Few bands can say that their single launched into the top ten of the Billboard Rock Charts right out of the gate, let alone staying in the charts for a collective 40 weeks after getting there. Mosaic Artistry Group’s female fronted rock band Adelaine can make that claim. The band’s first Billboard top ten hit single, “Do or Die,” catapulted them into rotation with well-established artists like POD and Switchfoot, and gained them fans instantly. Their follow up single and title track of their debut EP, Take Heart, proved to continue their radio success, peaking at 12 on the Billboard Rock Chart and staying in the top 30 for 20 weeks.

The Texas based rock band formed from a group of high school friends that discovered they equally shared a passion for music and that their own stylistic expression blended perfectly. Only after high school did the band realize they were missing something, or as it later became clear, someone. Lead singer, Stormy Piña explains, “I was in another band at the time and they kept asking me to audition for them. I finally did, and it just clicked. It was meant to be.”

Adelaine’s sound is a brilliant mix of beautiful vocals, complicated guitar riffs and harmonies that most bands would never attempt. Stormy’s honesty about her inner battles with all the complexities of life comes through in not only the strength of her voice but also in her ability to translate that musically for vast audiences to relate to. “We have upbeat songs but we also have a darker, emotional side.” Stormy said. “We want people to know that we have been where they are and there is hope on the other side.”

Donny Bayless, guitarist for Adelaine, agreed. “We want people to hear the songs the way their heart takes it and be impacted. Above all, we want to be a positive influence.”

Adelaine’s sophomore album, Currents, has grown in depth of content much like the Houston natives themselves. The album was written with an emphasis on real life relationships. It focuses on the twists and turns that challenge us to forgive and overcome despite betrayal and disappointments. The first single to be released is Bad Blood, an up-tempo song about the complexities of relationships, betrayal and the battle for forgiveness that has Stormy doing what she does best: carving a well deserved niche in the rock scene and blowing expectations away.

The band is captivating with their melodic rock and riveting stage presence and is committed to sharing equality in the creative process with each other. “There aren’t any hired guns here.” Stormy said. “We are a perfect blend of harmonious parts. Everybody has a say in the creative writing process and musical composition.” This is evident, as all of the elements combined establish the genius of what Adelaine embodies.

They can only go up from here and they are completely ready to do so. Since the band signed with Mosaic Artistry Group, they have shared the stage with such bands as Go Radio, SafetySuit, Sent by Ravens and South Bound Fearing, toured extensively in 2012 across the Country and had two Billboard hit singles.

“Death is the Only Mortal” begins with a track titled “Doomblade” and in my opinion was the best way to show their fans that they are still the same TAS we have come to know and love. The topics covered on this record include murder, cannibalism, nihilism, and existential crisis. It is the perfect thing to listen to when you are having a bad day and need to let out all that extra aggression or just want to hear something heavier than a death in the family. The songs “The Mouth of the River” and “Time And Death And God” take you on a journey to the darkest recesses of the human psyche while tracks like “Victims Of The Cave” explore what it is like to exist in a place where existence is useless and full of suffering.

For the first time, we witness guitarist Daniel Laskiewicz on the mic, offering a hellacious high scream that adds a sense of balance to lead vocalist Vincent Bennett’s brutal lows. Not only did he offer his vocals this time around, but D.L. also produced and engineered the entire album, proving they don’t need a big name like Zeus to keep everything tight.

“Death is the Only Mortal” is more brutal than two midgets in a knife fight, and is sure to hit the billboards as their previous two albums (Continent, Wormwood) have. The album stitches together the best pieces of all of their previous releases, and leaves us with the most mature record yet by TAS. I highly suggest the album and recommend it for fans of White Chapel, Impending Doom, and Liferuiner.

