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Slipknot – American Nu Metal band

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Slipknot is an American Nu metal band formed in the year 1995. Initially they did a lot of experiment with their musical styles and finally chose the ‘Nu Meta’ genre. They have been consistently successful in the music industry and have fans all over the world. Here’s the biography of this band.   

Formed: 1995 in Des Moines, IA
Years Active: 90 ‘s, 00’s
Genre: ROCK

Slipknot’s mix of grinding, post-Korn alternative metal, Marilyn Manson-esque neo-shock rock, and rap-metal helped make them one of the most popular bands in the so-called nu-metal explosion of the late ’90s. But even more helpful was their theatrical, attention-grabbing image: the band always performed in identical industrial jump suits and homemade Halloween masks, and added to its mysterious anonymity by adopting the numbers zero through eight as stage aliases. Add to that a lyrical preoccupation with darkness and nihilism, and an affectionately insulting name for their fans (“Maggots”), and Slipknot’s blueprint for nu-metal success was set.

Slipknot were formed in late 1995 in the unlikely locale of Des Moines, IA; after some early personnel shifts, the nine-piece lineup settled around (in order from number zero to number eight): DJ Sid Wilson, drummer Joey Jordison, bassist Paul Gray, percussionist Chris Fehn, guitarist James Root, sampler/programmer Craig Jones, percussionist Shawn “Clown” Crahan, guitarist Mick Thompson, and lead vocalist Corey Taylor. The music scene in Des Moines wasn’t much to speak of, and the band’s big-time ambition was usually met with disbelief and ridicule, which provided the initial spark for its mostly anonymous stage visuals. On Halloween 1996, Slipknot self-released an album called Mate. Feed. Kill. Repeat., which began to build a buzz around the group once it found its way to several labels. It was picked up for distribution by the Nebraska-based -ismist label, and also caught the attention of Roadrunner Records, which signed Slipknot in 1997. Working with producer Ross Robinson, Slipknot recorded their official, self-titled debut album, which was released in 1999. They gradually built an audience through near-constant touring, working their way up to the summer Ozzfest package tour, which really expanded their audience. Their live shows were a much-discussed hit with metal fans, and the band performed with such energy that Crahan gashed his head open on his own drum kit twice that summer, requiring stitches both times. The tracks “Wait and Bleed” and “Spit It Out” got the band some airplay, but most of the buzz came from touring and word of mouth. Finally, in the spring of 2000, Slipknot was certified platinum; the first such album in Roadrunner’s history.

The anticipation for Slipknot’s follow-up was intense, and many industry observers predicted that it would debut at number one; however, faced with some stiff competition that week, the band’s sophomore effort, Iowa, bowed at number three upon its release in 2001. More heavy touring followed, including another, more prominent slot on that summer’s Ozzfest. After a long spell on the road, Slipknot took a break while the members worked on side projects. The band set up its own label, Maggot Recordings, and signed a band called Downthesun, whose lead singer had served as Crahan’s drum technician. Wilson, meanwhile, began DJing solo under the name DJ Starscream, and Root and Thompson both worked on solo material. Drummer Jordison worked with a side group called the Rejects, where he’d actually served for quite some time as guitarist. Taylor, meanwhile, started a side band called Superego, and also contributed a solo song, “Bother,” to the soundtrack of the 2002 blockbuster Spider-Man. That May, the band got some amusing press when some of its fans discovered the website of a British crocheting group also called “Slipknot,” and flooded the members’ in-boxes with excessively rude e-mails.

Guitarist Joey Jordison and Static-X guitarist Tripp Eisen teamed that summer for the Murderdolls project, while Taylor re-formed his old band Stone Sour and released an album. By the winter, Slipknot had still not reunited and Taylor wrote a commentary on the band’s website stating that they had not spoken in months, and that they’d rather break up than become “the next Gwar.” The statement sparked a quickly resolved mini-feud between Taylor and Gwar frontman Oderus Urungus. but it also sent many of the Maggots into a tailspin. By early 2003, Taylor had retracted his comments, and announced plans for a new Slipknot album. That August the entire squad decamped Iowa for L.A., where they began work on the new record with producer Rick Rubin. “Pulse of the Maggots” appeared in early 2004 as an exclusive download; it was followed by a full track listing for Vol. 3: The Subliminal Verses. Slipknot then embarked on a brief tour as a warm-up for their dates headlining Ozzfest that summer. (The group also debuted a fully redesigned third generation of their famous masks.) Subliminal Verses was released in May 2004. It peaked at number two on the Billboard 200, and the band toured steadily for the next year and a half in support. They released a two-disc live album in November 2005, followed by a slew of side projects (Taylor and Root formed Stone Sour, while Jordison sat in with Ministry and Korn) before releasing their fourth full-length album, All Hope Is Gone, in 2008. Slipknot made a number of festival appearances during summer of the following year, and also embarked on their All Hope Is Gone world tour. On May 24, 2010, the body of bassist Paul Gray was discovered by a maintenance worker in an Urbandale, IA, hotel room; Gray was 38 years old at the time of his death.

