Much like others Sonata Arctica’s albuns since <i>Unia</i>, the majority of the critics about their new work so far have revolved around it not being as fast as their previous ones. Some people just want the “old” Sonata back, with more fast songs, rejecting anything that does not look like this. However, while I agree that the first four albuns are their greatests masterpieces, symbolizing much of what power metal was around 1999-2004, I still think that what makes Sonata’s music so good isn’t merely the double bass or the guitar/keys shredding.

There is much more than speed in Sonata Arctica. Each of his albums has the same elements that make them so strong and sensitive at the same time, although the first albums translate it with faster songs than the last ones. And <i>The Ninth Hour</i> have the same thing which every previous album has: beauty, balance, passion and emotion.

Just like their previous works, the songs here has a strong focus in the vocal structure and melody, while the instrumental section has a more progressive feeling, creating a catchy and theatrical mood, very similar to <i>Unia</i> and <i>The Days of Grays</i>. Tony Kakko’s vocals gives the passion and emotion to the songs with his unmistakable performance, while the instrumental section, both rhythm and lead, brings a great atmosphere to them, balancing the lyrics with the music itself, thus creating the beauty of this album.

Take, for example, the two first tracks, “Closer to an Animal” and “Life”. They are midpaced songs, very melodic and with great atmosphere created by the synths notes, nice guitar tones, catchy chorus and bridges, even resembling the spirit of old Sonata. The song “Among the Shooting Stars” is a good example too, being a simple “heavy” ballad, with a melancholic lead section, giving a perfect base to the soulful vocals work, which allows you to feel the same despair the main character experiences in the story. You will not find that speed and fastness here, but the formula descripted above is pretty much of what exists in all Sonata’s albums.

On the other hand, songs like “Fly, Navigate, Communicate”, “Till Death’s Done Us Apart” and “White Pearl, Black Oceans (Part II: By the Grace of the Ocean)” show the progressive side of Sonata’s music, which has been merged with their classic sound in their last albums. Those songs have many sections intercalated, even really fast ones, like what much people want from a new Sonata’s album. Yet, far from being 100% double bass and guitar/keys solos, they balance the brightness of the band’s instrumental section with the melancholic and dramatic vocal lines, progressing from slow segments to explosive ones many times, without losing cohesion.

In any case, the music presented here have a fresh feeling of the actual status of the band, that, without losing their identity, do not fear to evolve their sound to something unexpected and new. This album adds a new texture to their discography, being much more a new complement to it than just a reaffirmation or a repetition.

Overall, <i>The Ninth Hour</i> is not as simple and straightforward as the first albums of the band career, making it not as easy to understand at first sight. This album demands more than one listening to be fully appreciate, especially if you are fonder to the traditional approach of power metal. However, beneath this progressive sound, there is the same band and the same spirit that was present since <i>Ecliptica</i>, and that later evolved into <i>Reckoning Night</i> and <i>Unia</i>, as at all of these phases as now Sonata Arctica always have crafted his music with the same components: beauty, balance, passion and emotion.

Much like others Sonata Arctica’s albuns since <i>Unia</i>, the majority of the critics* about their new work so far have revolved around it not being as fast as their previous ones (Be more specific. Albums, releases, etc.). Some people just want the “old” Sonata back, with more fast songs, rejecting anything that does not look** like this. However, while I agree that the first four albuns are their greatests masterpieces, symbolizing much of what power metal was around 1999-2004, I still think that what makes Sonata’s music so good isn’t merely the double bass or the guitar/keys shredding. (This closing thought seems unfinished. It ends up being confusing instead of building anticipation. Condense your main theme down into one sentence and use that to end this paragraph. Introductions introduce us to where where we're going, which is into your perspective as to why this album is an example that Sonata Arctica's work remains dope.)

* ("critiques" works with your current sentence structure. If you do mean people, the sentence's grammar has to change to match that subject.)


There is much more than speed in Sonata Arctica. Each of his albums has the same elements that make them so strong and sensitive at the same time, although the first albums translate it with faster songs than the last ones. And <i>The Ninth Hour</i> have the same thing which every previous album has: beauty, balance, passion and emotion. (Here's your main theme! Integrate all of this paragraph's information into the first paragraph so that it reads clearly.)

Just like their previous works, the songs here has ("have." Be careful to make sure the parts of the sentence agree with one another) a strong focus in the vocal structure and melody, while the instrumental section has a more progressive feeling, creating a catchy and theatrical mood, very similar to <i>Unia</i> and <i>The Days of Grays</i>. Tony Kakko’s vocals gives the passion and emotion to the songs with his unmistakable performance, while the instrumental section, both rhythm and lead, brings a great atmosphere to them, balancing the lyrics with the music itself, thus creating the beauty of this album.

