Alerts in bold; most are self-explanatory, but occasional notes are in parentheses/smaller font.
Italics added as part of correction. Album and film titles get italicized; song titles should be capitalized according to how they appear on the cd.
Hunt down punctuation and proper noun capitalization errors.
In general the sentence structures are too long and difficult to read. Edit for better clarity and ease of reading.
There are more to be made, but it's a struggle to even read my own post as it is.

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A lower tuned, still effective band - 82%


After an album blending it's former power metal roots with a newfound heaviness in Blind Ride (2011), Hibria came back in 2013 with the completion of a new and even heavier approach to their style in Silent Revenge. If Blind Ride already had mid-tempo and groovier stuff such as "Blinded by Faith", this new album brought more and more slower songs with fatter guitar tones and lower vocals (with still high pitches) from Iuri Sanson. ("If" is confusing. That usage is usually employed in analogy. Use "whereas" instead, or just make a straight comparison.)

(new paragraph) The album starts with the strong and traditional heavy metal title song, with the very good guest appearance by André Meyer, (singer from another brazilian band, Distraught), with guttural vocals on the chorus. (awkward sentence structure) The album also has the arrival of new guitar player Renato Osório, a great and technical musician, who, along the two new guys from the previous album, drummer Eduardo Baldo and bass player Benhur Lima, completes the most accomplished Hibria line-up to date, (More awkward sentence structure) taking into account technical prowess and overall experience. (what?) Just listen to these guys' previous bands called Ynis Vitrin and Magician, two very good bands from the brazilian metal scene, with two albuns from the last decade, to get a proper picture.

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The lyrical concept from the album is taken from the argentine movie El Secreto de sus Ojos (2009), or in english, The Secret of your Eyes. The main plot tells about an ongoing investigation of a rape turned into a murder, with an unbelievable ending. The track "Silence will make you Suffer" is the most prominent song talking about the theme, with nice riffs and solos, very good vocal diversity, all in a mid-tempo metal song, very well executed. The Scream of an Angel" reminisces (wrong useage. A song does not reminisce. It may be "reminiscent of") more of the band from the first two records, reaching a power metal melodic peak with an introduction that reminds some (grammar) of the best Deep Purple songs. To close the record, they recalled a band's tradition with an epic song.(what?) Defying the Rules ends with the amazing "Stare at Yourself", the Skull Collectors ends with the underrated and my personal epic favorite from the band, "Wings of Wax" and the Silent Revenge album has the technical "The Way it Is", wich shows all the versatility of the new line-up, including great back vocals from the new bassist. (poor sentence structure and confusing)

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Overall, Silent Revenge shows Hibria taking the foot a little bit off the gas pedal regarding the speed and high tones, but the band also gain with more groove and experimentation, as the album resembles more of a traditional heavy metal style with bits and pieces of Pantera, rather than the visceral power metal from past recordings. (too long, just break into independent sentences) Still, it´s (that's not an apostrophe) a very enjoyable album that works, and that's the most important thing.

Dale Crover "the drummer who," not "which."

It's a touch redundant, and could use more textural language in the descriptions, but as far as a general skeleton with the beginnings of meat on it, it's a decent start. It looks like you've taken the recent notes to heart and have a motivation to improve. As you keep writing, try to evoke more with your descriptions. I only mention this because even if I know what you're talking about, your reviews lack texture and personal insight. Your reviews appear to be sparse summaries, which is ok if that's all you set out to do. Writer's choice.

Personally, I don't like phrases like "a more Melvins sound to it," since music can be described better than that. Of course it's useful for people who are familiar with the Melvins, but when "Melvins-y/pure Melvins lyrics" or "sludgy" or the like make up the majority of your descriptors, that's a little thin for me. Reason being that these are something like symbolic language, whereas I want more elemental language, actual adjectives and verbs that serve to communicate more than utility. It's all a step in a positive direction, I just want more. For example, 1) You describe this as a Kiss-parody. This fact is mentioned once and never elaborated on. Don't neglect the central theme of any album in your reviews. 2) when talking about the lyrics: "wisely and wittily" how? Lyrical style isn't talked about very often, and I like that this stood out to you. Give us an example or two of the lyrics and explain. 3) "powerful drumming." Does this mean machine gun fast, slow but really fucking loud/no frills time keeping, few fills and consistently mid-tempo, etc.

