5 comments about Short Bus.

1. growing up in the early/mid 90's I remember when Filter first came out their hit song 'Hey Man Nice Shot' hit radios worldwide,the result was a gutsy,loud rock song with shouted with authority smothered with nice drum programming, a killer bass line,with screaming guitars.This song is still a huge hit after so many years it's even been featured on several films.But what about the rest of the album? just about every song on here is killer! I personally like 'consider this' as equally as their main single hit.I distinctly recall why I enjoyed them so much...they were an evolution in sound for the 90's,a heavy rock band with the characteristics of metal/industrial in their sound.Unfortunately the band cleaned up/altered their sound over time and I lost interest in their future work.It's a shame too,they had a unique sound.



2. I have vivid memories of lying on the floor in my room after having my teenage heart broken and listening to "Stuck in Here" over and over. I bought this album at the height of its popularity when I was wearing all black, writing bad poetry and practicing Wicca. I grew out of that phase by the end of high school, but every now and then I listen to Filter and it really takes me back. I almost feel like stretching out on the carpet and letting the tears paint greyish streaks of eyeliner into my hairline. Ah, the sweet agony of youth!
   
   As far as the quality of the album goes, my tastes have changed. That said, this was a really great industrial pop album. Once I found out about Skinny Puppy, Ministry and other harder industrial bands (not to mention the weirder art rock stuff I like now), I dismissed Filter as being too soft. However, I still enjoy it when I want the nostalgia factor or some good background noise for housecleaning.



3. This is the filter with an edge. I picked up this cd after seeing the movie demon knight and picking up the soundtrack. I was disappointed with their second cd, the edge was gone. I still enjoy this cd, many years later.



4. Now to start off Filter is a really good band. I enjoy a lot of the music they put out. I just don't think this album is their best one. It does however have one of my most favorite songs they have ever done on it, "Hey Man Nice Shot". This isn't a bad cd but it isn't great either. What it comes down to is it has a bit of sameness about all the tracks. Not to say the tracks are bad they just don't grab your attention as much as the opener song did. My favorite tracks from the cd though would have to be "Hey Man Nice Shot", "Dose", "Under", and "Consider This". Here are my ratings for everything...
   
   1. Hey Man Nice Shot - 10/10
   2. Dose - 10/10
   3. Under - 9/10
   4. Spent - 9/10
   5. Take Another - 7.5/10
   6. Stuck In Here - 8.5/10
   7. It's Over - 9/10
   8. Gerbil - 8.5/10
   9. White Like That - 8.5/10
   10. Consider This - 9.5/10
   11. So Cool - 8/10
   
   Overall: 88% B+
   
   Filter's music can be soft and hard at times. This Filter album would probably be their most aggressive harder stuff compared to the other two. I think its good just not as good as the rest. If you like the band and are into NIN style music mixed with the Deftones, Filter may be your band.



5. This debut album from the musically explorative group Filter produced, among other things, the band's most successful and hardest hitting single to date. Many years after its release, the song "Hey Man Nice Shot" is still heard in light doses on the radio. However, to measure this album in proportion to its one big hit is to apathetically forsake the ten other tracks of cynical flare that can be heard when riding the Short Bus all the way to the end of its route. "Dose", the less successful follow-up to the album's initial single, keeps the Short Bus horn blaring with venomous lyrics and crunching distortion. It paves the way for a rocky slide into the next three tracks of equally explosive power and confrontation. Soon after, the album temporarily saps its aggression for the reflective and almost acoustic "Stuck in Here", and then promptly picks back up its hatchet for the bitter second half of the disc. During the next few songs, the album's lyrics seem to grow progressively more bleak at each stop. Highlights in this territory include the analytical "Gerbil", the defensive "White Like That", and the emotionally draining "So Cool", which closes the album on a beautifully nihilistic note.
   
   Although this album is somewhat lacking in originality, keep in mind that it was released during a time when the concept of industrial noise and distortion hadn't yet been overdone by less savory groups who were still to come. Overall, this album is not the best starting point for a budding Filter fan, but an essential secondary listen for those who were hooked with the band's future hit, "Take a Picture", which hit the airwaves some years later.

5 comments about Sing the Sorrow.

1. I'm finally getting around to reviewing this album after having bought it the day it came out. AFI up until this point was showing alot of promise as being one of those bands that was going to stick to their guns and actually bring some integrity back to mainstream music. However, they hooked up with Jerry Finn and Butch Vig, 2 producers who have a notorious reputation for ruining bands or just producing outright crap. The result sounds like a band that listened to Linkin Park and decided to drop the rap element and mixed a little Duran Duran in just to make it an even bigger pile of garbage. The majority of this album is commercial junk obviously designed for radio airplay. The lyrics are subpar, which surprises me coming from Davey Havok who delivered such a lyrical tour-de-force on The Art of Drowning. In closing, I would say if you are another Emo Sheep, buy this album.



2. I remember when I first heard this album - it was the first time I'd heard AFI before, but this was the first AFI record I ever owned. What more can one really say about it? It's just an absolute masterpiece. This band became legends when they released this album, and Gods when they released Decemberunderground. Both of them are probably the best rock albums that have come out in many years. "Sing The Sorrow" is flawless. Every song is great. One of the greatest albums ever recordeded.



3. The greatest AFI album ever with hit songs like Silver and Cold, The Great Disappointment, and This Time Imperfect.



4. AFI has been around for a while. I haven't heard anything they made before this album, but apparently it was different enough to alienate a lot of fans. In any case, I like it. They make quite capable pop punk with catchy choruses, a high voiced vocalist, and pretty normal guitars. It's not exceptional, but it's solid. Why I really like them is the bombast. Just the tone of the album is a little mightier and significant-seeming than most other stuff in the genre, starting with the opening song's war-cry esque vocals. They do a good combination of the singer's lone voice and several people shouting in unison, and it has the same feel as a general leading his troops into battle.
   
