February 27, 2018

Jimmy Eat World - Jimmy Eat World (1994)

Country: U.S.A.
Genre: Punk Rock
Style: Pop Punk
Label Number: I.S.Y. 004

© 1994 Wooden Blue Records
*No professional reviews available for this release.

tags: jimmy eat world, jimmy eat world album, 1994, flac,

Jimmy Eat World - Bleed American (2001)

Country: U.S.A.
Genre: Punk Rock
Style: Pop Punk
Label Number: 0044-50334-2

© 2001 DreamWorks Records
AllMusic Review by Mark Vanderhoff
After being dropped by Capitol, Jimmy Eat World returned in 2001 with their most consistent and accessible album to date. Recorded entirely on the band's dime before they had a new record deal, Bleed American features compelling lyrics, driving guitar work, and insanely catchy melodies. Left to their own devices during the recording process, it wouldn't have been surprising if the band had turned out another layered, sprawling album akin to their previous full-length masterwork, Clarity. Perhaps sensing that they wouldn't be able to top their previous work when it came to spacy emo, Bleed American heads in a new direction. There are no 16-minute songs here, just straight-ahead rock & roll, performed with punk energy and alt-rock smarts. The title track sets the tone for the album with its blistering guitar attack and aggressive vocals. "A Praise Chorus" and "The Middle improve upon that formula, maintaining the forceful instrumentation but toying with the lyrical themes. "A Praise Chorus" uses the most basic of rock emotions for lyrical inspiration, "I wanna fall in love tonight," while lifting lyrics from Tommy James' "Crimson and Clover," They Might Be Giants' "Don't Let's Start," and Mötley Crüe's "Kick Start My Heart," among others. When used in a song about the comfort and trappings of nostalgia, this borrowing comes off more like a well-placed tribute than stealing. "The Middle" offers a pep talk about self-acceptance and fitting in, and one of the most memorable guitar riffs this side of Angus Young. Bleed American's quieter moments recall some of the band's signature instrumentation from their previous work. Gentle keyboards, bells, and stirring background vocals from former that dog. member Rachel Haden enhance the understated beauty of ballads like "Hear You Me" and "Cautioneers." Haden's most enjoyable contribution, however, is to the up-tempo rocker "The Authority Song." On the surface a song about a song (John Mellencamp's "Authority Song), it also name drops the Beatles' "What Goes On." The numerous references to other bands and other songs reveal that although Jimmy Eat World is a critically acclaimed and incredibly talented band, the members are really just rock fans themselves. If they maintain this level of quality, however, don't be surprised if the next generation of ambitious rockers start writing songs that pay tribute to Jimmy Eat World.

tags: jimmy eat world, bleed american, 2001, flac,

Jimmy Eat World - Invented (Deluxe Edition) (2010)

*Contains 4 bonus tracks. 
16 tracks total.
Country: U.S.A.
Genre: Alternative Rock
Label Number: B001480302

© 2010 DGC/Interscope Records
AllMusic Review by Andrew Leahey
It’s been 16 years since Jimmy Eat World released Static Prevails, one of the first emo albums issued by a major label, and nearly a decade since Bleed American proved the genre could be commercially successful. The guys are older now -- frontman Jim Adkins, although immortally baby-faced, is in his mid-thirties -- and the slick, poppy sound that Bleed American helped introduce has been adopted by nearly every emo band since. Most of those new bands are younger than Jimmy Eat World, and Invented marks the point where age officially becomes an issue for the genre forefathers.
The problem with Invented isn’t the band’s attempt to sound young. The problem is that these songs consciously reflect Jimmy Eat World’s age, and emo music doesn’t really support that kind of content. Bleed American, Futures, and Chase This Light were all anthemic records, filled with carpe diem platitudes that targeted a teenage audience, but Invented is older, wiser, and perhaps more midtempo than it needs to be. Whereas Chase This Light opened with a rousing rock song, “Big Casino,” whose protagonist becomes “a New Jersey success story” after ditching the small town that raised him, Adkins places himself on the other side of the equation at the beginning of Invented, taking a look at the 21st century kids who’ve come to take away his crown. “I’m more and more replaced by my friends each night/I can’t compete,” he sings, while acoustic guitars and strings bubble beneath him. Melodically, it’s still a gorgeous song, as are most of the ballads and casually paced rock songs on the album. But Invented, as tuneful as it may be, still plays an odd role in Jimmy Eat World’s discography, since it can’t quite figure out how to transcend a genre -- one that Jimmy Eat World helped invent, no less -- that exclusively caters to younger listeners.

