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Disque : 1
Description du produit
Edition limitée en version Digipack contenant 1 CD Bonus ! Fer de lance de la mouvance Metalcore aux côtés de Chimaira, Lamb of God ou bien Killswitch Engage, God Forbid s'est formé dans le New-Jersey en 1996 et a développé sa réputartion et son identité sonore sous le signe du thrash metal... Pour ce nouvel opus, les mélodies sont plus présentes, les arrangements plus travaillés et les compos définitivement plus complexes. D'emblée on remarque la puissance de l'album, les passages mélodiques maîtrisés avec brio, et un son monstrueux. Le groupe n'a d'ailleurs rien perdu de son agressivité ! On assiste à une cavale metallique sans compromis, la poursuite d'un parcours sans faute en somme.
Meilleurs commentaires des clients
Que les fans se rassurent, l'alternance de chant clair et de hurlements qui faisait la force de IV: Constitution of Treason est toujours présente, et la production est tout simplement dantesque : quand les frères Coyle se mettent à jouer leurs riffs les plus furieux, c'est un véritable déluge de décibels qui sort de vos enceintes, sans que l'on ne perde jamais en clarté de son. Une véritable prouesse technique signée Christian Olde Wolbers, alias le guitariste/bassiste de Fear Factory.
Bref, avec ce disque, les membres de God Forbid nous prouvent qu'ils sont de très loin les métalleux les plus ambitieux de leur génération, et que les disques formatés ne les intéressent décidément pas.
Commentaires client les plus utiles sur Amazon.com
That being said, the new material is excellent. It took a little time to get into one or two songs, but that's neither a complaint or a criticism. I was hoping for some songs along the lines of Broken Promise and Crucify Your Beliefs (though The New Clear comes very close)
On a side note, the album art is great. A little too much Photoshop in the liner notes, but the cover itself is great.
This is DEFINITELY worth an immediate purchase. Don't download it unless you're getting the live set as well. If the live set isn't included then just buy the CD set. Its a few bucks more, but well worth the investment.
Every proper song on this long-player is packed full of utterly amazing riffage, technically-impressive leads, exceptional solos, brutal drumming, fat (if not overly dominating) bass riffs, and impassioned vocals. Pick almost any track and you will at least be satisfied with the sharpness of the riffs, the speed and aural aggression of the drums, and the brutality of the arrangements. But "Earth's Blood" is also of note for being the first God Forbid release that explores heavy use of clean vocals. Indeed, the good cop/bad cop vocal patterns of the Coyle brothers (Dallas and Doc, respectively) sometimes works better than others. But when it does work, it works magnificently well.
The songwriting also marks a huge step forward for the New Jersey-bred fivesome. The songs range in the four-to-seven-plus minute bracket, and even the shortest one of them is nonetheless an epic. With lots of depth, breadth, and variety to go around, God Forbid showcase some very smart, carefully-calculated, and vastly matured songwriting skills. Yes, there is a spot or two in these ten songs that is too labored over, but they are almost not worth mentioning because they are always surrounded by moments that are, quite frankly, ingenious.
The ten-song set kicks off with "The Discovery," which is a soothing intro piece with a jazzy piano line, occasional, big, doomy power chords, and ominous orchestral-esque backing vocals. All of which make for a very cool prelude, and one that is sure to make the listener feel like a cloud of impending doom is looming overhead. But it is all just a lead-in to track two. "The Rain" sure blows the album's door off of its hinges, unleashing a floodgate of ferocious, beastly, Slayer-worthy, dual-guitar riffage, and stomping, frothing, death-tinged thrash grooves. Brutal, blasting drums and thoroughly audible bass liens are included, here, too. The clean vocals are used mostly to mediocre effect in this song, but the vocals do deserve some credit for ranging from visceral, hardcore-inspired shouts to warm, harmonically supple crooning. And before ending with some distorted, crunchy riffs, "The Rain" also tucks in several great, and totally ripping guitar solos. All of which make it a brilliantly-written, impeccably-performed, and well-textured epic, and perhaps the album's best song.
"Empire Of The Gun" is another blistering and thunderous riff-fest, exploding with both mid-tempo chug and churn riffs and scalding, buzzsaw riffage. And all of this punishing music is craftily offset by soulful and memorable clean backing vocals, including big, catchy, and infectious choruses. (They're not quite Killswitch Engage-worthy, but still.) But there is absolutely not a single bit of nuance about the succeeding "War Of Attrition," which, aside from having a Dying Fetus-derived name, actually plays more like an abrasive piece of Bury Your Dead-style moshcore than anything else. It is long on pounding breakdowns, crunchy riffs, thick, churning rhythms, memorable, concert-ready vocals, and tight, pummeling double bass blasts.
Clocking in at six-and-a-half minutes in length, "The New Clear" is another very ambitious and expansive track. It is a great mesh of heavy and soft material, as it is ½ light and docile ballad and ½ crunchy, heavy, and metallic. It features some interesting and noteworthy bass work throughout, and also has another good, shredding guitar solo near the end. This epic, however, is immediately followed by "Shallow," which is a fairly short bludgeon by comparison. And an alternate name for this song could have been "Crunchy City," because it overflows with crunching riff chunks. And its rhythmically headbangable, stomping groove is tattooed by metalcore-esque vocals and blasting drums.
"Walk Alone" (which, by the way, is NOT a Pantera cover) is similar to "Shallow" in that it definitely plays more like a commercially-accessible and straightforward metalcore number than the rest of the album. And it may have big, open, sing-songy choruses, but they are surrounded by hot guitar licks and thrashy, driving beats. And a surprisingly lot of excellent, vertigo-inducing guitar soloing is also tucked into the mix throughout. The nearly seven-minute-long "Bat The Angels" certainly rocks very hard, but it also retains a slight if undeniable melodic edge. See, its punching, lumbering guitars and hard-hitting rhythms are occasionally accented by a melodic riff and/or clean backing vocal line. And an unexpectedly melodic breakdown -- complete with proggy, lightly-plucked strings -- helps to further the song's sense of dynamics and contrast.
The title song opens with some gorgeous acoustic guitar melodies that make the listener wonder who slipped an Opeth/Edge Of Sanity/Dream Theater disc into their changer. From there, though, "Earthsblood" proceeds to be a hard-hitting, breakdown-happy, mosh-pit-ready number complete with blood/phlegm-soaked screams and machine gun-fast picking and drumming. With that said, though, the song does also feature some more great guitar soloing, including one infectious, Necrophagist-esque sweeping melodic solo. All of that, and the fact that it is nine-and-a-half-minutes long, makes "Earthsblood" a huge standout, and probable pinnacle of the set. But the album's closer, "Gaia (The Vultures)," which opens with Mastodon-ian, meat-grinding riffs, repetitive, industrial metal-lite rhythms, and distorted, grumbling bass lines before becoming another full-on, no-holds-barred thrasher, cannot be ignored or overlooked, either.
On "Earth's Blood," God Forbid do what few bands can, and that is truly fire on all cylinders (from both a musical/instrumental and songwriting standpoint). Top it all off with a crisp and thunderously clear production job from Eric Rachel, and the end result is a record that is consistently superb and innovative. It falls just short of being the best piece of heavy music released in 2009 (Mastodon's "Crack The Skye" takes that honor by a slim margin), but it is likely that you will see it on many-a-year-end retrospective list. It is not only one of the best thrash releases of the new millennium, but it is also the clear-cut pinnacle in God Forbid's discography. It is a masterful magnum opus, plain and simple.