Posts Tagged ‘career’

8-Track: Every Time I Die

8-Track takes a band with a storied history and identifies eight songs throughout their career that define their strengths as a band, musically, lyrically, and conceptually. Read previous installments here . Where to begin with Every Time I Die, Buffalo’s favorite party animals? A career that has thrown out more filthy guitar licks and jarring breakdowns than a kegger at the Red Bull headquarters can’t quite be summarised in eight tracks; not quite anyway, but we’ve given it a go for our latest installment of the 8-Track feature here at Heavy Blog. Over seven albums and fourteen awesome music videos later, this mathcore/metalcore/hardcore/riffcore band have amassed a following that is just at home at Warped Tour as it is in that shitty venue in your hometown where people are scared of entering. As usual, we’ve picked tracks that we feel best showcase this band across the years. We disagree on the best and worst albums and we can’t even agree on the best tracks from some of these albums, but we tried. We gave it our all, just like this band do with every show and every release. If you haven’t heard Every Time I Die before, this is a great god damn playlist for you to get stuck into. Enjoy. Everyone seems to forget about the first album from these guys. While it’s still very rough and does not sound like they do now, noticeably lacking the “southern hard rock” charm they’ve worked into their sound, it does make for some damn fine metalcore/mathcore. The album is chock full of bangers, but none more so than “The Logic Of Crocodiles”. The beginning is standard mathcore, but then it builds into this really awesome breakdown towards the middle of the song that absolutely rips. It’s a shame these guys don’t really play too many songs from this album live, because it definitely could be turned into an anthem and become a staple. The most noticeable thing about this track is how harsh Keith’s vocals are over the entire thing. It sounds at many times as if he’s straining while screaming, which adds to the the sheer intensity of the song itself. There’s also some very cool chugging that goes on in the song, which is abrasive from beginning to end. Trust me, if you’ve never visited their back catalogue, now’s the time to do so, and you can begin with this piece of history. -Spencer Snitil As unique and abrasive as ETID’s early career was, it didn’t take long for it to catch on.  Hot Damn!  is considered the band’s breakout record, and with tracks like “Ebolarama,” it’s no mystery why the album caught on. Jordan Buckley’s guitar work bears a catchy mix of mathcore spunk and just the right amount of Southern charm to concoct infectiously aggressive riffing throughout the entire track. And while Keith Buckley’s vocals are commanding as always, it’s never clear which way he’ll stretch his larynx next. He’ll be moaning an eerie drawl one moment before launching into a manic roar the next. Of course, the highlights of the track – like every great ETID track – are the moments when the whole band lines up for a full-throttle romp, channeling the unbridled energy of their live performance. Ozzfest may be no more, but the band surely tore up the stage back in the day with tracks like “Ebolarama,” when they first started introducing themselves to audiences as their newest favorite band. – Scott Murphy Can we all take a moment to look back on Guitar Hero 2 and appreciate what that game did for so many of (pre?)teens in our discovery of metal? Dethklok, Shadows Fall, All That Remains, and of course, Every Time I Die were included as bonus tracks to the game’s “official” setlist. Thanks to this game, Every Time I Die were brought into the mainstream for many would-be metalheads in the form of “The New Black,” an almost uncharacteristically catchy and anthemic rock and roll tune that downplayed their hardcore roots in favor of party-ready riffs and the sassiest of hooks. The group have since gone on to become mainstays in the genre — a no doubt creating masterpieces along the way — but “The New Black” maintains as the group’s most iconic track, and for good reason; revisiting this song will leave it stuck in your head for days on end, so get comfy. -Jimmy Rowe At this point in Every Time I Die’s somewhat lengthy and unquestionably respectable career, no song perfectly encapsulates their signature sound quite like the intro track to 2007’s The Big Dirty , “No Son of Mine.” With both this record (and song alone) the band came steamrolling back after the oddly-flat mixing job that plagued 2005’s Gutter Phenomenon and positively pummel for the next three minutes. This track also boasts some of the finest Keith Buckley-isms in the land, including such greats like “leave your drunken accident at the prom,” “shoot that dog if we can’t afford to feed,” and the world’s finest breakdown accompaniment ever, “don’t ever say rock and roll.” Keith’s cryptic and often scatterbrained lyrics can probably be interpreted a number of ways, but his delivery and conviction is