By Lauren Leuschner

Suidakra is one of those bands that hardly anyone seems to know about, yet they rank amongst the best of their genre. During their fourteen year career they have been on several successful European and Russian tours, as well as two North American ones. Suidakra has managed to take stage at Wacken Open Air in their homeland of Germany more than once; this year they will take stage again on the Friday of the festival on the W.E.T Stage.

Suidakra’s tenth full length studio album Book of Dowth, released recently by new label AFM Records, offers another Celtic story for fans to digest. It was inspired by the dark side of Celtic lore. It tells the tale of the uncovering of an ancient book found in a Celtic grave called “Dowth” (a Neolithic passage tomb in the Boyne Valley, Ireland). The second track, entitled “Dowth 2059” begins the tale of an esoteric and ancient race of evil souls called Fomorians. As the album continues, the untold story of a historic legacy that once took breath is unveiled, until we jump back to present time where the Fomorians are unleashed and destroy the human race. However, in reading a recent interview with lead vocalist Arkadius Antonik he only reveals it to be “a short summary, because the whole concept is much more detailed and complex.”

The current trio of Suidakra continue their tradition of breakneck melodic death metal that is drenched with folk influences, a sound that the band has associated with for the past fourteen years. You can certainly anticipate their driving force of killer guitar riffs, headbanging melodies and a tightly wrapped rhythm section. Once again Suidakra includes an incredible array of folk instruments; in the past they have also used bagpipes, banjo and tin whistle. Lead vocalist Arkadius Antonik handles all kinds of exceptional vocals from clean to growls, while guest female vocalist Tina Stabel again provides her incredible voice on the fifth track “Mag Mell”. Suidakra found a unique sound that I don’t think they will ever abandon.

The digipack edition of the album also allows fans to rediscover previous works with classical re-arranged versions of “Rise of Taliesin” [off 2000’s The Arcanum] and “When Eternity Echoes” [originally recorded for 2003’s Sign for the Fallen]. Book of Dowth is a solid uniform testament of folk influenced melodic death metal for fans to feast upon.

(AFM Records)

By Gruesome Greg

While it’s not the coinciding North American tour that was threatened around the time Accept announced its reformation without their former singer, Udo Dirkschneider’s latest “solo” effort hits shelves exactly one month after his former band graced the Mod Club stage in T.O.. To say I’m a little underwhelmed would be an understatement. While Mark Tornillo has turned in a solid performance both live and on record, there’s a clear distinction between his voice and Udo’s that’s none more noticeable than when the latter has a new platter to digest as the former’s screams are still ringing in my ears.

The title track, which kicks off the album, is classic Udo, right down to its hella-cheesy chorus: “Whoa-oh-oh—Rev-Raptor!” Oookay… “Leatherhead” offers another oft-repeated, one-word chorus (can you guess what it is?) delivered in a style similar to Accept’s “Dogs on Leads” from the Metal Heart album. Elsewhere, we get more Engrish lyrics from the self-proclaimed German metal master such as “Only join the circus when you know that you can win!” (“Motor-Borg”), “I know the way to cross the street/I even know to Trick or Treat” (“I Give as Good as I Get”) and my personal favourite, “Don’t trust him, combust him, disgust him—Dr. Death!” (“Dr. Death”).

“I Give as Good as I Get” is the prerequisite power ballad, something rarely seen from bands that didn’t put out their debut album in the 80’s. As you can imagine, Udo’s gravelly voice singing a power ballad isn’t the most pleasant sound in the world, (though it’s been done before) and I’m not sure I’d wanna see the music video for this—unless it shows him crossing the street in a Halloween costume. “Rock ‘n Roll Soldiers” follows another familiar pattern: the song that sounds like “Balls to the Wall”. There’s at least one on every U.D.O. album, and with the opening riff and verse structure nicked from the Accept classic, “Soldiers” switches things up with a faux-inspirational power-metal sing-along chorus.

“Dr. Death” rev(-raptor)s things up again, albeit with a chug-a-lug pre-chorus breakdown and the aforementioned silly chorus. “Terrorvision” offers more of the same familiar chugging trad-metal riffs along with more well-worn lyrical themes. If I had a dollar for every song Udo has sung about the evils of TV, I’d have enough scratch to buy this record…

Alas, album number thirteen is another typical rehashed slog from Herr Dirkscheider and company that offers nothing new to the equation. If Blood of the Nations was an 8.5 in my books (truthfully, it deserves better—I got hung up on Tornillo’s army-man lyrics on my first few spins), then Rev-Raptor is a 6 at best. Probably just as well he’s not touring round here as this most recent material would hardly bring a house full of Sabaton fans down.