Take, for example, the two first tracks, “Closer to an Animal” and “Life”. They are midpaced songs, very melodic and with great atmosphere created by the synths notes, nice guitar tones, catchy chorus and bridges, even resembling the spirit of old Sonata (Try to be more precise with your description. "Nice guitar tone" doesn't tell me much about what it sounds like. "Great atmosphere" is the same. What kind of atmosphere? What are your impressions of the tone?). The song “Among the Shooting Stars” is a good example too, being a simple “heavy” ballad, with a melancholic lead section, giving a perfect base to the soulful vocals work, which allows you to feel the same despair the main character experiences in the story (Run-on. Rephrase for clarity).You will not find that speed and fastness here, but the formula descripted above is pretty much of what exists in all Sonata’s albums. (Hard to follow because I'm not clear on what the formula was, exactly.)

On the other hand, songs like “Fly, Navigate, Communicate”, “Till Death’s Done Us Apart” and “White Pearl, Black Oceans (Part II: By the Grace of the Ocean)” show the progressive side of Sonata’s music, which has been merged with their classic sound in their last albums. Those songs have many sections intercalated (Unclear/not a word), even really fast ones, like what much people want from a new Sonata’s album. Yet, far from being 100% double bass and guitar/keys solos, they balance the brightness of the band’s (Loses track of the subject here) instrumental section with the melancholic and dramatic vocal lines, progressing from slow segments to explosive ones many times, without losing cohesion.(Last sentence is too long. Rephrase for clarity.)

In any case, the music presented here have a fresh feeling of the actual status of the band, that , without losing their identity, do not fear to evolve their sound to something unexpected and new. This album adds a new texture to their discography, being much more a new complement to it than just a reaffirmation or a repetition. (I'd say this is your secondary point: that this album reinforces why the band is good; it's a compliment to the old ways. However, I don't think this point is made as clearly as it could be.)

Overall , <i>The Ninth Hour</i> is not as simple and straightforward as the first albums of the band career, making it not as easy to understand at first sight. This album demands more than one listening to be fully appreciate , especially if you are fonder to the traditional approach of power metal. However, beneath this progressive sound, there is the same band and the same spirit that was present since <i>Ecliptica</i>, and that later evolved into <i>Reckoning Night</i> and <i>Unia</i>, as at all of these phases as now Sonata Arctica always have crafted his music with the same components: beauty, balance, passion and emotion.



(Definitely a step in the right direction. I've underlined words and phrases that need attention. Some of those are without notes because too many notes makes your review illegible, so ask if you have specific questions.

Language challenges aside (and it's better than the first draft, don't get me wrong), my major note is on the clarification of your ideas. Even if the sentences were in perfect Enlish, I'd be giving this note:

Be smooth and deliberate in your flow of ideas (have a look at Nightgaunt's reviews for as deliberate and unerring a pacing as you're likely to find). You want to make it as easy as possible to follow your train of thought, so take your time. For instance, if your main themes are beauty, balance, passion and emotion, do what you need to so that you paint the picture of the album that substantiates those themes. If you give us a list ("SA shows beauty in x, y, z ways. It shows balance in x, y, z ways...") it's not as engaging as using those themes as the main weapon against the critics are wrong. Since this is an album that takes several listens to come to appreciate, it's safe to assume that you've lived through those listens. Give us a combination of general descriptions and highlights that support your main argument: critics haven't listened to the record enough to know what it has to offer; I have, and here's exactly why I have this opinion.)

(First, no one is out to punish the multilingual. Many of the site contributers and mods themselves are not native English speakers, and the site clearly has an international presence. Think of English as "Common tongue," in RPG parlance. Even if you're not fluent in it, expressing your ideas clearly can help language errors not be as problematic to a submission. As always, the mod has the final say, but we can make a start.

Repost drafts here in the workshop before resubmitting. Too many repeated rejections can cost you, so take your time.)


(Formatting: see the style guide in the review rules viz. paragraphs, spacing, etc. You need discrete paragraphs, and those need to be formatted properly.)

Well, here we are. Another album by the Dark Throne (Band title does not include "the"). Does it really need a review? Probably not (Why, then, are we here, reading yours?). Let's get it straight, during their long and honourable career, they've reached a point of "love or hate us" kind of band, and the supporters of their late albums usually are for a 100% score approach.
But it seems that this album could divide furthermore their hardcore followers, because it is different. It is quite different.
To be honest, some of the influences that Fenriz and Culto spread here were already in and there in some of their album since 2006 The Cult Is Alive album (Dream Death in example) (Sentence running on, confusing. Rephrase for clarity). But here these same influences are massive and crushing like a bulldozer, and making way for a slower approach especially on the Fenriz's side songs (Unclear).
(Too many sentences starting with "but." Separate paragraphs when your main ideas change. Each paragraph gets a topic sentence, and then goes on to discuss that topic. I think you were trying to indicate that different paragraphs exist here, but your formatting for the spacing is wrong. Combining this with the unclarity of the sentences, this section is confusing).