tags: jimmy eat world, invented, deluxe edition, 2010, flac,

Black Flag - Damaged (1981) ☠

Country: U.S.A.
Genre: Hardcore Punk
Label Number: SST CD 007
☠: Selected by Buccaneer
© 1981-1988 SST Records
AllMusic Review by John Dougan
Perhaps the best album to emerge from the quagmire that was early-'80s California hardcore punk, the visceral, intensely physical presence of Damaged has yet to be equaled, although many bands have tried. Although Black Flag had been recording for three years prior to this release, the fact that Henry Rollins was now their lead singer made all the difference. His furious bellow and barely contained ferocity was the missing piece the band needed to become great. Also, guitarist/mastermind Greg Ginn wrote a slew of great songs for this record that, while suffused with the usual punk conceits (alienation, boredom, disenfranchisement), were capable of making one laugh out loud, especially the protoslacker satire "TV Party." Extremely controversial when it was released, Damaged endured the slings and arrows of outrageous criticism (some reacted as though this record alone would cause the fall of America's youth) to become and remain an important document of its time.

tags: black flag, damaged, 1981, flac,

Black Flag - My War (1983) ☠

Country: U.S.A.
Genre: Hardcore Punk
Label Number: SST CD 023
☠: Selected by Buccaneer
© 1983-1987 SST Records
AllMusic Review by John Dougan
After a rancorous three-year legal battle with their label Unicorn, which prevented them from releasing any new material, Black Flag binged in the mid-'80s, releasing a flurry of records that had even the most devoted fans scrambling to keep up. They did, however, start this period somewhat inauspiciously with My War, a pretentious mess of a record with a totally worthless second side. Featuring three tracks of slower-than-Black Sabbath muck with Henry Rollins howling like a caged animal, it was self-indulgence masquerading as inspiration and about as much fun as wading through a tar pit. Side one, however, was quite good, with the title tracks especially intimidating.

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Black Flag - Loose Nut (1984)

Country: U.S.A.
Genre: Hardcore Punk
Label Number: SST CD035

© 1984-1987 SST Records
AllMusic Review by Alex Ogg
One of three LPs released by Black Flag in 1985, Loose Nut suffers from its creators' rampant profligacy. Too much of the record is under-rehearsed and under-ripe, yet when the group hits its stride, as on Henry Rollins' brutal "This Is Good," it's hard to deny the group's trademark, adrenaline-rush appeal. Other highlights include "Annihilate This Week" and "Bastard in Love."

tags: black flag, loose nut, 1984, flac,

Black Flag - Slip It In (1984)

Country: U.S.A.
Genre: Hardcore Punk
Label Number: SST-CD-029

© 1984-1987 SST Records
AllMusic Review by John Dougan
Slip It In followed My War almost immediately, and while a bit better (fewer mega-volume angst drones), the band still wanders a bit, experimenting with expanding the breadth of hardcore into a newer hard rock/punk sound. This is especially true of Greg Ginn's guitar playing, which was becoming increasingly avant-garde and exciting. Rather than simply coughing up one clichéd solo after another, he wandered harmolodically up and down the fretboard as a jazz player like Blood Ulmer would, making the material more interesting than what most Black Flag-influenced bands were playing.

tags: black flag, slip it in, 1984, flac,

Black Flag - In My Head (1985)

Country: U.S.A.
Genre: Hardcore Punk
Label Number: SST CD 045

© 1985-1990 SST Records
AllMusic Review by John Dougan
Hot on the heels of the live record came Loose Nut and In My Head, which showed significant improvement over My War and Slip It In. Henry Rollins and Greg Ginn were exploring by-now standard lyrical themes: hate, paranoia, loneliness, anomie, and violence, but framing them around music that was demanding, powerful, and exciting. In My Head is the slightly better of the two, primarily because it's a little edgier and uncontrolled, but at this juncture, Black Flag was making some of the best contemporary rock music extant.

tags: black flag, in my head, 1985, flac,

February 24, 2018

Annihilator - All For You (2004)

