From Finnish Idols to the Reign Of Metal - 93%
Written by stormruller on August 16th, 2007

First time I listened to Ari Koivunen covering Scorpions, Iron Maiden, Stratovarius and Sonata Arctica in the Finnish Idols I was really impressed by this guy vocals. And as he won the competition he got a contract with Sony BMG to record his debut CD.

In his debut CD he shows how weel he can sing fast songs and ballad songs, he is probably very proud to be working in with known acts such as CHECK BAND MEMBERS which helps him to bring one hell of a CD which is now 11 weeks at the top chart in Finland.

If you get to compare this CD musically and quality with one band's release it has to be Sonata Arctica's debut CD "Ecliptica", as the sound style is very equal and Ari Koivunen's voice is just like Tony Kakko's, if I get this CD as "Sonata Arctica - Fuel For The Fire" it would be for sure the best Sonata Arctica CD ever released.

There is not one single song in the CD that puts me down, I mean all songs have quality and Ari's vocals are very melodic and fans of this genre have already added this CD as one of the best in 2007. Highlights of this CD are opening song "God Of War", "Hear My Call" with an amazing catchy-chorus, the ballad and awesome "Angels Are Calling", the very melodic with great guitars "Losing My Insanity" and the top-speeds "Stay True" and "Heartstealer".

I'm guessing my Agonist review was rejected (I don't have email notification), so is there anything in particular that the mod who did that would like to see? More musical description, I assume, but I thought that what I had was thin but sufficient.

I'm guessing my Agonist review was rejected (I don't have email notification), so is there anything in particular that the mod who did that would like to see? More musical description, I assume, but I thought that what I had was thin but sufficient.

I rejected it and put this comment "instead of bashing this band, you'd better spend more time working on your own band: seeing all the negative reviews, your band isn't much better"

CK is now dealing with reviews?!

He's always been able to (I believe), he just generally doesn't.

Well I believe this review was submitted for the wrong album, makes me wonder how it was approved.

Apparently this review is supposed to be for the Job for a Cowboy's 2004 demo, however it was submitted for their only EP?

http://www.metal-archives.com/review.ph ... 1523#98208

Someone just mentioned that one a few posts up.

CK is now dealing with reviews?!

In short, lacks viable content.

This is not a review, at least not by this site's standards, and I don't see any feasible way that you could smoothly turn it into one without compromising the flavor and style of this initial piece. All that I can envision resulting would be a submission that is in essence two distinctly separate and only very tenuously related pieces of writing, forcibly and indelicately intermingled like so many chunks of glass, twisted metal, and assorted entrails at the site of a high-speed head-on collision accident.

Also, lifting such a large block of text from another source is poor form, making for a significant blemish or weak spot on any essay. If you must insist on trying again, then I must insist that this section be eliminated or drastically reduced in size.

Of course, certain of this site's reviewers have in the past really tested the outer limits of the acceptable range of the essay/review balance (typically out of a lack of finesse, a desire to hear oneself speak, or simply a personal proclivity for tiresome lecturing), I myself being one of them. This goes far beyond said outer limits, much moreso than the initial form of that review for the Sword.

--Nightgaunt

The Agonist - Once Only Imagined

The psychology of the metalhead is a curious one indeed. We have a culture that is at once completely sure of its superiority to every other and is yet completely hypocritical when it comes to this concept. The fact is that metalheads are pretty stupid as a whole because people are pretty stupid as a whole; the average metalhead is MAYBE two IQ points above the average person in general. And yet nearly ever metalhead is completely convinced of his mental triumph over every other person in the world, despite how frequently and brutally his delusion is proved to be otherwise.

And then comes the curious issue of women in metal. I don't think anyone would disagree with the statement that metal is almost assuredly the most overwhelmingly masculine genre of music currently in existence. Additionally, I doubt anyone would disagree that at least some level of misogyny is accepted as a standard component of the community. These combined factors makes being a woman that is a fan or musician of heavy metal a more difficult prospect than it probably should be, forcing such a woman to 'prove' herself as a true fan of the music. It is a struggle for many of these women with a legitimate love of the music to display themselves as serious fans and artists, and not merely in it for a grab at fame, cash, or trendiness.

