The Heart of Everything
Unlike the two previous Within Temptation songs to appear on this list thus far, “The Howling” does not represent a drastic style change for the band. Even though Within Temptation successfully transitioned to a more accessible sound, “The Howling” still sounds like a symphonic metal song. That’s not to say it sounds exactly like their old stuff, but “The Howling” is the one song from The Heart of Everything that doesn’t make a full transition into accessible hard rock. For that reason, it is also the best song on The Heart of Everything. Granted, Within Temptation’s new style isn’t bad by any means, as both “Frozen” and “What Have You Done” made this list, but songs like “The Howling” are an example of Within Temptation at their most comfortable. There is something about the symphonic sound that compliments Sharon den Adel’s voice beautiful. Her voice is powerful by itself, but “The Howling” sees the rest of the band aiding
Never Walk Alone… A Call to Arms
Politics has often been at the forefront of Megadeth’s lyrics, so it only makes sense that Dave Mustaine continues to speak his mind on United Abominations. In that sense, Megadeth has returned to their 80s form by once again being lyrically relevant. On the other side of things, songs like “Never Walk Alone” might be an even bigger testament to the greatness of Megadeth. “Never Walk Alone” takes a break from the politically charged lyrics that make up most of United Abominations, and replaces them with a more personal side of Dave Mustaine that comes across as just as powerful and intelligent as any of Megadeth’s prior political lyrics. Mustaine’s guitar work is equally beautiful, as the instrumentals include some of the most melodic riffs of Megadeth’s career. The combination of the beautiful lyrical content and melodic instrumentals make this one of the best love songs of 2007, as well as one of the finest songs Megadeth has recorded in the last decade. That’s not to say that “Never Walk Alone” is a classic, but it is a welcome diversion from Dave Mustaine’s opinionated politics that is every bit as compelling as any of Mustaine’s political lyrics.
Cry of the Black Birds
With Oden on Our Side
"Cry of the Black Birds" is a much more melodic song than the usual Amon Amarth offering, at least from an instrumental stand point. There's nothing here that's particularly more complex or more unique than the many other melodic death bands of today, but Amon Amarth ranks near the top of their genre for a number of reasons. First off, Amon Amarth's vocals are brutal. Not brutal in the way that you'd normally associate with forms of death metal, but instead in a more melodic way. The vocals are kind of a controlled brutality that are deep, dark, and are perfect contrast between heaviness and melody. "Cry of the Black Birds" take advantage of that contrast even more than most Amon Amarth songs. The aforementioned melodic riff is still heavy enough to contend with some of the genre's heaviest and most brutal, but the deep vocals add a level of brutality to the song. The result is a very strong mixture of melody and brutality, thus making "Cry of the Black Birds" one of the best songs Amon Amarth has recorded yet, as well as one of the best melodic death metal songs of the year.
Breaking the Silence
For some odd reason, there’s something magical that happens to power metal when you add a talented female singer to an already great sound. Firewind’s “Breaking the Silence” is a case in point. Firewind’s already outstanding power metal sound elevates to something even more majestic with the addition of the exceptionally talented Tara Teresa. The contrast between excessively fast and technical guitars and beautiful melodic female vocals is simply indescribable and an unparalleled sound when done right. “Breaking the Silence” contains the phenomenal guitar skills of Gus G. and combines it with the aforementioned stunning vocals of Tara Teresa. In all fairness, there isn’t much to song past that, and it doesn’t quite have the feel to it that one might expect from Firewind, but “Breaking the Silence” is at its best when it’s a duet between Gus G’s guitar and Tara’s vocals. During those moments, the song shines, and it ranks among the best power metal singles of 2007.