incontestable. Back this bizarre frontman up with some off-time, Botch -esque mathcore that’s as heavy on the dissonance as it is accessibility and you’ve got yourself quite a winning recipe. The song seems to begin collapsing about two-thirds of the way through, constantly pushing the band’s heaviness to new heights. It’s a remarkable opener, and it’s one of the band’s live staples for a reason. There were very few bands even attempting this sound back in its time, making “No Son of Mine” all that more unique in context. -Kit Brown Another fat, Southern sounding track crammed full of dirty guitar licks and Buckley poetry, “We’rewolf” is easily the most memorable track from The Big Dirty. The audacity required to kick off a track with straight cowbell hits is reason enough to give the party boys a clap on the back, but there is far more to this particular rager. At surface level, “We’rewolf” is a track written from the perspective of the perennial party animal, one I can empathise with down to a tee. “It’s a full moon, denim is tight and my flannel shirt is freaking out”. A real lyric in a real song and one that could only be taken seriously in sandwiched between dirty ETID riffs and a country lick that Muse DEFINITELY ripped off in “Knights Of Cydonia”, the scumbags. On arguably their weakest release, this track will always help dust off the air guitar skills of anyone shotgunning a beer or drinking a bar out of tequila. Things I love to do, especially with ETID blasting; it just makes sense to get shit faced listening to this track. -Matt MacLennan Biting sarcasm and a poet’s lyrical ability have always been trademarks of the Every Time I Die sound, and on their fifth studio album, New Junk Aesthetic, the band finally managed to hone those traits to a razor’s edge, such as is displayed on “The Marvelous Slut”. The track is a biting commentary provided by the band’s own vocalist, Keith Buckley, as well as The Dillinger Escape Plan’s Greg Puciato who helpfully chimes in during the choruses. In a way, it sums up nearly everything Every Time I Die is, speaking of their rather insane partying on the road (the “slut” Buckley refers to is himself, in reference to his own habits) all laid over the classic, southern-tinged metalcore attack that fans have come to expect. If anything, this song is a definitive crash course in the catalog of ETID, offering up all of their key elements in healthy doses all while still being compacted into a nice, two minute chunk for easy listening. -Jake Tiernan “Revival Mode” always sounded like an early Every Time I Die track slowed down to me. Seriously, imagine it played a good bit faster and it could be a B-side from Hot Damn!. The leering, creeper of a riff that lurches in and out of the track is almost dissonant, ties in with the vocal line on some of the notes and eventually gives way to an organ grinding verse that continues to keep the creep factor alive. On an album full of rambunctious rippers, this seedy track still blows up and into a big ETID refrain with a classic Keith lyric; “I need to pay the judge”, well, don’t we all eventually? While the band experimented with slow burning tracks right up until Ex Lives (and further, on From Parts Unknown), this is the first time that they perfectly balanced that finely tuned aggression with the nasty side of pop music. Finally, the guitar solo that ties up the final movement of the track is just phenomenal and is an example of how to get a guest musician to really raise the game of a track. -Matt MacLennan In my books, From Parts Unknown was one of 2014’s best. Although the album in its entirety has finally found its way out of my heavy rotation, I often find myself coming back to certain tracks – far and away the most notable of which is “Moor”. With its minimalistic opening, characterized by a marked piano motif over top of which Keith Buckley croons along with an eerie sense of calmness, Moor presents itself at first as an anomaly in relation to both the album, and, on a larger scale, to ETID’s entire body of work – that is, of course, until the track abruptly explodes into the aural barrage of pummelling power chords and fierce bellowing for which ETID have come to be known (and adored). The sudden impact only serves to magnify the mood conveyed by the callous lyrics spat by Buckley, who sounds at times as though he’s on the brink of coming unglued: “All I want is his head and this horrible fucking world will be wonderful again / There’s so much beauty and love and when I eat his beating heart I can bring it back to us.” No sooner is this line uttered in a final desperate croak than the track once again falls off into the simple piano-accompanied croon exhibited at the song’s start – only this time the calmness strikes as twice as distubring following the violent episode that is the song’s midsection. A final note in the lower register hangs in mid air to conclude the song, leaving the listener to whether wonder the madness that just hit them had really actually happened. -Elizabeth Wood -HB

