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A Glimpse of What Could Have Been… - 96%

DrummingEdge133, April 15th, 2011

It’s been a year since the passing of Peter Steele and I had decided some time ago I would get to writing my second Type O Negative review when said day had finally arrived. Well, here it is and Dead Again, in my humble opinion, is Type O Negative’s second greatest achievement. Yeah, I know what you are going to say… how can that be? Dead Again doesn’t possess classics like “Christian Woman” or “Love You To Death.” Granted, that point is well taken, and those two songs are legendary, but the strength of Dead Again doesn’t lie in a single song or a collection of a few songs, but the entire journey from start to finish. Let me hit you with one fact, Dead Again is the longest album Type O Negative has ever put out (and ever will sadly) and that is long indeed, about as long as can be possible on a single CD. Sure, it’s only longer by a minute or two, but consider that all other albums had filler of some kind; even the legendary World Coming Down had three ambient soundscapes, which could be considered filler. Dead Again, on the other hand, has no filler tracks, no joke songs or anything of the sort. Dead Again is a serious and relentless dirge-y doom masterpiece from start to finish -- all one hour and 17 minutes of it.

During the writing of Dead Again, Peter Steele had a change of view on a very important topic; religion. Unfortunately (from my perspective), he fell back into his Roman Catholic childhood beliefs after decades of atheism. This change is reflected in a few songs on Dead Again, most notably on the songs “Profits of Doom” and “These Three Things.” And even if I don’t agree with the lyrical content of these songs (or his conversion), which I don’t, I can’t deny the sheer brilliance of the arrangements and riffs present in these songs. The intros of these two songs are crushingly heavy and devastating, perhaps the heaviest minutes to be found on any Type O Negative record. And besides, I’d rather Peter Steele express himself honestly and have a damn opinion rather than write vapid lyrics about nothings, like seems so common these days.

There was a noteworthy change in the production and recording process of Dead Again involving the drums, which altered the overall sound and experience of the album. After the recording of Bloody Kisses, the departure of Sal Abruscato and the joining of Johnny Kelly, nearly everything that Type O Negative recorded had programmed drums (at least the studio full-length material). The reasons for this are understandable, as the band wanted a dark, slow and brooding drum style and the best way to achieve this was using programmed drums, I suppose. All that changed on Dead Again though, as Johnny Kelly was allowed to take up the kit finally in the studio and have more control of the drum arrangements, and what resulted was a faster more upbeat nature to the drums. The drumming tends to be more traditionally structured with straight forward heavy rock beats rather than the slow, plodding, restrained and oftentimes obscure beats found on World Coming Down. In a way, it seems to fit the album despite the fact that Type O Negative hadn’t gotten any more cheerful or happy (quite the opposite in fact). The drumming style of Dead Again seems to drive the songs forward more so than other albums and tends to contrast well with the riffing.

Each of the songs are packed full of quality riffs, frequently being catchy without sacrificing a bit of the doom-y heaviness of previous albums. In fact, I’d argue that Dead Again is Type O Negative’s heaviest album, solely because of the style and nature of the riffs. While the riffs aren’t the nightmarish, murky and hazy style of World Coming Down, they are more upfront conventional slabs of doom-y hard hitting riffs, giving them their heavier nature. I don’t want to give the impression that the whole album is like this though, as Dead Again still has the usual diversity expected on a Type O Negative album. If considering “September Sun” with its piano heavy intro, or the ultra dirge-y and doom-y intro and (later on) the somber and melancholic conclusion of “These Three Things” analogous to “World Coming Down,” Dead Again has it all. There are even throwback moments to the earliest Peter Steele material of Carnivore, when considering “Some Stupid Tomorrow” with its fast, blistering drumming and hardcore shouted sections. Despite the diversity, Dead Again feels like the most “together” and streamlined album Type O Negative put out. The album passes by like Iron Maiden’s The Final Frontier, quick and steady and when it’s all over you say to yourself; “Wait, that’s it?”

