365 Days of Metal: Call of the Mastodon

Day 40

Mastodon - The Hunter

Band Origin: Atlanta, Georgia, USA
Genre: Sludge Metal / Progressive
Label: Reprise
Running Time: 53 minutes
Release Date: September 26, 2011

Best Part: The Sparrow

Favorite Tracks: Octopus Has No Friends, The Sparrow, Stargasm, Spectrelight, and Blasteroid

Grade: 5

---------

The Hunter in 20 words or less:

A slightly toned down Mastodon returns with another slight shift in sound, that makes it one of their best records yet.

The Band:

Mastodon is a four member sludge metal band playing out of Atlanta that has amassed a large following of supporters since their debut album Remission. Mastodon features a soundscape that utilizes elements of sludge metal, psychedlic and progressive metal, creating a fusion of genres and sounds that shift slightly from album to album. While each of their labums maintains the same core progressive and sludge metal style, each one has its own tone and feel to go along with it. Mastodon is known for building albums around the relation with classical elements, many of these being concept albums.

Mastodon's previous releases include: Remission (2002), Leviathan (2004), Blood Mountain (2006), and Crack the Skye (2009)

Jay's Take on The Hunter:

There's a few things one needs to know about The Hunter if it's their first time listening to Mastodon ever, or in quite some time. The Hunter is less progressive than their previous work, particularly that of their last record Crack The Skye. It is also their first non-concept album since their debut album Remission, and is the first album not be related to a classical element. The Hunter is essentially a total shift in pace from what some expect from Mastodon, but still inherently remains just that - Mastodon. Drummer Brann Dailor even said that the album is a little more stripped down, giving it a feel similar to that of their sophomore album Leviathan, and features more songwriting contributions from all the band members, rather than primarily guitarist and lead vocalist Brent Hinds. All of that being said, The Hunter is a great album, and in true Mastodon style demonstrates the ability of the band to cross boundaries and shift their sound, and end up all the better for it. It has all the elements of their previous work, odd instrumentation, sludge-a-rific riffs, a toned down but still present progressive style and some psychedelic feel. And don't forget the top notch vocals of bassist Troy Sanders and Brent Hinds, as always. It also features guest vocals by Scott Kelly of Neurosis on the track Spectrelight.

I mentioned earlier in the week that Dualism by Textures had made a record worthy of consideration for top honors in my albums of the year, but another candidate had arrived just days later - that candidate being The Hunter. Asides from just being a sucker for Mastodon, it also happens to just be that good of a record, despite some peoples gripes with it.

Sample of the Day:

Today, a little Spectrelight, and the closing track The Sparrow.





- J

365 Days of Metal: Frak The Gods Week, This Is Primal Directive

It's hardly rare for me to talk about how much I like certain records, or how they were my favorite at a certain point in time, during a specific year, or as part of a genre. But actually listing my true all-time favorite records would be a challenge .

Which is why it should be of importance to note that this is one of those records.

Day 39

The Contortionist - Exoplanet

Band Origin: Indianapolis, Indiana, USA
Genre: Progressive Death Metal
Label: Good Fight Entertainment
Running Time: 57 minutes
Release Date: August 31, 2010

Best Part: Exoplanet I: Egress, Exoplanet II: Void, and Exoplanet III: Light

Favorite Tracks: Flourish, Oscillator, Primal Directive, and Advent

Grade: 5

---------

Exoplanet in 20 words or less:

A trippy, groovy, sci-fi progressive death metal experience that weighs in heavy on the awesome.

The Band:

The Contortionist is a five member band out of Indiana that blend together metalcore, death metal, and progressive-jazz fusion into something that when done incorrectly, you would expect to be an incoherent mishmash of discordance. Often compared to the likes of Between the Buried and Me, their Apparition EP aided in redefining the group after they overhauled their sound, and renamed themselves The Contortionist - a truly fitting name. The Contortionist manages to convey a wide range of moods and sounds throughout their work, relying on the variety of the styles they draw from to create some truly interesting tracks. Their progressive nature, use of odd grooves and sci-fi themes are just some of the features that make the band stand out from the crowd.

The Contortionist's previous releases include: Shapeshifter EP (2008), and Apparition EP (2009)

Jay's Take on Exoplanet:

I actually wrote a review for Exoplanet early in January after I failed to listen to this album before the end of 2010 and inadvertently snubbing it from my Top 10 of 2010 - a massive fail on my part. So if you may have seen some of these words before, don't be alarmed. Exoplanet is a superbly fine record from the first moment it roars into synch, to its final closing moments, showcasing the evolution of the band since the release of Apparition. The inclusion of a newly recorded version of Oscillator was a really great treat at the mid-point of the record, giving huge throwback to their previous EP. The Contortionist is one of those bands that manages to blend together each of the styles they draw from in ways that provide a unique sound experience from one track to the next - and they prove this throughout Exoplanet. You'll find graceful melodies, technical fretwork, odd but groovy riffs, breakdowns and basically the kitchen sink. While you'd expect non-stop face crushing destruction from the way many of their tracks begin, you get treated to a wide range of transitions, from chuggy, meaty, bone crushing riffs, to melodic interludes with clean and pleasant vocals. The aspect of the record (and inherently the band) that makes all the difference is the ability to make those transitions as seamless as possible - something The Contortionist are very capable of doing. This was one of the first albums I listened to in the new year and continues to be a great listen with each run through, occupying a nearly constant position on the CD tray of my stereo.

Sample of the Day:

I mentioned on the weekend that I thought this band would be my favorite set when I hit up the Frak The Gods tour on Monday. People will surely argue with me, because of the range of talent inherent to each of the four bands I've showcased since Monday. Fact of the matter is, it's all going to be fucking amazing - but I'm looking forward to this the most.

So here's your sample, and the three part title track, which closes out the record.





- J

365 Days of Metal: Frak The Gods Week, Reaching Home

Day 38

Textures - Dualism

Band Origin: Tilburg, Netherlands
Genre: Progressive Metal
Label: Nuclear Blast
Running Time: 57 minutes
Release Date: September 23, 2011

Best Part: Singularity

Favorite Tracks: Stoic Resignation, Singularity, Reaching Home, and Sanguine Draws The Oath

Grade: 5

---------

Dualism in 20 words or less:

After three years Textures are back to their old tricks, with a new frontman, and the same old innovative, groovy and melodic experimental metal of old.

The Band:

Textures is a six member outfit out of the Netherlands now entering their tenth year in the progressive metal circuit. Influenced by and also fusing a long list of genres including groove metal, technical death metal, metalcore, progressive and ambient, Texures has a unique style which they have continuously evolved over the course of their career. Alternating between multi-layered musical styles, the bands records always manage to capture a wide range of different moods and emotions. With former long-term vocalist Eric Kalsbeek leaving the band in 2010, the follow-up to their last realease, Silhouettes was unfortunately postponed. Later in the year the band recruited Daniel De Jongh to replace Eric, eventually becoming the new lead vocalist for the group, and completing the recording of Dualism - bringing Textures back into the forefront of the talent pool of the progressive and experimental genres.