Kamelot’s combination of power and symphonic metal was done to perfection on 2004’s The Black Halo. That unique sound creating one of the finest in modern metal, but it’s unfortunate that the band has focused more on the symphonic aspect throughout Ghost Opera. Much like the title track and lead single, Ghost Opera wasn’t a bad album by any means, but it just didn’t live up the hype that the band created from the outstanding Black Halo. In fact, Ghost Opera is one of the best symphonic metal albums of 2007, just as title track is among the best singles of the year in that genre as well. For better or worse, Kamelot has transitioned into a full-fledged symphonic metal band, and the result is a song that features some truly outstanding symphonic elements. Roy Kahn’s vocals are excellent as usual, and the band’s varied instrumentals keep the song interesting long after the first listen. “Ghost Opera” improves on the symphonic elements band implemented on The Black Halo, and it’s a fine symphonic metal song on its own, but it’s hard to shake the fact that the genre-bending instrumentals and epic story of that album didn’t make an appearance in 2007. Still, “Ghost Opera” is a borderline masterful offering from strictly a symphonic metal perspective, and
The Larger Bowl
Snakes and Arrows
Rush has always been a lyrically driven band. Some may not understand Neil Peart’s often complicated and metaphorical lyrics, but the man has been one of the best and most intelligent lyricists rock has ever seen. “The Larger Bowl” is a contrast to Peart’s usual lyrics, as they aren’t any epic stories, deep metaphors, or social commentaries. Instead, “The Larger Bowl” is a much more personal Rush song. Peart’s lyrics strike a perfectly balance between melancholy and beautiful, and while “The Larger Bowl” is one of the darkest songs in Rush’s discography, it is also one of the most emotionally involving songs of the year. Part of Rush’s greatness comes from the band’s ability to change and evolve over time, and “The Larger Bowl” is an example of yet another revolution in Rush’s sound. This is a far more personal and even simplistic song that the typical Rush offering, but Peart’s lyrics still have layers upon layers of complexity in their most simple state. Like any Rush song. “The Larger Bowl” is an intelligent and thought provoking song, and while it happens to be one of the band’s most personal to date, there is still enough to complexity in the lyrics and instrumentals to be a true Rush song.
Daath's major label debut album, The Hinderers, is easily the best major label debut of the year. Although not as weird as the brilliant "Dead on the Dancefloor," nor as heavy-hitting as the outstanding "Cosmic Forge," "Subterfuge" is the perfect introduction to a metal band poised to make a big impact in the world of music. Daath's genre can best be described as “industrial death metal,” which is a genre that includes very few others. In all actuality, labeling that makes them seem more unique than they actually are, as all the elements of the music have been done before. That being said, their combination of many different styles of metal music is astounding, especially when they are being played at the quality that Daath has shown they're capable of. "Subterfuge" is an excellent example of that. The song mixes exceptional death metal vocals with a strong riff that features a variety of tempo changes. No part of the song is unique, except for the song itself, if that makes sense. It's the combination of everything Daath does on this song that makes it one of their best efforts. That's what Daath does throughout the full album, as they mix industrial metal with death metal, metalcore, and even some instances of thrash metal and power metal. It's a rather unique package to listen to as a whole, and "Subterfuge" makes a great listen on its own. Daath is definitely one of the most intriguing metal bands to come along in quite a long time, and while it is certainly disappointing that their vocalist recently departed the band, they should one to watch for in the future.
The Great Cold Distance
Compared to the best of Katatonia, “July” is a fairly typical offering that is mostly unspectacular. However, much of what Katatonia has released recently has pushed the boundaries of what is possible in metal, both lyrically and musically. “July” may do that to extent of “Ghosts of the Sun,” “Into the White,” “My Twin,” or “Deliberation,” but one of Katatonia’s strengths is their consistent mastery of the doom metal sound. Even Katatonia’s filler compares favorably to even the best songs released in a given year, and no other band is quite like Katatonia. As has been heavily publicized, former growler Jonas Renske can no longer and must now rely on his limited range as a clean vocalist. However, Katatonia is a far more talented band than most, and they understand doom metal more than any other band this side of My Dying Bride. Even filler like “July” are far more creative and unique than the best of what many quality metal bands can produce, and Jonas Renske’s clean vocals create a wonderfully depressing sound that exemplifies what both doom metal and dark art in general is all about.
If instrumental complexity was the only aspect of a song that mattered, “Constant Motion” would be one of the absolute best songs of the year. At this point in Dream Theater’s career, that may very well be all that matters. Unfortunately, “Constant Motion” doesn’t have enough past its stunning display of instrumental talent to be praise at the same level as some of the other progressive songs released in 2007. Lyrically, the song is almost entirely insignificant, but Dream Theater is simply astonishing at doing what they do best. Each of the 5 members are masters at their respective instruments (including James LaBrie, who is one of the most underrated vocalists in metal). It’s unfortunate that Dream Theater no longer appears to be attempting to break new ground or even evolve their sound at the very least. However, it’s hard not to marvel at talent of Dream Theater. The instrumental complexity of “Constant Motion” is nothing short of incredible, and Dream Theater deserves praise for delivering on what they have attempted.
Into the Wild
Yes, recording a cover song for a major motion picture as the lead single for your solo album may not usually get you a high spot on an end of the year list, but Eddie Vedder’s “Hard Sun” isn’t your usual cover. The original “Hard Sun” was a simply beautiful ballad by Canadian artist