With a heavy heart I have accepted that this is the very last Type O Negative material that will ever be seen or heard and it’s a terrible thought -- but that’s the reality. It just makes me continuously wonder, what could have been? Peter Steele died at the young age of 48 (perhaps old for him) and still had so much more to offer the music world. The timing of his demise was cruel, considering he had been clean from drugs and alcohol for many months, was in the best shape of his life in years and was to imminently begin writing new music (May 1st from an interview). Type O Negative had also signed to Napalm Records just before he died, a label that holds several quality bands on its roster, further enhancing the potential for more legendary Type O Negative material, but alas it was not meant to be. Instead, we fans will have to settle for the heavy epic swansong of Dead Again, a lengthy and expansive expression of a soulful man that had many demons and somehow overcame them to create some of the most acutely sorrowful music in history. After all, everything dies…

Lost Man In Time, Was His Name Peter? - 91%

Twisted_Psychology, April 18th, 2010

I still remember buying this album a few days after it came out in 2007. I had known about the band for quite some time, but this album was my first purchase and led to me becoming a fan. Unfortunately I had no idea that it would very well be the band's final album due to the tragic death of bassist/vocalist Peter Steele.

Musically, this album seems to go back to the band's roots and serves as a companion of sorts to 1991's "Slow, Deep and Hard." The soundscapes and ambient tracks of past efforts have entirely disappeared and a great deal of punk influence shows up on songs such as "Tripping A Blind Man" and "Halloween in Heaven" that hasn't been seen since "Bloody Kisses." Of course, the band's signature elements are still in place with many songs featuring frequent tempo changes, drawn out instrumental passages, catchy hooks, and an unbelievably dark atmosphere.

The band's performance is as strong as always with the album's clear production greatly working in the group's favor. I hate sounding like an opportunistic sycophant, but Steele's vocal performance on this album may be one of the best of his career. I also enjoy guitarist/vocalist Kenny Hickey's pounding riffs and strong vocal contributions as well as keyboardist Josh Silver's melodies on tracks such as the beautifully somber September Sun."

The lyrics are also nicely written and are predictably packed with many moments of the band's signature dark humor. But while previous albums predominately dealt with death and romance, many of the album's songs revolve around religion and Steele's then-recent conversion from Catholicism. "Tripping a Blind Man" deals with conversion, "The Profits of Doom" and "Halloween in Heaven" humorously portray the apocalypse and the afterlife, "These Three Things" looks at abortion, and "An Ode to Locksmiths" provides an intriguing take on the Christian creation myth. On the flip side, "She Burned Me Down" and "Hail and Farewell to Britian" deal with relationships and the title track features a now ironic look at drug abuse.

All in all, this is a very strong album that greatly adds to the band's legacy. It's definitely not the same as "Bloody Kisses" or "October Rust," but the lack of filler material makes this one of the band's most consistent efforts to date. Most certainly worth checking out for doom metal fans of all kinds as well as the band's usual followers.

My Current Favorites:
"Dead Again," "The Profits of Doom," "September Sun," "Halloween in Heaven," and "An Ode to Locksmiths"

No disputin' Rasputin - 85%

BagABones, June 5th, 2009

Peter Steele is a man who can say he’s done it all. Been in a band with cult status? Check. (Carnivore) Been a centerfold in Playgirl magazine? Check. Been around the world a few times? Yup. Been to one of America’s toughest prisons? Yup, Rykers Island. Been to Hell and back? The dude gets frequent-flyer miles. Resurrected his band? Maybe. So, what say we dissect the newest platter from Type O and find out, yes?

Type O negative are a hard band to pin down on this album. The first four tracks alone see TON expand their horizons considerably. From fast paced Dead Again to the schizophrenic September Sun this band has rejuvenated their sound. Gone are the overly Goth trappings of Bloody Kisses, and the bounce of October Rust (my least favorite TON). Dead Again is the ultimate combination of all their efforts to date. The frenetic jolt of Dead Again starts this album off well. From the plodding of the first few seconds this song turns into a self-loathing diatribe of grand proportions. If you liked Life Is Killing me look no farther than this song. No Halloween trappings here, baby. The shortest song on the album at just over four minutes not one second is wasted. While Tripping A Blind Man slows things down a bit at the beginning, reminding me of a Romero movie, it picks up like a concrete truck goin down hill with no brakes. Tripping sounds as if Hendrix was in on the session and damn well pissed.