 

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British Heavy Metal band ‘Iron Maiden’ – Biography

‘Iron Maiden’ was formed in the year 1976 by bassist Steve Harris. They released their first album in 1980 as a five piece band with Paul Di’Anno on vocals. Later, Bruce Dickinson replaced him in 1981. With several line-up changes Steve Harris would remain the only original member never to have had a hiatus. When Bruce Dickinson quit in 1994 and was replaced by Wolfsbane’s Blaze Bayley, the band lost a lot of their fanbase. They recorded two albums with Blaze before Bruce Dickinson and Adrian Smith returned to the fold for 2000’s “Brave New World”, and 2003’s “Dance of Death”, making them a six-piece. As of 1999 the line-up hasn’t changed. Here’s the biography of this popular band.

Known for such powerful hits as “Two Minutes to Midnight” and “The Trooper,” Iron Maiden were and are one of the most influential bands of the heavy metal genre. The often-imitated band has existed for over nearly four decades, pumping out wild rock similar to Judas Priest. Iron Maiden have always been an underground attraction; although failing to ever obtain any real media attention in the U.S. (critics claimed them to be Satanists due to their dark musical themes and their use of grim mascot “Eddie”), they still became well-known throughout the world and have remained consistently popular throughout their career. Iron Maiden were one of the first groups to be classified as “British metal,” and, along with Black Sabbath, Led Zeppelin, and a host of other bands, set the rock scene for the ’80s.

Band Members:

Vocals
Paul Mario Day (1975-1976)
Dennis Wilcock (1976-1977)
Paul Di’Anno (1978-1981)
Blaze Bayley (1994-1998)
Bruce Dickinson (1981-1993 and 1999-present)

Drums
Barry “Thunderstick” Purkis (1977)
Doug Sampson (1977-1979)
Clive Burr (1980-1982)
Nicko McBrain (1982-present)

Guitar
Dave Murray (2) (1976-present)
Dennis Stratton (1979-1980)
Adrian Smith (2) (1980-1990 and 1999-present)
Janick Gers (1990-present)

Bass
Steve Harris (1975-present)

Keyboards
Michael Kenny (1986-present) (Live performances only, not a full member)

 

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Biography of German thrash metal band – Kreator

‘Kreator’ is a German thrash metal band. Initially they struggled, but later came with some awesome albums. In the mid 80s they experimented a lot with industrial metal but that never worked. Finally, they turned back to what they were good at. Thrash metal was their genre and they were damn good at it. Their songs influenced black metal too….

Kreator is a thrash metal band from Essen, Germany. They originally started under the name Metal Militia, later Tyrant and Tormentor, finally Kreator. Starting their career in 1982, they played Thrash Metal with Venom influences. Their style of music is similar to their compatriots Destruction and Sodom, the other two big teutonic thrash metal bands from Germany. All three of these bands are often credited with helping create death metal.

Originally called Tormentor, Kreator was formed in 1982 in Essen, Germany. While their debut Endless Pain was a moderate success, their follow-up Pleasure To Kill was a hit amongst the growing thrash metal fanbase. Throughout the rest of the ’80s, Kreator continued to release album after album of quality thrash metal that helped the band to grow a large following around the world.

Experimentation and A Return To Form:

Kreator’s sound took a sharp turn in the early 90’s, as industrial, hardcore, and gothic elements were added into the band’s trademark sound. Fans disapproved and the band fell into disarray. However, Kreator’s 2001 album Violent Revolution was a return to form, a thrash album with melodic tendencies that left fans and critics satisfied. The band has gained a resurgence of popularity and is now considered one of the pioneers of the thrash metal movement.

