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03-24-09 6:20 pm
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This album took a long time to grow on me. There are some obvious standout track, recommended to any fans of symphonic metal--Phantom Queen with its excellent, somewhat folky violin work; Faustus, with its all-out symphonic metal bombast; and For Her, fittingly epic for a song about The Odyssey. The rest all sounded a bit flat for a while, but one by one, I realized that each was excellent in its own way.
One trend holds throughout the whole album: flat verses, powerful bridges and choruses. But if you give it time, you'll grow to appreciate the verses as well.
As with many power metal bands, Dark Moor began as a fairly typical ba
Guitar Gangsters & Cadillac Blood
Volbeat solidified their sound on this album. It's a little less blatantly rock'n'roll and a little less metal, with more emphasis on Volbeat's distinctive style. As with any change of sound, opinions on this are mixed. Obviously, I'm all for it; this album is both heavy and melodic, badass and catchy (oh so catchy).
Also worth noting is the lasting value of this album. Maybe it's just me, but after a year of intermittent but heavy listening, it still rocks almost as hard as it did the fifth time through.
No Daylights... Nor Heel Taps
The album opens with
, one of the album?s stronger tracks. If you?d like a good idea of what this album is like, this would be a good sample. The anti-pop lyrics are satisfying, though the line ?Write your poetry with anger, and then sing it with a passion? is ironic, as Ridley did neither. (To be fair, just a line earlier, he?s far from bland).
is, simply put, an excellent song. This version is faster than the original and almost entirely acoustic, and has done away with the syncopation. These are all for the better, and the result is a song that is worth a listen or ten, at the very least
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