Now, I wonder how many women think that they'll be accepted into the community with creatures like Alissa White-Gluz, vocalist of The Agonist spearheading such an entry. Yes, women in metal want to be respected for their artistic contributions, not looked on as objects or novelties. So why, then, do the female metalheads of the world not cry out when they see something like this: (http://www.live-metal.net/pic_agonist.jpg)? Surely, a picture and article like this completely remove all credibility from such a band that would so obviously use physical features to attract fans; and yet, the women of the world stay strangely silent when they see this parody of femininity being paraded about as something 'new' and 'edgy'.

Let's break down the personality of Alissa White-Gluz into the series of meaningless attributes that she possesses.

First: she is ostensibly straightedge and professes to be playing in a 'pure' heavy metal band. I'm not going to say such a thing is impossible, but straightedge, most certainly a community with a decided foothold in the hardcore community, is most certainly a dodgy thing to be in the metal scene.

Second: she's the lead vocalist and plays no instrument. We've seen dozens of these in the metal scene, lending their 'angelic' clean vocals to bands that would be otherwise completely ignored. We, meaning the collective metal scene, are completely tired of clean female vocalists and would prefer never to see one again. The aesthetic has been beaten more severely than the very deadest of horses, and most of the time these vocals are poorly employed (like, say, on 'Once Only Imagined' by The Agonist, fronted by Alissa White-Gluz).

Three: "It is extremely rare to find an up-and-coming metal band taking strong political stands, much less one that’s led by a dominating, beautiful, edgy female. But it is exactly this unique dynamic that led Century Media Records to sign Montreal’s THE AGONIST (formerly The Tempest) to a worldwide deal. This quartet delivers introspective, scathing lyrics, and their debut album Once Only Imagined, which is set for a summer release, will definitely catch people’s attention.

Vocalist Alissa White-Gluz’s vegan roots fuel her need to promote the protection of the planet and its inhabitants, and she does so through this outlet. Along with guitarist Danny Marino, bassist Chris Kells and drummer Simon McKay, each member brings their own rich musical backgrounds to the table, creating the perfect expression of melody and madness. Make no mistake, this is a straight-up metal band that holds nothing back with one goal in mind: to make music that is as catchy as it is heavy; as sweet as it is loud; and as angry as it is melancholy." -The Agonist's official Myspace page, http://www.myspace.com/theagonist

I have a powerful desire to let these words speak for themselves, but I fear I must add my own input. Apparently these days the best way to express your political and philosophical views is to sing in a shitty metalcore band signed to Century Media. Of course, why would one think that there might be a better way to gain people's attention on important environmental and societal issues than by playing terrible, mediocre metalcore on a major record label! What sort of madness have I been thinking? Yes, 'Once Only Imagined' is most certainly the album that will cause every Amazonian rainforest-clearer to stare incredulously at their bulldozer's and finally say, "Hey, maybe we've been doing the wrong thing here!"

This band, this album, and most importantly, Alissa White-Gluz, is completely and utterly full of self-important shit. Alissa White-Gluz appeared on Canadian Fucking Idol. That should tell you everything in one sentence.

I feel no pity for those stupid enough to actually believe any of the retarded tripe that this bitch (I dare not use the term 'woman', as that conveys some level of respect) spews out on all possible forums. The Agonist is a marketing gimmick, using just another mildly attractive female vocalist to titillate the fourteen year old boys of the world to open their wallets (and their zippers as well, most likely). There is nothing even remotely genuine about this release; every aspect of it is completely and utterly artificial and should be condemned by all those that respect heavy metal, hardcore, rock, or any of the genres that this fetid CD draws from. This is a fraud on the most profound levels, an exploitation of women, metal and truth in every possible aspect. The Agonist is a blind, idiot mockery of everything artistic, genuine and unique in the world, and for the sake of the music and way of life we love, their condemnation must be screamed from every rooftop and message board possible.

Activism does not take the form of a handful of Myspace banners. The 'activism' that The Agonist espouses is false and a complete scam, designed merely to make the band appear more genuine and 'edgy' to the metal-buying masses. Yet I have no doubt that the majority of people out there are just idiotic enough to buy this music, whether it's to masturbate frantically over the liner notes, to 'support the cause, man', or to actually listen to this and pretend to enjoy it in some pathetic bid to appear 'open-minded'. Nothing that this band says or does reflects anything even remotely tethered to reality; it is all carefully planned out by the marketers of our friends Century Media.

