Metal and the Media: Ignorance or Just Not Newsworthy?

Note: This was cross-posted from Pyromusic.net

Just imagine if there was an airplay requirement for commercial radio stations to play at least one track a week from every Top 20 album. During 2009, radio would have had to play songs by Alice in Chains, Dream Theater, Lamb of God, Megadeth, Karnivool, Alexisonfire, Mastodon, Marilyn Manson, Killswitch Engage and Slayer. Even if you don’t like any of those bands, you’d have to admit that hearing “Headcrusher” or “Psychopathy Red” blasting out next to the latest inane Nickelback or Black Eyed Peas pap would put 2DAY FM on a level of awesome it had never before experienced.

That simply isn’t likely to happen, because commercial radio is format-based and the only real guideline is a flimsy and often-flouted “local content” requirement, but what about other media formats? At least 50 foreign metal bands toured Australia during 2009, compared to less than a dozen ten years ago, when only three metal albums made the Top 20. The seemingly ever-lasting Pink tour was in the news at least once a week, but visits by Slayer and Megadeth, and even the likes of Cannibal Corpse passed by with barely a whisper from mainstream reporting. Has metal become so normalised in our society that even a group with a media-baiting name like Dying Fetus can tour Australia virtually unnoticed? Or is this ignorance deliberate?

Clearly there has been enormous growth in the local market for this music in the last decade, and certainly since the 1980s, when a charting heavy metal album was a rare thing indeed. It’s a trend that doesn’t look like abating: the week I began researching this article, Mechanize by Fear Factory was at #24 on the album chart, debuting higher than the album by Owl City. Option Paralysis by The Dillinger Escape Plan only missed out on a Top 40 berth by two spots. Yet media coverage of the metal phenomonon appears to have actually decreased since the beat-ups about riots and violence at shows back in the 90s.

Between January and the end of March this year, Australia played host to more than 25 metal bands from around the world. Several of them were attached to Soundwave, a festival that now in its eighth year is close to rivalling the Big Day Out as the nation’s premier summer touring event.

If you followed the mainstream media instead of the street press or websites like these, you could be forgiven for not hearing about any of it. There was barely any major news service coverage of Soundwave, despite the presence of bands like Faith No More and Jane’s Addiction. The Age’s review of the day was 257 words in length, most of which were about what the crowd looked like. The Daily Telegraph offered 353 words on the police making a few drug arrests there, which was only 105 words less than a story about the actual festival they ran three days earlier. Ironically, Classic Rock FM – whose regular playlist includes none of the bands that appeared – posted a near-1000 word review on their website.

“Good Vibrations here was the day before Soundwave, and that was covered on the six o’clock news,” says WA metal promoter Glenn Dyson. “Soundwave had just as many people, and that got nothing!”

Soundwave artists Meshuggah, Anthrax, Baroness and Whitechapel have their music distributed in Australia by the Wollongong-based Riot! Entertainment. Riot! services releases by labels like Nuclear Blast, Relapse, Season of Mist, Metal Blade, Earache and more. It is also a label in its own right, with about a dozen local bands signed along with several international acts like Ace Frehley, Fozzy and Black Label Society.

Chris Maric is the national publicity manager for Riot, and well aware of the difficulty in getting the media interested in heavy metal music.

“The dailies and radio really only want to talk to Alice Cooper. Or Ace Frehley. He did Jono and Dano and they mentioned he had a new album out -- because I made sure they did -- but they were playing 'Rock N Roll All Nite' in the background and the whole interview was about the KISS days,” he says, before acknowledging, “but that's how the media is no matter who it is. Even if it was Chisel, it would be about The Last Stand, which was quarter of a century ago."

When Slash was interviewed by the Daily Telegraph’s Kathy McCabe this week, the focus was on his solo album. Over on Channel 7’s Morning Show however, Molly Meldrum instead concentrated on Guns N Roses, a band Slash left in 1996. His new album was only mentioned in passing by Larry Emdur in the intro to the story. Slash debuted at #6 on the national chart.

