House of the Ward

[Eyesore]

A new batch...

MEGADETH - THAT ONE NIGHT (Thrash/Heavy Metal)


Megadeth mainman Dave Mustaine has been pretty busy with his band as of late. This year alone they’ve released this, That One Night: Live In Buenos Aires, a double live album recorded in 2005, a new studio album in the form of United Abominations, and the career-spanning box set Warchest. Live albums are always a tough lot to sell—at least to me. Very few live albums capture the power and energy of a live show, that magic found while seeing a band play just an arm’s length away. Sometimes it works; Queensrÿche’s Operation: LIVEcrime and Life Of Agony’s River Runs Again are both outstanding live releases, two that manage to harness the intensity of the concert like you were actually there in the front row. There are also epic failures, like Helstar’s completely worthless and unlistenable Twas The Night Of A Hellish X-Mas. Most live releases, however, seem to mingle around the middle of the road, not being terrible, but also not being all that memorable. That One Night: Live In Buenos Aires is one of those releases.

With the evolution of technology, bands are opting to bring live recordings into a studio and do all manner of studios tweeks, from completely re-recording parts to adding effects that weren’t heard live, and generally sucking the life right out of an otherwise great performance. With too much life-draining studio “magic” applied after the fact, That One Night comes off more like a collection of studio takes with crowd noise dubbed in than a true live recording. Though I admit that when the crowd starts chanting along in unison, it does sound very cool, especially when they’re chanting the riffs or singing along to a guitar solo! I can understand why Dave finds these fans so special. That One Night, for the most part, plays like a greatest hits album; and at this point we surely don’t need another hits collection from Megadeth (not that we needed another live album, either). The selection of material stretches back to 1986s Peace Sells…But Who’s Buying” album with “Wake Up Dead” to their latest release at the time, The System Has Failed. Sadly, Killing Is My Business…And Business Is Good is not represented here. Nor is Risk, though that’s not surprising. The inclusion of “Angry Again” and the heavier version of “A Tout Le Monde” (sans female vocals) are both great additions.

Mustaine may not be the greatest vocalist in the world, but he sure is stronger than he was in Megadeth’s early days. The problem is when singing the older, more aggressive material, Dave doesn’t sound nearly as convincing; he’s lost his signature metal snarl and is opting for a cleaner vocal style. This doesn’t work all the time, as Dave sounds horrible singing in a higher register on “Reckoning Day,” and the a cappella “Coming Home To Argentina” is largely worthless to most fans. While I feel like this album fails at being a powerful and engaging live album, it is enjoyable. Maybe having been there would make this more enjoyable; possibly seeing this show on DVD instead of just the audio portion would lend a stronger feeling to the recordings. Or maybe it’s just a bland recording of a concert that meant more to Dave Mustaine and those there that night. That One Night: Live In Buenos Aires is far from bad, but if you already own Rude Awakening, there’s really not a whole lot you haven’t heard here (just the tracks from The System Has Failed). Good, but not essential.

Rating: 65/100
Website: http://www.megadeth.com
MySpace: http://www.myspace.com/megadeth
Downloads: Tornado Of Souls (Live), Symphony Of Destruction (Live)

JUNKYARD PROPHET (Rapcore)


The rapcore movement in the 90s was pretty short-lived in the mainstream. Similar styles have been around since the 80s with bands like Fishbone and Bad Brains, so there was no level of innovation that brought it to the mainstream's attention. In terms of quality, those that found mainstream success weren't nearly the best of the genre. Bands like Stuck Mojo, Shootyz Groove, and Downset, the band Rage Against The Machine stole their style from, went largely unnoticed, even when signed to a major label. Junkyard Prophet, a Minneapolis band even farther from the limelight than the lesser-known of the genre, has been kicking around for nearly a decade now. This isn't surprising knowing that they've never accepted a major label offer (and, according to their bio, there have been a few, but they were turned down for not wanting to water down their message). Being a rapcore band lends itself enough scrutiny; being a Christian rapcore band all but seals the deal on close-minded music fans. And we have here a Christian rapcore band. Whether Junkyard Prophet's choice to avoid a major label was wise can only be speculated upon. After all, Project 86 and Pillar, both Christian bands, nu-metal and rapcore-cum-alternative raprock respectively, have done well under major labels.

