Genres: Deathcore, Hardcore, Metalcore
Label: Century Media

Now here’s a band that I’ve been in love with for a couple of years now. Arsonists Get All The Girls blend a schizophrenic version of hardcore, death metal and grindcore (let’s just go ahead and call it deathcore, shall we?) and add in synths that lend a catchy Atari type effect that seems to be growing in popularity. This time around, there have been a few DRASTIC changes to the formula and band as a whole. Namely: There’s a new vocalist and there’s only one of him. My reaction: Yes! The dual vocalist thing was getting a bit tired and the higher scream of the two was what kept this band from being one of my favorites. Thankfully, the higher vocals have been done away with and replaced with hardcore shouts, death growls and grind squeals. Another change, the pace isn’t nearly as speedy as it used to be which, I think at least, works to their advantage. The guitars due their thing as they always have, swinging from chaotic to mellow and everywhere in-between at a moments notice. It’s this reviewer’s opinion that Arsonists Get All The Girls have hit their stride with “Portals”.

Overall: Positive changes for a band that was already great to begin with. “Portals” opens up all new avenues for fans of this genre.

9/10

Arsonists Get All The Girls on MySpace.
Originally posted at E-MetalSpace.

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Genre: Deathcore
Label: Century Media

Let’s get this out of the way here and now: I have no idea as to what to classify these guys (and girl) as. I tried saying deathcore in my last review and follow-up interview with vocalist Johnny Plague, but was told “nay”. My second guess? Symphonic, blackened melodic-core death… metal. *huff* I guess it’s your call.

Anyway, I was a huge fan of Decimate The Weak and was stoked silly at the arrival of The Great Stone War. And I’ve got to admit, TGSW doesn’t have as many instant fan favorites as Decimate The Weak but it’s a solid album none the less. It’s more like a thirty-eight minute grandiose war cry! An opus of the oppressed! An anthem of the apocal… you get the point. Johnny P. still rocks the shit out of the mic with his varied vocals (and awe inspiring command of the live audience). And Art Cruz beats the beats the beats like no other (most impressive!). The synthesized siren, Mrs. Kristen Randall rolls the keys with the greatest of ease and creates an atmosphere of hopelessness on the battlefield that then switches out with the emergence of an intense skirmish, brought out by the dual axe attack of the Nicks.

Overall: Call them trendy. Call them posers (I won’t.) Call them whatever the fuck you want. I’m sure they don’t care. The Great Stone War is an epic feeling album that brings you to the frontlines of metal that’s fueled by the flames of youth. Keep this shit coming!!!

8/10

Winds of Plague on MySpace.
Originally posted at E-MetalSpace.

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Genre: Melodic Death Metal
Label: Century Media

Another masterpiece from Sweden emerges from the frozen land to slay all that is bullshit in metal, like some kind of antediluvian beast or Lovecraftian horror of the Unknown.
Actually no, We Are The Void doesn’t actually sound like that. But it IS another bullshit-slaying masterpiece from these Swedes, and it’s another riff-fest and throat burner of true melodic death that only the Swedish can do. It’s a simple review for a complex album, and I think my T.B.T. below will describe it better that this.
But, when you can get your grubby hands on this album, I recommend it whole-heartedly.
8.5 out of 10.

Track By Track:

Shadow In Our Blood – 3 minutes and 46 seconds of awesome. Starting with keys and a beat, a totally killer riff kicks in at 17 seconds, and Mikael’s voice shortly thereafter joins in. It sounds like something that could have been on Fiction, but with even more maturity with the keyboard work, seeming to bring the instrument even more fully into the band’s sound. Great song, and catchy as hell to boot!

Dream Oblivion – Straight off from the first moment it’s a more guitar oriented song, and it’s pretty dark. Keyboards are a little on the symphonic side, kind of blackened, but the song itself is so Dark Tranquillity. I think this will be a great song to mosh to at a show.

The Fatalist – Probably one of the most Swedish sounding songs on the album as far as verse riffs go, the harmonics going on here would probably make Zakk Wylde smile. The chorus is gorgeously done with the keys and guitar mixing nicely. Anders Jivarp is solid on the drums with this song, not being too showy and flashy, but rocking that throne like he… well… owns it. Shitty analogy, wicked song. One of my favorites on the album, in fact.

In My Absence – Another asskicker of a song, this one starts off with a solid riff, leaving the keys to definitely play a more supporting role rather than starring, until the chorus at least. It’s fast, fast and fast, even compared to some of the fastest Dark Tranquillity songs. Love it.

The Grandest Accusation – The keyboard work of Martin Brändström is in full glory with this song, while Niklas and Martin are laying some of the most melodic guitar parts. It’s a great counterpoint to “In My Absence”, which was fast as hell because this song is nice and slow for the most part.

At the Point of Ignition – Again, this one could totally have fit onto Fiction, but at the same time it almost seems a little to angry to have been on that album. Again, Anders Jivarp is doing some amazing things on his drum kit, being a little more showy and faster, and Mikael seems to be ruining his throat. The solo at the 2:03 mark is just Metalgasmic, if a little on the short side.

