Archive for the ‘metal music’ Category

Cycle

Birth death renewal and I can’t breathe

I’ve lost my light I dropped my torch inside

This vacant

Tunnel

I search for trouble

Cause at least then I would feel something

Inside

I’ve looked for years

With empty eyes

What’s dark in me won’t you

Illumine

It’s all my fault we all lose our way

Stretch out your hands and keep the wraiths at bay

I

Can’t

Find my way through this damned labyrinth

I’m

Running out of thread

I

Won’t

Find my way I’ll say the Hell with it

I’m on the verge of giving in

I’ve tried it all

Chased vanity

I’ve looked for calm

But it always strays (tossed by the waves)

It’s not my fault that you’ve lost your way

Stretch out your hands and keep the demons at bay

I

Can’t

Find my way through this damned labyrinth

I’m

Running out of thread

I

Won’t

Find my way I’ll say the Hell with it

I’m on the verge of giving in

I hope someone up there

Can save me

That’s what everybody says

I plead are you up there

So save me

I need to pray for someone else

Save me

(These are lyrics to a heavy metal song I’m recording)

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The Germs: Forming

Infiltration, numbing your minds. Concentration, weve done time. Rip them down, hold me up, tell them that I’m your gun. Pull my trigger I am bigger than…

Marilyn Manson: Crucifixion In Space

This is your creation. The Adam Of Eden was a bomb. (ADAM bomb ATOM bomb haha I love it)

My Chemical Romance: Vampires Will Never Hurt You

Can you take this spike? Will it fill our hearts with thoughts of endless night…time…sky…can you take this spike? Can you wash away this jet black feeling?

My Chemical Romance: Destroya

Don’t believe what they say

We’re dead flies in the summertime

They leave us all behind

With duct tape scars on my honey

They don’t like who you are

You won’t like where we’ll go

Brother, protect me now

With blood they wash in the money!

You don’t believe in God

I don’t believe in luck

They don’t believe in us

But I believe we’re the enemy!

Underoath: Casting Such a Thin Shadow

In a picture perfect scenery, I’ve become a stick figure illustration.

Fall Out Boy: XO

To the “love”, I left my conscience pressed

Between the pages of the Bible in the drawer

“What did it ever do for me?”, I say

Green Day: Jesus of Suburbia

I’m the Son of rage and love, the Jesus of Suburbia. From the Bible of none of the above, on a steady diet of

Soda pop and ritalyn. No one ever died for my sins in hell as far as I can tell, at least the ones I had gotten away with

And there’s nothing wrong with me. This is how I’m supposed to be. In a land of make believe, they don’t believe in me.

Avenged Sevenfold: The Stage

It took the birth of sin to snake-rattle the mind

Before a blow to the head by the gavel of time

To wake up

Won’t you wake up?

When did the walking apes decide that nuclear war

Was now the only solution for them keeping the score?

Just wake up

Can’t you wake up?

Marilyn Manson: Angel With the Scabbed Wings

He is the angel with the scabbed wings, hard drug face, wanna powder his nose? He will deflower the freshest crop, dry up all the worms with his rock and roll sores.

My Chemical Romance: It’s Not a Fashion Statement, It’s a Deathwish

When you go, just know that I

Will remember you.

If living was the hardest part, we’ll then one day

Be together.

And in the end we’ll fall apart just as the leaves

Change in color.

And then I will be with you. I will be there.

One last time now.

Well when you go, just know that I

Will remember you.

I’ve lost my fear of falling. I will be with you. I will be with you.

This one is my own…just funny.

Monkeys with guns, haha, that’s all we are. King fucking Kong didn’t get very far.

It was announced recently that the metal core outfit known as Underoath is no longer a Christian band. This shocked the Hell out of many, myself included, but it only took a trip through the rest of their albums for me to realize they’ve been wrestling with the issue for a long time (especially in the last one “Disambiguation”) – discs riddled with doubt and uncertainty, even from the beginning.

