Metal Church has only gotten my attention so far because of its terrible cover artworks but I've wanted to give the popular band a try for a long time. The cover artwork for Damned If You Do might be the band's greatest so far but one shouldn't judge a book by its cover. However, the music on the twelfth studio record of the American quintet is also quite decent. I'm glad I have finally given the band a chance and I am open to listen to more of their material.

Damned If You Do offers traditional heavy metal with a few minimal thrash metal inspirations here and there. The rough vocal work reminds a lot of Phil Lynott, Udo Dirkschneider, Bobby "Blitz" Ellsworth and the likes. I once thought that vocal style was quite unique before I realized that many singers actually use this approach. This style blends in nicely with the gripping heavy metal riffs, occasional guitar solos, energetic bass guitar play and tight drum parts. 

The record includes dynamic short upper mid-tempo heavy metal anthems like ''By the Numbers'' and ''Out of Balance''. The more melodic mid-paced tracks with slight hard rock influences like ''The Black Things'' and ''Revolution Underway'' sound even better though and add great atmosphere and harmony to the band sound. Another outstanding song is certainly the opening title track ''Damned If You Do'' as Hindu mantras complement uplifting heavy metal riffs and variable vocals crowned by an intense chorus.

Metal Church's Damned If You Do is a recommendable release for fans of traditional hard rock music of the late seventies, heavy metal anthems of the early eighties and maybe the early years of thrash metal in the mid-eighties. The band plays with conviction, energy and passion which makes this album sound convincing despite its somewhat dated stylistic approach. The album gets better with each spin and is overall a great traditional metal record despite a slightly weaker second half and the fact that this release certainly doesn't reinvent the genres it takes inspiration from.

Final rating: 75%

 

Group A

1. France 9 points (+8)

2. Nigeria 4 points (0) (fair play points)

3. Norway 4 points (0) (fair play points)

4. South Korea 0 points (-7)

 

France vs. South Korea 4:1 (3:0)

Norway vs. Nigeria 2:2 (1:1)

Nigeria vs. South Korea 2:0 (1:0)

France vs. Norway 3:1 (2:0)

Nigeria vs. France 1:3 (0:2)

South Korea vs. Norway 0:2 (0:2)

 

Group B

1. Germany 7 points (+6)

2. Spain 5 points (+2)

3. China 4 points (+1)

4. South Africa 0 points (-9)

 

Spain vs. South Africa 3:1 (1:0)

Germany vs. China 2:0 (1:0)

Germany vs. Spain 1:1 (1:0)

South Africa vs. China 0:3 (0:1)

South Africa vs. Germany 0:4 (0:2)

China vs. Spain 0:0

 

Group C

1. Brazil 9 points (+11)

2. Australia 6 points (+4)

3. Italy 3 points (-1)

4. Jamaica 0 points (-14)

 

Australia vs. Italy 2:1 (0:1)

Brazil vs. Jamaica 7:0 (5:0)

Australia vs. Brazil 1:2 (0:2)

Jamaica vs. Italy 0:3 (0:1)

Jamaica vs. Australia 1:5 (0:2)

Italy vs. Brazil 0:3 (0:0)

 

Group D

1. England 7 points (+3) 

2. Japan 5 points (+3)

3. Argentina 4 points (+0)

4. Scotland 0 points (-6)

 

England vs. Scotland 3:1 (1:1)

Argentina vs. Japan 1:1 (0:0)

Japan vs. Scotland 3:0 (1:0)

England vs. Argentina 2:1 (2:0)

Japan vs. England 0:0

Scotland vs. Argentina 1:2 (0:0)

 

Group E

1. Canada 5 points (+4)

2. Netherlands 5 points (+3)

3. New Zealand 5 points (+1)

4. Cameroon 0 points (-8)

 

Canada vs. Cameroon 4:0 (2:0)

New Zealand vs. Netherlands 2:2 (0:2)