Country: Canada
Language: English
Genre: Thrash Metal
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© 2004 AFM Records
AllMusic Review by Alex Henderson
Over the years, headbangers have learned that lineup changes are an inevitable part of Annihilator. The band's lineup is likely to change from one album to the next, and the Annihilator lineup that you're enjoying today may very well be gone tomorrow. For other bands, all those personnel changes could be a problem, but leader/founder Jeff Waters usually knows what he's doing -- and his hands-on approach serves Annihilator well on All for You. Some might argue that Annihilator isn't really a band -- that Annihilator is really an ongoing solo project for Waters, who is very much in the driver's seat on this 2004 release. True to form, Waters wears many hats on All for You; in addition to writing all of the material, he serves as bassist, guitarist, producer and arranger. Assistance comes from drummer Mike Mangini (known for his work with Steve Vai) and Annihilator's new lead vocalist Dave Padden, who shows himself to be a welcome addition to the band on Waters' material (most of it forceful thrash metal with some alternative metal moves at times). Although thrash dominates All for You, Waters takes a surprisingly middle-of-the-road approach on the pop/rock ballad "Holding On"; that tune, in fact, isn't metal at all but rather, sounds like something Journey or Survivor might have recorded around 1982. "Holding On" features Waters on lead vocals, and quite frankly, Padden is a much better singer. Waters is a fine composer, producer, arranger and guitarist, but singing is not his strong point -- and "Holding On," although pleasant enough, is the album's least memorable track. Balls-to-the-wall thrash, not Journey-ish ballads, is what Annihilator does best. That's where Waters really shines, and that's the thing that ultimately makes All for You worth the price of admission.

tags: annihilator, all for you, 2004, flac,

Annihilator - Waking The Fury (2002)

Country: Canada
Language: English
Genre: Thrash Metal
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© 2002 Steamhammer
Review by Alex for Grande Rock.com
The band after a long time of experiments seemed to found its way with its previous release “Carnival Diablos”, something that is assured with the new record. The first song of the album grabs you from the neck and compels you to bang your head for the rest of the 50 minutes or so of the album! I doubt that there will be one who will listen to the album without moving to the rhythm of the songs.
Annihilator’s approach these days is thrashier, yet combining the needed melodic lines in order to have a tow on pure heavy metal. Jeff Waters’ capabilities with the guitar are known, and of course are present in this record too. Don’t expect to come up with the new “Alice in Hell” here, because you might be misled.
  However the band seems to have been reborn from its ashes and produces really heavy riffing and excellent songs like “Striker” and “Nothing to Me” (not that the other songs are bad-the contrary!). Someone more keen to this thrashy sound might appreciate the album more, but for me (I am not the greatest thrash fan in the world) it is a...

tags: annihilator, waking the fury, 2002, flac,

Manowar - Kings of Metal MMXIV (2014)

*Contains 2 discs
Country: U.S.A.
Genre: Heavy Metal
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© 2014 Magic Circle Entertainment
Review by "DayFly" for Metal Storm.net
Kings Of Metal largely follows the commercial route of it's immediate predecessor. Not that this is a throwback to the rocking days of Battle Hymns, but compared to Manowar's earlier works, the band is now blatantly fishing for poppy hooks (which in itself is not necessarily a bad thing) and the production is a slicker, more professional affair. DeMaio, aside from still being a troublingly devoted bass soloist, also found time to work on his lyrics which finally hit rock bottom with "Pleasure Slave", a song too clumsy and stupid to offend or actually make the listener waste his time dwelling on it. Disregarding the lyrics, the music remains so utterly simplistic and hook-free that Manowar might just have achieved the dubious distinction of writing the worst metal song of the 80s (and, who knows, actually be proud of it).
It's a long way from ground zero to the peak of the metal Olympus, with the band finding plenty of opportunities to drop tracks in between. The bass solo and the narrative "Warrior's Prayer" remind why the skip button is a necessary feature on CD players but are hardly worth mentioning otherwise. "The Crown And The Ring" with it's overblown choir at least gets points for originality if nothing else as it lacks anything truly musical, whereas "Wheels Of Fire" is a commendable, if not really successful nod at speed metal.
Further uphill the listener is greeted by the mid-paced bravado of "Kings Of Metal", a good sing-along track that gives an uncomfortable feel considering people take it literally, and the slightly faster but equally catchy "Kingdom Come". The two closing epics do not hold back as much and, thus, are wholeheartedly enjoyable. However, despite usually not being the band's ace in the hole, the best track is a ballad. On "Heart Of Steel" Eric Adams gives one of his most captivating performances and anybody who is not touched when the song kicks in at "burn the bridge behind you" probably hates the band as much as their fans love them. Time has been kind to Kings Of Metal as it is not only one of Manowar's commercially most successful albums but is nowadays also regarded as a classic one. Detractors and more sensible listeners would rightfully balk. Yet to prevail with spirits held high in the face of a numerous host (of better albums), that's the stuff out of which Manowar's epics are made.

tags: manowar, kings of metal, 2014, flac,

Manowar - The Lord of Steel (Hammer Edition) (2012)