(AFM Records)

By Rob Kachluba

As most of you know by now, Solution 45 is the old Scar Symmetry singer’s new band. For that reason it is impossible not to compare this album to Scar Symmetry’s newest CD. Both discs are steeped in melodic death metal. Solution 45 is really a showcase for the clean vocals of the singer and he really slays on every track, displaying a much higher range than on any of the old Scar Symmetry releases. Solution 45 also has created more mellow tracks than you will hear on any Scar Symmetry disc, but the formula is basically the same: verse with death grunts, pre-chorus with clean vocals, chorus with clean vocals and rasps, shredding guitar solo, etc, etc. The songs are formulaic as hell, but catchy enough to make it enjoyable. There are some really hooky/catchy choruses with Christian’s fantastic clean singing. Also this band is a bit more on the proggy side then S.S., but in the end one has to wonder why he left because really Solution 45 sounds a lot like S.S. Something tells me he had to leave! Recommended for melodic death metal fans but the test of time will be how much lasting power this continues to have.

(AFM Records)

Rating: 7.0

By Jason Wellwood

Since this is as close as I may ever come to actually seeing Destruction live I’m watching VERY closely. The DVD starts off with a pretty promising animation of mushroom clouds and, well, destruction. Usually these animations come across as cheesy, but not this time around. It seems like AFM went all out to make sure that even the intro to this DVD was killer. My first thought as the band takes the stage at Wacken is: ‘Holy crap! The butcher is a real guy!’ Not knowing too much about the story behind the butcher, I don’t know if they found him first or if his likeness a lucky coincidence, either way it’s a great way to introduce the band! Destruction are super tight from the get go with Schmier hitting all his vocal squeals perfectly. It’s very obvious that the band has a huge history of playing live behind it. Every note, every beat is just about perfect.

Visually, the concert is stunning: quick cuts, great angles and artistic shots. A few shots you’re even looking over Schmier’s head at the audience though an 8 foot sheet of flame! For the most part, the cameras are on the band with just a few crowd shots. Thankfully, the Destruction audience seems to keep themselves clothed better than some festival audiences I’ve seen, though I do think that the crowd surfing heavy metal cowboy could have lost his hat…

The Mad Butcher makes several appearances, throwing meat into the audience, menacing the demon/zombie cheerleaders that pop up every once in awhile but for the most part, all the ‘gimmicks’ (as Schmier calls them) take place off to the side and don’t interrupt the music at all. Sadly, some of the cooler gimmicks don’t translate as well on DVD: while 3 drummers sounds like a really good idea, and looks really cool, I think actually feeling the air move from all that power would have added to the experience. It definitely perked up ‘The Antichrist’ and ‘Reject Emotions’ though. Earlier in the concert, Bobby ‘Blitz’ Ellsworth (Overkill), Peavy (Rage), Tom Angelripper (Sodom) and Odlief from the Communic join Destruction on stage for ‘Alliance of Hellhondz’ but the vocals get a little muddy (understandably). Again though, just seeing them get up on stage with the band (lyric sheets in hand!) is exciting, these are moments we usually hear about but rarely get to see!

Just before launching into ‘Deathtrap’ Schmier asks who was born AFTER the song came out in 1985 and seems unsurprised that the entire front area raises their hands. The finale of ‘Bestial Invasion’ includes all 3 previous drummers (Tommy contributing vocals, not drums) as well as former 2nd guitarist Harry. The song is massive, the crowd is insane and the flames on stage hit close to 10 feet high. It’s an awesome way to cap of an incredible set, and all in all, a brilliant way to cap off 25 years.

The ‘History’ section of Savage Symphony chronicles the birth and rise of Destruction in their own words by the band themselves. Of course it’s all done in German so you actually have to pay attention to the subtitles, which means that you may actually learn something! I would have liked a little bit more about life in Germany as the bands was growing up and forming, but again it’s the band’s own words so they’re allowed to gloss over what they want! Bonus material includes videos and 2 mini movies ‘Nailed ToThe Road’ and ‘Fans Til Death’. Both of which give a little backstage glimpse at Destruction and their fans, for those of us who may never be able to catch them live.

Savage Symphony is an excellent commemoration of a band still in its prime 25 years on. The DVD is a terrific piece of history for Destruction fans and for fans of heavy music period.