Textures's previous releases include: Polars (2003), Drawing Circles (2006), and Silhouettes (2008)

Jay's Take on Dualism:

I discovered Textures back in high school after listening to their album Polars, and quickly became interested by their unique fusion of musical genres. All of their records up to Silhouettes featured a distinct musical progression, with their multi-layered approach to their music creating tracks that are not easily forgotten. Dualism follows much in the foot steps of their previous releases but also shows signs of the evolution which has been consistent with the band. The foundation of the band falls on the shoulders of its founding members, guitarists Jochem Jacobs, Bart Hennephof and drummer Stef Broks. Whether pushing it to the limit, or easing up on the accelerator, Textures has always managed to keep a distinct type of groove in their music. The other characteristic of the band is in its vocals, which range from harsh screams to soft, clean, almost operatic highs (minus the embellished bellowing) - but with the emphasis being on the clean vocals, which elevate the melodic feel of their songs, and help bring out the emotion behind their music. De Jongh continues the tradition with a strong vocal performance throughout Dualism, lending his pipes to the complex riffs and soundscapes created by the rest of the group. Dualism comes out at a point during the year where most believe the best for the year may have been seen, but the truth is, at least for me, that it has created a strong case for landing near the top position of my favored albums for 2011. But it's not the only record to come out this week to have that effect, but I'll get into that on Friday.

Sample of the Day:



- J

365 Days of Metal: Frak The Gods Week, Pull Me From The Gallows

Day 37

The Human Abstract - Digital Veil

Band Origin: Los Angeles, California, USA
Genre: Progressive / Metalcore
Label: eOne
Running Time: 37 minutes
Release Date: March 8, 2011

Best Part: Sweeeeeeeeeps.

Favorite Tracks: Complex Terms, Faust, Holographic Sight, and Digital Veil

Grade: 4.5

---------

Digital Veil in 20 words or less:

The return of the classically trained AJ Minette inspired a true return to form, and a monolith of a record for The Human Abstract.

The Band:

The Human Abstract is currently a four member band out of Los Angeles that play a unique brand of progressive metal. Fusing technicality, heavy pounding grooves and classical composition, THA creates tracks that are as heavy handed as they are gentle and melodic. Formed by 3 remaining original members, guitarists Dean Herrera and AJ Minette, and drummer Brent Powell, THA has gone through a number of changes between the release of their phenomenal debut Nocturne and the release of Digital Veil. This included a period where Minette left the band to pursue his musical career away from metal, focusing on his study of classical guitar and composition. When the band asked him on to help produce new material they were working on he ended up getting more involved than planned - leading to his return to the band, and eventually Digital Veil being born.

The Human Abstract's other release include: Nocturne (2006), and Midheaven (2008)

Jay's Take on Digital Veil:

I haven't refrained from speaking my piece about The Human Abstract before, as I had written this little diddy a while back about how Digital Veil was near the top of my Most Wanted list. I could reiterate my point of view on the differences between Nocturne and Midheaven, which lacked a key part of what made the bands sound unique - AJ Minette. But that's now what 365 Days of Metal is about. Sufficed to say, Digital Veil is a grandiose return to form for the band, as well as a huge leap forward. With the return of the tight melodic sweeps and classical technique of Minette, THA also added in a much thicker and heavier background, increased technical prowess from each of its members and a renewed vocal style with the addition of Travis Richter. Despite the fact that Travis left the band at the end of August, with Ryan Devlin of Corelia replacing him, it's the composition and intricacies of the band that make Digital Veil a real breath of fresh air. It manages to balance bone crushing grooves with high flying solos, and subtle classical musings, without creating any type of clash of sounds. In a word, this is a worthy candidate for album of the year on many individuals short lists. Clocking in at 37 minutes it's 10 minutes shorter than their previous releases, but features enough fresh material to warrant multiple playthroughs.

Sample of the Day:



- J

365 Days of Metal: Frak The Gods Week, Love That Shit

A half-week, at least, in honor of the bands coming up on the Frak The Gods Tour, which I'll be attending next Monday in Montreal.


Day 36 

Periphery - Periphery

Band Origin: Bethesda, Maryland, USA
Genre: Progressive / Experimental / Djent
Label: Sumerian
Running Time: 73 minutes
Release Date: April 20, 2010

Best Part: Periphery - Love that shit!

Favorite Tracks: Racecar, Jetpacks Was Yes, Icarus Lives, and Insomnia.

Grade: 4.5
---------

Periphery in 20 words or less:

*Edited because I'm a retard* DJENT! DJENT! DJENT!


The Band:

Periphery is currently a five member experimental progressive metal act out of Bethesda Maryland, led by Misha 'Bulb' Mansoor who has become an iconic figure, not only as a guitarist but as a producer in the uprising of the underground 'Djent' movement. In tow, but certainly not forgettable in any right is fretwork the of Jake Bowen and Tom Murphy on bass, Matt Halpern's prowess behind the drum kit, and Spencer Sotelo up front on the vox. Periphery blends together sweet technical riffs and powerful grooves, creating intriguing and easily recognizable tracks - and with much of Periphery's work being based off Misha's past solo work as Bulb, they have enough material to release an entire catalog of records. Periphery will be releasing two records in 2012, including a concept album and have also been signed as the opening act for Dream Theater's new tour beginning in January.

Periphery's other release includes their Icarus EP which came out this past year, featuring 4 new tracks, an alternate version of the track Jetpacks Was Yes! and fan remixes of their song Icarus Lives.

Jay's Take on Periphery:

Periphery's self-titled debut came in at number two on my list of favorite records in 2010, just behind the double release by The Ocean. Before even hearing this record, I actually got to see these guys perform live, as one of my friends local bands actually opened for them while on tour in Ottawa. Needless to say they left an impression, and had to get some more. The record features great tracks with a wide sweep of feels to each of them, from intense heavy riffage, to eloquent solos, or Spencer's vocal shifts between harsh screams and clean melodic highs. Each of the tracks of the record is distinct from each other, which gives everyone plenty of reason to declare why on track is their favorite in comparison to another, whether it's Icarus Lives, Buttersnips, Jetpacks or even the 15 minute epic Racecar - there's plenty to get your head around upon your first listen, let alone future run throughs. Both this and the Icarus EP featured some more classic tracks, for longtime fans of both Bulb and Periphery, showing how much room the band has to evolve, especially as their chosen brand of music has truly taken off in the past year.

Sample of the Day:



- J

Tour de Force: Frak The Gods

It's been quite a while since I've talked about any shows that I've been to recently, or will be attending in the near future. Truth is I haven't been to a live show in a couple months - the last ones being during Bluesfest in Ottawa.

That all changes on October 3rd when me and the boys roll on down in typical fashion to Montreal for the Frak The Gods Tour. Bound to be one of the shows of the year, and one of the many premium fall tours making the rounds it features Periphery as headliners, with support from The Human Abstract, Textures and The Contortionist. As a bonus, I'll be featuring all of the bands during the week on 365 Days of Metal, dubbing it Frak The Gods Week.

It's tours like these that often make my year, as it features four of my favorite bands all in one night, so how can you really go wrong when you've got this much talent to choose from.

Periphery is coming off another strong year after releasing their Icarus EP featuring a few new tracks and remixes of their song Icarus Lives as created by their fans. They've put out details about their next efforts which includes two new full-length releases scheduled for 2012. Misha Mansoor commented that this would include a concept album, which he had been thinking of working on for years. Both records would be set to release about three to six months apart, as to make sure they're distinguished as separate works, with the concept album being the second release.

The Human Abstract released their long awaited third album Digital Veil back in March and it easily ranks as one of the better albums of the year. The return of A.J. Minette was a much needed catalyst as the band returned to their original sound, while also including new elements, heaviness and a new vocalist. Travis Richter recently left THA at the end of August, which left people questioning what they would do next, and myself questioning what would be the result come tour time. Luckily the band brought in Ryan Devlin of Corelia shortly after, and I'm quite interested in seeing and hearing the results come next Monday.

Textures new album Dualism was released on September 23rd and is their first record since the release of Silhouettes in 2008, and the first record to feature their new vocalist Daniel de Jongh. The record is phenomenal, as has been the rest of their catalog throughout the years, so I'm doubly thrilled to finally get a chance to see them live, and to soak in some of the new vibes.

