Chasm

“The Spell of Retribution”

(Wicked World)

Compare to: Morbid Angel, Nile, Slayer

On “The Spell of Retribution,” former Mexico City residents The Chasm prove there is still plenty of life left in death metal’s rotting, festering corpse.

Although more mainstream acts, like Shadows Fall, continue to sugarcoat their death metal-derived sound with clean vocals and catchy choruses, The Chasm makes no such compromises.

“The Spell of Retribution” is a blistering assault of an album that pulls no punches and goes straight for the jugular with its powerful, epic approach to the genre.

Featuring a barrage of ferociously precise instrumental dexterity, The Chasm displays a sense of compositional finesse in songs like, “The Eclipse: Monument of the Empire” and “Conqueror and Warlord,” that few of its heavy metal peers can equal.

Each and every track on the album plays like an audial instruction manual on how to create utterly soul-crushing music. Razor-sharp guitars threaten to slice the listener’s head off with the cruel, meticulous precision of a gleaming guillotine. The drums pound like 50-ton sledgehammers and guttural, reverb-drenched screams echo up from somewhere in the pits of hell.

Taking lyrical inspiration from Mexican folklore, tracks like “Conjuring the New Apocalypse” evoke images of Armageddon as seen through the eyes of ancient warriors and long-forgotten demons.

While the songs on “The Spell of Retribution” are incredibly brutal and complex, The Chasm never sacrifices songwriting quality in favor of instrumental acrobatics.

Each track is epic, without feeling pompous or overblown, and the music is insanely technical without ever becoming convoluted. The production is raw and slightly muffled, giving the album an appropriately dark and dirty atmosphere.

With “The Spell of Retribution,” The Chasm has created one of, if not the, finest metal albums of 2004. It is a dazzling display of technically advanced musicianship and uncompromising brutality that will keep metal fans thrashing for years to come.

— Joshua Haun

The Only Children

“Change of Living” (Glurp)

Compare to: Neil Young, Hot Rod Circuit, Bob Dylan

At first glance, the members of The Only Children may look more like a group of burned-out, hippie stoners than a group of talented up-and-coming musicians.

On the cover of The Only Children’s new album “Change of Living,” drummer Christian Jankowski sports a beard that might give Grizzly Adams a run for his money — or whatever mountain men barter with. But, underneath the deceiving guise of greasy hair and unkempt beards, an innate musical talent shows its beautiful face.

The debut release from The Only Children may come as a bit of a surprise for fans who are expecting to find a sound similar to that of singer Josh Berwanger’s former band, The Anniversary. The band’s new album strays away from synth-pop emo roots and instead showcases a series of tunes that give the album a delta-blues rock feel with a folksy, bluegrass flavor, differing from what listeners expect.

The first track on the album, “Sky Begins to Storm,” shows the greatest progression for the band since their days with The Anniversary. Like most of the tracks on this album, the lyrics are very forward and unassuming. “I drove down to South Carolina, where my woman said she’d gone/ she said ‘Honey it’s over, I’m leavin’, you’ve been cheatin’/ drinkin’, lyin’ far too damn long.”

Although these lyrics may seem a bit commonplace, Berwanger manages to deliver them with such a feeling of controlled effortlessness that an air of authenticity runs through them.

The song “West Virginia” starts off with the sound of a tribal drumbeat and then progressively joins the sounds of an acoustic lead and a twangy sitar, slowly forming the colorful background for the song’s lyrical delivery on the brink of explosion. The vocals arrive after much anticipation, and the listener begins to feel a sense of reward as this musical picture begins to take shape.

The greatest achievement of “Change of Living” may not be found in any single track — it is the sum of the parts that is the crowning achievement of this album.

— Mark Vestweber

William Shatner “Has Been”

(Shout! Factory)

Compare to: Leonard Nimoy, Adam West, Sebastian Cabot

When you think of the worst album ever made by an actor-turned-singer, the first one that comes to mind will probably be either Jennifer Love Hewitt’s 1996 self-titled flop or Shaquille O’Neal’s 1993 release “Shaq Diesel.” With his new album, however, William Shatner is now a heavy contender for the honor of worst celebrity album.

Shatner’s new album, “Has Been,” could not be more appropriately named.

Full of Shatner performing spoken words mixed over various styles of music, the album — reminiscent of Charlton Heston during a fit of dementia — will have listeners wanting to pull their hair out by the third track.

After the first track, “Common People,” which is pretty good, relative to the rest of the album, listeners might have a false sense that a Shatner album might not be all that bad. Any hopes of good music are quickly dispelled, however.

Believe it or not, this is not Shatner’s first “musical” release. He put out two other albums, including one 10 years ago titled “Transformed Man.”

This album is proof that 10 years is not enough time to completely transform a man into a musical performing artist.

Featured on the album are many guest musicians, including Ben Folds, who produced and mixed the album. Since Folds’ debut as a solo artist three years ago, few roads can compare with his. He may not have been the wisest choice, however. Veteran rocker Henry Rollins joins Shatner on the song “I Can’t Get Behind That,” an anthem about causes that the two can’t support.

Hopefully, the guest musicians were paid very well for their efforts, since this album will certainly not be helping further their careers.

To top it all off, on “You’ll Have Time,” Shatner feels the need to tell the listener “I hate to be the bearer of bad news, but you’re going to die.” Thanks for the insight, Will.

On behalf of the listeners, live long and prosper, Shatner, but do not make music.

— David A. Tillinghast Jr.

Gwen Stefani

“Love. Angel. Music. Baby” (Interscope)

Compare to: Sister Soleil, The Go-Go’s, Spice Girls

When No Doubt fans heard Gwen Stefani was going solo, they responded with either sheer delight or complete fear.

Stefani was the face to a band that redefined what ska could be. No Doubt has blended many different types of music and is still successful, but Stefani decided to embark on different endeavors. Gwen, however, should have stuck with the band.

Stefani has become a pop culture icon. Both marrying Bush frontman Gavin Rossdale and breaking fashion boundaries has made her the envy of hundreds of women, and even some men.

Stefani must have turned to Gavin and said, “Honey, I think I need to make some more money. I’ll call the bigwigs and make an album that has no artistic value, but will sell.”

She collaborated with the industry people you’re required to when making a fusion album: Dr. Dre, Eve, The Neptunes and Andre 3000, but she sold herself far too short in the process.

The album opens up with the radio semi-hit, “What You Waiting For?” This is probably Stefani’s attempt at another party song, but it comes off as annoying with its repetitive lyrics and synth noises. Electronic music can make a great pair with pop hits, as Kylie Minogue knows well. “What You Waiting For?” and other such party-ready songs on “Love. Angel. Music. Baby.” come off as annoying.

Maybe this is too harsh.

Take a step back, and look at this as a total pop album. Imagine Stefani as Britney Spears. For her, this would be an album with a good infusion of hip-hop. “Bubble Pop Electric” is a happy little song with Johnny Vulture that reminds the listener of what made Aqua’s “Barbie Girl” so good. Songs like “The Real Thing” and “Serious” are a straight trip back to elementary school and the new wave sensation that overtook music for what seemed like a minute.

Perhaps the disappointment is because listeners know Stefani is capable of so much more. Maybe Gavin tried to talk her out of this one and she said, “I’m Cyndi Lauper and I just wanna have fun.”

We might be able to forgive her for that.

— P. Kim Bui