 

Current Kreator Band Members:

Miland ‘Mille’ Petrozza – Vocals, Guitar (Tormentor)
Sami Yli-Sirniö – Guitar
Christian Giesler – Bass
Jürgen ‘Ventor’ Reil – Drums (Tormentor)

Former Band Members:

Jörg “Tritze” Trzebiatowski – Guitar (1986-1989)
Frank “Blackfire” Gosdzik – Guitar (1989-1996)
Tommy Vetterli – Guitar (1996-2001)
Roberto “Rob” Fioretti – Bass (1984-1992)
Andreas Herz – Bass (1992-1995)
Joe Cangelosi – Drums (1994-1996)

Kreator Discography:

1985 Endless Pain (Noise)
1986 Pleasure To Kill (Noise)
1987 Terrible Certainty (Noise)
1989 Extreme Aggression (Noise)
1990 Coma Of Souls (Noise)
1992 Renewal (Noise)
1995 Cause For Conflict (G.U.N)
1997 Outcast (G.U.N)
1999 Endorama (Drakkar)
2001 Violent Revolution (Steamhammer/SPV)
2005 Enemy Of God (Steamhammer/SPV)
2009 Hordes Of Chaos (Steamhammer/SPV)

Recommended Kreator Album:

Pleasure To Kill
Kreator’s debut album Endless Pain was a thrash beast, an energetic, if sloppy, blast of metal. While not a major leap musically or lyrically, Pleasure To Kill is a tighter and more precise album that put Kreator on the map. The solos are ripping, the vocals, sung by both Petrozza and Reil, are aggressive, and the riffs are instantly memorable. Pleasure To Kill is the first great Kreator album, a trait that would become a continuing trend throughout the 1980s.

 

 

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Sodom – German thrash metal band biography

‘SODOM’ is a German thrash metal band known for its black metal and speed metal music. During its tenure as an electrifying band, it had its own ups and downs. Here’s the biography of this top metal band.

Members

Current members
Tom Angelripper (Thomas Such, Uncle Tom) – Vocals/Bass (Desperados)
Bobby Schottkowski – Drums (ex-Crows, ex-Tom Angelripper)
Bernemann (Bernd Kost) – Guitars (ex-Crows)

Former members
Aggressor (Frank Testegen) – Guitars (1983-1984)
Grave Violator (Pepi Dominic) – Guitars (1984-1985)
Destructor (Michael Wulf) – Guitars (later Kreator) (1985-1986) R.I.P. in 1993.
Assator (Uwe Christophers) – Guitars (ex-Darkness (Ger)) (on tour in 1986)
Frank Blackfire (Frank Gosdzik) – Guitars (later Mystic (Bra) and Kreator) (1987-1989)
Uwe Baltrusch – Guitars (on tour in 1989/1990) (also in Mekong Delta, later House of Spirits)
Michael Hoffman – Guitars (ex-Assassin (Ger)) (1990)
Andy Brings – Guitars (later Powergod) (1991-1995)
Strahli (Dirk Strahlimeier) – Guitars (1995-1996)
Chris Witchhunter (Christian Dudeck) – Drums (1983-1992) (see also Destruction and Bathory)
Atomic Steif (Guido Richter) – Drums (later Stahlträger and Assassin (Ger), ex-Sacred Chao, ex-Holy Moses, ex-Living Death, ex-Violent Force) (1992-1996)
Sodom (band)

Sodom is a German thrash metal band formed in 1981. Original line-up were Tom Angelripper, Chris Witchhunter and Aggressor. Receiving inspiration by bands such as Motörhead and Venom, they released two demos which led to a record deal with Steamhammer. Aggressor left the band shortly before releasing the In the Sign of Evil EP, and was replaced by Grave Violator, who did not last long himself. On the debut album Obsessed by Cruelty he was replaced by Destructor. However, after the release Destructor left the band to join Kreator.

Thereafter their break-through album Persecution Mania was released with yet another guitarist, Frank Blackfire. A live album Mortal Way of Live followed. The next album made Sodom famous; Agent Orange was released in 1989. Since then, Sodom is one of the three big names of German Thrash metal; the others are Kreator and Destruction. Again a new guitarist was to be found as Blackfire also left the band to join Kreator. The replacement was found in Michael Hoffman.