Netherlands vs. Cameroon 4:1 (1:0)

Canada vs. New Zealand 0:0

Netherlands vs. Canada 1:1 (1:0)

Cameroon vs. New Zealand 1:2 (0:0)

 

Group F

1. United States 9 points (+11)

2. Sweden 6 points (+5)

3. Chile 3 points (-2)

4. Thailand 0 points (-14)

 

Chile vs. Sweden 1:3 (0:2)

United States vs. Thailand 7:0 (5:0)

United States vs. Chile 3:0 (1:0)

Sweden vs. Thailand 4:0 (2:0)

Sweden vs. United States 1:2 (0:2)

Thailand vs. Chile 0:3 (0:3)

 

Round of sixteen

Nigeria vs. Australia 5:4 after penalties (1:1 / 2:2 / 2:2)

England vs. New Zealand 2:0 (1:0)

France vs. Argentina 4:2 a.E. (0:1 / 2:2 / 2:2)

Spain vs. United States 0:3 (0:1) 

Brazil vs. China 2:1 (0:0)

Canada vs. Japan 4:5 after penalties (1:0 / 1:1 / 1:1)

Germany vs. Norway 1:2 a.E. (0:0 / 1:1 / 1:2)

Sweden vs. Netherlands 1:2 a.E. (1:0 / 1:1 / 1:1)

 

Quarter-finals

Nigeria vs. England 1:2 (0:0)

France vs. United States 6:5 after penalties (0:1 / 1:1 / 2:1 / 2:2)

Brazil vs. Japan 2:0 (1:0)

Norway vs. Netherlands 1:2 a. E. (0:0 / 0:0 / 1:1)

 

Semi-finals

England vs. France 2:1 a.E. (0:1 / 1:1 / 1:1)

Brazil vs. Netherlands 3:1 a.E. (0:1 / 1:1 / 3:1)

 

Third place

France vs. Netherlands 1:2 a.E. (0:0 / 1:1 / 1:1)

 

Final

England vs. Brazil 2:0 a.E. (0:0 / 0:0 / 0:0)

What do Johnny Cash, Gravity Kills, Sammy Hagar and Marilyn Manson have in common with Def Leppard? That's right, they have all covered Depeche's Mode ''Personal Jesus''. Def Leppard's version is actually one of the most decent cover versions because it sounds tight instrumentally but is delivered in a relaxed way vocally. This is also the only new song on the double-disc version of this compilation. There is another new song called ''We All Need Christmas'' which isn't as cheesy as the title suggests and actually an enjoyable song for this time of the year but that new track is only included on the triple vinyl version of this release which is a shame. Let's see how long the obnoxious vinyl trend keeps going.

Most songs from this compilation come from Def Leppard's popular adult-oriented rock records from the eighties and nineties, namely Pyromania, Hysteria and Adrenalize. More recent records are also covered and even some songs that were exclusive to compilations like Vault have made it onto this release which is a nice addition for this output but somewhat disappointing for the fans that bought that other compilation decades ago. To my surprise, the songs from the band's latest self-titled record released three years ago don't only blend in well but are among the highlights of this record and have a stronger hard rock vibe than the at times exchangeable attempts at chart success in the past.

The band's early years are almost completely ignored by this release which is a missed occasion to portray the band's numerous facets and evolution. Only the power ballad and first successful single ''Bringin' On the Heartbreak'' from the High 'n' Dry release is included here. The debut record On Through the Night and the band's first extended play from the late seventies are completely ignored.

Fans of the band's heavier side can therefore completely ignore this release. If you like melodic rock music between danceable ballads and rhythmic mid-tempo tracks with a nostalgic vibe, you can buy this compilation that offers thirty-five tracks and more than two and a half hours of entertainment. This record is best played in between other compilations by similar artists like Bryan Adams and Bon Jovi. If you have a nostalgic family members who always wrongfully complains that music was so much better back in the eighties and who hasn't bought an album in years, you might have found the perfect Christmas gift here. For newcomers and occasional listeners, this record is passable but not essential. You might as well wait to get this release for a reduced price one year from here.

