Metallica’s black album lacks so much originality that it isn’t even worth a proper name. The band kept only the worst parts of the great predecessor “…And Justice for All”, namely a very clinical production and the groove metal influences. Instead of adding diversified progressive elements, the band headed for a more commercial direction and focused on writing short tracks with simple choruses that are repeated to death. It’s a sad thing to say but the most interesting songs on here are the longer and calmer tracks reminding of Metallica’s last release or more commercial hard rock inspired by bands from Led Zeppelin to Guns ‘N Roses. These tracks don’t fit with the harsher, shorter and more repetitive tunes. Namely, the best songs on the record are the epic and melancholic ballad “The Unforgiven”, the laid back, melodic and minimalist ballad “Nothing Else Matters” and finally the dynamical “Wherever I May Roam” that recalls the last album and surprises with a few oriental folk sounds as guiding line. Album closer “The Struggle Within” is a little bit more dynamical and faster as it tries to go back to the thrash metal roots of the band but it really suffers from its chugging riffs and lifeless production. “Enter Sandman” is the only song of the new groove metal style that works for me because it has some atmosphere building up some tension in the song writing and the whole thing is crowned by the strongest chorus of this album. This kind of song has been played to death on radio and television but it’s still a good average album opener. Everything else is completely forgettable for me.

The rest is basically modern groove metal with chugging mid-tempo riffs, clinical drumming and an exchangeable bass guitar sound that barely sounds better than on the predecessor where this instrument was almost inaudible. In addition to this, James Hetfield’s vocal performance starts to sound truly ridiculous on this album. Most songs include highly exaggerated pronunciation and unnecessary exclamations and fill words such as “ah!”, “oho” and especially “yeah”. This may sound energizing on one or two tracks but it gets really annoying throughout the twelve songs including many fillers on here. The worst examples for this vocal style are the atmospheric opener “Enter Sandman” and the energizing “Wherever I May Roam”. These tracks are among the better ones on the album and a more serious vocal performance would even have rated them up. Weaker tracks like the extremely annoying “Through the Never” that almost feels as if James Hetfield was hectically and randomly shouting chopped up scraps of conversation while playing unnecessarily aggressive and yet chugging and repetitive riffs at the same time are really among the worst material Metallica has ever recorded. This song is often cited as more traditional thrash metal song but it’s rather an example of fast paced groove metal that is maybe even more annoying than mid-tempo mallcore. 

There are so many bad songs on here but the worst musical example for what is Metallica’s least original release and in my opinion also worst album apart of the abominable project “Lulu” with the late Lou Reed must be “Sad but True” where the title already says everything I think about this track. Basically, this song is based around exchangeable groove metal riffs and an unharmonious chorus. The verses sound like rap metal of the worst kind and I’m not surprised that Snoop Dogg, the rapper with the least enthusiastic vocal performance I’ve ever known, has once covered this track. I don’t have any problems with a passionate fusion of rap and metal as Anthrax and Public Enemy have proven that this combination can in fact work very well. While “I’m the Man” is a vivid example with a fierce attitude, “Sad but True” is its complete antithesis and comes around with lifeless guitar sounds and a boring vocal performance. I really hate using the term mallcore but this song is somehow the prototype for the worst executions of this genre. It’s somehow a song that has pioneered a genre but in this case, it’s nothing to be proud of.

In the end, this record has three good tracks and two average songs that don’t really fit to the other material which consists of abominable groove metal with lifeless instrumental sections, ridiculous vocal performances and a horrible production that annoys me much more than the uncompromising sound of “St. Anger”. Just listen to the artificial sound and slowed down drum play in the opening of the annoying “Of Wolf And Men” to get to know what I mean. I absolutely don't get why some people still claim that this album has a great production. Even pop albums of that time sound more dynamical than this. After all, clever marketing, shorter and catchier song structures and a more commercial approach influenced by actual trends of its time have still made what is Metallica’ worst regular studio record its most successful release. As a big metal fan, I’m really not proud of the fact that this is probably the most famous genre release of all times. There really is no need to purchase this record at all as the best tracks on here are still performed live and can be found with a much better sound on many different concert releases. Don’t believe the hype around this release and avoid it at all costs.