Profits Of Doom is what would come of locking Sgt. Pepper-era Beatles in the same room with Black Sabbath and large amounts of bad acid. This song is more Sabbath than TON’s cover of Black Sabbath a few years ago. At almost eleven minutes long this is one song that doesn’t get boring or stale. In fact it’s gotta be one of my favorites on display here. It jumps from the angry diatribe of a madman to the drugged out counter-culture ramblings of a stoned hippy while never losing cohesion. September Sun is kinda hard to describe. I’m not sure if I like it or not. The beginning of the song reminds me of something off of Alice Cooper’s From The Inside, then it twists into something else entirely. What that is, I’m not sure. The song is either too long, I just don’t get it or I have ADD and don’t realize it.
Halloween In Heaven picks things back up. A catchy, infectious tune that jumps from fast paced Misfits worship to female vocals here and there and back to the break-neck pace. It’s worth it alone to hear the chorus “Halloween In Heaven, Christmas In Hell”.

The longest song on the album, These Three Things, doesn’t really go anywhere. It kinda plods along never really achieving anything. It’s about ten-minutes too long for me. She Burned Me Down is a song that could have been on Bloody Kisses, it’s a good song not overly keyboard heavy but another throw-away track. Some Stupid Tomorrow kicks things back into high gear, this song was worth getting through These Three Things for, and thankfully that is where the skip button comes in. An Ode To Locksmiths starts out with a bluesy riff that resurfaces here and there and sets the tone and pace for the rest of the song. Good stuff here. Hail And Farewell To Britain ends the disc. Another nine minute tune, another song that could have ended after about four minutes. Decent but almost seems like filler to me. Don’t get me wrong here, I’m a huge Type O fan and I think this is one of their best albums yet. It just seems to me like a couple of songs were stretched out a bit too long and the idea behind them got lost somewhere. Still, I’m going to give this one an eight for the songs that were worthy. If it hadn’t been for a couple of tunes I would have given it a ten. Rasputin was in the studio with TON in spirit. He just left a couple of times to go get coffee.

Originally posted at the Treehouse Of Death

The drab fours finest - 100%

gk, June 1st, 2008

Type O’s been at it for a long while now. I’ll skip the history lesson suffice to say that the last two albums, 1999’s World Coming Down and 2003’s Life is Killing Me were two high quality slabs of punk-sludge doom that enhanced the band’s unique sound and a must listen for people who were into Bloody Kisses and October Rust back in the day.

Dead Again is the band’s seventh studio album and the first after their split from long time record label Roadrunner. While World Coming Down was a stripped down somber and almost mournful affair, the band regained its sense of humour on the next album.

Dead Again is pretty much the perfect combination of the last two albums with a few new touches to keep things interesting. The album opens with the slow doomy riff of the title song before mutating into Misfits inspired punk and some sort of heavy metal punk crossover that’s about impossible to describe. The perfect album opener and sets the tone. What follows are two of the best songs the band has ever written. Tripping a Blind Man is epic doom with Beatles like vocal melodies and is equal parts melancholic and amusing while The Profits of Doom is pure Sabbath worship with a crawling lurching riff and Pete Steele sounding pissed off before the song takes off into some catchy riffing, and finally ending up sounding like epic and completely over the top doom.

September Sun is a superb piano led doom ballad, while Halloween in Heaven is an infectious rocker that should get most people jumping around with its Misfits/ Carnivore/ Sabbath approach and some pretty cool vocals from guest Tara Vanflower. These Three Things is the album’s piece de resistance. A staggering monstrous song that clocks in at just under fifteen minutes with an ominous dark doom vibe fighting for supremacy with a catchy-as-fuck Sisters of Mercy vibe. This is truly awesome stuff.