Triple M is the largest Australian commercial radio network that specialises in the so-called “active rock” format, which covers almost everything in the rock vein from classics to current tunes. In recent years, the network’s Sydney station has struggled in the ratings, changing on-air teams and programming frequently and even falling behind the dismal placings of Vega FM at one point. While currently doing well in the key 25-39 demographic, it is consistently beaten in other age-groups by JJJ, WSFM and Classic Rock, the latter two of which play the same music as Triple M.

"On the music page of [the Triple M] website,” Maric goes on, “they had 15 bands listed, and all of them were safe: Green Day, Foo Fighters, Bon Jovi, Nickleback, Nirvana, U2 -- boring arena rock.”

According to Maric, one of the station’s marketing guys once took a poll in the mall under World Square in Sydney, where the studios are located. "He asked blokes what they liked about Triple M, and they said they didn't listen, because they wanted to hear Pantera and Slayer and Machine Head and Killswitch Engage, and Triple M didn't play any. When he played [management] the tape, they thought he must have done it in the main street of St Marys."

Triple M’s night-time announcer Ugly Phil O’Neil has been known to squeeze a few metal tracks into his shows whenever he can and is considerably well-versed in the genre. O’Neil even turned up at the Australian Metal Awards night in November last year. When he interviewed Zakk Wylde recently, he also played the Ozzy song “Miracle Man”.

“He used to do Kerrang! Radio in the UK for a few years, so he's not completely clueless when it comes to the bands,” Maric says of O’Neil. ”And all of his producers are metalheads! They even suggested to the program directors, 'What about TOOL?'. And they went, 'TOOL! They're tools!'”

Both of TOOL’s last two albums debuted in Australia at #1 and their tours sell out immediately, but even this level of popularity isn’t enough for the nation’s biggest “active rock” station to give them air-time.

A decade ago, Triple M, Sony Music and the now-defunct local version of Kerrang! Magazine put together a show emulating Britain’s Kerrang! Radio, which these days is a national digital rock station in the UK playing everything from emo to death metal. The music was supplied by Sony and Kerrang!, whose editor Rod Yates was a presenter.

“It ran for a couple of weeks,” Maric says. He was working for Sony at the time and spent a few months developing the concept. “Then one night one of the general managers was driving home and was tuned in. In Flames came on, and as soon as Anders went ‘Brrrrrrrrreeeeeeeee’, he pretty much just – like Packer did with Doug Mulray when he did that show of naughty clips on TV – just rang up and said, ‘Get that shit off my station!’. And that was it.”

Rugby league writer and heavy metal fan Steve Mascord tells a similar story of Triple M's indifference.

“I shot their program director an email last year because I was told by a lot of people that they would go for it,” he says. “I said to them, ‘You’re putting a lot more footy shows on air and you’ve got a bloke like Eric Grothe who’s a mad metal fan, why not have a show late at night that combines both?’ If they had a name like Grothe doing it, they’d get a sponsor for sure. Jamie Angel called me back, but he didn’t go out of his way. It was more of a courtesy call. And I said in the email that these bands sell so many concert tickets. It seems like a no-brainer to me.”

Radio is a cut-throat industry, and program managers believe they know what's best for their stations. But Maric and Mascord are right in that the sales figures for both recorded music and concert tickets show that heavy metal is getting more popular than ever.

In 2008, Iron Maiden sold out Sydney’s 17,000 seat Acer Arena in less than 10 minutes. The same year, Slipknot scored a #1 album in Australia – both their previous albums hit #2 -- Trivium peaked at #4 with Shogun and even Opeth scored a #7 slot. All with barely a mention outside the independent music press. The main talking point for the Iron Maiden tour was that their private jet was piloted by singer Bruce Dickinson. There was barely a mention of their 70 million album sales. News of Metallica’s forthcoming tour was on every news outlet in the country when it was officially announced. Channel [V] even played “Enter Sandman” a couple of times – during the day. Since then, it has hardly been mentioned.

In many countries, heavy metal is considered a serious musical genre to the point where some nations have a metal category in their annual music awards. Even the Grammys have categories for hard rock and heavy metal. The closest the ARIA Awards had was Best Alternative Release, a category that hasn’t existed since 2001.

