Originally Posted by eazy-c

SunnO))) have certainly divided opinion within the metal community. For every person singing their praises there'll be another denouncing them as "refrigerator music", and not without good reason. SunnO))) are a hard band to like if you don't 'get' it. But in Monoliths & Dimensions they've managed to create something beyond the stereotypical wall of droning noise you may associate them with. Ambient bleeps and bloops mix with baroque orchestration via some free jazz trumpet and the demented shrieks of Attila Csihar, whilst the sonic equivalent of waking up under Mount Everest acts as the glue, creating a remarkably cohesive album considering the wild experimentation. Yet even without the bells and whistles Monoliths & Dimensions would remain a great album, because it contains the most accomplished, dynamic and instantly accessible songwriting yet from the trio. This is doom for the new millennium.

Originally Posted by Contraband

Few bands manage to take listeners on a personal experience that takes them away from their mundane existence. Even fewer bands manage to put the listener in a sense of isolated melancholy as if they're drifting aimlessly about the vast ocean on a small raft with little hope of setting foot on land. Ahab manage this feat with their own brand of crushing nautical funeral doom metal. What's great about their follow up to the spectacular debut, Call of the Wretched Sea, is that it manages to put a fresh take on the great elements they initially set out to explore. It's appropriately slow and the melodies plod along at the pace of that aforementioned raft ebbing its way ever deeper and deeper into the ocean. Production-wise, The Divinity of Oceans takes the listener on a clearer journey than the previous album while retaining the crushing nautical atmosphere. As well, Ahab add in some beautiful elements: the use of clean vocals (as seen in the title track for instance), which highlights the somber mood of the clean guitars and the minimalistic drums. Stylistically, drummer Corny Althammer has also employed a more decorative approach, adding in some rather pleasing cymbal parts and double bass bursts as necessary. In short, it's a great album. Great like Sea, but with some interesting new elements.

Originally Posted by restless_thrash

3 years ago, Insomnium put out an album which was thought to be the pinnacle of their career. Above the Weeping World showed listeners the more melancholy side of melodeath, with awesome songs and solid riffs. So naturally, there were high hopes for the new album. Across the Dark is possibly Insomnium’s best work yet. With absolutely memorable songs, killer riffs, and great sound quality, AtD is an album to be remembered. Upon the opening of the album, the listener is presented with a soft, saddening acoustic riff, an Insomnium classic. Climbing perfectly into distortion, double-kick and deep growls, Insomnium tells us they’ve still got it.

The album keeps strong, with important mention to Down With the Sun, Which has a riff that kills on it’s own, and is only enhanced by masterful drum changes and Niilo Sevänen’s deep growls. Another mention to Where the Last Wave Broke, with a killer riff from the onset, and an absolutely perfect blend of sing/growl in the chorus.

This album is definitely one of, if not the best, album of 2009. It is the epitome of Insomnium’s work, and a perfect blend of melancholy orchestration and Heavy Melodic Death metal. A definite epic.

Originally Posted by SeveredSurvival

One day I was in chapters (a local book store) and they happened to be selling magazines. Looking through them, I stumbled upon one with Baroness on the front cover and I read the article on them, intrigued by the description I quickly put the Blue Album on my “To buy” list. So a week goes by and I notice this album in my local CD store. Me and a friend of mine quickly grab it, rush to the counter and buy it. Knowing somewhat what to expect, I put it in my CD player. I was hooked right from the get go. Everything Baroness did on this album captivated me. Right from the opener Bullhead’s Psalm we are greeted with one tasty guitar tone that stays throughout the whole record. Okay now, let me talk to you about why they captivated me. First of all, Baroness are a different sounding group than most metal bands nowadays, mixing Metal with Indie and a hint of rock and somewhat punk influenced type of sound. They are not afraid to try anything or do it for that matter, they seem very confident in what they are trying to do and do it so superbly. Some of my favourite tracks on this album are Swollen and Halo, Steel that sleeps the eye, War Wisdom and Rhyme, and A Horse Called Golgotha. Swollen and Halo takes all the above said genres and mixes them smoothly and does not create a forced sound at all. Steel That Sleeps the eye is just a song to relax too, you put it on and it just feels like there’s a light in this world. War, Wisdom and Rhyme is just the band making a metal song the way a metal song should be made, and A Horse Called Golgotha is just so catchy and has the best guitar solo on the album that will have guitar freaks talking about it for ages. The lyrics grabbed my attention too, I am not sure of the concept but I really envy the way they were written and the listener can feel there has been thought put into them and nothing is rushed. Baroness, please keep going for a long time. You are a light in our little metal world. This is why I think Blue Album should be 2009’s highest point in Metal or any genre for that matter. Baroness, please keep doing what you are doing and one day these guys will be regarded by many as legends.

