Average Rating: 3.58 Rating Variance: 0.98 Objectivity Score: 79% (Well Balanced)
Sort by: Rating | Release Date | Rating Date | Name5.0 classic10 Years The Autumn EffectKatatonia The Great Cold DistanceThis is my definition of a classic. From the beginning of the album, the production and the music are absolutely perfect. Just check the sound they get from that drum kit. The snare drum sounds perfect! The fills stand out just enough. The atmosphere is perfectly doomy, atmospheric, and dark. The guitar sound is huge! The vocals fit in perfectly with the music, without overpowering it. The small production details are so subtle that they never let the album become boring. The lyrics are confusing enough for everyone to relate to certain phrases without compromising on a clear message. Highlights on this album are generous! Starting with Leaders, a song which scrapes on the heavy edge of the album, like a warning of what is to come. It trascends into Deliberation, a classy catchy song, which keeps its energy but offers a more accessible chorus. From Soil's Song on, the album goes deeper and darker. The riffs explore tensions all throughout The Great Cold Distance, and achieve much substance. Occasional arpeggios fit in perfectly with the sorrow in the vocals. Crisply produced keyboards have been included and add up to the atmosphere. My Twin is the deepest spot within the first half of the album. The chorus to My Twin hides a dark melody behind it, while Renske mourns "You used to be like my twin... " perpetuating the emotions behind lost friendship. The kind of darkness that The Great Cold Distance encompasses is very personal and real. The vocals are sung with infinite committment in every phrase. This is a good example of vocals that explore a unique concept, and make it evolve, becoming convincing and passionate. For me, Consternation marks a second beginning in The Great Cold Distance. Reminds me of that which Will I Arrive marked in Viva Emptiness (another very very good album by Katatonia). The riffs are as powerful as Katatonia has ever produced, and a beautiful first bridge hides another high pitched hidden melody. The drumming in Consternation is crazy in every way, from the double bass pedal used for the chorus, to the syncopated use of a dark ride cymbal for the second bridge of the song, as the guitar whistles something of a textural solo. Follower follows Consternation. Follower focuses on returning to the dark essence of this album, and does so with flying colors. The guitars on the whole album sound as heavy and low as in a Korn album, but with an artistry which could never ressemble. Rusted is a song which makes use of the European feel to its verses, but dramaticaly changes into a pre-chorus and chorus which is perfectly simple, relying on a beautiful melody, goes from haunting through hell-invoking guitars, to celestial and miraculous, as guitars elevate as keyboards through the bridge, just to go back to madness in a final chorus backed up by wolves' howling growl. Increase, probably the album's weakest track, is still a great song, with excelent technical riffs and beats, but allows the listener a deserved rest from an album which is exhausting emotionaly, but still inspiring. Increase returns the listener to the atmospheric side of Katatonia. It allows the mind to wander a bit, just before July hits hard. "You come clean, waves collide now, defenseless numb arms, and no voice of reason". July's main riff comes into play, very exstatic, letting The Great Cold Distance reach its pinacle, and towards the end, the song calms down. One last chorus, and the album becomes perfect with In The White. Obviously the most representative song on the album, In The White is almost a ballad, swinging with a sad melody line by the guitar, and an ascending and descending bass line. Please pay attention to how subtle a guitar decorates the verse as Renske sings "Who am I to imply that I was found, then I found you in the white...". It is my favorite moment in the album, especially in production terms. The verse becomes complete through this simple and almost mute arrangement. The Itch and Journey Through Pressure provide closure at the end of The Great Cold Distance. They are not as spectacular as the other more emotional songs on the album, but they keep on working the atmosphere, as a final hypnotic countdown. The lyrics start to intentionally hide a bit more behind the music. The phrases are no longer clear, as if the listener should enter a dream state, or some kind of melody ridden hibernation. Powerful riffs never leave, they keep on pounding, recalling a nightmare behind this dream. The Itch features a long growl backed up by syncopated guitars and bass at its end which is marvelous! Journey Through Pressure is cosmic. For me, The Great Cold Distance is exactly what rock music is supposed to be. It's music in definition, but spiritual in practice. Emotional and crafty. The opposite of other very good albums which have achieved greatness through their simplicity, The Great Cold Distance is more complex, not only musically, but also emotionally and texturally. A perfect classic. I do not expect Katatonia to release another album after this, because I doubt they may be capable