Another classic AC/DC Black Ice album review
October 23, 2008
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When my wife’s grandfather was driving, you could tell what kind of music was playing on the radio, regardless of whether you were in the car at the time. His rate of acceleration (or deceleration) was in direct proportion to the tempo of the song being played. I feel safe in saying that he never listened to AC/DC. If he had, we’d still be paying off the speeding tickets.
I was reminded of this when I cued up Black Ice to accompany my morning workout. Thirty minutes on the stationary bike usually translates to the equivalent of a four mile ride. This day, it was closer to five. It made for a great cardio workout, but I think I may have sprained something while doing crunches.
It’s All in Your POV
Courtesy Epic Records
How you will react to AC/DC’s Black Ice will depend on your perspective. If you’re a critic, you’ll probably snuffle and cluck about how this album really doesn’t sound different from any other AC/DC album.
If you’re a fan, you’ll probably want to point out to the idiot critic that it is precisely that fact that makes you a fan.
If you have never heard AC/DC (if such folks exist) you’ll want to keep your seat belt fastened until the pilot has turned off the sign.
Some Rock With Your Rock?
Over the years, AC/DC has been variously classified as hard rock, heavy metal, punk, even glam rock. The band considers itself simply rock. That would explain why the word (rock) or some variation of it appears in the titles of four songs on the album. Chief among them is the opening track (and first single release) “Rock N’ Roll Train.” This track (no pun intended) lives up to its name by shaking up your senses much in the same way as a locomotive at high speed ten feet away.There is, however, enough of a sameness about the remaining three rock-titled songs to make me think that the album might have been benefited from having three or four fewer tracks (there are fifteen, running almost an hour.) This sameness is not an accident. The band found a successful formula and have stuck with it consistently for decades. As suggested above, whether that is good or bad depends on your agenda.
The quality of the entire production is outstanding. Kudos to producer Brendan O’Brien and engineer Mike Fraser. Each instrument jumps out at you, crisp and well defined, something that’s very difficult to achieve in these days of digital compression.
Happy Highlights
Courtesy Epic Records
It would be impossible to describe the sound of hard rock slide guitar in words. Listen to “Stormy May Day” and you’ll understand. This was my favorite track at first listen, and remains so.And then there’s “Anything Goes,” which sounds like ’50s pop done hard rock style. Again, hard to describe, but quite interesting to hear.
The title track, “Black Ice” closes the album. It’s one of those that, when you were young, you would use as an indicator of how cool you were by putting the windows (or, if you were lucky enough to have a convertible, the top) down, crank it up and cruise the streets. (The lead track, “Rock N’ Roll Train” also falls into this category.)
Is It Back In Black Again?
In a word, no. 1980’s 42-million selling Back In Black set the tone for the post-Bon Scott era. While Black Ice continues the successful formula, it lacks anything as memorable as “You Shook Me All Night Long,” “Hells Bells” or the title track.
It is, however, an entertaining testament to the longevity and consistency of a band whose picture might well accompany the dictionary definition of “rock.” It’s great for your morning workout, too, as long as you remember to keep one of those bright yellow “Danger - High Voltage” signs handy so you don’t hurt yourself.
Release date: October 20, 2008 - Columbia
Available at Walmart, Sam’s Club and acdc.com
http://classicrock.about.com/od/artistsaf/fr/acdc_blackice.htm
METAL ALBUM REVIEWS FROM CRYPTOPSY, MOTORHEAD, UDO
October 23, 2008
CRYPTOPSY
THE UNSPOKEN KING
CENTURY MEDIA
!!!!