(AFM Records)

Rating: 9

By Tate Bengtson

Savatage may be on indefinite hiatus, but frontman Jon Oliva has not allowed his productivity to abate one iota. If anything, it has increased. While Jon’s work in Trans-Siberian Orchestra elaborates Savatage’s symphonic predilections, Jon Oliva’s Pain picks up on the hard-edged aspects of Savatage. Jon Oliva’s Pain has cranked out an album every two years since 2004. Festival, the fourth album to date, continues the biennial release schedule.

What makes Jon Oliva’s Pain special is its ability to take on a different theme with each album and concoct songs that bring that theme to life. Thus we see, from one album to the next, shifts in approach to comport with the chosen theme. From the aggression of Maniacal Renderings to the risk-taking diversity of Global Warning, Jon Oliva’s Pain has balanced theme and musicianship with unusually consistent success. Festival, sporting a cover portraying a ghoul inviting a group of normal-looking people into a run-down carnival (one onlooker on the back of the cover holds up an admission ticket reading “Ride of Death”), sets the tone. Coincidentally, the cover also reveals that ghouls do not look very different from carnies.

Festival is not far removed from Savatage’s (likely) final album, Poets & Madmen. Inclined to a middling pace, the focus is on weighty, bludgeoning riffs wrapped in grandiosity and drama. The heavier tracks tend to be straightforward (but by no means simplistic) and are counterbalanced by more epic constructs that embrace a wider array of moods and tempos. A ballad (“Now”) and a nonconforming track (“Looking for Nothing”) round out the album. However, what makes Festival unique is the dark tone of many of its songs.

After the prog-on-steroids opener “Lies” impresses right out of the gate, second track “Death Rides a Black Horse” gallops to the forefront. The latter’s infectious chorus, urgent drum pattern and heavy riff prove that the elder statesman Oliva still has the magic touch after all these years, even if it manifests itself a little more rarely these days. The band members behind Oliva are no slouches either. On “Death Rides a Black Horse,” axeslinger Matt Laporte lays down an expressive solo that highlights the chemistry of the band as a whole. Unlike so many bands, for which conceiving and then integrating a guitar solo into a song is little more than an afterthought, Laporte’s lead guitar work on this track exemplifies how and why a solo should exist: as a vital dimension of the song’s expression. While the rest of the album does not match the quality of the pair of opening tracks, Festival remains fairly potent for the course of its fifty-five minutes.

Nor is Oliva lacking the ambition that characterized much of his middle and later work in Savatage. Festival is not pure adrenalized aggression; Oliva aspires to something grander. The man still has a taste for the epic and is not afraid of a dalliance with the occasional ballad. Such tracks are inherently higher risk and the experiments do not always pay off. “Afterglow” is a track resplendent in layered complexity and lush detail that harks to Savatage’s Wake of Magellan. Unfortunately, as a song it is occasionally tedious and even unfocused (the jazz-tinged instrumental section that concludes the track, while interesting in itself, is utterly baffling). At seven and a half minutes, “Winter Haven” is a bloated and ponderous track unable to support the weight of its lofty purpose. Much better is album closer, the lamentation “Now,” in which a meditation on mourning possesses a maturity that belies the remarkable fact that Oliva conceived the seeds of the song when he was a mere 18 years old.

Oliva tosses a curve ball with sixth track “Looking for Nothing.” As its gentle guitar lick and saccharine vocal melody slip into a yearning pop chorus spattered with a few psychedelic tracers, this tune sounds as if it could have been an outtake from Paul McCartney’s Flaming Pie album. This excursion proves to be a temporary respite before the scorching “The Evil Within” rushes forward, competing with “Death Rides a Black Horse” as the most aggressive track on the album. The song does prove to be rather infectious despite getting ensnared in a ham-fisted attempt at creating a spooky instrumental midsection (replete with a cheesy keyboard line torn out of a 1980s horror flick).

While Festival may not be outstanding, it is a solid and occasionally impressive piece of work from Jon Oliva, as much for his songwriting as for the chemistry of the team behind him.

(AFM)

Rating: 7

So, without further adieu, here is Natalie’s third installment (reviews #21 – 30 for those keeping stats at home) in what Hellbound likes to refer to as “Postcards From Natalie Zed”…

Keep of Kalessin – Kolossus (Nuclear Blast 2008)

The sheer grinding force of Kolossus‘ sound evokes lightning-blasted rock, a well-orchestrated sonic avalanche. Even more than the sound, the vocals hooked me. Whether screams or growls, black or death, every word with still clarion-clear. The meaning of the lyrics, clearly audible and comprehensible, and the force of the voice delivering those lyrics was a killer combination. Thebon has the voice of a dragon.

