Lamb of God Opens the New Year with a Punch

Southern metal monsters Lamb of God have done it again; they have produced yet another solid album that even rivals the quality of their previous landmark albums. A brilliant follow-up (and step-up) from Wrath, their sixth studio album Resolution is, so far, the best metal album of 2012, and it will be quite a challenge for other metal bands this year to show this baby up.

The album's opener, “Straight for the Sun,” is a complete throwback to the doom metal riffs of the early days of Black Sabbath, with vocalist Randy Blythe's inhuman screams immediately yanking listeners into the album by the scruff of their necks. Drummer Chris Adler's own fills help transition from that song to the next track, “Desolation.” This tune perfectly weaves guitarists Willie Adler and Mark Morton's signature chaotic lines and Blythe's maniac screams. The lyrics Blythe drills into listeners' eardrums would resonate with anyone. Lines such as “All that for nothing what a fucking waste of time" are laced with anger and discontent, and only serve to further the mood of the album overall.
"All that for nothing what a fucking waste of time," Afterward we transition into the single from the album, “Ghost Walking.” The song itself has a distinct country-flavored acoustic guitar intro that transitions into their signature heavy riffs.

The next few songs boast even more of Blythe's blissfully gritty vocals and more iron-clad metal riffs that would blow anyone's face off. “The Undertow” hooks you in straight away and “The Number Six” proves to be the catchiest number off the album, with a chorus that's sure to get a crowd riled and rioting.

The next song, an instrumental entitled “Barbarosa,” strongly resembles the intro to the popular Guns N' Roses song “Civil War.” Its haunting aura and chilling guitar lines reflect on the technical brilliance of Morton and Adler. It effortlessly leads into the following track “Invictus,” a brilliantly heavy tie-in to the instrumental.

“Cheated” is another pummeling track, which is then followed by “Insurrection,” a song that showcase's their more melodic side, a side that is quite marvelous in contrast to their usual grit and grime. Every song following it is just a barrage of quality metal madness. The final track, however, is one of the most, if not the most, outstanding tracks off the album. “King Me” is a departure from Lamb of God’s typical formula of screaming vocals and raw, aggressive guitar lines. Blythe had opted for clean vocals for a good portion of the song, with the style reflecting on the chilling, apocalyptic lyrics. It is certainly one of Lamb of God’s strongest tracks on the album, if not ever.

Although it is a bit early to be claiming this, Resolution is one of the strongest metal albums of the year. Lamb of God definitely set the standard this year for their fellow metal bands. Metal Hammer asserts that the Southern boys “play[ed] their iron-plated balls off,” and is for sure one of 2012’s “stone cold classics.”

Still Thrashing and Never Dead

They have been a staple of the thrash metal scene for decades and a huge influence on modern metal bands everywhere. Their face-melting, bone-crushing, take no prisoners attitude and music had propelled them to their rightful status as heavy metal legends. Now, Megadeth has released their thirteenth studio album, a follow-up to the critically acclaimed Endgame. Th1rt3en, though the title’s stylization may be an eyesore for some, is nothing short of what we’d expect from the hailed Dave Mustaine and his men, and it is one of the best metal albums released this year.

The opening track, “Sudden Death,” is dripping with guitar shredding that had seemed to die out with the onslaught of new metal acts. This track is nothing short of perfect, and illustrates Mustaine’s “ability to pen smart, succinct and thrillingly powerful metal anthems,” as quoted by Dom Lawson of the UK’s The Guardian. It is a strong opening track, and is one of the strongest songs on the album. The next track, however, is a slight fall from the previous one. ”Public Enemy No. 1” has an opening riff that bears a striking resemblance to the classic Megadeth track “Tears in a Vial.” It may seem like Mustaine had decided to simply recycle an old riff into a new song, as some bands are more than guilty of doing, but at least the track is a good one. The soloing heard from Mustaine and his guitar counterpart Chris Broderick is pure quality from start to finish. This track has been released as a single and has a music video to boot, but it may not have been the best choice for the thrashers to pick as such. The next track, another released single, is definitely a step up from the previous track. “Whose Life (Is it Anyways?)” is not only a witty play on the hilarious ABC improv show, it is also an anthem for every metalhead, social reject, and street rat who feels judged and marginalized by their peers and surrounding company. Though cliché in the metal world, Mustaine’s gift for writing well thought-out lyrics holds this song above many of the youth anthems metal bands have penned down. Lyrics such as “You tell me how to live but who asked you anyway?” and “You’re just in time/to get inside my head” will ring true to many disenfranchised youth and will certainly find their way to Facebook statuses across the globe.