*Contains 10 tracks.
Country: U.S.A.
Genre: Heavy Metal
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© 2012 Magic Circle Entertainment
AllMusic Review by Eduardo Rivadavia
After trying their loyal followers' tolerance like never before with the generally aimless symphonic fluff that surrounded the handful of real songs contained in 2007's Gods of War album, Manowar gratefully adopted a more serious and focused working approach for their 11th studio LP, 2012's The Lord of Steel. In fact, the intervening 2010 re-recording of their 1982 debut, Battle Hymns, appears to have reined in the group's thunderous hubris to no end. Notwithstanding the power-thrashing attack of The Lord of Steel's opening title track, which predictably prolongs Manowar's delusions about still playing louder, faster, and meaner than innumerable extreme metal bands (not even close), there's a startling simplicity and directness about many of these songs (for good and ill) that's long been absent from Manowar's oeuvre. Take the fast-ensuing "Manowarriors" as a good case in point: it's predictably corny (sample lyric: "In heavy metal we believe; If you don't like it, time to leave"), but endearingly so, and, more importantly, damn infectious, to boot! The same curious attributes pertain to the steady-marching "Born in a Grave" and the staccato-loving "Annihilation," and, while the turgid "Black List" goes absolutely nowhere and the aptly named "Expendable" is exactly that, the absolutely incredible "Touch the Sky" is arguably the best song Manowar's written in 20 years! Of course, since there's always been a very fine line between laughing with and laughing at Manowar, listeners will have to draw their own conclusions about less ubiquitous material such as "Hail, Kill and Die" (one of the band's long-favored mottos rendered career-retrospective), "El Gringo" (tongue-in-cheek Manowar -- could this be?), and especially the majestic ballad "Righteous Glory" (are they yearning for higher ideals or just trying to hump that mythical harpy over there?), which, if nothing else, spells out the band's personality conundrum perfectly. Clearly, this is a band that can never make things easy on itself -- or its fans -- and Joey DeMaio's strangely distorted new bass sound hasn't been mentioned yet, as it consistently harries his bandmates and ends up muffling some of the welcome empty spaces afforded by these old-school metal arrangements. In any case, and keeping in mind that there's nothing remotely strategic about how or why Manowar do what they do, The Lord of Steel still comes off as much more satisfying than recent efforts with an impressive diversity of sound and style, and is actually reflective of Manowar's earliest days as leaders not followers, however long ago that may have been. In sum, it's proof positive that they can still show common sense now and then, even if it's despite themselves.

tags: manowar, the lord of steel, hammer edition, 2012, flac,

February 22, 2018

Ricky Martin - Ricky Martin (1999)

Country: Puerto Rico
Language: English, Spanish (Español)
Genre: Latin Pop
Label Number: CK 69891

© 1999 Columbia Records
AllMusic Review by Stephen Thomas Erlewine
It was just a matter of time before Ricky Martin broke into the pop mainstream. By the end of the '90s, he was no longer the kid that used to be in Menudo or the General Hospital heartthrob -- he was a genuine star, ready to bust out of the Latin pop ghetto. His dynamic performance at the 1999 Grammys stole the show, announcing his presence to middle America -- and conveniently paving the way for the May release of Ricky Martin, his second eponymous album but first English-language record. Like most records that are crafted to sell an artist to a larger audience -- think Celine Dion's Falling Into You -- Ricky Martin is a big, bold album with something to please everyone, from his longtime Latin fans to housewives with a weakness for dramatic ballads. Reportedly two years in the making, the album never makes a wrong move, balancing infectious dance-pop with immaculately crafted power ballads, mid-tempo pop, straight-ahead rockers, and, of course, the inevitable cameos: Madonna on "Be Careful (Cuidado con Mi Corazón)" and Meja on "Private Emotion." Since each track has been so carefully constructed to stand on its own (most likely as a single), the album plays as a series of moments, some more thrilling than others. Although there is inarguably some filler cluttering the record -- and although the production sounds weirdly dated, with tracks like "I Count the Minutes" and "She's All I Ever Had" sounding for all the world as if they were cut in 1985 -- most of the moments work and the opening quartet ("Livin' la Vida Loca," "Spanish Eyes," "She's All I Ever Had," and the irresistibly stupid "Shake Your Bon-Bon") is positively intoxicating. If the rest of the album doesn't live up to the opening salvo, Martin does carry the day with his fine voice and undeniable charisma -- even when the songs aren't distinctive, he brings them alive. And that's the sign of a true star.

tags: ricky martin, ricky martin album, 1999, flac,

Manowar - Battle Hymns MMXI (2010)