   It could have been front loaded, with all of the singles in the first half, but it maintains quality throughout. The songs do kind of blend together as it goes on, but it's catchy enough that it's hard to care too much. It ends strongly, with the second to last track (which is oddly the first part of the two-part song that ends on the second track), which is a nice softer song, before the epic finale "...But Home Is Nowhere". It has one of the better anthems in it, than after it ends, there's a short silence before a sequence of voices progressing in age tell a creepy story backed up by a minimal piano tune. It then finishes with a stripped-down, well performed capper of a hidden track. Sing the Sorrow is a pretty good punk album helped out by elements that go deeper than the music.



5. With their rather bold major label debut AFI surprisingly submerged themselves in oceans of dense production and studio polish; ambitiously expanding their sound into the wierd darkly romantic horizon merely hinted at in their previous outings. Yet with all of the overdubs and electronic effects, the band doesn't get lost in the murk as they perform with the same firey intensity that them such an outstanding punk band. The detailed, well thought out album flirts with both mainstream pop and edgy punk with an adult intelligence and adventerous attitude not regularly found in either genre. Each of the songs are distinctive and unique with the band seemingly introducing a new trick with each track; making for a very exciting, unpredictble listen that never sacrifices the overall mood.
   
   Guitarist Puget often slows the tempo into aggressive but steady marches of what could only be described as anthetmic melancholy, his warm riffs and atmospheric melodies absent of blazing heroics but no less memorable and distinctive. His work more or less providing a dense backdrop for the band's emotional center, vocalist Davey Havok. Evolving into one of the best and most unique song writers around, Davey's poetic lyrics are mysterious, romantic, and heavy on gothic imagery without falling into cheesy cliche. His distinctive vocal melodies are often at the forefront as he plays off backing chants and vocals as well as his own different personas to create memorable sing a longs. Though not blessed with the strongest of voices, his frail nasal wail is convincly vunerable and at times even deeply moving, his emotional belts are full of fire without tough guy posing, and his spaciously used low breathy singing voice is sincere and seductive. Though the subject matter is dark and crypic, the words are sung in such a way that they not only feel deeply important but strangely upfliting.
   
   The gloomy but upbeat anthems "Leaving Song II" and "Silver and Cold" are superb introductions to the band's unique blend of autumn day atmosphere, pop appeal, and rousing punk energy. The big mainstream single "Girls Not Grey" and "Bleed Black" would almost be catchy pop punk if it wasn't for the mature restraint of the performances, smooth dynamics, and the incredibly dense haunting sound. The experimental "Death of Seasons" not only features what may be the band's first venture into hardcore of the metal kind, but dance music and string arrangements. The beautiful lyrics of "This Celluloid Dream" climaxes the album with a triumphant stuttering gallop that isn't easy to get out of one's head. The hidden track that follows "..But Home is Nowhere" is the band at there most experimental and successful. Spoken word poetry/storytelling, light piano and heavy studio effects gradually shimmer away to unveil the band's most naked and revealing ballad. Davey gives the best vocal performance of his career as he quietly croons with convincing regret in his low full voice. The song gradually soars to a powerful climatic high before fading away into a droning sea of what sounds like backwards violin/guitar loops. This is the band at the height of the their huge potential and hopefully not the peak of their powers.

5 comments about Pornography [Deluxe Edition].

1. PORNOGRAPHY is the culmination of the Cure's descent into the abyss (first wave) and one of the best goth-rock albums of all time. It's dark, foreboding, eerie and depressing yet strangely beautiful. The drum sound is tribal and bass heavy, the guitars range from moody to disturbingly hallucinatory and the lyrics are bleak and cryptic. In my old tour book from the KISS ME tour, Cure mastermind Robert Smith reveals that while he can appreciate eroticism he abhors pornography. In this light, pornography is miserable and ugly, thus a fitting title for the album.
   
   BREAKDOWN:
   
   "One Hundred Years" - Casting an apocalyptic shadow of impending doom and destruction, the opening track is super-intense - "Over and over we die one after the other."
   
   "A Short Term Effect" - A weird, gloomy track with strange guitar effects, vocal manipulations and a wavering beat.
   
   "The Hanging Garden" - With relentless, pounding bass and drums and spiraling guitars, this is a gorgeously gloomy song and worthy single.
   
   "Siamese Twins" - a slower song, beautifully morbid and full of loathing.
   
   "The Figurehead" - A bleak, depressing song of fear and isolation with a merciless military drum beat.
   
   "A Strange Day" - offers a lone ray of hope through the murky desolation of PORNOGRAPHY via escapism. One of the few Cure songs to feature a guitar solo without any other instruments - the segment is intended to represent being instantly hit with the memory of a song. Beautiful.
   
   "Cold" - An absolutely dreary song with icy keyboards and brutal, lethargic drums.
   
   "Pornography" - Sounding like a horrifying torture chamber scene, the final track is a whirlwind of creepy sounds. The muddled voices at the beginning and end of the track are especially freaky. The final line - "I must fight this sickness / Find a cure."
   
   Disk 2
   
   "Break" (Group Home Demo) - A dark and gloomy instrumental sketch featuring an overloaded bass that can be heard rattling a snare drum. Nothing special, really.
   
   "Demise" (studio demo) - another dark and atmospheric instrumental.
   
   "Temptation" (studio demo) - a more driving instrumental. Cool sound but pretty basic.
   
   "The Figurehead" (studio demo) - similar to the final version but inferior. Like most of Disk 2, this track will mostly be of interest to die-hard fans.
   
   "The Hanging Garden" (studio demo) - an airy version with a radically different feel from the album version with different lyrics. Inferior but very interesting; merits repeated listens.
   
   "One Hundred Years" (studio demo) - more cold and mechanical than the final version, due especially to the use of a drum machine. Cool sound.
   
   "Airlock: The Soundtrack" - This is an unsettling 13 minute avant-garde sound collage full of weird noises and a bizarre, off-kilter piano. It provided the soundtrack to a film used to open Cure concerts on the PORNOGRAPHY tour. Intriguing, but likely too repellent for most fans to listen to more than once in a blue moon.
   
   tracks 8 - 13 -- These live tracks sound pretty good considering the fact that they're bootlegs. "Cold" adds some spacey effects that didn't appear on the album while "Pornography" features a recording of those creepy distorted voices. Of particular note is the non-album track "All Mine," previously available on the ultra-rare CURIOSITY cassette. It's a great song, very passionate with bold, angular guitar figures and anguished, longing vocals from Robert Smith. It's quite different from anything else they've done.
   