It isn't as if there are no domestic metal bands doing well. Psycroptic toured Europe, the US and South East Asia in 2009 and will likely do so again after the completion of their fifth album later this year. Parkway Drive have toured the world almost constantly since 2005 and are currently in the middle of yet another a massive tour across Europe and the US. Their album Horizons peaked at #6 on the chart in 2007, higher than all but two of the nominees for the ARIA Best Independent Album award. Parkway Drive wasn't even nominated.

At least the Hobart press hasn’t forgotten Psycroptic, Tasmania’s most successful musical export since The Paradise Motel. The Sunday Tasmanian ran a feature on them in March as they geared up for their national tour with Decapitated.

Steve Mascord is a journalist with Rugby League Week and previously with the Daily Telegraph, but twenty years ago he wrote about metal for magazines like Drum Media and Hot Metal.

“Back when I was a kid working as a sports writer for AAP there was literally no one in the media who was a metal fan,” he says. “No one was interested in it, until one day there was a bit of a riot at a Metallica concert back in 1989, and they got me to come in and cover it. I turned up in a suit, which I think disappointed them a bit, but I was working as a sports writer! But now, a lot of those guys like me who were just starting out back then, who’d grown up listening to metal in the 80s, are now in the upper levels of the media. I’ve been following the AC/DC tour, and this is probably the first tour they’ve ever done here where there’s been no disparaging comments from anyone about how the fans are just total bogans and whatever else. The media has just been really supportive.”

Glenn Dyson noticed the same thing.

“Back in ’91 on the Razors Edge Tour -- I was 18 at the time -- there was a lot of negative publicity. At the Entertainment Centre, everyone who went in actually got searched! 45,000 at Subiaco Oval the other night, and not a single person was searched. Not that they could have with that many people there. But it was almost like a family outing, compared with 20 years ago when they were searching everyone for knives! It’s a massive turn-around.”

That kind of acceptance doesn’t seem to extend to the more extreme end of the market. Dyson’s Perth-based company Soundworks Touring has put on over two dozen tours in the last five years. Now perhaps the most prolific of the country’s metal touring operations, he never rates a mention outside of the street press.

“There’s nothing in the papers, nothing on the radio here,” he says. “You never get any postive stuff coming out of it apart from the punters who go along and enjoy it and thank you for bringing the bands out. And the venues, when you sell out the venues, they’re quite happy. The street press often review the shows the following week, but from the mainstream media, there’s never a single thing, ever. It’s like we don’t exist.”

Mascord admits that there is most likely a reluctance to support extreme metal among the media. In his opinion, the biggest hurdle for metal is that the people who make the decisions just don’t know enough about the subject to consider it newsworthy.

“The key thing is that it’s not really reporters, it’s decision makers in news rooms who decide,” he explains. “A guy who’s a news director at a TV station might have had a casual interest in AC/DC as a kid but he might have preferred Midnight Oil. But if a reporter loves AC/DC and tells him they’re coming to town, the news director will agree it’s a good story and the reporter will get his way. But if the reporter is into Slayer, and the news director has never heard them and just thinks they’re noise, he won’t run a story on them. That’s where it becomes a bit self-perpetuating, because Slayer never got any press when he was a kid, and AC/DC did. And so it’s very slow to break down those prejudices.”

He also asks why it is that there doesn’t seem to be that many extreme metal fans at the right levels in the media.

“I think one question to answer is why do people who listen to the more accesible metal and hard rock get involved in the mainstream media, and the people who follow the more extreme end of it don’t tend to become so influential? The record sales are comparable, so I don’t know what the answer to that would be.”

“Well I don’t watch Sunrise or anything, but Alice Cooper’s been on there, and Kiss,” says Dyson. “And they’re still heavy of course, but you’ll never see a Cannibal Corpse or a Suffocation or an Arch Enemy because the powers aren’t into it. And also because they probably think it’s not suitable for a mainstream audience. Which is a shame. Metal’s been around for a long time and it has a massive, loyal following.”

So even with metal bands charting higher and selling more tickets in Australia than ever before, don’t expect to see As I Lay Dying splashed across the front page of your newpaper’s entertainment lift out anytime soon.