This slower approach could be a let down for many fan , but I actually appreciate that. The feeling of the album is overall of doom and gloom with a basic energy that comes out of the darkness in a more punching way than in the underground resistance, see the opener "tundra leech" in particular and in other cool moments too like the final part of "boreal fiend", even with a unexpected riffing in a totally seventies style (!) (Run-on sentence. Rephrase for clarity.).

(Formatting: spacing)
Be careful, there's nothing new or incredibly fresh here, but then who really wants that from the darkthrone guys? Anyway, this is a solid release that pleases the ears of anyone that is looking for some crushing riffing in a completely underground [u]darkthrone style and this album deserves to be checked out because of the way more serious approach that it has, for sure more serious than the last ones that lack of the sinister and obscure feeling that you can easily find here.[/u] (Run-on Well done guys.
Noteworthy is the vocal performance, this time only by the almighty Ted Culto, probably at his peak since years for the growling grasp that he delivers here; Fenriz can be a decent singer but he's not suited for the old school blackened style.
The highlights are definitively the opener and, to me at least, also the title track with its 'egyptian' kind of a riff. (Useful information, but should be positioned elsewhere in musical analysis. These are confusing as concluding points.)


(In general, confusion in communicating your ideas in an organized way is more glaring of an issue than the language barrier. Work up an outline and make your flow of ideas conform to that, then repost in this thread.)

(Rewrite: Grammar, flow of ideas difficult to read. Focus on main themes (in bold, italicized) during rewrite.)

I remember the first song that got me into Deicide was the furious "Dead By Dawn." I heard this song through playing the GTA IV expansion pack, and It was just awesome to do drive by's on innocent bystanders and thugs while listening to LCHC (Liberty City Hardcore) hosted by Max Cavalera. (CONTEXT: Unnecessarily incriminating.) It featured a lot of early 90s old school death metal and other extreme metal sub genres. This (Paragraph transition.) album is still to this day one of the most evil, visceral, and monumental death metal records ever recorded as well as one of the most popular (if you go by sales). Deicide hasn't been great for a number of years but their early stuff was tremendous in musical quality and effort. This album you could just hear pure unadulterated hatred for Christianity as a whole and the praise for the metaphysical powers granted by Satan; it was over the top, evil, and disturbing. (CENTRAL THEME.) Songs like "Oblivious to evil," "Lunatic of God's Creation," and "Sacrificial Suicide" really show how evil death metal could be. With lyrical lines like

"Sacrifice of the unborn child
Enter the kingdom of darkness
Sodomized for the ritual
For there is nowhere to run" or from Sacrificial Suicide (Formatting.)

"Suicide sacrifice, thrust of evil deep inside
Lucifer never lies, take away thee mortal life
Demigod, Satan son, commend to body to the ground
Father Satan, I'll find peace when I am God." (Citation needed.)

The lyrics presented on this album are extremely vulgar and filled with hate for Christianity. Also the praise for the dark lord is another central theme for this album. (CENTRAL THEME.) Glen Benton unleashes absolute fury on this album; never again did he sound so angry; (What's with these semicolons?) later on his lyrics became less hateful and more laughable, not here though. (Sentences unclear.) The musical elements presented on Deicide epitomize old school death metal in its fullest. Shrill, nasal, atonal, unmuted hammer-on riffs, set to sterile snare and pedal blast beats that absolutely refuse to swing. (Good effort at summary analysis here. ) For example, in songs like "Dead by Dawn" it features descending, percussive mid scooped palm muted riffs based off of minor thirds, set to relentless double bass drumming, opened with a brittle snare roll. (Very confusing analysis here. ) Another example of old school death metal at it's finest is "Mesistopholes" where the main riff is based on 6/8 march tempo of galloping triplets, set to double bass drumming, and dual layered vocals. Things like this give off a sense of brutality that was unparalleled in its time. (Good context here. - Good paragraph. Match flow of ideas of this paragraph. I like where you're going with musical analysis. Read it out loud to clarify phrasing.)