Her Silent Language – This is one gorgeous song, lyrically, but also vocally and guitar wise. Daniel seems to be standing out a little bit more with his bass, but mostly because I seem to be able to hear it more than on the rest of the album. The man doesn’t fuck around with his instrument, he does what he’s supposed to do: be the backbone. Another one of my favorite tracks of the album.

Arkhangelsk - I don’t know if it was the intention with this song, but it has a total symphonic black metal feel and sound going with it. Something like Sothis or a really pissed off Dimmu Borgir (the rerecorded Stormblast), but with another Metalgasmic solo happening at the 3:12 mark. It’s another one of my favorites on this album.

I Am the Void – Back to the more modern Dark Tranquillity song style, the pseudo-title track is fucking awesome. Fast with tapped verse guitars, a nice keyboard/chuggy guitar prechorus, and ANOTHER Metalgasmic solo at 2:32.

Surface the Infinite – We’re almost finished the album (unless you have the Deluxe version of course), but it’s not like DT are going to slow down for the end yet. Full speed ahead with a catchy as AIDs chorus full of lush keys and somewhat Maiden-esqe verse guitar structure. Daniel is again shining a little more than usual on this track and I’m jelous of the tones that he’s getting with his bass. Another amazing song, one that I think would be even better live. It just has that kind of structure that lends itself well to a live setting.

Iridium – Alright, now it’s time to slow it down, we’re reaching the end of the ride. “Iridium” is totally melancholy, with a blackened as fuck chorus, and some seriously gorgeous bass tones. Daniel is like a bright light here, his bass super present in the mix more than almost all the other songs combined. Niklas and Martin are playing some doomy stuff for the verses too, which is a nice thing for DT to do. I think they could do a doom album after hearing this song, and it would be awesome. And at almost seven minutes long, with the keys trailing for awhile at the end, this would be a perfect concert closing song.

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Genre: Melodic Death Metal
Label: Century Media

Where to begin with Divine Heresy… I guess I should start with my thoughts on their first album, Bleed the Fifth: I loved it. There wasn’t a thing about it that I didn’t gush about to anyone who cared to listen. “Killer drummer!” “Dino does solos? Awesome!” “Amazing vocals!” and so on. So when I picked up Bringer of Plagues, I was a little skeptical… and rightfully so. One of both mine and Echidna’s favorite things about Bleed the Fifth was the vocal versatility of ex-band member Tommy Vext (we all know what happened there, so I’ll just be on my way with the rest of the review [for those that don't, check Headbanger's Blog. -G.B.]). Fortunately, the new vocalist (Travis Neal of The Bereaved and many other bands) is a more than adequate replacement!
Bringer of Plagues is on par with Bleed the Fifth as far as melo-death ferocity goes. But Bringer of Plagues surpasses it’s predecessor in the lyricism and catchiness departments. Travis really knows his shit when it comes to writing lyrics that just pull you right in! The song “Letter To Mother” and, I guess you can call it the ballad, “Darkness Embedded” are prime examples of his poetic skills. As for his vocal abilities, yeah, they’re just as good. His hardcore bellows are straight forward and filled to the brim with rage! While his clean vocals… well, they’re serviceable. They sound a little forced at times, but are definitely better than I thought they’d be without getting a second vocalist exclusively for clean vocals.
Overall, Bringer of Plagues is everything you’ve come to expect from Divine Heresy. The infamous Dino Cazares still writes his metal for Soul Of A New Machine Vol. 2.0 (still fucking awesome!), cemented, badassed bassist extraordinaire Joe Payne brings the thump and bang on a level of destruction that rivals the apocalypse and one of the greatest skin beaters of our time, Mr. Tim Yeung continues to do what he does best; kick those petals so fast that he can travel through time! It’s definitely easy to hear and then say that Bringer of Plagues is the superior Divine Heresy album. –

Divine Heresy on MySpace.

Originally posted at E-MetalSpace

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Genres: Deathcore, Melodic Death Metal, Technical Death Metal
Label: Century Media

Never afraid to be pioneers in death metal, Cryptopsy pretty much creates a new subgenre with this release. When I bought the CD I was more or less expecting Once Was Not II. And it kind of seemed that was going to happen at the start of the album, just with a different singer. And keyboards.
Then the new singer began to sing. With a very nice voice. And it was not forced at all, like too many metalcore bands. It fits the songs, and quite frankly, it kicks ass.
Sorry haters. I know some people are gonna start reading this and say to themselves “Fuck yeah, this guy is gonna bash those sellouts!” No. Not me. I don’t share many people’s views on this album as it being Cryptopsy’s sellout album. I see it as Cryptopsy’s logical growth album.
They’ve done pretty much everything there is to do in death metal, so why not do the one thing they haven’t done? And, while they are at it, show that they are still better than 99% of the people who do this type of thing already? Think about it folks. If they didn’t make this album, and make it better than anyone else could, they would not be leaders in death metal. They would not be The Unspoken King. 9 out of 10.

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