As The Crow Flies 12.20.08: The End of Days - The Evolution of Heavy Metal - Part Five (2005-2008)

Posted by Chris Crowing on 12.20.2008

After five weeks, or almost fifty years depending how you look at it, we come to the present day in heavy metal and wrap up this epic journey.

Before I start this final chapter, I am going to castigate myself for some glaring omissions from previous timeframe. I completely neglected to mention the awesome Nailbomb or even Front Line Assembly for that matter when dealing with the latter half of the 90s, and last week I completely skimmed over the nascent metalcore scene, not mentioning that Atreyu's the Cursewas released in 2004 and Avenged Sevenfold's Waking the Fallen and Mastodon's Leviathan were released in 2003. Quite horrifically remiss of me!

What is even worse, is that I completely neglected to mention a band who are a personal favourite - 36 Crazyfists who's Bitterness the Star and A Snow Capped Romance albums would have fallen within last week's timeframe. I'll make it up for such errors as best I can…

It seems that the time since 2004 has flown by, as bands which it seems I only discovered yesterday, have in fact been about for a lot of years and it's only when I looked into this weeks 05-087 timeframe I realised that these bands have in fact been about for longer. It's funny the tricks that your mind plays on you, no?

In any case, it's time to dive back into the narrative and see where metal has ended up in these, which are truly the end of days.

As The Crow Flies over…the Origins and Evolution of Heavy Metal - Part Five

As we get so close to the present day, then all pretence of objectivity has to go out of the window, so as I run down the timeline I am actually using my media library as my guide for the bands I will talk about - so pardon me if the breadth of my narrative is somewhat constrained.
2005 brought a plethora of high profile metal releases, not least being Avenged Sevenfold's much anticpated City of Evil. However despite being full of chunky riffs and some quite ridiculous soloing, it had a far more alt.rock feel to it than previous A7X records, partially due to M Shadows nearly ripping his voice apart singing in the metalcore style, and partially because of the bands proudly avowed intention to be as mcuh like classic Guns N'Roses as possible. Not that there is anything wrong with that, although many would dismiss A7X as metal-lite, Judge for yourself...



That similar metal-core style also gave rise to Trivium who stayed truer to their stated desire to be the next Metallica with the riff-fest that was Ascendancy. While I was one of those who wrote Trivium off as emo in the beginning, some friends urged me to listen to the riffs on show and I have developed a great appreciation for this album, even if the lyrics are questionable and Matt Heafy's voice hadn't quite cracked to the point where his Hetfield Karaoke was convincing.



System of a Down bounced back from the non-event that was Steal this Album! with the frankly awesome double shot of Mezmerize and Hypnotize. I vividly recall being in my local rock club the first time "B.Y.O.B" got played there and it's an education to try and dance to such off kilter rythmns when you've never heard the song before. Observe...



To lesser acclaim from the grim north, the likes of Soilwork with Stabbing the Drama and Scar Symmetry with Pitch Black Progress continued to expand on the melodic death metal/metalcore framework, as did the likes of Between the Buried and Me with Alaska. Adding an element of power metal into the mix, were Children of Bodom with Are You Dead Yet?



Even heavier climates were braved and excelled in by Nile who's Annihilation of the Wicked is a classic a recent Death Metal. With a comparable level of heaviness, but with a far different approach were the legendary Meshuggah and their Catch Thirtythree record is a good example of progressive thrash in the modern age.

England's own Paradise Lost had a staggering return to form, following their unfortunate dalliance with excessive electronica with their self titled record, whcih melded the thick guitars of Draconian Times with the sweet production, and slightly 'tronic approach of One Second to excellent effect. Yes, I like this albuma lot - you should too...

Ah dammit, the ever annoying 'embedding disabled by request' has come back to haunt me - check out some Paradise Lost at http://www.youtube.com/watch?v=Zn_EgphP-UY

Another English bands achieiving greatness in darkness were Akercocke whose Words that Go Unspoken, Deeds That Go Undone record remains a personal favourite, and a seriously heavy, dark band rocking suits is just cool as all hell. With shades.

Indeed many bands were continuing to trample all over the boundaries of what Death and Black metal were meant to be and Gojira achieved a masterwork with From Mars to Sirius putting them on a Tool like level of technical profiecincy and bravery in their arrangements. Likewise Opeth produced one of the most staggering Death metal albums of all time with Ghost Reveries.



In a completely different tone, from the ashes of Pitchshifter came This Is menace, a band without a fixed frontman designed to be, as their own website puts it...
"This is Menace is a collective of like minded individuals. No lead singer. No radio-friendly, unit-shifting hits. None of the band are dating super models. None of the band have famous parents. The keys to the city are still locked in the cabinet. This is Menace have no fluffy backing vocals. No choreography. No dancers. This is Menace make intense, guitar-driven music. Leviathonic. Dig It."

