HAMMERFALL
Threshold
(Nuclear Blast)
Rating – 8.5/10

After a trio of kick-ass albums, Sweden's premier Heavy Metal™ band started to fall into a rut with Crimson Thunder.  With patience, the album revealed its charms, but the follow-up to it – Chapter V: Unbent, Unbowed, Unbroken – was a pretty dismal failure all the way around.

So it was with reduced hope that I went into Threshold, but alas, HammerFall have returned to their former selves in a blaze of glory!  This is full-bodied classic metal in the vein of old-school Maiden and Helloween, with the heavy riffage of Accept in their prime.  In fact, I would dare say this is the band's heaviest work to date, with tracks like "Natural High" and "Titan" offering up true headbanger bliss.  The awkwardness that seemed to grip the arrangements on Chapter V has dissolved and the big, catchy anthems are back in a big way.  Even songs with borderline generic riffs ("Rebel Inside" and the ludicrously titled "Howlin' With the 'Pac") succeed by sheer will of their energy and immediate infectiousness.  No flat-out ballads this time, though "Dark Wings, Dark Words" has a very epic, sweeping feel to it.

The only real downside is the lack of a cool cover tune and the inclusion of the rather turgid "Carved in Stone."  Still, the other ten tracks add up to one hell of a comeback for a band that I was worried might be losing their way.  http://www.hammerfall.net
[Daniel Hinds]

I
Between Two Worlds
(Nuclear Blast)
Rating – 9/10

While the metal nerds of the world (e.g. me) were still mourning the premature death of Immortal, news came down that Abbath was returning with an all-star band called "I," like a fiery angel descending to wreak havoc anew on mere mortals.  I'm pleased to report that Between Two Worlds is a mighty first blow indeed.

Although "I" features members (ex- or otherwise) of Enslaved and Gorgoroth, it is Abbath who writes all the music and Demonaz who handles all the lyrics, so there is a very strong Immortal feel here.  Icy riffs and grim vocals coalesce perfectly over stomping rhythms, ala Immortal tunes such as "Where Dark and Light Don't Differ" and "Beyond the North Waves."  The main difference is the lack of speed and complexity, opting instead for more mid-tempo, straight-forward arrangements to carry forth the neo-viking spirit that still lurks at the heart of Abbath's riffage.  There is a strong Bathory influence here as well, circa Hammerheart and Twilight of the Gods.  Take the song "Warriors" for example, where the vocal line in particular keeps Quorthon's spirit alive and burning.

Another thing that really impressed me about Between Two Worlds is the preponderance and quality of guitar solos.  These aren't squawky, random leads meant to just fill space either, but are lengthy, well-thought out solos that make already epic tracks sound even vaster.

Similar to most Immortal albums, Between Two Worlds is very coherent and remains consistently good throughout.  While "Battalions" is probably the weakest cut, it is by no means bad and songs like "Mountains," "The Storm I Ride" and "Far Beyond the Quiet" are so stellar, it is hardly worth mentioning.  Strong production and strong performances complete the picture, as one would expect.  In fact, the only bad thing I can say about "I" is the band name is a bit too easy to miss (thus the use of quotes around it in this review).

As thrilled as I am with the Immortal reunion on the horizon, I hope it doesn't divert too much attention from "I" as this is a very deserving project that will hopefully continue on for many years.  http://www.i-metal.net/
[Daniel Hinds]

KATATONIA
The Great Cold Distance
(Peaceville)
Rating – 8/10

It's interesting to see how all the doom/death/goth metal bands from the 90s have evolved over the years.  Paradise Lost went Depeche Mode on us, Anathema went Radiohead and My Dying Bride just got gloomier and gloomier.  Katatonia have taken their own unique path as well, charting a bleak style that incorporates bits of The Cure and Tool but is unmistakably Katatonia.

After several good but not overly memorable albums, these talented Swedes released the astonishingly brilliant Viva Emptiness.  Every track was a work of art that sank its teeth deeper and deeper into your psyche with each listen.  Clearly, a follow-up was going to be a challenge and I'll say right up front that I don't feel The Great Cold Distance is on quite the same level, but it is still a very strong album and gets better each time I hear it.

"Leaders" is a good indication of what to expect from this album as a whole.  Slanted, somber riffs clash with sweet, morose melodies, with a slightly more progressive and technical edge shining through.  Jonas Renkse has a distinctive voice that manages to be soft and emotional without being whiny or typically 'emo' sounding at all (thank god).  His performance on this album is better than ever, particularly tracks like "Deliberation" and "July."  The twin-guitar work of Anders Nyström and Fredrik Norrman is the other real star of The Great Cold Distance.

First single "My Twin" is no doubt the album highlight in many ways, from it's memorable main riff to the incredibly catchy chorus.  But the band's penchant for offbeat rhythms and time signatures makes tunes like "Soil's Song" and "Rusted" just as powerful and satisfying.  The only real downside of the album is a few tracks that fall into the 'unremarkable' category, like "Follower" and the rather awkward "The Itch."