In this line-up the Better Off Dead album was released in 1990. During the South American tour however, Hoffman decided to stay in Brazil and therefore was forced to quit. His replacement was found in Andy Brings and a new album was recorded, titled Tapping the Vein, which was more death metal influenced than before. This proved to be the last album with the drummer Witchhunter who quit because of lack of interest in metal music. Atomic Steif found his way behind the drumkit.

This line-up now, recorded the next album, Get What You Deserve. Out were the death metal influence, in came the hardcore influences. At this time Angelripper also started a solo carreer doing metal impressions of drinking songs, German schlagers and even Xmassy Carols. Another live album was recorded of the tour in support of this album called Marooned – Live.

In the same vein as the previous album, Masquerade in Blood was released in 1995. Again another guitarist was to be found. The new axeman was Sthrahli, but he did not stay very long with the band either; he was fired due to drugs problems. Also Atomic Steif left and again Angelripper needed to search for new members. These were found in the person of Bernemann on guitars and Bobby Schottkowski on drums.

The new album ‘Til Death Do Us Unite featured a controversial album cover, depicting the belly a pregnant woman and a beer gut of a man pressing a human skull together. Apparently this line-up has stabilised the band significantly as this still the current line-up. In 1999 Code Red was released and formed a return to the sound of the 1980s thrash metal. A limited edition featured a bonus CD containing a tribute to Sodom album called Homage to the Gods. In the same vein, M-16 was released displaying Sodoms interest in the Vietnam War. The title of course refers to the automatic rifle M16). A tour followed with the other two big German thrash metal bands Kreator and Destruction.

In 2003, a double live album was recorded in Bangkok, titled One Night in Bangkok. A new album is planned for a late release in 2005, as well as a DVD series covering the entire history of the band.
Discography

Cover of Agent Orange album.Witching Metal (Demo) 1983
Victims of Death (Demo) 1984
In the Sign of Evil (EP) 1984
Obsessed by Cruelty 1986
Expurse of Sodomy (EP) 1987
Persecution Mania 1987
Mortal Way of Live (live album) 1988
Agent Orange 1989
Ausgebombt (EP) 1989
Better Off Dead 1990
The Saw is the Law (EP) 1991
Tapping the Vein 1992
Aber Bitte Mit Sahne (EP) 1993
Get What You Deserve 1994
Marooned Live (live album) 1994
Masquerade in Blood 1995
Ten Black Years – Best Of 1996
‘Til Death Do Us Unite 1997
Code Red 1999
M-16 2001
One Night in Bangkok (live album) 2003

 

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Rise Against: new album ‘Endgame’ Review

Are you a Rise Against fan? Then you have got to read this album review!!!! This American punk rock band from Illinois has come up with its new album ‘Endgame’. The band is known for its hardcore beats and mesmerising rhythm. So, here’s the review of this new album.

Chicago’s politically charged punk band, Rise Against returns with another fiery set of melodic hardcore rock sure to leave your ears ringing and mind churning long after it ends. From the time the spark of drums and guitars of “Architects” take off as if a rapidly draining fuse running toward the explosion, the album never lets up. Front man, Tim McIlrath’s raw vocals all but demand you take notice of the world’s problems and do something about them, opening the album with the fantastic hook, “Do you care to be the layer of the bricks that seal your fate / Or would you rather be the architect of what we might create?”

The empty promise of assistance fuels the heartbreaking desperation rocker “Help Is On The Way”, where McIlrath breaks into a screamo plea to for hope while looking back at the mistakes and disappointment in the Gulf, aimed at the handling of the oil spill and Hurricane Katrina. As powerful as the lyrical content of the song is, the storm of guitars rolling over it like a gristly, foreboding cloud kick you in the chest just as hard. From the anxious gritted teeth vocals calling for an uprising on “A Gentlemen’s Coup” to the lower class angst of “Disparity By Design”, the combination of McIlrath’s boiling intensity and explosive guitar-driven thrust of the music makes the album a thoughtful shot of adrenaline.

The band takes aim at bullying on the brilliant “Make It Stop (September’s Children)” as swirling riffs drive McIrath’s message of ending school bullying before it results in suicide or a school shooting, “And too much blood has flowed from the wrists / From the children shamed for those they chose to kiss”. An unsettling reminder that all great societies have met an unfortunate end gives way to a dead soldier questioning motives on anti-war “Survivor Guilt”, determining, “And I fought with courage to preserve / Not my way of life, but yours”.

