Ronnie James Dio - This is Your Life - Tribute

Ronnie James Dio was a character unlike any other in the music industry. His, talent, his songwriting, his distinctive style and his compassion and personality all of which have made him a legend in the field. Ronnie James Dio - This is Your Life is not only a tribute, but a celebration of his works which have left an indelible mark on the genre. The album brings some of the biggest names in metal and some of Dio's close friends, to honor such a great, by covering some of his elusive works from; Rainbow, Black Sabbath and Dio. All proceeds from the album go to the Ronnie James Dio Stand Up and Shout Cancer Fund. 

Personally, I thought it would be rude to review an album of covers, especially because it is a tribute album. It wouldn't be fair to scrutinise the excellent work done by these artists. However, I know many of you will agree when I say each song does Dio justice, as they are all as heavy and in your face as you would hope for. There are a lot of standout performances such as Anthrax's cover of Neon Knights, Adrenaline Mob's cover of The Mob Rules, Corey Taylor's excellent vocals on Rainbow in the Dark and more surprisingly the powerful vocals from Halestrom. 

                                                                 

The effort gone into this album is phenomenal, its not just the artists on the back of the CD that have contributed, a full list can be seen below, and they all deserve credit as dedicating your time, effort, money and resources to such a cause is worthy of credit. These tracks represent a bold statement of the love and admiration that united musicians from all eras.

1. Neon Knights - Anthrax
2. The Last In Line - Tenacious D
3. The Mob Rules - Adrenaline Mob
4. Rainbow In The Dark - Corey Taylor, Roy Mayorga, Satchel, Christian Martucci, Jason Christopher
5. Straight Through The Heart - Halestorm
6. Starstruck - Motörhead with Biff Byford
7. The Temple Of The King - Scorpions
8. Egypt (The Chains Are On) - Doro
9. Holy Diver - Killswitch Engage
10. Catch The Rainbow - Glenn Hughes, Simon Wright, Craig Goldy, Rudy Sarzo, Scott Warren
11. I - Oni Logan, Jimmy Bain, Rowan Robertson, Brian Tichy
12. Man On The Silver Mountain - Rob Halford, Vinny Appice, Doug Aldrich, Jeff Pilson, Scott Warren
13. Ronnie Rising Medley (Featuring A Light In The Black, Tarot Woman, Stargazer, Kill The King) - Metallica
14. This Is Your Life - Dio
15. Heaven And Hell - Stryper (Japanese bonus track)[1]
16. Stand Up And Shout - Dio Disciples (Japanese bonus track)[1]
17. Buried Alive - Jasta (Digital bonus track)

I have to give a mention to the artwork, which is perfect. Pictures of Dio are printed on the inside cover including a picture of his Devil Horns, which were a legacy of Dio. I teared up when I opened the album to see these pictures, and it was even before the music started that I realised how appropriate this tribute is.

Finally, the last song and title track brings a close to a fantastic album and out of honour and respect it had to be Ronnie himself with This is Your Life from the 1996 Angry Machines album.

Horns up, in honour of a true legend. Ronnie James Dio will forever be remembered in the highest regard by fans of all rock and metal. 

Scarsic - A Tale of Two Worlds

Release Date: 25th February 2014 

Genre: Technical Metal, Heavy Metal
Record Label: Self-released
Number of Records: 10

Rating: 7.6/10



It's another Tuesday night review! This week we have Scarsic with their first full-length offering; A Tale of Two Words. A three-piece studio project, Scarsic have crafted their own distinct style of metal, featuring some great riffs, an excellent rhythm section, and excellent dynamic diversity.

The album opens with a simple piano moment that is both lovely and dynamic while hiding underneath a punchy riff, before opening out into a spacious chorus. Throughout the 10-track record, this serves as a benchmark for the dynamic variance of each track, giving the listener a good primer for what to expect. That said, this album doesn't get boring or predictable, providing a variety of sounds from almost Dream Theateresque build ups, to outright groove riffage and almost every other stop along the way. Diversity is definitely the keyword to this record.

As well put together as A Tale is as an album, there are a few moments where the overall production does let it down, the piano on Entropy sounds a tiny bit clippy in context to the rest of the record. There are moments where vocal harmonies sound a little bit unrefined too. During the opening track, this is most apparent. Outside of these small niggles, the rest of A Tale is actually very well produced and put together. There are other tiny niggles, but they aren't really noticeable.

