Spineshank Return With A Strong New Album

Who out there remembers Spineshank? You know, they burst onto the scene back in 1998 with their debut album Strictly Business, which was heavily influenced by Fear Factory. The song “Stain” even includes a vocal performance by Fear Factory vocalist Burton C. Bell. They followed that album up with The Height of Callousness in 2000 and even performed on Ozzfest 2001. This album saw the band firing on all cylinders as it was praised by fans and critics. After their Self-Destructive Pattern album was released in 2003, things took a turn for the worse.

Lead singer Jonny Santos parted with the band in 2004 because of the over-used, but in this case very appropriate, term “musical differences”. A new vocalist entered, but things didn’t click. 2008 was a pivotal year as the band not only officially broke up, but later that year they got back together with vocalist Jonny Santos and worked out their differences. That brings us up to 2012 and the band is now signed with Century Media Records and their first album with them entitled Anger Denial Acceptance has just been released.

If you are new to the world of Spineshank, then this is a good point to jump on board. If you are a longtime fan of the band, this new album may just surprise you. The band has a new sense of direction and they are more aggressive than ever on this release. The opening track “After the End” certainly sets the tone for what’s ahead on this album. Santos lets out a roar and Tom Decker starts bashing on the skins and the ride officially begins. Santos sounds great on here with his mixed bag of vocal styles. Mike Sarkisyan starts laying down some might tasty riffs with Robert Garcia laying down a mean bass line that wraps it all together.

Garcia is front and center and laying down a killer bass line on “Nothing Left for Me”, which definitely starts off in a more melodic direction. The chorus has Santos mixing up clean vocals with his growling alter vocal ego.  This track isn’t as aggressive, but it shows the band has more layers to them than first believed to. The title track presses the gas all the way to the floor and it’s a full-on thrash fest. Well, that is until the chorus becomes melodic and eases up a bit on the throttle. Decker is a beast on this one as he beats the skins like they owe him money.

“Murder – Suicide” is another great track and it contains some killer and unique riffs. This song has many layers to it as it bounces around different tempos and melodies. This one should be a favorite if included in the live show as it will get a moshpit going in no time. Don’t say we didn’t warn you. “God Complex (anger)” is reminiscent of old school Anthrax. It’s full on aggression with the end of the song being a complete change of pace and direction from the first half.

The album closes with the song “Exit Wound” and will catch many off guard. A song that’s mainly acoustic and piano with its chorus kicking in some thunder as Sarkisyan crashes in on guitar. I can see where this track may turn fans of the heavier stuff off, but I commend the band on thinking outside of the box and showing some diversity on this track.

Overall, this is a really good album from the guys. It’s a bit raw at times and definitely a lot more aggressive than in the past. For older fans, the guys still incorporate the use of electronics, but they seem to do so more sparingly. They pick and choose the spots to add them in and when they do so, it definitely benefits the song without becoming overkill. They have a new label, a new album, a new hunger and a new direction for these guys after being quiet for too long.

God Forbid Marches Forward With Equilibrium

Momentum is a great thing for a band and in many instances; they like to ride that momentum as they go into the studio to follow-up a big album. The metal band God Forbid was doing just that as they entered the studio to record the follow-up to 2009’s Earthsblood. That album was a very solid release for them and many considered it amongst the best that they had done to date.

Guitarist, song writer and founding member Dallas Coyle left the band shortly after the release of that album and former Darkest Hour guitarist took his place on that tour. Matt Wicklund, of Himsa, took over that position permanently. Would Dallas’ presence be missed in the studio? Only time would tell on that question. That brings us to the release of their newest album Equilibrium.

A new label and a new guitarist are major changes for any band. How would they react to the major shake-up? Well, for most counts, it seems to be an easy transition for them. Equilibrium is a really good album, but it’s not perfect. It’s not a progression from the last album, but it’s also far from being a step back. It starts off strong with the first track “Don’t Tell Me What to Dream”. The net was a buzz after this song was released a while back because of its djent sound, but it’s the only track on the album with such a sound.

Next up is “My Rebirth” and the pounding drum intro gets it going right out of the gate. The guitar work between Wicklund and Doc Coyle is killer on this song. The guys pick up the pace with “A Few Good Men”. This song is just one of a few that have a breakdown in it, but it’s not necessarily a textbook breakdown, therefore making it somewhat interesting. “Scraping The Walls” is one of the stronger songs on the album and it excels in its many layers and arrangements. It also has a great chanting, sing-a-long chorus that should translate really well to the live show.