Fleshgod Apocalypse – King

Italian symphonic death metal band Fleshgod Apocalypse have gone through phases that encapsulate the entire careers of normal successful artists in less than a handful of releases. Their debut Oracles was raw and promising and the follow-up,  Agony, was a masterpiece that propelled them to the top of their game. However,  Labyrinth  didn’t take their music to the next level and some listeners were fatigued with their antics at that point, and their fourth album, King , is now anticipated but also slightly dreaded. This is readily understandable, as it is expected to be the album that either breaks the fatigue or leans further into it. What can be heard from the band on King is very characteristically Fleshgod, but also very different from how we’re used to hearing them. Right off the bat, it’s pretty clear that, for better or for worse, King is a bit of a divergence from Fleshgod’s previous work. Not in terms of the band’s general sound but in how they approach that framework. While Agony and Labyrinth both ramped up the intensity in terms of production and orchestration backed by death metal, King takes a more subdued approach. With Jess Bogren’s production and heavier emphasis on blending symphonic elements into metal and less “everything ramped up to the max”, the focus on the band’s fourth album is decidedly different. That description deserves more elaboration though, as it comes with some benefits but also with some trappings. The first thing to be tackled is the production, as it is both the most noticeable difference and also the one that defines the rest of the traits of the album by its nature. While on their previous work the band opted for production that was excessively loud and overbearing, on King they’ve worked with Jens Bogren, who has provided them with a sound that is quite similar to his previous effort with Devin Townsend ‘s Deconstruction . What this means is that guitars are a lot less overdriven than the band’s usual standard, which takes away quite a bit of punch from them. The drumming is also similarly neutered, with the kick drums sounding a lot less prominent and the snare lacking the visceral characteristic it had on their previous work. The end result of this change in the approach towards the “metal” instrumentation is that blast beats sound a lot less heavy and generally rather weak. Considering the one constant tool in Fleshgod’s arsenal has been tremolo-picked neoclassical riffs over fast drumming throughout their career, having that sound nowhere near as energetic and crushing as it used to be takes a lot away from the band’s sound. To compensate, the orchestral elements are a lot more prominent in the mix. While this approach gives the band more room in their sound to work with composition, it also fundamentally changes their entire identity. The wall of sound emanated by the band is a lot wider and encompassing, but more breadth comes at the expense of depth, as there are no heavy-hitting moments like “The Violation” from Agony , or “Elegy” from Labyrinth , or “In Honour of Reason” from Oracles.  In these, the compressed sound, clear cut drumming and powerful guitars just hit the listener with a one-two punch and brought out the primal urge to headbang, whereas King is more of a “sit and nod in appreciation” album. The songwriting doesn’t ignore the change in the sound, which would make the disparity a lot worse. Instead, the band have significantly reduced their technical death metal leanings and instead opted for a more symphonic metal approach. Sure, there are still blast beats and fast riffs, but whenever they occur, they’re blunted by the weak drum sound and less-driven guitars. What the band have clearly devoted more attention to is the orchestration. There are a lot of slower moments where the guitars take a step back and let the orchestra shine. The criticism towards the band’s previous work was that they always pushed everything too far, with the drumming being too extreme, with trem picked guitars accentuated by constant orchestra hits, which made listening to them rather overwhelming. This is definitely a step in the other direction marked by varied and subdued usage of instrumentation. In contrast, this makes another problem with the band’s writing more exacerbated. Since the orchestral elements always have the same melancholically kind-of-epic tone, it results in another kind of listener fatigue where the album listened to as a whole starts to lose freshness. Throughout the first listen of the album, the more creative and proper usage of symphonics is interesting and attention-grabbing, but the lack of over-the-top epic moments which the band are known for start to drag it down. In addition, the punchline to every song being essentially the same feeling with the same setup greatly reduces the album’s repeat listening appeal. That isn’t helped by the fact that, like most of the band’s discography, the album feels way too long. On paper, the album is definitely more interesting compositionally than the band’s previous work, but that extra effort is inherently wasted by still trying to adhere to the band’s neoclassical death metal framework. To be honest, Fleshgod’s riffing was never really that interesting and it could barely carry an album by itself in Oracles , and after that album what the metal section of the band had to say was essentially exhausted. The addition of synths was keeping the band interesting, as at the time there weren’t a lot of artists doing technical-ish death metal with string sections and choirs emphasizing the rather rote drums and guitars. On King , that conceit really falls apart, as at times it feels shoehorned and the need to bring everything back to death metal takes away from the music on most songs, with “Mitra” being one notable exception because the orchestra and the band really play together on that track instead of fighting each other. The album’s leading single, “The Fool” is the closest the band get to their established sound, but as noted, these two tracks are the exception and not the norm. Overall, King is a concerted effort by the band to develop themselves, even though the end result is quite flawed. Fleshgod Apocalypse are suffering from an identity crisis. Being a death metal band whose prime appeal was balls-to-the-walls riffing and over-the-top synths then having your audience be fatigued by how hard you push that meant they had to reinvent themselves to some extent. Trying to take a step back and focus on a more nuanced sound is the approach they’ve taken on King , but they’ve taken away what really defined them. With production that is more well-realized yet significantly less flattering to the band’s death metal roots, they instead focus on their symphonic side, but in doing so they reveal the weakness of their formula. While in early listenings the album is a lot more varied than the band’s previous work, that veneer wears off quickly as the band aren’t diverse enough to pull off being a symphonic metal band, and their death metal presentation isn’t strong enough on King to carry the album by itself. King is definitely competent, and the orchestral work is what really shines on it (in fact the second bonus disc of the album without the metal parts might have more lasting appeal), but as a metal album, and defined by the band’s previous standard, it falls flat. It’s just not as invigorating to listen to as the band’s heavier work, and it’s not novel or ingenious enough to listen to as a more progressive effort. Fleshgod Apocalypse – King gets… 3/5 -NT