The most obvious shift in this newly formed Progressive front is Michael Keane’s (Lead Guitarist) addition of clean vocals to the mix. While his efforts are commendable at best, he simply tries too hard. It’s unclear as to whether he went out to karaoke one night and sung a song by The Devin Townsend Project, and thought he should take a stab at imitating bands of a similar stature. He lacks anything of a creative nature and is honestly boring at times. Having Rydquist replaced by Geoff Ficco has left holes in a band that needed to prove so much after such a long hiatus and countless lineup changes. Ficco’s deep growls are just not enough to keep the fans desperate for another album release.

Instrumentally, this mastering job lacks due to the overwhelming level in which the guitars sit over the drums, at times making the drums seem nonexistent. Perhaps it’s due to the drummer’s (Lyle Cooper) lack of contribution on this album, as he and the bassist (Evan Brewer) failed to deliver this time around. The album lacks fluidity entirely. It’s as if the band was unsure as to which direction to go.

Keene has tried to pull The Faceless towards a more Progressive sound, but has only made a mockery of the band and all bands in the Technical Metal genre. All too often it seems the band is imitating another band, both lyrically and instrumentally. Their inability to commit to one genre only makes this album seem of an amateur approach. It would seem as if The Faceless has forgotten its roots entirely. R.I.P. The Faceless

Unbeknownst to most, Chillicothe was Ohio’s first capital, and home to Metal Blade Record’s Woe of Tyrants. Shall Be The Conqueror, however, is bringing something entirely different to the table, and shows no signs of slowing with their latest EP titled, Chillicothe Burning.

The EP demonstrates Shall Be The Conqueror’s ability to shred, while offering harmonic death metal (Yes, I said that) at times. The vocals on the album are some of the best deep guttural growls I have heard, and the guitarists lay some filthy shit! Shall Be The Conqueror goes in, punches you in the face, and is out before you know what hit you!

Chillicothe Burning is a solid compilation and a good starting point for Shall Be The Conqueror. They do use the occasional deathcore-style riff, but for the most part this is straight forward blast-n-burp brutality throughout. Their music style will permit them to connect with more than just your basic death metal audience, while perhaps incorporating some experimental/grindcore fans with this EP.

Make sure to check out their video for So Far The Horizon and add them on Facebook.

The Black Crown starts off with a powerful track called Slaves To Substance, which is a song about a state of being after hitting rock bottom. This song perfectly defines hardcore and death metal, equally balancing both genres throughout the song. It picks up where the previous two full-length albums left off, with intense breakdowns and fast drumming. It’s not my favorite on the album, but it’s catchy so it works. O.C.D. and Human Violence offer thrash influenced down-tuning, while You Only Live Once could have quite possibly been wrote while consuming large quantities of Monster Energy. Perhaps that explains why it is my favorite track on the album.

As if You Only Live Once wasn’t enough in terms of switching it up, Jonathan Davis (Korn) joins front man Mitch Lucker on Witness The Addiction offering a sense of melody for the first time on a Suicide Silence album. Setting yourself apart in a stagnant genre like deathcore is the only way you can avoid being just another duplicated sound. Unfortunately Davis’ addition to Witness The Addiction is exactly why nu-metal should not be accompanied by deathcore. I understand Korn is one of the band’s many influences, but there are boundaries. Ya dig? Having said that, Frank Mullen of Suffocation teamed up with Lucker in Smashed, creating a masterpiece. The two complimented each other as they screamed back and forth, and everything fit perfectly together. The variation provided was much needed after that is an area in which No Time To Bleed lacked in.

As previously mentioned, The Black Crown does everything it needed to do to set itself apart in a very monotonous genre. Lucker does an exceptional job with his vocals on the album, offering many variations of screams, and even some whispering, providing a metalcore feel. The only complaints I have is the fact that Alex Lopez failed to present anything new on drums, and Dan Kenny is pretty much non-existent, doing absolutely nothing to stand out. Despite their inability to impress me, I still highly recommend The Black Crown. It has plenty of songs that are sure to reach fans, and will hopefully add to their success. Respect.

