Vindkaldr: Ambient I

Vindkaldr is an interesting band that has dabbled in both the realms of Ambient/Dungeon Synth as well as black metal. Now, those two genres mesh very well together and has such been the case for nearly 30 years. That being said, for the release of "Ambient I", Vindkaldr would put aside everything else on their plate on focus all their attention on creating this masterpiece.

Using only synths to create such a musical journey is no small feat, but Ambient I shows just how complex and layered the genre can sound with the proper songwriting. The complex structure of the songs rely on various pitches of synths, with a varying degree of tempos and pace. Vinkaldr use long drawn out notes that resonate for long duration, while other times they use bouncy and psychedelic sounds that add pep and rhythm to an already complex sound. The sounds created from the synths range from keyboard sounding notes, 8-bit sounds and, I suppose what can only be described as synth sounds. The music is soft at times, while others it is fun and upbeat. There are dark passages of progressive brooding tones and there are light and inspiring sections as well. I will try to explain how Ambient I did just that, but it will be more in the form of expressionism.

I'm having a hard time trying to write my feelings about this album. On one hand, I feel as though I could write an epic that would rival "War and Peace". On the other, I cannot in good conscious, express how I feel about this album, knowing that those feelings change with each listen. The music is pure expressionism. Expression of sound. Expression of emotion. Expression of life. Upon my first listen of "Ambient I", I was completely unprepared for the amount of pure emotions that would surge through my body. I found myself in a state of mourning then,  in a state of ecstasy. I felt pure elation and yet, utter sorrow. I was on the brink of crying, but was quickly smiling from ear to ear.

"Ambient I" is not just music, it's a journey through the deepest parts of your conscious and subconscious. A revelation of self contemplation. It will transport you to worlds that never existed, while conjuring memories and images of your past, present and future. The moment the distant sounding synths kick in on "Moon Snatcher" begin, I found myself reminiscing about both good times and bad throughout my life. I could envision myself within scenarios that could become become reality, while seeing others that were pure fantasy. When the gentle yet sorrowful opening to "The Fairy That Disappeared" begins, I all can say is, you better be prepared for a emotional roller coaster. It may very well be the single greatest piece of music I've ever heard. Likewise "The Lonely Steed" will have you mind pulling at every direction as the synth employs its rhythmic and elongated sounds that will have you dwelling in one form of emotion for the duration of the song.

The greatest aspect about "Ambient I" is that, each listen, offers a completely different experience. Depending on your mood, you may find yourself contemplating the meaning of life as you listen. Then next time around, you may feel pure elation as you allow your mind to be swept away into a far distant fantasy. I have experienced very few pieces of music that can have not only such an overwhelming effect on my emotions, but one that seems to have infinite "first impressions" as each listen conjures a different mood. 

I think I've said enough about how I feel about this album, but that's only because there's no actual limit to those feelings, at least not in one sitting. In my opinion, Ambient I sits within the upper echelon of the Dungeon Synth genre. The only negative thing about this release is that it is now my gold standard. Now, every other ambient or dungeon synth album will forever have to try an live up to this release, which unfortunately for them, may be unattainable. Fans of ambient or dungeon synth must give this a listen, but I encourage anyone to give it a try. This album would make an excellent sleep aid as well as a method of relaxation for someone felling a bit stressed.

(Be sure to turn down the lights, turn off all electronics (no phone interruptions) and remove all distractions before you listen in order to experience the full potential)

Highlights: The entire album, each time you listen.

Rating: 5

Fear Factory: Digital Connectivity

Digital Connectivity is a collection of live performances, music videos, band interviews and various bits of informative clips recorded from 1993-2001. At the time, it covered the majority of their career, but sadly it would be the final collaboration as the band would inevitably part ways shortly after this video release.

As far as the material goes, it is a very entertaining bag of mixed goodies. The video plays almost like a documentary, in that it follows the band in chronological order from their days on “Soul of a New Machine” up to “Digimortal”. Throughout the video, we get to see live performances from each albums time period, each capturing the essence of the band with arguably the most popular of songs from each of the four albums. The live sets themselves are handpicked, I would imagine, to offer the best experience and impact from a live showing. Aspects such as sound quality, band interaction and crowd reaction are important ingredients for a successful live showing and as such, each of the live performances exude as much.

However, this is not simply collection of live shows. As I said, there are other elements such as official videos for "Replica", "Resurrection" and "Linchpin". there are interviews with each of the band members that offer a lot of insight into the mindsets of each musician and really help show how they vision and imagine their sound. There are showcases of the band working in and out of the studio, preparing for both live shows and recorded material and then there are random clips ranging from the members goofing off, to telling a story or just showing them in random situations. Everything is woven throughout the live showings to give the video the documentary feel, which plays smoothly from start to finish and never feels as though it drags. There are even musical bonus tracks (at the time unreleased, but since have all been released on various albums and comps), which only sweetened the deal, leaving any fan of Fear Factory more than satisfied.