While their new record, “Erase Me” does explore issues of questioning (in ways that outdo both Bring Me the Horizon and Marilyn Manson), it is far from blasphemous. There are enough “God save me” references to satisfy any Christian…or, better put, any hopeful spiritual person…There’s a lot on this disc that Fundamentalists would have a big problem with. But that’s rock and roll. That’s art. And though I believe in Jesus Christ as my savior, I am still happy to call this album the best set of songs I have heard since 2010 (Danger Days….).

There is so much raw authenticity to this disc…whether it’s Spencer’s chaotic vocals digging deep into the subject of depression, Aaron’s beautiful vocals that sound like fucking harmonies even when there’s only one vocal track, Chris’ innovative keyboards that can go from Skrillex to Beetheoven at the drop of a hat, Grant’s chugging bass lines that practically break the windows of my car, or Tim and James’ relentless guitars that go from mellifluous harmony to relentless assault within the span of a second.

This is CLASSIC Underoath. The darkness of Define the Great Line, the rawness of Lost in the Sound of Separation, the experimental tones of Disambiguation, and the heartfelt honesty of They’re Only Chasing Safety (Oath abandoned the black metal of Cries of the Past days long ago…but, surprisingly, this shit has the energy of that disc as well…fast, double bass, metal riffs, and less focused, more cathartic screams in some places). The best description I can think of for this album is that it’s like They’re Only Chasing Safety, but more mature, and way, way heavier. Digitized intros and bridges, industrial drum beats with just enough metal to assault the ears, beautiful clean vocals, and heavy screams that put all other “screamers” to shame –

this is Underoath.

This is the band that created the metal core genre…perhaps not literally, but definitely in that the style they created is what everyone else followed. So many bands reap the benefits from the ingenuity of Underoath (and I love them, and none are by any means ripoffs, but it’s true…Underoath are like the Beatles of metal core) – Memphis Mayfire, Blessthefall, Escape the Fate (some of it), Alesana, A Skylit Drive, Bring Me the Horizon, and so many more.

What’s crazy though is how DIFFERENT this effort manages to be while still remaining true to the style of what came before it. There are BALLADS now, along with punk rock (In Motion). “No Frame” is the most innovative thing I have ever heard from Underoath…it still sounds like them, but they have literally never written a song like this one before – the only thing I can compare it to is some of the spacey stuff from Thirty Seconds to Mars, but BETTER. And it’s not just this song – so much of this record is experimental, and while we’ve heard similar sounds before, it still pulls off the feeling of being fresh and unique.

I literally find no fault whatsoever with this album. It is perfect from start to finish.

This isn’t Avenged Sevenfold’s best album. That honor will always be held by City of Evil (one long guitar solo) and, to some extent, Nightmare. 

But it’s their smartest, most ambitious, and most unique album to date. Think “The Wall” by Pink Floyd…but metal.

It’s a concept album, centering around the ideas of artificial intelligence and the implications its misuse has on humanity. Sort of like the Matrix, but less sci-fi and more genuinely scientific. This was the first thing that surprised me about the record. I never would have guessed that these metal giants would make a disc based Around scientific philosophy. Computers become the new God of society, people replace their body parts with mechanical implants so much that they aren’t human anymore, and the world gets destroyed. In my mind, this record is even an allegory for Facebook, social media, and the internet in general taking over the souls of the human race. I don’t really despise social media – but I do think our obsession with it is a bit excessive.

You would think with this concept that the album would sound digital and electronic – and once again, A7x surprise us by making it sound like their older metal core efforts, particularly on tracks 2-5. Instead of going full on 80s metal like they did on their last record, the disappointing “Hail to the King”, the band seems to have gotten back to their roots. It’s a blend of City of Evil and Waking the Fallen, especially where the guitar riffs are concerned. And while it doesn’t sound electronic, it certainly sounds cosmic. You feel like your up in the stars when you listen to it, and the cover art is a very clever play on their beloved logo, the death bat. Stars make up the skull and lightning energy makes up the wings, as you can see for yourself. 