The guys included a very cool instrumental entitled “Awakening” which really allows the band’s musicianship to shine through. It’s a great number that ends and leaves you wanting more. The closer, “Where We Come From”, is another of the stronger tracks on the album and closes the album out in a major way. The guitar work on this track is blistering and the way that they play off of each other is pretty amazing. It’s not always that a band saves the best for last, but this just may be one of those albums.

So, was the absence of founding member Dallas Coyle felt? I would have to say yes, but not in a major way. Yes, his clean vocals are missed, even though his brother Doc Coyle is now handling them. Matt Wicklund does more than just step into the shoes as their new guitarist, he stomps the fool out of them with his guitar skills.

The first album by God Forbid on their new home label Victory Records is pretty solid, even though there are a few weaker tracks. It’s kind of funny because even the weaker tracks are better than a lot of what’s being heard in that genre today. The guys still know how to maintain the balance between melodic riffs and aggressiveness. As far as vocals go, Byron Davis turns in yet another solid performance. The band will be on the road in support of the new album and it should prove to be an interesting night of head banging. A new guitarist, new material, but the mentality of maximus rock is still there.

3 Inches Of Blood's Vow To Keeping Metal Alive

The Canadian heavy metal band 3 Inches of Blood has a method to their metal madness. Early on in their career, they found their groove and their musical comfort zone and the settled in. The band has released four albums and has shared the stage with such heavyweights as Machine Head and Ozzy Osbourne. In a weird twist of circumstances, their 2009 album Here Waits Thy Doom was their first album that didn’t include any of their original members.

Here we are, ten years after their debut album Battlecry Under a Wintersun was released and they haven’t really strayed from their original formula. It has won them over a legion of devoted fans, but is it enough to keep their interest for yet another release? Let’s put this album on and crank it and see what it has to offer listeners.

The album opens up with “Metal Woman” and the intro riff conjures up visions of old school Iron Maiden. The thumping bass line takes over and then Cam Pipes enters the song with his trademark voice. Is the song cliché? Is it tongue in cheek? Does it really matter because in the end, it just rocks! “My Sword Will Not Sleep” continues in the same vain with an added standout performance on drums by Ash Pearson. The guy’s a beast on this track!



“Leather Lord” is up next and with a title like that and the 80s influences; you may be asking yourself if this is an ode to Mr. Rob Halford of Judas Priest? Well, I will let you be the judge of that one after you do an air guitar solo to some serious shredding by the two guitar attack of Justin Hagberg and Shane Clark. There also some rough vocals added to this song that bounce off Cam’s normal delivery really well.

“Chief and the Blade” is one track that totally took me by surprise. The song has a mellow and tranquil intro that includes a flute ala Jethro Tull. A two and a half minute instrumental that almost sounds like the soundtrack for a renaissance fair. There are no ear piercing screams or wailing guitar solos. Is this just a part of experimentation by the band? I’m not sure, but I guess time will tell.

The last two tracks on the album are very interesting and entertaining while managing to be complete opposites of each other. “Men of Fortune” is epic in style and substance as it clocks in at over seven minutes. If one song on the album defines the sound of 3 Inches of Blood, then it would be this song. The last song, “One for the Ditch”, is another instrumental that will catch you off guard. It starts out with an acoustic guitar playing and slowly builds in its intensity. The guitar work at times has a Spanish flavor to it. As the intensity builds, so does the guitars as the chugging guitar riff starts to come in behind the acoustic. It really starts to rock out about mid-way through before ending on a calmer, somber note.

In this case, the title of the album is definitely fitting. This is an ode to the metal that has preceded us and a tip of the hat is given in respect. It’s old school flavor with a touch of today’s sound sprinkled in for good measure. It’s a fun album and very enjoyable. Does the band push the envelope this time around? Well, they definitely don’t reinvent the wheel on this album, but they sure do know how to rock out and have a fun time doing so.

Lamb Of God Are Back With A Vengence

I know that it’s only the first month of the New Year, but the bar has been set and it has been set very high. Lamb of God is back and in a huge way. Their new album Resolution was already on just about every “Most Anticipated Albums of 2012” list out there. We last heard from the Richmond, VA natives in 2009 with their album Wrath. The Virginia Commonwealth University alumnus has again delivered a product to make all other metal bands stand up and take note.