Originally Posted by duncang

Now, have ‘Oceanic‘ and ‘Panopticon’ been cornerstones in every beard-metallers collection? Sure, but they were pretty difficult to listen to as anything but ‘works of art’, with all the stuffiness and pretension that comes with that tag. What ‘Wavering Radiant’ sounds like is the work of a band who have finally found such security in their sound and how it works that they can just make 'music' and not have to strive for some kind of masterpiece. That’s what makes it so great; the gorgeous melodies and stunning soundscapes live and breathe without worry. And Isis needn’t worry, as they’ve made the best album of their career, by far.

Originally Posted by Scourge441

Where does this stuff come from? Seriously, try to draw a line, starting at Possessed, going through Morbid Angel and Atheist and Entombed through to the rest of the death metal genre, and try to connect it to Portal. See? You can't do it. Maybe the closest you could come is Gorguts, but it's still a stretch. Other bands have done "strange," but Portal can only be described as the ultimate mindfuck; a dark, twisted, evil, completely-batshit-insane mindfuck.

When you listen to Swarth, you feel like you're being swallowed into a massive, bottomless abyss, like there's this giant black formless mass devouring everything in it's path, and you're standing right in front of it, unable to move, unable to breath, unable to do anything but watch in horror as it eats you too and leaves your soul spiralling into an unescapable prison of torment and terror. There is no hope, no light, not the slightest bit of joy to found, just impenetrable blackness. Portal are the only band I've found that can do this. I've heard music that's just as strange, just as chaotic, just as dark, but never all three.

This is death metal in the loosest possible sense; it's harsh and heavy like death metal, but that's where the similarities end. This is an entirely different beast. Here, you have very little of what can actually be called "riffs." The guitars are mostly swells and noises, and when there is something that can be called a riff, it's still extremely chaotic. Portal are more about creating atmosphere, and that's not atmosphere in the "let's throw in some post-rock shtuff and call it artsy" sense; this is the core atmosphere of most death metal brought out to the forefront and expanded into something legitimately scary.

And when you realize that these guys are influenced by Lovecraft, it all makes sense; this sounds exactly like something that would come out of one of his novels. If Cthulu needed a soundtrack to devour souls to, this would be it.

This is definitely something that you need to be in the right mood for, but nothing else can do it better. So listen, and be glad the kids who shot up Columbine weren't exposed to this.

Originally Posted by King ofKumbucha

After their often debated 2008 release, "Ithyphallic" it seemed that Nile's fans were divided as to what to think of the band. While many enjoyed the album, no one could deny that it was quite different from its predecessors and even their most hardcore fanbase was left wondering what was to come the next time around. Even I had said that I thought that they should take a break and retool shortly before 'Those Whom The Gods Detest' leaked on internet file sharing sites... Never have I been happier to have been proven wrong. The riffs on this album (one of the main crying points from fans on the previous effort) are intense and powerful while being catchy enough to stay in your head long after your first listen. The anthemic hook from 'Iskander d'Hul Karnon' that comes in at 1:37 is unlike anything the band has ever produced and often pops into my head without warning at work.

As for the rest, briefly, the unique way in which Egyptian elements are used this time around are hit or miss and the chanting style often resorted to in the songs may leave many feeling that they could have worked on the lyrics a bit more... But overall these are things that make the songs stand out and lend a unique atmosphere. Many will also be happy to hear the return of Karl Sanders' gutturals which are used to great effect to break up the monotony this time around. Also, George Kollias' drumming is still just as crushing as ever while seeming to switch things up a lot more than they have on previous releases. Those Whom The Gods Detest comes as a solid recommendation from me to anyone who enjoys solid Death Metal riffing.

Originally Posted by CTFOD

It's a little disorienting to go into Crack the Skye without knowing that human drum machine Brann Dailor is singing lead vocals in the verses of Oblivion, the album's opener and like the other opening tracks of their previous albums, one of the strongest tracks on the album. Mastodon drift more into prog rock territory on Crack the Skye, but it is by no means a low point, as it works extremely well for them and they seem to have hit their stride, whereas previous albums had some truly great songs, but some very forgettable songs. However, from the 7 songs, there are many memorable little vocal melodies or riffs that make the songs distinctly stand out from one another, rather than blending in and becoming part of the background. One of the greatest moments on Crack the Skye is the introduction to the title track, which I think has one of the most beautifully seamless transitions from calm, melodic, clean guitars to what can only be described as being 'damn heavy'. This part features Scott Kelly of Neurosis, and let's face it, it's not a Mastodon album if it doesn't have an appearance from Scott Kelly. The album's closing track, The Last Baron, is everything it should be: Massive, epic, and providing closure for the slightly bizarre story the album is set against. What makes Crack the Skye one of the best albums on 2009 is that it has enough catchy, superficial value to be instantly likeable, but the songs also have enough raw technical prowess and depth that you can listen to it numerous times and still enjoy it.