It is an album full of important messages, with none greater than our inability and unwillingness to see the signs of our impending doom over a blend of chunky, thrusting riffs and nimble, wiry guitar of purposive apocalyptic “Endgame“. The melodic bliss hidden in the hammering riffs on powder keg “Satellite” and chugging “This Is Letting Go” is what makes this a tough album to resist for even those not accustomed to the staggering punk package it wraps it all up in. Albums with this much heart, brains and chest-thumping rock are a rarity.

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Slayer – American speed metal band

Slayer band is one among the big fours in the thrash metal genre. The band is known for their blinding speed and violent music. Slayer is actually the first ever band to set the platform for death metal. Their lyrics usually deal with violence and the fans go crazy about it. Here’s a small introduction about this band and its band members.

Slayer is an American thrash metal band formed in Huntington Park, California, in 1981 by guitarists Jeff Hanneman and Kerry King. Slayer rose to fame with their 1986 release, Reign in Blood, and is credited as one of the “Big Four” thrash metal acts, along with Metallica, Megadeth and Anthrax. Their album Reign in Blood is considered to be the foundation and inspiration of death metal.

Slayer’s musical traits involve fast tremolo picking, double bass drumming, and shouted (or chanted) vocals. Hanneman, King, and bassist/lead vocalist Tom Araya, contribute to the band’s lyrics. King and Hanneman create and arrange the music with additional arrangement from drummer Dave Lombardo and sometimes Araya. The band’s lyrics and album art, which cover topics such as serial killers, Satanism, religion and warfare, have generated album bans, delays, lawsuits and strong criticism from religious groups and the public.

Since their debut album in 1983, the band has released two live albums, one box set, six videos, two extended plays, and eleven studio albums, four (Reign in Blood, South of Heaven, Seasons in the Abyss, and Divine Intervention in 1986, 1988, 1990, and 1994 respectively) of which have received gold certification in the United States. The band has received five Grammy nominations, winning two of them; one in 2007 for the song “Eyes of the Insane“, and one in 2008 for the song “Final Six” (both from 2006’s Christ Illusion). Slayer has played music festivals worldwide, including Unholy Alliance, Download, and Ozzfest. As of November 2011, Slayer has begun writing their next album.

 

Band members

Current

Studio albums

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German band ‘Accept’ released their new album – Stalingrad

Alum cover 'Stalingrad'

Album : Stalingrad

Artist : Accept

Genre : Heavy Metal

Year : 2012

German Heavy Metal Band ‘Accept’ has come up with their new album ‘Stalingrad’. All the songs in this album are a class apart and obviously, this album is going to make the heavy metal fans jump. Here’s the review of this album.

Explosive ten song treat by German heavy metal outfit Accept, and to summarize the review, the band has bared it all on their latest release Stalingrad. They had made a similar comeback with their ass whooping 2010 album Blood of the Nations, but Stalingrad is going to shake your surroundings whilst whirling you in a ripple of heavy metal. The untainted bliss that is sprayed on you would elevate your spirits more than holding your favorite gadget would. This is the best heavy metal release of the year by far. Had this album been released in the band’s initial days then we would have been looking at a different Accept today, considering the kind of impact Stalingrad would have left.

Hold on, hold on. This isn’t just heavy metal here, it is metal with a whole lot of speed, attitude, spunk, melody and some real message. Something like this hasn’t reached our ears nor pleased our souls in the longest time. Solos after solos after solos, that is what Stalingrad‘s pinnacle is. The two guitarists, Wolf Hoffmann and Herman Frank, have rewritten the rules for sublime metal and they’ve done that by putting together all their experiences. The album should be named Stalingrad – full of solos, as it is overflowing with solos that chase your emotions. Even the lyrics and the songwriting makes this the only heavy metal party to be at. Mark Tornillo‘s deafening screams act as the perfect counterparts to Stefan Schwarmann‘s brisk drumming which follows the disciplined bass notes by Peter Baltes.

Stalingrad is top of the list material featuring several songs that are going to make it to the best of / compilation album that Accept might release in another twenty years. Solid metal, that will hit your chest hard. Nothing at all should come in between the band and the main headlining stage at every major festival in this goddamn world. Shut the fuck up, grab a bullhorn and ask everybody around you to join the revolution that is Accept!