The focus on atmosphere is another trait which must be brought in light. The atmosphere on this album is incredible, when I first heard it I felt I truly descended into the pits of hell itself, it was scary, uncomfortable, and euphoric at the same time. I kept on wanting to hear more and more of it, just like a crack addict needing his daily fix of crack (Interesting detail. Crack addiction and drive-by's in the same review?) The very first song "Lunatic of God's Creation" the very first thing you hear in the song are the gates of hell opening themselves. Then the guitar riffs of the Hoffman brothers kick in and the relentless drumming of Steve Asheim pulverizes you into a hellish frenzy. (I'm digging the musical description.) This song is basically an ode to the madman Charles Manson. Another song that gives off an incredibly disturbing atmosphere is "Carnage in the Temple of the Damned." This song deals with occult leader Jim Jones who cultivated the massmurder-suicide of Jonestown, Guyana in November 1978 killing 918 people in the process. (Commas.)

In conclusion this is one of the greatest debuts by any band ever. The focus on visceral atmosphere, the metaphysical powers granted by Satan, and the vehement hatred of Christianity makes it one of the datrkest (Spelling.), bleakest, and most evil death metal albums ever written. If there was ever an example of how to craft a perfect death metal album this one would be the blueprint to follow. Take my words and listen to this thing if you haven't heard it.


(NOTES:
- Identify main themes and concentrate musical description/analysis on them.
- Separate paragraphs according to topic.
- Bring dispersed ideas together; direct your ideas to their relevant topic.
- Musical description and passages of analysis are heading in a productive direction.
- Sentences are too long. Simplify the ideas. This will make it easier to help them flow together.)

(What was the rejection message?

An ambitious subject. I feel you're missing a grand opportunity here. Reconsider your approach to the material.)

The Work Which Transforms God, a grand claim in one light. (Album title formatting; Incomplete sentences require artistic licence and read awkwardly as first sentences.) A work through which the idea of the Judeo-Christian God, who goes by a number of names, can be remade. Into what?... Does the composer have an idea? (Unclear introduction.)

"We charge tradition with being an excuse for idleness, unpersonality and regression. We praise evolution for being the logical consequence of creation, progression and elevation." (Citation encouraged, context helpful.)

Let's credit an artist the caliber of the one behind this work with meaning his words, against recent tradition as feels fitting. (More unclear, mysterious language.)
TWWTG came to us from France in the year 2003 from an artist and a group of artists who had been composing black meal since the crest of it's second wave. 2003 was a fallow time in black metal barring a handful of exceptions, this foremost. Many of the ideas that first presented themselves in second wave black metal had been explored in a matter of ten years. One of the possible paths ahead was now being found and traversed by Blut Aus Nord (Meanwhile, in France! Transition to this topic is awkward. This topic may work better closer to the top, instead of the ungainly, cryptic opener.)
European man has a 1500 year relationship with the God of Christianity and he still haunts us despite being pronounced dead in 1882. Hence the need for his transformation. Can the strength that we've spent in giving life to a God be re-harnessed and redirected into our own lives, into the world as we experience? (It seems your train of thought is wandering here. If you're leading up to something, the point needs to deliver.)
The Work which Transforms God. As part of the overall process of overcoming Christianity, of which black metal is an important part, this work can live up to [u]it's name, but really this is a surpassing of black metal, a new sage in the development of Western music.With the works of Blut Aus Nord and other great artists today we are finding the path of our spirit. [/u] (I encourage you to rewrite this review according to this theme. It's the most substantial of the points you attempt to raise.) The great works of our descendants will be the successors to these, though they will likely sound very different. (You may be overestimating BAN's influence.)

(The whole preceding section has formatting errors. Separate paragraphs according to topic. Smooth out idea transitions.)

Rhythms staggering and blasting by turn, harmonies and discords float and scrape and scythe.
Gradually the patterns emerge. Where there was madness, rhyme and reason. Our ears learn to enjoy textures they would previously have rejected.
Abysses rear before us, mountains crash like waves and splinter and above all the howling of a God in transformation.
(While I don't object to this kind of description, it's better suited in a musical description section -- which this review lacks, by the way -- not used as a closer.)


(NOTES:
- Formatting: see rules.
- Needs clarification in nearly every respect.
- Needs musical description and analysis.
- Cryptic treatment confusing; main points scarce within obfuscating treatment.
- Submission reads like general impressions of the album, or notes about it written while high.

The Work is more cerebral and methodical in its blasphemies than you're giving it credit for here. Rework into a more organized appraisal.

(Not a bad start. Needs embellishment on musical description and some context of group members.

I don't really know much about this album now that I've read the review.English errors should probably be worked on after attending to the structural errors (e.g., content and organization). Describe the players in the supergroup, what people have said about comparable supergroups that suck and why, and then describe the album in such a way as to give musical description as well as provide an example of how these guys manage to not suck.)



