John 5 – God Told Me To

This is John 5’s sixth studio album. He is obviously ex-Marilyn Manson and Rob Zombie guitarist – yet, still one of the most underrated guitar players ever. The artwork is done by Rob Zombie himself. The album consists of 10 songs, consisting of a 41 minute journey. There is a clinical sound to his shredding, which is very addictive. Yet, in God Told Me To, there is now a dynamic opposition between acoustic, more emotional songs and his cold, clinical shredding that puts fear in your ears. The ratio is equal between acoustic (both steel and nylon) and electric guitar songs. The album title is a double entendre – referring to discursive tensions in the album. The album consists of a fascinating multitude of sounds, yet, not without John 5’s signature-sound to place it in context.  

Your humble narrator has seen this fucker in action and its true brilliance all the way. This dude is able to write symphony-type music on a guitar.

Welcome to Violence

Mind-crushing, frantic, all-out (what John 5 is about) shredding madness. It really makes me glad to hear that he opens with such a heavy song – it indicates towards the intensity of the album as whole. This is a truly violent song and it really welcomes one to the unique sounding world of John 5, whilst reminding you that serious music is going down.

Beat It

I’m going say it: the Michael Jackson cover is a bit weird – if it didn't actually rock my socks off. Yet, why did John 5 put it so early on the album? I would have ignored this song, if it wasn't so masterfully skilled.

Ashland Bump

A beautiful rhythm conquers the intro of this song, moving towards a really fast-paced acoustic guitar tempo. This song consists of a mystical array of sounds, showing another shade of the album. It once again portrays John 5’s very creative and innovative sound.

Killafornia

Jeez, the essence of John 5 oozes out on this song. What an interesting build-up, after what I would ‘traditionally’ assume is the verse. The drums pound away, placing the song in the milieu of John 5’s repertoire.  Here he relies on the formula of his clinical shredding sound.

The Castle

The Castle displays further acoustic brilliance. The song is very fast-pace and harmonic-laced, truly a brilliant song.  

The Hill of the Seven Jackals

The song starts very strong – creating a nice play between the acoustic and all out clinical shredding songs. For his style of guitar-playing, this is a very emotional song. That Fender screams with emotion during the solo. Intertwined with an industrial effect, with weird lasers shooting, sounding effect.

Noche Acosador

This is another acoustic song, this time with nice Spanish guitar music. It has a nice flamenco feel to it. The song is very different to the other songs on the album.

The Lust Killer

The song places one in the familiar evil-sounding backdrop that is John 5. The Lust Killer is a truly murderous song.

The Lie You Live

The song starts with a slow bass drum pounding the way to a very eerie acoustic song. Such a nice build from 1:15, makes you feel like ascending into the clouds.

This type of ingenuity is what I've been waiting for all year – a well-deserved 9/10

Lamb of God - Resolution 2012

My first impression was that a fourteen track album just can't keep my interest sustained throughout, yet I was pleasantly surprised by the creativeness of Resolution. It does more than entertain; it is truly a modern musical journey. In my biased opinion, this album is leaps and bounds better than Wrath.

A very brutal attempt, and faster than anything they've done since New American Gospel, Resolution stays true to Speed/Death. Unfortunately, it is not sustained on the epicness scale of Ashes of the Wake

Straight for the sun

Unconventional intro to one of the most popular (speed) metal bands of all time. Yet, it fits – I'm rather tired of most soppy guitar intros; rather scream and explode.

Desolation

Very fast paced song with screeching vocals. Altogether some very fast-paced riffage.  The whole song feels like a time bomb going off. The over-used bell-crashing works wonderfully. This song serves as an indication of the heaviness of the rest of the album.

Ghost Walking

Definitely the 'single' of the album. Raw (loose-string sounding) guitar intro to the song, which gives an awesome effect. The second verse is simply A-class, making the flow of the riffs very subtle. The bridge is only two sentences long, before breaking into one of the best guitar-solos on the album.

Guilty

The song bursts with power, with some intense riffage and a radical usage of vocals. This song made me doubt the quality of diction on the album (with my biased reference of All Shall Perish This is where it ends, being an example of deathcore with good diction). Without reading the lyrics or listening to this song at least ten times, it is really hard to discern what Randy is saying.