Children of Bodom – I Worship Chaos

Finnish melodeath superstars Children of Bodom have gone through several identity crises. Starting off as neoclassical melodic death metal, they had a lot of success. Their album Hatebreeder is indisputably a classic of the genre. But over time, they turned their sound into a more groove-oriented version of themselves with shred sections. This sound still had a lot of acclaim, as their fourth album Hate Crew Deathroll was also received very positively, even though some lamented the loss of their older influences. With their next few albums, they kept slightly changing their sound to be more accessible while simultaneously trying to capture their spark from their earlier days, but it never clicked, even though slog the way they had some great songs. After several disappointing albums, and the loss of famed guitarist Roope Latvala, Bodom are faced with their deciding moment. They could either pick themselves back up and make a comeback, or risk forever being written off. Thankfully, their ninth album, I Worship Chaos , is more the former than the latter. What really makes a Bodom album tick? If we’re talking post- Hate Crew, it’s basically solid grooves, chantable choruses, angry one-liners from Laiho and cheesy lead sections. Well, I Worship Chaos has got all of those covered. Each song is full of memorable little licks, be it some aggressively-nod-inducing riffs, earworm melodies or just proclamations screamed by Alexi (who sounds angrier than he has in a while). But what’s really important isn’t just that these elements are thrown in to tick boxes, it’s that they all come together in a way that makes for an enjoyable listening experience. And  that’s definitely the case here. Roope Latvala’s departure was definitely concerning as his lead playing was thought to be a big part of the band’s sound, but Alexi seems to be managing just fine without him. Perhaps the solos are a bit less intense, but there isn’t a noticeable drop in songwriting quality overall. In fact, the album feels better written than several of its predecessors. Everything is in lockstep, riffs carry tension and resolution very well between each other, and they don’t feel tired. This is an especially impressive feat if one considers the fact that melodic death metal has been around for quite a while and the template has been “figured out” long ago. Even Bodom have contributed to that process in the past, and nine albums deep into their career, it would be easy for them to feel like there’s not much left to say (in fact many though that was the case even seven albums deep into their career, so in some ways I Worship Chaos is a resurgence of quality). Sure, Alexi doesn’t sound like he feels as rife with angry creativity as he did fifteen years ago, but he sounds a lot more invigorated than he did five years ago. The benchmark for success in melodeath isn’t necessarily innovation anyway, it’s polish. And polish is in abundance on this album. It’s hard to underline in words the specific tightness that makes this album tick. This isn’t something that one can identify on paper. It’s the feeling of genuineness and effort conveyed by the tone of the writing. To the careful listener, that the songs were put together not by haphazard cobbling of ideas that were left on the drawing board after a writing session but were carefully put together to ensure every cog clicks properly with everything else, is obvious, and that is when the heart put into the album is apparent. Overall, I Worship Chaos is a polished, heartfelt album that makes it sound like Children of Bodom are enjoying their own music again; and fans should join in on that as well. The band are better than they have been for several albums, and new life has been breathed into their music. In a way, they’re back from the dead, telling us that we were wrong to write them off. ? Children of Bodom-  I Worship Chaos  gets… 4/5 -NT