   "Temptation Two" (studio demo) - a more evolved version of "Temptation" with vocals and a faster tempo. Pretty cool but clearly undeserving of a slot on PORNOGRAPHY.
   
   Yet another excellent deluxe Cure set from Rhino with superior sound, fascinating, rare group photos and an informative essay. This is an absolute must for Cure fans.



2. Some good reviews here to break down each song...
   
   My summary is simple: Robert Smith demonstrates in this album that he meets the pure definition of a troubadour. Yes, he emerged from a dark place when he wrote these, and I can only imagine what the transformation was like for the band during this time. The lyrics are powerful and the music is passionate. One of the most evocative and listenable albums ever made. Can you tell I love it? :-) This album will not disappoint.



3. Great album by The Cure, and as my title indicates, I believe it to be their high water mark (in regards to the material I've heard by them, though Disintegration is closely behind this).
   
   The drugs that Robert Smith were taking as well as his depression had reached a breaking point when "Pornography" was made.
   
   The more striking songs on this, as well as their qualities, include:
   
   One Hundred Years - Great lead off track for the album, it introduces the bleak and disparaging mood well, especially with the opening lyric "It doesn't matter if we all die". The drum machine used here is kind of dated, but it keeps the beat well enough, and for some reason, I really can't hear Simon Gallup's bass in this song very well. The somewhat unusual but interesting riff is supported by the icy keyboards that give it a great atmospheric. The lyrics are sung by Robert Smith with intensity, and are full of violent imagery, likely describing a war. After the last line, the guitar riff gets higher in notes as it reaches the song's climax.
   
   Siamese Twins - Nice introduction with the bells, followed by a great tribal sounding drumbeat by Lol Tolhurst, then sparse guitar and a steady bassline come in. The lyrics are interesting in that describe sex as a kind of unwanted and forced task, such as with the lyric of "her legs around me, in the morning I cried". The guitar in this is very atmospheric sounding, and adds to the song's overall mood.
   
   The Figurehead - Well-timed syncopated drums start this song off, while the very dark sounding bassline comes in (my favorite of Gallup's on this album), followed by a great riff by Robert Smith. Really, the guitar on this song is my favorite, it's got a great flowing quality to it, and gives the song a very atmospheric quality. The lyrics are hard to decipher - to me they sound like they're expressing the utter pain and hatred for this Figurehead that has given the narrator such trouble. The lyrics end on a note of defeat and surrender with the final line "I will never be clean again". Overall, this is my favorite song on "Pornography".
   
   A Strange Day - My second favorite song on "Pornography". This one starts out with strange piano-like keyboards which segue into more normal sounding keyboards. The audible bass isn't quite as loud as that in The Figurehead, but it keep the beat well, along with the good drumbeat. The textured guitar of this song gives it a great emotional quality to it, and makes it probably the least dark sounding of the songs on here. The lyrics counterbalance this though - they consist of describing the narrator's movement through the sea in order to commit suicide. Probably one of the most depressing songs here, in the sense of lyrics, but still a great song.
   
   The other songs on the album are great too, like the chaos of the title song, and the organ and opening cello on "Cold".
   
   The second disc consists of some great instrumentals that weren't used for the album, some good demos of the album songs that show the songs in their early phases, and some great live numbers. The real standouts here are the "Airlock: Soundtrack", which gives a great feeling of one actually flying a plane or something, and the closer "Temptation Two", which sounds similar to "Temptation" but a bit more lighter and with some strange noises from Robert Smith.
   
   If you like this one, I highly recommend checking out "Seventeen Seconds" and "Faith", as these really complete the gothic trilogy of the early The Cure albums, and show the development towards the sound present here.



4. There is no question in my mind that Robert Smith's head was in the lowest pit of hell when he wrote this album. The music is filled with anger, hate, sorrow, fear, rage, and despair; all pieces of the darker parts of the human psyche. The listener is taken on a gothic roller-coaster ride through dementia starting with the line "It doesn't matter if we all die" all the way to the vampiric conclusion "I must fight this sickness". Such emotion in this album, and you can't pull away from listening to it. There is something about the way the music is constructed and performed that keeps your ears alert and numbs your mind to the pain that is being expressed. You find yourself understanding the agony of the performers.
   
   This record was way ahead of its time and, until 1989's "Disintigration", was The Cure's greatest achievement in the studio. Every song is great and they flow from one to the next in a perfect order. This album is flawless; a magically written, masterfully performed accomplishment in music.
   
   The Deluxe Edition makes this version a must. The second disc is filled with goodies from this period in The Cure's history. It complements the original album with songs of the same gloomy feeling that the album focuses on.



5. 
   I have been a cure fan since the 8th grade. They are and have been my favorite band. Having digested all of thier albums continously (this band got me through high school, so I support this band very strongly) I can honestly say that Pornography is thier best body of work. Nothing else they did comes close to this...its incredible. Its like being thrown into your worst nightmare and enjoying it. Yeah, Im confused too but there it is. The song "100 Hundred years"(the song itself makes the album worth buying) starts the trip without mercy with Robert Smith uttering the harsh "It doesnt matter if we all die." You know that you are in for a heck of a ride so your brain automatically buckles its seatbelt and before you know it, your lost in this beautiful and disturbing world. If the cure were labled Goth after this record than they only have themselves to blame for churning out this masterpiece. But you cant help but listen to this and know that all of the dracula wannabes have this record in thier collection.
   
   If your new to the cure and you are interested in trying to understand what all the fuss is about than this is the best starting point for your unforgettable journey into this bands mythic and brilliant music.
   
   Most people will say that Disintegration or Head on the door is the launching pad But I disagree. Pornography is the best way to get it. Its the Cure at its most vulnerable and its most potent. THe song "100 years" will be all the proof you need and before you know it your hooked.
   
   Than you will find yourself patting yourself on the back for listening to this wonderful band...I still do....17 years and counting.

5 comments about Love.