Apparently, some people are pissed that this record now has metalcore influences. Truth of the matter is, there are very few aspects of the aforementioned and the technicality this band is known for has, in fact, been taken to another level. When I first heard 1998’s Whisper Supremacy, I wonder how this band could possibly take technicality to a new stage. I found out with this record. Despite many listens now, I still haven’t memorized one single song. The arrangements are crazy, and over the top. It’s still an ultra technical piece of brutal death metal, but the inclusion of clean vocals from their new singer was a bit shocking at first. In the end, I find myself enjoying this album after each listen. It’s a challenging journey, and if you can ignore the few metalcore inclinations, you might enjoy this record. This is coming from a guy who despises metalcore.
MOTORHEAD
MOTORIZER
SPV
!!!!!
Motorhead has never compromised to anything. Their new album is, once again and, as expected, a true testament to this band’s rich history. It is meant to be played loud in all its glory. I guess what I noticed more with this album is the bluesy sensitivities. I mean, lots of Motorhead records have that blues influence, but this one seems to be prevalent, with a touch of added distortion. The opening track is just catchiness at its best, and the rest of the tracks deliver memorable choruses, infectious hooks, etc I mean, people craving for another “Ace of Spades” should just get a life. This band will always have its trademark and it’s always a pleasure to hear them play their balls out. Those looking for experimentation, look elsewhere.
UDO
METALIZED
AFM RECORDS
!!! .5
Listening to older UDO tracks, for some reason, brings memories of the Cold War. Don’t know why (and I’m not that old either), but sometimes music just projects you with certain eras accompanied by memorable ambiences. Well, I always thought both UDO and Accept had their best and bad moments. In the case of this best-of compilation, there are hits and misses. You’re never gonna please a fan with a best-of album, as everyone’s choices of what’s considered “best” will always differ. In any case, this is passable, but I do think that they could have done better with the song selection (you see?). If you want to be introduced to The Man, seek his earlier works or just listen to the Accept records.
Thanks Douglas
METAL ALBUM REVIEWS FROM KEEP OF KALESSIN, BLEEDING THROUGH, DEICIDE, METAL CHURCH, GORGOROTH
October 23, 2008
KEEP OF KALESSIN
KOLOSSUS
NUCLEAR BLAST
!!!!!
Keep of Kalessin, in my opinion, is exactly what extreme metal should sound like. The band is eloquent, exemplary in musicianship, detailed, epic, concise, professional, and just awe-inspiring. While this album is flawless, I still prefer their previous offering, Armada, which to me is one of the best albums from this decade. Still, Kolossus, requires more listening sessions in order to fully grasp its intentions. I really can’t praise this band enough, I just wish they weren’t as underated as they are. They are better than the bands they have to open for in current and past tours. Check this record out and discover their older offerings, like Through Times of War to appreciate their early majestic black metal beginnings.
BLEEDING THROUGH
DECLARATION
TRUSTKILL
!!!!
I am proud to say that I still haven’t liked any of the metalcore albums that have crossed my way. They are simply a waste of time. At the same time, I’ve always found Bleeding Through interesting, even though I’m not sure if they can be called Metalcore. Let’s just say that if a Metalcore band all of a sudden decided to play symphonic black metal it would sound like this. Surprisingly, it sounds pretty damn good. I guess the band should be given credit for mixing both styles. While it could be a good way to appeal to fans of both genres, I doubt fans of Dimmu Borgir or Cradle of Filth would be drawn to this…but I guess some are. In any case, I just love this record. It’s a fun listen, and the band is extremely tight all the way. So there, Bleeding Through’s latest is recommendable, and I still think Metalcore sucks!
DEICIDE
TILL DEATH DO US APART
EARACHE
!!!!
Well, if their last album proved that with new blood they could sound much better; their new album solidifies that fact. Objective opinion from the public aside, this new album is some of the best stuff this band has ever written. Not to put down the Hoffman brothers, but their riffs were really getting recycled and unimaginative. The new but not so new guitar players have really injected new life into this band’s sound. We find a type of brutality not found on other Deicide records, a controlled type of aggression that sounds fresh and glowing. Steve Ahseim gets tested even more with this material, blast beating his way into hell to accentuate the fast songs, which is what mostly this record is about. The slower tempo songs are just as venomous, and it makes Deicide interesting. This is their best record since Legion, and they just keep getting better.
