Yeah I know, I skipped a week, so sue me (actually…I am currently poor as fuck, so please don’t!)

The first time I heard Chimaira was during Slayer’s God Hates Us All Tour back in 2001. Chimaira had just released Pass Out of Existence and were picked up by Slayer along with American Head Charge for this “grand tour.” Now, this was my first metal show ever, so I really wasn’t sure what to expect, and, to be honest, I was a little nervous considering this was fucking Slayer. So American Head Charge and Chimaira play their sets, and to be perfectly frank, both sets were God awful. I was surrounded by metal fanatics who had come to see Slayer and no one was moshing, no one was headbanging…nothing, until of course Slayer came on, and that was pretty much a trial by fire for me. The point is, Chimaira wasn’t worth while then, and this trend continues. I have seen this band begrudingly 3-4 times in my concert going career, and every time has been a waste of my time (they relied on half naked strippers dancing around stage to make things interesting during the last time I saw them).

To me, if a band can’t wow me live, they are probably not going to hold their own on record either (there are, of course, always exceptions to this rule), and that is exactly the case with Chimaira. These guys have been consistently riding the wave of mainstream metal since their inception, and unlike many of their counterparts (i.e. Killswitch Engage), they simply don’t do a good job convincing me that they are worth listening to let alone purchasing from! Normally, this is where it would stop for me. They can go their way with their fans, and I can go my way. However, for some reason, Chimaira ALWAYS seems to pop up on various, legit tours (hence the reason I seem to see them so often), and their albums are rated high enough, and maintain enough purchasing power to warrant media attention. I wish I could ask “why?”, but realistically I know the answer.

Americans like to abuse themselves with below average music…simple as that.

CODY

Album: Gambling With the Devil
Label: SPV Records
Year: 2007

For those who have read my rants for the past year or so, know that blatant elitism in metal is something I find to be completely naive and immature. Fans who feel the need to ostricize other fans of certain bands or genres, and then go on to make broad generalizations is a reserved attitude for many in the underground who mainly listen to less than mainstream acts. I know this because I once embedded myself within this structure while being a regular poster at a popular online metal message board. Granted, I learned a lot about metal, most of which I would not have learned about as quickly otherwise. However, even as a teenager who didn’t know as much about metal as my peers, I found myself arguing the merits of bands whom many rejected based on their universal sound, look and attitude. For example, I remember when Killswitch Engage’s 2002 Alive Or Just Breathing first came out when nu-metal was beginning to show signs of its decay, there was a thread or two created telling everyone how great this new band was, however, many on the board, seeing Adam’s at the time frosted haircut, the breakdowns (which wasn’t yet popularized as “metalcore” back then), and the non-traditional melodies former vocalist Jesse Leach would belt out on every song, characterized KSE as some band trying desperately to hold on to nu-metal, or as some would eloquently call the genre…”mallcore” in regard to the types of people who would listen to it. This example is merely one to describe the opinions of many a metalhead that continue to persist and thrive despite being a part of a genre that gains in popularity.

One such site that breeds elitism to uncanny levels is the popular resource Encyclopaedia Metallum (www.metal-archives.com). This site is run by some folks who also frequented the message board I formerly posted on, with the intention of launching an interactive resource for everything and anything metal. I remember when this site launched I was one of the first few to post bands (I posted under sirmonarch and added such acts as Anthrax, Ozzy, Edguy, Sonata Arctica, Overkill, Saxon etc.), and absolutely loved the whole concept of having an open resource for metalheads to really find true, up to date information on virtually any band on Earth.

Once the site was established though, and their own message board system became active, it quickly became apparent that the negative vibes I had recognized early on, were thriving on this new site, only this time, Encyclopedia Metallum was no longer just some message board, but a highly credited and influential resource for people. Nowadays, metal fans use the Encyclopaedia as an everyday access point (I, admittedly use it quite frequently as well) to such a degree, that its information is considered canon. The problem with this, is that whose who determine what gets added to the metal ranks and what gets rejected are some of the biggest elitists in all of the metal community. In fact, instead of me trying to described exactly what I mean in a few paragraphs, let’s check out some of the bands Metal-Archives refuses to post:

• Ektomorf
• Slipknot
• Avenged Sevenfold
• The Dillinger Escape Plan
• Rammstein
• Led Zeppelin
• Grindcore bands lacking in death metal
  
• Crossover bands that are too punk
• Ambient bands that aren’t heavy enough
• Ministry (finally accepted in 2006); industrial acts have to be deemed “metal enough” by the moderators
  
• Glam rock/metal, virtually of any kind
• Blue Oyster Cult
• Uriah Heep
• Bands the mods haven’t heard
  
• KISS
  

Now, obviously many of these bands can be debated and debated about their merits as it pertains to metal, but the problem is, how does a site whose content is completely dictated by the whims of the moderators become the be all end all of resources? Why do the opinions of a few dictate to the metal world who is and is not metal?