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Book Review: Mustaine – A Life in Metal

The Megadeth front man Dave Mustaine is quite an interesting character and his life has always been surrounded by controversies. The Megadeth fans too are well known for their curiousness and this book ‘Mustaine – A Life in Metal’ clears all their weird doubts. The autobiography is pleasant to read and indeed has all the heavy ingredients just like that of trademark Megadeth songs.

Dave Mustaine is a complex character. No great revelation you say? It isn’t. However, the Megadeth guitarist/vocalist/mastermind’s autobiography reveals as much, while adding further layers.

Many will primarily be seeking juicy tales from his brief, yet influential tenure during Metallica’s formative years – and likely won’t be disappointed. The insights into the key personalities of the gestating, oft-incestuous (in more ways than one) 80s thrash metal scene are page-turners. Additional details regarding his influences and progression as a guitarist, as well as the sonic development of thrash would have been welcome though. What is ultimately most fascinating is how, for all his demons (drugs, alcohol, women – all of which are documented in detail, albeit less vividly than Mötley Crüe’s The Dirt) Mustaine’s intense determination has driven him to sell more than 20 million albums. This was largely motivated by desire to top Metallica’s commercial success. You almost feel sympathy when he relates his inability to achieve said goal, but ultimately are inclined to side with the, “but look what you have achieved on your own” mindset. Particularly noteworthy is learning the basis for Megadeth’s late 90s flirtations with pop producers and hit singles – and the subsequent alienation of many fans. The only other significant downfall is inadequate detail about the recording of classic albums like 1990’s Rust In Peace.

The injury which nearly cost him the ability to play guitar – and subsequent conversion to Christianity – are covered, but not pushed too hard. Mustaine – A Life In Metal will likely polarize folks as much as the man himself does, but he hasn’t shirked from revealing the ebbing and flowing nature of life. There’s a few laughs littered throughout too

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Disturbed’s new album – ‘The Lost Children’

The American Nu metal band ‘Disturbed’ has released their new b – side album ‘TheLost Children’. The album is not so heavy but still it has enough to satisfy the expectations of the diehard Nu metal. fans. Here’s the review of this  new album.

Disturbed’s latest studio release to hit a shelf near you is a compilation packed with the b-side delicacies the band has delivered throughout its popular career. Welcome to the Hubba Bubba side of Heavy! Metal!, bitches.

Lost Children has scary children on the cover, and the Disturbed dude, who is the Creator of these dire abominations, and the image is doing a decent job at serving out your affection for all things badass and scary. One thing this time travel medley is superbly efficient at, is to familiarize the virgin ear with the primer characterology of the music Disturbed is fond to put out. We are talking about a smile-worthily accessible kind of metal that attempts to establish a well researched – and also very self-repetitious – balance between grooves relying on syncopated chug-fixation and relatively cheese-free power metal, while the aspiration to invite the monumental hook-chorus – sometimes with great-, sometimes with mild success – also could regard itself as a constant ritual that is about to be resonated per song for sure. If you were curious about what the deal is regarding Disturbed’s character and related popularity, then this compilation album might be your best bet to find that out. Read on to – sorry about that – read more about this Hubba Bubba bubblegum metal compilation.

The Lost Children is an informative selection with a healthy, dynamic character and tempo to it, and, fortunately enough, it also is efficient at strolling along the different modal registers the band is fond submitting to. Disturbed sounds to have three primal behaviors, and, as hinted, the album is quick to reach the point of virtual self-repetition. Worry not : the bubblegum still remains enjoyable, and here is why : the taste is long gone, but you can still chew. During the verses, the vocals tend to have a tribal rhythmization, giving you the “neanderthal within” vibe, then you have a pre-, and/or a breakdown, and THEN the chorus with the clean singing.

Though the band’s technique to trade microwave groove-intensity to accessible quasi-power metal lira and vice versa is absolutely undeniable, the tracks remain super-prone to exhibit the same compositional methods being utilized in their respective fabrics. The singer dude sounds to have 2-3 – and not more – favorite ways to deliver a melody on top of a chug, then, he descends from top to the bottom while touching every note two times during the pre, and finally you have the chorus with the Phil Collins on steroid-like clean singing, which sounds pretty cool to be honest. I think the chorus of opening track “Hell” is superb, and also think that the album draws somewhat of a downward spiral during its spin. The Faith No More and Judas Priest covers at the end of the album stand out like twin peaks of Mountains of Madness in the bubblegum-mudpile the album finally collapses to without them. This is accessible metal with SHORT glances of brilliant songwriting, but its most dominant character sounds to come through as its own dormant-, nevertheless rampant agenda to entertain you solely with the variation of the one single trick it is primarily centered around. The same structure is served over and over and over again, but that exactly what chewing is about. Once again : there are moments I love on this record, and so much more I can’t tell you anything about, because they put me to hypersleep.

