
11/06 – Milwaukee, WI – Eagles Ballroom
11/07 – Springfield, MO – Shrine Mosque
11/09 – Grand Rapids, MI – Van Andel Arena
11/10 – Buffalo, NY – HSBC Arena
11/11 – Washington DC – 9:30 Club
11/12 – Albany, NY – Times Union Center
11/14 – New York, NY – Madison Square Garden
11/15 – New York, NY – Madison Square Garden

Lamb Of God’s official website

A cantora, modelo, atriz e manicure ninfetinha Demi Lovato disse à MTV Americana que ADOOOOOOOOOOOORA um som pesado — listou como suas bandas prediletas, brutalidades como Job For A Cowboy e Lamb Of God!

Ela — aos 16 aninhos, mulher madura, cristã e coerente que é — ainda citou outras como o black metal capetão pero no mucho Dimmu Borgir e os crentes metalcore Underoath, The Devil Wears Prada e Maylene and the Sons of Disaster.

E aí, depois de assistir ao clipe da Demi Lovato, será que deu pra notar as influências metaleiras? Se bem que pelo Here We Go Again dá até pra pensar no krishnacore do Shelter, e, indo mais longe, reparar que tudo na garota envolve religião!

The Rockstar Energy Drink Mayhem Fest hit Hartford, CT to melt faces on August 8, 2009. With 13 bands playing daily, the festival has something to offer for anyone who can appreciate music with a heavier edge. From White Chapel to Marilyn Manson, the event left little to be disappointed in.

United Music got the chance to catch up with: White Chapel, Soul Made Visible, Behemoth, God Forbid, The Black Dahlia Murder, All That Remains, Job For A Cowboy, Trivium, Cannibal Corpse, Bullet For My Valentine, Killswitch Engage, Slayer, and Marilyn Manson.

White Chapel weren’t able to play the Massachusetts date a few days back, but the band were back in full force in Connecticut. Though being the first band of the day, the group have what many would refer to as stage presence. Utilizing risers at the front and thrashing their way around the stage, this band is one whose set attendees absolutely shouldn’t miss. If the double shot expresso you had earlier didn’t wake you up, White Chapel sure will.

Behemoth were one of the first acts of the day on the Hot Topic stage, but don’t let the fact that they’re on a smaller stage fool you: these guys bring an energy packed performance that kept the crowd going strong despite only playing six songs. Slathered up in body paint and later dowsing the front row of the crowd in fake blood, Behemoth are one band not to be missed on this tour – provided you’re not afraid to get down and dirty with them during their performance. God Forbid were not quite as forward with the element of shock value, but between the jumping around onstage and throwing up the horns between songs, the crowd seemed just as excited to be there. This band’s strongest asset for the day was their ability to connect with their crowd.

During The Black Dahlia Murder crowd surfing was at an all time high – but with such an infectiously heavy rhythm, could you really blame attendees? Out of the smaller bands on the tour, this group’s crowd was one of the largest and with thousand looking for a good show, the band definitely delivered by making sure to engage their viewers just like God Forbid. All That Remains busted out the platforms and drum risers to give their performance an especially epic feel. This band was also particularly rowdy onstage, but if you asked fans it’s doubtful they would have had any complaints. Job For A Cowboy was another band who drew a very large crowd – and with good reason too. As the time for the headlining acts’ performances neared, the band only added to the hype by joking around onstage and communicating as much as possible with those who had come out to see them.

Trivium by far gave the best set of the afternoon on the smaller stages. Throughout their time onstage, it was obvious just how much of a camaraderie there was between the band as they high-fived and laughed their way through their six songs. With extra platforms for the band members to utilize, this band offered the crowd the most intimate performance of the day. The last smaller band of the day, Cannibal Corpse stood out amongst the others who had played prior to them… and not in a good way. With little energy onstage and the same routine movements for 20 minutes, the band had seemingly nothing to offer for those who had never heard of them before showing up that day. However, their fans seemed really into what was going onstage, bringing the mosh… as long as the kids were enjoying themselves, that’s all that mattered right?

Bullet For My Valentine was the first of four main stage bands in the amphitheater. Rallying the crowd to throw up the middle finger and joking around onstage, the band were a fun segue into the last bands of the night. 

Killswitch Engage busted out the spotlights, larger-than-life backlighting, and pyrotechnics for the show. Coming in from outside into the amphitheater, the Comcast Theatre’s arena was certainly fitting for a band that commanded the stage as their own. Killswitch Engage’s set was one of the most welcome later in the night as they were one of the only bands that made the crowd feel like they were welcome and among equals. Joking around and letting their appreciation for the crowd be known, the band rounded of their hour with a performance that was energy-packed from first song to closer.