Using brand-only language is like saying your review is "very raspberrysoda" and leaving it at that. It speaks only to the ingroup, and this shortcut can read as (or more likely actually be) lazy.

Amaranthe's second album, on first glance, could be summed up with the words 'business as usual'. However, once several alterations to their formula are taken into account, this album begins to show Amaranthe's true direction. As the score above indicates, it is a very good move on their part. This is a considerable step up from their fun yet flawed debut.

For those that don't know, Amaranthe play what can be described as metalcore. It retains the general short, punchy nature of the genre, a chugging rhythm section, the odd melodic death metal influence and the whole harsh verse/clean chorus contrast. But, the clean choruses aren't the limp, emo nonsense one would expect, being replaced with far more powerful and upbeat clean melodic hooks. There is a greater emphasis on synthesisers and other electronic effects, which almost pertains to pop music. Lead sections are emphasised more too, which is atypical of most metalcore. On the whole, this sound was pretty much established on their eponymous debut, but this album puts greater emphasis on key elements that play to this band's strengths.

One of the first is the mix of the album. The production on the whole is very crisp, almost sterile, and quite loud too. This is about what one would expect for a fairly modern, commercially geared album, and it sounds similar to their debut. However, on that album, the guitars took centre stage, where as here, they share it with the synthesisers. This has the effect of adding considerably to the upbeat power metal sheen the music generally goes for. They manage to give the songs considerably more melody and make them work better on an atmospheric level. This music makes the listener feel... happy! Or, if it is a slower ballad like 'Burn With Me', it makes the listener feel sad. This gives the music added depth that the chugging debut lacked and needed.

Another element to the band's sound that must be mentioned is the 3 vocalists at work. They consistently trade off throughout each song, with hardcore screamer Andy Solveström, male clean vocalist Jake E Berg and lead female clean vocalist Elize Ryd. On the debut, Elize was largely relegated to the chorus, where as Andy and Jake generally traded off on the verses. This isn't really a good thing, given the fact that Elize is a far better vocalist than either of those two. Andy is the generic screamer that is entirely interchangeable. He isn't terrible, but once again works against this album's attempt at being melodic, glory-filled... Power Pop Metal. Meanwhile, Jake E Berg is a tad weak as a vocalist. His voice has some attitude, but his voice trembles a lot, in addition to being quite rough at times. He isn't particularly expressive, and merely feels like he is taking time from Elize. Her voice is quite thin, but not overly shrill. Unlike Jake, her voice is very smooth and doesn't sound nearly as strained at higher notes. In addition, as the acoustic tracks prove, she can hold her own when her voice is exposed.

That was an awfully similar commentary on the vocal performances to the one I gave for their debut. However, the band clearly know their strengths now, by giving Elize more time in the songs and putting a greater emphasis on the choruses. In the past, the choruses lacked the impact they do here, but by expelling Andy altogether from the hooks, and making Elize's voice louder in them, she brings the songs to life. In addition, she begins to appear more in verses and injects some of the sugary, poppy qualities of her voice into those as well. The end result is a collection of far more memorable and enjoyable songs. Highlights on this front are 'Afterlife', the title track, 'Mechanical Illusion', 'Future On Hold' and especially 'Electroheart'... that last one is embarrassingly memorable, in fact.

Now of course, all of these details mean nothing if the band don't put at least competent performances into them. You will be pleased to hear that nearly every single band member has improved from the debut, and no one gets worse. Elize expands the range she uses on this album, and puts more power and energy into her voice. She constantly sounds motivated and very 'into' the music, for lack of a better term. However, even more impressive is how much Jake improves here. Despite me ragging on him a lot, he has gotten much better at what he does, even when following the same vocal style as before. He sounds far less strained, as well as also expanding on his range and sounding more gutsy altogether. Andy is pretty much the same as before, though to his credit, it is difficult to improve on a generic hardcore scream. He just does what he does rather well.

