www.youtube.com/watch?v=8n07qiAo1lM

www.youtube.com/watch?v=6odZafAL5Ts

www.youtube.com/watch?v=D_H3IR6XBRI

Back in the 60’s and 70’s, rock music was presented with a new breed that pushed the envelope just a little bit further, with bands like Led Zeppelin, Blue Cheer, Deep Purple, RUSH and others forming a posse that would later be termed as proto-metal, meaning rock music that set the tone for what metal would become. Despite Black Sabbath being amongst these very progenitors, they were far ahead of their time as founders of a genre, and really came up with the previously mentioned bands. Basically, proto-metal were not necessarily directly influenced by Black Sabbath like their successors would be, but instead honed heavy aspects of rock in their own special ways. One of these bands from Britain (surprise surprise!) that helped bring heavy to rock was Uriah Heep, pushed heavy grooves reminiscent of Deep Purple, but with their own unique style most noteably David Byron’s overtly melodic vocals that would inspire the likes of Rob Halford and Bruce Dickinson in decades to come. After years of putting out material and being active, line-up changes, deaths, and their rise and fall in the limelight, Uriah Heep has shown their true rock and roll spirit by releasing their latest album Wake the Sleeper, an album that represents arena rock, 70’s metal and prog rock with the utmost admiration and respect.

From beginning to end, Wake the Sleeper is nothing like it’s title represents; this is an energetic album from beginning to end, even the slower, more melodic parts are still full of vigor that it’s hard to not feel the emotion being emitted from one’s headphones. Very few modern bands know how to exude the intricacies that bands like Uriah Heep helped implement before the punk movement took over leading to a new breed of musicians in Europe. Wake the Sleeper is clearly a continuation of the tried and true methods the band has used since its first album, and it still sounds as fresh and relevant today as it ever did in the past (I assume). However, what makes this album truly awesome is the fact that it doesn’t pull any punches. So many rockers from this era have quieted down in their aged states, but Uriah Heep still rocks as hard as they have ever done before. They may not make the Billboard top 100 for their efforts, but since when has that stopped hard rock and metal bands before? Quality is not a popularity contest, and Wake the Sleeper is definitely a perfect example of a great album getting past over as a “has-been” record, when in fact, this record is far more potent than most rock albums that will be released in 2008 from bands showing off not even a quarter of the experience and veteran status of Uriah Heep.

I have always been a fan of 70’s rock, as it’s essential listening to understanding how and why metal became what it would eventually become. For those who are new to metal, or simply never appreciated the art of early metal, you should make it a necessity to pick up Wake the Sleeper and some of Uriah Heep’s earlier material to get a true sense of our history and why metal is the best music on the planet. Black Sabbath may have created the genre, but bands like Uriah Heep added color and depth to a form of music that would eventually become the most diverse humanity has ever known.

AMAZING…

Top Tracks: Book of Lies, Wake the Sleeper, Angels Walk With You

Similar Artists: Deep Purple, RUSH, Jethro Tull

1. “Wake the Sleeper” – 3:33
2. “Overload” – 5:58
3. “Tears of the World” – 4:45
4. “Light of a Thousand Stars” – 3:57
5. “Heaven’s Rain” – 4:16
6. “Book of Lies”- 4:05
7. “What Kind of God” – 6:37
8. “Ghost of the Ocean”- 3:22
9. “Angels Walk With You” – 5:24
10. “Shadow” – 3:35
11. “War Child” – 5:07

Bernie Shaw – vocals
Mick Box – guitar
Phil Lanzon – keyboards
Trevor Bolder – bass guitar
Russell Gilbrook – drums

Sanctuary Records

www.myspace.com/uheep

Review by CODY

To say that Black Tide are merely an immature band capitalizing on their age like so many underage artists do these days would be criminal. Combining traditional metal riffs and vocals, and Trivium level production values with crisp drums and solos, the only thing odd about Black Tide is the fact that they don’t play metalcore or some death metal variant. In fact, I’d say that Black Tide will probably gain most of their success in the European, Japanese and South American markets more so than the U.S. because their style is that much alienated from what mainstream metal has become. But alas, who cares about that right now? Black Tide have unleashed their debut album unto the masses with great authority, and I am here to bring you the details!

As I mentioned, if you reserve your tastes to the harder edged stuff and could care less about traditional metal, please don’t bother reading this review, because this album is truly the antithesis to anything you will like. However, if you are inspired by the likes of Wolf, Jag Panzer, Iced Earth, Iron Maiden, Judas Priest, Manowar and even a spritz of European power metal like Hammerfall and Dream Evil, you’ll more than likely be quite fond of Light From Above. With loads of quality solos, drum fills, and a singer who can actually sing, classic metal is back in the mainstream in a big way. The fact that Black Tide is so young will inevitably be a selling point for Interscope and all of those who pay attention to them (AMR included), but their ability to write catchy heavy metal with variations from thrash to arena rock, is more than I can say for many veteran rockers out there.