In addition, in case the above reasons are not enough, The Agonist plays terrible, shitty music. It's a tepid combination of Flyleaf-style alternative rock, mallcore, and some nutless breed of metalcore, and the overall fusion is begging for forcible euthanasia. The riffs are all stolen from a thousand other generic metalcore bands, the drumming is utterly sterile rock beats with the occasional sprinkling of double bass, and the vocals are a combination of irritating cleans and godawful attempts at the emulation of Angela Gossow of Arch Enemy. Song structures are agonizingly simplistic verse-chorus affairs that do nothing new and nothing well. The production is clean. Isn't that wonderful.

The simpering attempts at 'breakdowns' convey only the most pathetic and stale form of 'intensity', the kind that thinks boring 16th note patterns and 'growls' (if you can call them that) make the music 'heavy'. The lyrics are idiotic. The melodies are forced. Every element of this album is designed to sell to stupid, stupid people, and I have no doubt that it will succeed in an incredible way to ensnare the feeble-minded of the world into buying it. This is complete, unmitigated trash, with literally nothing to recommend for it on any conceivable level. It has no heart, no passion, nothing but an endless zombie march in the pursuit of more cash from the unwitting consumer.

Prove me wrong, metalheads. Refuse to buy this music. Show its lies to the public. Keep your friends from buying it, keep random people in record stores from buying it. Do everything you can to prevent the success of this band and the defeat of all the things we love about metal and artistry in general. Credit this review as being originally written at www.vampire-magazine.com and repost it in every conceivable location: you have my express permission. All I ask is that you do your best to prevent this band from spreading their offal any further than they already have.

Death to false metal.

(Originally written for www.vampire-magazine.com)

http://www.metal-archives.com/review.php?id=21062

This review is pretty bad all around, I think it should be considered for deletion.

For Anyone to lazy to click the link,

*review*

I sincerly think this slipped through the cracks.

My review of The Agonist

http://www.metal-archives.com/review.php?id=150625#8834

It has to go. Mistakes and almost no description of the music. Ironic it was recommended in the review recommendations thread (where I saw it).

Masterpiece. A must-have for every prog metal fan. - 96%
Written by Crkotina on August 6th, 2007


This is one of the albums that can be described by every positive adjective that you can remember. Epic? Definitively. Progressive? Absolutely. Unique? No discussion. Every song on the album is a highlight of the band's creativity.


Well, what can be said about Russell Allen that isn't already known? Nothing, I guess. He is definitively one of the most talented vocalists in metal and probably in music in whole. His incredible vocal performances make you shudder even if you don't pay attention to other instruments. 100%

My fascination with abilities and talents of Symphony X increases here. Michael Romeo has full right to be in "G-3", and in my opinion John Petrucci of Dream Theater could learn from Mike how to connect musicality and taste with perfect technique. Mike's solos kick ass and make perfect contrast to the relatively simple riffs during the song. 100%

Another Mike, eh? Well, everything that is said for Mike on guitar can be also said for Mike on bass. You can hear him well all the time and on some places he does some short bass solos. Way to go!! 100%

OK. Another example what should every prog metal band have - imaginative and technically proficient keyboardist. His solos are technically worked out but still melodic. Technical affectation definitively isn't on a first place. 100%

Jason Rullo's drum work is probably the weakest part of Symphony X's sound. He's definitely talented and very able drummer but he simply doesn't have something that drummers like Mike Portnoy or Tomas Haake have. But don't get me wrong, he's still better than many drummers out there. 90%


When heard this album for the first time, I was surprised how quiet it was. All instruments are completely without reverb and it bothered me particularly in sound of snare drum. But when you get used to it you can listen the music without any problems and that's the reason why didn't mind it that much. 95%

When you decide to buy an album of the band that you don't know, cover artwork and album title play important role. I didn't this mentioned before, but this was the first album that I bought from Symphony X. In summer 2003 I was completely unfamiliar with Symphony X and I bought solely because of cover artwork and album title. I didn't miss. 98%


