Kairos (2011)

      Sepultura are back with their twelfth studio album - Kairos (Greek for the most opportune moment), which seems to be a concept albums of sorts. Musically they take the back-to-basics approach, returning to their straightforward, crushing and unrelenting Thrash of Beneath the Remains. Sure Kairos manages to bludgeon everything in it's path and what not, but does so sort of weakly. What I must concede is that it's definitely a step in the right direction, it still has the Sepultura DNA in it.

    Thematically the album is based on the concept of "Kairos" or the most opportune moment and deals with time and transcendentalism. Four of the tracks, each lasting for about thirty seconds or so are dates and the significance of each of those dates is as follows - 2011 is  Gregorian calendar year we live in, 1433 is current year in the Islamic calendar, 5772  being the current year of the Hebrew calendar and finally 4648 having the same significance in the Chinese calendar.   

     The album sounds very dark, raw and stripped down. The seething anger pulsating in riff after riff is evident from the very first track. Furious drumming, thundering basslines, guttural vocals, violent riffage and stabbing solos all enforce the downright brutality of the album, it seems like the album will explode at any point, but rather unfortunately never does, which is something you really expect given Roy Z is producing the album of one of the most energetic and bombastic bands. Green's pagan chants/yelps on quite a few tracks seem like a kickback to the Sepultura of yore, but if you're expecting the primal slogans and tribal beats from back in the day then forget it, it is but a thing of the past. Kisser after a long time feels unchained and unshackled and its there to show in virtually every solo. All the songs sound very similar which makes the album very monotonous to listen to. 

    Kairos begins its onslaught with Spectrum, some very traditional Thrash/Death that takes it's roots from Chaos A.D. As with most songs in this album, Kisser's solos are the saving grace, beyond which the song doesn't have too much to offer.

    Spectrum is followed by the title track, one of the better tracks on this album. It has that very evil, Slayer-vibe to it that will instantly hook the listener in. No nonsense Thrash, bestial vocals and a battering rhythm section, what the fuck else can you ask for? 

    Continuing in the vein of Kairos is Relentless an enraged, wrathful, nut-wrenching track championed by the aggressive basslines of Paolo Jr. 

    The fourth track 2011 is the conceptual part of the album, with random noises and sounds being played. The same goes for 1433 and 5722.

    At position five is the cover of Ministry's Just One Fix. Works very well surprisingly, impressive cover the way it works it's way around the Industrial elements.

    In at six and seven are Dialog and Mask, the fillers. Nothing particularly interesting barring a couple of bridge sections.

    Seethe, the ninth track, feels a lot like an old school Death Metal song. Exceptional stuff really, feels wasted on this album.

   Born Strong is a blistering, relentless violent Thrash attack that packs a lot of shitload of aggression and power. Amongst the gems of the album.

    Embrace the Storm is a welcome break from all the speed and fury of the previous tracks. Some mid-tempo Thrash with technical leanings and a masterful solo elevate it. The vocals however don't work on this track.

   No One Will Stand is yet again filler material, but the Andreas Kisser's middle-eastern-tinged soloing works wonders on the songs. Goes back and forth from straightforward Death to raw Thrash. Kisser does a stellar job on his part.

   Structure Violence (Azzes) the penultimate track (in the deluxe edition, or the last track otherwise) is a throwback to the Groove Metal days, with tribal drumming, Brazilian chants and the works. Slow, chugging riffs and rhythm surprisingly do well in an album that fields some fast and fiery tracks.

Overview : Kairos is not the top notch stuff that we have come to expect but a sub-par Sepultura, a slowly redeeming one nonetheless. This certainly isn't the best that Sepultura can offer though the return to roots principle is gladly welcomed. Although credit must be given to the band for continuing to experiment with their sound as opposed to producing watered down Metal to appease and bring back to the fold the "It-isn't-Sepultura-without-the-Cavaleras" bunch. 

