Metal ($5 Blowout Price!)

"When you play by your own rules and say what you think you're always going to cause some degree of controversy and piss a handful of people off in the process. The upside (and it's a big upside) is you keep your integrity intact and get the immense satisfaction of knowing that your creation is yours and yours alone, and the naysayers be damned. Enter guitarist, occasional vocalist, songwriter, producer, and ANNIHILATOR big cheese Jeff Waters. He wins a few, he loses a few, but he's always got a dedicated fan base and a pretty damn impressive slew of traditional/thrash metal releases to his name. He could have played it safe and gone with another unapologetically thrash metal album like 2005's outstanding effort "Schizo Deluxe", but as he's prone to do he changed things up just a hair and involved an all-star cast of guest musicians for "Metal". In this case, he's come up with another winner that still involves plenty of classic ANNIHILATOR thrash with a few wrinkles thrown into the mix that will probably irritate some folks, but will please many more.

The bulk of "Metal" is straight-up thrash and traditional metal in the vein of "Schizo Deluxe". Songs such as "Clown Parade" (featuring Jeff Loomis), "Chasing the High" (w/ Willie Adler), "Downright Dominate" (w/ Alexi Laiho), "Smothered" (w/ Anders Björler), and "Kicked" (w/ Corey Beaulieu) a few of the tunes that showcase Waters' prodigious riff skills and cracking solos. If you're a fan, you'll dig these tracks. One could criticize the somewhat mechanical drumming (sound and style) of Mike Mangini, but the focal point here is the guitar and I find the skin beating to be more than adequate for what Waters is trying to get across. The axe master even takes over the microphone for another stomping beast called "Operation Annihilation" (w/ Michael Amott). "Haunted" (w/ Jesper Strömblad) is an eight-minute track notable as much for its aggression as its arrangement changeups into alluringly tuneful territory. One wonders if the rhythm/riff similar to BLACK SABBATH's "Children of The Grave" during the verse of "Detonation" (w/ Jacob Lynam) was intentional, and in either case the song is a winner. While some are not completely enamored with Dave Padden's vocals, which alternate between the clean/melodic to the gruff/aggressive, I find them distinctive and fairly well suited to the ANNIHILATOR style.

Finally, two of the standout tracks (for different reasons and depending on your point of view) are "Couple Suicide" and "Army of One" (w/ Steve "Lips" Kudlow) The former features Danko Jones delivering melodic clean (one might even say emo-esque) vocals, while Angela Gossow offers some guest growls. The initial impression I got from hearing the track was one of puzzlement (as in, "huh?"), the effect wearing off a few spins later when I realized that the song is actually quite catchy. The track is guaranteed to bug the shit out of more than a few people though due to it straying so far from the signature sound of the remaining tunes. "Army of One" is just plain fun, the ode to '80s metal survivors featuring Padden name dropping the likes of METALLICA, MEGADETH, and BLACK SABBATH.

Mark "Metal" down as another solid ANNIHILATOR effort. I still prefer "Schizo Deluxe" for its righteously metallic approach, but this one is nearly as enjoyable, albeit for different reasons." - Blabbermouth.net

There are no review yet. Be the first!