The first song on the album, “Shockwave”, is the leading single off of this record, and damn does it ever deserve its spot. Best described as truly a party rocker, “Shockwave” is a fast paced, Kill’Em All inspired classic that will inevitably be Black Tide’s “The Trooper” because of its incredible ability to get lodged in your skull.

Other stand out tracks include “Give Me A Chance” which is a number that really shows the diversity of the band and their ability to go borderline pop/arena rock without losing their metal base. It sticks to the catchy hooks that envelope Light From Above, and is sure to appeal to non-metal fans. After another lighter number with “Let Me”, the band kicks into “Show Me the Way” which would inspire Accept to re-unite with its rocktitude. This one also has a bit of a Danzig vocal feel to it. Interesting break!

I don’t want to be one of those guys who goes track by track through the entire album, but this album really is that good. In fact, I’d say that every time I listen to this thing it just gets better and better. I have heard a lot of the metal elitists calling this over hyped, Hot Topic garbage…well, if that’s true, its the best over hyped, Hot Topic garbage I have ever heard, and I will most definitely keep listening to my copy. Check this out if you want something different to put in between your Behemoth and All Shall Perish albums.

VERY GOOD

Top Tracks: Shockwave, Give Me A Chance, Live Fast Die Young
Similar Artists: Metallica, Hammerfall, Dream Evil, Jag Panzer, Iced Earth, Iron Maiden, Judas Priest

1. Shockwave 03:28
2. Shout 03:25
3. Warriors of Time 05:53
4. Give Me a Chance 03:34
5. Let Me 03:29 [view lyrics]
6. Show Me the Way 03:59
7. Enterprise 04:30
8. Live Fast Die Young 03:01
9. Hit the Lights (Metallica cover) 03:42
10. Black Abyss 04:06
11. Light from Above 05:47

Gabriel “Weeman” Garcia: Vocals, Lead Guitar
Alex “Lex” Nunez: Guitar
Zachary “Zakk” Sandler: Bass
Steven “Mancub” Spence: Drums

Interscope Records
http://www.blacktidemusic.com/
http://www.myspace.com/blacktide

Written by  CODY

If you are into power metal, the name Avantasia should immediately ring true. Hailed as one of the premiere metal side projects, Tobias Sammet’s (singer of Edguy) outlet for his works outside of Edguy have truly shown his ability to create music outside of his Edguy sphere. Putting together a slew of melodic vocalists to accompany the project, Avantasia is basically the power metal version of Arjen Lucassen’s progressive rock/metal project, Ayreon. In the last few years however, Tobias’ primary group have gone from dramatic, epic and melancholy sounding, to something much more upbeat and far less power metallish in favor of something far more traditional. Personally, I have enjoyed the changes Edguy has gone through, specifically on Hellfire Club and Rocket Ride, but this new direction has not been without criticism from long standing fans. This year, Tobias has decided to resurrect his Avantasia project, but in his own words, this new album entitled The Scarecrow, has adopted a new sound that strays from the Metal Opera days. Does this new angle work, or has Tobias finally molded together that division between his two creative centers?

As I said earlier, I have enjoyed the latest output from Edguy, but I can completely understand the dissatisfaction many fans have had. Edguy has evolved from an emotionally complex series of albums where Tobias really shows his classical voice, to a fun loving heavier version of Van Halen. Obviously, this new approach isn’t as bad as Metallica’s blatant bitch out syndrome, but when an artist decides to change their approach to making music, there is going to be an emotional impact on those who love what they have done in the past. It happens time and time again, and alas, the same thing is happening with The Scarecrow. Tobias has made it perfectly clear that he didn’t want to make another metal opera in the vain that he has before. While The Scarecrow has perhaps the most impressive line-up thus far with appearances from Roy Khan (Kamelot), Alice Cooper, Jorn Lande, Kai Hansen, Michael Kiske and several others, it is very much not the epic power metal album it once was. Many are claiming The Scarecrow has adopted the new Edguy sound, and I disagree. While The Scarecrow is not the epic opera that has made it famous in the past, it still holds its own sound that is more reminiscent of older Avantasia than Edguy. Still though, it is quite apparent that Tobias has moved on in his creative tastes to something a bit more upbeat and dare I say, more mainstream?

To those who are yearning for another addition to the Metal Opera series, you should either not listen to this album, or come into this experience with an open mind, because you won’t hear what Avantasia once was. The Scarecrow is more of a power metal album with a traditional metal/arena rock upbeat feeling (listen to Shelter From the Rain for a good example of older Avantasia).

