Gamma Ray’s 2008 live album release Hell Yeah!!! Live In Montreal appears to have been made with only one purpose in mind and that was to record live the band’s best cuts for the first time by a line-up that has been together now for 14 years. As it is, part one features some of the band’s all time anthems, including “The Silence”, “Man On A Mission”, and “Gardens Of The Sinner”. Of course, the greatest measure of a live album is in its recording/production. Hell Yeah!!! Live In Montreal does not disappoint. The clarity is very high; all notes are easy to discern, especially during the guitar solos/duets. For a band as technically proficient as Gamma Ray it has to be. Some songs even benefit a little more than their studio versions here, including “Fairytale” – this version here driven by acoustic guitar, and “Blood Religion” with its off-speed middle section. The order of tracks on part one works well here, too. The cut from “Dream Healer” to “Heart Of A Unicorn” is so perfect the latter feels like a second part to the former. “Dream Healer” is perhaps the best song on part one. It not only benefits from its placing and production, but it also features the best contribution from hired keyboardist Eero Kaukomies. The most outstanding track goes to “Heavy Metal Universe”. Even though it is this song that bookends the obligatory ‘come sing after me’ part of the show, there is a sense that band leader Kai Hansen knows how contrived and unoriginal that is, and thus employs his wonderful German sense of humor to get through it. It gets most comical when Hansen duets with himself ala voice and guitar. Its quite honest in the beginning but ends with him doing vocal renditions of rockets going off and exploding. Two negatives: one is just an opinion, but it would be nice to hear a live version of the intro track “Welcome” rather than just the recorded tape. Two, the lead guitars are so well mic’d up that they pull focus from what should be the center - the rhythm parts/sections. This tweaks the ears a bit when the harmonizing part takes over the melody in a given break. Some may consider this the beauty of live recording, but if one were to judge levels based on the studio versions, one would find this distracting. Still, the positives on part one are many, and Gamma Ray’s Hell Yeah!!! Live In Montreal is a great live tome by their best line up ever.

“Fifteen Years Of Aggression”, the 2008 LP release from Misery, is also forty minutes of New York hard core hate metal. The hate theme is driven home mostly due to the blunt force pounding delivered by some great double bass (”Pain Laughs At Pain”), repetitive rhythms and refrains (”Save You” and “My Time”), and a vocal style that ranges from barking (”Bloodsample”) to a dual yelling and screaming trade off (”Low Life” and (”Steal My Background”). One of the few surprises comes from the track “I’m Inside”, which features perhaps the greatest example of vocalist John LoCasto’s versatility. The verses are closely rapped, but after a shouting bridge, LoCasto hurls a curve ball with a melodic chorus line. Another highlight comes from drummer Scott Borrero. Relentless, powerful, and the biggest guns in Misery’s arsenal (”Pain Laughs At Pain” is one of the best examples), but on “Worthless” he changes it up real old school with a cadence and delivery akin to military style. “Worthless” also draws strength from a mosh rhythm supported mainly by the bass line. Bass-wise, the lines are exclusively back up, but on “Steal My Background” it is the lone insturment in throwing out the first verse. To reiterate, the musical style is hard core, with some subverted punk elements (”Low Life” and “Bloodsample”) and New York thrash (the great outtro in “My Time”). The best track on “…Aggression” is “Bullet”. That’s because from beginning to end it’s pure thrash and it’s outro is completed with an extensive lead solo. It, along with “Low Life”, are the two fast tracks; the rest float inside the mid-tempo range. Lyrically prototypical in the hate theme, it works well with the simple, churning, and pounding style of the music but to a fault. There is little variety and hardly any technical proficiency. One would argue that to do so otherwise would take away from Misery’s intention to bludgeon it’s point across. It would then stand to reason that the greatest aspect of Misery’s “Fifteen Years Of Agression” is its direction and execution. If you love to hate, this album will provide great validation for your feelings.