 Buy The Black Crown from Amazon

Buy The Black Crown from Century Media

Salt The Wound was formed in 2001 in Cleveland, Ohio. After releasing Carnal Repercussions, the band went through some line-up changes and additions, released Ares, then called it quits in 2010 and had a farewell tour. In 2011, STW reformed with the original singer and guitarist; Kevin Schaefer and Jake Scott, respectively. Brandon Tabor, drummer for The Analyst, also joined for the come-back. Iʼve never been a fan of bands or artists that “quit” then reform, but thatʼs a different story.

Musically, Kill The Crown is a solid listen. The bandʼs composing skills are showcased in the two instrumentals that bookend the album, “Kill The Crown” and “Consequence.” Everything in-between is good, but predictable. Every track clocks in between 3-4 minutes, give or take a couple seconds, and all follow run-of-the-mill song structure. If youʼre looking for technical metal, rapid tempo changes, sprawling epics, or even guitar solos; this is not the album for you. Salt The Wound is straight-forward Death metal with some melody and plenty of break-downs. Itʼs formulaic, but it works. A fair amount of production was also put into the album so, generally speaking, it sounds good. My favorite tracks are “Why Donʼt You Have a Seat,” “Early Mornings and Late Nights,” and “Cliff Before The Fall.”

Schaeferʼs vocals are what you would expect. While most metal core screaming usually annoys me, his are mid-ranged enough to enjoy. If you like death growls, your cup will runneth over. While itʼs nothing spectacular, this is a good effort and will please any average metalhead. I give it a C+. Extra points were awarded for having a secret song.

If youʼve enjoyed the review, have the album and like it, I suggest you stop reading.

***Spoiler Alert***

While Schaeferʼs screams and growls are excellent, the lyrical content is TERRIBLE. Be thankful his words are so indistinguishable. This is where my complex feelings about this band come into play. The first week I had this album I listened to it every day, and I really enjoyed it. However, now that Iʼve sat down to review it and Iʼve read all the lyrics, Iʼm ashamed of myself. Hereʼs the lyrical breakdown by song:

“To The Top” – All about living the high life. Rollinʼ in expensive cars and giving vegan girls a mouthful of irony. Sheʼs vegan and eats his meat, get it? Ugh. I hope the whole song is meant to be ironic.

“Elle Ess Dee” – Makes me seriously question if heʼs ever ingested drugs… ever.

“Why You Donʼt Have A Seat” – Remember ʻTo Catch A Predator?ʼ Thatʼs what this is about. Except he murders the pedophiles instead of having them arrested. Clever.

“Cash On Delivery” – He must think heʼs the gangsta of metal. These are his streets and heʼll shoot you if you use the wrong tone. No disemboweling or stabbing eyes with a prison shiv or mutilating and feeding on the corpse. Heʼll just shoot you… brutal, right?

“Early Mornings and Late Nights” – Heʼs lost his significant other and now heʼs sad. I mean, itʼs all painful nʼ stuff. Actual Lyric: “This pain haunts me, I wish you were here.”

“A Year In The Suburbs” – He lived with a significant other and things didnʼt go well.

“The Cliff Before The Fall” – About pushing on even when youʼre failing. With two songs left on the album, I feel this song is a damn good metaphor for the way things are going.

“Breathless” – Seeing the unattainable girl and falling for her in an instant. For one night, she is his and things will never be the same.

I cannot count the number of deep sighs and groans I released while reading the lyrics. Metal, especially the Death variety, is supposed to be gory, disgusting, and explicit by nature. At the very least, rebellious. These are angry Indy-teen lyrics put to the tune of mediocre death metal. I still give this album a C+, but only because I canʼt tell what heʼs screaming.

The EP starts off with a track titled “Brazilionaire.” It allows its listeners to see what’s in store for this particular EP, and more importantly, what this band is capable of, not only musically, but vocally.