When thrash metal kings Slayer hit the stage, anticipation soared. Throughout the night the band were particularly quiet but played fan favorites nonetheless. When you’re Slayer, you don’t need to be obnoxious onstage – your music is enough. Finally as the last act of the night, Marilyn Manson graced the stage as a chant broke out from the crowd and quickly swept across the whole arena. As the intro to “We’re From America” can be heard, Manson can be seen by a few photographers from behind the curtain, taking swigs from a liquor bottle with the rest of his band… then the curtain drops and all hell breaks loose. Paying face time to both sides of the crowd and taking the time to run out on the catwalk that extended into the crowd, Manson took the time to hold hands and share the mic with the front row. One thing is clear: Manson doesn’t give less than 100 percent in a performance and even if he did, the crowd would probably still chant his name.

All in all, Mayhem Fest is well worth the money to get an up close and personal chance to rock out with your favorite names in metal. Some acts are better than others but the beauty of it is that if you don’t like a band, 20 minutes later a new band is going to take the stage. Mayhem has a little bit of something to offer everyone and even if you aren’t a fan of any of the bands, if you look hard enough you will find something that excites you.

White Chapel

Soul Made Visible

Behemoth

God Forbid

The Black Dahlia Murder

All That Remains

Job For A Cowboy

Trivium

Cannibal Corpse

Bullet For My Valentine

Killswitch Engage

Slayer

Marilyn Manson

Words & photos by Victoria Morse

To view all of the full sets from the day click on any image.

Hotdog muchaco! Lamb of God has posted more headlining dates with Gwar and Job For A Cowboy. These shows are scheduled on off-dates of LOG’s forth coming Metallica tour.

LAMB OF GOD, GWAR and JOB FOR A COWBOY tour dates:

Sep. 16 – Memphis, TN – Minglewood Hall
Sep. 21 – Providence RI – Lupo’s Heartbreak Hotel
Sep. 22 – Montclair, NJ – Wellmont Theatre
Sep. 23 – Pittsburgh, PA – Amphitheater at Station Square
Sep. 25 – Oklahoma City, OK – Bricktown Events Center
Sep. 26 – Lubbock, TX – Lonestar Amphitheater
Sep. 27 – Austin, TX – Austin Music Hall
Oct. 02 – Jacksonville, FL – Plush
Oct. 05 – Orlando, FL – Hard Rock Live
Oct. 07 – Little Rock, AR – Clear Channel Metroplex Event Center
Oct. 08 – Wichita, KS – The Cotillion
Oct. 09 – Des Moines, IA – Val Air Ballroom
Oct. 10 – Fargo, ND – The Venue @ Playmakers
Oct. 16 – Knoxville, TN – Valarium
Oct. 20 – Norfolk, VA – The NorVa
Oct. 21 – Raleigh, NC – Disco Rodeo
Oct. 23 – Atlantic City, NJ – House of Blues (no GWAR)
Oct. 24 – Elmira, NY – First Arena
Oct. 25 – London, ONT – John Labatt Centre
Oct. 29 – Halifax, NS – Cunard Center
Oct. 30 – Moncton, NB – Moncton Coliseum – HALL C
Nov. 05 – Ft. Wayne, IN – Piere’s
Nov. 06 – Milwaukee, WI – The Eagles Club
Nov. 07 – Springfield, MO – Shrine Mosque
Nov. 11 – Washington, DC – 9:30 Club

The Rockstar Energy Drink Mayhem Fest hit Mansfield, MA to melt faces on August 4, 2009. With thirteen bands playing daily, the festival has something to offer for anyone who can appreciate music with a heavier edge. From Behemoth to Marilyn Manson, the event left little to be disappointed in.

United Music got the chance to catch up with: Behemoth, God Forbid, The Black Dahlia Murder, All That Remains, Job For A Cowboy, Trivium, Cannibal Corpse, Killswitch Engage, Slayer, and Marilyn Manson.

Behemoth were one of the first acts of the day on the Hot Topic stage, but don’t let the fact that they’re on a smaller stage fool you: these guys bring an energy packed performance that kept the crowd going strong despite only playing six songs. Slathered up in body paint and later dowsing the front row of the crowd in fake blood, Behemoth are one band not to be missed on this tour – provided you’re not afraid to get down and dirty with them during their performance. God Forbid were not quite as forward with the element of shock value, but between the jumping around onstage and throwing up the horns between songs, the crowd seemed just as excited to be there. This band’s strongest asset for the day was their ability to connect with their crowd.