I reviewed Exoplanet by The Contortionist about a week after I chose my favorite LP's and EP's from 2010, as I was pretty cross with myself for not having listened to the album until afterwards. They're one of my favorite bands who blend progressive with death metal and I have a feeling, despite the range of talent of all four bands, will be my favorite set of the night on October 3rd.

The Frak The Gods Tour hits La Tulipe in Montreal on October 3rd, one of the final dates on the tour, as it wraps up on October 8th.

- J

365 Days of Metal: A Musical Anagram

Day 35

El Scar - God's In His Heaven, All's Right With The World

Band Origin: Brighton, UK
Genre: Progressive / Ambient / Groove Metal
Label: Unsigned
Running Time: 33 minutes
Release Date: April 20, 2011

Best Part: Title Track + Outro

Favorite Tracks: God's In His Heaven, All's Right With The World, Memories Within My Palm, and Fumbling Towards Kindness

Grade: 3.5

---------

God's In His Heaven, All's Right With The World in 20 words or less:

Another groovy and heavy release with crisper sound quality from another homebrew solo artist in the UK.

The Band:

Marc Le Cras is a young solo musician our of Brighton who has released a full-length record and two extended-plays, which he has produced himself under the name El Scar - an anagram, if it wasn't blazingly obvious already. Blending ambient with progressive and groove metal, Le Cras continues to develop his with each new release. As with many other solo musicians incorporating these styles, El Scar has found a following among other solo artists in the Djent community.

El Scar's other releases include: The Human Instrumentality Project (2010), and MAGI (2010)

Jay's Take on God's In His Heaven, All's Right With The World:

I first came across Marc Le Cras' work early last year when he released The Human Instrumentality Project. Since then he has released two more EP's, including this one in the late Spring. Still holding onto the same core sound that he worked from on his first record, Le Cras continues to add in new subtle elements with each release, and improves on the homebrew production quality of his recordings. He uses a progressive style involving repetition of heavy riffs and timed changes in pace. Each of his recordings have a groovy feel to them, with that subtle ambient texture in the background weaving everything together into a tight, yet heavy cohesive unit. God's In His Heaven, All's Right With The World also incorporates more slow, melodic passages than in the majority of his past work including the soft piano laced intro track, and the outro track Memories Within My Palm. Although his music did previously focus more on the heavy side, the melodic passages help to string along the progression in each track where they are present, and makes the record easily listenable when you're just lounging around, or need something groovy to draw energy from.

Sample of the Day:



- J

365 Days of Metal: A Curse Upon You

Day 34

Ion Dissonance - Cursed

Band Origin: Montreal, Quebec, USA
Genre: Mathcore / Deathcore
Label: Century Media
Running Time: 42 minutes
Release Date: August 24, 2010

Best Part: The Bonus track Pallor is an interesting shift in pace.

Favorite Tracks: This is the Last Time I Repeat Myself, Can Someone Please Explain This to Me, You People Are Messed Up, and We Like to Call This One... Fuck Off

Grade: 3.5

---------

Cursed in 20 words or less:

A return after a three year hiatus featuring copious amounts of intensity, brutality and dissonance - of course.

The Band:

Ion Dissonance is a five member band out of Montreal who blend together the insanity, technicality and speed of mathcore with the down low brutality of deathcore, creating a real musical meat grinder. After changing vocalists in 2006 the band released their third record, Minus The Herd which had a much more brutal deathcore focus over the anarchy and intensity of their sophomore album Solace, regarded as being their best album. After Minus the Herd Ion Dissonance went on hiatus until 2010 when they released Cursed, in a true return to their original form, but also incorporating some new technical elements, as well as some 8-string guitar work to the mix.

Ion Dissonance's other releases include: Breathing Is Irrelevant (2003), Solace (2005), and Minus the Herd (2007)

Jay's Take on Cursed:

Cursed was released by Ion Dissonance following a three year hiatus where the band looked to focus on other things than music, including work and family. This time away from touring and music also helped the band re-tune their musical focus after releasing Minus the Herd, which was not a bad record at all, but went in a heavier direction that was more akin to direct deathcore than anything else. Cursed returns Ion Dissonance back to the form they displayed with the release of Solace: A frenetic, mentally unbalanced mix of mathcore and deathcore that stays technical, unpredictable and brutal all at the same time. The addition of 8-string guitars adds to the low end, and the heaviness of the sound, noticeable on tracks such as This is The Last Time I Repeat Myself, it adds a nice groove, and a crisper feel to their intense sound without over-saturating the overall product.

Sample of the Day:



- J

365 Days of Metal: Live Edition, Goddess Unbound

Day 33

Isis - Live 5.0

Band Origin: Boston, Massachusetts, USA
Genre: Ambient / Post Metal / Sludge Metal
Label: Self-released
Running Time: 67 minutes
Release Date: December 8, 2009

Best Part: 0:00 - End

Favorite Tracks: Weight, Carry, From Sinking

Grade: 4.5

---------

Live 5.0 in 20 words or less:

The fifth and final live album by Isis, playing one of their best works (Oceanic) in its entirety.

The Band:

Isis was (yes, was - unfortunately) a five member post metal band playing out of Boston who helped refine the element of creating truly unique and great sounding, heavy-set, lengthy songs that are in constant evolution. Isis combines elements of ambient, progressive and sludge metal into their post metal tone, and built off of work inspired by the likes of Neurosis and Godflesh to create some of the best metal in its class from 1997 to 2010. Over the years Isis has also released five live albums, taken from on-tour recordings and have collaborated with a number of artists including The Melvins, Justin Chancellor and Adam Jones of Tool, and Pig Destroyer where they covered Streetcleaner by Godflesh. The members of Isis are also part of a number of great side projects including Red Sparowes and Old Man Gloom.

Isis' full-length releases include: Celestial (2000), Oceanic (2002), Panopticon (2004), In the Absence of Truth (2006), and Wavering Radiant (2009)

Jay's Take on Live 5.0:

Live 5.0, despite being released in 2009, was actually recorded at a show performed in London in 2006. It's only one of two live recording with professional sound quality, the other being Live 2.0 - all other recording were pieced together from bootleg recordings. And it is also the only live recording of an entire release, the band having been asked to perform their LP Oceanic in its entirety. The sound quality on this recording is phenomenal, adding even more emphasis to power and the heavy, low tone of the record, but also it's more subtle ambient moments. If you've never listened to Oceanic before you may think the band uses the small interludes in between songs to good effectiveness, but it should be noted that those are all part of the record to begin with - an integral part of Isis' core sound. Simply put, Isis does not miss a beat on this recording and the end result is pure magic. It's unfortunate that the band decided to call it quits in 2010, stating that they'd done all they had hoped to do and more. While they surely have plenty of great music to put forward with other projects, another point of admiration I've gained for this group comes from the fact that they would rather go out on a high note, with dignity, than risk pushing Isis beyond its limits. Although more synonymous with post metal, Isis will forever remain one of my favorite sludge metal bands alongside Mastodon and Baroness.

Sample of the Day:

Couldn't find any samples online from the actual recording for you fine folks, but here's the opening track straight off of Oceanic.



- J

365 Days of Metal: Reaper on the Scottish Highlands

Day 32

Grave Digger - The Clans Will Rise Again

Band Origin: Gladbeck, Germany
Genre: Power Metal
Label: Napalm
Running Time: 57 minutes
Release Date: October 1, 2010

Best Part: Bagpiped laced ballads - 'nuff said.

Favorite Tracks: Coming Home, Rebels, Valley of Tears, and Watch Me Die

Grade: 3.5

---------

The Clans Will Rise Again in 20 words or less:

A classic German power metal outfit returns to play ballads of war in the Scottish Highlands.