The band doesn’t put a foot wrong right through this album, and while the songs are a bit lengthy, they grab hold of you and don’t let go. This is the band’s finest album to date with zero filler material. If you’ve always hated Type O, then don’t think this album will change your mind, but if you’re one of those people who liked the old stuff and then lost touch with the band, then Dead Again will definitely surprise you.

Dead Again offers nothing new - 65%

bassbrutality, February 12th, 2008

In the world of music there are many truths, and this is one them: returning to Christianity or giving drugs up is seriously harmful for the talent and the composing skill of a musician. Exceptions exist, but the norm is this. As many of you may know, Pete Steele has found God and keeps himself clean from any illegal substance, after being to jail for beating a love opponent and other facts we do not care about, do we?

One of the things I've ever liked most of TYPE O NEGATIVE is that, record after record, they've always done exactly what they've wanted. From the hardcore-punk with keyboards in Slow, Deep and Hard, through the poppy Bloody Kisses and the pseudo-gothic October Rust until the very dense World Coming Down. Life is Killing Me, although not offering anything new, shared all the elements worked before and mixed them on a single album, which even if it did not have the originality of before, it was good enough to deserve being tasted several times with satisfaction.

Dead Again offers nothing new. It's got, however, every ingredient that should make a good TYPE O NEGATIVE album: slow and dense riffs that shout love to Black Sabbath, gothic atmospheres covered in keyboards, punk attitudes, a distortion soaked bass, and Steel's low and melodic voice. It's also worth saying it's the first album since Bloody Kisses where real drums are recorded, what gives a more dynamic feeling to the record.

But not even that saves the album. As I've said, it seems to lack nothing, and nothing seems to exceed. Why does it not work, then? First off, the lack of originality I've spoken about before. Dead Again plays with the same elements as Life is Killing Me but without the composing geniality these Brooklyn dudes have always had. Songs are longer, more dense even, but I have not found anything that makes something move inside me, like every other album by them has done. Worst of all, the lyrics are drenched in Steele's new beliefs, including anti-abort allegations and Bible extractions. To say the truth, I'd rather preferred them when they talked about killing my girlfriend's lover or chasing women through the woods.

Kenny, Josh, Johnny: hand Peter some lines and kick him out from the church where he's had his brain washed. It may be doom for him, but also TYPE O NEGATIVE's salvation.

(Originally written for and published on www.pitchline-zine.com)

If the Beatles were a metal band... - 95%

IrishDeathgrip, October 9th, 2007

They would be Type O Negative, and they would put this record out. From the very start of the record, you are treated to a slow pick-scraping intro, that bleeds into the standard Type O prelude. I said to myself "Yep, it's gonna be a slow-as-hell song about drug addiction." Well, I was half right. The title track is about drug addiction, but after beginning like almost every song on their debut album, this song kicks into a hardcore little beat, almost heavy enough to be a throwback to the days of Carnivore. The singing style would seem kind of corny to an outsider, but those of us who are used to Peter's diversity are well aware that there is something to love in such vocals.

The next two songs are a great example of dividing a song into three parts. Completely different parts, really. Tripping a Blind Man, while lyrically weak at the last bit (the old man cried, and died... what the fuck?) is a grand old song, and incidentally is the basis for my comparison of this album to the Beatles. Profit of Doom starts out slow and heavy, has a little of Peter's angry narration, and then goes into a pretty commercial middlepoint (which is why this was the single on the album), but not a bad one. The end is doomy and drastic. Very enjoyable.

The next song to go over is September Sun. Beautiful song, powerful, effective... and Militant. I fucking love the beginning, I fucking love the middle, it's very beautiful and emotional, BUT THEN... there's an almost military march-like section that just blows my mind. Within the context, it's bizzare in an amazing way. The end rounds it out in a great way.

The final single track I'll cover is Halloween in Heaven. Another great, up-tempo song, this one describes the Halloween party in heaven as being host to some of the dead greats in music. Funny lyrics, nice vehicle, and the female vocals are a pretty unique little bit in such a song.