While "The Power Within“ saw DragonForce’s new line-up going for a calmer and shorter but also more emotionless and pale song writing, the sextet tries to go back to its earlier efforts with the much faster and joyous “Maximum Overload”. While I didn’t like the pale predecessor, I don’t like this nostalgic release either. It feels as if the best times of DragonForce are laying behind. With the departure of ZP Theart, the band seems to have lost a part of its soul even though new singer Marc Hudson isn’t really to blame. He introduced a more grounded and mature approach on the previous release but on this one, he pretty much sounds like an exchangeable clone of his predecessor which comes as a negative surprise to me. Still, the main problem lies in the uninspired song writing and the singer’s job has always been rather secondary in this band.

While the band’s earlier record included a lot of details and actually a decent musicianship behind its wall of sound, several new tracks sound dated and try to copy the band’s own classic. The new album feels like a half-hearted routine job. There is not one single goosebump moment on the entire release. Both “Defenders” and “Extraction Zone” for example sound like shortened and less enthusiastic versions of past efforts like “Through the Fire and Flames” minus the mind-blowing guitar solos that rather sound like standard European power metal pimped up with a few laughable electronic effects. Most tracks on the new record bore with vapid instrumental sections that one has heard before. 

Other songs introduce a few interesting ideas that could have rated this release up but they weren’t pushed far enough to convince. The harsh metalcore vocals by Trivium’s Matt Heafy in the opener “The Game” may be controversial but at least the band is trying out something new here. Sadly, the rest of this schizophrenic hyper-speed bummer only consists of nervous instrumental masturbation that tries to be everything at once and therefore goes straight nowhere. “Extraction Zone” has a calmer electronic middle part that comes as a complete surprise but the rest of the song is forgettable and hectic European power metal standard material. A cover version of Johnny Cash’s “Ring of Fire” may sound interesting to some but in the end, this song sounds like any other technical high-speed European power metal track with happy melodies and annoyingly high pitched vocals. One can say that DragonForce managed to make the song sound like their own but at the same time, it turns out to be just another exchangeable filler that follows the stereotypical signature sound of the band. By the way, don’t expect the limited edition to include some hidden gems, it just doesn’t and happens to be more of the same. By the way, fifteen or sixteen DragonForce songs in a row are not value for money but an intolerable dose of musical diabetes that even pales the few brighter moments on the release. Maybe I have grown too old to be impressed by this kind of music that left me speechless when I was sixteen years old or so.

That’s regrettable because there are still a few good songs on the record. The melodic mid-tempo anthem with fantasy lyrics entitled “Three Hammers” gives the listener a needed break from the usual hyper-fast song writing. Marc Hudson can in fact show that he can hit the highest notes without sounding too forced or like a faceless Michael Kiske rip-off. It’s a fact that the track somehow sounds like a copy of HammerFall or Stratovarius and won’t win a price for its originality but at least, this track stands out of the rest, has a logical concept and is written with heart and soul. It even includes a few choirs and goes back to grounded European power metal basics. Sometimes more is less. “Symphony of the Night” opens with keyboard sounds and a pumping bass guitar instead of the usual fast guitar riffs. What follows is an averaged power metal song that is saved by a few cinematic choirs and some mid-tempo passages in the middle section that gives the song enough space to breathe. “The Sun Is Dead” is maybe the most original track on the record. First off, the track has a clear guiding line. The vocals are more diversified and liberating than usual. The calmer and more laid back instrumental middle section even builds up some atmosphere. The keyboard work is great and for once on the record, the guitar solos are really performed with passion. Still, three decent tracks out of sixteen forgettable ones aren’t enough to save this record at the end of the day.