But does a major label make a band relevant? Not necessarily. Instead of a major label forcing a band's hand at lessening that aforementioned message, they may actually help to enhance it. And Junkyard Prophet sure do have a message.

Junkyard Prophet's The Price is an album of extremes. On one hand you've got strong Christian themes, and on the other there's heavy-handed political subject matter. And the band has no qualms here about mixing the two to create one. I'm no Christian, nor am I into politics, but I can see these two things being the band's biggest obstacle, as the messages are strong and overt, oftentimes overbearing. Though I am no Christain, some of my favorite bands are—No Innocent Victim, Pillar, Project 86, Focused, Strongarm, to name a few—so I don't mind lyrics on subject matter not true to my heart. It's when the lyrics take on a tone that implies I am somehow living my life in a manner that is deemed wrong that I have an issue. It's one thing to have strong convictions, it's another to be accusatory and self-righteous with those convictions. Junkyard Prophet, while positive, take on a tone that doesn't always sit well with me, both on the Christian and political front.

The Price begins with "Remember Me," a song that gives respect to those who have given their lives, past and present, for our freedoms, including Jesus, the troops fighting war, and civil rights activist Martin Luther King, Jr., though the message is more universal in scope. The song is actually a really good song, showcasing some outstanding lead work, a solid melody and groove, reminiscent of fellow Christian rapcore alum P.O.D., but the less-than-intelligent use of the English language and convoluted message is detracting. I'm not saying this to be funny; without seeing the video (there is one) the message, to me, is just confusing. Many songs lyrically fall into this category and seem more like meandering propaganda pieces than true solid and positive messages. Under what I find to be a confusing layer of unnecessary words there stirs a good band. The Price is not a terrible album…if you don't listen to the lyrics too closely. Though I have criticisms, "Remember Me" is a catchy tune, "Betta Beware" may even be better, with a solid groove and hook. Other highlights include the tongue-twisting "Meetin' Thy Maker," complete with a shredding solo; the Shootyz Groove-styled rockers "Faith" and "Enemies Of The State;" and female vocals present some depth to the otherwise typical, though with some great lead work, "Why?." But those vocals come off flat and annoying on the double-meaning and cheesy country-tinged love song "One Heart" (presented here in two versions, only two tracks apart, one with rap and the other without). Aside from the lyrical inconsistencies, all doesn't work musically either. "Junkyard Rock" is a funky gem that is ruined by the ridiculous "Go junkyard! Go junkyard! Go!" chorus and "Watcha Want" just comes off a bit messy, though the enjoyable aspects here outweigh the negative. But again, only if you can tune out some of the more overbearing lyrics.

I have no doubt that the guys in Junkyard Prophet have positive intent at heart, especially with their You Can Run But You Cannot Hide ministry work—and it shouldn’t go without mention that any band out there playing styles that are often shunned by the majority deserve respect for having the integrity to follow things through and stay the course—but their overt, force-feeding approach is a little too much at times. The band should take notes from rapcore heavyweights Bionic Jive, a band that blends politics and religion to perfection, never coming off as being preachy, or trying to convert you to three different ways of thinking in a 4-minute song, while doing so with intelligence and style. Another problem with The Price is that it seems outdated. A good chunk of lyrical elements are just a superfluity of words, coming right out of the late 80s, when Run DMC, Beastie Boys, and Weird Al Yankovich's "Fat" had white kids across America struggling with identity crises. It just seems goofy. Overall The Price isn't a bad album, but it's also not one that will likely break out beyond their clearly defined and structured fan base. If bringing their message to a broader audience is important, Junkyard Prophet first need to present a message that is not so seemingly dogmatic, and they need to keep things a bit less abstruse. A little evolution here and devolution there would do Junkyard Prophet well. Maybe that move to a major label isn't so bad an idea. After all, a lessening of one thing (the message) may very well enhance another (the message).

Note: This album also features a second disc that states: "2nd disc contains a message from the drummer, Bradley Dean, on MP3." That "message" turns out to be forty-four separate messages that equate to more propagandized opinions that have no place packaged with a music CD. I can't say I agreed with much on this disc, but in the end it has no purpose being included here. Again, presenting a message that is not so dogmatic in nature would suit this band well. Otherwise I'm afraid they've boxed themselves in very tightly.