Disturbed’s 2008 LP release “Indestructible” expands beyond the tried and true boundaries of nu metal to a more accessible and well rounded style of music. The best song on the album, “The Night” catches with a very well defined hook and affirming guitar solo. A couple other songs, “Torn” and “Divide” feature chorus lines that are soft around the edges, too, with “Divide” also benefiting from a highlighted solo. “Inside The Fire” is downright industrial with mechanical tones and a repetitive cadence. Nu metal staples such as alternating hard/soft and fast/slow songwriting is sparse; “Divide” being the only noticable exception. In general, the music is tempered with a stop/go style of rhythm guitar play that makes even the hardest and fastest parts soft to the touch. The guitar riffs, dominated by the rhythm lines with the lead parts relegated to the background (”Deciever” and “Perfect Insanity”), are simple, choppy, and repetitive. Although “Criminal” may boast Disturbed’s signature sound better with it’s discordant nu metal finish, it’s lead/rhythm trade off at the end is more the exception than say, “Divide” with its fast, choppy rhythm riffs, trippy lead effects, and alternating hard/soft writing structure. “Haunted” is also a track that harks exception with is bass line introduction, a feature not heard anywhere else. On the whole, “Indestructible” is a well defined display of commanding drumming, hard but simple riffing, and vocal instrumentalization via parts spoken/rapped/and whispered (”Enough”, “Criminal”, and “Haunted” showcases those vocal strains very well). Lead vocalist David Draiman’s rich tone is the anchor of Disturbed’s sound, and as such each song lives and breathes through him. What makes “Indestructible” then a most pleasurable album is that cohesiveness between voice and music. “Indestructible” is therefore not only a well concieved record, but a well delivered one as well.

To be sure, Slipknot’s 2008 release “All Hope Is Gone” is by direction a transitional album. One’s reaction to the record, though, will answer the question as to whether the creative scope of Slipknot has expanded or contracted. The area of highest intrigue belongs to the more standard than occasional use of melody, especially on the vocal lines. “Psychosical” and “Butcher’s Hook” one-up their choruses with harmonization and alternating grunt-to-clean singing. Concerning tempo, this is another aspect worthy of scrutiny because the vast majority of the tracks not only differ from each other but is mixed up internally as well. “Sulfer” is extremely fast, “Gehenna” and Wherein Lies Continue” are heavy mid-tempo, and no less that two songs, “Dead Memories” and “Snuff” are ballads. The same kind of variety can be applied to each song’s texture, too; the collaboration between the Nine being the number one cause of this very strong attribute. “Snuff” soothes with a trippy synth line. “Gehenna” feels industrial (so does the introductory song “.execute.”) and “Butcher’s Hook” reflects off a nu metal vibe. The one true constant of “All Hope Is Gone” is the highly intelligent lyrical content that is spewed and crooned throughout. This isn’t nerdy but philosophical and serves well to anyone who feels disenfranchised or confused. It’s also a great partner for most of the musical stew served here. Although there are multiple reasons to like any song or movement (”Sulfer” and “Wherein Lies Continue” are a percussionist’s dream for example), the best output belongs to the razor buzzing, staccato blasting, masterful execution of the rhythm section. The heaviness of “All Hope Is Gone” is quite stable with haymaker riffing and aggressive speeds. “Gematria” and “This Cold Black” are two songs that are straightforward, pulverizing, and angry all the way through. It’s here that Slipknot can still demand respect and get it as a relevant force in metal today. For those who crave that and more, “All Hope Is Gone” does not disappoint.

Children Of Bodom’s 2008 LP “Blooddrunk” is a clinic on sustaining heavy metal integrity while extensively using keyboards on all of their songs. To start, the trunk-like base of a rhythm section is the number one reason why “Blooddrunk” stays constantly heavy. Driving rhythms, pounding double bass beats, and strong death tones keep all else that is higher, faster, and melodic deeply rooted. The extreme vocals and gang vocal chorus lines add even more weight to the overall heaviness. From there, the precise execution of their highly structured and multilayered rhythm parts makes for a higher appreciation of their songwriting. “Done With Everything, Die For Nothing” illustrates perfectly Children Of Bodom’s inclusion of everything within a straghtforward boundary line defined in their writing style. Better yet, the styles of the rhythm lines have expanded to include thrash and speed as well as their patented hues of black and death. “Tie My Rope” has a great thrash lick in it while “Hellhounds On My Trail” could be classified as speed. To be fair, all of the tracks are in allegro with “Banned From Heaven” perhaps being the only slow exception, although it is still quite heavy with a great solo. Children Of Bodom’s strength is in their balance and as brutal as they are when it comes to their cadence and rhythm, the keyboards and lead guitar work compliment those parts perfectly. The crystalline key tones are used everywhere, sometimes as introductions, other times as a wash, but mostly as a second solo, like in “Roadkill Morning” and “Lobodomy”. Other times it’s used as a twin harmony lead like from ” Banned From Heaven”, “One Day You Will Cry”, and “Smile Pretty For The Devil”. C.O.B. sense of melody and harmony shines brightest during those scaling lead lines and solos. Light side light paired with heavy side heavy forms a perfect dichotomy of sound, while the versatility of the keyboard adds spice and flavor without diluting the potency of thier metallic brew. Children Of Bodom’s “Blooddrunk” therefore is a multi-dimensional success of extreme metal.

