Boys Night Out-Train Wreck
(Ferret Music, 2005)

Make Yourself Sick was a damn good album, but I don’t think many people were expecting such a big leap on Train Wreck. Much more rock in nature, the new album from Boys Night Out is energetic, well written, and tells quite a story. There are similarities to the previous album, but this is a much slower album and there really isn’t much of the speed continued here. You can still easily tell that this is Boys Night Out; it’s just a more mature sounding band this time around. One big addition to this new album is a new female vocalist, which adds a very new element to the band’s sound. With so many forced emotions and clichéd bands around right now, it’s very welcome that a band moves in a completely different direction then their contemporaries. This is an amazing album that will hopefully begin a streak of amazing albums from Boys Night Out.

God Forbid-IV: Constitution of Treason
(Century Media Records, 2005)

After an intro that sounds quite similar to early Metallica and In Flames, God Forbid kick into their follow up to Gone Forever with an intense and pounding riff that is intense, memorable and a perfect example of what this band has to offer. Despite being lumped into the metalcore genre, I would say that the band could almost be considered a thrash band. Sure they have chunky riffs, and there are breakdowns, but the class and prowess showed really raises the bar and few metalcore bands could touch this material. There is also a surprising amount of melody to be found here, and the clean vocals are really quite unique sounding for the genre. I’m not sure if this album tops Gone Forever, but both albums are of equal quality and some of the best metal of this nature to come from a US band in quite sometime.

Inked in Blood-Lay Waste the Poets
(Facedown Records, 2005)

While I wouldn’t say that Facedown Records’ bands all sound similar, Inked in Blood definitely fit into what the label usually offers. The band plays heavy, rhythmic hardcore with a surprising amount of melody and some very cool almost Shai Hulud like guitar parts. Song writing wise this is a nice step up from the bands previous EP. It’s more developed and quite original in fact. Some of the breakdown riffs are a bit typical, but this is probably one of the most original heavy hardcore bands to come along in quite sometime. And they took their name from the Evil Dead movies, so where can you go wrong?

Sylvie-An Electric Trace
(Smallman Records, 2005)

Sort of forming out of the ashes of Despistado, Sylvie might be quite different then what you would expect. This is a varied rock record that touches a lot of different emotions and ranges from slow ballad type songs to straight ahead rock songs. Each song brings in new elements, but there is enough common threads running between songs to keep this from becoming a mess. There are even a few surprising noisy sections that add yet another layer to the band’s sound. Comparisons can pretty much be thrown out the window as this is a very original band. Bottom line, this is a catchy record that proves that there is still room for rock to be original and powerful.

Boy Sets Fire-The Day the Sun Went Out
(Equal Vision Records, 2005)

Boy Sets Fire really stumbled onto an original sound when this album originally released in 1997. The band was very much hardcore in nature, but the music was melodic and heavy. The scene now is littered with melodic bands, but at the time the band was treading new ground. This album is definitely rawer then the albums that followed, but this is the album that showed what the band had to offer. I think the scene was divided between the people that just didn’t get it, and those who thought it was brilliant. One interesting thing about this re-release is that they didn’t change the packaging. It’s very DIY and actually pretty crappy looking. But it keeps the spirit of the original release, and serves its purpose. This is where it all started for Boy Sets Fire, and thankfully they are still out there pounding the pavement and writing moving music.

Destruction-Inventor of Evil
(Candlelight Records, 2005)

Metallica should take a few lessons from Destruction. The band has been around just as long and despite a few years of disappointment the band has always maintained a raging thrash sound. This latest album from Destruction is an energetic lesson in violence showcasing the band’s trademark whiplash speed and mid tempo stomp. The album was produced by Peter Tatgren so the sound it tight, heavy and full with a very familiar sounding Abyss Studios sound. I suppose you could almost call this a safe album for Destruction, and that is exactly what I would want from them. I want to hear the classic thrash riffing, and the trademark vocal snarls. This is classic Destruction through and through.

Ram-zet-Intra
(Candlelight Records, 2005)

Give me a few minutes to pick up my jaw off the floor. This is one of the most powerful and unique metal albums I have heard in a long time. Sort of gothic, sort of electronic, the band utilizes heavy riffs but the music is full of synthesizers and haunting female vocals. It could almost be likened to a more progressive version of The Kovenant. This is one of the few albums I’ve heard in a long time that is layered and isn’t overly obvious. They have fast moments, and more straight forward metal moments, but the more you listen the more you hear and realize what is going on. The harsh vocals, heavy riffs, and progressive elements make this a hard album for metal fans to pass up on. The female vocals and electronic side of the band makes this appeal to industrial fans as well. Regardless of your genre of choice, this is an album that deserves to be heard.