Other high points on the album... The last half of These Three Things, Some Stupid Tomorrow.

Not Dead Yet - 72%

GuntherTheUndying, June 20th, 2007

Type O Negative seems to take their damn time when they make a new record, but the goth metal legends never disappoint with whatever they present to a hungry pack of fans. Once again, Type O Negative has returned after a four year pause with the highly-anticipated “Dead Again.” So what does this CD contain? Everything our green buddies have done before, which is both a huge blessing, and a minor curse. Though “Dead Again” is a bit weaker than the average Type O Negative release, Vinnland’s shipment of goth metal still impresses its most valuable customer: your ears.

Type O Negative essentially revives their classic multi-cultural brand of goth metal throughout “Dead Again” without tapping into any modern frequencies, or anything that would disrupt the band’s traditional nature. Everything you could expect from Vinnland’s finest is still in full operation, including the doom-laden riffs and Mr. Steele’s esoteric voice that could melt the heart of any female. It’s easy to hear other influences, like pop, punk, and doom, throughout several sections of this album’s duration, which makes the listening experience more colorful at times. The soloing effort has dramatically upgraded from a simple slouch of sound to an electrifying blend of fierce instrumentation and epic surroundings. Keyboardist Josh Sliver and guitarist Kenny Hickey dispenses the most outstanding leads they’ve ever done in their careers; whenever they solo, it sounds clear, technical, and wonderfully natural. Ah yes, Vinnland has once again conquered several musical qualities to improve its supply of gothic supplements.

Elements of gothic metal are frequently found like weeds in a garden, yet the sea of plants also contains the largest amount of punk influence since “Slow, Deep and Hard” in 1991. Moments of spunky-ridden riffing with a speed upgrade are spotted during the title track, “Some Stupid Tomorrow,” and the first half of “Tripping A Blind Man.” These examples are, however, only touching the glass of how much faster this is compared to other Type O Negative works. Now don’t assume they play full-blown punk, because they don’t; the music is still doom-laden and slow, but it sounds a lot faster than anything else Type O Negative has done in years. It’s very interesting to witness the arrival of more punk touches along with the dominant gothic pulse, yet it acts as a nice transition between other musical atmospheres applied in “Dead Again.”

There is only one problem within “Dead Again,” but it’s a biggie: their formula. Kenny Hickey’s riffs are slow and heavy, Josh Silver adds some creepy keyboard effects, and Peter Steele still sounds like a masculine stud, which is totally fine, but it’s also generic. I’ll admit Type O Negative has done a great job establishing their style throughout the years, yet the band’s predictable texture has grown old and it seems like they’re kicking a dead horse at times. There are countless incidents when it seems you slipped in “Life Is Killing Me” because of the upbeat atmosphere, or “World Coming Down” somehow appeared when you reach a cluster of doom tunnels. Not only that, but the tradition of playing until the listener dies makes some of the tunes, especially “These Three Things,” almost impossible to sit through. I’ve always liked Type O Negative’s unique identity, but they’ve been doing the same thing for years now and it’s beginning to dissolve prime qualities of their originality. A battery needs to be replaced after awhile or you’ll have no power, right?

"Dead Again" could have used some improvements, but it's still Type O Negative doing what they do best. I wouldn’t call this their best release by any means, but it’s still a good CD worth purchasing if you’ve been impressed by Type O Negative before.

As Hypnotic As Rasputin Himself - 99%

LeftHandOvGod, May 22nd, 2007

The brilliance of this album is uncanny. One must understand that Type O Negative may very well have the best lyrics of all time; this is no less apparent on this album then on any other album that Type O Negative has created. The musical talent, as well, is as good, if not better, than the lyrics of this album. Type O will hit you from every angle with this album and will continue to impress you with each track.

“Dead Again” opens with the song, “Dead Again”. By listening to this album, one will gain a pretty good look into the rest of the album. And that is a mix of doom and almost gothic metal. The genre for Type O Negative is really hard to pinpoint, due to their ridiculously original sound, which again, is as obvious on this album as ever. What makes this album’s “feel” so great is the whole calm almost relaxing aura it has and emits; it really is amazing.