The Band:

Grave Digger was one of the early speed/power metal acts that emerged in the early 80's in Germany, amidst early European power metal defining acts such as Blind Guardian and Helloween. In 1987, after releasing three albums, the band decided to rename themselves Digger and released a fourth album entitled Stronger Than Ever, which was meant to push them more into the mainstream by appealing more to the masses. This venture would end up flopping and sending longtime fans running in droves, forcing bassist and vocalist Chris Bottendahl to disband the group. In 1991, Bottendahl would reunite with guitarist Uwe Lulis and add a new bassist and drummer, and would end up releasing the fourth record under the Grave Digger title in 1993, bringing the band back to its original roots. Bottendahl is now the only original member of Grave Digger, but the band has released a total of fifteen records over their history and continue to represent the power metal scene that they helped build.

Grave Digger's other releases include: Heavy Metal Breakdown (1984), Witch Hunter (1985), War Games (1986), The Reaper (1993), Heart of Darkness (1995), Tunes of War (1996), Knights of the Cross (1998), Excalibur (1999), The Grave Digger (2001), Rheingold (2003), The Last Supper (2005), Liberty or Death (2007), and Ballads of a Hangman (2009)

Jay's Take on The Clans Will Rise Again:

Grave Digger's 1996 album, Tunes of War was a concept album centered in Scotland, focusing on their struggles for independence from England between the 11th and 18th century. The Clans Will Rise Again is not a concept album, but returns to the Scottish Highlands as quasi-sequel to their previous work. Grave Digger experienced somewhat of a slump following their 2003 release Rheingold after years of relatively good performances since their return in 1993. The Clans Will Rise Again continues where their previous release, Ballads of a Hangman left off, bringing Grave Digger back to strong form again. Alex Ritt, the newest guitarist to join Grave Digger brings in some fresh riffs and solid guitar solos throughout the record, to really give that heavy, powerful feel to the record. Bottendahl's vocals are slightly held back from past performances, keeping his range lower and gruff than, and nearly no use of higher pitched screams, however the backing vocals filling in the choir effect on the choruses more than makes up for the absence of other elements. The Clans Will Rise Again is a solid outing from a classic power metal band.

Sample of the Day:



- J

365 Days of Metal: WTF Wednesday, The Number One Threat

Day 31

iwrestledabearonce - Ruining it For Everybody

Band Origin: Shreveport, Louisiana, USA
Genre: Grindcore / Electronica / Avant-Garde Metal
Label: Century Media
Running Time: 32 minutes
Release Date: July 26, 2011

Best Part: Disco breakdown? HOKAY DEN!

Favorite Tracks: It is "Bro" Isn't it?, Karate Nipples, Deodorant Can't Fix Ugly, and Break It Down Camacho

Grade: 4.0

---------

Ruining it For Everybody in 20 words or less:

No band on the planet can justify using grindcore and disco in the same instance as much as IWABO can.

The Band:

IWABO is a five member avant-garde metal outfit who can be best described as playing music incorporating a clusterfuck of genres and styles. Working off of mix between a metalcore and grindcore base, IWABO add in elements from a number of genres, including jazz, electronica and even disco. Their songs are known for their abrupt changes in pace and style, to create a range of music that includes soft melodic interludes, easy listening, and brain crushing brutality. And with past song titles like Tastes Like Kevin Bacon, which incorporates an angelic interlude, a harp, and a horn break into a grindy finale, you know you're bound followed by a  you know you're for a unique listening experience.

iwrestledabearonce's debut record was: It's All Happening (2009)

Jay's Take on Ruining it For Everybody:

IWABO's debut album when I first listened to it over two years ago was so balls to the wall insane that it grew on me rather quickly, though it still remains something I can only listen to in moderation. Ruining it For Everybody continues the tradition laid out on It's All Happening, incorporating dynamic shifts in styles across the entire record, creating an atmosphere of which feels like it's treading a tight rope between eloquence and shear carnage. Krysta Cameron, the vocalist for IWABO has a voice that remains as elegant as it is vile and gruesome when found shifting from soft interludes to guttural screams in grindcore inspired moments. Compared to their debut album, Ruining it For Everybody feels a little softer around the edges, without losing any of its insane charm. With a good selection of tracks it's an album, that if you're capable of digesting, is very inspired, considering the range of styles IWABO continuously seeks to play with. But without a track like Tastes Like Kevin Bacon, which was just so fucking ridiculous, it loses a bit of its luster - as grimy as it is.

Sample of the Day:

I still laugh about the day IWABO trolled the media by announcing they were becoming a black metal band. Priceless.



- J

365 Days of Metal: Genre Definers, Bust A Groove

Well, as unbelievable as it is, 365 Days of Metal is one month old! I wasn't sure I'd even make it this far, but things are going quite nicely. So seeing as how this is a bit of a milestone, I figured I would put out my first post in the series I've decided to entitle as Genre Definers, which will cover releases that best laid the groundwork, and defined a specific genre in metal history.

Day 30

Pantera - Cowboys From Hell

Band Origin: Arlington, Texas, USA
Genre: Groove Metal
Label: Atco
Running Time: 32 minutes
Release Date: July 24, 1990

Best Part: Any guitar solo on this record - the one featured below being my favorite.

Favorite Tracks: Cemetery Gates, Cowboys From Hell, Psycho Holiday, and The Art of Shredding

Grade: 5

---------

Cowboys From Hell in 20 words or less:

A record that not only redefined Pantera, but who's sound served as a source of inspiration for not only Groove Metal, but all of metal for years to come.

The Band:

Formed by the Abbott brothers, more commonly (and obviously) known as guitarist 'Dimebag' Darrell and drummer Vinne Paul, Pantera started out of all things as a glam metal band in the 80's, having released four records as the Pantera Metal Magic. Most Pantera fans, despite the band's releases during the 80's, consider Cowboys From Hell as being the true debut record for Pantera, and rightfully so. Pantera's 1990 release showcased a complete change in style for the group, with Dimebag providing guitar riffs and solos that would influence guitarists for years to come, Vinnie and bassist Rex Brown providing cohesion and power on the lower end, and vocalist Phil Anselmo adding a little more 'gusto' and vehemence to his falsetto vocals. Pantera would go on to record four more albums before the brothers officially split up the band in 2003 due to Anselmo having seemingly abandoned the band for other projects, leading to an immense amount of band blood and controversy. In 2004, Dimebag was tragically shot and killed while playing with his brother and their newest group Damageplan in Columbus, Ohio. While the tragedy did not aid in diminishing the bad blood between Vinnie and Anselmo, it remains a defining moment in modern metal history with the torrent of support and tributes that were made in Dimebag's honor from artists and fans world wide - Metal had lost one of its most influential artists.

Pantera's other releases include: Vulgar Display of Power (1992), Far Beyond Driven (1994), The Great Southern Trendkill (1996), and Reinventing the Steel (2000)

Jay's Take on Cowboys From Hell:

Cowboys From Hell can be cited as the record that would define groove metal for the future generation of acts, including Machine Head, Lamb of God and Chimaira. A complete rebirth for the band, this record would serve to solidify Pantera as one of the highly successful metal acts of the 90's and elevate, in particular, Diamond Darrel Abbott (as he was still know as then) into one of the definitive metal guitarists of all time. His groovy riffs and complex, inspired solo work would be recognized by artists alike and inspire future generations of guitarists even to this day. Cowboys From Hell lives up to its monicker, with the group playing a heavy, groovy and southern sound - the rhythm provided by Brown and Vinnie Paul giving the perfect backdrop for Darrell's inventive guitar playing, and Anselmo's falsetto howls rounding out their sound. While the title track would carry the feel of the majority of the record, the track Cemetery Gates remains one of the most heartfelt and trademark metal songs of the 90's. Cowboys From Hell was a rebirth for the band and would stay with them for the remainder of their career until 2003, never settling for anything less than the powerful, groovy, uncompromising sound they had created in 1990, on the way to becoming one of the premiere metal acts of a generation.