EXODUS: Exhibit B: The Human Condition

Produced by Andy Sneap

Released: May 7

Overkill has already released the thrash album of the year, but rather than go down without a fight, along comes Exodus with their ninth issue, a volume chock full of nothing but savage, brutal and epic thrash metal. Unlike those of their New Jersey counterparts, the last few Exodus albums haven't been that great and after the steaming pile of crap that was Let There Be Blood they really needed something special to show that they could still be relevant. Exhibit B: The Human Condition doesn't sit at the same level of awesome as Ironbound, but it's a big step forward from the last few albums.

Gary Holt has handed the producer's reins back to Andy Sneap, who naturally gives this a modern sound that many won't like, but let's face it, it's 2010. There's also some of the groove aspect that's crept into the more recent Exodus sets, yet it isn't overplayed. Rob Dukes' vocals have also been a sticking point for fans, but I don't see a problem here. He isn't Baloff or Zetro but he does seem to have grown into his role as a thrash metal vocalist and on this album his style in a mix of harsh barks and shouts and even something close to a death growl in the enormous "The Sun is My Destroyer". None of the songs are as long as "The Atrocity Exhibition" or "Bedlam 1-2-3" from the 2007 opus, but all but four of these cuts run beyond six minutes. Lyrically, Exhibit B is a catalogue of anger and hatred, and the music that accompanies them is a ferocious arsenal of furious riffs and explosive soloing.

This is a truly vitriolic album, with Dukes spitting, growling and barking his way through tracks like "Beyond the Pale", the hate-filled "Class Dismissed" and the ripping, priest-crushing "March of the Sycophants", all capturing Exhibit B's theme of humanity's violent nature in the most unapologetic fashion imaginable. Holt and Lee Altus tear off solos that make your hair stand on end and the rhythm section is a faultless pile-driving onslaught. The only real problem with Exhibit B is the length: clocking in at a whopping 75 minutes, by the one hour mark it starts to run out of puff, becoming a bit of a tedious, angry noise before the end. Still, it's a welcome blend of classic and modern Exodus, and one of the angriest albums you'll hear this year.

1. The Ballad of Leonard and Charles
2. Beyond the Pale
3. Hammer and Life
4. Class Dismissed (A Hate Primer)
5. Downfall
6. March of the Sycophants
7. Nanking
8. Burn, Hollywood, Burn
9. Democide
10. The Sun is My Destroyer
11. A Perpetual State of Indifference
12. Good Riddance

Rating: 78%

RATT: Infestation

Produced by Michael "Elvis" Baskette

Released: Tomorrow

After a decade or so when most people couldn't have cared less about them and the few who did had no idea what was going on, Ratt has somehow managed to crawl out of the various holes they dropped into in the aftermath of their golden age. Following a series of dramas that almost made the Guns N' Roses saga look petty, Bobby Blotzer and Warren DeMartini finally reunited with Stephen Pearcy a little while back. Having since brought in Carlos Cavazo for some extra guitar flair (and say what you like about bands of this nature, but they always had that), the newly-resurrected band has delivered Infestation as their seventh full-length release.

DeMartini has suggested that Ratt was aiming for something that would fit into the Out of the Cellar/Invasion of Your Privacy section of their oeuvre (and why not? They're the only Ratt albums anyone gives a shit about), potentially a big ask 25 years down the track. While they haven't been able to pull that off, Infestation is actually not too bad. That this will be a heavy and dirty-sounding album is immediately apparent in the driving, angry riffing of "Eat Me Up Alive" and "Best Of Me", and if Infestation has one thing going for it, it is the aggressive feel that pervades throughout. The pop-ish hooks in the likes of "Little Too Much" and "Look Out Below" are classic Ratt and with Cavazo on deck alongside DeMartini flashy guitar work is the order of the day. Really, these two are the stars here: the songs don't have quite enough hooks to sustain repeated listenings and the lyrics are the same throwaway party anthems they always did. Stephen Pearcy is still the worst singer to have come out of the LA scene but the gang vocals are sufficiently strong enough to prop him up. Naturally, the balladic "Take Me Home" is terrible, continuing another Ratt legacy.