Genre : Thrash Metal, Death Metal

Track Listing : 

Title	Writer(s)	Length
1."Spectrum"	Sepultura	4:03
2."Kairos"	Sepultura	3:37
3."Relentless"	Sepultura	3:36
4."2011"	Sepultura	0:30
5."Just One Fix (Ministry Cover)"	Sepultura	3:33
6."Dialog"	Sepultura	4:57
7."Mask"	Sepultura	4:31
8."1433" 9."Seethe" 10."Born Strong" 11."Embrace the Storm" 12."5772" 13."No One Will Stand" 14. "Structure Violence (Azzes)" 15. "4648"	Sepultura Sepultura Sepultura Sepultura Sepultura Sepultura Sepultura Sepultura	0:31 2:27 4:40 3:32 0:29 3:17 5:39 0:29

Total Album Time : 45:51

Personnel/Contributors : 

• Derrick Green  - Lead Vocals
• Andreas Kisser - Lead Guitars
• Paula Jr. - Bass
• Jean Dolabella - Drums
• Roy Z - Production
• Eric Sayers - Cover Art

Release Date : 24 June 2011

Recorded : December 2010 - March 2011, Trama Studios, Sao Paulo, Brazil

Supporting Tour : Kairos World Tour

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Call to Arms (2011)

     Saxon's Call to Arms is exactly what the title claims to be - a call to arms, a battle-cry to rouse every denim and leather clad supporter back to the 80's when Metal ruled the day. In return they shall hear deafening roars of approval, for I have to agree with Biff Byford, this really is some of the best material they have written. Saxon adopt a back-to-basics approach and stick firmly to their guns on Call to Arms and the result is an album that can very proudly stand alongside any of glorious 80's back-catalog. 

    While their previous albums from the 2000s were sort of return to form, Byford manages to marshal his troops and prove that they indeed are a force to be reckoned with. Bursting at the seams with steely riffs, catchy hooks and soaring melody Saxon prove that they still are capable of some very inspired songwriting with Call to Arms. There really isn't much to differentiate the fillers from the rest of the tracks. From the interesting guitar work on Scarratt and Quinn's part, thudding basslines courtesy mainstay Carter, energetic drumming ala Glockler and Byford's solid pipes everything fits together liked a well-oiled machine.

    Kicking off the album with a groove/speed metal hybrid that both hearkens to Saxon of yore and yet has a modern polish to it, Hammer of the Gods is a song that will instantly grab you. The choppy riffs and resounding bass serve to tell the tale of a soldier being drafted in the first world war. Powerful solo to boot, anthemic choruses and you know why this song is one the standout tracks on this album.

    Up next is Back in '79, yet another monster of a track. Slow, chugging riffage that stomps all over the place, coupled with Byfords shrieks and a bluesy solo that is set off at just the right time, this is the perfect vehicle to reminisce about the glory days of the band. Saxon managed to get 79 fans during the recording to scream their heads off during the chorus and the result is self-evident.

   Blazing furiously back from the 80's is track number three, Surviving Against the Odds. The lyrics are standard Saxon staple - holding your own and standing your ground. If anything on the album felt like a filler it's probably this song, which goes to show the consistency in songwriting.

    In at position four is Mists of Avalon one of the more superior tracks on this album. Treading a progressive path, a nod to the albums of the new millennium, it's indicative of the direction Saxon intends pursuing in the near future. Clean riffs, tremendously melodic soloing, epic-romantic lyrics - stuff that normally doesn't stick well the average listener makes this track soar. Exceptional Metal, but I can't quite put my finger on what exactly sets it apart. On a side note, very reminiscent of Battalions of Steel.

    Following the epic is the title track, Call to Arms. A down-tempo tracks that lumbers along between heavy and light riffs, lead by strong vocal lines this is yet another exemplary song. Byford is in his element, and the rest of the band supports him passionately. Typical metal power ballad, with a bit of Saxon's charm imbued in it.

    Track six, Chasing the Bullet is straightforward, no frills, rhythm driven, 80's Heavy Metal. Nothing particularly spectacular about this song, and yet makes its impact felt.

     Stuck in the same mentality is the up-tempo Afterburner with it's lightning fast riffs and thundering drumming. Custom built to cause a riot during their live shows with the aggression and frenetic energy it displays.

     Next up is the middle-eastern-tinged track eight, When Doomsday Comes which was written for the movie Hybrid Theory. With it's slow, dark and despondent sound it isolates itself from the rest of the songs on this album. Don Airey makes a guest appearance on this track, and his keyboard work lends an epic feel to the song. 

    No Rest for the Wicked, the ninth track again feels like a filler but is a pretty strong song overall. This is the second song of the album written for the movie Hybrid Theory. Chunky, heavy riffs and an interesting solo apart the song has nothing new to offer. 

