The Red Chord  [Prey for Eyes]

Album:  Prey for Eyes Record Label:  Metal Blade Album Art:  Created by Paul Romano Release Date:  July 24, 2007 Now on to the good stuff... As the third full-length release from The Red Chord, "Prey for Eyes" is the most "melodic" of them all.  Don't be convinced that they've softened up; there's still plenty of dissonance to go around for everyone.  This time around they've extended their musical pieces and really developed the song structures, allowing the music to weave in and out of patterns. There's also more concentration on riffs, although you won't be able to find the usual suspects you get from cheap metal knockoffs (overuse of the breakdown, anyone?). For those who wish the band would go back to the sound they created during their demo days, this might not be the album for you.  The vocals are more defined, and although not exactly "clean" they aren't the same indecipherable, raw screams they once were.  They are the perfect extension from their previous release, "Clients," as they demonstrate the evolution of their sound.  Along with that, the drumming is intense as ever with blast beats frequented for the foundation, placed with spastic beats and crazy tempo changes.  The technicality of the musicianship shines through in both guitar players, perfectly complementing one another's playing style and all wrapped around a solid bassline. Production has been kicked up, making this well-oiled machine run at full capactiy.  And let's not forget about the instrumental track, "It Came From Over There."  The song utilizes piano, organs, and even a moog.  What more could you ask for?  The creepy, dark atmosphere from the distortion and even the lyrics have been inspired by vocalist Guy Kozowyk's brother, who works as a prison guard.  Perhaps the narration of an encounter with an inmate, perhaps complete fiction.  Either way, it serves as the driving force for an amazing album. Recommended tracks:  Dread Prevailed, Send the Death Storm, Tread on the Necks of Kings, It Came From Over There, Intelligence Has Been Compromised

Cake  [B-Sides and Rarities]

They might as well have made a "best of" album, because that is what this is a failed attempt at...covering that up with a scratch and sniff CD case?? What the hell, Cake??! Here's an idea at trying to cover a Black Sabbath song...DON'T!

The Minor Times  [Summer of Wolves]

Intelligent hardcore that brings a high intensity, high adrenaline rush.  Proving that the abrasive and disgruntled hardcore scene hasn't died yet, The Minor Times continues to press themselves with their second full-length release, "Summer of Wolves."  Vocals aren't high-pitched screams or low growls, but rather some old-fashioned, coarse yelling, which meshes with the music perfectly.  Not only are the vocals a good fit, but the lyrical content (if you can decode it) is also quite impressive.  The music features extremely technical riffs layered upon one another, alongside some pretty jarring distortion effects.  Song structures are creatively constructed, not necessarily following the "typical" format.  Production of the album is pretty damn good, with all aspects of the album in sync and without having one part overpowering any others.  Tempo within and between songs tends to change quite frequently, which makes all the generic music in the industry seem to fade away. The album opens up with some distorted repetition on the track "+++," tricking the ears into believing that you're actually spinning Botch's "We Are the Romans."  Still carrying the aggression, "Casket City Lights" comes in next, bringing in the catchiest, most memorable piece on the entire record.  The guitars play the most prominent role by developing a hook and settling in through repetition, but in slightly modified ways. Mid-album is the high contrast point, with "Blackhole Living" (comparatively) trudging along and the near nine-minute oddity, "This is the Blues."  The album finishes off strong with "Disappear Here," continuing with expected ferocity but still able to bring the record to closure.  Solid and meaty for carnivores of all seasons, "Summer of Wolves" is the record you wish you already owned. Recommended tracks:  +++, Casket City Lights, Van Zant, Blackhole Living, This is a Fine Life You've Made for Yourself

Shearwater  [Palo Santo: Expanded Edition]