This is really a record for the fans, and one that fans will definitely enjoy. It's heavy and earnest and sounds like they actually mean it, with the feel of their classic hit period, so on that level it succeeds. The strength of the songs overall lets it down, however, with naught but the first two or three really being that memorable. Still, this is an album the likes of which their fans probably thought they would never hear again, and that will make plenty of them happy.

1. Eat Me Up Alive
2. Best of Me
3. A Little Too Much
4. Look Out Below
5. Last Call
6. Lost Weekend
7. As Good as it Gets
8. Garden of Eden
9. Take a Big Bite
10. Take Me Home
11. Don't Let Go

Rating: 65%

DARKTHRONE: Circle the Wagons

Produced by Fenriz and Nocturno Culto

Released: April 2010

Darkthrone has always been a law unto themselves. Almost two decades since their mind-numbing excursions into deliberately non-accessible lo-fi black metal buzzsaw noise, they still manage to stay as far from the mainstream as they can. With Circle the Wagons, they move even further away from a field littered with -- in Fenriz' words -- "plastic bands" and plunge forward by going back. Back into the rich and dark heritage of the genre they helped to define.

Circle the Wagons takes the journey Darkthrone began with The Cult is Alive to its logical extent. The punk and old-school metal influences that were always at the very core of their sound have now been given full rein. This is the album that Venom or Hellhammer could have made had they been more competent musicians at the time: raw, no-frills metal with punkish guitars and sneering growls. Darkthrone have always been the masters of making things seem as unadorned as possible, and even the melodies sound primitive. Fenriz is a terrible singer, but his clean vocals in "Those Treasures Will Never Befall You" just ooze all the character of the true underground metal album. Because Darkthrone has always been more about how metal feels than how it sounds. Still, Circle the Wagons also sounds authentic: "I am the Grave of the 80s" is pure northern England NWOBHM. It's hard not to imagine Venom doing this. Similarly, the title track rumbles with a sound as old as extreme metal itself and Lemmy himself would be proud of the punked-out thrashing of "I am the Working Class". Near the end of the album, "Eyes Burst at Dawn" has some great clean vox and killer guitar melodies; a highlight for sure.

Darkthrone being Darkthrone, there's also grimness like "Stylized Corpse" that hearkens slightly to their earlier days and Nocturno Culto's vocals take a disturbing turn in "Black Mountain Totem". I'm not sold on "Bränn Inte Slottet" that seems to exist simply to push it over the 35-minute mark, but that's only a small criticism of another triumphant Darkthrone release.

1. Those Treasures Will Never Befall You
2. Running for Borders
3. I am the Graves of the 80s
4. Stylized Corpse
5. Circle the Wagons
6. Black Mountain Totem
7. I am the Working Class
8. Eyes Burst at Dawn
9. Bränn Inte Slottet

Rating: 87%

ABSCESS: Dawn of Inhumanity

Released March 15

I haven't listened to Abscess for many years but as soon as "Goddess of Filth and Plague" began it seemed like not much had changed. And essentially, this is correct, as Dawn of Inhumanity has that typically dirty, punk-edged death metal thrashing that this band has always done. The problem with Abscess is that their albums tend to run out of steam before the end. Dawn of Inhumanity is different because this happens a lot sooner.

The cover art continues the fascination they've had with eyes since Tormented, this time with a procession of insect-legged eyes and severed hands being led by some hooded men along a river of blood. Musically, it's Abscess: sludgy, punkish death metal with doom parts and a raw, dirty production with unspectacular drumming and thin guitar solos. The big and fatal difference on Dawn of Inhumanity is the length of the tracks. In the time it used to take them to play 30 songs or more, this time there's only 10, and most of them are far too long.

"Torn From Tomorrow" is their typically cool punk-flavoured death-thrash with some demented soloing and on "Never Sane Again" the band descends into a sprawling, punkish doom death with Chris Reifert turning in a deranged vocal like a cross between Obituary's John Tardy and Rok from Sadistik Exekution. But most of the other songs are either mind-numbingly over-long noisefests or one riff punk songs that should be about three minutes shorter than they are. The creeping, seemingly endless noise of "The Rotting Land" in turns leads into the seemingly endless noodling of "Dead Haze" as if they are both the one long, drawn-out jam. "What Have We Done to Ourselves" kicks back into sludgy punk rock just in time to prevent the listener from slipping into a boredom-induced coma, but then decides to just go on and on and on and on for five and a half minutes, getting nowhere.