Katatonia defies metal stereotypes at every turn, yet they are decidedly a metal band, from roots to branches.  Strong production values, original arrangements and some just plain brilliant songwriting makes for another standout album from melancholy's most accomplished merchants.  http://www.katatonia.com/
[Daniel Hinds]

MANOWAR
The Sons of Odin (EP) [Immortal Edition]
(SPV/Magic Circle)
Rating – 7/10

After much delay, we are finally presented with some new Manowar material and the result is…well, disappointing, sadly.  There are five songs on the CD, two live and three studio, and while none are bad, none really stand out.  Manowar has written and recorded so many brilliant metal tunes over the years, the simple fact is that they have more to live up to.  Fortunately, the bonus DVD is entertaining and makes this a worthwhile investment for Manowar fans who can't wait for the full-length to surface.

First up are the two live tracks, "The Ascension" and "King of Kings."  The former is mostly just an intro, but the latter is a pretty decent, rocking Manowar epic and probably my favorite cut on the disc.  Unfortunately, the mix isn't great, leaving the bass too loud and the guitar nearly invisible.  The trilogy of studio tracks – namely "Odin," "Gods of War" and "The Sons of Odin" – sound considerably better sonically but are a bit overstuffed for their own good.  Lengthy orchestral passages, tepid riffs and some just plain cheesy vocal narration conspire to subdue the usual Manowar ferocity.

The DVD is considerably more entertaining on the whole.  Up first is a lengthy documentary on the grandiose Manowar fan convention held in Germany last year, which included all current and past Manowar members along with scores of die-hard fans from all across the globe.  The whole time I was watching it, I was thinking, "Man, I can't think of any other bands that would go to this length for a fan convention," and that is no doubt a large part of the band's long-term appeal.  Seeing the down-to-earth Ross the Boss talking about guitar playing was a highlight for me personally and reminded me how much I miss his contribution to Manowar's sound.

Elsewhere on the DVD we get a nice lengthy preview of the Earthshaker Festival performance which looks to be an essential purchase once it hits the streets, plus a really cool rehearsal of "Hearts of Steel" with the band and orchestra.  A slideshow and 5.1 mixes of the CD tracks round out the DVD.

I love Manowar.  The first four albums and Louder Than Hell are all metal classics in my book and there are plenty of songs on the other releases just as good, but I won't be one to praise every thing the band does just because it is Manowar.  The Sons of Odin isn't a disaster, nor does it deviate much from the band's tried-and-true style, but the overall quality is just a little short of what I expect from a band obviously capable of more.  http://www.manowar.com/
[Daniel Hinds]

METALLICA
Death Magnetic
(Warner Bros.)
Rating – 7.5/10

Re-reading my St. Anger review, it still matches my current impression of that album: good but seriously flawed.  With Death Magnetic, all of the elements were in place for a huge return to form, a vindication for all the fans who have had to wade through the last twenty years of commercial, inconsistent or just plain bad releases from the once mightiest of all thrash bands.  Bob Rock was out, Rick Rubin was in.  Robert Trujillo, a truly gifted bass player, was in the band.  James was sober and everyone was getting along again.  Kirk was soloing again.

So, did it work?  Did Metallica pull it all together and make a kick-ass album?  Kind of.  As much as there has been talk of going back to the mindset of Master of Puppets, the ten tracks on Death Magnetic have precious little in common with Puppets or any of the earlier albums.  Instead, it comes across very much as a mix of …And Justice For All and the black album, with more than a little St. Anger thrown in to keep it modern.  With the exception of the Load/Reload fiasco, Metallica has never made the same album twice and Death Magnetic is definitely another unique entry into their oeuvre.  The riffing in particular is all over the map.  Some riffs sound overly simplistic or awkward, while others are quite complex and original, capturing elements from pretty much every era of Metallica plus a few new tricks as well.

The biggest change this time out is, of course, in the production department.  Gone is Bob Rock and his over- and under-production techniques that nearly destroyed the otherwise decent St. Anger.  Instead, we get the legendary Rick Rubin, the man who gave us Reign in Blood and the self-tiled Trouble disc among many others.  His hands-off approach seems to have done a world of good, though I tend to think his influence had more to do with the tight arrangements, live energy and quality performances more than the actual sound of the album.  The mix is a bit dry and the drums sit a bit forward still (big surprise), but generally speaking, Death Magnetic is a good-sounding album that lets the quality compositions shine through instead of burying them.

Speaking of which, let's get to the songs themselves…

"That Was Just Your Life" – The song starts off with a slow-build that hints at black album territory but once the main riff kicks in, we are cruising in more classic Metallica territory.  James' vocals are spit out with the venom and conviction of days gone by and the song benefits from a speedy, memorable chorus.  Equally exciting is the solo that Kirk rips out, very much in his classic style and a welcome return after the bizarrely solo-less St. Anger.  Perhaps the most intriguing moment in the song though is at about the 6-minute mark when the band breaks into a harmony guitar bit that is a total throwback to Thin Lizzy – nice to see the classic influences showing through.

