There’s nothing quite like melodic black metal to get your ass out of one hell of a funk with music! I’ve been in a super slow-motion nose-dive when it came to picking out some tunes to listen to this week. I couldn’t find anything in my playlist that I wanted to whip my head to, but when I turned on a little Bitter Frost… Well didn’t my cheeks just pucker and shape up!

Bitter Frost is an interesting album, given that Bitter Frost himself (yes that’s what I meant to say) did the entire thing almost by himself. He did have a smattering of guest vocalists come into the studio with him, so as to get a wide variety of sounds for the mix, which you definitely hear throughout the album. You can almost just pick a band that you want the song to sound like, and they might not even be metal at all. I hear bands like Falconer, Scar Symmetry, Rammstein, and even something as technotic (if that’s even a word) as Aphex Twin. Christopher Erikson, who is the band’s one and only member, hails from Sweden, where you see most of your black metal bands come from, but for some reason, decided to move to California to do all of his work. But like I’ve learned in the past with other bands, it definitely doesn’t matter where you come from, or where you started; it’s all about the sound. Erikson has definitely thrown a lot into the mix, and it makes for a nice complexity to some of the music. Some of the tracks are very fast paced, like melodic/speed metal, whereas some are very dark, with a doom metal tone, like “Oplexicon I – Sons Of Kogaion.” Some tunes come off almost completely power, with some electronica in there, like “Oplexicon III – Waterboard The Peasants.”

Bitter Frost is one hell of a funky album, I will definitely give it at least that, and more. It’s a bold wake-up sound that mixes lots of genre’s together, and blends it all into a new perk to the sometimes cookie-cutter sound that it black metal. I recommend giving this one a try.

VERY GOOD

Similar Artists: Acrybia, Gannondorf, Erowid, Diadem

1.    Delusions Of Grandeur
2.    Astral
3.    Pagan Wheel
4.    Novus Ordo Seclorum
5.    Till Norr
6.    Apotheosis
7.    Signs That Point To Nowhere
8.    Nemesis
9.    Vulnere Virtus
10.    Oplexicon I – Sons Of Kogaion
11.    Oplexicon II – Speed Of Hate
12.    Oplexicon III – Waterboard The Peasants
13.    Oplexicon IV – Arrogance

Christopher A. Erikson – Guitar, Bass, Keyboards, Vocals, Programming

Guest Vocals:
Sean Peck (Cage)
Anthony Prechtl (Diadem)
Stacy Rugely (Oplexicon)
Joe Onweller (Con)
Dan Morris (Gannondorf)
Dorian Bell (Evighet Av Aske)

http://www.myspace.com/bitterfrost

Pink Floyd, Opeth, and Tool have all arguably made their own masterpiece albums. The Unravelling cite these bands and more as inspiration, and I believe, strive to make a masterpiece of their own. This band is often referred to as progressive metal. I take that as ‘this is a band that refuses to focus on a single musical style to make their music’. Though 13 Arcane Hymns is no masterpiece, The Unravelling have created an album that shows a lot of promise, and which kept me interested from beginning to end.

It’s refreshing to be introduced to another good progressive band that has a lot of potential. The band’s website claims their new album is a concept album concerning themes of being buried alive, and surviving the ordeal. At first, 13 Arcane Hymns is heavy on the industrial sound, but the album slowly shifts into a highly-progressive and experimental album. It reminds me of some of the rock/metal operas I’ve listened to by Ayreon and others. There are also some traces of Mike Patton’s handy work. “Last Rights Protest” has an interesting rhythm, and “Where Will It End?” has some pretty cool transitions that work well together.

Overall, this is an album you should check out if you like any of the bands mentioned above, or if you’re into the progressive metal/rock sound in general. But more importantly if you don’t check out this album, keep an out for their future projects.