Product Review

You must login or register to post reviews.
Laser Pic

customers also bought

SEE ALL
  • "Is this really the end? Our story told, forever to be forgotten in the ashes of time? When we will perish, will anyone remember life stories, personal ventures gone into the vastness of space? No doubt that the question of mankind’s future existence is something that most people tend to ignore, busy with their daily troubles, probably only have nightmares about it or watching disasters in movies. On the other hand, that same question has a magnitude that will eventually consume the wanderers, possibly to cause paranoia, but it will still remain a personal truth. Within the vast corridors of Metal music, mankind’s quandary of survival has been quite a topic, always diverting patterns of thoughts regarding the matter whether with vile disgust or slightly more optimistic point of view. The Danish MERCENARY reached out for what would be considered as the darkened days, where mankind will be consumed by disease, hate and perdition. “Through Our Darkest Days”, via NoiseArt Records, carries on the bands continual modern melodic Death Metal deliveries, a hybrid with what could be perceived as contemporary Power Metal. Within the banned outskirts, a possible future is here, alive, telling its tale.Amidst the obscurest demesnes of “Through Our Darkest Days”, MERCENARY seemed to have preserved their musical principles since their earlier days. This new number shares the band’s greatest qualities once again on display. The impeccably crafted melodic Death Metal with updated driven Power Metal, a bit closer to the its modern Swedish counterpart al’a SOILWORK, Jakob Mølbjerg and Martin Buus provided assorted types of riffing whether shooting off harmonies in the vein of IRON MAIDEN, showcasing melancholic melodies or barraging partial staccato rhythms and several other palm muted chugs, a breed of a creative view, Buus delivering frantic soloing showing off his expertise with a few Bluesy like surprises on the side, Peter Mathiesen clearly a worthy addition to this band since his first days in 2009 with being a diverse drummer and of course at the bass and vocals, René Pedersen. I believed that I said it before, after reviewing the band’s previous “Metamorphosis”, but it has to be said again, ever since the departure of Mikkel Sandager, Pedersen took the reins as both clean and growl vocals. In that moment, I became even a bigger fan of the band as Pedersen drama fused clean vocals along with low to mid end growls of high quality swept me off my feet, always channeling spectacular harmonies that sound so rich and endless.Generally, “Through Our Darkest Days”, in comparison to the previous contender, “Metamorphosis”, felt somewhat defiant, aggressive, heavier, but also catchier that before much like the band’s earlier discography. Furthermore, the album’s amazing flow, and atmospheric acuities, created a sort of an understanding of the dimmed message the band is trying to create in front of you, mostly thanks to the profound grasp of the keyboards meeting perfectly with the band’s melodic fortitudes. “A New Dawn”, “Through Our Darkest Days” and “Holding On To Serenity”, assumingly the album’s prime highlights, were able to slightly shade the impact of early songs as “Firesoul” and “Shades Of Grey”. “Dreamstate Machine” and “A Moment of Clarity” delivered a chunk of fistful of heaviness, in your face Metal with distinctive sense of anger but also a look for beyond, out of the box inside looking out, harmonic vocals so emotive along with well written guitar riffs, cracking with rhythmic simplicity in times, but still shrewd as always. In last few words, it will never be the same, but MERCENARY, since emerging as a foursome crew, has been assimilating the meaning of true greatness, their attention to details is exemplary with great ideas to keep up the foundation going. " - Metal Temple
    $12.00
  • Japanese SHM-CD in a mini-lp sleeve."Kill 'Em All may have revitalized heavy metal's underground, but Ride the Lightning was even more stunning, exhibiting staggering musical growth and boldly charting new directions that would affect heavy metal for years to come. Incredibly ambitious for a one-year-later sophomore effort, Ride the Lightning finds Metallica aggressively expanding their compositional technique and range of expression. Every track tries something new, and every musical experiment succeeds mightily. The lyrics push into new territory as well -- more personal, more socially conscious, less metal posturing. But the true heart of Ride the Lightning lies in its rich musical imagination. There are extended, progressive epics; tight, concise groove-rockers; thrashers that blow anything on Kill 'Em All out of the water, both in their urgency and the barest hints of melody that have been added to the choruses. Some innovations are flourishes that add important bits of color, like the lilting, pseudo-classical intro