METAL CHURCH
THIS PRESENT WASTELAND
SPV
!!! .5
Metal Church continues to release records in a constant basis. I like this slightly more than their last album, which is saying a lot considering I liked their last output less and less the more I listened to it. While I can’t deny the Church’s excellent playing overall, I think the singer’s dry vocals just don’t do it for me. It works on some levels, on others he just sounds too standard and don’t give the songs the energy they need. Nevertheless, if you can ignore that fact, Metal Church gives us an album full of metallic moments, some really heavy riffing (unusual for the band) and an overall satisfying listen. The band name still suits them.
GORGOROTH
BLACK MASS KRAKOW DVD
METAL MIND
!!!! .5
This show has definitely brought different reactions from people. While this was destined to infuriate the Christian community, people into black metal can only praise Gorgoroth for such audacity (which got the band into a bit of trouble). This concert features animals heads impaled all over the stage and a truly ’Satanic’ atmosphere. They play some of their best songs. No doubt Gorgoroth fans will love this. The Polish audience, as usual, is boring and uninspired, but oh well. They should be thankful that at least this band is still permitted to play in their land, unlike the sensitiveness of the Canadian rules. Gorgoroth is still a great band, although who really knows about the rumours about their backstage demands from specific drinks to condom brand tastes. Really…
Thanks Douglas
REVIEWS OF ALBUMS FROM INTO ETERNITY, METALLICA, AND TESTAMENT
October 23, 2008
SHINING
HALSMTAD
OSMOSE
!!!!
Shining is now stranger to the black metal scene. Yet, with this record, it isolates itself further more while maintaining that dark edge. Dark in its purest essence. Nevertheless, this can’t be labeled as simply ‘black metal’, as it offers much more than that. The record is a mixture of the aforementioned combined with extreme horror atmospheres, lots of acoustic moments bundled with horrific waves of painful screams, and well, you pretty much get the idea. I’d like to think that this band is influenced by the older works of Bethlehem, but in the end this album deserves the all the credit there is, as it really succeeds in captivating the listener with the embodiment of horror and the macabre.
INTO ETERNITY
THE INCURABLE TRAGEDY
CENTURY MEDIA
!!! .5
For some reason, I wanted to hate this record. It’s not just the fact that seeing Into Eternity live didn’t do much for me (blame the venue’s sound for that), it’s just that mixing power metal, progressive metal and some melodic death isn’t really my cup of tea. In any case, this band proved to be much better on record, exceeding my expectations. The production captures the band at their best. The well accentuated and clear bass lines along with the super-precision and very detailed performance by the drummer are my personal points of this record. However, the guitar work is just as good, with plenty of memorable melodies. And I must say that I dig the singer, especially the way he mixes different vocal styles. So, what a pleasant surprise this turned out to be. Forget about labeling this thing, this is Metal at its best and that’s what matters.
METALLICA
DEATH MAGNETIC
WARNER BROS
!!!!
Yes, you’ve heard people say this is their return-to-the-roots record, and I can assure the hype is really all that. I just feel like an idiot because I actually bashed this record before it even came out. I mean, who really would have thought that Metallica would triumphantly return in 2008? Tracks like “That was just your life”, “Cyanide”, and “All nightmare long” are just plain metal numbers, totally unexpected from Metallica in this age. “Suicide & Redemption” follows the once-classic tradition of long instrumentals that this band used to give us, while songs like “The Unforgiven III” and “The Day that never comes” nicely bridges the heaviness that emanates from the record by taking a breather through ballad-like compositions (the ladder ending with a glorious finale). “My Apocalypse” just plays fast for the sake of speed, not achieving memorability. Lars gives a satisfying performance, but he still could have done much more with the drumming. There are plenty of chances where he could have done extended double-bass sequences, maybe some rolls, busier footwork, etc. But I must say he really took himself to another level. Kirk’s solos are just glowing constantly, it’s a real pleasure to hear him this way! The bass is non-existent for at least 97% of the time, and Hatfield is just himself as usual, familiar and recognizable. Overall, yes, this IS the Metallica that most of us love, and I can say that they are back, at least for now. Great effort!