The next two tracks are a slightly slower change of pace from the previous tracks. “We the People” is yet another song dedicated to Mustaine’s political commentary that he’s most famous for. Never at a loss for words, the redheaded guitarist had a few choice words for our government. Lyrics such as “our founding fathers are rolling in their graves”  and “violate your rights, no more equality” illustrate his distaste for what this country’s going through, and are expected lines from our articulate thrasher. The next track, “Guns, Drugs, & Money,” is an intense song that seems to reference the infamous drug cartels in Mexico. The song is definitely not a shallow one, with lyrics such as “poverty will turn the life of any good man bad” that would surely provoke some thoughts and incite some conversations about what’s going on down south. The following track, “Never Dead,” opens up with a march-style rhythm on 

Shawn Drover’s snare, reminiscent of a military drum. Starting off relatively soft, and utilizing a crescendo as the guitars make their entrance, the track is an intense machine-gun firestorm that will surely be a staple for Megadeth’s live shows. “New World Order” has an anthem feel to it, with a memorable riff and licks very reminiscent of their eighties thrash metal days. Though not the strongest track on the album, it is a strong song overall and will become a classic among Megadeth fans.

For the next track, “Fast Lane,” the machine-gun double-bass drums drive the whole song and is pretty much the only memorable thing about the track. Though it isn’t horrible, and the soloing is yet again pure genius, the overall riffs and licks are blasé and wouldn’t exactly stick to you after listening to the whole album. “Black Swan” is an immediate favorite upon the first few seconds. With a mind-blowing opening riff and a hooky melody to boot, the track stands out on the record. Though it has appeared as a bonus track for their album United Abominations, the boys decided to stick it on this album. And, according to bassist Dave Ellefson, the track has nothing to do with the 2010 movie of the same name. The imagery is stupendous in the lyrics; “Just like a churchyard shadow, there’s nothing left to see” and “It’s only there to terrify my mind, a black swan keeps haunting me” paint a chilling picture for listeners and will hook you in from start to finish. “Wrecker” is another relatable track, with lyrics obscure enough to entice the listener to think of his/her own situations or past experiences upon hearing Mustaine’s words. A song about someone who has destroyed your life, the track will strike a cord with fans.

Opening with a gorgeous guitar solo, “Millennium of the Blind” has a feel to it that would be synonymous with many Slayer tracks, except with a beautiful guitar melody and an easy tempo. The guitar work is nothing short of genius, and it puts so many metal acts, old and new, to shame. “Deadly Nightshade” is another riff-laden track, though verging on being a filler track. It is still a strong track all around, and features Ellefson’s signature bass playing that fans love to hear. And finally, the ending track, aptly titled “13.” It’s acoustic guitar intro is pleasing to the ear, and the entrance of the electric guitar layered together creates a gorgeous storm of melodies that entice and draw the listener in. Mustaine’s gruff, growling vocals fit the song perfectly, and molds together when the tone shifts from the acoustic/electric layering to a full fledged guitar solo magnum opus. Ending with a lovely acoustic guitar melody, it is a brilliant way to end a brilliant album.

In short, Th1rt3en is an amazing album and is more than worthy of a trip to your local record store. Mustaine, as quoted by Metal Hammer, said “I think fans are going to be able to expect a very exciting record. With David Ellefson coming back, it brought back the classic sound, but also with the progress that we made with Shawn Drover and Chris Broderick.” The fiery guitarist was correct; the album was nothing short of exciting, and will draw in fans old and new when they tour this coming year.

Mastodon's New Album: Still Kicking Ass

Let me to introduce myself: I'm a social disease. Well, not really, but I felt like a Megadeth reference was fitting here. The name is Sam Islam, and I am the new metal blogger for The Cypress Chronicle. I am more than joyful that I get to share the glorious world of heavy metal to the Cypress student body, whether you all like it or not. The world needs way more steel thunder in its atmosphere; a fistful of metal, if you will. It's only fitting that my inaugural post is an album review about one of the best metal acts on the scene today. So, let's get started, shall we?

When you hear the name Mastodon, you may have one of two reactions: one, you may be wondering why in the world a metalhead is blabbering on about some prehistoric elephant; or two, you can go with the second reaction of “OH MY GOD MASTODON!! GREATEST FREAKING METAL BAND OF THE 21ST CENTURY!” If you chose the second reaction, then you have won yourself a pat on the back; I am indeed penning down a review of the famous quartet's new album The Hunter. For some fans, albums like Blood Mountain and Leviathan were the albums that were held closer to the heart. Especially after the landmark release of Crack the Skye, fans of both the band and of heavy metal music were eagerly awaiting the arrival of their follow-up album to the aforementioned masterpiece. And as I sit here typing this up, I can tell you all this: it is a strong metal album, and it further supports my claim that Mastodon is the best modern metal band on the scene today.