Regardless of what your prior opinion of Avantasia was, one must accept that this is a new era for both Edguy and Avantasia. As an artist, we can’t expect Tobias to be static and try and appeal time and time again to his fanbase. I have stuck through all of the Edguy material both new and old, and I stick by this album too. Despite the changes, The Scarecrow is still a powerful piece of music with a very impressive cast. Though I will say, that Tobias should have chosen some better songs as his singles because “Lost in Space” and “Carry Me over” are not good representations of the content of this album. Do yourself a favor and try this one out and DON’T judge this by the music videos, because you could be missing out on something new, yet just as good.

VERY GOOD

Top Tracks: The Scarecrow, Another Angel Down
Similar Artists: Edguy, Masterplan, Hammerfall, Gotthard

1. Twisted Mind 06:12
2. The Scarecrow 11:14
3. Shelter From The Rain 06:11
4. Carry Me Over 03:54
5. What Kind Of Love 04:57
6. Another Angel Down 05:42
7. The Toy Master 06:22
8. Devil In The Belfry 04:41
9. Cry Just A Little 05:14
10. I Don’t Believe In Your Love 05:32
11. Lost In Space 03:52

Line-up:
Tobias Sammet – Vocals & Bass
Sascha Paeth – Guitars
Eric Singer – Drums

Tobias Sammet plays keyboards on track 3
Sascha Paeth plays lead guitar on tracks 1, 2, 4, 6, 7 & 9, and keyboards on
tracks 5 & 7

Guests:
Track 01: Roy Khan (vocals), Miro (keyboards)
Track 02: Jorn Lande, Michael Kiske (vocals), Henjo Richter (lead
guitars), Miro (orchestration)
Track 03: Michael Kiske, Bob Catley (vocals), Henjo Richter, Kai Hansen
(lead guitars)
Track 04: Miro (keyboards)
Track 05: Amanda Somerville, Michael Kiske (vocals), Miro (sequencing &
orchestration)
Track 06: Jorn Lande (vocals), Henjo Richter (lead guitars), Miro
(keyboards)
Track 07: Alice Cooper (vocals), Henjo Richter (lead guitars)
Track 08: Jorn Lande (vocals), Henjo Richter (lead guitars)
Track 09: Bob Catley (vocals), Miro (keyboards & orchestraton)
Track 10: Oliver Hartmann (vocals), Rudolph Schenker (lead guitars)
Track 11: Amanda Somerville (vocals), Miro (keyboards)

Line Up taken from metal-archives.com

Nuclear Blast Records
http://www.tobiassammet.com/
http://www.myspace.com/tobiassammet

Written by CODY

Click here to view the embedded video.

Between the Buried and Me decided to change things up in 2006. After three albums of original material, the band then decided last year to take their unique sound and apply it to a recording consisting entirely of covers. While this is not an original concept, the band’s choice of covers is very unexpected (actually, we are talking about BTBAM, so I guess it should be entirely expected), with some choices that you really have to listen to to believe. Therefore, I am going to go off my own beaten path, and do a review featuring each song one by one.

1. Blackened (Metallica) – Despite there being a dose of Sepultura, Earth Crisis and Pantera on this album later on, this cover of “Blackened” is far and away the heaviest song on the album. The riffs and drums are covered almost perfectly except for their own brand of blast beats courtesy of outstanding drumwork and writing to let listeners who is playing this devious tune. Despite this being a fine cover, it really doesn’t stand out from other death metal covers I have heard of Metallica with gutterals all the way through. However, its definitely a quality listen all the way through.

2. Kickstart My Heart (Motley Crue) – Alright, this is where things start to get interesting. After listening to Blackened, I was ready for the entire album save for a few selections, to be made up entirely of growling like Six Feet Under does so “eloquently” on their Graveyard Classics albums. Instead, I am surprised to hear an almost identical retelling of the original from the drums, to the riffs, and yes, even the vocals. Rogers does a fine job mimicking Mr. Neil, and while otherwise this wouldn’t be a particularly praise worthy task, the fact it is coming from a predominantly death metal band shows just how diverse and meaningful this cover really is. Very enjoyable.

3. Day I Tried to Live (Soundgarden) – Whoa….whoa. This is, simply put, an incredible cover and the best cover of Soundgarden I have ever heard. This is the perfect combination of aggressive metal courtesy of BTBAM growls and distorted guitars that were not as predominantly held in the original. Soundgarden crafted a very telling piece of music when they wrote this one, BTBAM merely highlights the best moments of the songs, from the slower melancholy moments, the the outrage felt in the heavier moments. BTBAM shows that Soundgarden is indeed metal, even without the heavy retelling. Amazing song.