The chorus on “Paradigm” hits mercilessly hard with speed and melody, the riffs on “Sunny Disposition” explode in your face (there’s a really pretty melody in there though at a few points), and “God Damn” combines black metal tremolo picking and drums with clean vocals to a very pleasing effect. 

The final track, “Exit” is primarily instrumental with smart time changes that go on for over ten minutes. There’s more music than lyrics on this one, but when those vocals come your ears will be blown away. This song is basically a narrative for the creation of our universe, the “Big Bang”, and it’s quite possibly the group’s most innovative song. Famed cosmologist Neil Degrasse Tyson even does a spoken word part at the end which he apparently wrote specifically for this album. I wouldn’t have ever pictured him working with a hard rock band, so this was another surprise. 

Yes, the album is full of surprises. It recaptures the brutal sound of their older albums while still remaining fresh and new to the listener. 

The only two problems I have with the disc are M. Shadows’ vocals and Synyster Gate’s guitar playing. Don’t get me wrong – both musicians still sound excellent and totally professional, but their work on this one just doesn’t capture me in the same way their previous material always did.

I award this album a 4 out of 5. If you love metal, go listen to it. Like, right now. 

If anyone on here enjoys rock music, then please check out my solo music project Cathartic Catapult

The first few songs are demos from my upcoming album, “Daybreak”, and all the songs starting with “Little Ant” are from my 2010 solo album called “Your Evil Broken World”

If you like Marilyn Manson, My Chemical Romance, Avenged Sevenfold, Green Day, or The Rocket Summer, then I believe you may enjoy my music as those are my main influences. I would call my genre simply, “rock”, but there’s a lot of metal in there as well as a good deal of melodic singing. Thank you!

Greetings, lovers of rock! As usual, this album review of mine is very late. I sometimes wonder if many people are even still talking about the albums I review(though they should, because I only review important albums). One exception was my pale emperor review, which was written fairly near the release date(not sure when I posted it). Anyway, in keeping with my “tradition” of pairing albums with food that reminds me of the band, I will say that bring me the horizon reminds me of… Well, meat I guess. But mainly discovering them at hot topic. So I guess I wasn’t eating anything when I first heard them, unlike with all my other favorite bands. But who cares? SEMPITERNAL is a fantastic album. I could almost say monumental(don’t worry, I will be a critic at some point and review bad albums). Beginning with the album prior to this one, bmth started to focus more on melody than heaviness(about the hot topic thing…I don’t group music into terms like emo very much, but everyone thinks hot topic is the epitome of “emo”. Well BMTH can’t be accused of that. They haven’t worn makeup as far as I know, just blood, and they look and sound more like a cannibal corpse type than anything else). The opener, “can you feel my heart initially surprised me with a dancy poppy feel. Like most of the other tracks, it will blast away your speakers and bass more than most rock music is capable of doing. What’s surprising is that even with a pop sound these guys still sound pretty hardcore(it’s a different case with their next album that I will review “that’s the spirit”), especially in songs like shadow Moses. It’s not really like their previous efforts, but the advent of pop and electronic, which was only hinted at previously, really makes this record stand on it’s own. Musically, all the songs possess many intricate layers, ambience, experimenting, and actually beautiful melodies(as stated before, this band’s previous albums were more death metal oriented and although great, didn’t focus too much on melody other than the song “don’t go” off “there is a hell…”) some songs actually sound like feel good rock, but they are easily overpowered by the majority of sadness on this album, whether it be through the sound or especially the lyrics. It’s heartbreaking, with a penchant for the bleak, the deolate, and the unfixable. Obviously, these lyrics were inspired by lead vocalist oli syke’s struggle with drug addiction(he did however get better and proceeded to write with more triumph in the following album “that’s the spirit”). I have suffered addiction personally and can definitely find a common ground with oli in these lyrics of his, as well as in some lyrics that I personally interpret to be about family issues and remorse for actions against family, but that’s just my personal interpretation. Something else really interesting is the guitar work. The guitarist, Lee Malia, while not doing too much when it comes to “hardcore riffs”, plays technically and professionally enough for the notes and chords to still be the main focus under the huge array of electronics on all the tracks. And while I’m not as interested in bass and drums(which is silly of me), the bass and drumming works of Matt Kean and Matt Nicholls, respectively, really give this album a good rhythm. I might rate the album on a whole of four out of five, but due to the sheer emotion it conveys to me, I have to up it to a five. Almost as good as the black parade by mcr, and that’s a big deal to me. Get this album. And don’t be all upset because it doesn’t sound like “sleep with one eye open” or “pray for plagues”(if you do, then you better not listen to their “that’s the spirit” record released a few days ago, unless you can get past head banging and care about melody).