1. This album from 1985 bridges the gap between the earlier and more gothic punk feeling 'Dreamtime' (1984) album, and the more rock-oriented, paired back 'Electric'(1987). Love keeps some of the gothic feel of the earlier album, while this brooding atmosphere is turned up a notch to 1970's style psychedelia. This album has a very consistent tone and feel to it at moves between brooding downbeat balads "brother wolf, sister moon, judith, hollow man, black angel" and more upbeat numbers "nirvana, she sells sanctuary, the phoenix, big neon glitter" and more upbeat balad numbers "revolution, rain".
   
   For those of you who found Ian Astbury's voice gets a little jarring on 'Electric', this is a more tuneful / soulful album, without the drivelly sound of later albums such as 'Ceremony'. Also Billy Duffy is in fine form. While he will never be hailed as one of the great electric guitarists, here he is in very good touch with the songs and the guitar and voice complement each other perfectly.



2. ESTE ES UNO DE LOS GRUPOS QUE COMO SU NOMBRE LO DICE ES DE CULTO, LA PIEZA LOVE ES UNA VERDADERA OBRA DE ARTE QUE DEBERIA SER SEÑALADA POR TODOS LOS ROCKEROS COMO UN CLASICO Y TAMBIEN APARECER EN TODAS LAS RESEÑAS Y SELECCIONES DE CRITICOS ESPECIALIZADOS COMO UNA DE LAS MEJORES PIEZAS DE ROCK DE TODOS LOS TIEMPOS,A PARTE DE LA MUSICA Y LA EXCELENCIA EN SU SONIDO CON UNA GUITARRA QUE SOBREPASABA Y AUN PERSITE COMO UNO DE LOS GRANDES DE LAS 6 CUERDAS, DEBE DE SER DEFINITIVAMENTE PARTE DE LA COLECCION DE TODOS, SALUD QUE LES APROVECHE NO SE DEJEN ENGAÑAR POR MUCHAS OBRAS QUE SE LOGRARON EN LOS 80'S QUE TENIAN MAS LIRICA QUE MUSICA, ESTO ES DE MIEDO CIAO !!!!!!



3. I really enjoyed this music CD, Love by The Cult, one of my favourite bands.
   
   Problem, this CD + another music CD, Electric by The Cult, were so poorly and tightly packed into a flimsy cardboard; that, the jewel case for Love by The Cult was smashed all beyond repair. I do not have a replacement jewel case and none are sold here in my neck of the woods.



4. This album was an instant classic! As other reviwers have mentioned...GOOD LUCK picking a favorite...seriously it has all of what makes an album a classic. From my first experience listening to the Cult I was hooked on the Angelic vocals and dreamy guitar. They were something more than just another alternative rock group...they had a touch of blues and a unique sound altogether...i have NO CLUE how they never got bigger. One thing is painfully obvious with them is that they were WELL before their time! Had they not released their music until at least 10-15 years later they would be all over Mtv as well as all the Radio stations. This album is a must for those of u out there seeking an original, ROCKING but musical sound...they really have it all! Favorite tracks on this cd of mine include; Brother Wolf... Sister Moon, She Sells Santuary( their hit off of this cd), Nirvana, & last but not least Black Angel...as you can see i listed half the album...enough said...this band is destined to be re-discovered as i have faith in the world of music...thank you, your humble narrator, Alex D.



5. This album was without question one of the finest releases of the 80s. I'm not sure what genre it belongs in but The Cult Love is perfection. Its almost laughable that every track is just unrealistically awesome. When you close a perfectly executed album with Black Angel you have entered the musical heavens. This album stands the test of time as a absolute classic and deserves its ranking completely. Electric and Sonic Temple are classics of their own, but they never topped this release (AND WHO COULD!) Unreal.
   
   Honestly... picking a favorite song on this CD would be ridiculious and stupid. Close your eyes and drop a finger on the track list. You'll be right.

5 comments about The Blackening.

1. The Blackening is the album the metal community has been begging for. Always been a big MH fan, but this is by and far their masterpiece. I do recommend the special edition with the two cover tracks and DVD. Well worth the extra coin. Any metal fan should not be without this CD in their collection. MH fan or not, this could be the most important metal album of this generation. Yeah..........it's that good. I raise my glass and "clinched fist of dissent" to Machine Head!!!!!



2. Machine Head have had a bit of an up-and-down career, with a few missteps along the way, but when they're firing on all cylinders, you better get out of their way. Leader and vocalist Robb Flynn, possibility the angriest metaller out there right now, is a superb songwriter, which is too often overlooked in metal circles, with many outfits getting attention with unimaginative repetitive riffs and singers who sound like they're suffering from a bad case of irritable bowel syndrome.
   Flynn does his share of growling, but also provides clear vocals and harmonies, which add the one element modern metal needs the most, dynamics. Not that "The Blackening" is a wimped out affair. This slab is heavy - like the Titanic sinking in your living room heavy. The guitar work though, is innovative, uses lots of cool bends ala Tony Iommi and some of the best lead work out there.
   Every track is great, but a few really stick out, which is no small feat in a CD of such strong material. "Halo", "Slanderous" and "Wolves" are personal favorites. If Machine Head keep this level of metal up, they will be almost untouchable. Give me Robb Flynn over the over blown and bloated Metallica any day.



3. This album can only be fully described in two words "EPIC MASTERPIECE" and if you love metal this is a must buy trust me I thought nothing would ever get close to my all time favorite album megadeth's "rust in peace" but that changed after i heard the blackenings first track its 10 minutes of raw heavy metal power.This album is full of energy and amazing technicality "the blackening" is probably the only album I would consider "equal" to rust in peace wich is saying A LOT!!Seriously if you like heavy metal(and thinks mainstream music like hip hop and my chemical romance is a talentless BS affair)any kind like death black metal or even rapcore and nu metal I really recommend this album since I am a huge children of bodom,chimaira,megadeth and even rage against the machine fan."The blackening" is a throwback to the times when metal thrived and with raw energy power and relentless solos were praised by the mainstream unlike now when "50 cent" has "talent" and creating a crappy song in your dirty brocken keyboard like "sowja boy" can throw you to the top unlike actually having something called "TALENT" and creating something "EPIC" and "CLASSIC" like "The blackening" Machinehead you have all my respect.