"Creatures Watching Over the Dead it's the third album by this "particular" American band. It's hard to define their style since they sound like a fine mix between heavy, power and thrash with brush strokes of more extreme styles. This album is the consecration of this caracteristic sound. (Seemingly contractitory ideas.) A lot of people say we should expect something more for such a line-up but, in terms of musicality, the tracks of this record showcase a pretty decent level of skill of each member of the band. I confess, it's a pretty predictible album, but I'm sure that if you liked the previous two records, you would also like this one. It's a heavy metal powerhouse filled up with late 90s and early 00s nostalgia in terms of composition. (I don't know who's in the band or what their other projects are. I need your help to understand.)

Now, it would be a little hard to rate this album since, as I've said before, a lot of people judge this kind of "superbands" (Nouns and plural/singular need to agree.) by the past of their members, hoping they'll make similar or better stuff. Since this is another band it should not be compared this way to other bigger ones, and it's not meant to sound as anything else. (Unclear phrasing.) With this in mind, we find a solid album with dark atmospheres and deep lyrics, complex vocal lines, fast and hard guitars, and a rythmic section which sounds pretty crazy in terms of heavy metal, maybe not for thrash... but a great mixture here! (Unclear, run-on.)
(I was hoping that this paragraph would help me understand more about this superband, but they remain a rumor.

In conclusion, as you don't judge a book by it's cover, you shoudn't judge a new band by it's members' previous bands. Charred Walls of the Damned have found a nice sound which they're exploiting, and that's a great quality in a band. Pretty decent and solid album, no matter what. Heavier metal coming from the new world

Music—I'll straightforwardly admit—comes in two outstanding varieties. The outright blow-you-away and the sink-some-teeth-first. As an effect the former has less staying power—applying to majority of pop and bangers (funny thing considering the nostalgic aspect overshadows this some time down the life). My experience with <b>Xeno</b> is upon this line of distinction. Blown away at first listen . . . degradation with repeat absorption.

I've always been on the hunt for progressive death metal. This had been birthed by a denotable bad habit of back-benching in class and prog/tech-deathing by various means. Such lead to an encounter with <b>Xerath</b>, who at the time sounded off-kilter. To the admission of the Xeno guys, they do borrow a leaf from them. Expressively heard pumping and pulsating in the keyboard section, along a mixture of keyboards and grooves. As such, my view is based on first impression—but judgement is based on a much calmer treatise of the unfoldings aided by replay.

For a young band, it's a weighty burden to quickly quip with their hats flung into the field of their emulations. Having some djent permeations that instigate the <b>Gojira</b>-esque groove laden brushes upon the cavernous walls of death metal. Here is more of a passing than a missing link between <b>Meshuggah</b> and Gojira; with a keyboard component—the inner section offers no surprise when the listener lends their selves to this. With that said, it is more of a quick blend of the two with more an assimilating effect on the latter band—and the quicker the connection, the more charged its fix; sterilizing long-term stance. And if one started out similarly—endless prog death quests, the hunt will be on faster than they can say gesundheit.

None a diabolical act to say <b><i>Atlas Construct</i></b> is a burden that is straining to collapse on itself, for has not the album art professed it in all an earth-bound glory—the band's choice. Hard to unsee and discord such an impression. I would be more stoked for a second release and actually appreciate to have a definite stand reiterated. hath a quick fire be a sure fire—a hefty fix, or a diverting impression.

Music—I'll straightforwardly admit—comes in two outstanding varieties. The outright blow-you-away and the sink-some-teeth-first. As an effect the former has less staying power—applying to majority of pop and bangers (funny thing considering the nostalgic aspect overshadows this some time down the life). My experience with <b>Xeno</b> is upon this line of distinction. Blown away at first listen . . . degradation with repeat absorption.
(I'm sorry, what? Fucktanium has an incomprehensible dialect. Fragment sentences, bad punctuation/grammar, unclear phrasing.)

I've always been on the hunt for progressive death metal. This had been birthed by a denotable bad habit of back-benching in class (This is a Fucktanian custom unknown to the civilized world. Please clarify.) and prog/tech-deathing by various means. Such lead to an encounter with <b>Xerath</b>, who at the time sounded off-kilter. To the admission of the Xeno guys, they do borrow a leaf from them. Expressively heard pumping and pulsating in the keyboard section, along a mixture of keyboards and grooves. As such, my view is based on first impression—but judgement is based on a much calmer treatise of the unfoldings aided by replay. (Can you please simplify your language? It's difficult to understand, and I don't think the ideas are all that complicated. Be as clear as you possibly can.)