Trinacria – Travel Now Journey Infinitely (Season of Mist 2008)

Alchemy, the medieval pseudo-science that blended magic and chemistry, attempted to combine various elements to create something new – to turn iron into gold. The Trinacria (or triskelion) is an alchemical symbol representing movement and multiplicity. Alchemy is a perfect metaphor for this combination of Enslaved and Fe-Mail, taking disparate elements to make something new. While the end result is not exactly gold, it is rough and ugly and noisy and definitely magical.

Birds of Prey – The Hellpreacher (Relapse Records 2009)

This album is ugly. Some stories can’t progress, some protagonists cannot triumph, and the primary voice of this album is a voice that does not really have a chance. From the first line of this concept album, there is no respite, no out. The lyrics were difficult for me – especially “Juvie.” There is no way to navigate out of this maze of horrors , and the destruction of the voice is inevitable. It left me wrung out and thankful that, for all the ugliness I have seen, I have come out relatively clean.

Bonafide – Something’s Dripping (Black Lodge 2009)

Something’s Dripping may be one of the most comforting albums I have listened to in a while. Right out of the gates I knew what to expect, and BONAFIDE delivered my expectations every time. Listening was like stepping into the most worn and comfortable jeans that I own. You know what? I have never gotten laid once because I was wearing my lazy Sunday jeans. I prefer to be surprised.

Beneath The Massacre – Dystopia (Prosthetic Records 2008)

Sometimes I wonder if I see things that aren’t there, if my background in literature makes me see the world through dork-tinted lenses. Sometimes there is no doubt in my mind that I am on to something (I’m looking at you, KEEP OF KALESSIN – I’ve read Ursula LaGuin’s Earthsea novels too), and sometimes I am less sure. Are BENEATH THE MASSACRE referring to T.S. Eliot with a song titled “The Wasteland?” Or Edgar Allen Poe with “Nevermore?” Whether the references are intentional or not, I am willing to draw the parallel here, if only because the brutality of Dystopia seems perfectly in line with the bleakness of modernism. Shit – I feel like giving myself a wedgie for this one.

Kittie – In The Black (E1 Music 2009)

I’m honestly not sure if I dig this or not. I certainly dig female-fronted metal, and Morgan Lander has some pipes. I also dig the packaging – this incarnation is KITTIE is sleek and slick and cool. Even their photography is great. And still. Something about In The Black leaves me hungry.

Job For A Cowboy – Ruination (Metal Blade 2009)

Alright, JOB FOR A COWBOY. I have some aggression to work out too; if I didn’t, I wouldn’t be here. But sometimes you don’t have to go straight for the viscera. Sometimes you can just drink a bottle of wine and eat Oreos in the bathtub.

El Grupo Nuevo De Omar Rodriguez Lopez – Cryptomnesia (Rodriguez Lopez Productions 2009)

First, let me just say that I think THE MARS VOLTA is the shit. My lady parts were all a-quiver when I saw this particular album was included in my loot, and I am pleased to say I was not disappointed. The sound is strange and alien, but never alienating. For all the experimentation and aural collage and raw noise, Cryptomnesia retains a plaintiveness and kept me rapt.

U. D. O. – Dominator (AFM 2009)

So, maybe it’s a little bit cold. Not bitterly cold, just a bit rainy and drizzly, so the city is chilled and asphalt-grey. You’ve been running ragged lately, too many deadlines, a bit underslept. Maybe you even go to the gym, and put in a good workout, so your body is tired as well as your mind. Then, and the end of this busy, cold, wet, just slightly shitty day, you come home to a warm apartment and find a rare steak and a bottomless glass of red wine waiting for you. Can you imagine a more satisfying meal, the perfect sensation of bloody meat between your teeth? That’s exactly how satisfying Dominator is.

The Gathering – The West Pole (Season of Mist/Psychonaut Records 2009)

Come on, ovaries.

By Kevi H. Metal

Welcome to the second installment of the snarky, irreverent world of Rimshots, reconstituted for the online world that is Hellbound.ca. Enjoy them, because I know I didn’t. After suffering through this crop of crap, all I have to ask is: Sean, dude, what did I ever do to you?!