GOOD

Top Tracks: Last Rights Protest, Where Will It End, Arjuna

Similar Artists: Pink Floyd, Mr. Bungle

Gustavo De Beauville – composer, producer
Steve Moore – lyrics, vocals

www.theunravellingmusic.com

Review by NATE

When I first heard the song “Pussy” off of Rammstein’s latest offering, I was pleasantly surprised even in the face of a widespread backlash against it. People have been criticizing the band for being too poppy, to which my response would be, why not? Rammstein have never proclaimed themselves to be metal despite using heavy licks, they are a German industrial rock band first and foremost, any aggression that results from their writing process is their way of expressing a type of music that already has an authoritarian bent to it. “Pussy” is just as aggressive as it is melodic, and I don’t see anything wrong with that, especially when the tune is very catchy and filled with ironic amusements about self deprecation in sexuality. So when I was presented with the full album, Liebe Ist Fur Alle Da, for review, I was intrigued by the possibilities that could abound on every track in addition to the one that I had already heard. The result is one of pleasant surprise and fulfillment.

Rammstein rose to prominence because of their take on the industrial rock sound that was becoming popular in the 90’s with the likes of NIN, Tool, Ministry and KMFDM. Unlike all of these bands though, Rammstein was able to make original compositions from beginning to end without the reliance of sampled riffs and other electronic arrangements; they were a metal band (in my opinion) with an industrial vibe, not the other way around, and I think that’s what gave them an advantage over their competition for a long time. With Liebe Ist Fur Alle Da, I feel like that vision has been realized perhaps more so than ever before with some of the most original compositions we have heard from the band. Literally every song is quite unique, and seeing as this is coming from a band that makes industrial rock its niche, that is a bit of a surprise despite the band always looking to push boundaries in their own way. Liebe Ist Fur Alle Da is a great album not just because it represents a creative resurgence by the band, its also one that marks an imminent return to commercialism with catchy choruses and melodies atop the usual heavy riffs.

I have to admit, that the first couple of times I listened to Liebe Ist Fur Alle Da I was sincerely disappointed, but once I allowed myself to accept the changes the band has adopted, I couldn’t help but become sucked into this new world. Rammstein really went all out with this one, and us Americans can only hope that a full U.S. tour will follow this great new effort.

VERY GOOD

Similar Artists: KMFDM, Frankie Goes to Hollywood

1. Rammlied
2. Ich tu dir weh
3. Waidmanns Heil
4. Haifisch
5. B********
6. Frühling in Paris
7. Wiener Blut
8. Pussy
9. Liebe ist für alle da
10. Mehr”
11. Roter Sand

Till Lindemann – lead vocals
Richard Z. Kruspe – lead guitar, backing vocals
Paul Landers – rhythm guitar, backing vocals
Oliver Riedel – bass guitar
Christoph Schneider – drums, percussion
Christian Lorenz – keyboards, samples

Universal/Vagrant

http://www.rammstein.de

http://www.myspace.com/rammstein

Review by CODY

www.youtube.com/watch?v=VCixJCSBkdY

Swedish industrial/goth band Deathstars, have released their third release this year called Night Electric Night, combining elements from Rammstein, Cradle of Filth, Marilyn Manson and Clawfinger, the result however, is far from electric. I was surprised to find out that Emil Nödtveidt and Ole Öhman, both former members of Dissection, along with an assortment of other musicians from extreme metal comprise the membership of this band. I was surprised by this discovery because of the level of awfulness Deathstars exhibits. This is one of those bands I actually enjoy writing a review on because its just so God damn bad.

Night Electric Night consists of drums, guitars and electronica that hold no semblance of originality or catchiness. Every single song on this record contains atrocious, melodramatic lyrics that even Dani Filth would giggle at. For example:

“Well, the D is for destroy (Mark of the gun)
The E is for enforce (Mark of the gun)
A is for absolute (Mark of the gun)
And D is for darkness; “DEAD!” (Mark of the gun)”

Spelling out the word Dead? Are you going out of your way to alienate everyone in the rock community by only trying to appeal to junior high wannabe gothsters? What’s worse is that these horrible lyrics are sung by someone who sounds identical to the vocalist of Clawfinger. If you haven’t already heard Clawfinger, go check out their Myspace page or a video on Youtube, and you’ll understand why I am being so critical of this aspect. Night Electric Night is an album chalk full of simplistic attempts at atmospheric horror music that have already been perfected in multiple forms by multiple bands.