Rating: 5

Savatage: Hall of the Mountain King

When it comes to metal, not just power metal, “Hall of the Mountain King” has to be one of the shining moments in metal history. There’s no doubt in my mind that this particular album is one of those landmark albums that helped shape my mind to the world of metal as I know it and if I had to guess, you might feel that way as well. Aside from being Savatage’s magnum opus, this album epitomizes what it means putting your heart and soul into an album. They say, you only get out what you put in. Well, it won’t take long to realize that the guys from Savatage put every ounce of their metal souls into this album, as the output is simply a masterpiece.

First and foremost, this is far and away, the best vocal performance of Jon Oliva’s career. I’ve enjoyed every piece of work of his, be it Savatage, his solo work or even TSO, but nothing will ever live up to “Hall of the Mountain King.” His trademark wails and shrieks once again, share center stage as the driving force of this album. Now, if you’ve listened to Savatage, this is nothing new, but the amount of emotion and passion Oliva poured into his vocals on this album can truly be heard as he belts out his haunting shrieks on “Hall of the Mountain King”. Of course, Jon’s vocal range is very diverse and there is seemingly no limit to his ability. Whether it’s clean singing, deeper raspy vocals or his harsh shouts, his voice sounds perfectly in tune with the atmosphere of the album; dark, dynamic and powerful.

I mentioned that Jon’s vocals shared the spotlight as the driving force. That is because the second of this two headed giant of power metal brilliance belongs to his brother, Criss’ guitar work. Now, I have mentioned Criss Oliva’s magnificent guitar work before, so I won’t heap too much praise that I have for this man’s ability. Criss plays a wide variety of riffs that are simply exuberant, creating a powerful and robust sound, but also maintains a melodic touch that gives each song its own unique characteristic. The guitar tone set on this album is what I would say, the purest definition of heavy metal. It’s a sound that energizes its listener and captivates your attention while sticking with you long after you listen. The solos on “Hall of the Mountain King” erupt with such fluidity and power, yet are not simply bouts of shredding madness. Yes, there are some speedy solos, but others rely on tempo shifts and melodic sounding chords that help showcase both Criss’ songwriting and ability to wield his axe.

I’ll admit, that due to the Oliva’s musical magical they share, that Doc Wacholz’s drums can almost seem lost within such majesty. That may hold true on many Savatage albums, but on “Hall of the Mountain King” they are just as magical and every part as important to the overall sound. The pounding on the titular track sets the tone of the song, establishing a forceful rhythm and energetic pulse that accentuates the Oliva magic. The same can be said for the bass, which is given more than enough spotlight to showcase it’s heavy, yet playful grooves (see the opening of “Legions”), while the keyboards and pianos help create an enchanting sound that only adds to the already mythological atmosphere of the album.

From start to finish, “Hall of the Mountain King is a Tour de Force. Each song carries it own story, one that adds an additional layer to the album as a whole. From the Iron Maiden sounding “Devastation” to the speed metal laced “White Witch” and the cover of Edvard Grieg's "Prelude to Madness". Everything, from the songwriting, musicianship, producing, mastering, hell even the cover art is top notch. When you excel at every facet of creativity, you produced an album such as “Hall of the Mountain King” and you produce one of the pinnacles of heavy metal history.

Highlights: “Hall of the Mountain King” “White Witch” “Beyond the Doors of the Dark” “The Price You Pay”

Rating: 5

Repulsion: Horrified

When it comes to landmark or defining moments in the history of heavy metal, there are a handful of albums that people will always mention. Whether it’s Black Sabbath’s debut, Maiden’s “Number of the Beast” or Metallica’s “Master of the Puppets”, (to name a few) such albums need no debate relating to their importance to heavy metal. However, there are other landmark albums, that for one reason or another, seemingly get overlooked, yet are no less important to heavy metal’s history. Repulsion’s, “Horrified” is one such album

In the late 80’s, various circles of hardcore punk were undergoing extensive changes to their sound that would ultimately lead to the birth of the grindcore genre. Repulsion (who began as a thrash/death outfit Genocide) would set their sights on a much faster paced style of music that many other bands were transiting to, but wanted to leave their own mark on the sound. Now, among the pioneers of grindcore, Napalm Death is by far the most cited and the most successful of the bunch.  That being said, you won’t’ find many grindcore fanatics that would argue that “Horrified” was as important, if not more so than any of the other grindcore releases of that time.

As for the album itself, this is 18 tracks of primal, raw grindcore in its purest form. A non-stop assault of sound and energy that begins the moment you press play and only ends when the final second is reached. It would be very hard to try and describe the sound of this album without turning this into a George R.R. Martin novel, but the music is equal parts of relentless, barbaric and pulsating elements, mixed together and complied into an album.

Now, for 18 tracks clocking in under 30 minutes, you probably already know what you’re getting yourself into. The songs here are indeed, short blasts of speedy aggression, but that would be a generic description. Let’s face it, there are plenty of modern day grind and gore grind bands that cram some exorbitant number of tracks onto an album, many of which are 30 seconds or less. The problem is, many of those acts can easily become forgettable, as those songs simply fail to create anything in the way of substance or memorable. That’s the biggest difference between those grind acts and “Horrified”. Each track easily stands out on its own, which is accomplished through a very concise and creative song writing, which allows the music to be fast and furious, but never becomes dull or repetitive.