During The Black Dahlia Murder crowd surfing was at an all time high – but with such an infectiously heavy rhythm, could you really blame attendees? Out of the smaller bands on the tour, this group’s crowd was one of the largest and with thousand looking for a good show, the band definitely delivered by making sure to engage their viewers just like God Forbid. All That Remains busted out the platforms and drum risers to give their performance an especially epic feel. This band was also particular rowdy onstage, but if you asked fans it’s doubtful they would have had any complaints. Job For A Cowboy was another band who drew a very large crowd – and with good reason too. As the time for the headlining acts’ performances neared, the band only added to the hype by joking around onstage and communicating as much as possible with those who had come out to see them.

Trivium by far gave the best set of the afternoon on the smaller stages. Throughout their time onstage, it was obvious just how much of a camaraderie there was between the band as they high-fived and laughed their way through their six songs. With extra platforms for the band members to utilize, this band offered the crowd the most intimate performance of the day. The last smaller band of the day, Cannibal Corpse stood out amongst the others who had played prior to them… and not in a good way. With little energy onstage and the same routine movements for 20 minutes, the band had seemingly nothing to offer for those who had never heard of them before showing up that day. However, their fans seemed really into what was going onstage, bringing the mosh… as long as the kids were enjoying themselves, that’s all that mattered right?

Killswitch Engage busted out the spotlights, larger-than-life backlighting, and pyrotechnics for the show in the state they call home. Coming in from outside into the amphitheater, the Comcast Center’s arena was certainly fitting for a band that commanded the stage as their own. Killswitch Engage’s set was one of the most welcome later in the night as they were the only band that made the crowd feel like they were welcome and among equals. Joking around about Yankee-Red Sox preferences among the band and letting their appreciation for the crowd be known, the band rounded of their hour with a performance that was energy-packed from first song to closer.

When thrash metal kings Slayer hit the stage, anticipation soared. Throughout the night the band were particularly quiet but played fan favorites nonetheless. When you’re Slayer, you don’t need to be obnoxious onstage – your music speaks for you. Finally as the last act of the night, Marilyn Manson graced the stage as a chant broke out from the crowd and quickly swept across the whole arena. Paying face time to both sides of the crowd and taking the time to run out on the catwalk that extended into the crowd Manson took the time to hold hands and share the mic with the front row. One thing is clear: Manson doesn’t give less than 100 percent in an intimate set and anyone who missed his performance missed out on an experience.

All in all, Mayhem Fest is well worth the money to get an up close and personal chance to rock out with your favorite names in metal. Some acts are better than others but the beauty of it is that if you don’t like a band, 20 minutes later a new band is going to take the stage. Mayhem has a little bit of something to offer everyone and even if you aren’t a fan of any of the bands, if you look hard enough you will find something that excites you.

Behemoth

God Forbid

The Black Dahlia Murder

All That Remains

Job For A Cowboy

Trivium

Cannibal Corpse

Killswitch Engage

Slayer

Marilyn Manson

Photos and words by Victoria Morse

Click on any image to see all of the full sets from the night.

http://www.returntothepit.com/concert.php?date=2009-08-04

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All That Remains (189)
Behemoth (159)
Bullet For My Valentine (87)
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God Forbid (144)
Job For A Cowboy (183)
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We just got the up-to-the-minute confirmation of one of the biggest shows of the year. What did we tell you? Seriously, a huge THANK YOU goes out to all the amazing and hard working people that keep bringing in amazing shows to Springfield. They’ve just outdone themselves again with their latest show confirmation. More details after the break…

FM Productions Presents:

Lamb of God
Gwar
Job For A Cowboy
Saturday, November 7
The Shrine Mosque
ALL AGES
Tix: Metrotix.com, Shrine Box office, Stick It In Your Ear, Vintage Stock (North and South), and Kaleidoscope (As soon as we know when they’re on sale, we’ll let you know.)

TIP: Lately the Shrine and FM Productions has been hooking up awesome pre-sales and VIP packages on the cheap. We’ll have details as soon as they’re available.

Mark the date on your calendars…this one is going to be INSANE!