Rating: 60/100
Website: http://www.junkyardprophet.com
MySpace: http://www.myspace.com/junkyardprophet
Downloads: Remember Me (Video)

PUDDLE OF MUDD - FAMOUS (Alternative Rock)


Puddle Of Mudd broke out into the mainstream with their third album, and first major label release, Come Clean, in 2001. With the help of Fred Durst (Limp Bizkit) and the “strength” of a sophomoric and juvenile lead single called “Control,” followed by the equally ridiculous “She Hates Me” (both about as thought-provoking as Buckcherry’s recent chart-topper “Crazy Bitch”). Puddle Of Mudd’s third single, “Blurry,” reached a well-deserved #1 spot on the US charts. “Blurry” is truly a great, great song. Unfortunately, Puddle Of Mudd has yet proven to be a band capable of recreating or reaching that level of greatness a second time, on any given song let alone an album. Famous marks their third major label effort, after a four year absence. In those four years, the mainstream music scene has changed; Puddle Of Mudd has not.

Famous offers up the same sort of stereotypical alternative rock found on previous releases. The catchy but pedestrian title track starts the disc and sets the tone perfectly for an album that is equal in characteristics. “Livin’ On Borrowed Time” and “Merry-Go-Round” are very good mainstream rockers, while “It Was Faith,” “We Don’t Have To Look Back Now,” and “Radiate” touch upon what made “Blurry” a hit song, though not quite coming close to that same level. “If I Could Love You” is a solid melodic rock tune, choice for a single; while lead single “Psycho” and “I’m So Sure” deliver lyrical genius on par with Come Clean’s “Control.” Wes Scantlin’s vocals also still remain an obstacle, as his nasally whine can sometimes disrupt an otherwise good tune.

Famous will not likely draw new fans to the band, but it should please fans of previous albums. Puddle Of Mudd don’t have the mainstream backing like they had before Fred Durst became the most hated rap-rocker in the world, but they do still have decent songs to help maintain their waning popularity. They simply lack great songs, save for one. Famous is a decent album, but fame is likely the last thing this album will generate for the band.

Rating: 60/100
Website: http://www.puddleofmudd.com
MySpace: http://www.myspace.com/puddleofmudd
Downloads: Psycho (Video), Famous (Unofficial video)

AESMA DAEVA - DAWN OF THE NEW ATHENS (Symphonic Dark Metal)


Dawn Of The New Athens is the fourth album from Minnesota’s symphonic dark metal band Aesma Daeva. Dawn Of The New Athens is my first experience with the band. Doing research I can see that the band has had a revolving door of musicians, but the foundation of the band from its inception has been guitarist John Prassas. The latest addition to the band is vocalist Lori Lewis, who replaces Melissa Ferlaak, current Visions Of Atlantis vocalist. Ferlaak has proven to be an extremely talented singer, but Lewis’s vocal prowess is simply stunning here. And musically Aesma Daeva—which means Shining One—delivers a topnotch symphonic metal performance.

To describe the music here accurately is next to impossible. Similar comparisons can be made to bands like After Forever (sans death metal growls), but only if they were channeling the classical feel of a band like the outstanding Autumn Tears; or Therion and their recent Gothic Kabbalah album. And that is only scratching the surface. One can’t explain the depths of the ocean in mere words. “Hymn To The Sun” is a fast-paced symphonic metal stroke of genius, while “Artemis” is an excellent piece of atmospheric doom, somber and classical. “Since The Machine” stands out with its thick chants and deep male vocals, a groovy piece of dark metal. The music on Dawn Of The New Athens is dynamic and breathtaking in its depth, but it almost pales in comparison to the sheer power of Lori Lewis’s vocals. Carrying an array of personality and range, Lewis is able to carry the music to an entirely different level. And while this will be utterly hair-raising for some, it may actually push some people away from the music, especially after listening to Lewis’s stunning performance on “D’Oreste,” a metal re-working of a popular Aria from Mozart’s Opera Idomeno.

With such a demanding musical score, Dawn Of The New Athens may be tough for some to swallow. On a basic level the album is simply brilliant; upon settling down and taking it all in, it’s clear that Aesma Daeva have created an epic masterpiece with Dawn Of The New Athens. And after reading reviews of their previous releases, this will likely come as no surprise to existing fans.

Rating: 95/100
Website: http://www.aesmadaeva.com
MySpace: http://www.myspace.com/aesmadaeva
Downloads: Since The Machine (Live Video), D’Oreste (Live Video), Artemis (Live Video)