Abscess albums have always been little more than garageish thrashing, yet they were fun because the songs were so short. This one starts out like all the others, but wears out its welcome far quicker. Meh.

1. Goddess of Filth and Plague
2. Torn From Tomorrow
3. Never Sane Again
4. Dawn of Inhumanity
5. The Rotting Land
6. Dead Haze
7. What Have We Done to Ourselves
8. Dark Side of a Broken Knife
9. Divine Architect of Disaster
10. Black Winds of Oblivion

Rating: 45%

THE DILLINGER ESCAPE PLAN: Option Paralysis

Produced by Steve Evetts

Released: March 22

I have to admit that it took an album or two for The Dillinger Escape Plan to click with me. For an old campaigner like myself, the signal to noise ratio was too lopsided. I couldn't understand it.

Now of course, it all makes sense, and I look forward to how I am going to be amazed by the frenetic five piece each time they do something new. With album number four, they continue to make some of the finest extreme noise there is, conforming only to the rule that there are no rules. While the plethora of copy-cats bands continue to appear and then disappear in slightly more time than it takes to whip a MySpace page together, Dillinger continue to forge so far ahead that it will take something incredible to catch them. So while Option Paralysis doesn't show them taking any enormous stylistic leaps, it underlines their reputation as simply the best band of their kind.

Option Paralysis strips away the electronic incursions of Ire Works whilst retaining some of the melodic aspects as well as the ferocious technical turmoil for which they are renown. "Farewell, Mona Lisa" is the most accessible and hooky track, with Greg Puciato exhibiting the full range of his vocal acrobatics including an impressive melodic croon. But then they step out into completely capricious, avant-garde jazz-metal psychosis where time-signatures and traditional arrangements mean nothing. "Room Full of Eyes" is perhaps the stand-out example on this album of The Dillinger Escape Plan at its chaotic best, making the starkest possible contrast to the brooding piano ballad "Widower" featuring master jazz pianist (and long-time David Bowie colloborator) Mark Garson. But even calling "Widower" a ballad is a stretch when one considers the hardcore mayhem it eventually becomes. "I Wouldn't If You Didn't" is virtually the last word in unpredictibility, slowing down, speeding up, veering off, lurching back, and ending up nowhere near where it began. In a band where keeping time seems almost irrelevant, Billy Rymer's drumming display is simply mind-boggling, somehow keeping Ben Weinman's ever-changing storm of riffs on track in spite of the band's utterly non-linear songwriting style, and Puciato is simply untouchable in his schizophrenic vocal abilities. Only Patton comes close, and even he can't growl with such terrifying import.

Option Paralysis is proof yet again that The Dillinger Escape Plan is one of the best bands in the world. Ignore this at your peril.

1. Farewell, Mona Lisa
2. Good Neighbor
3. Gold Teeth on a Bum
4. Crystal Morning
5. Endless Endings
6. Widower
7. Room Full of Eyes
8. Chinese Whispers
9. I Wouldn't If You Didn't
10. Parasitic Twins

Rating: 98%

AIRBOURNE: No Guts. No Glory.

Produced by Johnny K

Released: March 8

AC/DC soundalike bands are a dime a dozen and I've lost count of the number of CDs by such bands that have littered my desk over the years. Few if any have ever had much appeal beyond novelty value, particularly if -- as it usually the case -- their only notable aspect is that they sound like AC/DC. Airbourne is different. There are few bands in recent memory who have copied another band as well as these guys do and yet made it work so well, because as much as they do sound like their idols, they have a vibrant, youthful energy coupled with an aggression in their playing that AC/DC has lacked since Bon Scott was alive.

