heavy metal

There’s a fair chance that much of this review will seem like a paraphrased version of our journey through Warbringer’s “Waking Into Nightmares” in 2009. That’s probably fairly accurate, but it stems from the fact that refreshingly little has changed about Warbringer.

And here we are. After a twisting, turning, practically soap-opera-plot sojourn, Anthrax’s long awaited “Worship Music” is finally available to the masses in the form that the band intended. Or at least, intended for the third time. In any event, we’re pretty sure this is it for revisions to the wayward, prodigal album of thrash metal’s recent cycle.

To get to this show, I had to board a boat. Wait, a boat? Yes, a boat. Essentially, the show was a rock and roll river cruise, which is an astoundingly simple and yet profoundly novel concept. You got metal in my recreational boating! You got recreational boating in my metal! It continues to amaze me that this kind of synergy isn’t more realized by adventuresome promoters. Tell me you wouldn’t go to a metal show at a paintball park. In any event, it was like attending the “70,000 Tons of Metal” cruise, but much much colder and smaller. So, more like “7 Tons of Metal.”

How to describe a show that's thirty years in the making? An event so domineering it was called, without hyperbole, the largest metal show that the East Coast has ever seen. It was the culmination of a timely anniversary, fan support and the consistently discussed dream of all metal fans world wide. We asked and eventually, with some prodding, New York City's collective thrash prayer was answered.

So, the Big 4 and roughly fifty thousand of their closest friends came by all roads and paths to Yankee Stadium for an evening of heavy metal history and fury.

I was first introduced to Edguy during my college years, when "Mandrake" was the band's signature album. That album was possessed of fire and heart, armed with a devil-may-care attitude and a new age power metal swagger.

Gather round, fans of Fates Warning! Jim Matheos and former vocalist John Arch have put together a six-cut record of entirely new progressive metal material under the banner of brand new side project Arch/Matheos. "Sympathetic Resonance" lies somewhere between EP and full album, and was rendered from material that Matheos had written with preconceptions of another Fates Warning album. The musician goes on to say that he and Arch began working the songs one at a time, never really intending a full-length debut, but arriving at that destination in time.

First and foremost, “Inner Monster Out” is not Brazilian heavy metal as we traditionally think of it. Loaded with melodic artistry and accessible structures, Shadowside ignores the looming legacy and idiomatic trappings of their countrymen such as Sepultura or Torture Squad. What is left in place is a sound more akin to a cross between Lacuna Coil and not-quite-Iron-Maiden. That comparison has surprisingly little to do with the fact that Shadowside, like Lacuna Coil, has a female lead singer.

Emerging from Wales, Anterior arrived on the scene in 2007 with their debut album "This Age of Silence." Critics worldwide credited the band's acumen, and heavy metal pundits were now watching Anterior closely on radar. Widespread touring in support of acts like The Black Dahlia Murder, DevilDriver and Dragonforce increased the band's notoriety, all underscored by their affiliation with Metal Blade Records.

Cover songs can be a tremendously difficult wire to walk. This is even more true when covering songs that are beloved in the eyes of the general public in their original incarnation.

“Shallow Bay” is a greatest hits album that represents the full catalogue of Breaking Benjamin. Now, it should be noted that includes both the good and bad parts of their legacy.

It’s also more than that. To obtain the deluxe edition of this release is to gain ownership of a double disc loaded for bear with rarities, live cuts, remixes, acoustic performances and all other manner of scattered musical ephemera.