The first thing that jumps out at you is how each instrument manages to create its own identity on this album. The guitars can be cleanly heard on each track, especially when they rip off short, but sweet solos. The bass, which not only for grindcore is very noticeable, but also for the time, being audible, is nothing short of brilliant. The drums play with an insane tempo, pounding away with blast beats and crashes that leave your head spinning. Of course, Scott Carlson’s vocals need to have a special mention, as they truly help bring everything together in this landmark album. Of course, hearing each instrument is an accomplishment in and of itself, but harmonizing with one another to create such chaotic bliss, is amazing.

“Horrified” may not get the accolades that Iron Maiden or Judas Priest may have achieved in the annals of heavy metal history, but it’s importance cannot be overlooked. Death metal and grindcore fans alike should not miss out on hearing this album if they haven’t already done so. You will quickly hear the influence this record had on the likes of Napalm Death, Terrorizer and Extreme Noise terror and it won’t take long to see why “Horrified” is held is such high regards.

As a bonus, if you happen to seek out the 2-disc reissue, you will get all of the bands recordings from their Genocide days as well as Repulsion’s final demos. To summarize briefly, the recordings from the Genocide tapes are raw and primitive works. Nothing that will knock your socks off, but an interesting listen nonetheless. You’ll hear the sound that would be reworked and morphed into Repulsion, but at the time, it was some pretty groundbreaking material as not many other acts were recording such a heavy and aggressive sound. As for the remaining Repulsion demos, the music is a glimpse of what might have been. Granted, these were demos, so they don’t sound as crisp as a final product, but for fans, it’s a least more material to sink your teeth into and enjoy. Either way, a very nice addition to the original disc for sure.

Highlights: (As with many grindcore albums, this is best listened to as a whole, but if I had to choose) “The Stench Of Burning Death” “Maggots in Your Coffin” “Horrified”

Rating: 5 

Amorphis: Tales from the Thousand Lakes

In the early 90’s, many of the Swedish powerhouses were beginning to unleash their brand of melodic death metal. Meanwhile, in Finland, a little outfit known as Amorphis were busy merging elements of death, progressive and doom metal together to create their own sound. The end result was melodic death metal album, that although was very well done, would be just the beginning of what would soon come. I’m of course, speaking about the band’s debut “The Karelian Isthmus”, which at the time, was an excellent display of the blending of the aforementioned styles. Blend is the key word here, as after this release, they would expand their sound and blend it even further.

“Tales from the Thousand Lakes” is a bit of a polarizing album among the metal community. Many, myself included, see it as a landmark album. One that would put a stamp on the melodic death movement and set a precedent for all those who followed. Others, tend to think the blend of sounds and styles are overrated. To that I say; to each of their own. However, for me, this was a major game changer not just in the melodic death metal world, but for heavy metal as a whole.

First, Amorphis took the concept they created on “The Karelian Isthmus”; the mixture of doomy death that progressively churned along throughout the album and decided to add upon that sound. They would infuse even more elements such as folk and progressive rock to help solidify the unique sound that would be poured into the masterpiece.

To say this album is atmospheric would be an understatement. With their combination of so many styles, “Tales from the Thousand Lakes” is a musical adventure. One layered with so many sounds and filled with so much emotion, that one cannot help feel like they are being transported to the very scene depicted on the cover art. So many songs on this album conjure images and memories, that for me, has always been a special experience each time I listen.

This album is filled with so many catchy riffs, dazzling hooks and memorable harmonies, that they would warrant an entire review of their own. The opening of “Into Hiding” and “Drowned Maid” always leave me in awe. Within moments, I feel as though I’m both at peace and stricken with grief as Tomi Koivusaar and Esa Holopainen quickly grab your attention and seize your emotions. The same can be said for “The Castaway” as well. The opening riff is the stuff of legends, but then it builds switches to a more Scandinavian sound and leads into the main riff, that drips with emotion. The rhythms on display throughout the entire album are what truly give the songs the power to captivate the listener. The ability to shift sounds and moods with such ease is in my opinion, what makes this album so special.

The bass on “Tales of the Thousand Lakes” is not merely an ingredient to the overall sound, but it is one of the keys to atmosphere. Its presence breathes life into the doomy side of the band’s sound, allowing the guitars and drums to flow as cohesive sound rather than multiple instruments playing in unison. As for the drums, I won’t say they are Gene Hoglan worthy of explosiveness, but to be fair, they’re not meant to be. The drums, much like the base, help set the tone for the songs and allow them to progress forward at their own accord. Never once, do you feel as though the drums are included simply for the sake of have a wall of percussion. This is not the aim of the album. The slow, plodding sound of the drums conveys the doom and gloom of one of the many tales from “Tales from the Thousand Lakes”.

As if that wasn’t enough to take in, the band also incorporates the use synthesizers and pianos to help create yet another layer to their sound. The keys and electronic sounds add even more character to the overall atmosphere, without over complicating or taking away from any one particular ingredient. It really is a testament to the stellar songwriting and creativity of the band. That alone could be worthy of its own article, so I won’t try and describe it in just a few sentences. That wouldn’t do it justice.