I believe I have previously mentioned that certain albums/bands remind me of the foods I was consuming when I first received their sonic magic into my ear drums. Well, the “shock rocker” Marilyn Manson will always remind me of meatloaf. My mother made it for me when I first discovered his eat me drink me album through his MySpace page. It never ceases to amaze me how fitting that is….meatloaf and Marilyn Manson. This is because, no matter what your opinion of his controversial band may be, it cannot be denied that it consists of SUBSTANCE, RICHNESS, MEAT (the obvious depth of his lyrics and imagery as well as a disgusting incident with a fan that he recalled in his autobiography), LIFE, SACRIFICE, and blood. This probably sounds silly so I may as well move on to the review itself (but not before explaining one more thing about the meat/Manson connection, also found in his autobiography: a quote placed directly before chapter 13 by Roland Barthes: steak is at the heart of meat, it is meat in its purest state; and whoever partakes of it assimilates a bull like strength. The prestige of steak evidently derives from its quasi-rawness. In it, blood is visible, natural, dense, at once compact and section. One can well imagine the ambrosia of the ancients as this kind of heavy substance which dwindles under one’s teeth in such a way as to make one keenly aware at the same time of its original strength and of its aptitude to flow into the very blood of man). Anyway, if you are still reading this, then you are most likely a fan of Marilyn Manson, and most of you would agree with me that the highlight of the groups career was between his very first record  and his sixth(the golden age of grotesque). Many believe that he became “calm” after golden age due to the change in his lyrics from the point of view of an irredeemable monster to a human being full of regret. I myself did not mind this soft side at all, as eat me drink, the album following golden age, is the one I enjoy the most(holy wood is the most well made, but I just like eat me drink me more). But fans were given a taste of the old psychotic Marilyn Manson in his album released before the pale emperor, born villain, which sounded like a blend of antichrist superstar and mechanical animals. Well, for those of you seeking out “hardcore”, this newest album only has one song that can be considered heavy in my opinion (deep six). But that doesn’t mean that it isn’t over the top, vicious, and nasty like his earlier works. It’s got everything that made us love Manson in the first place, but with a new twist: blues rock. Yes, Marilyn Manson has become a blues band, from the guitars to the drums to the vocals. And it sounds amazing. Think about it…rock and roll originally began with the blues anyway. So what Manson has done with this record is, as usual, quite intelligent. But what many fail to realize is that although mr warner(Manson Himself) is the primary factor of the band’s imagery and success, most of the songs were written musically by his band mates. In the past, twiggy ramirez(real name jeordie white) has written some of the coolest bass grooves and guitar licks of rock and roll, but this time around the music was composed by Tyler bates, writer of the score to the new guardians of the Galaxy film. I have yet to see this movie, but from his jangly guitar riffs and funky basslines in the pale emperor it is obvious that he is a very talented musician. As for Manson himself, his blues infused voice has never sounded better. It is still very eery and the lyrics are of course loaded with violence, profanity, and negativity, but the way he sings against the awesome sounding instruments provides for a surpringly upbeat rock record. This isn’t the old Marilyn Manson, but I believe diehard fans will still find it to be a good listen. Critics love it, calling it the best album produced by Manson in over a decade, and I have to agree with them. But I will go a step further. Eat me drink me is still my favorite, but the pale emperor is actually a very close second; even better than holy wood and mechanical animals. And, if you are a Manson fan, you know that that is a huge deal. Very huge. Long live the real king of rock. Ten out of ten stars