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"The War of Art" is Minneapolis-based American Head Charge's debut release on American/Island Records. They bring a unique blend of metal, played with an immense fury that approaches the obscene. The album was produced by the infamous Rick Rubin and created in the basement of his legendary Laurel Canyon home, also known as the Houdini Mansion. Featuring seven members, the band has become widely known for their insane live performances and the raw emotional violence of their sound.
Straight away with 'Violent Reaction', the first track, the foundation is laid with an opening song that smacks of raw anger, with a sample-laden chorus set to the accompaniment of an intense bass line and sick drums, the vocals break up the heaviness with harmonies that start out simple and descend into an all out screech. The only thing that didn't seem to fit in the song is the mid break sample that sounds like a police siren, it drowned out the guitars and changed the tone of the song.

Next is "Pushing the Envelope", a maniacal blend of aggressive chords maintained by a solid bass line and the insanely manic speed of Christopher Emery's drumming style.

"Song for the Suspect" highlights crunchy guitar riffage marked by the piano's entrance and the outstanding vocals of front man, Martin Cock.

"Song for the Suspect" is followed by the bass-heavy "Never Get Caught", which boasts an addicting intro and extraordinary vocal dynamics, ranging from a breathless whisper to a blistering howl, and "Self", a sledge hammer assault of violence, brimming with psychotic energy and fused with industrial metal that creates a disorienting listen -- mercilessly violent one second, then breaking into what could only be called short blasts of fury. The backing vocals have a mechanic overlay that is intriguing, and overall I think this would be an excellent single for release.

The track "Just So You Know" features a morbid-sounding organ intro that breaks into masochistic guitars broken by the spectacular vocal delivery that flows through the entire song. A lighter sound than the rest, this is more radio-friendly, yet still unique with its catchy chorus and edgy groove.

"Seamless" takes over next, rock steady with a Rap lead vocal tirade and more of the police sirens I could definitely do without. Maybe it's just me, but there is something annoying, even piercing about that sound. There is a break mid-song with a creepy vocal highlighted by the chillingly raw delivery of "Take me, Take my life!" over and over, yet it never sounds the same twice... and then it drops off the deep end into the rap/metal tirade that is just sick. The more I hear this song, the more I like it.

"Effigy 23" shows the band in a more diverse light. So far it's my favorite track -- it starts with just a tease of simple keyboards and what sounds like a woman having an orgasm. Then there's a hook- laden display of drops and changes intertwined with harmony, punctuated by samples and whispered schizophrenic cadence. The song retains a melancholy vibe, complete with disturbing electronic samples supplied by keyboardists Aaron Zilch and Justin Fouler.

"Americunt Evolving Into Useless Psychic Garbage" is next, a fury of speed and brutal, gut-wrenching metal, layered sounds of guitar shards, Chad Hank's head splitting bass, and frantic drums, this song is an explosion of sound, lead by a voice that is seemingly on the edge of insanity. This one goes out in an electrifying shatter of noise and then leads us into the groove-oriented, more melodic "Shutdown", full of static, diverse vocal range, and a soul- wrenching bass line. "Shutdown" shows yet another eclectic element of American Head Charge.

The strange intro of "We Believe" is followed by an even stranger delivery, and "Breathe in, Bleed Out", a song wrapped in aggressive industrial rhythms and the fierce intensity of the breathless vocals. Next is "Fall," another standout track and my new favorite. .

From beginning to end "The War of Art" is an album that, while not unique in its genre, carves out it's own niche in the nu-metal world with a combination of solid musicianship, aggressive and emotionally raw lyrics set in contrast by melodic breakdowns. It is their expert delivery that makes them stand alone in the field. I think the whole package is made more powerful by the sudden dynamic shifts and drops, intrusions of electronic noise, and punctuated vocals.

Raw with emotional energy and lyrics that are somewhat twisted, AHC has an aggressive sound and intensity that literally bleeds through on this album. Excellently produced and arranged, it is an unbelievable sixty-eight minutes and sixteen tracks long. The core of their sound lies not only in their skill as musicians, but in the dominating presence of their front man, Martin Cock. With an impressive vocal range that runs the gamut from a breathless whisper to a brutal scream he delivers with an intense ferocity and control.