4. Bicycle Race (Queen) - Incredibly authentic with heavier riffs. Rogers really demonstrates his incredible range as a vocalist in this album. He goes from low key Soundgarden, to high pitched happy go lucky in this Queen cover. Hell, the whole band demonstrates that they don’t fuck around when it comes to their art. A covers album to them is no joke, and this is a perfect example of that.

5. Three of A Perfect Pair (King Crimson) – Unexpected band to be covered with an unexpected outcome. This is the most well thought out song on the entire album and really demonstrates the abilities of BTBAM. If you have heard this song before, you know its a perfect cover for BTBAM in every way, especially after hearing them do it. The wow factor on this one is intense.

6. Us And Them (Pink Floyd) – See King Crimson above. This is a further demonstration that BTBAM’s progressive chops have a base in the classics.

7. Geek U.S.A. (Smashing Pumpkins) - Yet another track where Rogers demonstrates his vocal abilities. I dunno, maybe he went out of his way to find bands he knew he could replicate vocally, regardless, the vocals are just about spot on from the original. A great grunge turned heavy metal cover here.

8. Forced March (Earth Crisis) – I am surprised more hardcore punk hasn’t been included on this album considering the primary fan base of this band and how they got their start. However, interesting enough, there really isn’t much punk to be heard on this album. It sounds more like a neo-thrash album with some gutterals thrown in. Slightly unexpected, but maybe it is just the song choice. Not bad, but I think I would have preferred to hear a real hardcore cover.

9. Territory (Sepultura) - Good cover, but I wish they would have covered an earlier Sepultura song. I don’t think this tune does BTBAM’s skills justice. Chaos A.D. was the beginning of a long hard journey for Sepultura into the depths of nu-metal and neo-thrash. A cover from Arise or Beneath the Remains. However, for what it is, it is a great cover and very authentic…surprise surprise.

10. Change (Blind Melon) - Its Blind Melon, what can I say. This was a moment in American history where the Seattle scene took a softer side, and its obviously a strong influence for BTBAM. Very good cover, and once again, holds true to the original.

11. Malpractice (Faith No More) - Along with Metallica, this is one of the few heavier than average retellings in comparison to the original. It stays true, but like ‘Blackened’, takes liberties with the heaviness factor and adds in growling to make things interesting. And it works! Mike Patton would appreciate this I think.

12. Little 15 (Depeche Mode) – No metal to be had in this one, and thats exactly the way it should be. Its Depeche Mode for crying out loud! Sad and forboding as always with Depeche Mode, which comes across beautifully in this cover.

13. Cemetary Gates (Pantera) - Another great choice for BTBAM. Pantera has some really heavy stuff, but “Cemetary Gates” really showed the complexity that Pantera write out. It features one of this best crescendos in all of metal, and BTBAM, once again, demonstrates how great they really can be both through song selection and execution. Also, its worth mentioning that they aggressive parts of this album don’t feature growling, but actually clean vocals that are even tamer than Phil Anselmo’s work (not quite has heartfelt as the original though).

14. Colorblind (Counting Crows) - This is a bonus track, so if you don’t have it on your version, go download it or something, cause its an awesome. This is Counting Crows revisited, its really hard to say anything that hasn’t already been said about BTBAM’s ability to cover tracks. To me, they are almost second to none (at least in the metal world).

Man, Between the Buried and Me are masters at what they do, and they are all quite young and in a metal band. Its really incredible and refreshing that this album features such an eclectic choice of tunes. Its almost laughable when a death metal or thrash metal band covers another thrash or death metal song. BTBAM, if they stay together for the long haul, will eventually go beyond metal to become a juggernaut of something all together more in their mode. These guys are simply too good to stick strictly to death metal with progressive leanings, however, for now, we can rock out to what they hath bestowed upon us.

AMAZING

Top Tracks: Three of a Perfect Pair, The Day I Tried to Live, Kickstart My Heart

Similar Bands: Its a cover album, check the tracks!

1.    Blackened (Metallica cover)
2.    Kickstart My Heart (Mötley Crüe cover)
3.    Day I Tried to Live (Soundgarden cover)
4.    Bicycle Race (Queen cover)
5.    Three of a Perfect Pair (King Crimson cover)
6.    Us and Them (Pink Floyd cover)
7.    Geek U.S.A. (The Smashing Pumpkins cover)
8.    Forced March (Earth Crisis cover)
9.    Territory (Sepultura cover)
10.    Change (Blind Melon cover)
11.    Malpractice (Faith No More cover)
12.    Little 15 (Depeche Mode cover)
13.    Cemetary Gates (Pantera cover)

Thomas Giles Rogers Jr. – Vocals, Keyboards
Paul Waggoner – Guitars
Dusty Waring – Guitar
Dan Briggs – Bass
Blake Richardson – Drums

Victory Records
www.betweentheburiedandme.com
www.myspace.com/betweentheburiedandmeband.com

Click here to view the embedded video.