I love that. Check them out...



Also released that year was Rosenrot by Rammstein. While a pleasing record, it was a serious step down from Mutter and Reise, Reise, possibly presaging the bands current hiatus...

Reunited with original singer Rob Halford, Judas Priest made a grand comeback with the Angel of Retribution album bringing them right back up to date, and showing that the oldest of veterans can be a contemporary force in a time obsessed with the pretty young things and current fashions.

However, metal had become one of the most prevalent and entrenched genres in the world, to the point where Roadrunner Records pulled together a collaborative roster of it's current and previous stars to put out the Roadrunner United record the All Star Sessions in celebration at their longevity and success. Where you would usually expect such an 'industry' project to be very perfunctory, it is actually a damned fine and very varied metal record. While the single release "The End" is an anthemic piece of pop metal, the album shows the breadth of Roadrunner's roster, past and present with contributions from a great many death, black, thrash, groove and nu - metal notables. Fucking awesome. i want them to do it again...



2006 sees some releases from artists who many of the crustier metal types would dearly locve to label as emo, although I'm verty much opposed to that point of view. First of all, 36 Crazyfists came out with a far chunkier record than A Snow Capped Romance and their 2006 effort Rest Inside the Flames still spends a lot of time on my ageing mp3 player.



Likwise Killswitch Engage came in for some criticism for the lighter tone of their follow up to the very well recieved End of Heartache, although I think a lot of the criticism for As Daylight Dies stems from the ever-present metal tendency to want to pull a succesful band down. True, it's not as heavy as before, but do you want bands to always sound exactly the same? What do you think?



From the melodic death metal scene that spawned metalcore veterans In Flames came up with their shot at stardom Come Clarity. It certainly seems to have worked given that they now headline tours over the likes of Sepultura which amazed the hell out of me. I have to say, I prefer the Reroute to Remain era stuff, and a lot of Come Clairty bored me, except the token ballad which is the title track.

Likwise, Lamb of God came to capitalise on their previous success, and offered more of the same on Sacrament. Once you get over the infectiousness of it all, there isn't too mcuh depth to the album, and everything other than "Walk With me In Hell" and "Redneck" seems to be a less impressive exercise in the same vein. It's fun in small doses though...

Mastodon also looked to continue on from a well recieved previous album (Kerrang! attempt to make Mastodon the biggest band in the world, for about 2 weeks following Leviathan) but Blood Mountain lacks a single like "Blood and Thunder" although it is a hellaciously impressive technical workout. Hard to listen to for long though, I fear it may induce tinnitus, or even a stroke in the frail. Heavy stuff.

From the darkened north, Satyricon continued their attempt to make Black metal poppy with Now, Diabolical. I've heard them heckled for 'selling out' at shows, and while I'll readily accept that the new direction wasn't exactly the most alternative of options, it's still definately metal. That, and how dumb is it to PAY for tickets to a show and then shout 'sell out' at the band - you paid to see them dumbass!

Veteran pioneers, Switzerland's Celtic Frost appeared out of hibernation to produce possibly their best album (it‘s up there with To Mega Therion anyway), the quite awesome Monotheist, though unfortunately the internal stresses of that band have seen them fall apart once again, which is a shame.



NWOBHM stawarts Iron Maiden also continued on their run of good albums, with A Matter of Life and Death receiving some of the best reviews of the bands career, including accolades along the line of ‘Iron Maiden have never been so relevant.' Without changing style, they continued to show what craft and song writing can achieve over all the fashionable detuning and interesting hairstyles in the world. Pay homage…



I'll admit I'd become a bit jaded towards the current metal scene by the time that 2007 rolled around, being a bit fed up with how you never seemed to get a straight up metal record, at least amongst the mainstream - everything needed to have a scene attached to it, be it metal core, death metal, melodic death metal or whatever and that started to get to me. This was only exacerbated by the apparent popularity of ‘metal' amongst some very NOT metal fans, and more so the rise of the emo scene and the way metal was being publicised really grated with me as I got older. I'll come back to this idea later…

However the perfect tonic was thrust into my hands with the release of Machine Head's the Blackening. Wow. This is a collection of some of the best songs, with the best riffs I have heard in years. The Blackening satisfied my desire for riffs, for elaborate arrangements, for soaring solos, passionate vocals and some blood thundering, fist pumping choruses. There isn't a poor song on the album, although I would say that "Wolves" is a bit of a step below the rest. This album is sheer awesomeness, and a sure fire contender for best metal album of the decade.