Musically, the album is actually pretty excellent. Asides from the aforementioned diversity, the tonal quality of the album is great. It's not muddy, it's not buzzy, it's tonally warm and well-rounded. The band sound together and coherent, and again, it really accentuates the experience. Listening to a band who aren't quite together can be disconcerting, but Scarsic come together nicely, and it translates really well onto the record.

Despite all of this, A Tale is not a perfect album. Despite being well put together as an album, there are moments where individual tracks lack cogency and feel a little bit disjointed. Live By These Words is a good example of this. The opening section, with the clean chordal moments and the (really, really good) vocal melodies then moves into something that almost feels entirely unrelated and possibly unnecessary. It's still a good song, but it does feel a little disjointed. The album is called A Tale of Two Worlds, and it's probably fair to say that the diversity is done as a nod to the theme implied by the title, and for the most part it does actually work really well. With a bit of refinement, it could be really, really excellent.

The album it's self really is an eclectic mix of themes, held together by some really solid metal. There is something for everyone, be it the technical riffage of Land of Sin, to the really wide open piano and acoustic sounds of A Tale of Two Worlds pt.1, which moves into more excellent and expansive metal.

To wrap up the review, A Tale is a good opening effort from a really talented trio, featuring a lot of really, really good metal. Despite the few niggles that let the album down, it's a really enjoyable experience that hints at a band that, with some refinement, have an awful lot to offer.

Check out Scarsic's Facebook, Twitter and Bandcamp accounts. And if you're interested in hearing more, they are on Spotify too!

Glamour of the Kill - Savages

Release Date: 23rd September 2013

Genre: Post Hardcore

Record Label: eOne Entertainment Music

Number of Tracks: 11

Overall Rating: 3.2/10

The UK metal music scene has sadly struggled in their attempt at reaching the heights of Iron Maiden, Black Sabbath and Led Zeppelin, to name a few. In recent years, we have heard disappointing stuff from Bullet For My Valentine, Asking Alexandria and Bring me the Horizon in attempts to scale the heights of their successors.

Glamour of the Kill have been touted as the one of the 'Uk's brightest young hopes', after their first release The Summoning (2011). Unfortunately, their latest album, Savages (2013), is a weak attempt and another disappointment for British metal. 

Nothing on this album manages to surpass average. The guitars show no imagination and lack of ambition. The creative minds of the guitarists have surcumb to what we know as the modern metalcore scene. They are very basic, and are reminiscent of the type of riff you are taught as a beginner guitar player. The solos are often replaced by slow chugging breakdowns, however there is one solo to note in track 3 The Only One and is really the only glimpse of creativity in the entire album. 

The vocal diversity was very good in The Summoning with deep growls, clean vocals, and higher end melodies. This highlight, has sadly abaited in this album as the vocals are weak and lack dynamic variation. They are now all clean vocals, similar to All Time Low. The lyrics are typical of a modern hardcore band track 4 Live for the weekend - 'And last night was so crazy / My head feels like its World War 3 / And no other night will be the same / We're going to do it all again'

The use of electronic synthesizers in metal is something which we should approve of. They are used in this album, however, they are clearly making up for the lack of creativity in other departments.

Overall, this album is geared to the younger metal fans and is not a good example of fine musicianship, creativity or construction and has a more pop feel to it. This album and band have a lot to do to ever scale the heights of their predecessors.

Currently touring America with Pop Evil and Escape the Fate.

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Conquering Dystopia - Conquering Dystopia

Release Date: 10th March 2014

Genre: Instrumental, Shred metal.

Record Label: Self-Released

Number of Tracks: 12

Overall Rating: 9.8/10

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Conquering Dystopia

Its always super exciting when a super group forms. Adrenaline Mob, Avantasia, Hellyeah, Murderdolls, Chickenfoot, to name a few. The excitement that enveloped the guitar community when we heard former Nevermore guitarist Jeff Loomis was collaborating with fellow super shredder Keith Merrow, Cannibal Corpse bassist Alex Webster and The Faceless drummer Alex Rudinger, was endless. More than double the funds for this crowd funded album were gathered very quickly, and they soon got to work. 

The album is put together exceptionally well. Its put together at Audiohammer, and you can hear the quality that a professional studio has to offer. The tone of the guitars throughout is spine tingling, check out the pre-verse riff of track 3 Ashes of A Lesser Man as a prime example. Surprisingly, it has great dynamic variation throughout the album, and even though the tracks are an onslaught of brutal super shredding, you do get the occasional break such as track 7 Lachrymose and some acoustic interludes.