What makes this album’s overall feel so great is due to basically two things. The vocals of one Peter Steele, and the instrumental talent of the rest of the band. Together these two create songs that just ooze an eerie and creepy feel. Steele’s vocals are like no others. They are in fact clean for the majority of this album, but it really doesn’t matter because his voice sounds as if he’s telling a story and you just can’t help but be enticed with every word that he says. This is most obvious on the song “These Three Things”, in where the listener is almost hypnotized into listening to every lyric and being amazed by each word that Steele has written. That is how good this band’s vocals and lyrics are.

As far as the instrumental part of this album, they are no less as good as the vocals. The guitar riffs just draw the listener in and makes him wonder what the guitarist is actually playing. What notes he is using and how he is making such a simple instrument sound so hypnotic and relaxing. But then again, it’s not all calm; as displayed on the song “Halloween In Heaven”, where the riffs are a slight bit more “metal”. There’s more edge to these riffs and they will cut the listener instead of just punch him in the gut. The instrumental layer of this album combined with the vocals of Peter Steele is what really gives this album its feel, because not only do they both separately sound very impressive, but together they sound like one solid sound…one living being. Not many bands anymore have this ability, but Type O Negative does.

Overall this album sounds like classic Type O Negative. After the semi-disappointing release of “Life Is Killing Me” four years ago, “Dead Again” brings with it a huge sigh of relief. This album is a through back to the legendary album “Bloody Kisses”, in that it has the same feel and the same talent. “Dead Again” is really hard to explain, one just needs to listen to Type O, especially if they have never heard this band, because once you do, you will understand this album. But even if this is your first Type O album, the talent and musicianship is undeniable, and quite obvious. This album is already a classic, the world just doesn’t know it yet.

Highlights: “Dead Again”, “Tripping A Blind Man”, “The Profits of Doom”, “September Sun”, “Halloween In Heaven”, “These Three Things”, “She Burned Me Down”, “Some Stupid Tomorrow”, “An Ode to the Locksmith”, “Hail and Farewell To Britian”

Nothing New Under the Green Sun - 75%

Sean16, April 13th, 2007

After several years of absence the Green Man is back. I almost missed him. And don’t protest, you missed him as well. You missed his unique brand of tongue-in-cheek, self-depreciating humour, his goofy and unexpected findings all testifying of an extremely bad taste, and his equally unique brand of gothic metal abundantly nourished with punk, doom, indus as well as pop influences. Now rejoice, as his new opus Dead Again perfectly fits the whole above description, in fact it could perfectly work as a summary of the whole TON career... Wait! Hadn’t I already written this before? About its predecessor Life Is Killing Me to be more precise?

That might indeed be the main flaw of this new release. Granted, Dead Again offers ten honest, solid songs, as strong as anything on the previous albums. While Life is Killing Me could have suggested a timid move towards a more commercial sound with its bunch of shorter, more accessible, bouncy songs (remember the title track, or the very rock-ish I Don’t Wanna Be Me...), this album is on the contrary likely to reassure everyone: TON haven’t sold out and certainly never will; they even eventually dropped off their long-time label Roadrunner. On the other hand, had anyone told me it had been released in 1997, I would have blindly believed him. Is the New-Yorkese quartet always releasing the same album? Indeed, it is.

Because, Dead Again may exhibit the largest proportion of punk-influenced songs since Slow, Deep and Hard, but remember only two TON full-lengths were totally devoid of punk songs: October Rust and World Coming Down. So the presence of upbeat numbers like Some Stupid Tomorrow, the humorous Halloween in Heaven or (to a certain extent) Tripping a Blind Man isn’t revolutionary by any mean. Nor are, at the other end of the spectrum, long, crushing, suffocating and above all sick tracks like September Sun, These Three Things, Hail and Farewell to Britain or Profit of Doom, this last title perfectly suggesting what the song is all about – one hundred tons weighing DOOM! Actually the album Dead Again shows the most similarities with might well be Bloody Kisses, so it isn’t even 1997, it’s 1993... Nevermind?