Now, for my favorite aspect of the entire album; Tomi Koivusaar’s vocals. Let me say, that I have never heard a voice that could both scare me and yet lull me to sleep at the same time. Now, many vocalists can do the same (Christian Älvestam or Burton C Bell), but they do so my changing their voice. Koivusaari is able to do it in the same tone song after song. (That’s not to say, his vocals become monotonous. On the contrary.) His voice simply gives me goosebumps. It’s a shame that his vocal performances would soon only become an additional role and eventually phased out.

I think I’ve said enough about how I feel about “Tales from the Thousand Lakes”. To be honest, this part of the review would be chapter one of a short novel if I truly wished to express my thoughts and the impact this album had on me. This album is definitely one of my desert island picks, one that I come back to quite often, whether it’s to help me go to sleep or get my fists pumping. I maintain that, not only was this an important release for death metal and more specifically, melodic death metal, but the whole metal community as well. There are many wonderful releases by many bands that dwell in emotion atmospheres, but for me, “Tales from the Thousand Lakes” will always be apex of such sound.

Highlights: The whole album (But "The Castaway" "First Doom" "In the Beginning” are among my favorites)

Rating: 5

Bathory: Under the Sign of the Black Mark

Black metal has a very murky history. Beginning with demonic inspired thrash and evolving into actual demonic worship, the history and culture surrounding the genre make for an interesting read to say the least. Now, when I’m asked to recommend a few albums of “quintessential” black metal,  I always point to a handful of albums. Among those albums, “Under the Sign of the Black Mark” is always near the top (as is “Bathory”). Why? Well, for starters, aside from this being an incredible listen, which we’ll get into shortly, this album, in my opinion, would be Bathory’s purest attempt at black metal ever. As it began, “Bathory” was an excellent display of blackened thrash metal with evil riffs and dark ideals. “The Return…” saw a little more thrash exude from their sound, but was no less evil in nature. “Under the Sign of the Black Mark” however, shifts to the black metal sound that most will associate with the genre. But, there’s a twist. What makes “Under the Sign of the Black Mark” so special (and the band in general for that matter) is that, even though the music on display here is indeed black metal, it has such many layers to its sound that makes it so much more than just black metal by definition.

The sound on “Under the Sign of the Black Mark” can only be described as intently above and beyond. I don’t just mean in your face, blasting noise that will burst your ear drums and leave your neck broken from too much headbanging (which is still possible), rather a complex mixture of sounds, styles and emotions. Quorthon unleashes his creativity like never before on this album, which as stated before, would help develop the truest sound of black metal. A sound that bands to this day still incorporate into their own (every time I listen to the band Countess, I think of “Call from the Grave”). However, what makes this album a true masterpiece is just how varied the sounds are layered throughout the album. This isn’t just a tremolo pick fest that morphs into one long winded song. This is black metal with catchy riffs, seamless rhythms and well executed solos. That alone, especially at the time, made this an anomaly of sorts, but it doesn’t stop there. The addition of Viking chanting displayed on “13 Candles” or the doomy (Viking I suppose) lead on “Enter the Eternal Fire” or the short, but spastic thrash riffs shown on “Chariots of Fire” show just how much creativity went into the song writing for this album.

I thought the production on “The Return…” saw great improvement, but on this album, it is even better. Somehow, all the instruments and sounds are able to stand out on their own, but, to my ear the drums seem to have been brought to the forefront of the sound. This offers a unique experience, as they don’t take away from the rest of the sound, but they demand your attention as they establish their importance to the flow of the music itself. You could argue that the drums on “Under the Sign of the Black Mark” are easily the driving force to the overall sound, a force that in and of themselves add their own layer to the music, but in the end help bring everything together.

“Under the Sign of the Black Mark’s” legacy will forever be set in stone as, not only one of the forefathers of true black metal, but it would also serve as the beginning of Quorthon’s journey into discovering another sound that he would go on to pioneer and mold: Viking Metal (more of a description rather than a gene, but we’ll get into that on a later date). I recommend this album every time I’m asked about black metal, as it should, but it will almost always be mentioned in the “top x” metal albums of all time as well and rightfully so. Enough’s enough. Go listen to this album if you haven’t already instead of reading about it.

Highlights: “13 Candles” “Enter the Eternal Fire” “Call from the Grave”

Rating: 5

Fear Factory: Genexus

After Fear Factory made their second comeback with a very successful “Mechanize”, they followed the album with “The Industrialist”. Now, for the most part, “The Industrialist” scored well enough with fans and critics alike given that it sounded like “Mechanize” 2.0, which was not a bad thing mind you. With two albums under their belt since reforming, fans were excited to see that the band was preparing new material for what would be their 9th album (not including "Concrete") titled “Genexus” which released in August 2015.

When “Mechanize” was released, we saw the band revisit the sounds and formula of Fear Factory’s past. You could hear bits and pieces of just about every major release through the album, which was a nice way to kick off their comeback. Subsequently, “The Industrialist” followed suit, only rather the album seemed to stick to a tried and true formula that was more safe than anything else. That being said, with two albums playing true to the band’s roots, the band would decide that it was time to take the next step and put out an album that would not only retain the classic Fear Factory formula, but also reach new heights. “Genexus” is exactly what the band had in mind.