Now let's see the songs:
1. Inferno (Unleash the Fire) - 5:32 - This is an excellent opening track. It masterfully pulls you in the mood that doesn't end until the last chord of "The Odyssey". The main riff is difficult, slightly palm-muted pattern in harmonic minor that is shortly after supported by irregular rhythm patterns by drums and bass, alternating between 5/4 and 7/8. Then Russell's vocals come in and freak the Hell out of you. Then comes a short pre-chorus with some organ and it comes back to the main riff. Everything replays back with different lyrics and a short guitar solo. After that comes excellent verse, which continues in kind of epic-sounding chorus. Main riff comes in again and after that slower and folk-sounding melody starts. Thereupon goes kickass guitar solo in typical Michael Romeo style which ends again with main riff and short outro solo that suddenly ends in creepy, tremolo picked ending in hexatonic diminished scale that slowly fades out. 100%

2. Wicked - 5:30 - The heaviest song on album. It starts with simple riff that later grows bigger and bigger. Shortly after that Russell Allen's vocals start with mind-blowing singing in falsetto. After that starts a brilliant chorus in 5/8 time and harmonic minor. In chorus, Russell and his harmony vocals sound unnatural - high and perfectly harmonized. One of the killing parts of the song. After that go verse and that brilliant chorus again. After some slight differences in melody and rhythm, a guitar solo starts that is shortly after continued into the keys solo. After the solos that took almost one third of the song, there comes chorus with magnificent, unexpected vocal breakdown that is immediately continued to the end. 93%

3. Incantations of the Apprentice - 4:22 - The shortest and my least favourite song on the album. It has good atmosphere and riff but I simply don't like. It's somehow undefined. It has everything, but it still hasn't. I can’t describe it. 70%

4. Accolade II - 7:06 - aaaahh...A beautiful epic ballad that every Symphony X album must have. It's long and progressive. It has its heavy moments contrasted with clean and soft moments usually consisting only of the vocals and piano. This sure is a venerable legatee of old "The Accolade" 100%

5. King of Terrors - 6:20 - The scariest Symphony X's song of all time!! And it has such a simple riff. In this song I heard for the first time that Russell just screams. It sounds really cool. First part of the song has typical song structures that later disappear. The best part of the song is the spoken part over some creepy organ harmonies. 90%

6. The Turning - 4:44 - The fastest song on the album right in front of "Inferno". It has very brave drum pattern which is all double-bass. Chorus has excellent melody which is powerfully sung all over the galloping guitar, bass and drum patterns. 100%

7. Awakenings - 8:20 - Maybe the only thing that we could criticize on this album is the lack of surprises. This song starts in a ballad way. Guitar with clean tone and simple drums. After that comes the piano with the vocals singing yearning melody that suddenly ends and continues in heavy and distorted guitar solo. Well, here's the surprise. 95%

8. The Odyssey - 24:07 - Yeah, this is definitely the longest song on album and in Symphony X's opus. It starts with orchestra playing a melody that could be easily used as a soundtrack for a movie. I don't know is this the real orchestra or that are just keys, but it sounds wonderful. The instrumental intro ends and acoustic guitar marks the start of the part two. Then Russell starts to sing a love-theme of whole album. All that is written in dorian scale. Than the first part of part two ends and keyboards start to play fast melody with synth bass sound alternating time signatures alternating between 5/8 and 7/8. When this instrumental piece is over, part three comes in. It has an uneasy atmosphere that is continued in the next part. The first melody is brought by vocals and piano. Entire part four is a song consisting of typical song structures. Fast major scale leads you to the short part five that is immediately continued into the instrumental part six. Here the orchestra comes in again playing music that could be in a movie. When the part six culminates in a melody that represents mythical Scylla and Charybdis it's continued into a heroic part seven. Whole part seven is based on galloping guitar rhythm that leads you to the majestic ending where the guitar with clean tone reminds us to the start of the part two. I guess that he wanted to say: "I wanted to come to the Ithaca...I came to Ithaca". 100%

Best songs: Inferno, The Odyssey
Worst songs: there aren't any BAD songs, but "not so good song" would be Incantations of the Apprentice

It's quite soapboxy and a third of it consists of bashing it for being a vanity project on Alissa White-Gluz' part, but I wouldn't have rejected it since it does expend some energy on describing the music.

The previous review of the new Sodom album is pretty bad as well. There is no description of the music at all.