Now I am not going to sit here and claim that the Archives are outright bad, because I would be a hypocrite if I did so. Those who moderate I can’t say are willfully holding grudges against certain bands, but I can say that the moderators I have noticed do have judgments on certain bands and sub genres, big and small, based on their narrow, and often immature view of what metal should and should not consist of. Is this the world we want judging our music? It’s hard to tell a young fan that Slipknot is metal, despite it not being on The Archives. I have seriously encountered this situation with more than one band, yet many of these newer fans, who have yet to branch out and develop their own ideals, continue to use Encyclopedia Metallum as canon, while bands like Ektomorf and Led Zeppelin are withheld because a certain few decided they weren’t metal enough.

In my final words, I challenge those at Encyclopedia Metallum to realize metal is more than just cut and dry definitions, it is an organic lifeform. To take away major influences such as Blue Oyster Cult and Van Halen and more mainstream heavy acts like Atreyu and Avenged Sevenfold all because you feel they don’t fall within a certain range is outrageous and disadvantageous to educating the more inexperienced fans. Isn’t the point of the Archives to provide us with a complete aquifer of knowledge? Keeping out insignificant Myspace bands with no physical releases is one thing, but keeping out highly influential acts that have had a direct impact on metal (even if they aren’t directly metal themselves) will leave a void of unanswered questions on a site that should be working to have the answers to them all.

Written by CODY

Moonspell - Night Eternal (2008)

Bought this one completely blindly– had a gift certificate at a local record store. Listened to 30 seconds of one track at the listening station and decided to pick it up. For those of you who aren’t familiar with the band, like I was, Moonspell is a Portugese goth metal band that has been around for a little while. With their latest release, Night Eternal, they have a veeeeery gothy album that may be a bit heavy-handed when it comes to the dark style. A lot of female vocals, spoken parts of songs, a lot of synth which creates an absolutely enormous sound (very produced) and somewhat corny lyrical content. Even with all of that, its still an enjoyable album. (Similar Artists: Paradise Lost, Dark Tranquility) GOOD

Emmure- The Respect Issue (2008)

This album is atrocious. Its the bastard child of death metal and BroCore. Its all breakdowns and the music itself takes absolutely ZERO talent. When I saw these guys at the New England Metal and BroCore *ahem* I mean Hardcore Festival the guitarist and bassist literally did not move their hands on the necks of the guitar more than once per song. The singer is a joke and dances around like Fred Durst on stage. Total garbage. (Similar Artists: Despised Icon) BLASPHEMY!

With Blood Comes Cleansing - Horror (2008)

Ugh. More deathcore, and this time it’s Christian Dethcore. Typical 2007-2008 boring deathcore schlock. Squeeze a liberal amount of Suicide Silence into your palm, lather, rinse, repeat (until you’re really loathsome). (Similar Artists: Born Of Osiris, Despised Icon, White Chapel) BLASPHEMY!

Nervecell - Preaching Venom (2008)

Totally badass. Brutal and thrashy death metal, the way it should be. Vocals veeeery reminiscent of Glen Benton of Deicide. Hell, the music itself is very reminiscent of Deicide. Really cool solos mixed in with some of the fastest drumming I’ve heard recently. A very strong effort from a very talented group of guys. (Similar Artists: Deicide, Kataklysm) VERY GOOD

Deicide -  Till Death Do Us Part (2008)

Speaking of Deicide… Continuing in the style of The Stench Of Redemption, Glen Benton and friends release another quality old school death metal album. Its a little thrashier than classic Deicide but I think its for the best. I would love to see this band put out an album that really pushes the envelope and that is really what I think holds them back. Every Deicide release is good but never all that amazing, I just think that Glen Benton has a very simple time throwing his anti-Christian lyrics into that Deicide style and has no intention of changing it much. Oh well, still a solid album. (Similar Artists: Suffocation, Cannibal Corpse) GOOD

Origin -  Antithesis (2008)

Another absolutely brutal album from the super fast technical death masters, Origin. I feel the same way about this album as I do about the Deicide album, its kind of the same thing in a different package. You know exactly what you are getting with this album but its not boring by any stretch. Interesting how that works. I guess its just a sign of how good this band really is. Unbelievable double bass on this one. Absolutely wild. (Similar Artists: Brain Drill, The Faceless) VERY GOOD\