Cryptopsy-Once Was Not
(Century Media Records, 2005)

The return of Lord Worm is something that many people have been waiting for. None So Vile is considered by many to be the band’s masterpiece, thanks in part to the vocals of Lord Worm. I never had a problem with the replacements they had, but this is easily the best album the band has released since None So Vile. It is fast, disgusting, and downright mind boggling at times. The time changes, insane blasting, and demonic vocals are all here, but there are a lot of quirky pauses and some very jazz sounding sections as well. This isn’t as diverse as say Whisper Supremacy, but it does interject many new ideas into the band’s sound. While the playing and writing are top notch, I’m definitely a little bit let down by the production. The sound is rather muddy and the guitar could have possibly been a bit louder. The sound of the album does convey how insane Crytopsy sound in a live setting though, as this is very similar to what the band sounds like live. This album doesn’t top None So Vile, but it definitely is a close second.

Scars of Tomorrow-Horror of Realization
(Victory Records, 2005)

I thought the last album from Scars of Tomorrow was one of the few interesting metalcore albums released in 2004. This year has been so flooded with metalcore that I am quite burnt out on the style. I still do however feel that Scars of Tomorrow do stand out with a style that isn’t as easily accessible and isn’t dumbed down in anyway. Right off the bat this is a much more polished sounding record. Not that they weren’t tight on the last record, but it had a much noisier production. The clarity almost makes this sound like a completely different band at times, but it also helps every nuance stand out. This especially helps with the guitars because there are quite a few sections that utilize layers, especially during the more melodic sections. Is this just another metalcore record? Yes and no. It doesn’t move the genre in any earth shaking new directions, yet it doesn’t fall victim to all of the clichés. It’s a quality metal record that kicks a lot of ass, and needs to be played loud, end of story.

Funeral For a Friend-Hours
(Atlantic, 2005)

From the first time I heard this band I knew that they were going to be huge. Hours is the second full length from this British band and it securely places the band at the front of the pack for melodic rock. Insanely catchy hooks, and a powerful vocal performance help the band drive the point home with songs meant to leave an impact. The screaming has taken quite a back seat on this record, as has the metal influence that was prevalent in the past. Funeral For a Friend are still heavier then the average rock band, and they display a great amount of talent. With the talent and song writing on display here Funeral for a Friend should be and probably will be huge. Hours is poised to be the bands breakthrough record, and with one listen it’s easy to hear why.

Age of Silence-Complications
(The End Records, 2005)

Three new songs from Age of Silence are what this new EP offers, and damn it’s quite a tease. The new songs are similar in style to the band’s last album Acceleration. I suppose you could call the band progressive. It’s heavy, unique, and very mid paced and methodical. They aren’t many tempo changes, and the music is actually quite repetitive at times. That’s part of the charm though. The vocals help change the moods, as do little flashes of technicality and changes in sound. If you weren’t paying attention you would almost swear that the band played the same thing through the entire song. This definitely isn’t a band for anyone. Call it progressive, or call it thinking man’s metal, I just call it amazing.

Rob Rock-Holy Hell
(Candlelight Records, 2005)

If this album doesn’t have your first pumping in no time, then well you have bad taste in metal music. A heavy and modern sounding production helps the band keep things moving at a brisk pace with chugging riffs, soaring melodies and pounding drums. Like a lot of albums of this calibre the main drawing points are the vocals and the guitar solos. But these are well written and memorable songs as well, not just vehicles for showing off. From beginning to end this album is full of memorable soaring choruses, heavy pounding riffs, virtuoso solos and everything needed to make this one hell of a metal album. This could very well end up being the top power metal album of 2005.

Avenged Sevenfold-City of Evil
(Warner Bros., 2005)

Aside from a few songs here and there I hadn’t heard much Avenged Sevenfold before hearing City of Evil. I have heard enough to know that this new album is quite different from the previous albums. The band’s sound could now be somewhat considered a cross between AFI, classic heavy metal, Metallica, Guns N’ Roses, and Stone Temple Pilots. Sound a bit odd? It’s not really. It’s actually quite straight forward, and incredibly catchy as well. It is easy to hear what influenced a lot of parts, but at the same time the band is definitely onto something with this album. I think that some of the songs could have been trimmed a little as this is a long album, but that is a small complaint. This album is already blowing up for the band and the band does have its share of naysayers. I like to distance myself from hype, and music television, so to me this is just a catchy album that rocks. I don’t care if the scene police consider them trendy or not. Good music is good music.

Catheter-Dimension 303
(Selfmadegod Records, 2005)

Catheter are easily one of the best grind bands around right now. The band is fast, and filthy and very much in the old school style of grindcore. This is violent, yet extremely catchy drawing from grindcore, crust, and even doom at times. A clear production really helps the band hit the nail right on the head. I really like the fact that these guys can write some incredibly catchy riffs that remain catchy even while travelling at breakneck speeds. In a time when bands seem to only care about technicality it’s nice to see a band keeping things old school, streamlined and memorable. This is what grindcore is all about, and if you’ve lost any interest in the genre, this album will quickly bring that interest back.