Iced Earth Albums (8)
'Enter the Realm of the Gods'
Release Date 2/25/2008
Tracks 17
Label Century Media
See Album Tracklist and Review
'Framing Armageddon: Something Wicked, Pt. 1'
Release Date 9/11/2007
Tracks 19
Label Steamhammer
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What The Critics Say
Some metal bands like to wallow in their misery, some like to party hard, and some aren't bashful in voicing their admiration of Lucifer. But a band like Iced Earth refuses to indulge in any of the aforementioned well-traveled roads; instead, they specialize in triumphant-sounding metal, often sounding like the perfect soundtrack for if you were training for the triathlon at the Olympics. And on their 2007 release, Framing Armageddon, the group continues to show off their instrumental and vocal prowess -- as evidenced by the masterful guitar work of founding member Jon Schaffer ("Something Wicked, Pt. One"), and the multi-octave vocal gymnastics from former Judas Priest frontman Tim "Ripper" Owens ("Infiltrate and Assimilate"). Getting back to the whole "triumphant metal" thing, take a listen to the chorus of "A Charge to Keep" and tell me you can't picture raising your fist high in victory. And it should come as no surprise that since the group has always thought in "epic" terms, Framing Armageddon is indeed a concept album. According to a press release, the story line is "A heavy metal sci-fi thriller of epic proportions, propelling one through a tale of evil and tragic loss, as well as the deception, patience and belief it takes to plan a reckoning." Yowsah! ~ Greg Prato, All Music Guide
What The Critics Say
On their twelfth full-length, Iced Earth indulge guitarist and principal songwriter Jon Schaeffer's passion -- some would say obsession -- for history. On the bonus-disc edition, there are 11 tracks on the first disc, and on Disc Two, a three-part suite entitled "Gettysburg." Disc One begins, appropriately enough, with "The Star-Spangled Banner," played in overdrive with plenty of crunch, but nonetheless reverently. That statement aside, the album truly begins with "Declaration Day," an examination of the events leading up to the signing of the Declaration of Independence, and the beginning of the American Revolution. Singer Tim Owens steps into the fray and relates, amid the bone-crushing riffing and half-time drum thud. But interestingly, it's a track that gets juxtaposed with the one that follows it, "When the Eagle Cries." Together they comprise a kind of view across the historical battlefield, from the tyranny of the British Empire to the tyranny of terrorism. The latter cut, with its haunting acoustic guitars in the front line before it breaks wide open, sort of looks back at "Declaration Day" and notes its inspiration. A truly majestic song full of plodding, jarring chords and a hooky chorus, it is part funeral hymn, and part a call-to-arms. Indeed, as the careening bombast of "The Reckoning (Don't Tread on Me)," comes into sharp focus, one can see that Schaeffer's intent is to very clearly showcase the various difficult, and even horrifying, moments confronting America since its inception -- one can read double meanings in all the songs that have American lore at their core. America isn't the mythical and/or archetypal muse here: on tracks such as "Attila," and "Red Baron/Blue Max," the metaphors are extended to two more figures from the dust of the past. At last, here is a record about patriotism that contains no jingoism; it offers its perceptions honestly and without compromise, but instead of going along for the ride, it offers a place to argue from, as well as to enjoy. Highly recommended. ~ Thom Jurek, All Music Guide
'Tribute to the Gods'
Release Date 10/17/2002
Tracks 11
Label Century Media
See Album Tracklist and Review
What The Critics Say
Tribute to the Gods is a collection of very faithfully rendered cover versions of some of the archetypal hard rock and metal songs that served as key influences for Iced Earth's classic metal sound. Unsurprisingly, there's a lot of Kiss, Iron Maiden, AC/DC, Priest, and Sabbath, but the inclusion of Alice Cooper's "Dead Babies" and a pair of Blue Öyster Cult tunes may raise a few eyebrows. Overall, the songs are delivered with note-for-note care, with very few creative liberties taken -- a testament to Iced Earth's respect for their metal forbears. But occasionally, the band's slightly limited chops (by metal standards, anyway) prevent them from executing the material with the kind of technical finesse and intensity heard in the originals, while their generally heavy-handed dynamic approach obliterates most of the creepy, ambient subtleties (yes, subtleties) that made classics like "Black Sabbath" and "Dead Babies" so memorable -- but there's a lot of heart put into these performances nonetheless, and it is clearly a labor of love for Iced Earth. ~ Andy Hinds, All Music Guide
What The Critics Say