Textures - Silhouettes (2008)

Really cool band and even cooler album. Heavily influenced by Meshuggah, these Dutch guys can straight up play. While the music itself is loaded with interesting time signatures and polyrhythms, what stands out to me is the vocals. While the singer’s (Eric Kalsbeek) vocals aren’t as refined as someone like Mikael from Opeth or Christian from Scar Symmetry, the man does a fantastic job. With harsh vocals reminiscent of Jens Kidman of Meshuggah and a clean style that is similar to Mike Patton of Faith No More, he creates a very new and different sound. Definitely pick this one up. (Similar Bands: Meshuggah, Mnemic) AMAZING

Bloodbath -  Unblessing The Purity EP (2008)

Wow. Death metal the way it was meant to be. Sporting two members of Opeth (Mikael on vocals and “Axe” on drums), Bloodbath comes thundering back with this 4 song EP. I cannot tell you how awesome this is and how excited I am for the full length, The Fathomless Mastery, to hit on October 6th. Go out of your way to hear this. Flawless everything from production to execution and one of the guitarists is nicknamed “Sodomizer!” THE TOTAL PACKAGE! (Similar Artists: Opeth, Deicide, Suffocation) AMAZING

Monstrosity - Millenium (1996)

I heard about this album on the new Cannibal Corpse DVD in the band history documentary. Little did I know that George “Corpsegrinder” Fisher was the singer for the band Monstrosity before he took over for Chris Barnes in CC. Someone in the documentary referred to this as one of the best technical death metal albums ever created. When I heard “best technical death metal” and “Corpsegrinder,” I knew I had to listen. And I did. I wouldn’t call it the best technical death metal album ever, I would even go as far as to say that its not technical death metal (compared to today’s lofty standards like Necrophagist, Origin, etc). What I would call it is a classic. It takes the best that the thrash and death categories have to offer and combines them seemlessly and perfectly. Some of Corpsegrinder’s finest work and an amazing achievement for the band. Get it. Now. (Similar Artists: Cannibal Corpse, Obituary, Deicide, Suffocation, Spawn Of Possession) MANDATORY OWNAGE

Enjoy your Monday off, everybody!

Reviews by COLE

Whatever preconceptions about lackluster musicianship, crappy riffs, and an over-abundance of masked morons jumping around on stage people may have had in the past, are now at a crossroad. You see, with the culmination of Slipknot’s last album Vol. 3 ; The Subliminal Verses and this their latest album All Hope Is Gone, the band has shown an organic maturation in their music that goes beyond the angst filled lyrics of their self titled debut that so many compared with the likes of Korn and Kittie. Now, however, I have been seeing kinks in the armor of haters. The once easily targeted Slipknot has adopted a full on metallic assault with death metal riffs, thrash metal riffs, blast beats and some actual kick ass solo’s. Past attempts at atmospheric creepiness are far less drastic, which was understandably at the heart of why many people disliked this music so much. I will be the first to admit that after buying Iowa back in 2001 when it came out, I absolutely hated the weird little nuances of the album that personified it, which then lead me to completely write off this band as shitty mallcore which all the cool metalheads were expounding upon back then. I was just getting into extreme metal back then, so when I heard that it was uncool to like Slipknot I immediately assumed it must be true. However, whatever doubt I had about this band being a simple object of desecration was washed away with All Hope Is Gone, an album that represents a much more mature, accomplished group of musicians who no longer seem to wish to talk about the hardships of growing up in Iowa all while maintaining that trademarked Slipknot sound.

Haters of this band will have trouble coming to grips with the fact that their scapegoat for hating mainstream metal is no longer there, which brings us to that crossroad I mentioned earlier; will people continue to hate Slipknot because of the name and the costumes? Will people continue to say they are NOT metal? Not liking Slipknot is fine, there are several bands I dislike, but it’s going to be pretty fucking tough writing off this band now simply because they have barcodes on their jumpsuits and wear funky masks.

Looking into the nitty gritty of this album, changes are immediately apparent. Corey Taylor, once maligned for this attempts at clean vocals, has really upped his game, presenting their listeners now with much more improved vocals which surprised the hell out of me, because Corey’s clean vocals was one of the reasons I could not get into this band early on.

Secondly, the diversity in the band’s sound is very apparent, and as I said, represents a clear progression in their maturity level. And unlike many of their peers, they seem to be progressing in a positive way. Slipknot has had the balls to slow down several of their numbers, but none of them are really poppy per se despite an emphasis Corey’s new melodic pipes. However, the heavy, uncharacteristic heaviness that made Slipknot is definitely alive and well and much better than anything they have ever done before. It seems like the band feels like playing more traditional forms of metal is “okay”, and as a result, All Hope Is Gone features an onslaught of post thrash riffs with a healthy dose of some death metal…and when I say death metal, I mean the real fucking death metal, not deathcore.