Destrage – Are You Kidding Me? No.

Destrage Are You Kidding Me? No. 01. Destroy Create Transform Sublimate 02. Purania 03. My Green Neighbour 04. Hosts, Rifles & Coke 05. G.O.D. 06. Where the Things Have No Colour 07. Waterpark Bachelorette 08. Before, After and All Around 09. – (Obedience) 10. Are You Kidding Me? No. [03/04/14] [Metal Blade] It’s hard to describe the Italian insanity that is Destrage . While they have elements of Sikth , The Dillinger Escape Plan and alternative rock in their music, they have a very consistent sound somehow. They gained fame with their sophomore album  The King Is Fat’N’Old  in 2010 and now they’re faced with the critical moment in their career, can they follow it up with something equally good, if not better? Well, they’ve succeeded, Are You Kidding Me? No. is even crazier and catchier than their previous work. Am I kidding you? No. While The King is Fat’N’Old was a great album chock full of memorable songs, it was also a bit inconsistent in its tone. Some songs were very heavy, whereas others were drawn out ballads. While variety is always great in an album, tying the two ends together properly is also paramount. Destrage’s newest album (henceforth to be called AYKMN) has a sound that is spread out in a better way than their previous work. The songs flow much better, and as blast beats turn into acoustic sections the seamlessness of it all never ceases to amaze. AYKMN is easily their most progressive work. The guitar work is crazy, being reminiscent of Sikth, yet having its own flavor. There is so much groove in every song, and the technical riffs contrast very well with the groovy parts and big choruses. There are a bunch of other elements thrown in there as well, the occasional salsa section, 80s influences and even some electronica that is tastefully done. Vocalist Paolo Colavolpe deserves a lot of praise. He has high Sikth-esque screams, versatile clean vocals and even low growls. A lot of the songs have extremely memorable melodic sections that just beg to be sang along to, and his vocal delivery is what really sells them. The fact that he can also accompany breakdowns, Pantera -esque groovy riffs, straight-up Dillinger style insanity and everything else the band throws out there is a testament to how great he really is. While all of the riffing in the album is excellent and unforgettable, the vocals are just as important. Many bands often fall into the trap of emphasizing either the vocals or instruments, but Destrage offer a mix of the two that is just right. While the music is incredible, there is also an issue with the album. Just like its predecessor, AYKMN’s production is a bit… odd. While everything is audible and nothing is over-produced like many of their modern contemporaries, the album is very noisy. The overbearing snare sound from TKIFAO is still present, if not as extreme as it used to be. The guitars are also slightly too fuzzy like the previous album. While these issues aren’t a huge deal in a vacuum, they make listening to the album for extended lengths quite tiresome, and if the abrasiveness of the sound was curbed a bit, it would have sounded perfect. It’s definitely a minor issue and not a deal-breaker though. In the end, this album is great. It’s easily Destrage’s best work yet, full of simultaneously catchy and crazy tunes. Every song is extremely memorable and enjoyable to hum along to. The way Destrage blend the best elements from many genres to create accessible yet interesting songs is definitely something that needs to be heard to be believed. Are You Kidding Me? No. is a masterful mix of insanity and catchiness at their best. Destrage – Are You Kidding Me? No. gets… 4.5/5 – NT