The second track, and my personal favorite, is titled “Mud Bananas.” This track is everything that a melody-fused hardcore song should be. The song quickly shows off the singer, Brian Torsney’s, ability to go from a melodic approach, to one the depths of hell could appreciate. Aside from Brian’s vocals, one can’t help but notice Max Sabate on the drums. His speed and ability to hold beat with such a fast pace presented brings the track together perfectly. “Move!”

The rest of the album flows together nicely, with each song presenting something new. “Even Higher” reminded me of A Day To Remember in their “And Their Name Was Treason” years, with a different style of vocals from Torsney. This EP is easily my favorite thus far in 2011, and will hopefully pave the way for Mae West. Respect.

The album starts of with “Never Better”, which goes from a painful nu metal sound to some decent segments with a more melodic pace and really sets up the tone for the album which is one that can’t decide what type of music it wants to be. The tempo of the album slowed further for the next group of songs and I felt like I was listening to a 90′s alternative mix featuring different bands from that era, just not as good. By the time you get to the end of the album where they actually put in a song that sounds a little like thrash, “Them”, they move right back to the alternative sounds that defines the middle of the album to finish it up.

Call it alternative, call it pop-rock, but just don’t call it metal. If you are looking for a metal album then this one is not for you. Until next time…Up The Irons!

For the first time, Emmure took their work to Joey Sturgis (Devil Wears Prada, We Came as Romans, and Woe of Tyrants) for producing. Not only did he do a phenomenal job producing the album, but mixing and mastering it as well. The overall audio quality on this album has significantly improved, as well as other key aspects within the music.

The breakdown at 1:18 in “Demons with Ryu” was when I really noticed Emmure meant business with this album. It’s like no other breakdown I have heard from them, and really makes that song stand out from the others. Maybe it’s the fact that this song is a tribute to the classic fighting game Street Fighter that I liked the most. “Round One…Fight!”

The only gripe with “Speaker of the Dead” could be that everything on this album has been done before. It lacks in creativity, and even presents a feeling of dubstep influence at times. Having said that, while they may not have presented the fans with anything new, as I mentioned before, they definitely didn’t lack in delivering more in the areas they have touched in the past. This is easily the album you present to someone if it is their first time checking out Emmure.

“Speaker of the Dead” has paved the way for Emmure in twenty-eleven. There hasn’t been an album released that I have listened to more since “Beauty of the Falling” by Feed Her to the Sharks. My personal favorites on this album are “Demons with Ryu”, “Solar Flare Homicide”, and “Drug Dealer Friend.” It’s just a shame this album wasn’t released a day earlier… I have a feeling this would have made for one amazing Valentine’s Day present. Respect.

What Separates Me From You definitely hooked me with the opening track “Sticks and Bricks”. Instantly, you are brought into the heavier side of ADTR’s personality. Heaviness and breakdowns find a way to mesh with the melody of the chorus in what is probably one of my personal favorites of the album along with “2nd Sucks” and “You Be Tails, I’ll Be Sonic”. My obvious bias is towards their heavier tracks though I found myself listening to the whole album on repeat and, with each listen, it found a way to grow on me more and more. It is an album that offers a little bit of something for everyone (unless you are only into Black and Death Metal and refuse to think anything else exists). There are tracks with mosh calls such as the declaration of Fight! at the beginning of “2nd Sucks” that make you want to break whatever is in site, coupled with sing-a-longs like “All I Want” and just plain old standard pop-punk format. Even included on the album is a dark, brooding almost-ballad “This Is The House That Doubt Built”. The emotional lyrics from Frontman Jeremy McKinnon range from lost love to offering up challenges to those that still doubt the abilities of this band. Lyrically and musically, you cannot find yourself in a bad mood after listening to this album in its entirety.

All technical musical aspects of the album are solid. Sometimes, I feel the band spent a little too much time in the studio because of some moments where McKinnon’s screams seem a tad overproduced but those are very, very few and far between. After Homesick, I feel that ADTR can still do better than the finished product for What Separates Me From You. In no way, shape, or form do I think that this is a bad album. I actually love it a lot. I just feel they are trying too hard to become an all-radio album rather than the sound and style that earned them so much praise and brought them to the forefront that we heard on Homesick.