BURNING BLACK
MechanicHell
Limb Music

I don’t want to dis on Rob Halford too hard; he seems like a good dude, there’s that whole ‘metal god’ thing and he could probably dispatch gangs of his “bear” friends to anally attack me should I get on his bad side. However, someone has to take the blame for the hundreds of bands out there and photocopying Painkiller.
[4/10]

DEADWALK
Scandalous
Year of the Sun

Nothing is scandalous about bukakke and breakdowns anymore. People, we are officially jaded and desensitized. And Deadwalk are apparently jaded and desensitized to new musical ideas as well.
[3/10]

DREAMSIDE
Lunar Nature
Lion Music

When one would rather listen to Epica you know sumpin’ just ain’t right. Is it wrong to say that the best thing about this band is lead wailer Kemi Vita’s cleavage? I mean, that is the correct answer, but would it be wrong to say so?
[2/10]

THE DUSKFALL
Lifetime Supply of Guilt
Metal Mind

Originally released in 2004, Lifetime Supply of Guilt is a good album of thrash/melodic death from Sweden, but is there really that much demand for its reissue? It’s like a straight dude getting a blow job proposition from another guy; yes, it’s a chance to get a hummer, but that doesn’t mean he has to accept it.
[6/10]

HANDFUL OF HATE
You Will Bleed
Cruz Del Sur

Judging by the rampant sexual imagery throughout this album, it would seem these Italian dudes would rather have a handful of *ahem* themselves than of hate. After listening to their texture-less black metal skree, I know I would.
[3/10]

MISERY
Fifteen Years of Aggression
Self-Released

“Nü-metal” is dead. Long live “sorta-nü-metal” as played by dudes who were weeded out of the Jersey Shore casting call because of their violent proclivities and matching goatees.
[3/10]

NOSTRADAMUS
Illusion’s Parade
AFM

Fuck you, Nostradamus! You supposedly predicted 9/11, the rise of the Third Reich and the death of Princess Diana, but you couldn’t give us a heads up about shitty Blind Guardian knock offs naming themselves after you? Apologize to my ears – now, bitch!
[4/10]

SANDSTONE
Purging the Past
Limb Music

Sorry, are you a band or a tribute to Geoff Tate and Don Dokken’s inflated sense of self-importance?
[4/10]

SIX GUNS OVER TOMBSTONE
Six Guns Over Tombstone
Self-Released

These dudes look young and probably jumped the gun in recording their dude-from-Forbidden-singing-with-Iron-Maiden’s-garage band sound, but I’d still rather listen to this than have my taint fried by a cattle prod.
[6/10]

VENDETTA
Heretic Nation
Lion Music

Vendetta is the backhoe operator at the cemetery where metal’s rebellious spirit goes to die.
[4/10]

By Rob Kachluba

German melodic death metallers Dark Age’s sixth album Acedia is a bit of a departure from their previous efforts, but that is no reason to be frightened away from checking it out. While it is a bit more accessible than previous efforts, I am happy to report they still retained their dark edge and thankfully haven’t gone all syrupyala Soilwork. The album is full of huge choruses, bouncy, thrashy melodic riffs, and a massive sound is the name of the game here.There is quite a lot of mid-paced riffing with some great electronica but it is done very lightly in the same vein as earlier Raunchy. They do step on the gas now and then as well and to be honest that is where the Soilwork comparisons may come up. A very solid mature release that should garner them some attention, Acedia is chock full of very well written songs that are smartly paced and demand repeat listens.

(AFM Records)

Rating: 7.5

By Rob Kachluba

Remember back in the 80s all those great bands like Malice, Armored Saint, Icon. etc. that wrote killer anthemic songs with great riffing and soaring vocals? Well, oddly enough I get this same feeling on the opening track to the new album from these melodic power metal Germans. Now on album number seven, this is their heaviest release to date by far. They still retain a bit of a prog vibe but the way the riffs are written they just reek of full on power metal. Mostly midpaced in style, the songs really flow well throughout this concept album. There are hints of Queensryche and Dream Theater but the singer – who really shines on this album – does his own thing. He has a really nice midrange and only goes into the higher register for atmosphere. Lots of huge choruses and catchy verses in every track. Believe me folks, this ain’t the kind of power metal that is full of Cheese. This is classy stuff. AFM have been on roll lately with the new Brainstorm and Dark Age CDs and now this. May the streak continue!

(AFM Records)

Rating: 8.0