Country: U.S.A.
Genre: Heavy Metal
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© 2010 Magic Circle Entertainment
AllMusic Review by Phil Freeman
Manowar weren't always Manowar. Their first album, 1982's Battle Hymns, hinted at the epic warriors-of-metal style they'd pursue on every subsequent record, but it also had strong hints of Kiss and other '70s hard rock acts; a few numbers even pointed to a rudimentary social consciousness with lyrics like "You were sittin' home and I got sent to Nam/I went to the big house, you just worked a job" from "Death Tone," and further references to Vietnam, albeit more cartoonish ones, in "Shell Shock." Guitarist Ross the Boss seemed inspired by Ted Nugent as much as by Judas Priest, and he injected a lot of blues into their sound; bassist Joey DeMaio and drummer Donnie Hamzik were a thunderous rhythm section; and vocalist Eric Adams was a post-Robert Plant shrieker with an extremely broad range and terrific control. With Hamzik's 2010 return to the band, three-quarters of the original lineup is back on this re-recorded version of Battle Hymns, but it's a different album. Some changes are subtle, others not so much. The track listing is the same, and the lyrics haven't changed, but the band's style is a little more ponderous; many of their recent songs have been death marches rather than groove-based rockers. The mix is different, too; Joey DeMaio's bass and Karl Logan's guitar are more or less equally loud, which actually works well. Orson Welles (who did the narration on "Dark Avenger") is long since dead, so the band hired Christopher Lee to re-record his part. Some production flourishes (a brief stereo panning of the guitar on "Death Tone," a reverb effect on the chorus of "Manowar") have been omitted from the new versions. And, most notably, the studio album's final song, "Battle Hymn," has been extended from seven minutes to nine-and-a-half. The new version also comes with two bonus live tracks, recorded in Texas in 1982, which are a fierce reminder of the time when Manowar toured the U.S. It's easy to wonder why this record was made at all -- perhaps it's a stealth strategy to earn royalties on the songs, like what Gang of Four did with 2005's Return the Gift -- but fans will enjoy it.

 tags: manowar, battle hymns mmxi 2010, flac,

Akon - Freedom (2008)

*European pressing. 
Contains 1 bonus track. 
13 tracks total.
Country: U.S.A.
Genre: R&B
Label Number: 602517934375

© 2008 Street Records/Universal Motown
AllMusic Review by Andy Kellman
Akon spun off two number one pop hits and one number two from Konvicted, so he couldn't be blamed for working the same tricks on his third album, yet Freedom is a major change of pace -- the kind of drastic switch-up that normally happens after reaching a creative and commercial dead-end. Hip-hop and R&B are all but scrapped entirely. The set instead is rooted in the gleaming synthesizers and spring-loaded dance beats of Euro-pop. (That slamming jail-cell door trademark, deployed as much as ever, doesn't quite have the same alarming effect.) Akon sounds more comfortable than expected, and he reduces the lechery in favor of longing ("I wanna make up right now") and awe ("When I see you, I run out of words to say"). At times, the tensionless backdrops don't inspire Akon to do much with his pen; the chorus of "Beautiful" is basically "You're so beautiful, so damn beautiful," while falling for a stripper in "Against the Grain" is conveyed with "The way she drop down won't allow me to close my drawers." Even so, there's much more charm here than expected.

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My Dying Bride - A Map of All Our Failures (2012)

Country: United Kingdom
Genre: Doom Metal
Style: Death Doom
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© 2012 Peaceville Records
Review by Atanamar Sunyata for Metal Injection.net
I’m a devotee of My Dying Bride in principle, if not always in practice. The band have been indulging us in beautiful misery for 20 years, but I’ve never been a blind buyer of their albums. After releasing a string of modern classics, my incredulity was rewarded in For Lies I Sire, which thoroughly missed the mark. The dubious The Barghest o' Whitby EP sounded the alarm of decline. A Map of All Our Failures, however, sees My Dying Bride relaxing into their essence and returning to the enthralling, despondent symmetry that marks their greatest works.
My Dying Bride thrive on hooks, borne of dismal, dual guitar melodies that coalesce around the tremulous glory of Aaron Stainthorpe’s vocals. The band are also masters of the crushing payoff, summoning the rage of blasting death when anguish boils over. A Map of All Our Failures delivers consistent sustenance of these elements. The album is stocked with bare, bleak riffs over which Aaron Stainthorpe delivers his usual despondent soliloquies. His clean vocals are particularly strong, contriving harmonious lamentations of surprising diversity and caliber. A Map of All Our Failures reaps all of the meaty, mellifluous synergy that the band have sown over the years.
A Map of All Our Failures feels effortless compared to the forced reminiscence of For Lies I Sire. Shaun MacGowan’s violin makes brief and purposeful appearances, seamlessly insinuating itself in the songs rather than overwhelming them. Andrew Craighan and Hamish Glencross have conceived a raft of riffs that fit firmly into the My Dying Bride ethos, riding dismal black tides that distinguish themselves sufficiently to sound fresh and original. The subtly ripping guitar tone recalls many hours alone, consoled only by this band’s beguiling desolation.
I’ve considered My Dying Bride to be a guilty pleasure at various times over the years, but that sentiment doesn’t do the band justice. Yes, you can lament the gothic histrionics, but those moments of affectation are largely subsumed by their matchless craftsmanship. My Dying Bride are nothing if not a pillar of doomed death; A Map of All Our Failures is a worthwhile investment for Bride fans new and old.