As far as the instruments are concerned, Olof Mörck removes the grooves from his performance altogether, and instead focuses on chugging. His leads have gotten more technically accomplished and memorable, especially when given a mere 30 seconds to let one rip (a solo, that is). His true achievement here, as stated earlier, is the keyboard work. He layers them over the chugging guitars, which reduces the overall heaviness of the album, as well as dialing back the metalcore (and thus the hardcore) in the music. In its place is a much more suitable power/pop metal aesthetic that meshes well with Elize's voice, which is only compounded by her increased time here. Drums don't really do much, they are mostly functional in that they keep time. He does at least have the restraint in not showboating and taking time away from the leads or vocals, which are the main focus here. Also, he never throws the whole arrangement off kilter by trying to be clever, which is only a good thing. The bass... is there, somewhere. I can hear it for about 2 seconds on 'Future On Hold', and appears to be following the guitars and helping to provide a powerful low end, together with the chugging. Just doing its job, really.

Now, this isn't perfect, obviously. Regardless of the increased depth and atmosphere, this is at the end of the day, shallow and plastic pop metal. The songs are very simple and predictable. You know, 'verse-chorus-verse-chorus-breakdown/solo/both-chorus x2'. However, that isn't necessarily a bad thing, because the music succeeds in being fun, upbeat and catchy, all in 4 minutes or less. And sometimes, it even goes above that at times. Some of the choruses on this album become... downright beautiful. I might be gushing a tad here, but the hooks to 'Mechanical Illusion', 'Future On Hold' and 'Infinity' make me feel... warm inside. This album is not always plastic fun pop, for even it has a soul amongst the otherwise purely commercial nature of it all. This still is not for everyone, but I can see this being perfect for those trying to get into metal through a poppy side door, or metalheads that want music to cater to their poppier sensibilities, particularly fans of metalcore, hardcore and power metal.

Eerie - Into Everlasting Death --- Into Everlasting Journey - 100%

An absolutely amazing and indisputable masterpiece brought us Eerie as their debut album. (incomplete sentence) Everything is at the best: music, guitars, riffs, drums, recording, lyrics, and atmosphere. It is a nugget in a big dump of crap of different kinds. But it is a fair reward for those who did not disregard to (grammar, wording) search in this dump pile, and I am proud that I was among those chosen ones, because the album left a mark in my mind, probably, forever (remove the second comma).

I love the way Eerie found themselves in such restricted and specific genre as black metal. By saying this, I mean that their sound is a perfect example of how nihilistic black art should be made: atmospheric intros and dismal tremolos that changed by (that "are" changed by? Not clear what you mean here.) rapid dsbm-like shriek pieces and evil thrash riffing with blast-beats. It just grabs me into the endless outer space, whilst I am flying among the stars with no any purpose, and no any doubt, not even emotions, or matter, such as a life. (grammar. "without" any purpose, etc.; "such as a life" also unclear.) That is right, I do not need to live in order to hear this. (Poetic, but confusing) This is what you hear when you become nothing: a chaotic play of the void in a timeless dimension.

"The flat circle of universe / Moving, repeating itself / And again / Abyssal voices screaming in agony / The black earth opens / And again."
Lyrics. They are amazing. I can not reflect the way they influence me. I feel something different inside: an inner voice, that has a different tone, answers to the song. The chill embraces me as I am listening to these lines: "Circles, / Again, / And again, / And forever." This will never end. A dance of the power that destroys itself.

And absolutely incredible culmination (grammar, incomplete sentence) in the song "Of Descending Moon", probably, the (comma grammar) most epic ending that I have ever heard on albums at all (awkward phrasing). It is a combination of all the anger and hatred that were growing all this time before this moment, the moment of the merge with the everlasting death, and this final burst is like the rays that come from the dying black hole - the huge amount of energy that destroys all the life and leaves only black space.[/quote]