For a young band, it's a weighty burden to quickly quip with their hats flung into the field of their emulations (This sentence borders on the absurd. What does it mean?). Having some djent permeations that instigate the <b>Gojira</b>-esque groove laden brushes upon the cavernous walls of death metal. Here is more of a passing than a missing link between <b>Meshuggah</b> and Gojira; with a keyboard component—the inner section offers no surprise when the listener lends their selves to this. With that said, it is more of a quick blend of the two with more an assimilating effect on the latter band—and the quicker the connection, the more charged its fix; sterilizing long-term stance. (Again, the phrasing approaches absurdity. Google needs to upgrade their Fucktanian translator.) And if one started out similarly—endless prog death quests, the hunt will be on faster than they can say gesundheit. (I wonder what it's like to talk to you about your day. Is it this convoluted? This makes very little sense.)

None a diabolical act to say <b><i>Atlas Construct</i></b> is a burden that is straining to collapse on itself, for has not the album art professed it in all an earth-bound glory—the band's choice. Hard to unsee and discord such an impression . I would be more stoked for a second release and actually appreciate to have a definite stand reiterated. hath a quick fire be a sure fire—a hefty fix, or a diverting impression.


(What can I say? This review is incoherent. It's down to you to simplify your ideas and communicate them clearly.

It's apparently the case that Fucktanian doesn't directly translate. You need to adjust for tone and clarity as well. Band names don't have to be in bold. Please clarify all of your ideas. This entire review makes very little sense. Student referred to English composition tutoring at Learning Assistance Center.)

Everything you should not do when writing a review is available in the rules. Incorporate them in your rewrite.

- Language errors are secondary to rule violations and disorganization.
Organize your review around one or more main themes. One could retort, "The main theme is the album, you asshole!" And they'd be right. You cannot, however, use this kind of track-by-track format to do so. It's easier to tell you about one thing you can't do, rather than describe the innumerable alternatives. Review the rules, and consider your options.

- Train of thought is difficult to follow. It reads erratically, not in a cohesive flow of ideas. Introduce topics in an order that makes sense (outline), communicate those ideas as clearly as you can (clarity & logic), and include personal insights and themes of interest (style). Bear in mind that learning grammar partially comes from proofreading. Reading this draft makes it pretty clear that you either didn't look at it very well, or don't know what you're looking for. I'll leave that assessment up to you, but feel free to ask questions.

A 3-disc set is a lot of material to cover. Take your time rewriting this. If you're a student, take it to the English learning center on your campus.
_____________________________________________________


Since the 90s, Metallica is attacked by severa oldl fans (Proofreading should have caught this. Did you read this over multiple times? How did you miss this?), including the old school ones. Albuns like “Load” and “ReLoad” were a full depart from (A grammar check might not have caught this because depart is its own word) the Thrash Metal (Not capitalized because they're simple nouns; for the same reason, you don't capitalize "parents' basement") sound, which made some fans ignore some hidden gems in those albuns (Again. This is why I don't think you proofread this). But, let’s be honest: those records suffered from several filler songs. “St. Anger” was a controversial release, with a poor production and very strange decisions. “Death Magnetic” was a great album but was cursed with the Loudness War. (Needs clarification)

(Introduction paragraphs must be clear. The general idea here is OK, but you get sidetracked with lenghthy, vague descriptions of other albums. Providing context is good, but I'm unclear on what I'm being given context for. Stream of consciousness description is just confusing. The opening paragraph should give us a general idea of where we're going, along with a really brief summary of the album as a whole. --Imagine someone coming across your work. They might only want to bother reading the first paragraph, so give them a bit of an overview.)


Now, in 2016, we received “Hardwired... To Self-Destruct”. The album represents an evolution of the 2008 “Death Magnetic” mixed with different Metallica eras like “Kill ‘Ell All”, “...And Justice For All”, “Load” and the self titled album, known as “The Black Album”.The album opens with the already known “Hardwired”, a tune that rescues elements from “Kill ‘Em All”. It’s a fast, thrashy and agressive song with the Metallica trademark. Next, we have “Atlas, Rise” a song that pays respect to one of their greatest influences: the NWOBHM (New Wave Of British Heavy Metal). With guitars that would make Iron Maiden proud, they deliver an interesting and full of energy track. Coming up next, we find “Now That We’re Dead”. This song sounds like “Sad But True” because of the influences of “The Black Album” and sure will be played in live shows because of the sing along catchy chorus. Then, we have the already released “Moth Into The Flame”, a song that rescues the “...And Justice For All” sound with James delivering a great vocal performance and Lars doing a great job that i dare to say one of the best in his 20 years at the band. The song “Dream No More” is a surprise. It mixes the “Load” era feeling with Black Sabbath lines. With dark lyrics about the Cthulhu mythos, Metallica makes an incredible heavy track almost going to the Doom Metal . The first cd closes with “Halo On Fire”, a semi-ballad that delivers one of the best vocal performances of James Hetfield and a great solo by Kirk Hammet.
(Track by track.
Album titles get italicized, song titles get quotes. You go back and forth between talking about albums and song titles, and the incorrect formatting makes it really confusing.)