"The End of the Line" – This is one of the three weakest songs on the album but it still has its moments.  The verses have a bit of a "Creeping Death" vibe vocally, while the chorus is less memorable.  The main solo is a little overboard on the wah and probably my least favorite lead on the album.  Just before the 6-minute mark (again), the band breaks things down into a mellow section that is actually the highlight of the song, especially the way they build it back up to a rocking frenzy.

"Broken, Beat & Scarred" – Saddled with the album's most unwieldy title (thanks to Lars, apparently – James wisely wanted to call it "Show Your Scars"), this is one of the songs that took a while to grow on me.  It has a very modern feel at the start, but once it settles down into a groove, it's pretty hard to not bang your head along with the verses and the chorus simply slams.

"The Day That Never Comes" – This is the big power ballad on the album and I've already heard a lot of people bitching about it, but I love it.  I swear, if you dropped "Fade to Black" onto a new Metallica album, everyone would complain how wimpy it is – it's all a matter of perspective.  This tune is very much the melodic vibe of "The Unforgiven" woven into an arrangement very reminiscent of "One."  The mellow parts work because the main guitar melody is classic and Lars adds just the right percussive touches to fill it out.  Once the song picks up though there is no looking back, as it shifts from riff to riff, always gaining energy right up to the chaotic ending that will leave your pulse racing.  Enclosed in that progression are a couple of great solos, some cool (fast) drumming and yet more Lizzy harmonies.  It's a complete package that really showcases each member of the band at his best and one of my faves on the record.

"All Nightmare Long" – After a short intro that has a certain "Enter Sandman" feel, the song suddenly stops and a near-Slayer riff kicks in.  This is one of the album's thrashiest songs with some killer riffs and a great chorus, but it is hampered slightly by the somewhat jerky, stop-start arrangement.  Kick-ass solos are in full force though and I'm betting this one will be electrifying in concert.

"Cyanide" – This is the second of what I consider the weak tracks on the album.  It has a good groove and you get to actually hear Rob's bass playing a bit more but the overall feel of the song is that kind of mediocre, second-tier feeling that some of St. Anger had.  The 'S.O.S.' riff that kicks the song off is a bit annoying as well.  The one highlight is the middle section, where the band breaks off into a Justice-esque riff that leads into another even better riff coupled with some of Kirk's finest work on the album.

"The Unforgiven III" – In case the song title didn't make it painfully clear, this is the weakest song on the album and the only one I just can't find anything particularly good to say about.  The piano and orchestral elements seem hugely out of place on a Metallica album (even in 2008), the riffs are all simple and boring, and James tries way too hard to sing emotionally on this one.  Plus, the album already has a ballad (a good one) so this one is as unnecessary as it is unwelcome.  Much as I hate to say it, "The Unforgiven II" was actually a better song.  Here's hoping they let the Unforgiven legacy die here.

"The Judas Kiss" – Although this tune has yet to totally captivate me, it is a solid rocker with plenty of different elements that work together pretty well, including one of the album's strongest choruses and a forceful delivery from James all around.  Kirk reels off some of the more mind-bending solos on this one, validating his claim that his style has evolved quite a bit from the days of old.

"Suicide & Redemption" – Let me just say that I've never been a fan of Metallica's instrumentals, with the exception of "Anesthesia."  They aren't bad (although "To Live is To Die" is borderline) but they're fairly boring, to be honest.  This one is in a similar vein yet somehow seems to keep my attention better throughout, with a good collection of interesting riffs and leads that seem to flow more precisely without falling into endless repetition.  Also, you've got to love the total Sabbath drum breaks at the 8:20 mark.

"My Apocalypse" – The crowning achievement of this record, no doubt about it.  This is the "Dyer's Eve" of Death Magnetic.  The song starts off strong and fast and just takes off from there.  James is barking out the lyrics like there is no tomorrow and Lars is just pummeling his kit (even if it sounds like he can barely keep up at times).  A strong verse, a strong chorus and middle section that is just bursting with unbridled power, make for five minutes of metallic perfection.  If the band could put together an album this fast and heavy all the way through (or even half an album), it would be crushing.

You may have noticed I didn't comment on any of the lyrics.  Although there are some lines here and there worthy of James' best past work, the bulk of the lyrics fall into the 'good but not great' category, much like St. Anger.  Still, that's way better than the 'crap' category of songs like "Enter Sandman" or "2x4," so I'm not complaining.

Also worth mentioning is the bass playing.  Although he isn't given as much room to work as he should have, Rob's addition to the sound is welcome and Death Magnetic is probably the first album since – what, Kill 'em All? – where the bass makes a noticeable contribution.

It's hard to wade through all the hoopla generated by both the band and the label to get a feel for how Death Magnetic is really being received by the fans, but I sense that it is generally pretty positive.  Nothing will please the folks that want a complete return to the Master of Puppets style, but I think most fans will be pleased with at least a good chunk of this album.  It is 2008 and Metallica has put together a record that neatly incorporates everything they've done since 1987 and throws in some new flavors as well – you can't really ask for much more than that.  http://www.metallica.com/
[Daniel Hinds]