With a couple more heavy tracks, the album would become more balanced and would be what was expected with the promises the band and producers made before writing the album. Despite its few downfalls, What Separates Me From You is a record that is meant to be played blaringly loud, sung along too, moshed around to, and loved. The album is worth the listen and the money but it falls a little short in the well-rounded record I was expecting after Homesick. Their formula works, end of story. I will definitely be waiting and anticipating the fifth installment, whenever that may come.

Vocal work in Wormwood has greatly improved since previous albums in overall audibility, and the utilization of guest vocals by Jamey Jasta of Hatebreed, Bruce Lepage, and Kyle Chard of Born Low.  The clarity of Vincent Bennett’s vocals are further complimented by his lyrics.  The content of the leads were more direct and personal than usual.  I found that Wormwood seemed to have a more finite direction than previous albums, and was a commentary on more than just blind rage.  My only problem with this album was the predictability of some of the lyrics; I say this carefully, because many songs and phrases were quite the opposite of this: “Hail Mary, the virgin whore,” who could have seen this coming?!

I believe Wormwood is the CD for preexisting Acacia Strain fans to purchase, however, for those that have not yet been introduced to the band, I would recommend an earlier album such as The Dead Walk before taking this one on.  One problem I find when introducing this band to others, is this idea of passion vs. technique.  For those that can appreciate a band for its raw intensity however, Wormwood, once again, is the right album for purchasing.

This album could be a successful attempt at drawing in fans of the black-metal genre, with their song titled, “Reprogrammed To Hate” with a hint of blackness to it. Chino Moreno joined forces with Whitechapel for this track, in what proved to be a deadly combination. The announcement was made of Chino’s contributions to the new album around April Fools Day, so many were in disbelief of this rare and strange addition to their album. “We’re honored to have Deftones vocalist Chino Moreno on our record. All of us are huge Deftones fans so it’s pretty surreal for us. He absolutely killed his part on the album and it’s everything I envisioned it would be. Plus it’s cool that Chino was so opened minded to do vocals on something so extreme; I think that it sounds fantastic.” With that said, I couldn’t agree more. Chino was a solid addition to this song, and only validates the changes made by Whitechapel this time around.

Also doing guest vocals is long time friend of the band, Vincent Bennett of The Acacia Strain. This combination makes complete sense and came of no surprise to most. “We have always talked about him doing guest vocals on one of our records, so naturally his style of vocals fits our music perfectly and sounds great.” The song wasn’t anything special, but was a great addition to the album with many transitions throughout the song.

The many changes in this album should not scare off any existing Whitechapel fans, but could possibly bring in some fans of the heavier genres of metal. This is easily Whitechapel’s greatest work to date, and while they didn’t break any new ground in the deathcore genre, they definitely expanded its horizons. The only downfall of the album is that there were times that I felt as if I was listening to The Acacia Strain, and not just in “Reprogrammed To Hate.” I think Whitechapel has failed in creating a unique sound in a talent-rich genre, and this is plaguing the entire genre. Aside from that, I highly recommend the purchasing of this album.

“Evisceration Plague” starts heavy and ends heavy. What else would you expect? The first thing I noticed was the clarity of Fisher’s vocals. Technology has reached a new level when one can understand what the Corpse-grinder is growling on the first listen-through. “Shatter Their Bones” stands out as my favorite track lyrically. “A Cauldron of Hate” also deserves a mention. Lyrics on the rest of the album remain the norm- blood, guts, and mutilation. Nothing ground-breaking, but when something isn’t broke, why fix it?