Ihsahn’s 2008 solo LP, “angL” is a highly polished, well produced work of both classic and progressive black metal. Although there are some tracks that interweave both styles within, most of the songs are either one or the other. “Misanthrope”, “Malediction”, and “Monolith” feature all of the classic elements of black metal including playing style and arrangement. “Monolith” is the exceptional track due to its full bodied bass lead that kicks off a cool rhythm riff that stays on top all the way to the outro. From the progressive side of the metal fence lies the best cut from the album: “Unhealer”. It’s not enough that the guest vocalist is Mikael Akerfeldt of Opeth, but that the track musically bears his signature as well with sweeping soft interludes and an advanced solo section makes it that much better. Out of that the sonic high point is the chorus itself with the two vocalists trading off lines in an unholy alliance of black and death. Another great track high in variety is “Elevator”. Four parts with three movements of different speeds, the lead work is impressive including the underlined phrasing at its refrain. Hard or soft, fast or slow, a common writing stance on “angL” is a minimum of embellishment with appearances both short or restricted to breaks. “Scarab” has a piano break, “Threnody” is introduced with accoustic guitar, and any synthesizer that appears is usually relegated to back up chorus duty like “Alchemist” and “Elevator”. That means that the songs in general are not complex, although they are advanced by design. What “angL” is in essence is a well recorded, slick, sterling silver work of art with an evolved level of songwriting. The only negative observation that could be made about “angL” is that its split personality leaves no imprint of dominance. Ihsahn’s “angL” is not a spectacular record, but it is very, very good.

The Sword’s 2008 LP “Gods Of The Earth” attacks with a fury more akin to a hammer than its namesake. Doom in tone but faster and thrashier, The Sword abuses more than uses thier weapons of sound. From this criterion, the MVP is easily the percussionist Trivett Wingo. His execution is downright animalistic: drums are beaten, cymbals are crashed, and the pounding is relentless, noizy, and loud. As this is the defining sound on all of the tracks, “Under The Boughs”, “The Frost-Giant’s Daughter”, and “How Heavy This Axe” are the exceptional examples. The rest of the band follows suit with a sound that is collectively dirty, blunt, heavy, dragging, and raw. Solos are rare, but when they do appear they echo a late seventies feel. The rhythm backdrop is more relative to an early eighties template. Coupled with a garage band kind of sophistication, it is therefore fresh when you consider the catchiness of the many thrash riffs that appear throughout “Gods Of The Earth”. “Lords”, “To Take The Black” and “The White Sea” each feature some of that melodic phrasing that adds to the dominant heavy sound that is their trademark. The best aspect of their songwriting; however, comes from the commitment of playing thrash metal licks to move songs forward and keep them interesting. In this regard, “The Sundering” introduces the album very well, with “…Hyperzephyrians” and “The Black River” maintaining that integrity just as well. Lyrically, the themes are meaningless and adds nothing to the songs. The lead vocalist, John D. Cronise, adds so much with his guitarwork that the thinness and weakness of his voice is tolerable. For a stripped down, simple, and tolling metallic creation that is “Gods Of The Earth” it is perhaps the only place where his pitch can survive. All put together though, The Sword’s “Gods Of The Earth” is a blunt force traumatic experience of non-embellished, old school, and sleazy heavy metal; a most enjoyable album indeed.