Simply amazing, that's how I'd describe Shearwater's latest "Palo Santo: Expanded Edition" (out now on Matador Records).  Okkervil River sideman Jonathan Meiburg's gentle and lilting falsetto that starts out ever so quietly on "La Dame et la Licorne"; forcing you to put your ear to the speaker to even hear it and then bursts out into an almost primal scream of "Bring back my boy!"--making you regret it.  But not quite.  Because it's that kind of heart-melting, stop-you-in-your-tracks beautiful.  The title track, "Palo Santo," haunts you with a voice like an angel rising to the sky over an acoustic guitar picking arpeggio chords and bursts into the pounding piano chords of "Seventy-Four, Seventy-Five" which subsequently bursts into a fanfare of horns.  It's an album that's composed as a whole, with one song bleeding into the next.  The album breathes a backwoods atmosphere with folk/country influences and a naturally talented voice that rings through the album--the kind of voice that you'd imagine finding in a small appalachian town belonging to someone who'd never had a singing lesson in their life but instead a life-long passion for singing.  It's the kind of album that rips your heart out of your chest and you can't help but smile as they stomp all over it. Recommended tracks:  La Dame et la Licorne, Red Sea Black Sea, White Waves, Palo Santo, Hail Mary

Shannon Wright  [Let in the Light]

With a voice of raw emotion, Shannon Wright is known for passionate albums.  True to the title, "Let In the Light," Wright lightens the mood a bit on her latest album.  There are still scratchy vocals, but the typical driving bass is diminished or replaced by pianos, strings, or drums.  Sadly, bereft of her usual pounding ballads, the album still has some finer moments. The opener, "Defy This Love," features a pounding piano melody interspersed with fuzzed-out guitars and toccata-like piano riffs worthy of a classically-trained musician (though she's self-taught).  "St. Pete" features a return to a driving bass line with Wright's voice (ironically) nearly shouting the lines "Worn out, tired/There's no fight left in me."  Furthermore, her experimentation pays off on "In the Morning," which begins with a morosely slow drum beat and a sliding guitar line into which the verse seamlessly glides.  But, at about 1:30 (and again at 2:30) the song is jolted by an asian-esque bridge that would have fared better outside of this song.  And, the finale, "Everybody's Got Their Own Part to Play," showcases a gritty vocal line topped with octave-higher background vocals and an underlayer of shuffling piano chords reaching its climax at "What's the point?/What's the point?" And yet, one can't help but wish it was a little grittier, a little more emotional, a little more Shannon Wright. Recommended tracks:  Defy This Love, St. Pete, In the Morning, Steadfast and True, Everybody's Got Their Own Part to Play

Dimmu Borgir  [In Sorte Diaboli]

Your favourite Norwegian black metal artists are back at it again, with their ninth full-length release in over a thirteen year span.  The riffs are absolutely brutal, and the blast beats from the drums are extremely menacing.  The drums aren't overbearingly powerful that they drown all other parts out, yet they aren't pushed to the back end of the music.  And we aren't talking about a drum machine either.  Believe it or not, this is the work of a true drummer. The band does an excellent job with changes in tempo, which provides for great fluidity.  Overall, the album is extremely well produced with a crisp, clear sound.  Not surprisingly, Dimmu Borgir has done an amazing job with bringing the keyboards into the forefront, as they add a dark atmosphere to the music.  The traditional metal parts are blended perfectly with the symphonic aspects of the record in an almost unrivaled manner.  The vocals are still the same as usual, giving you that wonderful, snarling, rip-your-throat-out sensation.  Almost as if your face is going to be bitten off by a raging pitbull at any second, which (apparently) is a pretty damn good feeling! In Sorte Diaboli is the first concept album for the band, which tells of a priest's assistant who struggles with his faith after evaluating his actions toward mankind.  Not exactly the most positive lyrical content, but an interesting perspective nonetheless.  One of their most anticipated releases to date, the album is a must for die-hard fans and a definite listen for new comers just getting into the scene.  Either way, it will be enjoyed by a good number of metalheads alike.  Thrashworthy, to say the least. Recommended tracks:  The Serpentine Offering, The Chosen Legacy, The Conspiracy Unfolds, The Foreshadowing Furnace