So let's start off with the opening track and the first single from the album, “Black Tongue.” I have to say, it's not exactly my favorite off of the album. Sure the riffs are excellent (Bill Kelliher and Brent Hinds never seem to disappoint), but the bassist Troy Sanders's vocals sound strained, and the vocal melody as a whole isn't the best I have heard from the boys. Overall, it's an okay opening track. Now for the one-two punch: “Curl of the Burl.” Although it is the most mainstream track on the album, it is also one of the strongest songs I have heard from Mastodon. With riffs reminiscent of Queens of the Stone Age, an infectious groove, mean guitar lines, and a catchy vocal melody, the song just gets better and better with each listen. You will definitely find yourself singing along when the song plays on your music player or stereo. It's a more radio-friendly song, but it's a song that still has substance, and will  bring in new Mastodon fans by the masses. It is certainly one of my personal favorites, and I'm not one for catchy songs. The next song, “Blasteroid,” is a bit of a head scratcher. Though it is a good number, filled with Brann Dailor's godly drumming, awesome screeches, and strong guitar riffs, it is an overall chaotic song and verges on being a filler. I suspect that they will play it live though, just based on its insane energy. They have to get that crowd pumped!

“Stargasm” was a song I was looking forward to listening to since the track list was released months ago. I mean, who wouldn't want to listen to a song about having sex in space? The Mastodon boys did not disappoint. The song is laced with heavenly drum riffs and gorgeous guitar melodies. Such a powerful number, it blew me away from start to finish. Oh and did I mention Dailor's mind-blowing drumming? I can never get enough of this guy. This song makes you want to gaze through a telescope and gaze at the stars. . .and possibly have some fun while you're at it if you know what I mean. “Stargasm” is a song that if it isn't played live, I will personally be deeply insulted. It is one of the strongest tracks on the album. The next song, “Octopus Has No Friends,” caught me off guard with its odd, polka-like riffs. Its vocals are very industrial; they remind me a bit of some Japanese industrial bands that I have come across. The title is beyond random, but it fits the intricate guitar lines. “All the Heavy Lifting” is another strong track on the album, and it just made me fall in love with Dailor's drumming even more. The title track is a disappointment however; the guitar line sounds similar to Crack the Skye's title track (coincidence?), and the vocal line is very similar to the Mastodon classic “The Last Baron.” All that's missing is Scott Kelly's vocals, but he appears later on in the album. “Dry Bone Valley” is a welcome save from the previous track, with a sound that makes you feel like you are a part of a caravan trekking through the desert. The solos are fantastic and are the best part of the whole song.

The following track, “Thickening,” is a filler, sadly. Though I do enjoy the western rock feel of the whole song, it is not memorable at all. Why must I hear mediocrity from such an amazing metal band?! Thankfully, “Creature Lives” saved me from that irritation. The cackle and trippy synth intro draws you in immediately, and the ethereal tone of the whole song makes it one of the strongest tracks on the album. This song is something that is completely unusual for the Mastodon boys to record. However, the Genesis-like, proggy feel to the whole song is entirely welcome.

And, at last, the final three tracks. “Spectrelight” is a totally abrupt change from the previous track. It has a raw, aggressive feel to it, with endless amounts of energy. Hell, the middle guitar part is even reminiscent of Iron Maiden's style. The next track, the randomly-titled “Bedazzled Fingernails,” is a strange, country-esque song. The vocals are quite strong; in fact, the vocals are some of the strongest I have heard on the album. The guitar work is excellent, but it still verges on being a filler. And finally, we come to the ending track of The Hunter, “The Sparrow.” All in all, it was a really strange way to end such an overall heavy album. Sure, the guitars themselves still retain some dirt, but the vocals are oddly choral-like and floaty. It is a blatantly proggy track, and yet again seems to draw influences from Genesis and Pink Floyd. Oh yes, definitely Pink Floyd. I think this track is one that I'll have to listen to a few more times before I truly like it, or even have a clear opinion on it. It was just bizarre, for me at least.

So after my rambling analyses of these thirteen tracks, what conclusions could I draw from them? Well,  if you were paying attention, you would notice a pattern in my commentary. Generally, all the songs had good, strong, heavy guitar work, fantastic drumming, and vocals that were either great or blasé. Overall, this album is really strong. It is not nearly as amazing as Crack the Skye, but it is a strong album nonetheless. I highly recommend it to not only seasoned Mastodon fans, but to new, perhaps completely clueless Mastodon fans that are looking to sink their teeth into their discography. I am tired of hearing the elitists complain about how they went from being a good ole' fashioned sludge metal band to being a progressive metal machine. Guess what? STOP WHINING. This is a great album, and it is worth your money. It may not be their strongest work, but it is sure as hell ain't no St. Anger. Now shut up while I go listen to this piece of gold again.