Metal the way it should be - that’s the single line that best illuminates Soulfly’s 2008 masterpiece “Conquer”. Above all else, it’s the overall direction by Soulfly’s creator Max Cavalera that is near perfect in both design and execution. Music, lyrics, and attitude form a perfect cohesion, almost symbiotic in effect with purpose, feeling, and soul. The riffing and phrasing at times is a near death experience, but so much better played. “Fall Of The Sycophants” illustrates that point well along with the great dual lead work and tribal drum ending. “Blood Fire War Hate” not only marches and moshes with relentless intensity but inverts the role of the music as it is that whch defines the beat and rhythm, not the percussion. The synth bookend is also indicative of Cavalera’s sense of color; which is not the only song to have extended musical outros and changes in feeling. “Doom” chugs just as heavy but has an arrangement that can only be described as groovy or funky. “Rough” is as simple as the album gets, but even here that changes to a more eerie and creepy instrumental ending. “Touching The Void” even features a didgeridoo. Throughout the rest of the album tribal sounds from the percussion secion permeates everywhere while the guitar work - although always on point in heaviness - can sometimes drift higher in pitch to a mid range level. “Paranoia” is a great example of mid range lead along with some impressive riffs and scale phrasing. Lyrically, the sense of purpose and illustration is just as powerful. Everywhere, the choice of words is by design, each intended for its effect. “Blood Fire War Hate” - the images by that title alone drives that point home. All put together, the result is a cannonball of pure metal. “Warmaggedon” slays and “Soulfly VI” is the soft track to round out the other styles found here. For those who have never heard Soulfly before, this album will “Conquer” you. It is a stroke of genius and an awesome display of heavy metal integrity.

Ayreon blasts off once again into the space metal genre with the 2008 double disc LP “01011001″. Part two is called “Earth”. Thematically expansive, smooth (no harsh tones of discord), airey, and spacey, “Earth” plays out the idea of a space opera perfectly. It’s lyrically driven with the music filling in the role of embellishment and background. The two opuses on the album feature only one instrumental section each. Ensemble singing is therefore aplenty, most notably on “From The Ashes”, “Unnatural Selection”, and “Echoes On The Wind”. Back to the music, the constant driving force are various synthesizers with beats that pulsate more than anything else. Only one song, “River Of Time” features accoustic/organic instruments by way of mandolin, violin, whistle, and flute - all of which were gratefully played by guest musicians. Other notable guests include Derek Sherinian from Dream Theater tossing up the most wicked synth solo on “Collision Course” and Michael Romeo from Symphony X guest soloing on the nerd anthem “E=MC2″ Elements of metal by way of distorted rhythm guitar is thin and rare; the most appreciated contributions come from “The Fifth Extinction” and “The Sixth Extinction”. It is light and soft tones that are the more prevalent. “Waking Dreams” has a spacey bass and a sweet melody, and “The Truth Is In Here” benefits greatly from the medieval recorder intro, too. “Waking Dreams” is also a lyrical high point with Ayreon genius Arjen Lucassen singing the role of an asylum inmate opposite his nurse, which was wonderfully sung by Liselotte Hegt. The best vocal direction on “Earth” comes from “The Sixth Extinction”. “2085″ pairs up versus and singers best here, and “Radioactive Grave” offers up a hearty serving of death metal grunting. However, “Earth” is much more progressive than metal, serving the macroscope of its perspective very well, but lacking a serious sense of connection to those who wish to join in on its flight.

Among the various aspects of Iced Earth’s 2008 LP release, “The Crucible Of Man” the most welcoming would have to go to the return of long time singer Matthew Barlow to the band. His vocal range, tone, and dexterity is the perfect compliment to Iced Earth’s rhythm guitarist and creative force Jon Schaffer. On the whole, Barlow is perfect, but highlights would include a more raspier output on the verses of “Crown Of The Fallen” and “I walk Alone” and a more sinister approach to “Crucify The King”. Of course, the beauty of Iced Earth will always come from the expertise rhythm guitar execution of Jon Schaffer more than anything else. On “The Crucible Of Man” the rhythm section is as precise, aggressive, and heavy as ever. The best song on the album, “Divide Devour” features a relentless rhythm riff, complete with an apocalyptic feel due to some crafty choir addition. “The Revealing” and “The Dimension Gauntlet” are two other fast paced, technically proficient tracks that also serve as “part twos” to each respective predecessor. “The Revealing” is also colored with that metallic Egyptian theme so often heard before. Other songs worthy of note is the somber “Epilogue” which features a great cello performance, and “A Gift Or A Curse” the most dynamic track due to the tribal drums giving it an organic feel and a clean Stratocaster contribution from guest musician Jim Morris. It’s a sweet song with parts both heavy and soft and a cool, bluesy outro to round it out. As a concept album, it is a little more personal than one would expect, and music-wise it is simply stellar. “The Crucible Of Man” by Iced Earth is therefore one of the best heavy metal albums to come out in 2008.