    Ballad of the Working Man is another solid effort on the band's part. Saxon take their classic sound and give it a modern twist with this track. This song exemplifies the Saxon of the 80's, during their golden age. The twin lead guitar attack is much appreciated, excellent riffing and kickass soloing to follow it, it's pure magic. 

    The album closer is an orchestral version of the title track, providing an interesting alternative to the listener. Being a ballad, the orchestral version seems to the have upper hand because it makes the song feel that much more grandiose and eloquent.

Overview : Why does Call to Arms work so well? Because it's not a simple nostalgia trip down memory lane that the band aim to send you on, but put forth a refreshing set of songs that reflects heavily on their origins as well the progression they intend to take. The lads are back with a lot of swagger and it most certainly shows. From figuring out how to garner more MTV airplay in the 90's to making a resounding, to-be-classic masterpiece, the band has done right by its legions of fans keeping its roots alive. Saxon is still very relevant in Metal today and their re-surging popularity is a testament to that. Classy, potent, somewhat-dogmatic 80's Metal that's pure joy to listen to is what Call to Arms really is. Ergo essential Saxon. Go get this album right away.  

Genre : Heavy Metal

Track Listing : 

Title	Writer(s)	Length
1."Hammer of the Gods"	Saxon	4:23
2."Back in '79"	Saxon	3:28
3."Surviving Against the Odds"	Saxon	5:02
4."Mists of Avalon"	Saxon	5:02
5."Call to Arms"	Saxon	4:29
6."Chains the Bullet"	Saxon	4:14
7."Afterburner"	Saxon	3:06
8."When Doomsday Comes (Hybrid Theory Soundtrack)" 9."No Rest for the Wicked" 10."Ballad of the Working Man" 11."Call to Arms (Orchestral Version)"	Saxon Saxon Saxon Saxon	4:29 3:09 3:48 4:28

Total Album Time : 54:55

Personnel/Contributors : 

• Biff Byford  - Lead Vocals
• Paul Quinn - Lead Guitars
• Nibbs Carter - Bass
• Nigel Glockler - Drums
• Doug Scarratt - Lead Guitars
• Don Airey - Keyboards (Guest Appearance)

Release Date :  3 June 2011

Recorded : 2011, Chapel Studio, Lincolnshire/ Brighton Electric Studios, Brighton, U.K.

Supporting Tour : Call to Arms World Tour

Trivia : 
The artwork is a play on the famous World War I recruitment posters Britain used - Lord Kitchener Wants You!

Two of the songs, Tracks 8 (When Doomsday Comes) and 9 (No Rest for the Wicked) were written for the movies Hybrid Theory.

They got Don Airey to play on the album, when they met him in the American Embassy, waiting to collect their Visas.

Back in '79 has 79 fans shouting out the chorus, Byford rounded the fans the night before the recording.

Back to Saxon's Page

Saxon

Genre : Heavy Metal

Active : 1976 - Present

Current Band Members :

Biff Byford - Vocalist

Paul Quinn - Lead Guitarist

Doug Scarratt - Lead Guitarist

Nibbs Carter - Bassist

Nigel Glockler - Drummer

Albums Reviewed :

Saxon (1979)

Wheels of Steel (1980)

Strong Arm of the Law (1980)

Denim and Leather (1981)

Power & the Glory (1983)

Crusader (1984)

Innocence is No Excuse (1985)

Rock the Nations (1986)

Destiny (1988)

Solid Ball of Rock (1990)

Forever Free (1992)

Dogs of War (1995)

Unleash the Beast (1997)

Metalhead (1999)

Killing Ground (2001)

Lionheart (2004)

The Inner Sanctum (2007)

Into the Labyrinth (2009)

Call to Arms (2011)

Ride the Lightning (1984)

Making its journey through thrash, Metallica follow their brilliant first album Kill 'em All with another masterful entry to the timeline of Thrash Metal, Ride the Lightning. So the Metallica logo proselytizes from a blood clad musical marauder to an electrifying blue with lightning streaks and an electric chair to add to the vibe (A similar cover, although in green, was printed. But that being a mistake, was revoked, and those became limited editions of the album). A definitive transition from the initial debut album is evident with as much as a glance of the cover art. The album speaks of the essence of Thrash Metal with songs with a pace of the Four Horsemen fame, and of transition to music layered in technique and fluctuations between soft and heavy. With bold statements made by Burton, Hetfield, Hammett and Ulrich, not in that order ofcourse, with a musical maturity and mastery that elevates them to Godly proportions.