Not only the compositions haven’t evolved a single bit, still alternating pop/rock moments with excessively slow, chilling parts of creeping guitars and/or typical Black Sabbath riffs (in Tripping a Blind Man for instance), but furthermore the sound also remains strikingly similar to older albums. Many years of drugs haven’t damaged Pete Steele’s voice which still oscillates between punk barks, pop whining or the both warm and low goth clean voice which is by far what he’s doing best. Josh Silver’s keyboards sound as sick as ever, especially in the punctual but still welcomed organ parts, even if those now seem a tad more discrete than before. Eventually, after the slightly more polished sound of Life is Killing Me, guitars are back to a raspier sound one will either love or hate. Fine.

Best songs? It above all depends on what TON side you prefer. There is no real filler for once, even if most tracks could have easily been shortened from two or three minutes, a good bunch of them ending on totally useless repetitions – She Burned Me Down constituting the ultimate example. But it’s a plague all TON listeners are familiar with, so there’s no need to develop. Now if you consider TON had never been as good as with their debut, listen to the short, straightforward punk songs Dead Again, Some Stupid Tomorrow or Halloween in Heaven. If you prefer their long, agonizing doom tracks, The Profit of Doom, September Sun and These Three Things have been written for you. For more subtle melting of those various influences just check what are probably the best songs, Tripping a Blind Man and Hail And Farewell to Britain. Eventually An Ode to Locksmiths and She Burned Me Down are more reminiscent of their warmer, lighter October Rust days, She Burned Me Down especially sharing many similarities (in good as well as bad) with a number like Be My Druidess. And unfortunately for people (like me!) hailing World Coming Down as the best TON release, Dead Again lacks of the bluesy depressive tracks which accounted for the charm of that unique album...

To complete the picture let’s just mention the cross-shaped booklet where band photos are replaced by four coffins, the omnipresence of the green colour, the silly use of Cyrillic characters and the Rasputin picture on the cover which are only meaning two things, that 1) there is nothing Russian in this album and 2) there isn’t any song about Rasputin either. Exactly as the use of a pseudo-runic font on October Rust only meant that album wasn’t related to Vikings by any mean. Thus you get the whole typical TON ambiance of false-semblance, sick humour and self-derision. Pete and his friends have managed to create through years their own little world, a (green) world where everyone is feeling a tad uncomfortable, but which now tends to become a bit too familiar and predictable. That’s why Dead Again will be more profitable to listeners which are new to the band rather than to long-time fans which are likely to experience a boring feeling of déjà-vu. But after all, as long as it’s good...

Highlights: Tripping a Blind Man, The Profit of Doom, Hail and Farewell to Britain

Dead Again? Hardly. - 98%

CornMouth, March 20th, 2007

Type O Negative is a band that has been around for many years, constructing gothic/doom anthems I have come to know and love. I may be a bit biased in reviewing this album simply because, I love Type O Negative and I can't sit here and say I haven't loved every one of their albums.

This one isn't like the others, though. If any of you out there have listened to Peter Steele's previous band Carnivore, the influence is more heard on this album than on any other besides maybe only "Slow, Deep And Hard". This is not a bad thing, though, as the album hits with a new found ferocity but with the same doomy undertones fans of Type O Negative have become so accustomed to over the years.

The album itself is nearly flawless in my opinion. With only 10 tracks (much shorter than most Type O albums, it is a very concise, to the point approach that I have really enjoyed. The album also incorporates the styles of Type O and Carnivore very nicely.

I can't recommend only a few tracks because each track in my opinion is fantastic. Whether it be the thrashy anthem and the title track "Dead Again", or the beautifully constructed "September Sun", to the monstrous 14 minute epic "These Three Things". Each track of this album is everything you're familiar with, and everything you may've missed with Type O Negative.