If Fear Factory was going to add a new layer to their sound, they were going to have to make some changes to their current formula and the state of their lineup. The first order of business was to go out and get a new drummer, which they did by bringing on Mike Heller from the brutal death metal outfit, Malignancy. Previously, “The Industrialist” saw a two-man act of Dino and Burton handling all the instruments, which required the drums to be programmed and while they were executed well enough, the human aspect was sorely missing. The other change that is not as widely recognized was the fact that, for the first time in his singing career, Burton decided to seek out help from a vocal coach to help him with a few issues he felt he was experiencing. As such, he began incorporating warm up exercises before live shows and recordings, which would ultimate allow him to overcome those concerning issues. It showed a new level of devotion towards creating the best music possible and it would pay off in dividends. With a new drummer and a new sense of dedication to their music, Fear Factory was preparing to put everything they had into “Genexus”, but intent is one thing, execution is another.

As for the execution of the music, I will say, confidently that “Genexus” is easily their most complete and sincere album since “Demanufacture”. I’m not saying that it is better than “Obsolete” or “Archetype” (which could easily be debated, but not now). What I’m saying is, when the band changed from a quasi-industrial death metal act into the cyber metal powerhouse we heard on “Demanufacture” it required a great deal of change, commitment and execution. That is exactly what has happened from the transition of “Mechanize” (and “The Industrialist”) into “Genexus”. You can hear how much time, effort and dedication they put into this album with each passing song. The emotion in the vocals, the energy put forth in each of the instruments, even the crew behind the scenes in the programming and electronics department put in a great deal of time and focus to create the fresh and genuine sound on “Genexus”.  What we have here is not so much an album staying true to its roots, but an album that took everything in its 25-year history and combined all those elements into a showing of wisdom and mastery. It’s one thing to simply utilize elements from previous albums, but it’s another to take those elements and make them into something both familiar and unique.

Since beginning his consultations with the vocal coaches, Burton’s vocals have been elevated to new heights. Now, not everyone can sound the same at age 45 as they did when they were 20 (Although Rob Halford sounds pretty good for nearly 70), but Bell’s voice on “Genexus” reminds me more of his early “Demanufacture” and “Obsolete” days more than any other album. His harsh vocals are so much more prominent and sharp, more so than either of the two previous releases. He delivers more midrange vocals, which serve as a nice build up to his majestic cleans. The cleans on “Genexus” are some of the best he’s ever sung. They are high, clear and compelling on many of the songs that leave you simply in awe. The ending of “Regenerate” nearly brought tears to my eyes, as his soaring vocals left me completely floored. It’s impressive to actually hear the payoff of all the dedication Bell put into enhancing his voice after all these years.

With Dino on guitars, we know we’re in for some crunchy, groovy, chugging riffs. However, with the sense of a fresh sound, even Dino understood that just simply going back to the well would not be good enough. Yes, we still have those crushing riffs, but their sound on “Genexus” sounds almost as if Dino’s writing had been rejuvenated, as we haven’t heard such mechanical, cybernetic and pulsating riffs since “Demanufacture”. The power and energy on the guitars are far more intense than “Mechanize” and they actually add more rhythm than normal. Dino also mans the bass once again, which is nothing new, but with his renewed sense of guitar work, he would have to ensure that the bass did not lull into the background either. Now, I’ll say that the bass is not as front and center as it was on “Archetype” or “Transgression” for that matter, but the atmosphere on “Genexus” really doesn’t require an in your face bass. That’s not to say you don’t notice it, as many times the bass can be heard, bouncing along with the guitars creating a nice harmonizing flow. “Soulhacker” displays a heavy dosage of thick, groovy bass that enhances not only the guitars, but also gives a nice punch to the chorus as well.

With Mike Heller on board, the human element lacking from “The Industrial” had returned. Now, I had heard a few Malignancy albums in the past, but they were before Heller’s tenure with the band, so I wasn’t sure of his capabilities. I figured if Dino and Burton were serious about injecting new life into the band and “Genexus” they would do their homework and find the right drummer to fill the void. My concerns were put to rest as Heller displays not only that he can handle the drums required to carry the Fear Factory sound, but provides more on “Genexus”. The song writing really comes through on the drums as you, can hear portions of the bands entire discography throughout the album. The power, speed, depth, tempo and intensity of each track takes elements as far back as “Soul of a New Machine” up to “Mechanize” and are combined to create the monstrous sound we hear on “Genexus”. Aside from their concussive force, the drums, as usual serve as a key component in creating the rhythms and directional force of the album and when they gel together with Dino’s guitar and bass, they form a wonderful harmony.

I mentioned that everyone involved with “Genexus” stepped their game up a notch and that held true to those in the programming and additional crew department. Most notably, Rhys Fulber, who adds his dystopian enhancements to every aspect of the album. From Burton’s vocals, to Dino’s guitars and Heller’s drums, Fulber’s touch can be heard consistently throughout “Genexus” proving why I’ve always considered his addition to be the “12^th” man of the band. His magic behind the scenes is simply irreplaceable and I truly believe without his inclusion, the band would have never attained the sound they have accomplished.