Conquering Dystopia batters us from song 1, the appropriately named Prelude to Obliteration, with a face melting solo just 2 minutes in and the rest of the song ripping us apart with supreme riffage. Some of the riffs are reminiscent of when Nevermore were in their prime, however it is clear that this is a team effort. Keith Merrow's death-metal back ground can be heard in track 8 Autarch, and track 10 Kurfa at Dusk. It is evident that both guitarists had an input in many of their riffs, and Nuclear Justice is a mix of Merrows Riffing and Loomis' soloing.

We all expected the guitaring to be exceptional, and they excelled. But a big credit has to go to the drummer Alex Rudinger. His drums are phenomenal, and do a great job of creating the mood and, along with Alex Webster's excellent bass  tone, compliment the guitars. Overall, an excellent team effort. 

There was no doubt that this collaboration would work, but its fact that it has has set this high standard for instrumental metal that gets its high rating. It is very hard to find fault with, there are 13 tracks of instrumental genius, with explosive riffing and ear splitting, finger destroying leads. What more could a music fan want? 

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Coshish - Firdous

Release Date: 2nd September 2013

Genre: Progressive, Rock.

Record Label: Universal Music

Number of Tracks: 10

Overall Rating: 7.9/10

Indian progressive fusion band Coshish, have worked incredibly hard to release such a thought provoking, ambient album which has hints of progressive melodies and classic soft rock whilst engrossing the listener to piece together the concept. 

Inspired by Tool and Nine Inch Nails, the hard working, diligent album takes you beyond the music as the music follows the story of a protagonist who embarks on a journey to reach enlightenment. The listener can piece together their own journey with the subtle clues left in the album artwork, as well as rearranging the track listing to flow with their version of the story. The album is worth understanding, just to see how much hard work has gone into this.

Musically, it perhaps lacks a little edge, perhaps lacks a defining moment. What it doesn't lack is consistency, and the construction is intricate with each bit leading into the next really well, as well as running along side the concept beautifully. At points, its classic rock and blues influences are obvious, to the point where it is really refined but not really unique. That doesn't mean to say that i've heard this before, its progressive edge, ambient atmosphere and the odd intriguing guitar melody makes it an album worth remembering, and is a good building block for anything Coshish decide to throw at us in the future. 

Track 3, Coshish is a highlight of the album, as the sole ambient intro leads us into some classic rock riffage. This is a very soft song and is definitely geared more towards the radio audience. Track 5 Woh Kho Gaye, shows some neat guitar work, as do most of the tracks whether it be from tight acoustic rhythm, blues solos and rhythm and progressive. Track 7 Maya and track 10 Mukti offers a hint of a change in pace, and adds some flavour to the album. 

Overall, it is a good album. With a few added bits of spice, this could be a great rock album. However, The concept and the mix of the variety of different styles mentioned in this review, make it an interesting, thought provoking and enjoyable album. It is really an album which you can discuss at the pub after a few pints, and any album that can make you do that, is memorable and worthy of recognition.

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Immortal - Sacrament

Genre: Heavy Metal

Label: Unsigned

Number of Tracks: 10 

Favourite Track: Wish You Were Here

Overall Rating: 7.5/10

It's time for another Review Tuesday! This time around we have Canadian metallers Immortal Sacrament. This will be something of an unorthodox review as they don't have a collective set of works in the traditional sense. Instead, I'll be reviewing the material they have on their ReverbNation page.

With that out of the way, onto the important part – the music. What it lacks in refinement (and it does lack refinement – more on this later) it more than makes up for in ability, energy and sheer balls. The material is crafted with the love and passion of a small band – There's no expectation here, no budgets, just a love for solid, expressive metal. On record they've managed to capture a live vibe that was undoubtedly born of necessity, but it comes across really rather well. Don't get me wrong, there are some drawbacks to the raw nature of the tracks but they aren't amateurish – merely unrefined.

Key tracks:

#1 – This Ones for You.

The opening effort of this collection goes a way to showcase the talent of the band. The Vocals and the Rhythm section stand out really well here, the former being both haunting and compelling, the latter being tight and present. It also features a drastic dynamic contrast, especially during the opening verse.

#3 – My Reflection

Slightly more up-tempo feel, this is possibly a bit rougher than the opening track. It opens into a really excellent riff and just runs from there. The vocals are a little bit rougher too, and it suffers a little bit for it. Still a great track all in all! Especially for that pacey, up-tempo vibe.

#4 – Path to Arise

Another ballsy riff, leads into a far more polished track. It gives a view as to what Immortal Sacrament can become as a band (and probably are, Live). It has a really catchy chorus and flows really nicely. If there's any criticism, it does end rather abruptly.