to the furious "Fight Fire with Fire," or the harmonized leads that pop up on several tracks. Others are major reinventions of Metallica's sound, like the nine-minute, album-closing instrumental "The Call of Ktulu," or the haunting suicide lament "Fade to Black." The latter is an all-time metal classic; it begins as an acoustic-driven, minor-key ballad, then gets slashed open by electric guitars playing a wordless chorus, and ends in a wrenching guitar solo over a thrashy yet lyrical rhythm figure. Basically, in a nutshell, Metallica sounded like they could do anything. Heavy metal hadn't seen this kind of ambition since Judas Priest's late-'70s classics, and Ride the Lightning effectively rewrote the rule book for a generation of thrashers. If Kill 'Em All was the manifesto, Ride the Lightning was the revolution itself." - Allmusic
    $16.00
  • "Anthrax's first album with vocalist Joey Belladonna is a huge leap forward, featuring strongly rhythmic, pounding riffs and vocals that alternate between hardcore-type shouting and surprising amounts of melody. Two tracks left over from the Dan Lilker days are here as well. The traditional metal lyrical fare is more original, while also introducing a penchant for paying tribute to favorite fictional characters and pop culture artifacts ("Lone Justice" and "Medusa" are prime examples). One of Anthrax's best efforts." - All Music Guide
    $5.00
  • Japanese SHM-CD in a mini-lp sleeve."Even though Master of Puppets didn't take as gigantic a leap forward as Ride the Lightning, it was the band's greatest achievement, hailed as a masterpiece by critics far outside heavy metal's core audience. It was also a substantial hit, reaching the Top 30 and selling three million copies despite absolutely nonexistent airplay. Instead of a radical reinvention, Master of Puppets is a refinement of past innovations. In fact, it's possible to compare Ride the Lightning and Master of Puppets song for song and note striking similarities between corresponding track positions on each record (although Lightning's closing instrumental has been bumped up to next-to-last in Master's running order). That hint of conservatism is really the only conceivable flaw here. Though it isn't as startling as Ride the Lightning, Master of Puppets feels more unified, both thematically and musically. Everything about it feels blown up to epic proportions (indeed, the songs are much longer on average), and the band feels more in control of its direction. You'd never know it by the lyrics, though -- in one way or another, nearly every song on Master of Puppets deals with the fear of powerlessness. Sometimes they're about hypocritical authority (military and religious leaders), sometimes primal, uncontrollable human urges (drugs, insanity, rage), and, in true H.P. Lovecraft fashion, sometimes monsters. Yet by bookending the album with two slices of thrash mayhem ("Battery" and "Damage, Inc."), the band reigns triumphant through sheer force -- of sound, of will, of malice. The arrangements are thick and muscular, and the material varies enough in texture and tempo to hold interest through all its twists and turns. Some critics have called Master of Puppets the best heavy metal album ever recorded; if it isn't, it certainly comes close." - Allmusic
    $16.00
  • "Pantera's back, and all is as wrong with the world as it ever was. They're going to make sure you know it, too. Despite the four-year absence from the studio between Great Southern Trendkill and Reinventing the Steel, Pantera's unflagging aggression is confirmed by the full-throttle rhythms, throat-ripping vocals, and crunchy guitars. Call it their Metallica legacy, except that Pantera are more Metallica than Metallica these days. Heavy metal of this breed may be past its heyday, but Pantera's not going away quietly. In fact, evidence suggests that they're not going away at all--no matter how low you keep the volume knob, Reinventing the Steel is loud, loud, loud!" --Genevieve Williams
    $9.00
  • "Album number four for New York metal thrashing extraordinaire's Anthrax. Persistence of Time used to be my favorite Anthrax album, and even though I give the edge to Spreading the Disease I still rate this one highly, and I prefer it to the likes of Among the Living.Persistence of Time has the distinction of being Anthrax's most accomplished release, well, as far as musicianship and performances go. The band decided to take themselves seriously here and this album feels right at home amongst the Victims of Deception, Years of Decay, Twisted Into Form crowd. A lot of the bands slight crossover element is largely missing, with the exception of the "Got The Time" cover, which serves as highly beneficial to the release.The tracks are quite a bit longer than usual here, with the opening four numbers swimming a see of six - seven minute tracks. Anthrax really deliver over the longer time periods and the songs are given a lot more room to grow. When concerning