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My Dying Bride - For Lies I Sire (2009)

Country: United Kingdom
Genre: Doom Metal
Style: Death Metal
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© 2009 Peaceville Records
AllMusic Review by Thom Jurek
It's hard to imagine that after 2006's brilliant A Line of Deathless Kings, it took three long years for Great Britain's My Dying Bride to issue a studio follow-up. True, there was a great live offering in the interim in 2008's An Ode to Woe, but For Lies I Sire, the goth and doom metal outfit's ninth studio offering since 1990, showcases a rather startling evolution in the band's sound. While it's true that A Line of Deathless Kings was brutally gloomy and depressing, it only pointed the way toward the shades and shadows of loss and darkness found here. Nearly 20 years after the band's inception, vocalist Aaron Stainthope is singing better than ever, and his lyrics are beautifully poetic and streamlined. Gone are the wordy tomes of the early years, replaced by the pointed, poignant, grief-stricken, utterly lost reflections of hopelessness and despair, the kind that come from the human heart rather than the goth music scene. Musically, the riffs have been cut to the bone as well. While the Sabbath-styled guitar and basslines are still there, they've become simpler, more straightforward, and textured with a lush yet devastatingly effective layer of violins. It's there in the reflections on ruined tenderness that inaugurate "My Body, A Funeral," the set's opener, which gives way to something eerie, plodding, and multi-dimensionally heavy as guitars, basses, snares, bass drums, and violins all seek to crescendo together. It's there in the more chant-like, metallic, malevolent bitterness of "Bring Me Victory," where ringing basslines meet keyboards and violins atop roiling tom-toms and a more insistent tempo (which is the greatest sideways resurrection tune about Jesus ever). It's also there in the lithe, languid drift that is "Shadow Haunt," and the sprawling doom metal suite "Death Triumphant," that closes the set with washes of taut riffs, atmospheric waves of sound, ambience, and dirge-like strings. What "it" is, is the elemental discovery by My Dying Bride of a sound that pushes the doom metal attack of yesteryear toward the margin where it entwines sensuously -- and inseparably -- with gothic rock, in a meld that bears no signature but the band's. MDB has so seamlessly metamorphosed, lyrically, musically, and sonically, that they've effectively created their own subgenre of goth while retaining enough of their earlier M.O. to keep old fans, while no doubt gathering to themselves a legion of new ones -- who have little to no use for doom or goth metal -- in the process. For those veterans who've enjoyed A Line of Deathless Kings, The Angel and the Dark River, and even Turn Loose the Swans, this is for you. For the curious, For Lies I Sire is an excellent place to begin to investigate one of the most genuinely enigmatic bands to have emerged from the 20th century more inspired and visionary than before. And for the veteran fan, who will in no way be disappointed, this is brilliant work.

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My Dying Bride - A Line of Deathless Kings (2006)

Country: United Kingdom
Genre: Doom Metal
Style: Death Doom
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© 2006 Peaceville Records
AllMusic Review by Alex Henderson
In 2006, My Dying Bride celebrated their 16th anniversary. Not every album the British goth metal outfit recorded along the way was a five-star masterpiece, but even when they came out with an album that wasn't quite up to par, they would eventually bounce back with something impressive -- and A Line of Deathless Kings finds My Dying Bride very much on top of their game. This 2006 recording is state-of-the-art goth metal -- brooding, gloomy, sorrowful, pessimistic, and darkly poetic. Very few, if any, rays of sunlight find their way to tracks like "The Blood, the Wine, the Roses," "Deeper Down," "Thy Raven Wings," and "Love's Intolerable Pain"; the goth scene has a long history of focusing on darker emotions, and A Line of Deathless Kings lives up to that time-honored tradition. True to form, lead singer Aaron Stainthorpe conveys despair masterfully; he is the quintessential goth vocalist. It should be stressed that A Line of Deathless Kings, like other My Dying Bride releases, is aggressive without being ferocious. These Brits have always been highly melodic, making it easy for goth rock fans to get into their work even if they aren't necessarily big supporters of goth metal. And for that matter, the doom metal crowd should have no problem getting into this 60-minute CD; My Dying Bride, with their passion for slow, plodding, Black Sabbath-influenced riffs, have long had plenty of credibility among doom metal enthusiasts. This is a band that clearly sees the parallels between goth metal and doom metal, and both goth and doom enthusiasts will find a great deal to savor on A Line of Deathless Kings.