Shinedown, Three Days Grace + P.O.D. Devour Massachusetts With Rock Assault

Mary Ouellette, SheWillShootYou.com “You left me here like a chalk outline” – the chorus to the first single off of Three Days Grace latest disc ‘Transit of Venus’ rang out almost prophetic in nature as the band took the stage to ravage a rock-hungry New England crowd on a freezing February evening in Lowell, Mass., on Wednesday (Feb. 20). Shortly before the co-headlining tour with Shinedown kicked off, former Three Days Grace frontman Adam Gontier unceremoniously up and left the band without much notice, leaving them in a bit of a bind. Luckily, the music genes seem run deep in bassist Brad Walst’s family and he was able to recruit his brother, My Darkest Days frontman Matt Walst, to fill in on the trek. While this left Matt with some large shoes to fill and certainly sky high expectations, he seems to have settled into the role as the (temporary?) Three Days Grace vocalist with ease. The band erupted onto the stage looking as if they just crawled out of the wreckage of a post-apocalyptic showdown. With guns blazing in the form of behemoth beams of pyro, the band certainly showed no signs of only having recruited their singer a month ago, they played like a well-oiled machine. With one of the best bass faces in the business, Brad Walst performs alongside guitarist Barry Stock and drummer Neil Sanderson as seasoned vets on the stage. And while Matt Walst may be seeing some of the largest crowds he’s seen throughout his young career, you’d never know it. It’s hard to deny that many bands are defined by their lead singer and vocalwise, Walst’s voice has a lower register and overall sounds a lot cleaner than Gontier’s. There’s a lot less grit and grime and a bit more clarity fueled by his tenacity to deliver the songs in a manner where they still sound familiar. Of course, Gontier’s gritty vocals complement the often angst-ridded lyrics of Three Days Grace songs, but judging by the reaction of the crowd, Matt Walst was accepted with open arms. While the future of Three Days Grace seems a bit unclear at the moment, the band has truly embraced the rebellious spirit of rock and punched it into high gear to move forward wherever their path may take them. Shinedown were up next, starting off their set with a bit of a surprise. Drummer Barry Kerch walked onto stage solo and took his place behind the kit. As the music for their song ‘Enemies’ engulfed the arena, fans were searching to see where it was coming from. They only had to look back to the mixing board to see a separate smaller stage where vocalist Brent Smith, guitarist Zach Myers and bassist Eric Bass were getting the night started, rocking their hearts out. Halfway through the song, the three darted through the crowd and back to the main stage for a proper introduction to the near capacity venue. With something that has become part of a ritual at any Shinedown show, Smith encouraged fans to say hello to the people around them, engage a bit, and just have a good time throughout the night. It’s this all for one and one for all vibe that provides a lot of the backbone to their latest disc ‘Amaryllis’ and fuels such a solid connection between the band and their fans. Decked out head to toe in formal attire and looking like they’re possibly in the best shape of their lives, the sharp-dressed men of Shinedown didn’t let formality cloud their vision of getting down and dirty and delivering the best rock show in town. With a set that showcased their latest disc while still offering up some of the biggest hits of their career throughout, fans soaked up a retrospective of Shinedown’s full discography spanning from 2003’s ‘Leave a Whisper’ to their latest single ‘I’ll Follow You.” One thing Shinedown has mastered is seamlessly in a live environment is transitioning from uptempo rockers to more heartfelt ballads without losing energy along the way. This is something that has clearly come from years of experience. There’s a lot of fun going on up there too. Between Smith striking rockstar worthy poses centerstage, Myers and Bass swapping sides of the stage to say hi to the fans sitting on the sides, and Kerch’s hair flying to the beat of his own drum, the guys in Shinedown obviously love what they do, and that kind of infectious energy is the permeating kind. Although it seemed that their time onstage felt a bit short — Shinedown fans would probably feel that way if the set spanned three hours – the band delivered a jam-packed set that featured a slew of familiar chart-topping hits. Boom! P.O.D. got the night started with a short set that featured hit tunes like ‘Alive’ and ‘Youth of a Nation.’ Before their time was over, frontman Sonny Sandoval jumped off the stage and right into the fray to visit the fans in the front row and sing a song with them. After their hiatus, it’s great to see P.O.D. back in their element. It’s obvious that’s where they are at their best, so get there early to check them out! The Shinedown, Three Days Grace, P.O.D. tour continues through the end of March, check out all the remaining dates here . Photos of Shinedown, Three Days Grace + P.O.D. in Lowell, Mass.: Shinedown: Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Three Days Grace: Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com P.O.D.: Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com Mary Ouellette, SheWillShootYou.com