TESTAMENT
THE FORMATION OF DAMNATION
NUCLEAR BLAST
!!! .5
While I was never the biggest Testament fan-not sure if it was Chuck’s vocals or many of their songs that just didn’t click-I do enjoy their albums from time to time. This new album is their first studio album since the all-stars record The Gathering, from 1999. The band has kept up with the times, hasn’t lost their formula and has created a record that’s respectable. It is thrash metal, with the old Testament feeling and an instrumentation that’s pushed to modern levels. There really isn’t a dull moment here. The songs are solidly structured and it’s just great to see the band still kick some ass in these times and I respect them for that.
Thanks Douglas V
Personal review why Metallica Deth Magnetic album is too loud
September 26, 2008
Some Metallica fans are bitterly disappointed: not by the Metallica songs or the performance of the band, but the volume of the new album Death Magnetic. It’s so loud that you can’t hear the details of the music, writes The Wall Street Journal.
Metallica’s Death Magnetic is a flashpoint in a long-running music-industry fight. Over the years, rock and pop artists have increasingly sought to make their recordings sound louder to stand out on the radio, jukeboxes and, especially, iPods. The digital technology made it possible to squeeze all of the sound into a narrow, high-volume range.
The loudness war began heating up around the time CDs gained popularity, in the early 1980s. Guns N’ Roses’ “Appetite for Destruction” upped the ante in 1987, as did Metallica’s 1991 “Black Album” and then the Red Hot Chili Peppers’ “Californication” in 1999.
Music released today typically has a dynamic range only a fourth to an eighth as wide as that of the 1990s. That means if you play a newly released CD right after one that’s 15 years old, leaving the volume knob untouched, the new one is likely to sound four to eight times as loud. Many who’ve followed the controversy say Metallica’s Death Magnetic has one of the narrowest dynamic ranges ever on an album.
Audiophiles, recording professionals and some ordinary fans say the extra sonic wallop comes at a steep price. To make recorded music seem louder, engineers must reduce the “dynamic range,” minimizing the difference between the soft and loud parts and creating a tidal wave of aural blandness.
Sound engineers say artists who insist on loudness paradoxically give people less to hear, because they end up wiping away nuances and details. Everything from a gently strummed guitar to a pounding snare drum is equally loud, leading to what some call “ear fatigue.” If the listener turns down the volume knob, the music loses even more of its punch.
Ted Jensen, Metallica Death Magnetic album’s “mastering engineer,” the person responsible for the sonic tweaks that translate music made in a studio into a product for mass duplication and playback by consumers. Responding to a Metallica fan’s email about loudness, Mr. Jensen sent a sympathetic reply that concluded: “Believe me, I’m not proud to be associated with this one.”
Mr. Jensen regrets his choice of words but not the sentiment. “I’m not sure I would have said quite the same thing if I was posting it to the bulletin board,” he says. But “it’s certainly the way I feel about it.”
But many musicians, producers and record-company executives “think that having a louder record is going to translate into greater sales,” says Chris Athens, Mr. Jensen’s business partner and a fellow engineer. “Nobody really wants to have a record that’s not as loud as everybody else’s” in an iTunes playlist, he adds.
Metallica and the Death Magnetic producer, Rick Rubin, declined to comment. Cliff Burnstein, Metallica’s co-manager, says the complainers are a tiny minority. He says 98% of listeners are “overwhelmingly positive. There’s something exciting about the sound of this record that people are responding to.”
http://www.metxxxpage.com/blog/2008/09/25/is-metallicas-death-magnetic-album-too-loud/