LAMB OF GOD, GWAR and JOB FOR A COWBOY are teaming up for a tour of the U.S. this fall. The dates are being scheduled on “off” days during LAMB OF GOD’s tour with METALLICA, which will kick off on September 14 in Nashville and conclude on November 15 in New York City.

LAMB OF GOD, GWAR and JOB FOR A COWBOY tour dates (more to be added):

Sep. 21 – Lupo’s – Providence, RI
Sep. 25 – Coca Cola Bricktown Events Center – Oklahoma City, OK
Oct. 10 – The Venue – Fargo, ND
Nov. 06 – The Rave/Eagles Ballroom – Milwaukee, WI

source[http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=124363]

1. Deathcore
I am still befuddled as to why most bands labelling themselves as ‘deathcore’ think it is both creative and clever to write music that consists solely of 200BPM blastbeats commonly followed by either a 40BPM open chord chugga-chugga breakdown or an excessive sweep-picking interlude (possibly broken up by a few pinch harmonics). Yes, we know that your guitarist can shred and that your drummer can gravity blast at obscene tempos but this doesn’t mean you can write a song. Being dynamic does not just mean throwing a breakdown between blastbeats, so go buy yourselves a copy of ‘Calculating Infinity’ and learn how to write some proper technical tunes.
Bands to avoid: Whitechapel, Winds of Plague, Suicide Silence

2. Avenged Sevenfold
If there is a worse looking and sounding band than Avenged Sevenfold in music today I have yet to discover them (the closest I have come so far is Atreyu). Looking like Motley Crue in this day and age is not cool, neither is sounding like Linkin Park mating with Van Halen and having ridiculous stage names like ‘Sinister Gates’ has never been (nor will ever be) cool. In fact if Avenged Sevenfold were to suddenly begin dressing like GWAR and play only Nickleback covers my opinion of them would increase a thousandfold.
Bands to avoid: Avenged Sevenfold (duh)

3. Screamo/Electronica
Admittedly I can’t claim to despise all the bands currently flying this particular genre amalgamation flag on their respective Myspace pages but when it comes to eclectically mixed genres like this the electronica component is simply not an excuse for crap screamo and boring breakdowns. Screamo/electronica is like pancakes and bacon; sometimes the bacon is nice and crispy and the pancakes nice and fluffy (hello Enter Shikari) and othertimes the bacon is flaccid and flavourless and the pancakes are soggy and taste like balls (hello Horse The Band). Unfortunately this genre is overrun by pancakes that taste like balls and thus I am forced to include it on this list.
Bands to avoid: Horse The Band, skyeatsairplane

4. Excessively slow breakdowns
The same kind of kids that get excited about sludgy snails pace breakdowns are the same kind of kids that go to shows to get ‘br00tal’ in their Bring Me The Horizon t-shirts, get Hungry Jacks after and stick Coke cans in their stretcher holes until their mothers come and pick them up at 10:30. Not that I have a huge problem with these kids, but they will eventually get the idea into their heads to begin compiling lists of their ‘totes fav most brootal deathcore breakdowns eva!’ and begin posting these compilations on YouTube (accompanied by extremely amateur Powerpoint presentations featuring photos of circle pits), sparking comment from all their Myspace friends who are ordered to watch these pieces of art via spam bulletins with deceptive, hype-inducing headlines (eg. ‘OLI SYKES is totes GAY!). These comments will then lead to a kid with the word ‘RAWWWWRRR’ in their username getting ‘paid out’ by another kid with the word ‘BBLAAARRRGGGG’ in their username because they don’t know who The Faceless are and Mr RAWWWWRRR will quite publicly (again via Myspace bulletin) announce that he has begun cutting himself regularly and will eventually off himself entirely. And this is not on.
Bands to avoid: With Blood Comes Cleansing, Annotations Of An Autopsy, As Blood Runs Black

5. Gangsta fashion sense
Whilst I’m not a huge fan of cliche’ hardcore fashion (black Macbeths, black cut-offs, Comeback Kid t-shirt, fluoro coloured cap with the brim turned up) I am much less a fan of the gangsta dress style that has emerged from the current ’straight-up’ hardcore scene. It seems to me that as soon as you put on a baggy white shirt, flat brim Afends cap and get an X tattooed somewhere on your body you automatically begin thinking that everyone is talking smack about you (and your hood) and that your ‘Straight Edge Pride’ needs to be defended at every possible occasion (insert instance of four dudes with beards in said white shirts beating the crap out of one 16 year old kid in a Cradle Of Filth shirt because he was drinking a UDL outside a gig).
Bands to avoid: Deez Nutz, Bury Your Dead, Stick To Your Guns, Comeback Kid