It’s hard to point out all the aspects that this album suffers from because its literally at absurd levels. I don’t even think Hot Topic employees would play this album because of the chance they may lose business. If that doesn’t describe how bad Night Electric Night is, feel free to leave a comment and elaborate if you’ve heard this album, because I am sure I am missing some fun ways to describe just had crappy this album really is.

BLASPHEMY!

Top Tracks: The songs from the Napalm Death I shall be listening to as soon as I am done typing this thing

Similar Artists: Clawfinger, Rammstein, Cradle of Filth, Marilyn Manson

1. Chertograd
2. Night Electric Night
3. Death Dies Hard
4. Mark Of The Gun
5. Via The End
6. Blood Stains Blondes
7. Babylon
8. The Fuel Ignites
9. Arclight
10. Venus In Arms
11. Opium

Whiplasher Bernadotte (wtf?) – Vocals
Cat Casino – Guitars
Nightmare Industries – Guitars/Keyboards
Skinny Disco – Bass/Vocals
Bone W. Machine – Drums

Nuclear Blast Records

http://www.myspace.com/deathstars

Review by CODY

Click here to view the embedded video.

Because of Richard Kruspe’s involvement in the very popular industrial rock/metal band Rammstein, his new side project is subject to direct comparison regardless of the musical style. However, being that several elements of Emigrate are rooted in the industrial style, these comparisons aren’t too far of a stretch. Don’t read this as a negative point though, as there are many interesting aspects of Kruspe’s debut album.

I’ll admit that I don’t have an extensive knowledge of Rammstein’s musical library. I say this from the perspective of an avid listener of many bands and styles, and being that I cannot identify many songs from Rammstein off the top of my head, I’d say my experience with them is limited. Having said that, I do have a lot more experience than some of those that think “Du Hast” is still Rammstein’s best song. It’s a matter of opinion, of course, but their discography has many things to offer that go above and beyond that track in terms of a “good song.” The song so popularized by continual radio play when it hit in 1997, “Du Hast” is more adequately described as one of Rammstein’s most popular songs…albeit that does not mean it’s their best. I digress—this is a review for Emigrate, not Rammstein. I simply wanted to clarify upfront that any comparisons to Kruspe’s main band are, as I said, from a limited experience.

Emigrate seems to be a worthy side-project of Kruspe’s time, and yours. He doesn’t simply copy his experience from Rammstein, but there are some similarities—and some very obvious differences. First of all, his vocals are on these tracks. Kruspe’s voice is a stark contrast to Till Lindemann’s deep voice. He doesn’t hit any soaring notes, but he’s talented in his given range of vocals and provides an interesting voice for the music. Second, there are many different styles portrayed on this album, including the familiar driving industrial riffs, but also some mid- to slow-tempo pieces, trippy guitar passages, and even ballads. But as I listened to the album the second and third time through, I began to ask myself why this album was being reviewed on our site.

The album’s relevance on allmetalresource.com is contingent upon that fact that a greater portion of this album is not metal. There are some very forceful metal passages on the album, and they deserve respect. However, I’m going to go ahead and file this under Industrial Rock. Don’t let that deter you from listening to the album though. This is a quality rock album that has a lot to offer in the way of catchy riffs, decent and memorable lyrics/choruses–and as far as a side project from a guitarist who already has a lot to live up to goes, Kruspe’s Emigrate stands on its own with 13 above-average tracks (yes every track) on a debut album.

GOOD

Notable Tracks: “Emigrate”, “My World”, “This is What”
Similar Artists: Rammstein, Clawfinger

1. “Emigrate” – 4:07
2. “Wake Up” – 3:37
3. “My World” – 4:18
4. “Let Me Break” – 3:35
5. “In My Tears” – 4:34
6. “Babe” – 4:37
7. “New York City” – 3:28
8. “Resolution” – 3:42
9. “Temptation” – 4:13
10. “This Is What” – 4:38
11. “You Can’t Get Enough” – 4:03
12. “Blood” – 3:34 (Limited Edition)
13. “Help Me” – 3:15 (Limited Edition)