10 Best Linkin Park Songs

Warner Bros. Choosing a 10 Best Songs list for Linkin Park was no easy task as some very solid and well-known tracks just barely missed our cut. But one thing is for sure, the ever-evolving six-piece of Chester Bennington , Mike Shinoda , Brad Delson, Joe Hahn, Dave “Phoenix” Farrell and Rob Bourdon have always kept things interesting with a hybrid mix of rock, metal, rap and electronic music. So, as we present this Top 10 countdown of Linkin Park songs, keep in mind that we tried so hard, but in the end we hope we chose the songs that really mattered. Check out our list of the 10 Best Linkin Park Songs below: 10 ‘Breaking the Habit’ From: ‘Meteora’ (2003) ? ? What started off as Mike Shinoda’s epic instrumental track called ‘Drawing’ eventually turned into a more fleshed-out hit single called ‘Breaking the Habit.’ Though it was the final song released off their ‘Meteora’ album, it’s turned into one of their more enduring tracks, perhaps due to the personal nature of the lyrics. Chester Bennington belts, ” I don’t know how I got this way / I know it’s not alright / So I’m breaking the habit ” with every ounce of emotion. Listen to ‘Breaking the Habit’ ? ? 9 ‘Waiting for the End’ From: ‘A Thousand Suns’ (2010) ? ? ‘Waiting for the End’ just has that bouncy groove that both differentiates itself and makes it a natural fit as one of Linkin Park’s 10 best songs. Bennington described the track as having a “summertime vibe,” and the combination of Rob Bourdon’s drums and Joe Hahn’s samples really give the track that special sound. Add in Shinoda’s rasta-like rapping with Bennington’s more melodic delivery and you’ve got the makings of something special. Listen to ‘Waiting for the End’ ? ? 8 ‘Crawling’ From: ‘Hybrid Theory’ (2000) ? ? ‘Crawling’ will always hold a special place for Linkin Park as it gave them their first Grammy Award for Best Hard Rock Performance. Bennington delivers one of his fiercest screams to date, but admits it’s one of the more difficult songs to perform. He told Spin , “[It’s] about feeling like I had no control over myself in terms of drugs and alcohol … This is just who I am, this is what I write about, what I do, and most of my work has been a reflection of what I’ve been going through in one way or another.” Listen to ‘Crawling’ ? ? 7 ‘Bleed It Out’ From: ‘Minutes to Midnight’ (2007) ? ? With ‘Bleed It Out,’ Shinoda got a chance to come to the forefront though the ‘Minutes to Midnight’ album as a whole featured less of his rap style that its predecessors. The clap-along rocker was a meta track about the perfection they put into their recording process, with Shinoda spelling out their drive in the opening line: ” Here we go for the hundredth time / hand grenade pins in every line / Throw ’em up and let something shine / Going out of my f—ing mind .” Thankfully they did bleed it out and dig a little deeper, cause this song is no throw away. Listen to ‘Bleed It Out’ ? ? 6 ‘Lying From You’ From: ‘Meteora’ (2003) ? ? ‘Lying From You’ is the perfect example of what the band did best early in their career and is a must for the 10 Best Linkin Park Songs list. It starts with a Joe Hahn viola-infused keyboard sample, then gives way to some hard-hitting Bourdon drumming, gritty guitar and bass work from Brad Delson and Phoenix Farrell and is offset with some of Shinoda’s best rhymes and Bennington’s supreme screams. It’s no wonder the track has become a live favorite over the years. Listen to ‘Lying From You’ ? ? 5 ‘Given Up’ From: ‘Minutes to Midnight’ (2007) ? ? Linkin Park delivered one of their hardest songs to date with ‘Given Up’ off the ‘Minutes to Midnight’ album. Guitarist Brad Delson shines on this track, not only for the infectious guitar lick that drives the song, but also for the keys jingling at the start of the cut. It’s also notable for Bennington’s excessive 17-second scream before the final chorus that drives home the alienation laid out in the lyrics. Listen to ‘Given Up’ ? ? 4 ‘Faint’ From: ‘Meteora’ (2003) ? ? LInkin Park’s early sampling along with a sped up guitar track from Delson and some dexterous drumming from Bourdon make ‘Faint’ one of the band’s more distinguishable songs. Though the title is never uttered in the track, the song itself is about making sure that you’re never so faint that your opinion isn’t heard. As Bennington belts, ” I can’t feel the way I did before / Don’t turn your back on me / I won’t be ignored .” Listen to ‘Faint’ ? ? 3 ‘One Step Closer’ From: ‘Hybrid Theory’ ? ? Need to blow off some steam? ‘One Step Closer’ is the track for you. Linkin Park’s ode to frustration ended up being the song that broke them to a mass audience. As a calling card, you could do a lot worse that Bennington’s in-your-face declaration, “Shut up when I’m talking to you.” As for the question of who was about to make Bennington break, the vocalist revealed in a 2011 with Kerrang that some of the lyrics were inspired by producer Don Gilmore who had repeatedly asked the band to rework the song. Listen to ‘One Step Closer’ ? ? 2 ‘Numb’ From: ‘Meteora’ (2003) ? ? ‘Numb’ is definitely one of Linkin Park’s more powerful songs, speaking heavily about trying to live up to someone else’s expectations. Bennington cuts right to the heart of the matter, singing, ” Don’t know what you’re expecting of me / Put under the pressure of walking in your shoes / Every step that I take is another mistake to you .” Blending equal parts melody and aggression, ‘Numb’ has become one of the band’s most beloved tracks. Listen to ‘Numb’ ? ? 1 ‘In the End’ From: ‘Hybrid Theory’ (2000) ? ? Though ‘One Step Closer’ was the song that broke Linkin Park, ‘In the End’ was the track that made sure that fans were around to stay. The song’s perfect blend of melancholy melody and angst-driven aggression showed the range of what the band could do. While Bennington may say in the track that he tried so hard, but in the end nothing really mattered, Linkin Park fans might disagree. The craftsmanship put on this cut made it a solid choice for the top of the 10 Best Linkin Park Songs list. Listen to ‘In the End’ ? ? What Are Linkin Park’s Best Songs? We’re well aware there are still a lot of great Linkin Park songs that didn’t make the cut and here’s your chance to make your argument to replace one on our list with another. Should chart-toppers like ‘Somewhere I Belong,’ ‘What I’ve Done,’ ‘The Catalyst’ or ‘Burn It Down’ be there? How about favorites like ‘Papercut,’ ‘Leave Out All the Rest,’ ‘Shadow of the Day’ or ‘Lost in the Echo’? Let us know your thoughts on this list in the comments section below.