Finally, the guitar solos on this album are quite an attraction for this album, and really livens up the overall sound tremendously.

Above all else, I think what impresses me most about this album, as I have already alluded to, is its uncompromising sound. Fans of Slipknot will undoubtedly love this album as it maintains their undeniable sound, but to call them the same band they were in 1998 would be laughable.

The bottom line is clear; Slipknot is as metal as metal can be, and any doubt is pure hatred with no basis, because once you listen to All Hope Is Gone with an open mind, there is little evidence to support that they are some cheap “nu-metal” band with no talent. Slipknot has begun to build a positive legacy, which I for one support, and frankly, admire. All Hope Is Gone should be checked out, because you may find youself actually enjoying a band you once loved to hate.

VERY GOOD

Top Tracks: Gematria, Gehenna, Vendetta (a total fucking death metal love track!)

Similar Artists: Machine Head, Trivium, God Forbid, Devildriver

1. “.execute.” – 1:49
2. “Gematria (The Killing Name)” – 6:02
3. “Sulfur” – 4:38
4. “Psychosocial” – 4:42
5. “Dead Memories” – 4:29
6. “Vendetta” – 5:16
7. “Butcher’s Hook” – 4:15
8. “Gehenna” – 6:53
9. “This Cold Black” – 4:40
10. “Wherein Lies Continue” – 5:37
11. “Snuff” – 4:36
12. “All Hope Is Gone” – 4:45

0 Sid Wilson - Turntables
1 Joey Jordison - Drums
2 Paul Gray - Bass
3 Chris Fehn - Percussion
4 James Root - Guitar
5 Craig Jones - Samples
6 Shawn Crahan - Percussion
7 Mick Thomson - Guitar
8 Corey Taylor - Vocals

Roadrunner Records
www.slipknot1.com
www.myspace.com/slipknot1

Review by CODY

What hasn’t already been said about Metallica’s new single “The Day That Never Comes?” Well, generally nothing really, but I’ll attempt to give the All Metal Resource perspective.

First and foremost, for Metallica to acquire any semblance of their once prestigious reputation, they need to oust Lars Ulrich or split up. James Hetfield, Kirk Hammet and Rob Trujillo are all talented musicians no matter how you shake it, but Lars Ulrich has, at best, been able to keep rythym for the entirety of his career. The man is often cited as being a top drummer in not only metal, but rock music in general, yet his skills pale in comparison to virtually any of his professional equals. In this new single of theirs from the upcoming album Death Magnetic, Lars single handedly brings down the level of an otherwise good song with fills that one would expect from a first or second year drummer, not that of a veteran from one of the world’s biggest bands.

As I alluded to, if it weren’t for Lars “Sticks of Gold” Ulrich, The Day That Never Comes would definitely be a step in the right direction for the band. While people can nitpick all day about how the riffs (including Kirk’s solo) are rehashed from previous songs, the bottom line is the band is writing METALLICA songs, not that other band that somehow popped up in Metallica’s place 18 years ago. Does this mean I suggest buying this record? Realistically….no, the band has to do better than that. However, you have to give just deserves for effort, and this song represents effort, however mild it may be.

Metal’s most recent visual rage is the introduction of hip hop culture. Straight billed hats, bling, and perhaps most apparent is the usage of glossy gold lettering on apparel, are all becoming more commonplace in mainstream metal. My question I pose to you all is this…is traditional metal culture open and liberal enough to allow such an alternative presence to exist?

I, and many other metalheads who fall more into the traditional black shirt, camo shorts camp have many a comment on how dis-satisfied we are to attend a concert or a festival where bands like Emmure and Despised Icon, whom embrace this new phenomenon, play with their fans running a muck. But upon thinking about it, who the fuck are we to judge others when we walk around with our “metal uniforms?’

I, being a fan who makes a conscious effort to not be elitist, am admittedly human and can fall into the trappings of what it means to look and act like a metalhead. I continue to be dis-satisfied with this new trend, and the only reason I can give to why I feel this way is my experience with the fans’ general attitude. Like the hardcore and metalcore scenes of a few years ago, this new deathcore fanbase embraces metal, but at the same time rejects traditional metalists. They take over a pit and go out of their way to scrape the edge of a pit and go about with their hardcore acrobatics. In all honestly, all the dipshits with attitudes who once embraced bro-core, seem to be taking on this new culture as a way to enjoy metal without actually having to become a “metalhead.”