Truly an amazing album and one that will surely keep me listening again and again. Though I will say, do not listen to this expecting Bloody Kisses or October Rust; it is neither. Think of this album more as the maturation of Type O Negative not just as a band, but as individuals. Highly recommended.

Type O: Not dead, rather alive and well. - 88%

EuropeanWannabe, March 15th, 2007

Perhaps I'm a bit biased, considering Type O Negative is indeed my favorite band, but after listening to this record endlessly for the past three days, I am content with saying that the new Type O kicks major ass. Not as much as October Rust, but nothing on this planet has ever kicked as much ass as October Rust.

There has been alot of talk about the band and this record before it came out. We all know the behind the scenes shit: Peter, and I believe another member, spending time in a psych ward for drug and alchohol induced schizophrenia, Peter doing a stint in jail, the death of Peter's mother, all memebers of the band now with children, divorces, marriages, yadda yadda. I am glad to say that none of this has fucked with the bands music. Yes, the style has changed (maybe change isn't the best word, more later), but the quality is still there. The lyrics are a little less humorus, but it's still there.

I've always sworn by Type O Negative. They are my all-time favorite band (which is odd, considering I'm not much of a metal or goth music fan), and I was always quick to tell people: "Type O Negative have never released a bad or average record". This still holds true.


Stylistically, the band hasn't changed so much as they have brought their 'other side' to the forefront. Remember 'I Don't Wanna Be Me' and 'I Like Goils' off of Life Is Killing Me? It's alot like that, especially the title cut and 'Halloween in Heaven'. I am hearing alot of comparisons to Carnivore, and while I can see where these folks are coming from, I wouldn't make too many comparisons. Carnivore's music was far more raw than the material presented here.

We are treated to a few epics in the vein of October Rust-era TON. One being my very favorite track off this disc, 'September Sun'. 'September Sun' has got to be the most beautiful, haunting and moving song I have heard since the new millenium has started. Stylistically and atmospherically it sounds exactly like October Rust-era TON, in tone, compostion, lyrics, atmosphere - everything. I wouldn't be surprised if Peter wrote this piece during to October Rust sessions. Speaking of said album, it is subject to lyrical refrence in this song. The song starts with a beautiful piano intro, which leads into a melancholy vocal performance from Peter. It builds up into a slow, sad, emotionally draining epic, yet with hints of hope and reminisce in the music. This is depressing without being dark. This song gives me the same feeling one would get while watching their first sunset alone after a crushing heartbreak or death of a loved one. It is absolutley gorgeous. Type O still has 'it'.

The title cut starts off with a slow, sluggish doom riff, and then promptly rips into a punk-rocking nightmare complete with Beatlesesque harmonies and a few trademark Type O touches. 'Halloween In Heaven' is very similar to this title track, only a bit 'prettier' and less angry, and more rigid in compostion. 'An Ode To Locksmiths' is 100% Black Sabbath. Some bands make livings off of ripping off Sabbath, and yet still manage to fuck up the Sabbath style a bit. Type O does a Sabbath tribute dead-on. In fact, if it weren't for Peter's distinct voice, you would swear that this is a leftover cut off of 'Heaven and Hell'. 'Hail and Farewell to Britain' is another standout.

Another masterful cut is 'The Profits of Doom'. This is an eleven minuet monster, folks. Here we are treated to the heavy, the light, the pretty, the ugly, the beauty and the horror, the love and the hate: everything. It opens up with some old-school King Crimson style riffing, and goes straight into some very doomish riffery that reminds me alot of King Crimson being skullfucked by Sleep or something of that nature. It takes you everywhere, and it's all wonderful.

There is talk of Peter converting to Christianity. I don't know if I would believe this, because if you remember a while back there was also talk that Peter was fucking dead. I can see where one would find hints of this in the lyrics, but remember this bands fucked up sense of humor, and their previous strong, strong positions on religion. Personally I can't see this really going down, but if it is, more power to you Peter.

So, the bottom line is: this album is excellent. No October Rust or Bloody Kisses, but still excellent. It will kick that other bands new albums ass. So get it, asshole.