4. "The Blackening" is an epic masterpiece of metal music. It pounds throughout the entire hour, very heavy. By the time the CD is done, I'm always tired because my adrenaline is going strong the whole time I'm listening to it. Awesome, awesome album. This is their best work, and one of the top 3 albums I've ever listened to. Go buy it as soon as you can.



5. Machine Head has never really been a band that stood out to me. 1994's Burn My Eyes is heralded as their best work by many, but it's got some seriously stiff competition from The Blackening. Let's just consider this their only two albums, and the rest of their time was spent experimenting.
   
   First off, The Blackening is tough as nails metal. If you liked the sound Machine Head pioneerd with Burn My Eyes, you will love this album. Their detuned, post-thrash riffs are here in effect. Rob Flynn gives his best vocal performance to date, sounding a lot less like he's singing over the music and moreso WITH it. The guitars are BIG. I mean, they take up a ton of sonic real estate, and they give absolutely no quarter even at their most melodic. The drums and bass give the songs a rock-solid foundation, with some flair here and there but nothing flashy. This album is very utilitarian, focused metal. Not a lot of noodling, but there are a TON of great guitar solos through this disc.
   
   What can you expect when you pop this disc in? The best music Machine Head has produced in over a decade. This disc is comparable to Metallica's classics Master of Puppets or ...And Justice For All in their compositions. Quiet acoustic pieces, drowning heaviness, a series of songs that clock in at over 9 minutes (4 of the 8 tracks, to be exact), and something Machine Head has seemingly been incapable of doing (Even to some extent on Burn My Eyes): The transitions on this album are flawless and smoothed out to a grand-piano sheen. Whereas on all of their other albums they would move, jarringly so, from one riff to the next... in essence making the songs feel like a series riffs, in The Blackening this does not happen. Their binary rigidity has gone away, and what's left is nothing but near metal perfection.
   
   The nu-metal of Supercharger is dead, and was mostly so on their last release. No longer do people have to wonder "what could've been" with this seemingly shoo-in band that had one of the best recieved debuts in metal history. We see it now.
   
   From the soaring choruses, bruising grooves, and awesome crowd chant of "FIGHT! FIGHT! FIGHT!" at 6:30 overlaying one of the best riffs Machine Head has ever made, "Clenching The Fists of Dissent" is a mother of an album opener. It doesn't let up at all from there, either. "Aesthetics of Hate is a monster of a groove thrash song, showcasing Machine Head at their best and most brutal. "Halo" opens up with a trademark harmonic/single string groove the band is recognized for, then pours on soaring, melodic choruses that don't sound like the sugary pop-styled ones put out by the likes of All That Remains or Scar Symmetry. "Wolves" is a 9 minute epic featuring one headbanging riff after the other in succession, like a 50 legged elephant that won't stop stepping on your head. The album closes with "A Farewell To Arms", another song complete with melody and crushing grooves. I've only graced a few songs, but they're all excellent tracks. All of them. Not a bit of filler.
   
   There is a lot to like on The Blackening. Any metalhead who may have liked Machine Head in the past, was or is a fan of bands like Pantera, Fear Factory, or just needs a breath of fresh air in a melodic death crowded, metalcore saturated, stagnant death metal infested metal scene would do well to pick this album up.
   
   I cannot say enough about this album. I've listened to it 4 times today and I'm enjoying it more every single time. Future classic.

5 comments about Space And Time.

1. This album, a compilation of tracks from earlier recordings, is an excellent introduction for anyone unfamiliar with the music of Steve Roach. I enjoyed it thoroughly.



2. I enjoy dark ambient music and particularly enjoy the music of Steve Roach. This CD is a survey of twenty years of his work and for me may be a guide to buying his music in the future. Plus the price was right too.



3. If you enjoyed the masterful magnificent void, by Roach, you will love this. Roach is quite
   possibly, along with Stearns, the greatest composer of ambient and or space music
   the U.S. has produced. If you love deep space, buy this.



4. I bought this CD at the price of $4.98. If you are new to Steve Roach and want to learn more about his music, it's a steal, and will help you understand the fine work that he produces. But know that it is more of a sampler and does not stick with one thing for very long. It is easier to get into a meditative state with his other discs that have tracks that are longer in duration. I haven't come across any Steve Roach that I didn't like, including his many collaborations. I own Structures From Silence, The Magnificent Void, Empetus, Dreamtime Return, the 4 disc Mystic Chords and Sacred Spaces (the last 2 discs only available at his website www.steveroach.com and www.projekt.com), and the collaborations Strata, Soma, Somewhere Else, The Serpent's Lair, Body Electric, and Light Fantastic. I could recommend any one of those discs to you if you are into ambient music. I enjoy the Steve Roach in my collection. There is so much to choose from, and pretty much everything that Steve Roach has made is profound and enables you to at the very least, get calm and relaxed, and sometimes even reach higher consciousness and a meditative state. You have found the king of the genre. Now it is only a matter of choosing your favorites. Happy hunting!



5. This has become my favorite ambient CD. I listen to it specifically on Saturday mornings when the house is still quiet and the smell of coffee is in the air. It's a must for any lover of ambient, "Hearts of Space" style music.

5 comments about Violet.

1. Violet is an inspired crafting of all that can make our ears a special portal to the mind. Carrying both the darkness and hope that life must share, their soundscapes seductively brush those hidden corners of latent emotions and shadowed images. Indulge with measured doses and you will be permitted to restart the journey at will.
   
   Paul M - Michigan



2. This is one of my favorite bands. If you like electronic, punk or just plain beautiful music then you should hear them. They do not particularly fit into any of those genres, but they are one of the freshest acts in music today and its looking like they will stay that way because of their allegiance to Metropolis Records!



3. up untill recently i had never even heard of this band, but i went to our local goth night and heard horror show being played, and i found myself loving every seccond of it and asking the dj what this band was... he burned me a copy of violet, and let me tell you, its simply wonderful... i love most of the tracks on this album, but i must say, horror show is my ultimate favorite.. im not exactly sure in my opinon if id call this band completely goth industrial, but they certainly have their influences. i say its more like dark electronica... since ive gotten violet, ive at least gotten one friend into them, and i hope to get many more as well... its a must have for anyone who enjoys the darker side of music, and i highly reccomend it... very dark, and dancy and i love the female singers vocals... youd have to be stupid not to give this cd a try...