I didn’t expect to appreciate a more classic DragonForce release even less than the faceless “The Power Within” but that’s exactly the case here. Most of the time, this predictable and redundant release is giving me bulimia, diabetes and headaches at the same time. It’s just fast, joyous and repetitive for the sake of being a typical DragonForce album minus the more diversified and epic instrumental sections, the certain degree of fresh originality on the first three or four releases and a certain oomph in the choruses. This album is for absolute DragonForce fan-boys and girls only. Everyone else should skip this vapid rehash of past glory and quite desolate piece of self-parody.

In my humble opinion, "Dance of Death" is my very favourite and in general the most underrated Iron Maiden record since Bruce Dickinson and Adrian Smith rejoined the band in 1999. To my negative surprise, not only fans seem to consider this a flawed release but even Bruce Dickinson talked about it in a very negative and egoistic way by claiming that he had to hit very high and artificially sounding notes. Apart of the slightly strained vocal efforts, the flawed production is criticized as well as a supposedly uncoherent song writing that consists of eleven mostly overlong tracks that have no clear guiding line.

Obviously, I tend to disagree. The epic tracks have a warmer and softer production which builds up an interesting contrast to the more melancholic tone of several pieces while the shorter and straighter tracks sound raw and dirty like they should be. I really like the overall production of this record. The vocals might go to the limits but not only in a technical way the singer complains about but also in an emotional way. The vocals definitely grab your attention from the beginning to the end and I happen to find them very moving and emotion has always been more important to me in arts than technical perfection. In my opinion, this record also has a clear guiding line because it has a constant melancholic, longing and epic touch. The only exception is the opener "Wildest Dreams" where the vocals are longing but the instrumental work rather feels like a straight rock 'n roll track. On the other side, this track is the first single and opener of the record and it doesn't surprise that the band prefers to kick off the album on a more gripping and catchier note. The band has done this before, in particular on the two previous records and nobody should be surprised about this kind of idea anymore.

The rest of the album is though perfectly consistent. "Rainmaker" may be the shortest tune on here but it has a melancholic vocal effort, longing and soaring melodies and a great epic instrumental section with emotional guitar solos and catchy melodies. Since this effort, the band's song writing decreased as Iron Maiden didn't manage to write a similarly profound short song on any of the next records. The real highlights on here are the epic songs in my opinion. The emotionally diversified "Dance of Death" is a mixture of classic heavy metal song writing, a vivid folk tune and majestic classical elements. In addition to this, lyrics and music go hand in hand and develop a gripping piece of occult yarn. This song goes straight back to the band's greatest epics from the eighties. "Paschendale" is just as great but for different reasons. It's a dark epic with hypnotizing melodies and vocals that interchange with truly dramatic and passionate parts. Iron Maiden has written so many songs about war but this here is the band's most authentic and atmospheric rendition in my opinion. This track manages to transport you mentally to the blood-red battlefields of World War One. In addition to this, the lines "Cruelty has a human heart - Every man does play his part - Terror of the men we kill - The human heart is hungry still" are one of the most emotional and poetic lyrics by the band as they are at least partially inspired by the great poet William Blake. Last but not least, we get the band's most creative ballad ever with the outstanding and melancholic "Journeyman" that mixes elegant classical elements with a hopeful campfire atmosphere combined with one of Bruce Dickinson's very best vocal performances. It's a surprising piece of music coming from a heavy metal band and proves that Iron Maiden can still innovate the genre it partially pioneered in the twenty-first century.

Despite its clear guiding line, this album remains always open for experiments that should please to any dedicated Iron Maiden fan. One on side, this record includes the straight "Montségur" which is probably the most aggressive song the band has ever written. Still, the song doesn't sound stupidly brutal but comes around with amazing twin guitar solos and a desperate chorus that crowns a diversified and emotional vocal effort. On the other side, this release offers some of the band's calmest and most mature tracks that could easily come from a progressive rock album. "Age Of Innocence" is a great example as its lyrics and vocals keep sending shivers down my spine. It's not the kind of song that will convince at first contact but steadily grow with each spin and this is what makes a really clever song writing. Finally, even the few who are still living in the past and expecting a return to the band's records of the mid-eighties, may find a song that feels like a perfect blueprint of a classic heavy metal epic. This song is called "No More Lies" and despite it's retro touch, it can fully convince because it actually beats many of the originals which inspired this anthem. From the first seconds on, the band comes around with amazing melodies as well as a profound and melancholic atmosphere. The chorus is simple yet the most powerful refrain the band has written in years. The real highlight of this spectacular heavy metal epic blueprint is the instrumental middle section where we get to hear one amazing guitar solo after another. Hands down, this song includes some of the most emotional and vivid heavy metal guitar solos ever written. Even after several dozen spins, I can't stand still to this track and feel the need to get in motion, to play air guitar and to sing along to this masterpiece. This may not be the most original song writing but definitely one of the most emotional ones. Again, emotions are more important for me than technical abilities.