Sample of the Day:



- J

365 Days of Metal: Identity Unknown

Day 29

Converge - Jane Doe

Band Origin: Salem, Massachusetts, USA
Genre: Mathcore / Metalcore
Label: Epitaph
Running Time: 42 minutes
Release Date: September 4, 2001

Best Part: The title track - it carries the emotional weight of the entire record.

Favorite Tracks: Hell to Pay, Jane Doe, Phoenix in Flight, and Thaw

Grade: 4.5
---------

Jane Doe in 20 words or less:

As discordant and aggressive as this record is, its abrasiveness and feeling is what will leave you wanting.

The Band:

Converge is a four member outfit out of the witch fearing town of Salem with a long history in the hardcore and metalcore genres. Taking influence from bands across a wide spectrum of genres, including Black Flag, Black Sabbath, Slayer, Entombed and Starkweather, this band has managed to create a blend of the best that hardcore, mathcore and heavy metal have to offer - and are recognized as one of the players to define key elements in metalcore. Converge relies on many different playing styles to create their sound, which keeps hardcore as its base, and frequently uses the complexity and varying time signatures if mathcore to create songs which can range from near grindcore, to songs with a slower tempo and more doom-like drawn out feel. Over the years Converge's music has become more accessible, while still remaining as raucous as ever.

Converge's other releases include: Halo in a Haystack (1994), Petitioning the Empty Sky (1996), When Forever Comes Crashing (1998), You Fail Me (2004), No Heroes (2006), and Axe to Fall (2009)

Jay's Take on Jane Doe:

The staff at Sputnik Music probably summed it up best when they named o their album of the decade stating that "for all her technical achievement in bringing together metalcore and grind, o is grotesque, o is vile, o is miserable, and let’s get to the crux of it here, raucously inaccessible". All of these points are true, which is funny to say considering what most would consider very negative comments, are actually the reasons for the albums praise. The bit about inaccessibility is spot on considering the nature of this album. Whether during its most frenetic moments or its more slowed down semi-melodic moments, it is harsh, discordant, bleak and hard to swallow. Vocalist Jacob Bannon's vocals are best described as a cacophony of screams and shrieks, the guitar work of Kurt Ballou, now departed rhythm guitarist Aaron Dalbec and bassist Nate Newton are dissonant, aggressive and complex, and the drumming of Ben Koller adds its own touch, with the use of polyrhythmic drumming which is one of the staples of the band. Converge has always sought to out-do themselves with each new record by creating a new listening experience by pushing forward technically and trying not to repeat themselves. Jane Doe is the album that marked the step forward for Converge to become one of the more noisy and interesting hardcore punk and metal hybrid bands out there. Both its dissonant aggression and subdued beauty can be emphasized on the title track, swaying equally between both extremes to end this record on a true high.

Despite the fact this album can be considered one of their least accessible, it really serves as the launching pad that catapulted them towards the release of their next three records, You Fail Me, No Heroes and Axe to Fall, which are equally as well acclaimed. Axe to Fall, their most recent release is more accessible in comparison and features collaborations with artists who are both close to the band and also served as their inspiration, making it also very worthy of a listen.

Sample of the Day:



- J

365 Days of Metal: An Atmosphere of Death

Day 28

Ulcerate - The Destroyers of All

Band Origin: Auckland, New Zealand
Genre: Post Death Metal / Ambient
Label: Willowtip Records
Running Time: 53 minutes
Release Date: January 25, 2011

Best Part: Beneath - it serves as a type of interlude with its emphasis on the slower and heavier aspect of the band. 

Favorite Tracks: Dead Oceans, Cold Becoming, The Destroyers of All, and Beneath

Grade: 4.0

---------

The Destroyers of All in 20 words or less:

An emphatically dark and heavy collage of ambient music and death metal, which gives you a feeling of impending doom.

The Band:

Ulcerate is a trio playing out of New Zealand who play a brand of metal which in a sense unique. Ulcerate focuses on a sound which is atmospheric, incorporating elements of ambient music into their vicious, fast paced and brutal ensembles which incorporates the key elements of death metal, but strays instrumentally enough to garner attention. With three full-length records, and two extended plays under their belt, they continue to push the level of technicality with each new release. Focusing less on the up front, short and brutal assaults of their earlier releases, Ulcerates most recent material is more drawn out, tying in heavily to their atmospheric approach.

Ulcerate's other releases include: Of Fracture and Failure (2007), and Everything Is Fire (2009)

Jay's Take on The Destroyers of All:

The Destroyers of All is not your typical death metal record - because it's not a pure death metal record. It's not every day that you come across a record that uses the trademarks of the genre and tries to incorporate as much ambiance as Ulcerate does with this album. While the general atmospheric elements of The Destroyers of All are seemingly persistent and uniform across the entire record, with slight tonal shifts on each track, it adds to the cohesion of the record in a way that makes each members role stand out. The atmosphere of each track is dark and looming, creating an overall sense of impending doom, which is aided further by the fact that each track is well over six minutes in length. The other important point is the instrumental focus of the band, while Ulcerate incorporates the blast beats, the growls and the fast paced dissonant guitar work, it also features slow heavy riffs that are a signature of post-metal. The bass is accentuated, adding to the atmosphere of the record, without bleeding over the other instruments, and the drumming is intense, and flows smoothly from powerful blast beats to slow paced jazz style patterns. Upon first listen I was a bit confused, because I was expecting a purely technical death metal album, but the end result is an appreciation of a record with a unique blend of styles and strong execution.

Sample of the Day:



- J

365 Days of Metal: We Demand M&M's, But Not the Brown Ones

Day 27

Van Halen - 1984

Band Origin: Pasadena, California, USA
Genre: Hair Metal
Label: Warner Bros.
Running Time: 49 minutes
Release Date: January 9, 1984

Best Part: PANAMA!

Favorite Tracks: Jump, House of Pain, Panama, and Hot For Teacher

Grade: 4.0

---------

1984 in 20 words or less:

One of the peak performances for these high-flying, colourful and long haired 80's icons.

The Band:

Recognized more today as a hard rock act, Van Halen is one of the names synonymous with the Glam and Hair Metal era of the 1980's, and for good reason - just find some old footage or pictures, or even some recent live footage of David Lee Roth and Photoshop a long mane of blond hair and you've got it - Or you can watch the video below. Formed originally in 1972 by founding members and brothers, guitarist Eddie Van Halen and drummer Alex Van Halen, Van Halen the band would wind up exploding onto the scene with their debut self-titled release and would spend their time at the top of the charts for most of the 1980's, alongside bassist Michael Anthony who stayed with Van Halen until 2006. Van Halen would also live through certain eras, based primarily around their vocalists, of particular note, original and current vocalist as of 2006, David Lee Roth, and Sammy Hagar between 1985 and 1996. Reunions occurred with both vocalists throughout the past decade, but now Van Halen has officially reunited with Roth and their twelfth album is in the process of being mastered as of September 5th, 2011. The band has always been known for their flair and style, and of course the innovative and explosive performances of Eddie - look no further than Eruption off of their debut for proof immemorial.

And if you've never heard the tale about why Van Halen demanded a large bowl of M&M's minus the browns, at every show, you should read this article. Not only are they great musicians, but they're also clever thinkers, ensuring both their own safety and that of their fans with their elaborate stage setups.