Originally Posted by Magero

G'day mate, this album is an absolute beaut, a right rip-snorter. If this album were a cricketer, it'd be Shane Warne. And you can call me his wife.

Originally Posted by Magero

Between The Buried And Me have always been a band where any, and all risks are taken to try and create something different, something unique, something suitably strange. With their 6th studio release, The Great Misdirect, BTBAM have expanded on all aspects of their repertoire, and in doing so, they have managed to carve a niche for themselves as “that little ol’ band from North Carolina.” The Great Misdirect is a plesant melting pot of all the ideas and styles BTBAM has cultivated over the years. The Colorsesque proggy goodness is abundant, the silly, novelty sections are toned down, to greater effect,and the Silent Circus style metalcore assault returns. Opening with “Mirrors”, BTBAM work their way through their eerie clean guitar intros, into a nice jazz influenced instrumental break (complete with bass solo), before returning to the eerie once more for a slow descent into “Obfuscation.” To be honest, feels like the weakest track on the album. While it has all the right ingredients to be a great BTBAM song, it just feels like a template. Something to write over and take ideas from, rather than a complete song. Not to say it’s ‘bad’, but it just feels a little stale. However, considering the quality of the rest of the album, this could be put down to sheer “warming up for the real party.” Disease Injury, Madness picks up the pace, with it’s intense riffing and beautiful clean melodies. Fossil Genera brings out the weird for a while, with some inventive chord progressions and a catchy approach to piano based madness. “Desert of Song” is a quaint little song that somehow reminds me of Pink Floyd, David Bowie and Bob Segar all at once. Swim To The Moon finishes the album, a 17 minute tour-de-force of a piece. Some reviews had made mention of it’s extravagent length, it’s complete disregard for song structure and the twisting patterns as proof of BTBAM’s care more for being technical than song writing. This is an oversight.. The song is a strictly, straight forward affair. Dream Theater progginess meets BTBAM’s signature flair for flashy writing. It’s long, yes, but it works just as well as any instrumental outro to bring the album to it’s close. BTBAM have created a true piece of art and they deserve any and all the praise this album has garnered for them.

Originally Posted by A Scouser

Its proper boss is this, I wouldn't mind doing that Anneke up the wrong 'un aswell.

Originally Posted by A Canuck

Eh look, we won something, we never win things eh. Go Maple Leafs.

Originally Posted by Frasier Crane

Now Niles, I don't think you quite grasp the scale of such an undertaking, the interwoven harmonies and the delicate balance of vocal stylings are as such that they are resemblant of the Cygnet's evolution into the gracious swan.

Originally Posted by Gaahl

*sips wine*



Gay.

Originally Posted by God

Devin Townsend is a man who can split opinions. Just like marmite. And this, the second album of the planned four under the 'Devin Townsend Project' monicker, is certainly no different. No doubt your Metal purists would scoff at the concept of Addicted, but as most who have a clue can probably figure out, Mr. Townsend isn't really one to give a shit. It's what makes the man so special, never one to pander for an audience. And his disregard of general convention is part of what makes this album so damn good.

For those not in the know, Addicted is Devin Townsend's attempt at a pop album, per se. But as you can well imagine, Devin's rather skewered vision of Pop is a far cry from the tatt that inhabits the Top 40. Thick textures and upbeat atmospheres are the call of the day, no more better represented than in songs like 'Resolve!' and the re-recording of the Ziltoid track 'Hyperdrive!', with Miss. Von Giersbergen contributing a whole new energy to these already unique compositions.

Overall this album's message is one of positivity. No more evident than in Devin's excursion into the land of cheesy Euro-pop that is 'Bend it Like Bender!'. It's an album thats built to put a smile on your face, give you an uplifting feeling and remind you that life isn't a total crock of shit.

It's times like this you'd be forgiven for thinking the man pisses champagne and shits belgian chocolate, I can't think of anyone else who could take such an idea and craft it into something not only listenable, but damn well enjoyable. Addicted is yet another testament to his seemingly unlimited creativity and with it has maintained his arguably impeccable record of going such a long time without releasing anything that can be considered a bad record. Heres to Devin and all of his future musical endeavors.