Starting off with Fight Fire With Fire, a proverbial narration of the effects of war with interlacing musical brilliance. It builds up on a few bars of acoustic arpeggios and loyal to the song notes, to what follows of heavy metal and fast riffing, notes slightly difficult to discern in the race across the fretboard, impelling the listener to headbang in earnest. The vocals reflect the same trend as in Kill 'em All, with the disctinctive Hetfield growl and power, making you feel at home with the declarative Metallica music.

The fighting with fire opening notes are a humble preamble to the power withheld in those give away lightning bolts on the cover. Ride the Lightning, a song speaking for the infringed justice of an alleged criminal facing execution by electrocution, starts off with a very distinctive and immaculately planned and conceived riff, which plays with the mind conjuring electifying imagery, and all you need is a mental preset. The song proceeds, getting heavier by the bar, and reaches the rhythm with very apt chords and strumming. It's almost like Metallica single handedly takes the obligation to put "Power" in the term "Power Chords". The lyrics are well spaced throughout and go with the song and never refute it. The solo involves a meticulous tapping and hammering and is of course melodious, coming from Kirk's guitar. The song is simply lightning-fast speed, electrifying power and Thrash Metal. Epic. Heavy. Metal.

Often deified Cliff Burton writes what will go on to feature in most Metallica concerts as a much performed, grieved over for the loss of its procreator, and headbanged-to song - For Whom The Bell Tolls. Most listeners were deceived by how the song kicks off, and considered the bass as electric guitars. Cliff uses distortion and the wah pedal in addition to his divine gift of musical conception and execution and testifies to the talent associated to his name. The guitars join in with the bass line and the song proceeds in a coordinated manner with precise riffing and distortion levels, and build up for the vocals for around 2 minutes. The words speak of the dishonour brought forth by modern warfare techniques. The solo is a sumptuous Hammett special with his trademark wah wah pedal. The song is still performed a lot, after the demise of Burton, and both Jason Newsted and Robert Trujillo have played the bass, but despite their brilliant performances, public opinion holds that Burton was and is irreplaceable. It is not a question of Jason and Rob's talent, but the greatness of Cliff. The song played live with Burton and a young Hetfield is a treat to watch, and as is the difference between a studio recording and a concert, the concert is always better to indulge in.

Fade to Black is among the top ranking and most beloved Metallica songs. It is appreciated, respected and indulged in by generic fans of music, rather than the seasoned metalhead alone as happens to a lot of Metal songs. Because with this composition, Metallica transcends boundaries. Written in a state of emotional  dejection, for their equipment was stolen, they wrote a song thematically depicting a man contemplating and committing suicide, reflective of their mournful state. The song starts off with an acoustic prelude along with a melodic solo, building up to a verse of arpeggios and vocals. The song is acclivitously heavy, and soon the power chords take over. The song becomes heavier and faster in pace, too, as the theme goes from morose to morbid, and gives way to what gets featured among the best ever metal solos. This song has come a long way, from being just a composition, to being a saviour, having given life to those who were on the verge of falling to the clutches of solitude and dismay. Metallica received a lot of fan mail, accolades and encores for Fade to black, and for all one can say, still does. A favourite among live performances, everyone does have something to say about this song. And whenever you play it, wherever you play it, it will take away all banality, in a musical sanctum and universe that could come straight from the hearts only of the very divine and intuitive. Amongst the very first Thrash ballads, Metallica broke new ground with Fade to Black.

Trapped Under Ice, the next number from the record is another interesting track. It starts off fast, and maintains the pace with Kirk flirting with notes, Hetfield with the vocals and of course, Lars and Burton (R.I.P.) with their fortes. Depicting a theme of being trapped in a cryogenic chamber, the song is a thoughtful account, backed by overall apt and supportive instrumentals. It has a very well conceived part with backing vocals (rather shouts), followed by a racing solo, in Kirk's trademark style. Although it has not been performed too many times live, the song lives up to the record, and doesn't seem detached in any way, being among a setlist of masterpieces.