Airbourne has nailed the classic AC/DC sound right down to Malcolm Young's guitar tone, but unlike bands like Rhino Bucket and Krokus who also plundered the Youngs' riff arsenal mercilessly, these Aussie lads also know how to write a bunch of catchy songs that manage to stay in your head once the album is over. They may not yet be able to quite fill an entire album with them, but they certainly have some good ones. The opening four tracks of No Guts. No Glory. are prime slices of mid-70s Aussie hard rock, buffed, polished, re-booted and re-energised into early 21st Century mode. It's fist-pumpin', headbangin', chorus-shoutin', heavy rockin' goodness from the first moment and continues rocking until well into the playlist with gutsy, earthy blue-collar rock n' roll that is at least as good and often even better than anything AC/DC has done in almost two decades. Joel O'Keefe's sneering wail has enough of the sound and power of his heroes to be authentic but retains a character of its own, although as the album ploughs on, he does begin to sound more and more like Brian Johnson.

Where the album falls down is in its length. At 47 minutes, No Guts. No Glory. is way too long for an album of heavy-as-shit rock n roll and after about track eight, the songs really start to take on a sameness that makes it drag out. "Chewin' the Fat" and "Get Busy Livin'" sound remarkably alike, with a build to the chorus that got me thinking of "What Do You Do For Money, Honey?", and "Armed and Dangerous" was almost the same, with "Shoot to Thrill" chucked in to boot. The raucous drinking anthem "Back on the Bottle" lifts it again in time to finish though, unless you decide on the Special Edition, which wears out the welcome even more by including another five tracks that simply aren't as good: "Kickin' it Old School" is a total waste of two and a half minutes. Still, this is the best album of pure high voltage rock n' roll since the last Airbourne album, and that includes Black Ice.

No Guts. No Glory. No frills. Just rock. Crank it!

1. Born to Kill
2. No Way but the Hard Way
3. Blonde, Bad and Beautiful
4. Raise the Flag
5. Bottom of the Well
6. White Line Fever
7. It Ain't Over 'till It's Over
8. Steel Town
9. Chewin' the Fat
10. Get Busy Livin'
11. Armed and Dangerous
12. Overdrive
13. Back on the Bottle

Special Edition tracks:

1. Loaded Gun
2. My Dynamite Will Blow You Sky High (and Get Ya Moanin' After Midnight)
3. Rattle Your Bones
4. Kickin' it Old School
5. Devil Child

Rating: 80%

ARMORED SAINT: La Raza

Produced by Joey Vera
Released: Today

If you caught their shows last year or you've heard any of their albums, you'd already know that Armored Saint is one of the most under-rated bands in metal history, and here's proof. They may have only made three albums in the last 19 years, but they aren't the least bit rusty. Every time these five dudes get together, they make it sound like they've never been apart, and despite Joey Vera's assertion that he really wasn't interested in trying to take up where Revelation left off in 2000, it's clear almost immediately that La Raza is an Armored Saint album.

"Loose Cannon" comes in on a slow build from acoustics then breaks out into their trademark style of rocking heavy metal. It's a solid beginning, but Armored Saint is just warming up, unleashing a classic twin guitar harmony in the intro to "Head On" before heading into a chunky riff and then a big catchy groove. "Left Hook from Right Field" and "Get Off the Fence" are as equally littered with hooks and rock-style grooves, with Jeff Duncan and Phil Sandoval busting out some guitar pyrotechnics in the latter.

Displaying the diversity they've long been known for, the title track opens with a distinctive Latin rock vibe recalling Gonzo's percussive work on "Tribal Dance". "La Raza" is a heavy, bluesy jam, easily the stand out of the album and one of the band's best tracks ever, which is saying a lot. Other songs work in the ethnic and blues-flavoured influences also while remaining solidly in heavy metal territory. The closer even throws in a funky edge to heightened the almost danceability factor of the whole album.

La Raza is an extremely catchy album, with John Bush, having penned some of his best lyrics, in fine voice as always. Like Overkill, Armored Saint rarely if ever disappoint, and as there doesn't appear to be any plans for the band to play live beyond a couple of dates in LA, La Raza may be your final chance to enjoy one of the best metal bands of all.

1. Loose Cannon
2. Head On
3. Left Hook from Right Field
4. Get Off the Fence
5. Chill
6. La Raza
7. Black Feet
8. Little Monkey
9. Blues
10. Bandit Country

Rating: 90%

UNLEASHED: As Yggdrasil Trembles

Produced by Frederik Folkare

Released: Today

These days, the definition of death metal seems to change every few months as elements are added, subtracted, ramped up or diluted. Even for an experienced chronicler it gets difficult to delineate where death metal ends and something else begins: is it hardcore, deathcore, metalcore, death metal hardcore, pretentious jazz-metal noodling bullshit with death vox?