I am torn as to which video to put out from this album, as I'm a HUGE fan of "Now I Lay Thee Down" but for sheer metal assault, and it's dedication to Dimebag which always means a lot at this time of year, I have to go with "Aesthetics of Hate"



As Rammstein were on hiatus, guitarist Richard Kruspe moved his family to the United States, and wrote an album based on that experience, which became Emigrate. This is essentially Rammstein-lite, sang in English and it's quite bizarre to see one of the parties responsible for "Amerika" singing a song in homage to "New York City" but I enjoyed it a lot - a new Rammstein album would be better though.

I also notice that I have completely neglected to mention Nightwish yet, which is a huge error, especially seeing as Once was the biggest selling metal album in Europe in 2004. Then followed the much publicised and somewhat bitter split with singer Tarja Turunen, and Nightwish needed a strong comeback to cope with that ever-tricky reverse of finding a new singer.

That comeback was Dark Passion Play and it's a record that continues to grow on me. From the epic "The Poet and the Pendulum" through the radio friendly crunch of "Amaranth" and "Bye Bye Beautiful" to the laid back, acousticity of "the Islander" it's an immensely enjoyable album, and new singer Anette Olzon, while not having Turunen's range or power aquits herself well.



In a similarly operatic vein are Apocalyptica, who first came to prominence in the 80s covering Metallica songs. Their 2007 effort Worlds Collide utilised some of the metal world's most high profile singers to add a face to the chamber quartet approach. I'm not the biggest fan, but it's fun as a diversion.

I am a big fan of Mnemic who, like Nightwish had to replace their singer after an impressive 2004 album (in this case, the stunning Audio Inject Soul) and the resulting record, Passenger is also well worth a look. If you've never heard of them, then imagine a sound halfway between metal core and Fear Factory. Interested?



In 2008, 36 Crazyfists made a stunning follow up to Rest Inside the Flames with an album that is now a real favourite The Tide and It's Takers. Utilizing heaviness comparable to Lamb of God and more convincingly done melodious vocals than acts with far more poppy pretentions, this album is (IMHO) a modern classic.



From darker climes, Opeth continued to stand head and shoulders above their death and black metal brethren with Watershed, while Gojira cemented their growing reputation with The Way of All Flesh.

The year also saw continued success for the likes of Amon Amarth (Twilight of the Thunder God) and Children of Bodom (Blooddrunk) while a plethora of new acts came to the dance including Perth's Alestorm.

Veteran's Judas Priest continued their resurgence with Rob Halford at the helm with the very good Nostradamus, as did Iced Earth with their continuation of the Something Wicked… series.

Trivum put the misstep that was the Crusade behind them, with the far more impressive Shogun which shows off the sheer guitar ability or Heafy & Beaulieu, although all the criticisms about dubious lyrics, slightly weak vocals and that all the riffs are stolen from Carcass do still bear weight. Damnit, I like the album…



A band I have often called the British Trivium, Bullet for My Valentine produced their second record, Scream Aim Fire with a more old school metal edge than the overt metal core of their earlier work. Sure, Matt Tuck's vocals aren't exactly Anselmo-esque, and there is some right cheesy 80s metal posturing, and quite silly lyrics but that's all part of the fun, isn't it? Now that I'm getting over my previous tendencies to disregard anything that has ever been accused of being emo, I really like this album. It won't change your life, but it's grand driving, head banging music. This video is so silly…



Slipknot had a lot to live up to, following up to Volume 3... but this years effort All Hope is Gone is a more than worthy successor. Some will look askance at Corey bringing his Stone Sour voice to a Slipknot record, but I personally LOVE "Sulfur" and "Dead Memories" whereas I remain unconvinced by the heavier parts of the album like "Butchers Hook" and "Vendetta." Nonetheless, it's a testament to Slipknot that they continue to develop their sound in both heavier and more melodious directions. I do have to say that lead single "Psychosocial" lifts the riff from Metallic's "Ride the Lightning" wholesale. Don't believe me?



However, the most important release of this year for me, and the best record to lay this timeline to rest with is Metallica‘s Death Magnetic. I won't do a full album review, because that would be best suited for a future column, but suffice to say that it is a stunning return to form, full of brutal riffs, coruscating solos and some of Hetfield's best vocal work ever. Yes, Lars' snare still sounds like it tuned by someone with tinnitus but you can't have everything…



Of course, I've missed out a million bands from this timeline and I'll name a few here who are well worth a listen - this is not exhaustive so don't bitch if your favouritest band isn't mentioned. Please check out Dub Trio, Bloodsimple, Fantomas, Burning Earth, Bleeding Through, Raging Speedhorn, Syth, the Dillinger Escape Plan, Nevermore, Strapping Young Lad, Cult of Luna, Katatonia, Electric Wizard, Firewind and oh so many more…

As The Crow Flies over…the Origins and Evolution of Heavy Metal - Part Five

To my mind, heavy metal is in a healthier position now than it has ever been. Independent niche labels like Roadrunner, Nuclear Blast and Century Media have the clout to make their best acts stand tall with the heavyweights on the Sony, Universal or Live Nation rosters, and the money from these big selling acts finances the careers of the less successful bands and artists necessary to maintain the depth and width of the metal pantheon.