4. Coming out of the Canadian EBM scene, The Birthday Massacre managed to do accomplish something that a few other interesting acts out of Canada has done - they built a steady following by dropping a really rare disc, followed this up with an EP, put out "Nothing and Nowhere," and then put together one of the best albums I've heard in quite a while. They've since joined Metropolis records and have been touring lately with a few different acts, and having seen them on tour made me realize just how talented the band really is. When they take the stage they really do take the stage, building a mixture of really cryptic sounds and really beautiful tones, taking a montage of emotions and delivering them in a way that not only sounds great but hat also manages to hold one's attention with thoughts of "that was different."
   Considering the amount of music that is circulating these days, that seems a bold statement to throw to the wind.
   
   This is really evident when you listen to many of their songs, and especially when you plug in some of their "better knowns." The single "Blue" really managed to get a lot of attention when it was released, and was followed up quickly by a series of people singing the praise of "Happy Birthday." Personally these are some of my favorite songs on the album; Blue has this almost surreal ambiance that makes me think of the Alice in Wonderland picture on the front of their disc, only the rabbit isn't quite so friendly and has a mouth filled with teeth. When you listen to it you can also tell the type of range you get with your lead singer - one minute she sounds like she's an innocent bystander in a room filled with tragedy and the next she sounds like anger personified.
   It really is worth the listen.
   Happy Birthday is the same way; it talks about a little foray into something horrific, mentioning "sticking (it) in the back of her head" and other things that make you think of the song's namesake.
   It's also a fun listen.
   
   Video Kid, Violet; it really is hard to find flaws in the album and makes my "best of" for the last few years because it is so easy to listen to. It works for fans of electronica, fans of music with sublime undertones of horror, people who enjoy the new wave of sounds that are coming out of Metropolis these days, and many other people. If you want to know more about them, check out Metropolis-Records and listen to everything the band has to offer. Also, September 2007 brings another release from the band, Walking with Strangers, and it sounds like it The Birthday Massacre has another hit on their hands.



5. Wow, this CD probably doesn't even need another review, but I had to chime in. I only just discovered this band, and I've been playing this CD non-stop! Its surprisingly what I might call goth-pop but I mean that in a better way then it sounds. The songs are catchy and infectious yet dark and layered. Just enough rock mixed in. If your a fan of Collide, or Switchblade Symphony you'll likely like this CD too. Check out their video for Blue on their myspace page. Creepy and cool! I'm an instant fan!

5 comments about Nine Destinies and a Downfall.

1. "Nine Destinies and a Downfall" is the third full-length album by Sirenia, the gothic metal band founded by Morten Veland in 2001 after his stint with Tristiana. It differs substantially from their earlier work, featuring female-fronted vocals almost exclusively. This is in sharp contrast to the male death grunts that dominated Sirenia's first two albums.
   
   Because of this stylistic difference, "Nine Destinies and a Downfall" didn't appeal to many fans of Sirenia's previous work. However, fans of other female-fronted metal bands (such as Within Temptation, Lacuna Coil, Eyes of Eden, and Nightwish) enjoyed the album quite a bit.
   
   From a technical standpoint, "Nine Destinies and a Downfall" is very solid, featuring a blistering (yet melodic) gothic metal mix anchored by top-notch guitar work. Monika Pedersen's voice is strong and fits in well. The lyrics are dark and gloomy, as befits a gothic metal album.
   
   The top track on this album are "Absent Without Leave", "One By One", "Seven Keys And Nine Doors", "The Last Call", and "The Other Side". The others are worth a spin as well. Five stars. Highly recommended to the fan of female-fronted metal.



2. In reading some other reviews on Sirenia's "Nine Destinies and a Downfall", I'm a little mystified. This is an *excellent* album, with the vocals of Monika Pedersen being the highlight of the album. She has a strong and clear voice, and the dark and melodic gothic metal mix put together by the rest of the band works well with it.
   
   Perhaps "Nine Destinies and a Downfall" represented too large a shift for fans of Sirenia's earlier works. Specificially, the shift away from a vocal mix of female singing and male death growls to almost pure Monika Pedersen. Since I dislike male voices in my symphonic/gothic metal, I consider it a marked improvement.
   
   The top two tracks are "The Last Call" and "The Other Side", but almost all of them are quite good. Only "Glades of Summer" did I find a little too mellow.
   
   Those of you who prefer female-fronted rock will like this album. Those of you looking for death growls... Well, you'll have to look somewhere else.



3. This is not exactly what I expected. Now I have always liked Monica Pederson's voice. I was very familiar with her previous group Sinphonia
   who recorded two albums 'When the Tide Breaks' and 'The Divine Disharmony' both of which I own but her voice does not fit the music.
   She would be a lot better fronting a more progressive or folk oriented rock band then a metal oriented band trying to sound more pop. Well maybe next time.



4. Sirenia's new album had a lot of hype surrounding it that got me interested; a few test tracks and I was sold. I got the album itself for Christmas, and was very disappointed. Each track follows functionally the same construction as every other, with a few exceptions. The production values are high, but the lyrics are cheesy and, at times, banal. Their new singer has the chops, but their songwriting needs work.



5. One thing is for sure, Sirenia has stayed true to their album title. This latest release from the band is one giant downfall. I never thought I'd have to write such a thing after hearing some good things about this CD. This album is terrible.
   
   You thought you knew Sirenia? Well apparently you don't. Morten Veland completely turns the tables once again to take on a different sound. Now, don't get me wrong, I don't mind an artist changing their sound, if it's done well and still holds the general feeling of the band. However, the sound and style on this band have completely changed for the worst.
   
   The songs themselves are generic in every possible way. The guitar riffs are pretty much the same throughout the entire album, with just minor tweeks to make them sound slightly different from song to song. This makes the whole album sound exactly the same. This wouldn't be as bad if there was something interesting about the songs themselves. But there isn't anything that stands out. Most of the songs get old very fast. They become tiresome to listen to. Where Sirenia's previous songs had energy, power, and strength these new tracks do nothing, save for a couple.
   
