After a lengthy period of quiet, Killing Joke return with their second self-titled album (so Killswitch Engage isn’t the only band who did this?) and what lies within is one of their heaviest and most aggressive records to date.

The political state of the world was a strong motivator for such an album. The war on terror had turned the Middle East into an apocalyptic zone, and the world was shaken after the events of 9/11. Killing Joke were not American, nor from the Middle East, but they still had a lot to say. There is a lot of anger and passion directed at those in power and the state of the world. Surprisingly, there’s not actually much about war specifically here, or even the events of the times; rather, the lyrics are pointedly timeless, aggression towards the same follies of corruption and power that have plagued humanity since Adam and Eve.

Musically… well, your mileage will vary, and obviously this is a very popular album, but musically the album really isn’t that special. The tracks are very repetitive, usually with one or two drumbeats that repeat the whole song, a simple, shallow riff that doesn’t really evoke much, and there’s probably bass too. The actual instrumental work on this album is lackluster. What improves the tracks are the effects, samples and layering thrown underneath the simple instrumentation that adds as a strong soundscape of industrial dystopia.

What IS special are Jaz Coleman’s powerful, passionate, melodically shouted vocals. He’s got the perfect voice to deliver such venomous lyrics, and you believe every word. The way he can shout in such a gruff manner while also hitting notes and creating melodies is excellent. I WISH he had better music to shout over, cause the album would be so much stronger.

There is one song in particular I have to shout out – “You’ll Never Get to Me.” This is by far the best and most special song on the album, and maybe in the band’s entire career. This song is not political – it’s introspective, emotional, crushingly depressive but also impossibly uplifting and powerful. Instead of a boring riff, it relies on a melancholic chord progression evocative of Shoegaze material. The music, lyrics and vocal delivery all come together perfectly on this track.

Also, the scorching bonus track “Inferno” is better than every song that actually made the album except the aforementioned “You’ll Never Get to Me.” Don’t miss out on that one. ... See More

Well, this just proves how much of a sucker I am for Anders. I’ve also got a soft spot for this style of 2000’s Alternative Metal that fused elements of extreme Metal with commercial sensibility, and always came with heavy doses of angst. I was growing up in that era, so of course it’s nostalgic for me. When I found out a couple members from one of my favorite bands put out an album in this style two decades ago, my interest was piqued.

To be blunt, this is a very standard 2000’s Alt Metal album on the surface. The band takes a ton of influence from the American scene at the time, adding in some Nu Metal influence. The rhythm section is pretty simple, most of the riffs are standard chord-based fair, and the songs follow verse-chorus format. But below that, there are elements of quality and care that make this a very complete package. Subtle but interesting synths are used to create atmosphere or even underlying melodies, and work especially well during the softer sections of the songs. Niclas reminds us he is not just any guitarist, but the riffmaster of the most legendary Melodeath band ever by composing gentle lead guitar melodies (often clean) that instead of taking focus, provide extra layers of depth to the verses and playing off of Ander’s vocals very nicely.

At the end of the day, though, Anders takes the center stage. At this point in his career, he had never used primarily clean vocals on an album, but what a welcome surprise it is. His cleans have always been a point of contention among fans (though I have always adored them) but one thing that cannot be denied is, god damn, the man can write a hook. Fantastic vocal melodies, harmonized with multiple layers (and styles) of vocals, even crafted with lyrics that flow perfectly… the choruses here are monumental. The verses are similarly captivating, less focused on melody and more on using these either angry or melancholic lyrics to build the mood of the song. The instrumentation on this album is simple, but it is to give the man full focus and play off of his strengths, and that is done to perfection here.

A lost gem that should appeal to any fans of that early 2000’s Alt Metal scene or fans of Anders’ vocals. ... See More

Some nice words that could be used to describe Beyond Abilities would be insanely technical, melodic, and proficient. All the musicians here are experts at playing, and they waste no time showing that off. The keyboards are the focal point, with playing that rivals any masters of the Classical Era. Nods to Mozart are made throughout, so it’s obvious what the influences and aspirations are.

Some less kind words that could be used to describe Beyond Abilities would be sterile, emotionless, and generic. The musicians may be masters at playing, but they can’t evoke an emotion to save their lives. In fact, the only song that evokes any emotion is the cover of Alone. The songwriting is the bare minimum for Neoclassical Power Metal fare, which is quite a demanding genre; this means the band does nothing to stand out from contemporaries. The playing may be perfect, but that only goes so far. As someone else pointed out, everything sounds like it was made in a factory.

If you’re a fan of Neoclassical Power Metal, like I am, it’s a nice, enjoyable album. If you’re a fan of technical prowess exercised through music, this is admirable and probably of great interest to aspiring keyboardists. If you want something new, unique, memorable or moving, move along. ... See More

Always love to hear Neoclassical acts that are actual bands rather than First Name Last Name guitar (or keyboard) heroes. As you might expect from a Neoclassical band, Time Requiem is filled to the brim with awe-inspiring solos that boggle the mind. But not just from the guitars.

Yes of course, the guitars are majestic. The smooth running up and down scales while essentially tremolo picking is just wild to me. Thankfully, the guitars do much more than that, offering great riffs and more traditional style guitar solos as well that offer more depth than Yngwie-style wankery. Keys are another key component (ha) to this lineup, and yeah, the keyboardist does some insane wizardry that could put any classic pianist to shame. I mean, the keyboardist is the composer, so not only is he an absolute madman at his instrument, but he’s a strong songwriter as well. Keys and Guitars duel here, but they also give each other space to show off without competing for the spotlight depending on the song.

But this album isn’t just a melodic showcase! The RHYTHM section is also flashy as hell. Obviously harder to hear, but the bassist is putting in some crazy work on this thing. It can best be heard in the mind-blowing ending to “Brutal Mentor” (which in itself is just one of the best displays of technical musicianship I’ve ever heard). And the drums! God those drums are great. Speedy, technical, progressive, and doing the perfect amount of showing off insane chops without overplaying. And of course, lets not forget the vocals. Vocalist Apollo was in one of my favorite short-lived Neoclassical bands Majestic, and he helped elevate their accessibility with fantastic choruses. He does the same here.

For anyone who enjoys technical prowess in musicianship and songwriting, a must-listen. For those who don’t, it’s thankfully full of great songs that are well-written and worth much more than their technical prowess alone. ... See More

What I like: The lyrics! Especially to the opening track “He Who Accepts All That Is Offered (Feel Bad Hit Of The Winter).” I love how hateful and humbling they are, offering so much vitriol towards the over-glorified, hedonistic lifestyle of drug use that finds itself abundant in rockstar and alternative culture. The filthy, ominous sound of the song and vocals fits how nightmarishly surreal a bad drug hit might feel.

What I don’t like: Essentially everything else. Riffs are EXTREMELY boring, evoking absolutely nothing. Song compositions go nowhere fast…nowhere at all, actually, with the first track featuring no structural builds or crescendos in nearly 30 minutes of runtime. The drumming is better than most Drone drumming, because it’s present and does something. The production is fine, focusing on capturing as much of that wonderful guitar fuzz as it can, and succeeding in that. If you are a super textural person, I can see you enjoying this, as the guitars scratch your brain in a pleasant way, but I need A LOT more than that from a record to consider it “good.”

Still waiting for someone to utilize the potential of Drone Metal to actually build an atmosphere that evokes something other than nothing or nihilism (which is essentially nothing). ... See More