Musically, the album flat-out kicks ass. Tons of riffage, pounding bass drums, and a growl that is remarkable; all at a blistering-fast speed. One department Cannibal Corpse never lacks in is energy. Every song rips, shreds, breaks and bursts. They’ve been carrying the Death Metal Torch for sometime and it doesn’t sound like they’re setting it down. “Scalding Hail,” “Beheaded and Burning,” and “Unnatural” are my picks. Pat O’Brien’s solos are ferocious and really stand out in “Carnivorous Storm” and “Priests of Sodom.”

The only downside to this album, as to all Cannibal Corpse albums, is the lack of variety. The title track seems to be the most uncommon, and that’s only because sounds more sludge/doom than other tracks. This is both bad and good. It’s hard to listen to the CD once and pick out favorite songs, because it’s hard to differentiate between tracks. However, Cannibal Corpse has allotted the cult they have from a very specific formula that really works. They’ve been setting the standard for Death Metal for years and this is their latest definition. Guaranteed to scare-the-hell out of your parents, “Evisceration Plague” by Cannibal Corpse is definitely an album any modern metalhead should have

The album contains two instrumental tracks, a short one to begin the album and then later they throw you for a loop with a different sounding, Egyptian themed, instrumental that gives you a sense that these guys can play, not only fast, but technical. My personal favorite song on the album was Venom Eye which had some awesome soloing, excellent shredding, and a killer vocal track. The title track, which happens to be the longest on the album at 6:27 has the strongest vocal work and is the one that I would most like to hear live. The rest of the album is just as good with lots of tempo changes that will keep you entertained throughout.

Woe of Tyrants is an excellent metal band and they have released another strong album. There is a lot to discover with this album and it definitely warrants multiple listens in order to really appreciate the various sounds. Look for Woe of Tyrants to be touring this summer and pick up the new album Threnody. Until next time, Up the Irons!!!

“Hell Chose Me” offers some of the most vicious double bass work and blast beats we have seen from drummer Shawn Cameron, and in a very big genre, I’m unsure that anyone has mastered vocals as Scott Lewis has. His ability to make the transition from high screams to low growls is commendable.

The album begins with its title track, “Hell Chose Me,” offering heavy drums and lyrics similar to that of The Black Dahlia Murder. At 1:30 into the track, a very competent, well placed breakdown was inserted into the mix, and again at 3:09 to finish the song off.

“Entombed Monarch” offers the albums darkest content, appealing more to the likes of Cannibal Corpse and Cradle of Filth fans. Its fast riffs and heavy break downs combine for an explosive song that only adds to an already solid album.

“Heartless” delivers a well written acoustic-driven instrumental that is greeted with much of the same brutality we come to expect from Carnifex, half way through the song.

This album should allow for smooth sailing through twenty ten. I wouldn’t be surprised to see them land another spot on the billboards, and follow up with even darker content next time around. I truly believe they have found a new place for themselves in their respected genre. I only hope this album paves the way for other deathcore bands. Respect.

“Well, seems to be another metalcore band. Or Cannibal Corpse. Why the hell is he introducing this song like a rapper?”

I still listen to “Decimate the Weak” on a weekly basis. This is a good way to show how I feel about WOP’s newer release, “The Great Stone War.” It’s damn good, but I just like the older album more.

The biggest difference between the two albums is the seriousness in which “The Great Stone War” is executed. It’s a concept album, which is cool, but concept albums usually don’t offer much variety, and this album suffers in that arena. The keyboards give the songs great musical depth and really bring about the aura of this war. Riffage and heavy, heavy drums are abundant. The number of breakdowns is great, but when breaking-it-down is done so often, you’re bound to have a few less exciting sections.

The story its self is good, but nothing earth-shattering. The ethereal struggle of good and evil being waged through human and monster’s hands, ultimately ending in the apocalyptic destruction of civilization. The narration in “Earth” and “Tides of Change” gives the story a cyclical feel, setting the stage with metaphorical chess pieces in the beginning and the post-script detailing the minute changes this “apocalypse” actually brings.