6. Feedback as ‘art’
As with excessively slow breakdowns, music masked by fierce bursts of feedback is a fairly poor excuse for songwriting and is NOT art. I don’t care how many pseudo-Christian poems, images of Gothic statues or artfully-blurred live photos you put in your lyric booklet I won’t change my mind. References to the fact that you are ‘making music for the sake of music and you just want to make music for people like you and not be famous’ won’t change my mind either. If you want to make music for the sake of music keep it in your backyard shed so your Mum can tell you to shut up at 7pm every night and you can go sulk in your room and reassure yourself that you are a very misunderstood artist.
Bands to avoid: The Chariot

7. Songs that begin with a breakdown
A hardcore song starting with a breakdown is the equivalent of a gangster rap song starting with a ruff-riding beat constructed of gunshot samples. A hardcore song starting with a breakdown is like a U2 concert starting with Bono giving a speech about starving African children. A hardcore song starting with a breakdown is like a 70’s horror movie starting with a teenage couple having sex and then being killed by a masked madman when one of them goes outside to investigate a noise. For a genre that is supposed to be all about passion you would think that artists would care enough about their songs to at least try and write a vaguely original start to a song.
Bands to avoid: Johnny Truant, August Burns Red, Unearth

8. Pig squeals
Who the hell decided that it would be a good idea to substitute already hard to distinguish lyrics in death metal songs for actual animal noises? Will we soon be hearing other barnyard noises in place of actual singing (or growling, whichever way you look at it)? If you’re going to pig squeal instead of write lyrics why not get an actual pig to perform vocals for your band instead of you? These are the questions that perpetually plague me when I hear bands like Job For A Cowboy so if someone could pass these on to them that’d be really great.
Bands to avoid: Job For A Cowboy, All Shall Perish, Cannibal Corpse

9. Songs with ridiculously inane names
When I first listened to ‘Plagues’ by DWP, I was honestly expecting the first track to contain lyrics describing the adventures of some ‘Goats on A Boat’. I was quite disappointed when I found the song to be some rambling crap about ’searching for security in tragedy’ but I had hope for the rest of the album. Sadly I was just as disappointed with the rest of the songs as I was with the opening track. To collate my disappointments; I did not find out why I shouldn’t forget Number Three; pondered exactly why HTML Rulez Dood; wondered who this John was and why I had forgotten his name; got obnoxious when I was told not to Dink and Drance; attempted to spell Crap Without a C (and failed miserably); was confused about what This Song Is Called; felt weird meeting Reptar King Of The Ozone; submitted to the Scorpion Deathlock and discovered That Nickels Is (actually) Money Too and wondered why a user of Australian currency would ever give a crap.
Bands to avoid: The Devil Wears Prada, A Day To Remember

10. Band merch with maritime artwork
Whilst pirates are the rockstars of the ocean (and land) it doesn’t mean your cool because you include them in your t-shirt designs. You are not a pirate by association. At least Bring Me The Horizon have a piratey name and vaguely piratey songs (‘I Used To Make Out With Medusa’) but bands like As I Lay Dying have no excuse for trying to cash in on pirate coolness. Maybe if you were called As I Lay Drowning (In Davey Jones’ Locker) I might not have a problem with you putting an anchor and/or a shark on all of your shirts. There are so many different things you could possibly have on a metal shirt that haven’t been done yet (ie. I have yet to see a Telletubbie with a chainsaw) and would be ‘totz brOOtal’ (the Telletubbie again) that bands should really start using their thinking hats and putting some creative stuff on their t-shirts. I mean, deathmetal is pretty much a joke anyways and Cannibal Corpse can get away with actually calling an album ‘Kill’ so why can’t All Shall Perish put a friggin’ Telletubbie with a chainsaw on one of their t-shirts?
Bands to avoid: As I Lay Dying, Parkway Drive, Bring Me The Horizon (etc etc etc)

I like Job For A Cowboy.  There, I’ve said it, away goes all my “metal cred”.  I’m convinced that this notion that metalheads must somehow discriminate is something that exists only in the metal media and in the minds and hearts of the 15 year old, never-been-laid cry-babies that stalk the realms of internet message boards and metal websites.  Can someone please explain to me why if I like VON and Darkthrone, I’m not allowed to like JFAC and Annotations of an Autopsy?  Is there some “metal rulebook” lurking out there somewhere that hasn’t quite made its way out here to the unholy bowels of the midwest where I make my home?