The second cd opens with “Confusion”, a song that deals about the traumas of war. It is sad, heavy, interesting and has some of “The Black Album” elements in it. “ManUNkind” is a song with great bass lines by Trujillo, with the open section remembering a little “My Friend Of Misery”. Probably, a song that won’t grow you at the first time, but listen to it a few times to get the idea of the catchy chorus and the really cool rifs. “Here Comes Revenge” is a pure heavy metal tune that looks like that came straight out of “The Black Album”, it is a simple heavy song that fits the album. The next track “Am I Savage?” has a “Am I Evil?” feeling, which means great chorus, riffs and dark lyrics. “Murder One” is a pretty beautiful tribute to Lemmy Kilmister, that passed away in the last December. The song has a melancholy vibe and lyrics that fit the song. Wherever Lemmy is, he is proud of his boys. The closing track of the album is their best tune since the 80’s. “Spit Out The Bone” has all the elements that made a Metallica fan fall with love with them: pure thrash agression with great melodic elements in the middle. The band sounds more agressive than never.
(Track-by-track. The way you describe the music is heading in the right direction, but collection of songs needs to be described as a whole, not in a sequence.)

The third album has a new version of the already released song “Lords Of Summer”. It has different lyrics, it is shorter and most important: better. Much better and fits the album perfectly and can be considered one of the best tracks of this work. The next 3 tracks are covers. The first one is a Rainbow cover called “Ronnie Rising Medley” with Metallica delivering a great performance that would make Dio extremely proud. “When A Blind Man Cries” is the weakest cover of the three, but still an interesting track with a great vocal perfomance of James Hetfield. The last cover is “Remember Tomorrow” with a great performance of the entire band. The next tracks are from live shows. Like always, we find a Metallica full of energy.
(Track-by-track. All of this needs description. What makes the new versions better? Why would this make Dio proud?? etc.)


The veredict of “Hardwired... To Self Destruct” is an album with a familiar sound and pushing forward to the future. We find epic tunes with melody and fury that only Metallica knows exactly how to do and several riffs that can be considered the best of them in decades. With almost four decades of history, they transcended the time to make their fans still curious about this release and delivered their best effort in almost 30 years. Long live Metallica!


(Generally speaking, you should revisit the rules. It doesn't matter how many grammatical errors I point out, your treatment of the review itself needs to comply with the site rules. Mechanics can come later. To avoid mod-wrath, I recommend you do not re-submit this review to the queue. Post a revised draft here.)

When it comes to cosmic black metal, Alrakis and Darkspace are the first bands that usually come to people's minds. [u]Maybe not the precursors of this sub-genere (Unclear subject), but definitely one of the standouts within it. (Rephrase for clarity; fragmented structure is confusing) While Darkspace displays a very aggressive and harsh style, venturing in the horrors and chaos of deep space, the German prefers to focus in the immensity and beauty of the unexplored universe.

In "Alpha Aeri", A1V majestically combinates ("combines"?) the basic elements of ambient black metal with drone synths to create a space atmosphere without comparison. And that synth is without a shadow of a doubt Alraki's seal of identity, the key of A1V success in providing the listener such an awesome and fulfilling experience. (Rework for clarity.)

The vocals are not the highlight of this album, they are effective, but nothing special, besides, they are only present in 3 of the songs, and even so, the instrumental parts occupy the majority of them. (Run-on, rephrase for clarity.) The production is not the cleanest, maybe the vocals could be a bit more sharper but, honestly, a very clean one wouldn't have worked as good. (Rephrase for clarity.)

The tracks are perfectly placed, and in terms of efficiency, they come as one piece, (I basically see what you're trying to say, but rephrase for clarity.) perfectly connected and contributing to the listener's mood, so I'm not going to rate them one by one.(Good idea. You don't really need to tell us that, though.)

Having said one , I can tell that my favourite songs (to pick some) are "Gas und Staub zwischen den Sternen", the most epic and captivating, and "M20", maybe the purest "black metal" song of it. (It's more interesting if you use description of your standouts to illustrate the album.)

This is a must listen, a mesmerizing soundtrack to nothingness and a journey to the unknown. To some peaople this album may seem a bit repetitive as there isn't much variation between the pieces of music, but to me that is the charm of "Alpha Aeri", a magnum opus of this sub-genre. (Rework conclusion. This information should probably go with the analysis.)


(Generally unclear, and difficult to follow. Organize ideas efficiently so the English errors can be more easily corrected.)

At the time when I was listening to this album, I was staying in Norway. The eerie nature of this beautiful country was the perfect environment to feel the magic of the newest Zloslut spell (along with Paimonia, Kozeljnik and Ophidian Coil, my favorite black metal act from Serbia). (Phrasing is confusing. You were listening to all of these while you were in Norway? Not sure how that's relevant to this review.)