American power metal's last hope returns with a monumentally complex, full-octane fan-boy-driven concept album. Fear not, the pummeling thrash chords of old still remain, while Paul Stanley's -- er, Matt Barlow's -- vocals still crackle with molten energy and untapped emotional well. Leaders Jon Schaffer and Larry Tarnowski maintain their frenetic musical hunger as potent axemen, adding additional emotional layers to create the most heartfelt and ambitious Iced Earth release. Horror Show's mastery lies in its promising (for the power metal genre at least) as sources of inspiration classic horror films, and most prominently the Universal Studios-type from the '30s. To go further without mentioning the addition of drummer extraordinaire Richard Christy of Death/Control Denied fame or Death/Testament/Sadus bassist Steve DiGiorgio would be an injustice toHorror Show, as they help complete one of American metal's most musically enlightened lineups. Christy impels the rest of the group to march to the beat of a faster, complex drum, adding dynamic, patient layering to slower pieces like "Ghost of Freedom" and pummeling rhythms and cymbal dances to thrash beasts like "Wolf." "Jack" features DiGiorgio at his faster-than-thou, slap-bassin' best, as his presence is felt lock, stock, and barrel through Horror Show. Clearly, though, the greatest variable for Iced Earth's exponential, patient growth was the mind-melding meeting of minds Schaffer experienced with Blind Guardian's Hansi Kursch in his stint with Demons and Wizards. Blind Guardian is arguably the most insightful, original, and talented power metal band, and their magical aura seems to have rubbed off a bit on Schaffer's compositional skills on several tunes, such as "Frankenstein," the eerie "Damien," or the epic glory of "Im-Ho-Tep (Pharaoh's Curse)." In particular, this last piece utilizes some subtle Middle-Eastern rhythms and overtones to create a more authentic impression, and the solo is straight-up Blind Guardian (kudos to Tarnowski). Christy and DiGiorgio's technical verisimilitude honed in Death shines brightly on every composition, but in particular on the opening of "Wolf" or sections of "Dracula." Unlike past releases, Horror Show didn't deliver an unrewarding knockout punch on first listen. In fact, it took quite a few listens to see the hidden gems which make this album so fantastic; so give the album its due attention -- it will pay off in the end. Other highlights include the mid-paced classic German-esque thrash of "Dragon's Child" and the ambitious, yet fully realized mini-opera (reminiscent of Queensryche's "Suite Sister Mary") "Phantom Opera Ghost." Enjoy the show. ~ Jason Hundey, All Music Guide
'Alive in Athens'
Release Date 7/16/1999
Tracks 22
Label Century Media
See Album Tracklist and Review
What The Critics Say
Iced Earth produces one of the most convincing live albums of the '90s. Alive in Athens crushes with the same monumental energy as Iron Maiden's Live After Death and Blind Guardian's Tokyo Tales, quite a lofty feat. With a visual approach akin to the "Eddie marketing campaign" of Maiden, Iced Earth has thrust themselves into the proverbial power metal spotlight with a destructively catchy sound to back it up. Live, Matt Barlow's soaring vocals pierce with studio-like quality, while the guitar pairing of Jon Schaffer and Larry Tarnowski echoes back to the glory days of a previously mentioned British supergroup. Not to be missed either is bassist James McDonough, who, while not flashy, certainly is the glue of the band's tighter-than-thou power metal sound. Iced Earth staples like "Dark Saga," "Stormrider," "Last December," and "Pure Evil" are included, along with newer cuts from the last album, Something Wicked This Way Comes. Iced Earth is quite adept at wielding the energy of the crowd (similar to Blind Guardian) to their advantage. They use it to give the live sound a burst of energy that entraps the listener, leaving them at the bands mercy. ~ Jason Hundey, All Music Guide
'Something Wicked This Way Comes'
Release Date 6/19/1998
Tracks 13
Label Century Media
See Album Tracklist and Review
What The Critics Say
Released in 1998, Something Wicked This Way Comes offers Iced Earth virtually replicating their previous effort, The Dark Saga, but with somewhat less inspired results. "Burning Times," "Stand Alone," and "My Own Savior" are fine slabs of the classic metal/thrash metal combination the band has become known for, but they lack the spark of yesteryear. "1776" is a humdrum instrumental in the Iron Maiden mold, and while "Watching Over Me" and "Consequences" show the band breaking new melodic ground, "Disciples of the Lie" and "Blessed Are You" are two of the few truly memorable songs. Perhaps time limits are the real problem, as the band seems most at home during the extended compositions comprising the "Something Wicked" trilogy which closes the album. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
As the cover artwork would suggest, Iced Earth's fourth album, 1996's The Dark Saga, is a concept album based on the popular Todd MacFarlane comic book series Spawn. Though most of the album poses the band in an uncommonly laid-back, non-thrashy mood, the songwriting of leader and guitarist Jon Schaffer is at an all-time inspirational high. In fact the band knocks out both the title track and the excellent "I Died for You" before the furious "Violate" provides the first taste of a double kick drum. Versatile singer Matthew Barlow is impressive throughout but the remarkable interplay between Schaffer and lead guitarist Randall Shawver is the album's true highlight, most notably on the dual harmonies of "The Hunter." Some of the momentum is lost with "The Suffering," a three-song suite that tends to plod along at times, but overall this is a strong album, and one of the band's best. ~ Eduardo Rivadavia, All Music Guide