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February 20, 2018

Annihilator - Refresh The Demon (1996)

Country: Canada
Language: English
Genre: Thrash Metal
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© 1996 Music For Nations
Reviewed by Brent for Metal Reviews.com
Well, time to pick back up with what I "started" upon my joining here at MR. I have made up my mind that this band is my top priority here until I have everything reviewed. This album, which was my 2nd Annihilator album, was my favorite one for a long time, until I got the first two. Still much in the vein of the predecessor to this one, King of the Kill, Jeff once again takes over vocal duties for the entire record. This one also tends to be a little faster and heavier than it's predecessor.
"Refresh The Demon" starts the album out, and sets the stage for most of the material on the rest of the album. "Syn Kill 1" is next, probably my favorite song from the record. Next up is "Awake" which is just the little intro to "The Pastor of Disaster" "PoD." is next (naturally), and is a really good song. "A Man Called Nothing" is next, and it starts off with a nice little melodic intro, but doesn't stay that way. Moving on, next we have "Ultraparanoia", which has the mentally ill type lyrics that Jeff is known for from time to time. "City of Ice" is next, one of my least favorite songs on the album, but it is still good enough to have been included in the final tracklisting. It just wouldn't be an Annihilator album without at least one humorous song, this time he is just over the top with the song "Anything For Money. Isn't larceny grand? "Hunger" is next, it is about on the same scale of "City of Ice". The next song is "Voices and Victims" which is in the same vein of the other two I just mentioned. "Innocent Eyes" is probably the only Annihilator ballad I still listen to without skipping the track. It is a song he wrote for his kid. Now, for the two bonus tracks. "The Box" is the first one, the only thing different about this one and the one on KotK is the fact that this one doesn't have Jeff's vocals distorted, I like this version better. The last song on the cd is "Riff Raff" which sounds to me like a big, big tribute to the classic rock gods from down under, AC/DC.
That about does it for this album. It ranks in the middle for my favorite albums from Annihilator now, since I got the entire catalog. Definitly worth picking up if you are a fan, and if not, then it still shouldn't disapoint.

tags: annihilator, refresh the demon, 1996, flac,

Annihilator - Remains (1997)

*European pressing. 11 tracks total.
Country: Canada
Language: English
Genre: Thrash Metal, Industrial
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© 1997 Music For Nations
Reviewed by Brent for Metal Reviews.com
This is the closest to a solo album Jeff Waters ever accomplished to date with Annihilator. I mean, don’t get me wrong, it has been and always has been his band, which is why I like it, one vision, like Iced Earth. What makes it a solo album is just that, he is the only musician to appear on the album. He played every instrument (except for John Bates who played some guitar parts on “No Love”, and Dave Steele who sang a little on “No Love” and “Wind”) and the drums with a drum machine. Considered the most controversial Annihilator album to date, Remains sees Jeff incorporate some other band’s sounds into the woodwork. They were bands he was listening to at the time, mostly because of someone in his life, who he is no longer with, who just happens to be his ex-wife, was listening to them too, bands like Ministry, Prodigy, etc…. I happen to like Ministry and can tolerate Prodigy, so this album appeals to me where it might not appeal to others.
Before I start on with the song listings, in a sentence or phrase above each song in the liner notes, Jeff has put basically what I take as the meaning or message of each song, so I will incorporate them into the individual song reviews in parenthesis. The first song is “Murder”(I am a disease or virus that has fatal consequences). A great song, and the only, song from this album played live on “Double Live Annihilation”. Next is “Sexecution”(to risk your life for pleasure). This song is where the real evident use of the drum machine comes in, catchy little number I must say. No explanation should be needed for what this song is about. Up next is “No Love”(no love anymore), real industrial sounding track, and the opening drum part sounds like something out of the movie Shaft. “Never”(be aware of where racism can lead us; never forget) is number 4 on the album. This song is about people being racist and speaking out against them. Good message and great song, props to Jeff on that one. The next song is “Human Remains”(love, respect, learn from and admire the elderly). I hate the guitar tone of this song, so it kind of ruins the song for me. “Dead Wrong”(wrongly or falsely condemned for something that one never did) is next. I like this song, nice guitar solo and chorus. The next is the first “ballad” of the album. It is called “Wind”(simply put, a good walk can relieve a lot of stress and help one to see things a little clearer). I really like this song, nice atmosphere and emotion. Next up is “Tricks and Traps”(beware the negative things in life that could drag you down, down to the bottom). My favorite song on the album, as close to old school Annihilator that you will get on this one, not that this is a bad thing. Cool little intro that then blasts into a thrash feeding frenzy. The next one is “I Want”(the high and mighty often get what they deserve), another song off of the album that I like a lot. Then we have “Reaction”(severe allergy reaction; personal experience here). Probably my 2nd favorite song from the album, as it is blistering fast. “Bastiage” closes out the regular album, not a bad song, but not in my top Annihilator songs either. Being an instrumental, it has no hidden meaning.
Once again, I have the Remastered version, so one more song and then words from Jeff. The last “song” is “It’s You”, typical Annihilator ballad, but a good one. The last part of the album is the 8:32 long track of Jeff talking about the album and Annihilator. Some of the highlights are: Jeff compares a lot of the album to bands like Pantera, White Zombie, The Doors, Accept, Van Halen, etc… The song “Reaction” is about an allergic reaction he had one time to nuts, he wanted to make a song about it. He thanks all the fans for their continued support since 1984 when Annihilator started.
Overall this album did take some sinking in to make me really appreciate it. This is definitly not the album to start your Annihilator collection with as it was the last Annihilator album I aquired for mine. If you like the band, get it. If not, and you only like the really heavy stuff by them, I wouldn't advise it right now.