“Genexus” was slated to be a step in the direction of a new future for Fear Factory. With the amount of preparation, dedication and emotion the band put into the making of this album, it’s no surprise that “Genexus” in my opinion, one of the best albums in Fear Factory’s long and celebrated catalog. With high expectations, the band exceeded those expectations and went above and beyond anything that fans were prepared for. This album is a testament to what can be accomplished when creative minds put their heads together, and put forth a massive amount of effort, while puting one’s heart and soul into an album. “Genexus” is simply a display of superb songwriting, excellent musicianship and the culmination of years of experience and maturity put onto an album. If this is the future of Fear Factory, the future is indeed bright my friends.

(Be sure to check out the digipak which contains two interesting tracks; "Mandatory Sacrifice" (Genexus Remix) and "Enhanced Reality")

Highlights: "Anodized" "Dielectric" "Protomech" "Regenerate"

Rating: 5

Fear Factory: Obsolete

It was the summer before entering high school and by that time, I had been jamming out to a stable mostly fixed of Pantera, Overkill, Metallica, but I was beginning to yearn for more metal. As fate would have it, my older brother would offer me a CD that he said he didn’t enjoy, but knowing I loved metal as much as I did, thought I might. The album in question was Fear Factory’s 1998 release, “Obsolete”.

I remember staring at the cover of the album, not knowing what to expect, but I was intrigued. I had never heard of the band before that point, so whatever I would hear on this album would have to serve as the focal point of my perception of the band. After my first listen, I was introduced to a new and invigorating sound that hooked me from the get go. Now, of course, at that time, the metal world was being turned upside down with the Nu metal movement beginning to take over the mainstream airwaves and while I was aware of such bands, I had yet to experience much of said craze. The same could be said for any type of industrial metal as well, so I would essentially be listening to an album with both Nu metal and industrial elements for the first time. “Obsolete” would open my eyes to a world beyond the thrash and American groove metal that had constantly been blasting from my old boom box and introduce me to what would eventually become, my all-time favorite band.

Being 14 at the time, I was young, wet behind the ears and filled with teenage angst. Music had always (and still is) been one of my methods of dealing with the rigors of life and while the heading banging thrash assault of Metallica and Megadeeth combined with the pissed off shouts of Pantera were always at hand, “Obsolete” offered something new and unique. I remember listening to Burton C. Bell’s harsh vocals and couldn’t help but lose myself in the rage and violence in his voice. His unique blend of hoarse yells and angry shouts convey so much emotion and conjure many internal images within the listener.  However, the true curveball I experienced while listening to “Obsolete” would be the use of Bell’s clean vocals. Up until that point, aside from a few ballads from the aforementioned bands or some glam metal that I still listened to, clean singing was simply not something that I sought out to hear in my metal. (Which is why I didn’t get into power metal until late high-school) The chorus on “Shock” at first caught me off guard. I was almost ready to pop the CD out as I thought anything that wasn’t shouting, growling or guttural (I was really into Testaments’ “Demonic” at the time.) than it simply wasn’t metal enough. But, after hearing Bell’s voice, I simply couldn’t bring myself to stop the song. He had captivated my attention and had me at a disposition. After replaying it from the beginning, I immediately fell in love with the blend of his harsh and clean vocals. Bell’s voice would continue to carry on throughout the album, offering me the outlet to transmit my teenage aggression, but also transport me to a more calming state of mind when his cleans kick in. To put it mildly, they had a euphoric effect on me and still hold a certain mesmerizing effect on me to this day.

Now, at the time, I was rooted in the sound of guitar greats such as Kirk Hammett, Marty Friedman and Dime bag Darrel, so when I heard Dino’s take on guitars, I’ll admit, I was left feeling a little underwhelmed. Of course, this was not thrash metal, so to expect a shredding display of leads and solos would be foolhardy however, after multiple listens (and I listened to this album many, many times) the simplistic, yet catchy riffs would begin to resonate with the sound of the album as a whole and I began to appreciate them more. Their sound offers a robotic bite to the futuristic and cybernetic sound of the album, a sound that is both groovy and crushing, but blissfully simple in nature. Although I found myself initially disappointed that there were no solos to be heard, eventually, I began to realize that their absence did not affect my enjoyment of the album. The lack of solos may come off as a wasted opportunity to poor songwriting, but they simply are not necessary to create the foundation of sound for the album. The guitar’s offer enough substance and power to root the songs to the industrial nature of the band, while creating plenty of memorable hooks along the way. 

The drums on “Obsolete” were like nothing I had heard before. Granted, I had the pleasure of listening to Lars Ulrich and Vinnine Paul for years, but Raymond Herrera’s blistering assault of percussion was an entirely different beast altogether. The power and energy in the drums on “Obsolete” are constantly in your face and force you pay them the attention they deserve however; they are not so overbearing that they steal any other instrument’s thunder by any means. In fact, the drums aside from serving as one of the major rhythm generators of the album, create a sound that both sets it apart from the rest of the instruments, yet at the same time, serves as a beacon of harmony. This beacon allows the guitars, bass, vocals and special effects to come together as once cohesive sound. 

“Obsolete” was the first album where Dino no longer had to man the bass duties, which would be handled by new comer; Christian Olde Wolbers. Unlike “Demanufacture” the bass on “Obsolete” is felt throughout the album and is even put in the spotlight on the song “Edgecrusher” It delivers a thick and crunchy sound that reverberates with the mechanical sounding drums and futuristic sounding vocals.