Sweden's old-schoolers Unleashed shine like a beacon in the murk of cross-genre pollution, cutting through the smog like a scythe. Because Unleashed plays death metal the old way, and they've never done anything else. These guys have been doing this so well for so long, you get the feeling they could knock their tunes together as they sleep. But music as simple and unadorned as this is the hardest to create, because it takes enormous discipline to keep to the same path with so many diversions. No band exists in a vaccuum, and it's not as if the guys in Unleashed haven't played in other bands that are different, but when they get together in this formation they just do Unleashed, as if there's no other band in existence.

So it is then that As Yggdrasil Trembles continues the proud tradition of no-frills, groove-laden death metal. As always, they are almost subtle as far as death metal goes: no over-the-top speed or expansive technical parts, almost restrained drumming that does what it needs to and little else, listenable vocals. And, as always, they have made a consistently strong album of rousing, catchy metal songs, the kind that call to mind raging fires surrounded by bearded men swinging huge jugs of mead as they toast some ancient victory or prepare to obliterate some weaker foe. Whenever Johnny Hedlund isn't singing directly about Norse mythology -- as he does in "Chief Einherjar", the title track, and others -- he's singing about combat: "Return Fire", "This Time We Fight", and the band constantly drives the music as if caught in the midst of battle.

But what am I going on and on for? If you're familiar with Unleashed, you'll know what to expect from As Yggdrasil Trembles. If you're not, then chuck it on and hear what death metal sounds like without all the bullshit. Either way, you can't go wrong.

1. Courage Today, Victory Tomorrow!
2. So it Begins
3. As Yggdrasil Trembles
4. Wir Kapitulieren Neimals
5. This Time We Fight
6. Master of the Ancient Art
7. Chief Einherjar
8. Return Fire
9. Far Beyond Hell
10. Dead to Me
11. Yahweh and the Chosen Ones
12. Cannibalistic Epidemic Continues

Rating: 85%

WHY AC/DC MATTERS

by Anthony Bozza

As a life-long AC/DC fan, former Rolling Stone journalist Anthony Bozza ponders why it took until the mega-selling Black Ice album for the band to begin to get some of the real critical success he thinks they've long deserved. His argument is a strong one, and in this book he dissects AC/DC's music into its constituent parts as if examining the workings of a car or the valves of the human heart. By doing this, and doing it with humour and an engaging spark to his writing, Bozza is somehow able to stretch what would ordinarily be a feature article into a 160-page book that even the doubters his argument is aimed at would enjoy.

Why AC/DC Matters is a good read, carefully examining the way a band has been able to use little more than five open chords to write close to 200 songs and sell more albums than everyone except The Beatles. Bozza's analysis is meticulous as he considers Malcolm Young's style of play and speaks with college professors about the vocal abilities of Brian Johnson and Bon Scott. It's a strange intellectualisation of a band that -- rightly or wrongly -- is widely considered by critics as an antithesis of intellectualism. Yet herein lies Bozza's point: for a band to have made such simple music so successful for so long actually requires real genius.

While he does make this point, and few readers could come away from it disagreeing with him, it's hard to see exactly who this book is aimed at. As a biography it's irrelevant in the wake of Murray Engleheart's colossal Maximum Rock n Roll and it really doesn't offer anything new to either fans or non-fans. AC/DC, he writes, have made the same music for almost 40 years. This is a fact everyone knows. Their music is simple, but lots of people like it. Everyone knows this too. And as a lot of people also know, outside the metal and guitar mags, music critics have never much liked them. Nothing Bozza writes about AC/DC is anything I didn't already know; it's almost as if he wrote this just to please himself and his agent sold it on knowing that people would buy it because it's about the second-highest selling band in history. Even so, unlike I did with Stephen Davis' Guns N' Roses debacle, I didn't feel gyped by Why AC/DC Matters. It might be ultimately rather pointless, but it is good fun.