Many are worried that metal's ‘soul' - the true tenets of what heavy metal means is being eroded by this level of success however. I cannot disagree with this more.

There is a disturbing tendency within the metal scene to try and drag down bands who are successful, to try and prove that you are ‘more metal' than other people with more popular tastes.

Pardon me for playing armchair psychiatrist, but people who act like that are usually trying to make up for some inadequacy by running others down. That's called bullying, and isn't that the thing all of us metalheads can't stand about people who run our scene down?

Sure, there are bands playing versions of metal which is more melodious, more palatable to the masses, or has been seized upon by industry forces and promoted more than some of us might find tasteful but that doesn't make it 'not metal.'

For all that crusty types bemoan all the emo and metal core kids, and say they are not for real, most people find metal and all forms of alternative music and lifestyles through their softer mainstream edge.

To my mind, if one kid moves on from MCR and Fall Out Boy through metal core to become a true and dedicated fan of chunkier metal, then it's very nearly worth the millions of obnoxious children taking up room in the rock bars and making our high streets and shopping centres look untidy.

The advent of digital technology in recent years, making recording and distribution of music available to all without great cost is a great boon to alternative music of every stripe, meaning that artists are increasingly freed from the constraints put upon them by the industry.

As such, metal has never been on such a secure footing, has never had such breadth with various incarnations of metal taking in factors from influences as diverse as folk music, rap, ambient, electronica and all points in between.

It is easier at this point in time to find new music, from all over the world and from every conceivable genre and if you go looking for it, you can find anything you could ever want to listen to.

To my mind metal is not a particular song writing ethos, a certain way of playing the guitar or a particular set of imagery - it can encompass almost anything. For me, metal is music to get your heart pumping, to remind you that you are alive. It can be uplifting or brutally depressing, the thing it must ALWAYS do is move you in some way.

There are metal songs that I like to listen to lying in the dark, there are some which give me a powerful urge to jump around, there are some I love for the words, some that I love for a particular riff or lick, there is no particular formula for what works, or qualifies.

Every band I have mentioned in all of these five weeks worth of column has a place in my music library, and I cannot understand people who feel the need to close themselves off in the name of some obscure principle - that's not being metal, that's being close minded and stupid.
I believe we are on the edge of a possible golden age - metal is being promoted to the masses by the powers that be in unprecedented levels, and for those who wish to look deeper than the pages of Kerrang! or Metal Hammer, modern technology gives them access to music made by people across the world and that same technology makes it possible for high school kids to affordably record music with comparable production values to the biggest acts of the day, if they have the passion, the patience and the talent.

I truly believe we could be standing on the edge of an explosion of creativity and passion, and I have no idea where metal will go from here, but I cannot wait to find out.

I'll see you in the pit.

The Murmur Round the Murder

The Murmur Round the Murder Memory Stick
The Evolution of Heavy Metal 2005-2008


1 - Avenged Sevenfold - Bat Country
2 - Trivium - Rain
3 - System of a Down - Bring Your Own Bombs
4 - Soilwork - Stabbing the Drama
5 - Scar Symmetry - the Illusionist
6 - Children of Bodom - Are You Dead Yet?
7 - Paradise Lost - Redshift
8 - Opeth - the Grand Conjuration
9 - This is Menace - Onward Christian Soldiers
10 - Rammstein - Benzin
11 - Roadrunner United - the Dagger
12 - 36 Crazy fists - On Any Given Night
13 - Killswitch Engage - Arms of Sorrow
14 - Lamb of God - Walk With Me in Hell
15 - Satyr icon - KING
16 - Iron Maiden - the Reincarnation of Benjamin Breeg
17 - Machine Head - Slanderous
18 - Emigrate - New York City
19 - Nightwish - the Poet & the Pendulum
20 - 36 Crazy fists - Absent Are The Saints
21 - Gojira - Toxic Garbage Island
22 - Bullet For My Valentine - Hearts Burst Into Fire
23 - Slipknot - Sulfur
24 - Metallica - the Judas Kiss

Well, it's been an epic trip, and I'll admit, it's pushed me - between the size of the task and some untoward internet connectivity difficulties that's why the column is late this week. I hope you've enjoyed my journey, I've enjoyed writing it. Next week, I'll run down a concept me & some friends have thought would be a good idea for a lot of years - the alternative music starter pack.

Till then, have a merry Christmas, Yule or whatever you choose to celebrate.

Chris