The album opens with “Straight For the Sun” and after an intake of a deep breath, the assault begins with a scream of attack by lead singer Randy Blythe. The riff is slow and churning and is like Black Sabbath on steroids. It’s dark and brooding and ends the same way it starts with that throat blistering scream from Randy. The next track “Desolation” really punches the gas to the floor and takes off into familiar territory of LOG fans. It’s intense, fast, brutal and in your face.

“Ghost Walking” will make you do a double take. Wait, did I just hear an acoustic guitar intro? A very cool, short, blues type intro is quickly plugged in and amped up with the volume cranked high. The solo in this song is blistering to the ears and fingertips both. Speaking of ears, “Guilty” will be reminiscent to fans of the earlier LOG sound of just pure intense assault on your senses. The “no intro” approach on this one is like going from 0 to 90 in a second as Randy launches this one out of the park.

Next up is one of my favorite tracks on the album, “The Undertow”. A bit on the thrash side, but still maintaining the elements that make LOG who they are. The solo is also pretty insane on this stellar track also. “Barbarossa” is a change of pace and a 1:40ish chance to catch your breath from the assault that you just went through. It’s an instrumental and sounds unlike anything else on the album. It’s short, but it solidifies the fact that these guys are great musicians not just a one trick pony.

“Invictus” quickly floors the gas pedal and gets us back into the trademark, aggressive territory with a heavy groove and a blistering solo. “Insurrection” is one of the more complex and rewarding tracks on the album and it has several layers to it. Randy’s vocal delivery is a crazy mix of spoken work, throat blistering screams and at times almost clean vocals. There is another awesome solo provided mid-way through. There’s also a killer riff that chugs along throughout the song carrying it to the melodic chorus and then picks right back up again.

The album closes with “King Me” and the guys may have saved the best for last. The intro to the song should be an indicator with how this song is about to build into an epic masterpiece. The guitars are dark and eerie when combined with the somewhat operatic vocals in the background and Randy’s clean, spoken lines. Then, the song bursts into the rawness that we expect from LOG but with a huge twist. The guys have gone way out on a limb on this track and push the envelope by including an orchestra/string section on this track. I think it works in an epic way and it will certainly be interesting to hear the fans reaction to this track that shows the guys really branching out.

So, is this a perfect album? Well, it’s not 100% perfection, but it comes pretty close. The second half of the album may not be as uniformly strong as the first half, but it certainly is far from being weak my most standards. Randy Blythe will truly astound you on here. If you have been following LOG, then you may think that you have already heard all the range that he had to offer. Well, he takes his epic screams to an even lower level of intensity that you thought was unimaginable. His almost clean delivery and spoken verse on a few tracks will definitely shock you.

The two guitar assault of Mark Morton and Willie Adler has raised the bar as well for their intensity and rawness that they deliver. Yes, there are plenty of blistering solos and insane shredding to the point that you wonder if these guys have any fingertips left. Chris Adler’s drumming is very underrated and his playing has gotten even more aggressive ob this album. I wish that John Campbell’s bass would be brought more to the forefront as it seems to get overshadowed at times by all that is going on around him.

Resolution has everything that Lamb of God fans have come to know and love over the years. The guys have certainly set the bar high for other releases coming out this year. Could the album of the year for 2012 have already been released so early into the year? Well, I think it may just have, but the next 11 months will prove interesting.

Goatwhore Offer Up Blood For The Master

It seems like everyone has a band in their music collection whose name garners a look of confusion from those not familiar with their work. Well, Goatwhore is definitely one of those bands who receive a “deer in the headlights” look from unsuspecting people. The band heralds from New Orleans and although their music may not be as spicy as some of the Cajun food being cooked up there, it certainly has its spicy moments.

The band, formed by guitarist Sammy Duet back in 1997, released their debut album The Eclipse of Ages into Black” in 2000. They caught the attention of Ozzy and Sharon Osbourne and were enlisted for Ozzfest in both 2008 and 2010. They just unleashed a new album entitled Blood for the Master on Metal Blade records.