   Then there's the new singer Monika. I hate to say this since many praise her voice; but she sounds terrible. She sings in a monotone the entire album. She rarely goes out of a particular range. This itself is very grating, it adds to the sameness of the songs. When she happens to step out of that particular range, her voice actually cracks. Just listen to "...all in vain" on the song "Sundown". This shouldn't happen when someone has tons of singing experience (or so I've heard). She sounds like she's straining her voice. Alright, maybe I'm being a little harsh here. Perhaps she was told to sing that way. I don't know-but whatever the case, it's very annoying to have to listen to someone sing like that. Some have said that she should've been a background singer instead of the lead. I'm inclined to agree. It doesn't seem like she has the strength or power vocally to carry an album, well this album at least.
   
   There's maybe three tracks that are in my okay books. "Last Call" is suprisingly not too bad, despite Monika dominating the entire song. "Downfall" is saved by some of Morten's growls, even though most of the song falls into generic obscurity. Though I will admit (unwillingly) that the generic chorus can be catchy at times. Monika's vocals aren't too grating on both of these songs. "Sundown" is easily the best track on the album as it's more of an ode to what Sirenia was-a great band. The chorus and bridge have the power from their old days and showcase their potential. However, the verses are way too poppy. The background singers grate on my nerves. Overall the song still manages to shine though.
   
   With 3 out of 10 tracks being okay, the album is a huge disappointment. I'm not asking for Sirenia to put out the same album twice. I'm asking for them to release music of their calibar, rather than creating lackluster music. Sadly, this isn't the case. It's become apparent that this band has sold out, in my opinion.
   
   If you want to listen to Old Sirenia, buy their previous albums. If you don't mind what I've described, by all means buy this album and give it a chance.
   
   I can only hope that their fourth release will be much improved over this one.

5 comments about Anthems for the Damned.

1. It sounds like the album made after 'Amalgamut'.
   
   If you liked that album, you should like this one...in fact, if you play them back to back, they might sound like one double album.
   
   I like it a lot, actually.
   
   But, I'm also hoping that the next record branches out a bit, and finds some new ground to cover.
   
   No complaints at all...well done...but...here's hoping for some more exploring down the road.



2. This boy (or band) knows how to write melodies. I actually got teary. Not as hard as previous releases but awesome none the less.
   Beautiful stuff.



3. Richard Patrick has created an anthem for the 21st century from the ashes of the sixties. This is the first album oriented protest album of our times(unless you know of another). He does this with his lyrics and passion for whats going on in this world right now. For the fans that poo poo this CD as a light hearted Filter effort I say you haven't really listened to it. Its all of what Filter is and more, the songs are hard and melodic with a simple message that if we don't wake up as a country we will continue down the rabbit hole of dispair. Wake up people, this is a brilliant themed album that continues in the Filter tradition of hard rock but with a deep message. We all should take heed becuase if we don't we will all be an Anthem for the Damned.



4. no no no whats wrong with richard patrick and filter... this cd is not like the old filter hell is a mix of army of anyone and filter. the results a bad cd..



5. In an instant I decided to buy this new release of Filter's new venture. I sorry to say I was extremely dissapointed. It's a simi-great album, but not what I expected coming from Filter. Too many "Anthems" for me to enjoy it greatly, like I did "The Amalgamut." I miss the heavy guitars, the bass lines, the electronic drums, the effects of all the previous albums, et al. This album may stimulate some fans out there, or create new ones, but this will be the first single album from Filter I'll be putting at the bottom of my playlist. Save this kind of material for the side project. Noble effort, but it's just not what I wanted to hear.

5 comments about Watershed.

1. Opeth's albums are the greatest pieces of art to ever come about in the course of human history. If you buy this album you will be given a gift greater than anything I can possibly put into words.



2. Thats exactly what Opeth is not only today, but almost a decade now. At least since the magnum opus Blackwater Park was released. Akerfeldt is in my opinion if not the biggest, probably one of most talented people in music industry today. And am not talking only about the area of metal, am talking about the whole music scene of the planet. His ability to create sounds that get deep inside of you and always haunt you is absolutely magnificent. His ability to find always the best possible musicians to support him as the vehicle of Opeth is even more magnificent (Martin is a MONSTER behind the drums). And we should not forget Mikael's vocals which remain perfect. His ability to change his vocals in such a level and bacome at one moment a growling monster ready to rip you, and again return in a melodic harmony that makes you dream of other spaces is indeed terryfing.
   Above all is the songs of cource and i believe that is a waste of time to repeat all the time tha same again and again. If you think of listening to Watershed just stop thinking. Buy it and you will remember that Opeth is a group of artists that worth their money until the last cent.
   We are talking probably about the real meaning of intelligent music here.



3. Opeth is without a doubt my favorite band of all time. I was looking forward to Watershed a great deal. Unfortunately, it left me in the same frame of mind as Deliverance. I realize I'm in the minority of Opeth fans in saying this, but Deliverance was my least-favorite album of theirs. At least, until Watershed came out -- it now takes the bottom spot. Production is great, augmented instrumentation (strings, oboes) are a nice touch, Mikael's clean singing continues to impress. But the simple fact is that Martin Lopez is a god among men and no one can possibly replace him, period. Other reviewers have commented on the album's lack of focus and I agree. I'm all for being eclectic and embracing diverse influences, but the entity being influenced must have some innate cohesion, which Watershed doesn't. I've done my duty by purchasing and listening to it a dozen or so times, but to be honest I doubt it will make an appearance in my CD player more than once a year. I hope they get back on track with their next release because as I said at the outset, they are absolutely my favorite band.



4. I don't write many reviews so this will be my short analysis of the Watershed album.
   
   Don't worry about the line-up change, the drumming is fantastic and does not fall short of Opeth's high standards. The new lead guitarist can shred, which opeth have lacked for so long. Don't get me wrong, Peter was a fantastic guitarist, but the new, ex-arch enemy guitarist is beter suited for the Death Metal side of things. The song writing is very diverse.
   
   First of all there is Coil. A mellow, clean vocalled track with some female vocals which are realy nice. It sorts of starts where ghost reveries left off.
   Then there is Heir Apparent. People are confused about this track, this is not Opeth's heaviest track, that would probably be the moor or Dirge for November, this is Opeth's most BRUTAL track, the most typical death metal song they have done. Very fast, good guitar solo, very low vocals, with perfect synths adding a sort of black metal feel at certain points.
   