Why does Job For A Cowboy supposedly provoke such ire?  Is it because of their age?  Is it because they have a myspace page?  is it because they actually manage to sell more than 10 copies whenever they release an album?  Is it because they had breakdowns on their first EP?  Hmmm… let’s see, they started playing when they were young, use the internet to promote themselves and have parts in their songs that make people want to mosh.  So, basically they are doing everything just about every other modern extreme metal band out there ever has done, yet for some reason we should hate them, or only be allowed to hand out praise in the form of backhanded compliments.  Oh wait, I just went back and re-read the first part of this paragraph and realized what the problem is here.  Job For A Cowboy sells records.

Unfortunately, success paints a big red bullseye on most bands, and JFAC are no exception.  The fact that they are quite a young band has only made things worse, since their age and relative inexperience makes it easy to level accusations that they are undeserving or haven’t spent enough time paying their dues.  Again, we can blame the metal media and pimple-faced internet geeks for creating an unjustified shitstorm around this band for no real reason.  Every style of music has stories of artists that “came out of nowhere” and became instantly successful, why should extreme metal be any different?

Are JFAC my favorite band? No.  However, I do think they’ve evolved into an incredibly solid band and find their discography quite enjoyable, no different than many other bands who’s albums grace my CD collection.  In listening to their records extensively, I fail to see what could possibly be so offensive to all the “elitists” out there who waste so much of the hot air they’re full of criticizing the band.  Chances are, if they took a “blind taste test” and listened to the band without knowing who it was, they would find themselves enjoying it.  But, since the music has the JFAC name attached to it, all the internet plankton and know-it-alls who call themselves music journalists have to pull their typical cooler-than-thou horseshit, though I’m not quite sure who they are aiming to impress. 

The nonsense that surrounds the band, as well as the “elitism” that surrounds the metal scene in general, is nothing more than a myth.  If it existed anywhere other than the internet, there would be a batch of angry denim ‘n’ leather clad longhairs brandishing torches and pitchforks on my doorstep every time I listened to Slipknot, Celtic Frost and Bongzilla in succession.

With that said, we all have every right to criticize and trash the things we don’t like, hell, I’m guilty of it on an almost daily basis.  But come on, trashing a band because it’s been deemed “fashionable” is beyond weak.  Listen with open ears and form your own opinion.  Furthermore, if a band like JFAC serves as a  ”gateway band” for kids getting into extreme metal, that’s never a bad thing and I’d much rather see the youngsters out there listening to JFAC than shit like Disturbed.  Today’s kids getting into Job For A Cowboy are tomorrow’s crusty longhairs listening to Autopsy and Morbid Angel.  We all started somewhere folks.

http://www.myspace.com/jobforacowboy

#16 Job for a Cowboy – Ruination

 Now, I know what many of you may be thinking… “Isn’t it a bit early to add this to the list?”  I did think this over and I was almost going to replace this release with Genesis, JFAC’s 2007 effort.  After careful consideration I realized that having a month to digest Ruination was long enough.  I feel it is a far more mature album than Genesis and it really only takes one listen to realize that.

This is Job for a Cowboy at their technical finest.  This is a full blown technical death metal album without any of that funk-jazz wankery that seems to be flooding the metal scene.  From start to finish this album rips with blast beats, lightning fast riffs and crushing chorus sections.

 The whole band is at their best on this album with John Davy delivering his amazing growls and stand out Jon Rice killing the drums at a nearly inhuman pace.  Al Glassman is a great influence on this new sound and there are moments that a glimpse of Despised Icon can be heard.

 Overall this is an amazing direction for a young band and an incredible album.  Stretch your neck before you listen to this one or you’ll be sorry.

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An exercise in objectivity: Reviews of albums that we’re biased for and against: Job for a Cowboy, Avulsed, Devildriver, and Artillery.

Desde hace un rato queria escribir estas recomendaciones, pero la falta de tiempo no me habia dejado, aqui les dejo un puñado de nuevos trabajos que me he vacilado ultimamente, recuerden que estas reseñas son la opinión de un fan mas, no pretendo ser critico musical, sencillamente escribo lo que pienso de cada album con la idea de que lo discutamos y nos enteremos de otros trabajillos interesantes por medio de sus comentarios, saludos a todos headbangers latinos….