Could I be way off base on this one? Perhaps..it wouldn’t be the first time, however, I can only write about my experiences to give you my opinion. So in essence, I am saying fuck fairness and balanced journalistic integrity. If these guys continue to tromp around shows expecting to take over, they will continue to receive scowls and nudges from us traditionalists. You want to wear your gold embossed shirt and bandannas? Go fucking right ahead, we are there to generally share in our love for the same music, but if you push through the crowd, and then act like a jackass when breakdowns happen, don’t be surprised when you get a shove or an elbow to the face.

CODY

Yesterday was Dimebag Darrell’s birthday, and festivities aplenty ensued celebrating the life and times of one of the greatest modern heavy metal guitarists. The manner in which Dimebag died turned the man into a martyr, which I, and every other metal fan can accept and even embrace. I recognize the skills, personality and music Dimebag brought to the table for all aspiring musicians to look up to. However, while musicians remembered him with stories, radio stations played music inspired by him, and websites, much like this one, wrote editorials to commemorate the guitar legend, I come to one question in my mind…..what about all of the other great musicians and artists that have passed that played such a critical role in the evolution of our genre?

Over the past 20 years, we have lost the likes of dozens of preeminent figures, yet even the most influential of these people are overshadowed by 4 years of remembrance for only one fallen brother. Isn’t it about time that we commemorate everyone who had an impact on our life as metal fans? Dimebag was important, but his life wasn’t the sole eclipse of premature lost talent. With that being said, I have compiled a list of members of the metal family whom have lost their lives, often too early and in tragic circumstances. I feel this is a good time to do it, as most metalheads are feeling fond of the past in regards to Dimebag, so why not tack on a few other fond memories of a bygone era of musical geniuses?

Without further ado, the 2008 call of musicians who left us much too early:

1982 - Randy Rhoads (Quiet Riot, Ozzy Osbourne)

1986 - Cliff Burton (Metallica)

1991 - Dead (Mayhem)

1991 - Eric Carr (KISS)

1991 - Roger Patterson (Atheist)

1993 - Criss Oliva (Savatage)

1993 - Ray Gillen (Black Sabbath, Badlands, Phenomena)

1996 - Vincent “Vinny Daze” Civitano (Demolition Hammer)

1996 - Dawn Crosby (Detente)

1997 - Audie Pitre (Acid Bath)

1998 - Wendy Orlean Williams (The Plasmatics)

1999 - Gar Samuelson (Megadeth)

2001 - Chuck Schuldiner (Death, Control Denied)

2001 - Mario Parillo (Detente)

2002 - Layne Staley (Alice in Chains)

2002 - Paul Baloff (Exodus, Hirax, Pirahna

2004 - “Quorthon” Tomas Forsberg (Bathory)

2004 - “Dimebag” Darrell Abbott (Pantera, Damageplan)

2005 - Denis “Piggy” D’Amour (Voivod)

2005 - David Wayne (Metal Church)

2005 - Krzysztof “Doc” Raczkowski (Vader)

2006 - Jon Nödtveidt (Dissection)

2007 - Witold “Vitek” Kie?tyka (Decapitated)

2007 - Kevin DuBrow (Quiet Riot)

That’s all I can think of for now, but I guarantee there are some glaring examples I missed. Do me a favor and and post a comment to let me and all the readers know about well deserved musicians who should be mentioned in this list.

CODY

I don’t get this band, I really don’t. Every time I hear this band played (which is quite often), I immediately think they must be some sort of gimmick. I consider myself to be quite up to date on the latest music trends, and I usually become suspicious of bands that suddenly pop up out of nowhere without having to build up an initial following. Five Finger Death Punch started around 2005, but didn’t release any material until 2007. This band suddenly became the darlings of Ozzfest-inspiration in a year? I could be way off base here, but it seems the only reason this band is even remotely popular is because they have leeched off what made their peers popular, came up with some hip name and a marketable “badass” look. Everything about this band seems fabricated! I have to give it to them and their label though, so far everyone seems to be taking the bait. In an age where the bar for legit mainstream aggressive music has dramatically risen in comparison to the age of nu-metal in the late 90’s, Five Finger Death Punch are survivors of a bygone era who have notched up their sound just enough to stay credible in a world where talented musicians are spreading their wings. I can only hope the fans of this band (who will inevitably be of the younger generation), will use them as a gateway drug to much more potent metal.

(UPDATE: I wrote all of this without realizing that the vocalist is formerly of Motorgrater, guitarist from U.P.O. and a few members of W.A.S.P. I think this new found info can be deemed “Exhibit A” to support my above opinion.)