Even the few weaker tracks like the melodic retro rock track "Gates Of Tomorrow" or the calm progressive rock song "Face In The Sand" have grown on me as time went by. Today, I can't find any single weak track on this record. There are only good to excellent songs on this release that represents very well Iron Maiden's career as it goes back to almost any sound and style the band had already tried out in its career without forgetting about some original innovations and a very own and coherent melancholic atmosphere. This nearly perfect mixtures put this record above several other milestones of the eighties that had a huge impact on the genre but that still had some sympathetic flaws and a couple of fillers. If this record had been released between "Powerslave" and "Somewhere in Time", it would definitely be considered as one of the band's legendary early masterpieces and get the well-deserved praise it didn't get in the beginning of the new millennium. Those who listened to the album once or twice and forgot it somewhere as a dust collector on a shelf, should grab this contemporary masterpiece of heavy metal music, give it a few more spins and re-evaluate this criminally underrated album that may be the greatest heavy metal record of the new millennium.

Xiaoyu or Rain in English is a promising symphonic power metal quintet from Guangzhou in the People’s Republic of China. Founded back in 2005, the band released a first full length record in 2008 which can be loosely translated as “Forest Pavilion” and delivered a strong follow-up by the end of 2013 which is a little bit tougher to translate but where the term “Downtown Fall Border” probably sounds most harmonious to me. The four young men on bass, drums, guitar and keyboard as well as the female singer convince with a diversified song writing including calm and sometimes neo-folk driven passages in the key of Empyrium, great melodic guitar solos and a sometimes atmospheric but also progressive use of keyboards which puts them close to bands like Edenbridge and also a few more gothic metal driven passages in certain songs where the gracious and sometimes high-pitched but never annoying female vocalist gets the support of some hoarse and rather unique male growls as in groups like Epica.

After a great atmospheric introduction, the quintet from Guangzhou immediately delivers in form of the gracious “Silence” that unites all the different elements cited above in one single song with a gripping songwriting. Calm moments carried by decent atmospheric keyboard parts, occasional acoustic guitar passages and angelic vocals meet faster power metal driven parts with well executed melodic guitar solos and some up-tempo parts with a few distinctive hoarse back vocals. The song has a running time of seven minutes and a half but it neither gets redundant nor does it lose its clear guiding line.

“Warriors Underneath The Sun” is more of a up-tempo track with gripping riffs, fast power metal solos and sacral organ sounds where the hoarse male vocals are used more and even better to contrast the elegant female vocals. The great middle part of the song that gives us a short break introduces some almost Celtic folk passages with powerful gang chants that could also be found on a Gwyllion release.

The almost medieval flute sounds in the laid back “La Porta Di Luce” spin the use of the laid back elements even further. The calm tribal drumming and the dominating bass guitar can also shine in this track while the sacral female vocals don’t fail to touch the listener. Old Nightwish fans should also dig this track as well as the similar and maybe slightly catchier album closer “The Path To Paradise” that might be a potential single candidate.

While the first few songs on the album should immediately to a wider audience, the second part of the album is not only calmer and more sacral overall but also more progressive with songs reaching running times of above ten minutes. The emotional violin sounds, gloomy piano passages and the chilling extensive neoclassical guitar solos in the mysterious title song meet what is probably the most outstanding female vocal performance on this release. Pang Yuet, also called Xiao Xiao, reaches the highest vocal ranges and performs as amazingly as a professional opera singer without ever sounding annoying. This track really lives from her effortless performance and you can’t but fall in love with her voice if you like laid back classical music or symphonic metal. This is the kind of song that is a little bit more challenging at first contact but will turn out to be the outstanding highlight on this release. If you had to listen to only one song on this excellent release, this is it.