Once again, Rhys Fulber adds his industrial touch, giving “Obsolete” a very unique sound and vibe to many of the songs. I’ve long heralded his abilities as an unofficial member of the band and it’s easy to understand once you hear his work on obsolete. Listen to the opening of "Shock" to hear Rhys Fulber's work on programming. The sound is a simple guitar riffs that he put through various programming modules to create the awesome and unique sound.

Music aside and being a dumb kid at the time, it wasn’t until on about my fifth listen that I finally decided to read the liner notes and discovered that “Obsolete” was a concept album. It’s a story about Edgecrusher, the protagonist, rising up and trying to destroying the machines that humanity has become far too dependent upon. The booklet contains part of the story, which is then intertwined with the actual songs and lyrics, which is a neat concept in both ideal and execution. Almost like a graphic novel only audible. Either way, it adds another awesome feature to this already wonderful album, one that was like a second, first listen once I discovered the story behind the music.

Although "Demanufacture" may have been Fear Factory's most influential album of all time, "Obsolete" would become their most successful in terms of sales. Along with their digipak material, industrial rock legend, Gar Numan is featured on the band’s remake of “Cars”, which would propel the album to gold status. Speaking of the digipak material, it contains 5 additional tracks including the “Cars” remake. Although the others are decent sounding sounds and fit the sound of “Obsolete” they had nothing to do with the story and were ultimately left of the original track list (as far as I can tell, as they don’t just sound like throwaway songs)

This was my first experience with Fear Factory when I was kid and it immediately spawned my affection for the band. I always recommend "Demanufacture" to any fan looking for metal suggestions, but almost always suggest this as a follow up due to its mainstream success and overall sound. It may not be a masterpiece in the eyes of others, but for me this album is pure gold Jerry!

 Highlights: "Shock" "Hi-Tech Hate" "Descent" "Timelessness" (Just listen to the whole album!)

Rating: 5

Fear Factory: Demanufacture

In 1992, Fear Factory released their debut album, “Soul of a New Machine.” The sound was a blend of raw, old school death metal with industrial elements added to create a powerful and mechanical sound.  However, the sound “Soul of a New Machine”, albeit, effective and would be short lived as in the coming years, the band would tweak things to create the sound they ultimately thought fit their sound best. The result of said tweaks resulted in, “Demanufacture” and the brand of cyber-metal most associate when thinking about Fear Factory was born. Often considered Fear Factory’s magnum opus, “Demanufacture” would pave the way for the sound that many bands would emulate down the road.

When one thinks of industrial metal the likes of Godflesh, Ministry and even Killing Joke come to mind.  Now, while “Soul of a New Machine” was, indeed, industrial in nature, it seemed to be missing the industrial punch to join such noteworthy list of contributors of the genre. The industrial sound in question came off more as complimentary component rather than a major feature. On “Demanufactre” however, the industrial sound was no longer merely additional elements spliced into the music, but rather an equal part of the formula that makes up the base of the album.  As such, “Demanufacture” would better fit the mold of industrial metal.

The first change one will notice on “Demanufacture” would be Burton C. Bell’s vocals. His vocals on “Soul of a New Machine” were raw and primordial and tended to sound more borrowed from other death metal acts at the time. However, since that time, he has altered the delivery of his heavier vocals, which are no less crushing and furious as they were before, but they now have their own unique sound. They are harsh and hoarse, carrying an air of violence that helps set the tone of the futuristic and industrial nature of the album. That being said, Bell has also honed his clean vocals as well on “Demanufacture”. On the debut, his cleans were clear and added an almost, robotic like quality to the sound. Now, they are far more crisp and well-rounded both in quality and quantity. They are featured more often in “Demanufacture” than on “Soul of a New Machine” and help create a deeper atmosphere for the majority of the album. The cleans also add a nice ebb and flow between the harsh vocals and pounding instrumentation, which would become a staple for Fear Factory from this album forward.

Once again, Dino’s work on guitars flourish, as he creates numerous groovy and catchy leads that hook the listener from the get go. “Self- Bias Resistor” starts out with a bouncy and memorable lead and then dives right into a chugging, groove pound riff that carries the song. Many of the songs follow this pattern of opening hooks and simple, but crushing riffs and while they may not be the most mind boggling in the greater scope of riffs, they provide plenty of substance and power to enhance the mood of each song. Now, there are no solos on this album, which only reiterates my claim from before that the guitars are not meant to be the focal point of the album, but rather a musical utility knife that can hook the listen, keep them entertained with simple and catchy leads and offer a nice transition into one of the many memorable choruses on this album.

The drums are, once again, manned by the machine, Raymond Herrera. His display of power shows even more so on “Demanufacture” as he hammers away from song to song, creating a lasting impact on the entire album. Drums have always been a driving force for Fear Factory and once you hear their effect on this album, you’ll agree that their presence is irreplaceable. The drumming plays right along with the guitars for the most part, serving as a tandem rhythm section, creating section after section of memorable music. The bass, once again played by Dino, is not nearly as present as it was on “Soul of a New Machine”. Its absence is noticeable, but it really doesn’t take away from the overall industrial sound, but that being said, it would have been nice to hear it more often.