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Disturbed released their new album – Asylum

The American Nu Metal band ‘Disturbed’ has released their new album ‘Asylum’. As usual, the band has stuck to their ‘dark’ style and the songs were a bit aggressive, hard hitting and angry too. The funs should enjoy this ‘Nu Metal’ treat and here’s the review for this special studio album

Ten Years ago I was sitting in my bedroom as a young teenager head banging like the world stood still to arguably what has become one of the most iconic metal/hard rock albums of the past decade, The Sickness. That sound, and the corresponding feeling splintered and regressed upon listening to Believe for the first time due to the extreme shift in musical and lyrical style. And I can comfortably state, as both a Disturbed fan for the past decade and a musician that Asylum shows potential but in the end it kills the buzz many Disturbed fans held after the release of 2008’s Indestructible, just like Believe did eight years ago. But that’s not necessarily a bad thing.

I will not waste time comparing this album to Disturbed’s past work, that is redundant. Rather this Album is a different beast that shines through melodically like never before. Musically, Donegan is at top form with his riffs, allowing Draiman to carry your ears high with increased intensity, emotion and feeling. i.e. (The Infection) (Never Again) (Serpentine) Donegan also brings to the table brutal guitar solos which are very 80’s esque if I may say, creating an epic atmosphere reminiscent of Iron Maiden, Judas Priest, etc. But as good as Donegan is taking his two steps forward, Wengren takes one back on drumming. Song after song is about as complex as any from KISS, with a basic bass/crash (1 and 2 and 1 and 2). However, Wengren does mix it up now and again, “Asylum” itself is a good example as is “innocence.” This is disappointing though, we know his skills are better than this, we were treated to a double bass attack 2 years ago (Indestructible) and being a flagship band for the modern hard rock/metal genre I expect innovation, not just (mediocre) creation, from such a musician. This brings us now to Moyer the bassist, his work on the album is superb. His efforts are what allow for Donegan to shine so bright, creating a rhythmic razor edge. Every song exhibits this, but the most disappointing is by far “My Child” where a 25 second solo “battle” between bass and guitar could have, and should have been the main riff for the song. Truly, Moyer is easily one of the most under-rated bassists in modern rock and it’s a shame Draiman and Donegan steal the show.

As expected, Draiman’s lyrics are powerful and provocative, almost too much so. As much as we all hate what mankind has done to the planet and what the Nazis did to the Jews, Draiman’s lyrics feel stale, almost like they were written strictly for shock value. But despite my criticism “Another Way to Die” and “Never Again” are still listenable and enjoyable tracks that are lyrically typical of Disturbed. Overall, Draiman just like the 4 albums prior allows for that “classic Disturbed sound” to be possible.

Realistically though, Disturbed is on top of their game for this genre of music. Even though the lyrical themes seem a bit recycled and in the end it sounds much like Believe with cut and paste Indestructible riffs. Is this album good? Yes. But, is it great? No, absolutely not. It’s concerning that with each stage of Disturbed’s “progression” they seemingly just borrow mainstream elements from alternative rock and “metal-core” for an album and then discard them upon creating their next piece of work. Can we blame them though? Lets face it, the Nu-metal genre sucked, it was rebellious no-talent music many bands put out one hit wonders for. Ten years down the road what do we have? A decent hard rock band out of Chicago, Illinois that isn’t afraid to try new things but is slowly drowning in their own success, and it shows greatly in this album’s lack of musical style and lyrical complexity. This record may have the power to bring new followers into the Disturbed fold, but aged fans of this band will feel quite disappointed. This is by far Disturbed’s worst album to date, and it pains me deeply to say that.  With all elements considered, this album only continues that gloomy feeling in every Disturbed fan’s heart where were all still waiting for the record that takes our breath away like The Sickness did ten years ago. Although I have no doubt this album will sell well, the “most mature Disturbed album yet” will just have us all trapped in the Asylum until next time.

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