The Undertow

Pounding drums, with Chris abominating every riff with some speed drumming, yet the degree of technicality is undeniable. Around 02:00 there is a verse that sounds like demon-horses galloping to hell, flowing into long crusty notes with stretched vocals. Then at 02:50 the bass in the song explodes, an enigmatic atypical feature nestled within a typical milieu.  

The Number Six

Because of some metal-core type chorus (without the lame fucking vocals), this song really sticks. The bass on this song is fucking amazing. The use of some obscure creative harmonies gives a different edge to the screaming vocals. All things considered, a very unconventional LOG song.

Barbaraosa

Putting a minute and a half instrumental in the middle of the record is a risky thing to do, considering it has the potential of slowing the pace. Yet, it is more just a breather, a nice rest for the ears before the second half of this beast takes over.

Invictus

Really dig the fading-in guitar intro. Another song with insane bass playing. I'm not the biggest fan of short slides on the guitar.

Cheated

Easily my favourite song on the record. Very interesting vocal intro. Good rocking riffs over "have you ever get the feeling you've been cheated". The song actually feels short because it ends with: "have you ever get the feeling you've– " . What an amazing technique.

Insurrection

The slow-paced intro is illusive, by using a weird vocal technique that really slows down the song. The bell-crashing is prominent before the chorus.

Terminally unique

Thunderous vocals in the intro gives a good, pounding effect. The steady drum-rolls at 02:22 can already be envisioned in circle-pit form.

To the end

This song has a cool rocking intro, flowing into a slow verse, with the guitar keeping a steady pace. This allows room for a nice step (very high note) which complements the vocals, and sounds really like a rock riff. This, as with a couple of other songs, has insane vocal techniques, giving a really deep sound. Love the clean guitar at 02:55 (the drums kicking in during the second lick makes the song explode).

Visitation

The vocals remind me a bit of New American Gospel.

Style: 5/5

Vocals: 4/5

Innovation: 3/5

Production: 4/5

Prophet Margin - Faith Salesmen (2011)

Genre - Crack Rock Steady

Good Crack Rock is hard to come by. In a world saturated with fusions and where Crust seems to be the order of the month, one has to take a dogmatic stance to what is acceptable as punk. This suffices, with good songs, bad songs and leftover something.

Prophet Margin stays true to the nihilistic tendencies of Crack Rock, for the reason that it seems to be anti-everything. I promote this as an alternative to the happy-clappy shit that seems to have taken over. With screeching vocals, they do not fuck around with trying to sound ‘clean’, a highly respectable virtue, in a world saturated with all that sounds nice.

Faith Salesmen is a follow-up on their 2009, “We've all got cancer”. Prophet Margin are from Australia. 

Star Fucking Hipsters - From the Dumpster to the Grave

Ska-punk / Crack Rock Steady

This is the third Star Fucking Hipsters album. I am hesitant to criticize this album, predominantly because of immensible respect I have for the super-human Stza. Truly this vocalist is up there along with my inspirations such as Nietzsche and Marx, with well thought out lyrics and an ability to deliver ranging genres. This is overall a more sober project, with clear vocals and some good riffs it really seems the great Sturgeon have decided to adopt a healthier lifestyle.

The change of female-vocalist is undeniable. They have definitely gone a more ska direction. Twenty-nine minutes of true political-driven aggressive punk music. The lyrics focus on the discrepancy between excess and having nothing in American culture.

Death is never out of fashion is melodic as fuck; it’s typical Star Fucking Hipsters. With a familiar type-chorus and really cool lyrics they truly capture your attention. The Broken Branches’ soft vocal intro is fucking ridiculously beautiful. This is by far my favourite song on the album.

9/11 to infinity is an amazing fusion of punk and rap. My initial impresion was too much process. My first reaction was dubios, but it takes a couple of listens to realize this is an  amazing song. The Stza that raps is a Stza I thought I would never hear.

Drowning out another year

This song sums up the change that Star Fucking Hipsters underwent. Perhaps more pop than punk, but all in all I approve.

Authenticity 5/5

Repeatability 4/5

Skeletonwitch – Forever abomination

Thrash Metal (Blackened Thrash if you must)

Well done Prosthetic Records for holding on to this fucking cool band (third album on Prosthetic Records).  They are currently touring with Devildriver and Arch Enemy. If you buy one album this year, buy Forever Abomination. Skeletonwitch truly created something louder than the sum of its parts.