Van Halen's other releases include: Van Halen (1978), Van Halen II (1979), Women and Children First (1980), Fair Warning (1981), Diver Down (1982), 5150 (1986), OU812 (1988), For Unlawful Carnal Knowledge (1991), Balance (1995), and Van Halen III (1998)

Jay's Take on 1984:

1984 is two things when you consider Van Halen's history. It was arguably their most successful record, in terms of sales and performances (peaking at no. 2 on charts only behind Thriller by Michael Jackson) and also incorporated some of the original speed and flair of their first records, while keeping the new elements added through their previous two records. It's also the last album recorded with before David Lee Roth before he would leave the group until their reunion twenty years later. Most people either like Sammy Hagar, or consider him the 'guy who wasn't Dave' - despite the fact I wasn't even born when this album came out, I still love me some Van Halen, and Sammy Hagar is the latter to me, he just isn't Roth. 1984 had an array of singles, each a little distinct from each other, each showcasing the ground Van Halen covers over their records, but none of them being a filler track. All nine tracks stand well enough on their own, which is what makes 1984 one of Van Halen's best works. Eddie is in peak form, providing some great licks and solos that Van Halen fans are accustomed to, while Michael's use of effects on tracks like I'll Wait really emphasized the synth driven feel of the era.

Like I said ramping up to the start of 365 Days of Metal, Hair Metal, Glam Metal, call it what you want - it counts.

Sample of the Day:



- J

p.s. Totally forgot to edit the 20 words or less when I ported the template - pretty sure Van Halen doesn't have breakdowns.

365 Days of Metal: Rebecca Black Metal Friday vol.3

Day 26

Wolves in the Throne Room - Celestial Lineage

Band Origin: Olympia, Washington, USA
Genre: Black Metal
Label: Southern Lord
Running Time: 49 minutes
Release Date: September 13, 2011

Best Part: Thuja Magus Imperium whisks you into this record.

Favorite Tracks: Subterranean Initiation, Astral Blood, and Thuja Magus Imperium

Grade: Fucking Metal - Err, I mean 5
---------

Celestial Lineage in 20 words or less:

A Satan-free, vintage feeling, all organic black metal experience with extra (tremolo) pickles.

The Band:

Brothers Nathan and Aaron Weaver comprise the American black metal duo Wolves in the Throne Room. The duo are an interesting pair of musicians to say the least. There's a certain mythos to the pair, seeing as how they live a rural lifestyle - a farm type stronghold, organic vegetables, the whole nine yards. In their music, which is influenced by traditional black metal, embraces all the tell-tale signs of the genre but none of its associated ideology and staples. No paint, no pseudonyms, etc., instead they try to fuse the energy of the natural landscapes that surround them, into their music - something which fits naturally well with black metal, as it has sort of mystical feel. The other eccentric, and very interesting part of WITTR is the fact that they refuse to use modern recording techniques and equipment, instead opting for vintage amps and analog synthesizers which adds to the energy and raw traditional black metal vibe the band produces. And to top it off, this is a band that considers themselves as a live band, which for the genre is a rarity.

Wolves in the Throne Room's previous releases include: Diadem of 12 Stars (2006), 2007: Two Hunters (2007), and Black Cascade (2009)

Jay's Take on Celestial Lineage:

Wolves in the Throne Room play black metal on their own terms, while they may not keep the token elements that most will associate to the genre, they do keep all of the musical elements that make black metal what it is. Celestial Lineage continues this tradition, and WITTR's tradition of taking a long-form approach, creating sweeping arrangements, rather than your traditional songs. Nathan Weaver, guitarist and vocalist for WITTR nails the traditional black metal shrieks and the inter-mingling tremolo picked guitar sections. Aaron Weaver, provides the percussion, bass and synths, creating the atmospheric background of their music, which is elegant in its darkness and ambiance. Jessika Kenney who provided clean vocals on Two Hunters, returns for an encore performance, adding to the ambiance of the intro track Thuja Magus Imperium, and on Woodland Cathedral. Did I mention this band is a bit eccentric? How about using only analog synths? Totally Fucking Metal. Just another element that adds to that classic, traditional vibe that these guys output. WITTR's arrangements vary on average between 6 to 11 minutes long, and cover a wide range of artistic style. Subtle dark ambiance, fast harsh dissonance, and the sound and energy of their lives - crackling fires, the wind blowing in the background - again, Fucking Metal. These two are about as traditional of a black metal band - despite not being a traditional black metal band - that you'll encounter outside of Europe. Check them out if you enjoy black metal, you will not be disappointed.

Sample of the Day:



- J

365 Days of Metal: Insane In the Membrane

Day 25

Cephalic Carnage - Misled by Certainty

Band Origin: Edgewater, Colorado, USA
Genre: Grindcore / Death Metal (Rock Mountain Hydro Grind)
Label: Relapse Records
Running Time: 54 minutes
Release Date: August 31, 2010

Best Part: Repangaea - the unheard of 12 minute long song on a grindcore album - with saxophone!

Favorite Tracks: Ohrwurm, Dimensional Modulation Transmography, The Incorrigible Flame

Grade: 4.5

---------

Misled by Certainty in 20 words or less:

Rocky Mountain Hydro Grind is back, faster, heavier and more technical than ever.

The Band:

Cephalic Carnage is a five member grindcore outfit out of Colorado that fuse together a wide range of styles into their technically proficient grind style. In the past they would often use elements from many different genres, including funk, jazz, and even surf-rock to fit their specific needs from track to track. Cephalic Carnage are also known for their parodies of other genres, including metalcore and black metal, and given the nature of their lyrical content and themes, including conspiracies and consumption of ganja, the band has always had some comedic aspects to their records. Their more recent work is more progressive, experimental and technical, as they have always been.

Cephalic Carnage's other releases include: Conforming to Abnormality (1998), Exploiting Dysfunction (2000), Lucid Interval (2002), Anomalies (2005), and Xenosapien (2007)

Jay's Take on Misled by Certainty:

Cephalic Carnage has long been one of my favorite grindcore bands, simply because of the wide range of styles they've always sought to fuse into their music, whether for comedic relief or an abrupt, unexpected change in pace. Following-up from their previous record, Xenosapien released three years prior, Misled by Certainty continues where they left off with heavy, technical, in your face deathgrind. Grindcore is an abrasive genre in Metal's stable, it's loud, dissonant, fast and usually balls to walls insane - and Misled by Certainty certainly fits the bill for this. Lenzig Leal's vocals are deeper, and ghastlier than ever. Longtime guitarist Steve Goldberg's fretwork, along with rhythm guitarist Brian Hopp's is at its best and raise the technicality another notch. Nick Schendzielos provides that technical bass-line and great backing vocals. And longtime drummer John Merryman tears it up on the kit. Misled by Certainty has less comedic moments than on past records, and instead replaces it with more experimental elements - which works out quite well. But in typical grind fashion, they still keep those few 30 second, to one minute long tracks of pure speed and aggression.

Sample of the Day:

The official video for Ohrwurm is interesting to say the least - so I opted not to include it.



- J

365 Days of Metal: Lethal Dosage

Day 24

Mudvayne - L.D. 50

Band Origin: Peoria, Illinois, USA
Genre: Alternative Metal / Nu-Metal
Label: Epic
Running Time: 68 minutes
Release Date: August 22, 2000

Best Part: Ryan Martinie

Favorite Tracks: Dig, Nothing to Gein, Internal Primates Forever, and Death Blooms

Grade: 3.0

---------

L.D. 50 in 20 words or less:

A debut record from an alternative metal band, with a shock rock style appearance, riding funky technical bass lines to success.

The Band:

Mudvayne is a four member alternative metal group out of Illinois that arrived on the scene with a strong debut success with L.D. 50 while Nu-Metal was still popular in the mainstream. The band was praised originally for their heavy, raw sound, and technical style, promoted in particular by bassist Ryan Martinie. Their sound has evolved over the course of their career and their five records, with inclusions of different styles and a progression at times towards more of a hard rock oriented sound following their first two records - to the dismay of many of their original fans. And as with many bands with relative mainstream success, this can be a double edged sword.