“Forged in Fire” is a wicked opening track and easily my favorite on the album. The growls and screams make me want to do terrible things. “Our Requiem” boasts the most anthemic lyrics on the album. In their own aspects, all of the songs are good, and sound like what you would expect from WOP, but they lack the uniqueness and balls of the track list from “Decimate the Weak.”

The album starts off with a short instrumental, Jesu Juva, that leads seamlessly into the next song, Soli Deo Gloria, similar to the style of the classic song combo The Hellion/Electric Eye by Judas Priest. The combination of powerful drumming and multiple leads on the track made it one of the strongest songs on the entire album. The next couple of songs, Break the Fangs of the Wicked and Pearls Before Swine, best showcase singer/songwriter Chris Catanzaro’s abilities. He has a harsh vocal style that just works well with the tempo that the rest of the band produces and his writing ability is well developed for such a young artist. The next two songs, Kingdom of Might (The Eclipse) and Kingdom of Might (Dawn in the Darkness), are strong individually, but would have been better combined into one epic nine minute track. Sons of Thunder is an excellent instrumental track with a killer guitar riff, which is another piece that makes this a great metal album that seems to have one surprise after another. The Seven Braids of Samson contains my favorite guitar solos on the entire album containing both a great short solo riff at the 2:25 mark and a longer solo beginning around the 2:50 point. The album goes on to finish like it started fast and heavy and it definitely does not disappoint.

Woe of Tyrants style is fast, but it definitely isn’t sloppy. Check out Kingdom of Might, submit your feedback, be sure and pick up the new album, Threnody, on April 13th, ,and come back to check out our review. Until next time… Up the Irons!

It has a mellow pace throughout that has many comparing it to Pink Floyd with a metal twist and would be a great album to introduce your non-metal friends to the genre. The clean vocals, harmonic guitars, and excellent drum riffs make it a great album to unwind to after a stressful day. I honestly can’t find a weak song on the album and most are superb. From the opening track Forsaker, until it closes with Departer, you won’t be disappointed. One track in particular, Idle Blood, really had me hooked on this album and I’ve been telling all my metal friends that they have to check it out.

So whether you are new to the band Katatonia, like me, or you have been listening to them for years, I would rate this album as a must have from the band. It is the type of album that you can listen to over an over again without having to skip weak tracks. I look forward to your comments on the album and until next time… Up the Irons!!!

If the first album wasn’t enough to make your ears completely flip inside out with the same boring riffs played over and over, War Is The Answer is. I only gave this band the time of day with hope that a new guitarist might shed some light on a band that is driven by scene kids who think they are metal. Fact is, I would rather listen to a song about someone’s pants on the ground than actually partake in the listening of men who have probably been playing music since birth, and continue to put out album after album clearly demonstrating their lack of talent.

I don’t care to specifically analyze different parts of each song, but will say that “Canto 34” was one of the worst instrumental tracks I have ever heard. Why they thought an instrumental on the B side would work is beyond me.

Unable to submit myself to the level of torture I would have to embrace in listening to the full album, I did manage to get a laugh out of their “Bad Company” cover. It was comical to say the least and sounded nothing like the covering of “Bad Company”, rather, the typical Metallica driven underground cover that you hear in your local skank bar. When you are unable to cover songs, I believe it’s time to call it quits.

I highly recommend you pass on buying this album, and if it comes as a present to re-gift.

The riffs are super catchy at points and the lyrics are some of the best to date, in my opinion. There is plenty of the breakneck speed and dark content Slayer is known for, but much more diversity as well, which just about every latter day Slayer album has sorely lacked. To me, what makes the aggression even better is how this album has been laid out.

An oddly appropriate title shows exactly how a bit of structure pays off in a metal song. The build ups they have and the texture leads up to an intense bomb at the end making it all the more powerful, certainly more so than an outright barrage of brutality. Any Slayer fan must own this album and any metal head in general who understands where the roots came from and still do to this day… SLLLLLLLAAAAAAAAAAYYYYYYYYYYYEEEEEEEEEERRRRRRRRRRRRRR!!!!!!!!