There are so many labels for music these days that you almost need a cross reference chart. The band gets categorized as blackened death metal by a lot of circles, but this album contains a lot of old school thrash elements to it. Upon first listen, you can hear bits of old school Metallica and Overkill, plus a touch of Anthrax throughout. The first track, “Collapse in Eternal Worth”, slams you right in your face. The combination of blistering riffs and the thudding drums and bass grabs you by the throat and shakes you.

“When Steel and Bone Meet” is a solid track that the entire band really hits their groove on. Lead singer Louis Falgoust gives a solid vocal performance on here with his throaty, abrasive style. His vocals come up flat and non convincing on some tracks, but this one is an exception. “Parasitic Scriptures of the Sacred World” keeps the musical assault going at full speed. I think this is along the same vein as the previous track, although Louis does push his vocals in attempts for a more sinister type of growl on parts of the song.

“An End of Nothing” is just sick from beginning to end and contains some insane fret work from Sammy Duet. This will be a song to bring to the live show as it will definitely get the pit going at maximum speed. This may be the strongest track on the album as the band is firing on all cylinders in its thrash assault. It’s just a shame that they don’t find this comfort zone on a consistent basis on here.

A major Wayne’s World “I’m Not Worthy” knod goes to guitarist Sammy Duet. This guy gets the MVP on this album for a solid track by track performance on the axe. His solos are blistering and insane, yet he manages to keep them original and fresh. Even on some of the weaker songs, he manages to be the glue that keeps them from falling apart.

Overall, it’s a good effort from the guys and shows a lot of growth by the band. It’s almost like driving a car on a trip and when you’re focused you stay in your lane. Yet, at times you may start to swerve into the other lane if you don’t pay close attention. At times this happens with the band and they come up flat. There are plenty of bright spots on the album too as the band shows growth and those tracks truly shine. This is what is needed to make this band stand out and excel ahead of others in their genre.

As I Lay Dying: A Decade of Intensity

It’s amazing how quickly ten years can just fly by. It seems like just yesterday when we were reading about this new band called As I Lay Dying and their debut album Beneath the Encasing of Ashes that had just been released. The band quickly won over fans and respect from the critics and other artists. They were a part of Warped Tour, Ozzfest, Soundwave Festival and many other huge shows. They also toured with such heavyweights as Disturbed, Slipknot and Lamb of God.

Now, here we are 10 years and 4 more studio albums later and As I Lay Dying are celebrating. To commemorate their anniversary, the band has released a new album to say thanks to their loyal fans. Decas consists of 3 new songs, 4 covers, 1 re-recorded medley and 4 remixes. It’s a mixed bag of tricks that is sure to satisfy all levels of As I Lay Dying fans. The album opens with “Paralyzed”, which is in the same vein of where the band was on their last album Powerless Rise. This song will definitely wet the appetites of fans who are anxiously awaiting a new studio album and tour. “Moving Forward” is cut from that same musical cloth and will not disappoint the listener.

Cover songs; some people like a band to put their own spin on them while others like for the band to stay true to the original. The band covers Slayer’s “War Ensemble” and totally, no pun intended, slays it. Tim’s vocals on this song fit just like a glove. Next, the band attacks “Hellion” and “Electric Eye” by Judas Priest and produce a result that even the rock icon Rob Halford would give a horns high salute to. The last cover is a 35 second insane spin on the Descendents’ “Coffee Mug”. The medley, “Beneath the Encasing”, contains parts of several songs from their debut Beneath the Encasing of Ashes.

As for the remixes, the band takes one song from each of their releases since Frail Worlds Collapse and I have to admit that there is some very bizarre territory being explored there. They seem a bit bizarre to me for some reason. I’m just not feeling them at all and I don’t think that they bring much to the table. It’s nice for a band to explore new territory and try to expand their horizons, but I am not sold on these remixes. In a world of the ever growing dubstep craze, I think this is a step backwards for the band. I’m just glad it’s for this special album and not a new musical direction for the guys.

Decas is a really solid album, minus the remixes, from the band. The musicianship on the new songs and covers is tighter than the band has ever sounded. Tim Lambesis’ growls are more aggressive than ever and very dark at times. Josh Gilbert’s clean vocals offer a great balance and contrast to Tim’s. This album is something for the fans and is not meant to take the place of a new studio album. If the three new songs are any indication of where the band is headed, then their follow-up to 2010’s Powerless Rise is going to be one of the most anticipated releases of the year.