Mudvayne's other releases include: The End of All Things to Come (2002), Lost and Found (2005), The New Game (2008), and Mudvayne (2009)

Jay's Take on L.D. 50:

Up until deciding to do today's post on L.D. 50, I hadn't listened to any material by Mudvayne since their sophomore album, The End of All Things to Come back in high school. So to comment on the bands current direction, sound or any of their material in the near past decade would be out of place. What I can say is that L.D. 50 was a very good album for its genre, and the timing with which it landed on the scene. Nu-Metal's mainstream success began to fade early into the new millenium, and L.D. 50 managed to enter the fray just before it's slow decline. Chad Gray's vocals have always been distinct, and if you've ever heard a Mudvayne song, you know instantly when you're listening to them based solely on his voice. Another key marker is the technical, jazz style bass playing of Martinie, who does not use any effects, giving his bass line a clean unfettered feel. For its time, L.D. 50 was as raw and heavy a debut in alternative or nu-metal as one could ask for, and really established Mudvayne as a strong contender among an already wide field of players. Unfortunately, their ridiculous on stage personas, fast, heavy and energetic pace set with L.D. 50 did not carry far past their second album.

Sample of the Day:

Today's sample taken from Ryan's angle of the video for Dig.



- J

365 Days of Metal: Monkey Wrench

Day 23

Chimp Spanner - At The Dream's Edge

Band Origin: Essex, England
Genre: Progressive Metal / Ambient / Djent
Label: Independent / Basick Records
Running Time: 61 minutes
Release Date: December 8, 2009 (Re-issued April, 2010)

Best Part: Terminus pt. I-III

Favorite Tracks: The Mirror, Harvey Wallbanger, Supererogation, and Far From Home

Grade: 4.5

---------

At The Dream's Edge in 20 words or less:

An 'as eloquent as it is heavy' instrumental album from another multi-instrumentalist with a bucket full of talent.

The Artist:

Chimp Spanner is the brainchild and solo project of Paul Ortiz, composer, producer and multi-instrumentalist, known primarily for his guitar work. Ortiz turned heads as an independent artist among fellow solo artists with his debut record in 2004, and once more with the release of At The Dream's Edge in 2009 - which was eventually re-issued by Basick Records, who signed Ortiz in 2010. His second release was heavier, and featured variability in style and tempo, with a production quality that most believed was unheard of, seeing as how Ortiz recorded all of his work from home. Ortiz is also known for his other side project Blessed Inertia, and for his former live guitar work with the band Monuments.

Chimp Spanner's previous release is entitled Imperium Vorago and was release independently in early 2005.

Jay's Take on At The Dream's Edge:

At The Dream's Edge is an instrumental paradise of heavy, progressive riffs, clean melodies and ambiance that is sure to please fans all across the progressive metal spectrum. Ortiz's guitar work is par for the course across the entire record, providing a wide range of catchy riffs, solos and intriguing melodies. The timely use of shifts in tempo and ambiance are what make this record so enjoyable - shifting from  darker, slower more melodic passages, and erupting into more energetic and technical sections, or vice versa. Ortiz also known for composing experimental electronica manages to weave in synths flawlessly, adding even more depth to the feel and energy put forward through each track. The way the intro track, Galaxy Rise, flows into Supererogation has a dramatic feel to it that really sucks you into the rest of of the record.

Sample of the Day:



- J

365 Days of Metal: Timeless Works - Raising The Horns

Oh Murray...

Day 22

Dio - Holy Diver

Band Origin: Portsmouth, New Hampshire, USA
Genre: Heavy Metal
Label: Warner Bros.
Running Time: 42 minutes
Release Date: may 25, 1983

Best Part: No one escapes the wrath of Murray.

Favorite Tracks: Rainbow in the Dark, Holy Diver, and Don't Talk to Strangers

Grade: 4.5

---------

Holy Diver in 20 words 30 words or less:

One of the timeless classic heavy metal albums that is sure to please true fans of metal, featuring the powerful vocals of one of its most iconic artists.

The Band:

After replacing Ozzy Osbourne and recording two records with Black Sabbath, Ronnie James Dio departed from the group with drummer Vinny Appice amidst disagreements regarding the mixing of Sabbath's first official live album, Live Evil. Wishing to remain together, Dio and Appice formed the group Dio together, adding in bassist Jimmy Bain and following a talent filled search, guitarist Vivian Campbell. Shortly after they finished recording their debut album, Holy Diver. The rest is essentially history. Dio would go on to record 10 records between 1982 and 1991, and 1993 and 2010. An eleventh album was beginning to be rumored, and tracks were in the works, when Ronnie died on May 26, 2010 of stomach cancer. Ronnie James Dio's legacy is a long one, having shared the stage with some of the greatest musicians in classic Heavy Metal. He has the credit of being the man to make throwing up the horns the Metal thing to do, and has one of the more iconic and powerful set of pipes in classic heavy metal.

Dio's other releases include: The Last in Line (1984), Sacred Heart (1985), Dream Evil (1987), Lock Up the Wolves (1990), Strange Highways (1994), Angry Machines (1996), Magica (2000), Killing the Dragon (2002), and Master of the Moon (2004)

Jay's Take on Holy Diver:

Holy Diver is a staple in the history of classic heavy metal, and as a debut effort speaks to the staying power and talent of the band. Ronnie James Dio is an iconic voice in heavy metal history, having also provided vocals for the likes of Black Sabbath and Rainbow with Ritchie Blackmore in the past. His performance on Holy Diver is commanding and memorable, from beginning to end. Vivian Campbell, the 'winner' of the grand search for Dio's first lead guitarist flexes his mettle and provides fantastic fretwork, with memorable solos, particularly on Rainbow in the Dark. Holy Diver is a record that has stood the test of time, and that can be added to a long list of influential works. The title track has also spawned fitting covers and homages by the likes of artists including Killswitch Engage and oddly enough, Pat Boone - I don't think anyone saw that coming.

Sample of the Day:





- J

365 Days of Metal: Tunes From Mr. Universe

Day 21

Austrian Death Machine - Total Brutal

Band Origin: San Diego, California, USA
Genre: Metalcore / Thrash
Label: Metal Blade
Running Time: 38 minutes
Release Date: July 22, 2008

Best Part: So do you want more of a GNNNyyyyyaaaaaarg! or Aaarrrrrrrrgggggg!

Favorite Tracks: I am a Cybernetic Organism Living Tissue Over (Metal) Endoskeleton, Get To The Choppa, and It's Not A Tumor

Grade: 4.0

---------

Total Brutal in 20 words or less:

30 plus minutes of Metal featuring your favorite Asutrian Death Machine, Ahhhhhhhnold - well, close enough.

The Band:

Austrian Death Machine is the side project of As I Lay Dying vocalist, Tim Lambesis, which in his own words is meant to be an outlet of pure testosterone and stupidity. The focal point of the band is of course Arnold Schwarzenegger and all of its tracks are named and based off of his movies. Ahhhhhnold is portrayed by Chad Ackerman, vocalist of Destroy the Runner, all guitar work, bass and drums are provided by Lambesis. The only part of Austrian Death Machine which is not lead by Lambesis are the songs many guitar solos, which appear on every track. These solos are provided by a long list of guest guitarists, including the likes of Kris Norris of Darkest Hour, Adam Dutkiewicz of Killswitch Engage, and Eyal Levi and Emil Werstler of Daath.

Austrian Death Machine's second album released in 2009 is entitled Double Brutal, and is a two disc record featuring original material, and a CD made entirely of covers.