There is no need to introduce Zloslut because I did that in my earlier review (Zloslutni horizont – Donosilac prokletstva ocaja i smrti). (Even if you're writing a series, each review has to stand on its own; it just doesn't have to be exhaustive. I haven't read your other review, so I have no idea what I'm dealing with at this point.) The only new thing is that the band gained a full line-up now, so it’s not one man project anymore. “U transu sa nepoznatim siluetama" is their sophomore full-length offering (And as such, should be italicized) and I’m glad that Utvara improved the things that critics indicated on the previous album (total running time to begin with) (Rephrase for clarity. We aren't familiar with the past criticisms). “U transu sa nepoznatim siluetama” reveals a newfound depth in Zloslut’s songwriting. With every next release , this band dive (Conjugation) deeper and deeper into the abyss of their art exploring their artistic limits. It’s still black metal that doesn’t offer something new in musical way (I think that was their plan), but one can bet that in the sea of black metal bands I will still recognize Zloslut because they are able to build very authentic atmosphere which is complemented by the use of the Serbian language (Utvara definitely is coming up with the most sinister song titles ever!). (Please rephrase. Sentence is too long, and changes subjects) In the first album the lyrics mainly dealt with depression, suicide and misanthropy but in this release the guys from the band decided to go one step further and explore the darkest secrets of mysticism and the occult. Speaking of lyrics, man, that is pure poetry. The band has improved so much in that area. Because I understand Serbian language 100% I can easily connect the spoken words with the music and experience the concept, but I’m not sure that the one who doesn’t understand this language could do the same thing. (This paragraph needs work. It needs to be broken up in to separate paragraphs according to topic. Too much is smashed into a single block.)

The first thing that got my attention when I played this record for the first time was the almost perfect production. I’m saying "almost perfect" because of the drums. Yes, they were being played very good but at some points they are too much suffocated and you can barely hear them. During the slow and mid-tempo passages they sound perfect, but during the fast parts the snare drum is lost. This is an issue with the most underground bands that are trying to sound raw, but only few of them can overcome this problem. Same goes to the vocals. Utvara has rough haunting voice which must be used properly. The atmosphere is the strongest element of this album. Cold, sinister, hypnotic, melancholic, angry – you may use such words to describe it, and they all fit. “U transu sa nepoznatim siluetama” has many layers, on which Zloslut are building their story, music and atmosphere. There are plenty of fast and relentless episodes, as much as mid-tempo and slower parts - just imagine Judas Iscariot, Behexen, Sargeist and even early Taake, about that kind of atmosphere you will get by listening to this record. (Again, topics are changing too often for this to be in one big paragraph. Your points can be simplified and organized more smoothly. Comparisons to other bands are good, but the flow of ideas is really choppy.)

The album starts with an ominous intro in which Utvara murmurs in “trance like” conversation with some ancient apparitions. The second song “Kletva ozaloscenog” is an 11 minutes beautifully crafted masterpiece. This song has it all – furious, slow, atmospheric parts. It’s obvious that this black metal giant was made very passionately and patiently. I like the whole album, but this song gives me the goosebumps. A very interesting part of “U transu sa nepoznatim siluetama” is “Transcedentalni ples ludila” (See why this is confusing?) (English translation: Transcendental Dance of Madness) – nearly 2-minute-guitars-only instrumental. Now when you know the translation, just use your imagination, it works perfectly if you let your intoxicated brain lead you through this. This kind of guitar-only instrumentals became a trademark for Zloslut and are giving an avantgarde sensibility to their releases. The album as I wrote is mainly influenced by the old school black metal bands, but that doesn't mean that Zloslut is not open for fresh ideas because throughout the album I can hear riffs that are recognizable for the contemporary black/thrash metal bands. (Even ignoring the English errors, it's a challenge to follow the ideas through this paragraph. Simplify and organize.)

The strength and might of Zloslut lies in the ideology and visual expression (music counts too of course). They are one of those BM bands that get their art very seriously and full of passion. They stick to their ideals proudly and that is the most important to the underground black metal circles. “U transu sa nepoznatim siluetama” is an obscure death trip to the realms of mysticism and poetry. I recommend this one to all black metal fanatics out there.


Generally speaking, this review needs to be better organized. There are many English errors, but those are relatively easy to fix once the flow is organized, and your ideas are communicated simply. Focus on getting to the point. I think you're off to a decent start, but this reads like a brainstorming session without much attention paid to organization or clarity. Collect your thoughts and move smoothly from topic to topic. Currently, the ideas are too jumbled, and that makes for a confusing read.)