#5 – Media Bullshit

This song is a little reminiscent of Trivium in it's opening, but then it veers off into something that feels unique. It's another well-written song - I found myself singing the chorus throughout the day - and it's bristling with a more polished energy. Great track.

#7 – Wish You Were Here

This song was surprising. It's has a garage-y feel which really adds to the charm, and is probably one of the softer songs in the collection. It really works though and shows a slightly different side to the band with it's more Puddle of Mudd-esque feel. It highlights more of the passion and some versatility that Immoral Sacrament bring as a unit.

#8 – Battle of Gaia

After Wish you were Here, it injects needed tempo into the experience and some really nice guitar work complements the other parts of the band. It finishes really strongly, on an up-tempo note. Another solid track that highlights the band's pros.

As previously stated, Immortal Sacrament's music does lack refinement and it's time to talk about that for a moment. It has a cons and pros. On the pros side, it avoids the sterility of over-production quite nicely – you can really feel the energy of the band and it comes across beautifully. On the negative side – It doesn't quite sound as good as it could. Tracks 4 & 5 feel the most polished and it really shows. These two tracks stand out on a purely audio level and if the rest of the tracks were to the same standard, they would come across far better. The problem is there are moments where sections of the band are less prominent, and this is a stark inconsistency which does impact the effect of the songs somewhat. However, this is a result of the fact that a lot of the material is self-recorded and recorded live. If you can look past this, there's a real font of quality material and it's worth the perseverance. 

In conclusion, Immortal Sacrament are a real edgy, ballsy outfit with a talent for their own brand of metal! If you can look past the lack of refinement (and in my humble opinion, you should) then you will enjoy what they have to offer. If you live in their particular area then I'd say it's definitely worth going and checking out one of their shows.

Periphery - Clear

Release Date: 28th Jan 2014

Genre: Progressive metalcore

Record Label: Sumerian Records

Number of Tracks: 7

Overall Rating: 7.9/10

Periphery were formed in 2005 and have previously released 2 albums and an EP. Their latest 7 track EP is a follow up to their well received 2012 album This Time It's Personal and they are a band that get better and better with every release.

Combining each individual's outstanding ability with their instruments, and their unique and exceptional method of song construction, Periphery have created an album which showcases their fantastic songwriting skills. This mature record bleeds quality and style as progression and melodicity swell around the album. Each song on the album is written by a different member of the band, so gives us an insight as to how each member thinks. 

Opening track 'Overture' is the only track written by the entire band and it introduces the operatic theme demonstrated throughout. This is a fantastic opening tune, as it is a mix of brilliant piano playing both lead and rhythm, and progressive heaviness. A definite highlight of the album is the uniqueness of this song. 

2nd Track 'The Summer Jam' is very modern progressive. A groovy main riff and some catchy vocals carry you through the track. It's a good individual track, but the fact it doesn't follow on from 'Overture'  is a little disappointing. 'Feed the Ground' is up next and this track is written by Matt Halpern - Percussionist. That explains why it is very percussion heavy, thudding drums and some funky bass lines make this track move as quick as superman.  The odd lead riff and a fantastic vocal range, make this track a definite highlight. Track 4 'Zero'  is 1 of 2 instrumental tracks, and this is written by frontman Misha Mansoor. He really is the creative force behind the band, and he has written a typical Periphery track. A weakness to this track however is the tone of the guitar seems un-natural, as if its been made totally on a computer.

My favorite track on this album is track 5 'The Parade of Ashes'. The intro and pre chorus is a build up to a bouncy riff and pleasing drum line. The chorus is totally fantastic. The lyrics are worth noting here too: "Concealing the intent of fascists/ Resurrect / Humanity has fallen by the way side". And the solo ain't half bad either. The second of our instrumentals is track 6 "Extraneous" is a bit of a let down considering what it has to follow, however it is still a fantastic instrumental track which seems individual to the rest of the album. The track has a hint of early Keith Merrow to it. Final track 'Pale Aura' and is written by guitarist Mark Holcomb. The riff in this is very good, bordering on technical metal. It has a quaint ending to the track and is a suitable way of finishing the album.

It's very much an experimental album as none of the tracks seem to work together as an album should. Overall, Periphery have written a great set of 7 tracks that individually show what Periphery are about as well as each individual's talent as a songwriter. 

It is a great appetizer for what is to come in late 2014, when 'Juggernaut' finally makes its way to us.

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