production I feel that by todays standards Persistence of Time happens to stand up the best amongst the bands work with Joey Belladonna. The mix is fantastic, and the bass has a great prominent sound which as a result leaves this album sounding the heaviest of the Anthrax backlog."Time", "Blood" and "Keep it in the Family" are all massive in scope as far as Anthrax goes, and these songs are among some of the best the band have done. From the darker edged riffs, to the build up and dynamics this is all good. "Keep it in the Family" is a particularly awesome example of Anthrax ala Persistence of Time. Not to blow their wad in the first half of the album we have the awesome "Gridlock" which houses some of Anthrax's most menacing work, and the bad-ass "Belly of the Beast". Proabably the catchiest track on the album (not including the cover), this was actually the first Anthrax song I ever heard, and has some fond memories attached to it.Persistence of Time is a really cool release, and is reflective of its given genre at the time. Thrash was pushing forward in quite an exciting way, yet somehow it all went wrong. Even now when we have a fuck load of caricature thrash bands, none of them try to progress like Anthrax did here. Despite the niggling "Got The Time" the rest of the album is awesome and is of interest of any thrash fan, especially those with interest in the later releases around the late 80's early 90's." - Metal Archives
    $5.00
  • "For Flotsam and Jetsam, the heavy metal highway has been sprinkled with nails. First, the band's frontman Jason Newsted quit to seek his fame and fortune with Metallica. Then, after securing a major label deal, Flotsam and Jetsam were cajoled into toning down to appeal to the masses. Eleven years after releasing its classic album Doomsday for the Deceiver, the band returned to the label that signed it, writing more aggressive material than it had in years. High is a declaration of hate, brimming with full-fisted guitar riffs and head-bobbing beats--an unrestrained battle cry from a band that refuses to lay down and die." --Jon Wiederhorn
    $4.00
  • "When you play by your own rules and say what you think you're always going to cause some degree of controversy and piss a handful of people off in the process. The upside (and it's a big upside) is you keep your integrity intact and get the immense satisfaction of knowing that your creation is yours and yours alone, and the naysayers be damned. Enter guitarist, occasional vocalist, songwriter, producer, and ANNIHILATOR big cheese Jeff Waters. He wins a few, he loses a few, but he's always got a dedicated fan base and a pretty damn impressive slew of traditional/thrash metal releases to his name. He could have played it safe and gone with another unapologetically thrash metal album like 2005's outstanding effort "Schizo Deluxe", but as he's prone to do he changed things up just a hair and involved an all-star cast of guest musicians for "Metal". In this case, he's come up with another winner that still involves plenty of classic ANNIHILATOR thrash with a few wrinkles thrown into the mix that will probably irritate some folks, but will please many more.The bulk of "Metal" is straight-up thrash and traditional metal in the vein of "Schizo Deluxe". Songs such as "Clown Parade" (featuring Jeff Loomis), "Chasing the High" (w/ Willie Adler), "Downright Dominate" (w/ Alexi Laiho), "Smothered" (w/ Anders Björler), and "Kicked" (w/ Corey Beaulieu) a few of the tunes that showcase Waters' prodigious riff skills and cracking solos. If you're a fan, you'll dig these tracks. One could criticize the somewhat mechanical drumming (sound and style) of Mike Mangini, but the focal point here is the guitar and I find the skin beating to be more than adequate for what Waters is trying to get across. The axe master even takes over the microphone for another stomping beast called "Operation Annihilation" (w/ Michael Amott). "Haunted" (w/ Jesper Strömblad) is an eight-minute track notable as much for its aggression as its arrangement changeups into alluringly tuneful territory. One wonders if the rhythm/riff similar to BLACK SABBATH's "Children of The Grave" during the verse of "Detonation" (w/ Jacob Lynam) was intentional, and in either case the song is a winner. While some are not completely enamored with Dave Padden's vocals, which alternate between the clean/melodic to the gruff/aggressive, I find them distinctive and fairly well suited to the ANNIHILATOR style.Finally, two of the standout tracks (for different reasons and depending on your point of view) are "Couple Suicide" and "Army of One" (w/ Steve "Lips" Kudlow) The former features Danko Jones delivering melodic clean (one might even say emo-esque) vocals, while Angela Gossow offers some guest growls. The initial impression I got from hearing the track was one of puzzlement (as in, "huh?"), the effect wearing off a few spins later when I realized that the song is actually quite catchy. The track is guaranteed to bug the shit out of more than a few people though due to it straying so far from the signature sound of the remaining tunes. "Army of One" is just plain fun, the ode to '80s metal survivors featuring Padden name dropping the likes of METALLICA, MEGADETH, and BLACK SABBATH.Mark "Metal" down as another solid ANNIHILATOR effort. I still prefer "Schizo Deluxe" for its righteously metallic approach, but this one is nearly as enjoyable, albeit for different reasons." - Blabbermouth.net