   Lotus eater. An other fast brutal track, more singing but lots of growling involved, this track has a very Dream Theater moment with the keys, base and drums taking the lead for a groovy breakdown.
   
   Burden. A mellow soft track with echoed vocals and smooth guitar and key solos toward the end. The track finishes with a beautiful sounding acoustic guitar piece.
   
   Porcelian Heart. The single, a spooky track, softer but far more atmospheric. The single is a cut, shortened version of the track.
   
   Hussain Peel. Very Ghost Reveries. Starts soft with an atmosperic build up to some great death metal moments.By this point you are thinking, "thank goodness" because you havn't heard death metal on the album for some time now. After the brutality there is a short pause and then into some great, groovy singing still with heavier feel of things.
   
   Hex Omega. Not a soft track but there are no growls on this one. It's sort of like a Fair Judgement. It's a heavier track but it's not metal.
   
   Overal i love this album, it is a much softer Opeth album but it is also more typically death meatal.
   
   Yeah Opeth have changed but they are still amazing, they have not decended. They have diversified even more, but it's a good thing.



5. Opeth's last release, Ghost Reveries, was named top album of 2005 by many sites across the internet. This time, Opeth is back with 2008 release Watershed, and a lot of expectations from the fans. Watershed features new guitarist Fredrik Åkesson (Arch Enemy) and new drummer Martin "Axe" Axenrot, who's been filling in for Martin Lopez since the Reverie tours.
   
   Throughout their career Opeth has been notorious for diversity while maintaining a distinctive style of music, and Watershed proves that Opeth has not lost their golden touch.
   
   Watershed begins with beautiful, "Coil." Coil is a soft and tranquil song with a soothing twelve-string and nylon acoustic touch with layers of keyboards. Mike sings very melodic on Coil and brought in Axe's girlfriend Nathalie Lorichs as a guest vocalist on the song to add a more refining touch. Coil is on the shorter side, just over three minutes in length, but it's a very pretty song and a wonderful addition into the Opeth song catalog.
   
   As always, Opeth paves the way from melodic transitions into heart stopping, death metalesque styles of music. "Heir Apparant" is roughly nine minutes of epic Opeth metal without melodic vocals, but the diversity comes from some dark acoustic interludes and a slide guitar solo. Heir Apparant is dark, brutal and probably the heaviest song they've written since "Wreath" the Deliverance album.
   
   Enter "The Lotus Eater" as track number three. The Lotus Eater is the perfect display of Opeth's diversity and progressive nature packed into a nine minute song. This song has wonderful solos, heavy blast beat drumming, lots of death growls, but the song balances out with melodic guitar and vocal work, some jazz twists and a mellotron solo. Simply put, this song is amazing and a pleasure to enjoy.
   
   A note to all of those progressive rock fans out there: don't feel as if Opeth's neglecting you with Watershed. Instead, it's quite the opposite. "Burden" comes to Watershed as a little homage to the mid 70's Scorpions style ballads. This song has it all for the musicians. Burden starts off with a keys intro and leads into full band accompaniment with Mike's melodic vocals. The simplicity of the melody on Burden allows for countless guitar solos (about: four at the end, concluding with a harmony arrangement and three lead guitars over vocals melodies throughout the song) a keyboard solo and amazing guitar and vocal harmonies.
   
   If there was a weakness to Watershed, it's definitely here with "Porcelain Heart." Honestly, this song is way too long at eight minutes. Porcelain Heart rehashes up some of the riffs from Ghost Reverie's "The Grand Conjuration." But to add fuel to the fire, this song feels like it was a copy and paste job through Pro Tools (recording software). This is a very pretty song, with only clean tone vocals over lots of nylon guitar work. Porcelain Heart also has its heavy moments and plenty of double bass drumming, but the song just feels jumbled and a bit too long. Personally, I feel the five minute radio/music video edit of Porcelain Heart should have been the album version.
   
   "Hessian Peel" is definitely the hardest song to portray in words. It's nearly a twelve minutes epic, with lots of progressive transitions. Starting off with a bass note drone, leading into some bluesy riffs and a wonderful melodic feel, Hessian Peel transists into a death metal segment back into a beautiful acoustic segment only to finish heavy and drop into a bass guitar and keyboard finale. This is definitely a must hear song to any Opeth fan or newbie getting into the band.
   
   "Hex Omega" is a wonderful song that's perfect for closing out the album. Dark, eerie and proggy, Hex Omega seems to be the least memorable song on the album, but it has this great vibe to it.
   
   Bonus content: Since this album comes with the two-disc CD and DVD edition, there's some wonderful additions to the album. First, a 5.1 mix of the album is included on the DVD disc. The mix is a lot better than Ghost Reverie's 5.1 and Dream Theater's 5.1 Systematic Chaos; however, if anyone has an SACD player or a DVD-A (MLP lossless) player, the 5.1 mix here doesn't compare to the higher resolution mixes. If you're looking for perfection, pick up Porcupine Tree's Lightbulb Sun, Stupid Dream or Fear of a Blank Planet on DVD-A and get a player capable of handling the format! Back to the Watershed 5.1 mix, it's clean, the panning is done well, but it is missing the punch that a great 5.1 mix should have.
   
   Three extra songs are also included. First is "Derelict Heards." This song should have made the album cut and fell between Burden and Porcelain Heart. It's a very pretty song at times and has great transitions into death metal segments. Similar to The Lotus Eater, Derelict Heards definitely shows off Opeth's musicianship and song writing capabilities. Second is the Robin Trower cover, "Bridge of Sighs." This is an amazing cover, true to the original and done with an Opeth vibe. Third is a second cover song, "Den Ständiga Resan." This song is wonderful, but spoken all in Swedish. Den Ständiga Resan is a beautiful acoustic ballad with a few great blues solos.
   
   Overall, this Opeth - Watershed is a must have album for any progressive metal fan. As of now, it's still my pick for album of 2008 and is the perfect follow up to Opeth's last release Ghost Reveries. Check it out, Watershed is a must hear!