Final rating: 70%

I have been listening to Chinese metal for more than seven years now and one thing that amazes me in comparison to Western bands is that Chinese bands very rarely repeat themselves, often offer surprises and generally seem to be willing to try out something new. This also applies in the case of Mysterain that had released an intense symphonic metal record three years earlier and now comes around with an album that has much stronger folk influences and is overall calmer than the predecessor. Downtown Fall Border recalled bands like Xandria three years earlier while After the End of the Valley is closer to bands like Midnattsol.

Keyboards are the dominant instruments that provide atmospheric, elegant and epic symphonic melodies on one side but also offer appeasing, inspiring and soothing folk sounds that distinguish so many Chinese metal bands and seem to underline the fact that many people living in gigantic cities are longing for a return to rural China. As a matter of fact, it's surprising that a quintet that lives in a big, busy and modern city like Guangzhou seems most inspired by elegiac classical music, traditional folk instruments and sounds of nature.

Another convincing element are the versatile vocals. The singer seems to be classically trained and performs skillfully but her voice also expresses bright emotions. Her voice suited the elegant symphonic metal style perfectly three years ago but she also manages to make the new folk tales more atmospheric, enchanting and epic. She is definitely one of the most talented singers in symphonic and folk metal genres and reminds me a little bit of Seraphim's Quinn Weng. Since that band has been on hold for nearly a decade, it's great to get the chance to listen to Mysterain that has no serious competitors in its versatile, elegant and appeasing symphonic folk metal style right now.

The guitar work is mostly inspired by neoclassical elements but isn't as domineering as it was three years earlier. A few more emotional solos, gripping riffs and progressive influences would have made this album even greater.

The same could be said about the rhythm section that wasn't spectacular three years ago but still delivered the goods. Bass guitar, drums and percussive elements are little too laid back at times on this release.

Every song on this album convinces with elegant atmosphere but if I had to point out a highlight, I would probably suggest listening to ''Wall'' that is a little bit heavier than most other songs and even features a few harsh male vocals but these elements contrast the dreamy female vocals and epic keyboard sounds perfectly in seven and a half most entertaining minutes.

At the end of the day, you will thoroughly enjoy this appeasing, atmospheric and creative record if you like symphonic folk metal inspired by Chinese culture. It's only a matter of personal preference whether you prefer this enchanting release or the more bombastic predecessor. Even though I liked Downtown Fall Border a little bit better, I believe it's positive that the band didn't repeat itself and brook new ground with After the End of the Valley. The phenomenal keyboard work and the fascinating vocals alone are so excellent that you should give this unknown quintet a chance.

Final rating: 80%

Chinese one-man project Enchantenka releases its third record in its third year of existence. While the first album was a consistent blackened folk metal record, the sophomore effort was more like a black metal release with occasional folk passages. This third release and first extended play walks off the beaten path and can be described as ambient or neofolk record which is a genre that has become more and more popular in China over the past few years. This underlines the fact that many people who live in big cities are longing for a return to rural landscapes these days. 

Black metal elements or vocals are nowhere to be found as the album rather presents four instrumental songs based upon atmospheric keyboard passages, authentic field recordings, atmospheric sound samples and minimalist rhythmic and percussive elements.The album feels like a continuous relaxed walk through a town as one hears conversations from what seem to be markets and restaurants. The record sounds much warmer than the cold cover artwork might suggest. It has a quite peaceful, natural and harmonious vibe and is a great short release to escape your everyday life and relax for fifteen inspiring minutes.

Such a risky change of style might not appeal to fans of the first two releases but only proves the open-minded approach of this atmospheric one-man project and keeps me interested in discovering its next unpredictable steps. If you like ambient music, field recordings or neofolk, you should give this release a chance. Metal purists should stay away from this.

Final rating: 70%