Children of Bodom Begin Writing and Recording Eighth Studio Album

Facebook: Children of Bodom The mighty Children of Bodom have secluded themselves within the icy woods of their native Finland to work on their eighth studio album. From an undisclosed location in Helskini, the band is constructing and recording 10 new tracks for their follow-up record to 2011′s ‘Relentless Reckless Forever.’ “It’s a nice change to the regular method where we lock ourselves up at a studio in the middle of the woods, usually also during the darkest time of the year,” Bodom frontman Alexi Laiho tells Soundi magazine. “However, we did track drums at the tried-and-tested Petrax studio in Hollola this time as well, so we got our fix of that modus operandi too. But for the guitar and bass, we don’t require a big facility in the countryside, so we decided to stay closer to home for this part of the session.” Interesting enough, Bodom guitarist Roope Latvala has made it clear that he is dedicated to elevating the guitar to greater prominence for the band’s next album, a goal which fans with surely appreciate. Although Children of Bodom’s music has remained strong throughout their career, the band has focused less on massively addictive guitar leads since their 2005 album, ‘Are You Dead Yet?’ “Roope did voice his opinions more than usual this time around,” Alexi says. “And maybe the others, too. As far as the actual question goes, the usual rule applies: all good ideas are taken into consideration.” Although there is no ballpark estimate of a release date, Bodom will be continuing their tradition of recording hysterical covers of pop songs, with the band planning to create metal versions of Bananarama and Roxette tracks. Check out footage of Children of Bodom jamming on some new material in the video below. Children of Bodom Practice New Tracks From the Studio [button href=”http://loudwire.com/children-of-bodom-everytime-i-die-top-21st-century-metal-songs/” title=”Children of Bodom – Top 21st Century Metal Songs” align=”center”]

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