| | 2000, Terror Terror For Sale CD 2000, Terror Discography of CDs
 (1 Customer Review)
At first glance, Terror 2000's third album, 2005's Terror for Sale, appears filled with promise, thanks to clever song titles like "Wrath of the Cookie Monster," "Satan's Barbecue" and "Liquor Saved me from Sports," which at least suggest a more memorable and entertaining quality of lyrics than your average metal album. Unfortunately, the Swedish quintet's indistinctive neo-thrash songwriting doesn't hold up its end of the bargain, and, in the process, winds up dragging down the lyrics with it; transforming their potentially unique amusement value into mostly forced distraction tactics meant to mask the music's deficiencies. Oh well. Except for the odd flash of recognition instigated by the likes of "Five Star Prison" and "King Kong Song" -- with their nifty, At the Gates-type fast-picked licks and preposterously over-the-top wordplay, Terror for Sale is largely an audio blur of blistering, unwavering velocity. That doesn't mean that the sheer intensity and silliness of it all ("Mummy Metal for the Masses," anyone?) won't be enough to seduce young fans with funny bones that rub up against less hardened outer skin (and who don't realize just how many times all this has already been done before?), but in the bigger scheme of things, Terror 2000's tactics sadly embody the title of one of this album's songs: "Cheap Thrills." Surely that's a joke they didn't intend to make. ~ Eduardo Rivadavia
Terror 2000: Speed (vocals); Dan Sars (guitar, bass guitar, background vocals); Klaus Trofobio (guitar, bass guitar); Nick Slick (fretless guitar, bass guitar); Erik Ebi Thy Selius.
Recording information: 05/2005-06/2005. 2000, Terror Terror For Sale Songs | 1. | Five Star Prison |
| 2. | Metal Mosh Massacre |
| 3. | Cheap Thrills |
| 4. | King Kong Song |
| 5. | Wrath of the Cookie Monster |
| 6. | Satans Barbecue |
| 7. | Flesh Fever Fiesta |
| 8. | Liquor Saved Me from Sports |
| 9. | Fed Up Anthem |
| 10. | Mummy Metal for the Masses |
| 11. | Stattena T(h)rash |
| 12. | Bloody Blues Blaster |
|
Terror For Sale Music Review Purchase Terror For Sale CD To buy, Click on price to add to cart | Cannibal Corpse Tomb Of The Mutilated CD (1992)
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Released in 1992, Tomb of the Mutilated helped establish Cannibal Corpse's reputation as one of metal's goriest, most vile outfits. Boasting some of the sickest album art and song titles of all time, the band's attention-getting tactics worked perfectly and record sales soared. Cannibal Corpse then became one of the biggest names in the death metal genre -- just as the group's discs and live performances were being banned all over the world. Listeners unfamiliar with the belching vocal style and pummeling drum and guitar attack typical of death metal probably won't understand what separates this or any other record that adheres ...
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Although they remained largely without peer when it came to pure Germanic thrash metal, by the time of 1990's Coma of Souls, Kreator's very successful formula had begun to grow a little tired. The fact that they were coming off perhaps their biggest album yet in 1989's Extreme Aggression didn't help matters, and despite its overwhelmingly solid songwriting, Coma of Souls still sounded somewhat repetitive to all but the most unquestioning of fans. Still, better too much of a good thing than nothing at all, and with their head-spinning musicianship and well-chosen stabs at melody, complex moshers like "When the Sun Burns Red," "Angels of Brutality," and the title song are guaranteed to thrill lovers of technically proficient thrash. Two tracks in particular stand ...
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Almost by definition, every musical genre (and the Bay Area thrash metal scene was no exception) is launched by a small number of outstanding artists who go on to inspire a slew of second and third 'tier' acts (read: followers). Inevitably, these followers manage to ape the originators with varying success, only to fall prey to historical inconsequence ...
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After leading the charge of heavy metal's creative thrust throughout most of the 1990s (thanks to class acts like In Flames, At the Gates, and Dark Tranquility, to name but three), Scandinavian death metal began fading in strength as the 2000s approached, and eventually gave way to its heir apparent: melodic deathcore, as espoused by fast-rising bands like Shadows Fall, Killswitch Engage, and Caliban. Some of the older genre's stalwarts still managed to hang on to their careers (albeit via diminished popularity and/or attempted reinventions like In Flames' idiotic flirtations with nu-metal), while other, more recent practitioners like Soilwork or Children of Bodom found continued fan favor by way of lighter, poppier material, but truly promising new faces were conspicuous by their inexistence. Into this relative void stepped Sweden's Scar Symmetry, whose ...
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| | Angra Temple Of Shadows CD (2005)
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Carrying on un-phased following the departure of founding vocalist Andre Matos, Brazilian metal institution Angra make their tenth release Temple of Shadows (and fourth sans Matos) sound like business as usual. True, some would charge that, as part of their "moving on" process since losing their adventurous-minded former singer, Angra's most distinctive progressive rock tendencies have grown thinner by the year. But despite succumbing to base power metal's uniform (and boring!) speed-flailings during Helloween-aping opening exercise "Spread Your Fire" and, later, the equally forgettable "The Temple of Hate," Angra still find plenty of opportunities to indulge their progressive "jones" via Yes and Marillion-recalling epics such as "No Pain for the Dead," "Morning Star" -- not to mention the album's awe-inspiring conceptual centerpiece "The Shadow Hunter." Comparatively speaking, more concise material such as "Angels and Demons" and the almost straight-up hard rock of "Waiting Silence" turn the focus toward memorable choruses and sparkling melodies to go with their more understated structures (think Kansas or Dream Theater). Not a bad transition until we settle into the at times over-saccharine balladry of "Wishing Well" or "Late Redemption" (featuring Brazilian pop legend Milton Nascimento), which regularly coast as close to Air Supply (bad!) as, say, Styx (good!), for inspiration. Taking into account all of the above, the songwriting results are still positive, more often than not, and vocalist Edu Falaschi, though not as powerful or majestic in his delivery as Matos, handily applies his grittier style to suit most of these songs just fine. But, Temple of Shadows does suffer from poorly-chosen production choices in terms ...
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