Jay's Take on Total Brutal:

The first thing to keep in mind about Austrian Death Machine is that first, it is a parody and tribute album about The Governator and second it's all about aggression, ridiculousness and guest guitar solos. Taking all of these things in mind, this is not an album for metal purists, it's meant to be listened to with a grain of salt. But regardless of this, the album goes down quite well. Lambesis puts considerable effort into the record, considering he provides nearly everything on this record, including the kitchen sink. Ackerman's protrayal of Ahhhnold, in his minor skits with Lambesis are what makes this record hilarious, and really provide some breathing room between the fast paced and testosterone filled tracks on the album. The great thing about both of Austrian Death Machines albums are the guest solos. Every song has a solo, and the majority are performed by a different guitarist, adding a little flavor to each track. Ackerman even mocks listeners on the fourth track, pointing out whiners claiming the songs sound the same - which they do, they're all brutal! But rest easy, the record doesn't bleed together at all, the record is based primarily on a thrash metal feel, but each track is distinguishable, either stylistically or in one shape or form from the other.

Sample of the Day:

Some music, and some parody.





- J

365 Days of Metal: The Lady Doth Protest Too Much

Day 20

Dååth - The Concealers

Band Origin: Atlanta, Georgia, USA
Genre: Industrial / Death Metal
Label: Century Media
Running Time: 42 minutes
Release Date: April 21, 2009

Best Part: Werstler solo #1-infinity

Favorite Tracks: The Worthless, Translucent Potency, and Day of Endless Light

Grade: 3.5

---------

The Concealers in 20 words or less:

Industrialized Virtuosic Death Metal - is that a genre?

The Band:

Dååth, also known as Dirt Nap, is a band out of Atlanta that combines elements from a number of genres, including Thrash, Death Metal and Industrial, and weave them together into tracks that are as hard as they are at times bizarre. Founder and guitarists/keyboardist Eyal Levi provides the compositional charge of the band along with lead guitarist Emil Werstler who's work has some virtuosic flair to it. The pair also released an instrumental album, Avalanche of Worms, under Levi/Werstler, featuring the drum work of Sean Reinert of Cynic, who is also known for his drum work on Death's highly influential album Human.

Dååth's other releases include: Futility (2004), The Hinderers (2007), and Dååth (2010)

Jay's Take on The Concealers:

Out of the three records released following Dååth's debut album, each has been slightly different. Their most recent self-titled album is more straight to the point death metal, hard and fast - with Werstler filling in the voids. Their second album was slightly more bizarre, leaning more towards their industrial side, with increased focus on synths and other elements. The Concealers, is the album with more flair, featuring Werstler's virtuosic talent at center stage across nearly half the record. The Concealers is also a more melodic album overall compared to the rest of their catalogue, with good shifts in pace, and some excellent grooves. While clinging less to their industrial elements, this record features Dååth at a stage where they are improving on their overall technicality, with solid guitar work and drumming throughout. Sean Zatorsky, Dååth's newest vocalist also got his debut on The Concealers, providing a good performance, which fortunately carried over onto their most recent album.

Sample of the Day:



- J

365 Days of Metal: Rebecca Black Metal Friday vol. 2

Day 19

Nachtmystium - Assassins: Black Meddle Part I

Band Origin: Wheaton, Illinois, USA
Genre: Black Metal / Psychedelic Rock
Label: Century Media
Running Time: 45 minutes
Release Date: June 10, 2008

Best Part: Seasick Parts I-III

Favorite Tracks: Omnivore, Ghosts of Grace, Your True Enemy, and Assassins

Grade: 3.5

---------

Assassins: Black Meddle Part I in 20 words or less:

It's Black Metal - on Acid.

The Band:

Nachtmystium are a five member band playing out of Illinois who have a style and sound which is rather unique - because they play whatever they want. Black metal standards comprise the base of Nachtmystium's work: the shrieked vocals, distorted guitars, raw production values, blast beats and fast tempo. Where they differ from all other bands in the genre is how they incorporate various experimental styles and psychedelic rock - Sort of a Darkthrone meets Pink Floyd. This is most audible on their last two records, where these styles 'meddle' with the black metal ambiance created by the band, hence the Black Meddle title. Their most recent album Addicts has tread more towards psychedelic rock but still maintaining a core black metal feel.

Nachtmystium's other releases include: Reign of the Malicious (2002), Demise (2004), Instinct: Decay (2006), and Addicts: Black Meddle, Part II (2010)

Jay's Take on Assassins: Black Meddle Part I:

Anyone who is a fan of Pink Floyd will understand how they are a big influence on their music. The title track to Assassins, One of These Nights, is throwback to the title track One of These Days from Pink Floyd's Meddle. Assassins: Black Meddle Part I arrive at a point where Nachtmystium begins shifting further from their black metal core sound by implementing more experimental and psychedlic/post-rock into their music. Blake Judd, co-founder and remaining original member of Nachtmystium continues to provide strong lead vocals throughout the record, ranging from dark, cryptic whispers, to the patented black metal shrieking of ages past. The guitar work, when it is not set to high paced tremolo picking, emphasizes the 'blackadelia' feel the band aims for with slow classic rock style solos. Paired with the increased use of synths, it alters the atmosphere of the record - making it even gloomier and mystic than anticipated. The best example of this can be found in their three part instrumental closing tracks Seasick. This is a trait that has carried over heavily onto their most recent record, and will most likely be ever present on Part III which the band is also currently producing. Assassins: Black Meddle Part I is a great record for anyone who enjoys black metal and experimental metal, as Nachtmystium provides a great fusion of each of its elements, creating a unique listening experience.

Sample of the Day:



- J

365 Days of Metal: A Symphony of Destruction

Day 18

Xerath - II

Band Origin: England
Genre: Symphonic Metal / Progressive
Label: Candlelight Records
Running Time: 56 minutes
Release Date: May 3, 2011

Best Part: Technical and audio improvement from I, brings out the best in each band member.

Favorite Tracks: My Incited Armageddon, The Call to Arms, Sworn to Sacrifice, and Numbered Among the Dead

Grade: 4.0

---------
II in 20 words or less:

Progressive metal inspired by the likes of Meshuggah played to symphonic scores fit for films of epic grandeur.

The Band:

Created in 2007 Xerath is a four member band out of England that started out as an experiment, looking to combine heavy polyrythmic grooves and film score style compositions. Taking heavy influence from symphonic scores and bands such as Meshuggah, Strapping Young Lad, Opeth and Dimmu Borgir for musical direction, Xerath creates a fusion of symphonic and progressive metal that is both heavy and eloquent all at the same time. Winning a user vote based Best Unsigned Band competition through Terrorizer Magazine, Xerath were soon signed under Candlelight records and released their first record to resoundingly good reviews.

Xerath's debut album, simply titled I, was released in 2009.

Jay's Take on II:

Xerath's debut record was a real treat and surprise when I came across it in late 2009. Their fusion of experimental metal styles with symphonic metal gives their music an epic, yet refined feeling, that is energizing - and also makes you want to lash out and break something, in a good way. In comparison with their first record, II is heavier, a little less clean and promotes each section of the band more equally. The drumming in particular on II is more pronounced, and the rhythm and guitar work are also slightly improved, introducing even more syncopy into their polyrhythmic tones. Richard Thomson's vocals are probably the most significant difference. On their first record, his vocals were deeper and darker, however on II they are comprised mainly of harsh screams, are slightly cleaner and fit the overall tone of the record much better than on their first release - in my opinion. His deep vocals can still be found in well positioned sections throughout the record, creating a truly dark and heavy atmosphere. Xerath is definitely a band you should check out if you enjoy both tech metal and a little grand symphony.

Sample of the Day:



- J