    $5.00
  • Out of print limited edition CD/DVD with bonus tracks."Dubbed as single-handedly reviving 80’s Bay Area thrash in the UK with the killer ‘Enter The Grave’ in 07, Evile attempt to up the ante with their sophomore, and boy do they succeed. ‘Infected Nations’ is a monster second helping of awesome bulldozing riffs, shredding solos and roaring vocals, an exquisite metallic frenzy which should be lapped up by anyone who knows anything about a decent thrash record. With their dystopical lyrical themes synonymous with the genre, Evile seem to have their formula perfected and leave you with the feeling they’re half the thickness of a matchstick away from a future thrash classic." - Rock Sound Magazine
    $6.00
  • 24 bit gold remaster from Mobile Fidelity. This version was remixed by David Mustaine and features four bonus tracks. This is the best this album will every sound.  Out of print - incredible price!
    $15.00
  • Ok so here's an album I didn't think would have a ghost of a chance of me enjoying but I was pleasantly surprised. Australia's Teramaze play a style of old school thrash metal but there are strong prog elements and its quite melodic to boot. Some killer dual guitar staccato riffing and a vocalist that doesn't get too nasal or whiny. Imagine that - a thrash metal vocalist that can sing without annoying!
    $12.00
  • "The proper follow-up to Among the Living was somewhat disappointing in its inconsistency. While there are some good moments -- "Be All, End All" is one of the band's most melodic moments, and several other tracks catch fire -- the best thing here is a cover of Trust's "Antisocial," and it doesn't bode well when covers outshine original material. The lyrics continue the self-consciously intellectual, PC approach begun on Among the Living, but about half of the album is surprisingly dull." - All Music Guide
    $5.00
  • "Though Megadeth and their founder Dave Mustaine have spent their entire existence just a few steps behind Mustaine's former group Metallica, it's important to remember that they've also spent a lot of time as one of the most popular metal bands in the world. The summit of their commercial success came in 1992 with fifth album Countdown to Extinction, a creative high point from Mustaine and crew possibly spurred on in ways by the footrace with Metallica and the leaps in production made on their self-titled 1991 breakthrough album. Twenty years later, Countdown still stood as Megadeth's best-selling album, and in many circles, their most loved material. Countdown to Extinction: Live is a concert document of the 20th anniversary tour that found the band playing the album front to back, bookended by a few odds and ends from other albums. While the premise seems pretty rote, the execution of the live album is surprisingly interesting. Most live re-creations of full albums fall flat in comparison to the original artifacts, and this is no exception, but it's great to hear the devoted legions sneer along with every word of Mustaine's schizophrenic monologue on "Sweating Bullets" and cheer insanely at the now-dated George Bush samples that pop up throughout the set list. The performances are pinpoint, but the live sound lacks the production and feel of the studio album and eventually the tracks blur, losing the excitement a live experience offers. While the inclusion of extra crowd favorites like "Hangar 18" and "Peace Sells" flesh things out somewhat, the thrill of the live setting doesn't completely transfer, and all but the Megadeth superfans will probably prefer revisiting the original 1992 album before diving into the strong but much duller offerings of the live album." - Allmusic
    $5.00
  • "If Metallica and Slayer invented speed metal, Anthrax brought it to the East Coast and imbued it with the attitude and excitement of New York hardcore. Among the Living is, without a doubt, their finest hour--a roaring, adrenaline-pumped collection of flailing beats, precise, razor-edged riffs and shout-along refrains. Unlike most full-throttle metal vocalists of the era, Joey Belladonna chose to sing as well as shout, giving songs like "Among the Living," "Indians" and "Efilnikcufecin" ("nice fuckin' life" spelled backwards) a decided melodic edge. Yet Scott Ian and Dan Spitz's buzzsaw guitar flurries, and Charlie Benante's insistent drumming, prevented the songs from ever degenerating into the run-of-the-mill heavy metal they so despised. "
    $5.00