of surpassing this effort.Third Eye Blind Third Eye BlindTool Ænima4.5 superbBurst Lazarus BirdAn absolutely perfect example of a band which has grown unto itself, and developed a very unique style. Perfect production helps Lazarus Bird to stand above its predecessor, Origo, which was already an excellent album. Cripple God is surely my favorite cut from this very prominent release.Cog The New NormalThe Butterfly Effect ImagoTool UndertowUndertow is a 4.5 for me because it still reminds of a time when Tool was less produced, and more of a band. I cannot deny that Tool took a lot of chances after Undertow, and succeded, but Undertow was magical in its own way. I think it even included some influences from the grunge years, taking the remnants of grunge into a new direction, and giving birth to a new era in hard rock. 4.0 excellent10 Years DivisionEarshot The Silver LiningHIM Venus DoomI liked this album a lot because it was HIM trying to explore more into their goth roots. Venus Doom is not HIM trying to go back to previous moments in their career, but trying to find a new direction. HIM's magic has always relied in simple structures, very heart felt lyrics, and good melodies. So, they do not exclude that. They try to add more edge to it. Try to add deeper voices and slower riffs into the mix. And the final result... well, it's not perfect, but it does not fail either. Also, for me this album marks a very dark moment for Valo, where he was struggling with substances, and... je je je, that kind of makes the album a bit more interesting for me! But yeah, HIM is the kind of band you either love or hate. I guess I love ... it.Numic One Above The HereticsThe Birthday Massacre Walking With Strangers3.5 great10 Years Minus the Machine36 Crazyfists The Tide and Its TakersDepeche Mode Playing The AngelFraming Hanley The MomentYes, that is exactly what The Moment by Framing Hanley is. A great radio rock album. Very good riffs, excellent vocals, original at several moments. Best cuts are surely Built for Sin, and Hear Me Now, although Home, and All In Your Hands are very good songs, too. Give this a chance if radio rock is your fix, kind of in the vibe of other good bands as Trapt and Breaking Benjamin.Ihsahn angLRa Black SunThe Sword Gods of the EarthAiming to re enact the Black Sabbath sound is actually the best aspect about Gods of the Earth. It makes me glad to hear bands that are not afraid of experimenting in different directions. The production of this album is very interesting. The drums sound absolutely old-school (the use of dark cymbals catches my attention inmediately). I would enjoy it more if Gods of the Earth were a bit more versatile. 3.0 goodArt Of Dying Art Of DyingChiodos Bone Palace BalletCredit must be given to Chiodos for taking every risk possible and coming up with a talented and original album. Although much criticism could be offered, Craig Owen's style is his own, and he delivers it well. His performances are known for their incredible display of vocal talent and control over its high pitched vocals (intertwined with skipping parts to rest his vocal chords). The best pieces off this album are Lexington (most accessible Chiodos song), Bulls Make Money, and Teeth the Size of Piano Keys. Weakest moment during the album, Intensity in Ten Cities.Zoroaster The Voice of Saturn2.5 averageRev Theory Light It UpAn energetic album, a bit short of artistry. Full of good guitar leads, included even through the verses. Hell Yeah, the album opener, is a very catchy tune which I'm sure could be played and enjoyed a few times. This is rock made for a live show, not too ambitious or original. Socialburn The Beauty Of Letting GoLet me just say your girlfriend may enjoy this much more than you would. Catchy tunes, friendly riffs, predictable structures. Emotional without taking any chances. Easy-to-sell-and-easy-to-air stuff. It's alright if that's your thing. SOiL True SelfA disappointment. After a grand first album, and a very decent follow-up, Soil come up with True Self suffering from the loss of their original and very talented vocalist, and it shows. The album lacks the power of preceding efforts and makes no attempt to achieve any kind of advance. This is just a shot at a final capitalization off what once was a very respectable hard rock band. 2.0 poor3 Doors Down 3 Doors DownGodsmack IVTwo words, deficient production. Sully Erna's job at self-producing the album leads the music to sound hollow, weak and thin. The drums sound empty, the guitar seems to be played through a 15-watt amp, and the bass seems to be an under-a-hundred-dollar instrument. Sully tries to compensate by playing 3 or 4 guitar tracks, one over the other, and the final result is mediocre. Sully's super-sized ego has finally managed to screw up a Godsmack album. They should have continued working with competent producers as David Botrill or Mudrock.1.0 awfulHollywood Undead Swan SongsI'm sorry, but this seems to be a much worse version of Linkin Park to me. The rhymes are terrible, it's formulaic all the way, and I really did not like it at all. Even the production seems lazy to me, and the only part which caught my attention was the intro to the first song.
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