Rhys Fulber’s keyboards and mixing provide a spark to “Demanufacture” that was simply missing from “Soul of a New Machine”. Once he began working with the band on “Fear is the Mindkiller” his electronic and techno oriented background added an entirely new level to the sound of Fear Factory. Once might even say that, his industrial/techno touch may have helped the band formulate the cyber metal sound Fear Factory have mastered for 25 years.

Regardless of my fanboyism towards Fear Factory, “Demanufacture” is simply, a landmark album. It’s importance to various metal acts is widely regarded and there is a reason why it pops up on numerous top xx albums of all time lists. Whether you love them or hate them, there’s no denying the footprint “Demanufacture” left on the metal community.

Highlights: “Demanufacture” “Self-Bias Resistor” “Replica” “Zero Signal” (I really don’t’ want to list the entire album here, but you get my point)

Rating: 5

Darkthrone: Under a Funeral Moon

When it comes to "must listen to" history of black metal albums, it's always tough for me to choose. On one hand, I always suggest Mayhem's "De mysteriis dom Sathanas " for the historical value and Venom's "Black Metal" for the same reason. On the other, Bathory and Burzum always get nods as well, but for me there are a couple releases I tend gravitate towards. "Under a Funeral Moon" happens to be one of those choices. Now, I believe that Darkthrone's golden era would begin with "A Blaze in the Northern Sky" and continue up to and including "Panzerfaust". Personally, I don't think you can go wrong with any of those releases in terms of classic black metal. For me, "Under a Funeral Moon, gets a slight edge. Maybe it's because it was my first experience with Darkthrone, but in any case, this album is what I would say is Quintessential black metal listening (1 of 2).

This album is the definition of black metal. Distorted madness, tremolo picking, suicidal lyrics, screams of agony and the raw sound that black metal has always had an affinity toward. The riffs on this album display the talent of these Norwegians, showing that they are not just one trick ponies and while the drums are muffled a bit, I think they intended it to be that way. This isn't a death metal album, so the drums didn't need to be the driving force of the sound. Despite their muffled sound, they fit just fine, as they don't leave any holes in the music at all. To my ears, this is truly what I came to expect black metal to be, or what all other black metal after this releases aspired to achieve. A must have for black metal fans or those wondering where to start with black metal.

Highlights: "Summer of the Diabolical Holocaust" "Unholy Black Metal" "Under a Funeral Moon"

Rating: 5

Bathory: Bathory

One of the two albums that birthed everything we know and love as Black Metal. Venom's "Black Metal" is another topic altogether, but Bathory's debut would be the beginning of what would become a legend in the making.

"Bathory" is, at its core, blackened thrash with the intent to destroy all those you dare listen. The speed and riffs right from the opening track "Hades" (this is true for the original pressing. My reissue has Storm of Damnation, an intro for the first track), tell the listener exactly what they are in for and they don't let up until the end. "Reaper" is my favorite Bathory song hands down and I can remember blasting this my first year in the dorms at college, despite my neighbors being terrified of what kind of psycho would listen to such evil. The drums blast away relentlessly to match the ferocity of the guitars, while Quorthon belts out some of his best vocals. There is plenty of technique on display with well executed solos and catchy melodies to please any metal fan.

Now, this may blur the lines of what the standard sound of what modern day black metal would evoke into, but Bathory's influence would be felt in black metal circles to this day. This album is like a fine wine; an intoxicating first experience that only gets better with age. Even today, I play this record and still feel like a stupid 19 year old kid, banging my head and putting on an air guitar display for Satan himself.

Highlights: (From original pressing) All tracks, but "Hades" "Necromansy" "Reaper" "Armageddon" are exceptional.

Rating: 5

Blind Guardian: Nightfall In Middle-Earth

By far my favorite album by Blind Guardian, if not just in general. This album, to me, is the highest point of Blind Guardian's career to date. It has everything you could want in a Tolkien inspired, fantasy laden, power metal opus. Listening to this album as a whole is the best way to experience the full effect of the album as the interludes by themselves seem non-essential, but they are by no means filler. The sound BG cemented on their previous album "Imaginations From the Other Side" continues onto this release, but the orchestral and operatic sound feels more mature and focused. Kürsch's vocals feel as though they are telling the story of "The Silmarillion" without ever having to had read the book in the first place. The music creates a specific atmosphere for each song, very much how a novel progresses from chapter to chapter. "Into the Storm" offers the classic speed metal sound Blind Guardian built their legacy upon, while "Nightfall" has a progressive element to its structure that builds into an explosive chorus. "Noldor (Dead Winter Reigns)" is a wonderful ballad that is as dark as it is comforting to listen to, while "Mirror Mirror" picks things up with a big chorus over a backdrop of fun and catchy keyboards. "Thorn", which is my darkhorse for runner up on this album, another ballad, but the build up to the first chorus always gives me goosebumps. Last, but not least, "Time Stands Still (At the Iron Hill)". Top three Blind Guardian songs of all time hands down. Just listen to it. You'll understand. Final verdict: Get this album, now.

Highlights (Press Play and enjoy) "Nightfall", Into the Storm", "Time Stands Still (At the Iron Hill)", "Thorn"

Rating: 5