Escape, a song about freedom, has melodic vocals in the chorus, unlike the otherwise powerful Hetfield growl. The background is an almost continuous overdriven guitar, palm muted and chugging that makes you feel every note. The drums are mildly subdued, as opposed to other tracks, and goes about a more humble accompaniment. A very different performance, for Lars is known for his complex and dominant beats, that complement the guitars, yet not overshadow them. The song fades out gently to make way for two more masterful metal songs, with blatant power and technical finesse.

A biblical account, Creeping Death, speaks of the death of the firstborn son. Occurring in the Exodus, the lyrics cover four plagues that break out in Egypt. True to the theme, it starts of with such efficacious vigor, as Lars pounds on the drums, and the heavy guitars accompany it. The song is a very intimate coordination between the various instruments, and the time signature changes are fluid and don't follow after stops. The solo is a musical narrative in itself, with fleeting hammers and pull offs. The song proceeds to a part in the middle after the first solo with heavy palm muted chugs and dual vocals, which are the famous words "Die by my hand" written by Kirk, in a background of chants of "Die, Die". The song, ironic although, depicts a theme of death, in such lively metallic rigor and energy, it featured in a lot of live performances, has been covered ever so often, and stays a beloved Metallica favourite everywhere. The ending riff to the song is definitely among the most widely recognized and distinct ones ever to have been written. This song is possibly the beginning of Technical Thrash.

The last song, Call of the Ktulu is Metallica's second instrumental, after Anasthesia (Pulling Teeth) from Kill 'em All. The song is largely based on H.P Lovecraft's book The Call of Cthulu. His writings dwelled upon surrealism and abstractions, instilling fear of the unknown. Metallica's instrumental narration is a similar parallel in music, starting off with a minute and a half almost, of acoustic prelude as heavy and powerful overdriven guitars take over to spin the yarn in shards of metal. The song changes form, much like Lovecraft's imaginarium, and varies in time, in scale, in tempo and in effects. A lot of wah effects in the background can be discerned, which take your attention from the main progression for the most fleeting of moments, and the guitars take turns in leading and accompanying, making the overall composition a very intricate and complex assortment of notes and beats. The bass effects are also very timely and important to the piece. From Anasthesia, this instrumental comes a long way in complexity and detailing, and stands among the best of instrumental metal performances of all times.

Overview :

The album is a declarative statement by Metallica, reserving its spot among the top in what goes on to become the Big 4 of thrash metal. Ride the Lightning is more of an advice, than an album name. An invitation too, of sorts. And is essential for every Metal lover, or music lover for that matter. As this album is not only about Metal, but music. Meaningful, powerful, rich and influential music. It will make you think, like very few others. It will take you places, and make a place in your conscience. Enough said, no amount of writing will justify what Metallica produced. So get along, and fasten your seatbelts. For this is one heck of a ride...

Genre : Thrash Metal

Track Listing : 

Title	Writer(s)	Length
1."Fight Fire with Fire"	Hetfield, Ulrich, Burton	4:45
2."Ride the Lightning"	Hetfield, Ulrich, Mustaine, Burton	6:36
3."For Whom the Bell Tolls"	Hetfield, Ulrich, Burton	5:09
4."Fade to Black"	Hetfield, Ulrich, Burton, Hammett	6:57
5."Trapped Under Ice"	Hetfield, Ulrich, Hammett	4:04
6."Escape"	Hetfield, Ulrich, Hammett	4:24
7."Creeping Death"	Hetfield, Ulrich, Burton, Hammett	6:36
8."Call of the Ktulu"	Hetfield, Ulrich, Burton, Hammett	8:53

Total Album Time : 47:23

Personnel/Contributors : 

• James Hetfield  - Lead Vocals/Rhythm Guitars
• Cliff Burton - Bass, Backing Vocals
• Lars Ulrich - Drums
• Kirk Hammett - Lead Guitars

Release Date : 27 July 1984

Recorded :  20th Feb - 14th May 1984 at Sweet Silence Studios, Copenhagen, Denmark

Supporting Tour : Ride the Lightning Tour

Ride the Lightning Misprint Cover : 

Trivia :

Because of a misprint that occurred, from the original electrifying blue the album cover appeared in a green color that now has become a limited edition version.

The song Creeping Death was originally written by Hammett for his previous band Exodus.

Back to Metallica's Page