Eleven songs are perhaps a bit too short, yet they pack a powerful punch in the short time of 32 minutes. The album has a very atmospheric, familiar feel; perhaps become a bit more sinister. They truly transcend the limits of the genre, with grinding drums and screeching vocals. They somehow delivered more than I expected.

Forever Abomination is the follow up on the 2009 masterpiece Breathing the fire. Forever Abomination is a major improvement in terms of vocals and drumming. Dustin Boltjes (the new drummer) is definitely an improvement as he is a furious drummer, with relentless beats he truly adds something Skeletonwitch have been lacking. Really clean and loud effort on the bass, really adds to the more melodic feel of the album. The vocals and as far as I can tell the lyrics are a much more brutal and sinister effort.

Best songs: The infernal resurrection, Reduced to the failure of prayer, Shredding sacred flesh.

This horrifying force (a desire to kill)

This is the most epic intro to an album this year, preliminary for the reason that it’s basically 50 seconds long. Then Chance Garnette vocals just fucking take over.

The minimalist drums at the beginning and the end is fucking intriguing. Point of critique: The lyrics are hard to understand, yet this is not a real criticism.

Reduced to the failure of prayer

Perhaps the most brutal song on the album, it seeps with thrash-fueled hatred. This song is meant for masses of fucking people circle-pitting. It starts with demonic guttural vocals, and doesn't seem to stop throughout.  What a strong message“…and yet your prayers go unanswered!” Solo that melts your brain.

The Infernal resurrection

This is so far my favourite song on the album. Most of the song contains tasty fucking riffs. This song is right in the middle and sincerely keeps the tempo of the album.

Shredding Sacred Flesh

This is a real ferocious song, proving once again Skeletonwitch to be a revelation of a sinister genre. Sounds like Chance Garnette has fucking demons to be let loose.

Sounds like: Witchery, Arsis

Style (uniqueness): 5/5

Brutality: 4/5

Skeletonwitch - Soundcloud

All Shall Perish – This is Where it Ends

01. Divine Illusion
02. There Is Nothing Left
03. Procession Of Ashes
04. A Pure Evil
05. Embrace The Curse
06. Spineless
07. The Past Will Haunt Us Both
08. Royalty Into Exile
09. My Retaliation
10. Rebirth
11. The Death Plague
12. In This Life Of Pain

I have always comfortable classified All Shall Perish as deathcore (a comfortable stime). After this fourth studio release it is near impossible to label, due to a lot of progressive/speed elements that this album offer. As a package (production, effort, tone) the album is a major improvement from Awaken the Dreamers – a pleasure for the senses.

The new drummer presents no problems; I fail to discern their styles. The lyrics once again made a huge impression, as well as the vocals itself. Francesco Artusato (lead guitarist) is a very interesting addition to the band, and may have had a greater influence in their change of sound.

Divine illusion is an impressive first song, with a feel of djent. In essence, the lyrics are really brutal and the instruments adds to this brutality.  This is all accomplished without relying on tedious breakdowns.

There is nothing left presents a really progressive take on the vocals with the vocalist ranging from really low to high-pitched screams. The lyrics are also rather fast, which changes the pace of the song. Procession of ashes is a really nihilistic song, yet in no way melodramatic. The theme of the whole song is burning the world down. Insane guitar outro to the song.

A Pure evil is backed up by some serious sweeping, deep guttural vocals and insane bends. The pitch and crudeness of the screams are really something to prepare yourself for. Embrace the curse is a heavy song with an awesome mix by the production. Spineless starts with an insane guitar part. On the track a lot of their speed elements shines through. The drumming itself is fast and technical/tricky. Love the use of drum-rolls.

The past will haunt us both fading intro is really elegant, with the drums creating an epic build-up. It’s amazing how the vocalist can keep the pitch so long. Royalty into exile has a real tasty riff at 1:24. My retaliation is a very intense song, with the vocals dropping in at the first second with “I hope to see you fucking die”. 

Rebirth has an insane guitar solo in the first minute of the song. After hearing The Death Plague a couple of times I could not help singing with “We are the dominant species”. In no sense does the album slow down at the end. This song is still filled with brutal riffs, bone-crushing vocals and drum-beats that make your spine cringe. 

In this life of pain has interesting palm-mutes. This album is meant to satisfy the die-hard fans of this genre. A true monster of an album.