tags: annihilator, remains, 1997, flac,

Annihilator - Carnival Diablos (2000)

Country: Canada
Language: English
Genre: Thrash Metal
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© 2000 Metal-is Records
AllMusic Review by Gary Hill
This is a great album. It starts off in a pretty generic speed metal approach, but as the disc moves on it takes on a myriad of other styles. Those styles range from groove-oriented hard rocking tones to older straight metal and prog metal textures. Add to this above-average songwriting, killer performances, and great production, and you have a definite winner for fans of hard-edged rock music.

tags: annihilator, carnival diablos, 2000, flac,

Akon - Trouble (2003)

Country: U.S.A.
Genre: R&B
Label Number: B0000860-02 IN03

© 2003 Universal/Street Records Corporation
AllMusic Review by Andy Kellman
Senegalese-American ex-con Akon broke out with "Locked Up," a gloomy but thrilling paranoiac tail about drug running and jail time. Placed over a fittingly dramatic production worthy of 50 Cent, with a clamping beat, simple piano figure, and frightening slams of prison bars, the single set Trouble up to be a major success. Unfortunately, no other song on the album is nearly as gripping. The club tracks fall flat, most of the soul-searching moments feel forced, and the harder and more sexual tracks tend to be more silly than alluring. At its best, Trouble places you in Akon's turbulent world. At its worst, which is often, the album is excessively tedious.

tags: akon, trouble, 2003, flac,

Akon - Konvicted (Platinum Edition) (2007)

*U.K. platinum edition released in 2007. 
Contains 5 bonus tracks. 
17 tracks total.

Country: U.S.A.
Genre: R&B
Label Number: 1745129

© 2006-2007 Island/Universal Motown/Street Records Corporation
AllMusic Review by Andy Kellman
"Locked Up"'s success provided Akon with instant heavyweight clout. Upgraded from writing songs and doing the occasional hook for B-, C-, and D-level artists, he tallied a multi-platinum album, was granted his own boutique label (which was used to spawn T-Pain), and became in-demand as an A-list collaborator -- he worked with Young Jeezy, R. Kelly, Gwen Stefani, and even Elton John. His second album, Konvicted, isn't much different from the debut (patchiness included), even though it comes from a different perspective. He even addresses his newfound fame, along with the expectations and other forms of grief that come with it, in a vague but very saddened way throughout "The Rain." For the most part, though, Konvicted offers more ultra-macho R&B. The guest spots come from Eminem, Snoop Dogg, and Styles P, leaving no room for female hooks or verses. Akon hits on strippers (but does not fall in love with them), smacks behinds, and tends to go with what suits him best: bragging and seducing while delivering like-sounding hooks in his unique voice. Whenever the yearning and heartache is allowed through, he's not persuasive, and he sounds like he still has the club on his mind.

tags: akon, konvicted, platinum edition, 2006, 2007,