Artillery – When death comes (2009)

Artillery es una añeja banda proveniente de Dinamarca, especificamente de Copenhagen,  forman parte de los pioneros del thrash metal, grupo selecto de bandas que dió vida al genero en los ochentas, años en los que el mercado sintio con fuerza dos trabajos de estos genios el “Fear of tomorrow” de 1985 y “Terror squad” de 1987, eso sin contar su joya de 1990 “By inheritance” verdaderas  clases magistrales de musica corrosiva y pegajosa.

Como ha pasado con una buena cantidad de bandas en esta decada, Artillery vuelve a la palestra en 2008 con su potente disco “One foot on the grave, one in the thrash” un conpendio extraordinario de regrabaciones de sus temas clasicos del a vieja epoca, dado el exito recibido por este lanzamiento la banda decide ir mas lejos y sacar un disco completamente en 2009, su nombre “When death comes”.

“When death comes” es un disco de thrash metal puro al mas claro estilo de las bandas europeas, voz potente y rockera, riffs endemoniados, coros pegajosos y una base ritmica que te aplasta las neuronas, eso si, salvajismo controlado, pues es un disco donde todo esta bien hecho, excelente sonido, muy buena mezcla y una energia capaz de llevarte la mosh pit de inmediato.

Dificil es destacar temas por sobre los trece cortes de este gran disco ya que es una trabajo bastante homogeneo, algo para ser escuchado desde que comienza hasta el mero final, pero si desean referencias vacilense la madurez sonica de “Desilusion of grandeure” una tema que comienza en limpio para luego convertirse en adrenalina pura, un bue nejemplo0 de lo que es este album, busquenlo o robenlo, no se arepentiran.

http://www.artillery.dk/

http://www.myspace.com/artillerythrashmetal

Chickenfoot – Chickenfoot (2009)

Primero lo primero, ¿Quienes son pata e´gallina?, jajajajaja, pues unos panas alli, Joe Satriani, Sammy Hagar, Michael Anthony y Chad Smith, de Satriani ¿que les puedo decir que ustedes no sepan?, ¿Sammy Hagar?, pues…Van Halen, una carrera en solitario inmensa, historia viva en las venas de un cantante, ¿Anthony?, el loquillo aquel del bajo Jack Daniels en Van Halen, ¿Lo recuerdan? y por ultimo Chad Smith, ¿Han escuchado de una banda llamada los Red Hot Chilli Peppers?, ajam, si ese mismo.

Entonces, con tan celebre alineación, ¿Que creen ustedes que podia salir?, bueno lo que salió, un disco de hard rock moderno inmenso, con sabores varios pintos, estelas de Van Halen, sabor funky, una guitarra genial y un swing que no escuchaba desde hace tiempo en nu disco de este genero. Les aclaro algo, este no es un disco de individualidades, estos panas se juntanron sin divismo y compusieron para la gente, aqui tenemos canciones, nada de solos acrobaticos (Aunque es Satriani y a veces hace travesuras), esto es musica rock señores.

Chicken salió a la calle con 11 temas, divertimento hecho musica, algo que puedes constatar en “Soap on a rope” una canción para bailar y beber cerveza, mover la cabeza con su riff pegajoso y hacerle coros a Hagar que se encuentra en un gran momento como cantante, no lo escuchaba tan bien desde los dias de aquel mitico “For unlawful carnal knowledge” de 1991, de la base ritmica muy poco que decir, un par de tipos que saben muy bien lo que hacen, no les hablo mas de esta gente, dejen de leer esta vaina y busquen este disco, les prometo que despues de bajarlo se iran derechito ala tiena a buscarlo, vainas ais no salen todos los dias, corran coño!!!!!

http://www.chickenfoot.us/album

http://myspace.com/thechickenfoot

Devildriver – Pray for villians

Pray for villians es la cuarta entrega que nos llega de los californianos Devildriver una de las promesas blancas mas interesantes salidas de los states en los ultimos años, aunque muy lejos de ser los nuevos Pantera (como lo dijo algunas vez el mismisimo Phil Anselmo, antes de DD este honor se lo podria llevar Lamb of god, aunque aun no…) esta es una banda completa, con muy buenas canciones, una gran puesta en escena e inemsa actitud, pero tienen un pequeño detalle, tienden a aburrir.

Ojo, que en algunos pasajes de sus discos se vuelvan un pelo repetitivos no quiere decir que estamos ante una mala banda, todo lo contrario, cuando esta gente se monta en una tarima pareciera que una tormenta estalla, definitivamente te olvidas que alguna vez le diste al boton de adelantar en tu ipod y te conviertes en un headbanger enfermo y deseoso de sangre, Devildriver son sin duda la bujia que todo moshpit necesita.