“Sad Voice” also has a very spiritual sound with dominating sacral and folk sounds conducted by the strong keyboardist Berry. Guitarist Shi Yu delivers once more one of his melodic signature guitar solos. His play could become so inspiring and unique that he might one day be referred to as the Chinese Timo Tolkki. The song itself starts like a neo-folk epic from Dornenreich but soon turns into a joyous and playful power metal track that could also come from early Xandria.

The ten-minute long “Spirit Of The Night” has a similar elegant instrumental approach but the calm passages soon harmonize with harsher gothic metal riffs and passionate growls. This song reminds me a little bit of the middle years of Therion or also Seraphim which are very good references in my opinion.

Apart of the slightly redundant transitional instrumental “Twilight Flowers By A Rainy Night” and a well done short introduction, Xiaoyu’s second output includes seven creative and touching high-quality symphonic metal tracks that might grow on you with each spin. Along with the latest releases by Epica and Xandria, Xiaoyu’s record is easily among the very best symphonic metal releases of this decade. Among many promising obscure Chinese metal bands, Xiaoyu as well as progressive metal sensations Moyi or The Last Successor and Haishishenlou or Mirage are the three bands you should definitely check out and keep on your mind for future endeavors. I highly recommend you to listen to Xiaoyu’s release for free by visiting their Douban homepage.

"Feuertaufe" is the first and until now only single of the diversified and yet more mature "Kunstraub" record that pretty much resumes the main strengths of German medieval rock band In Extremo. This track is the obvious single choice on the album. The energizing pipe melodies get your attention right from the start. While the verses are simpler and more plodding, the chorus is really catchy and powerful. It's somewhat simplistic as the topic of burning passion offers nothing new but it's performed with a solid dose of energy. The gang shouts in the chorus remind of the band's punk roots in a more mature and mellower way. The song includes a very short middle section that focuses on the use of diversified folk instruments and should appease the older fans that don't stop complaining about the band's departure from more traditional folk songs. Despite the medieval sounds in here, this is a commercial and modern hard rock song. Fans of the band should imagine a much softer version of the controversial fan anthem "Nur ihr allein" from the "Mein rasend Herz" record eight years earlier. If this song had received some more promotion, it would have hit the highest position of the German Media-Control-Charts last year. The band and its management somehow missed this great occasion. 

Usually, In Extremo put a few interesting bonus songs on their single releases, mostly in form of unreleased b-sides, live tracks or special gimmicks such as the playing cards from the "Zigeunerskat" single. This isn't really the case here. The band rather decided to put together a compilation of alternative versions, demos, live tracks and unreleased material called "Bruchstücke" which was released with the 10/2013 edition of the German Metal Hammer magazine. Fans of the band should really watch out for this compilation. This single only includes an acoustic version of "Feuertaufe" itself. It's a stripped down take on the original. It has a charming campfire atmosphere with multiple vocal efforts. The relaxed use of acoustic guitars and flutes sounds like a mixture of old German songwriter pop, campfire rock and a few folk and jazz elements. The use of the medieval instruments in here works much better than in the original and feels really haunting towards the end. Even though the structure of the song is not a far call from pop music to be honest, this unplugged version is performed with more soul than the plugged rendition. While the original recalls "Nur ihr allein", the acoustic version sounds more unique. This is why I prefer this adaption over the main song and this is what makes this single release interesting for faithful fans.

On the other side, it doesn't make much sense to spend seven bucks or more on a track that is already included in exactly this version on the album "Kunstraub" and one interesting acoustic version. If I was an occasional listener I would either skip this release or download the acoustic version for a fairer price. The physical version is really only interesting for die-hard fans and its purchase only makes sense from an emotional point of view and not from a rational one.