Richard Z. Kruspe – Vocals, Lead Guitar
Olsen Involtini – Rhythm Guitar
Arnaud Giroux – Bass Guitar, Backing Vocals
Henka Johansson – Drums

Emigrate (official)

Reveiw by: Nate

I have been listening to metal for many years now, and if there is one un-relenting negative fact I have come across about the metal community, it would be that many of us are cynical bastards who seem to judge various bands without “really” listening to the music. Elitism amongst metal fans runs rampant, and its due almost exclusively to how protective we are of our music and of our scene. We don’t like change, and we especially don’t approve of success unless we specifically allow it to be created. Sounds a bit conceited right? Well, that’s because it is. One of these shunned bands that has gained relative mainstream success is recent Roadrunner signee, Daath. This year, the band released their first record on Roadrunner, and while it has gained acceptance in the mainstream, it has become, surprise surprise, critically anal raped into oblivion. Well boys and girls, as the ultimate truthsayer, I shall reveal to you the truth about Daath and The Hinderers.

Before I pick which jam to use, lets get down to the bread and butter of these blacklisted wonderboys:

Fact: Daath IS death metal.

Fact: They are NOT mallcore/nu-metal.

Fact: They are not Fear Factory or Devildriver clones (though they are obviously influenced by them or share similar influences)

Fact: The Hinderers is a fun metal album!

Yes folks, Cody hath spoken the truth. No longer shall you stare at the CD racks wondering whether or not you should buy that Daath CD because of the criticism it has received. I am the be all end all of metal….so what are you waiting for?

Seriously folks, The Hinderers will not top best of lists in 2007 most likely, but it is a good, solid, fun piece of metal. And for those who doubt Daath’s legitimacy as a death metal band, please don’t always point out “Dead On the Dancefloor” as Exhibit A, because I will quickly replace your reality with my own by demonstrating the brutality of “War Torn”, which is a balls out death metal rocker. Oh, and by the way, “Dead on the Dancefloor” is a death metal song too. Where does the compendum of death metal state that electronica and disco backbeats can be included in death metal? It’s called progression you elitist assholes! I like Obituary, Death, Cannibal Corpse and Immolation as much as the next guy, but death metal is beginning to be chagrined by wise metalheads because they are completely unoriginal and a dime a dozen. To me, The Hinderers represents a great example of death n roll, popularized by latter day Carcass.

The Hinderers is an album that dares to truly enfuse groove metal and death metal together in unison. Bands like Cannibal Corpse and many others have used groove riffs, sure, but Daath makes a meal ticket out of groove because they have the secret ingredient….FUN! Gone are the boring, repetitive not-so-subtle satanism and nihilism lyrics and riffs. Sorry to all you death metal purists, but Daath has joined the ranks of this vast genre whether you like it or not.

Now, is The Hinderers perfect? Definitely not. It has its moments of repetitive riffs, but every song is at least average with some being quite good. I won’t mention my specific favorites in this review because if you are undecided about this album and have been reading other people’s crap about this, then I don’t want to further contaminate your decision upon hearing the album. All I can ask of you, the reader and metal fan, is to give this band/album a chance. Daath is different, and people often don’t like different. This isn’t pop, it is pure, unadulterated metal played the way Daath wants it to be played. What more can one ask?

VERY GOOD

Top Tracks: Not tellin!

Similar Bands: Carcass, Fear Factory, Devildriver, Lamb of God, The Black Dahlia Murder

1.    Subterfuge
2.    From the Blind
3.    Cosmic Forge
4.    Sightless
5.    Under a Somber Sign
6.    Ovum
7.    Festival Mass Soulform
8.    Above Lucium
9.    Who Will Take the Blame
10.    War Born (Tri-Adverserenade)
11.    Dead on the Dancefloor
12.    Blessed Through Misery
13.    The Hinderers

Mike Kameron – Keyboards, Additional Vocals
Eyal Levi – Guitar, Synth
Emil Werstler – Guitar
Jeremy Creamer – Bass
Kevin Talley – Drums
Sean Z – Session Live Vocals

Roadrunner Records
www.roadrunnerrecords.com/artists/Daath/
www.myspace.com/daath

~ CODY