Pray es un disco donde puedes conseguir de todo un poco, remembranzas de nu metal, toquecillos de death, riffs enfermos en el mas tradiconal estilo thrashy, una voz malefica y un muy buen sonido de grabación, cosa de la que te das cuenta de inmendiato al escuchar temas como ” Pure sincerity” o ” I see belief” agresiones sonicas que te demuestran una vez mas porque es que te gusta escuchar esta musica intensa y brutal, en fin un buen disco de metal moderno, esperemos que siga creciendo esta gente, recomendable.

Devin Townsend Project – Ki (2009)

Devin Townsend es mayormente conocido por su banda Strapping Young Lad y sus andadas junto a Steve Vai como vocal, pero mas alla de eso este multintrumentista  y productor canadiense posee una carrera en solitario de mas de diez años creando discos de variados sabores, experimentando y por sobre todas las cosas mandando a la industria discografica al carajo haciendo la musica que se le viene en gana.

Ki es el primero de cuatro discos con el nombre de Devin Townsend Project el cual viene a ser como el piso conceptual de los tres restantes, llamados el segundo y tercero Addicted y Deconstruction respectivamente, quedando por ahora el cuarto sin titulo. El sonido de este LP es una mezcla de influencias: metal, progresivo, ambient, industrial, canciones sin distorsion pero con voces podridas, rolas casi instrumentales, temas adornados con voces femeninas, variedad y mucha experimentación para resumirlo en pocas palabras, sin dudas un trabajo excepcional en este mundo rockero lleno de aburrimiento y repeticiones, si te gustan las cosas que suenan “distintas” este es tu disco, recomedable al 2000% por cien.

http://www.myspace.com/devintownsenddtb

Job for a cowboy – Ruination (2009)

Ruination es el nombre del nuevo trabajo de los de Glendale, Arizona, USA, Job for a Cowboy digna muestra de death metal moderno con grandes demostraciones de grindcore, algo que los etiqueteros de hoy en dia llaman Deathcore, pero que cuando escucho basuras como Suicide Silence  me niego a incluir a una banda tan digna como esta en la misma categoria de tan ridiculo acto.

Ruination es la continuación del aclamado Genesis de 2007, disco que me impresionó de grata manera pues fue como un oasis en el desierto poder escuchar metal tan depurado y bien hecho de parte de tan jovenes talentos, se necesita de mucha tecnica y claridad compositiva para hacer discos tan brutales y no parecer caricaturas gritonas afortunadamente esta gente lo logró.

Con grandes influencias de gente como Dying Fetus y Suffocation “Ruination” muestra lo que podria ser el futuro de la musica dura mundial, extremismo puro dentro de parametros que tocan la locura en forma de notas sonicas, canciones como “March to global slavement” y ” Lords of chaos” lo muestran claramente, agresividad perfecta en un ambiente controlado, disco altamente recomendable, abstenerse power metaleros y demas fauna rockera sin visión, brutal.

Otras recomendaciones rapidas:

Riverside – Anno Domini High Definition (2009): lo nuevo de los prog polacos, un disco dividido en cinco actos que te hará vibrar con sus buenas conbinaciones de rock sinfonico y metal, uno de los discos mas vendidos en Polonia este año de una de esas bandas que saben hacer metal progresivo entretenido y de alta factura, busquenlo.

http://www.myspace.com/riversidepl

http://www.riverside.home.pl/

Sonic Youth – The Eternal (2009): Los incansables Sonic Youth estan de vuelta con una excelente muestra de rock energico con claras raices de punk y sabor grunge por todos lados, musica de guitarra y voces de esa que se hace para divertirse, si te va el sonido de los Screaming Trees, Nirvana y Mudhoney hazte con este disco, no te defraudará.

http://www.sonicyouth.com/

Stratovarius – Polaris (2009): Si aunque no lo crean voy a recomendar un disco de Stratovarius, ¿Porque?, sencillmente porque las cosas buenas hay que reconocerlas y este disco no es solo bueno, es buenisimo, todo un ejemplo para las repetitivas bandas de power metal que todavia no se dan cuenta que mucha gente se cansó de los dragones y los dobles bombos a dos mil por hora. Polaris es un disco que mezcla heavy metal, hard rock y mucho ambiente sinfonico lo que lo hace casi caer en lo progresivo, un trabajo hermoso de una banda de mucha experiencia, recomendado.

http://www.stratovarius.com/