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Happy 2014 minions of metal, and what an excellent start we are off to so far. I'd be selling myself short if I claimed to be anything less than an avid fan of Iced Earth, and Plagues of Babylon has been like Christmas and New Year's all over again for me, at once! Now, before I start salivating and probably bore you with things you don't care to hear, let's start with a few facts.

This is Iced Earth's first album since Dystopia three years ago, which was also the first album to feature Regina-native Stu Block (most prominently known from Into Eternity) as a new band member. I confess, when they first announced that Matt Barlow was leaving the band for good to be replaced by Block, I was worried. I made it a point to follow Into Eternity (Another IE band, yes?) religiously, and I wasn't impressed, but I told myself I'd wait it out a bit longer. Finally, they released the single "Dante's Inferno 2011", and it completely blew me away. It sounded exactly the way I had hoped—Stu was able to sing like Barlow and maintain enough of his own ability to stand out as a unique vocalist. By the time Dystopia was released, I was convinced, and watching him perform live during the Dystopia tour was when I believed that he belonged.

However, that doesn't mean that I cease to maintain constant critical analysis of my favourite band. When they released the single "Plagues of Babylon", admittedly I was just as sceptical. They released a very artistic video with artwork worthy of any Iced Earth fan with their mascot Set Abominae being very prominent. While reading the lyrics, I was worried that they may have taken a turn towards their (in my opinion) weakest album Glorious Burden, shying away from their epic tales and focusing on subject matter that seemed almost political. Having listened to more of the album, I became more aware of their story and, well, it's quite an adventure and you would have to listen to the chapters of "Something Wicked" to fully grasp the direction that the album is heading.

The length of the album is almost an exact hour, averaging about five minutes each song. It may seem a bit long for the radio-friendly types, but as I listen to this album I don't notice the time at all. It's easy to get lost in the music, and I spent more time rewinding the tracks and just listening than actually writing this review! At the same time, some of my favourite songs in past Iced Earth albums—such as "Burnt Offerings", "Dante's Inferno", "A Question of Heaven", and "The Domino Decree"—have been longer songs, so I assume that anybody who listens to Iced Earth would know what to expect.

Rating: 4/5

Recommended tracks: "Plagues of Babylon", "Democide", "If I Could See You" (for fans of songs like "Watching Over Me" or "Consequences"), and "Parasite"

--Cecil D. hosts Burnt Offerings, every Sunday from 6-8PM! Part of Metal Sundays, only on CJLO

Hosted by Saturn De Los Angeles

Stories written by Taisha Henry, John Toohey, Alexa Everett

Produced by Marilla Steuter-Martin

Stop. Before you read any further, reread the title of this article. Good. Now, don't flame me if you don't like that one particular Judas Priest song, or if this particular band or that particular band isn't metal enough or heavy enough or any other nonsense. This is about album COVERS, not album contents, because I like pretty pictures as well as heavy music, so this is about graphic design more than anything else. 

Heavy metal compilations, and indeed, many metal albums in general, tend to be extremely fond of three important elements. One, FIRE!! Two, LIGHTNING!!! Three, muscly guys, and/or women with big boobs, and/or some kind of demon, preferably holding a guitar... that's been struck by lightning and is currently on fire. The ones I've spotlighted below are a little different, a little more subtle, maybe, or perhaps equally stupid, but in a different way. 

Except for this one.

I promise the rest of them will be more unconventional, but I just had to include this one, because it might as well the most archetypal metal compilation album cover of all time. This is the soundtrack to the 80s Canadian scifi/fantasy animation anthology birthed from a magazine of the same name. As you can see, it hits many of the expected notes. There's the chick with the large rack, swooping in on some kind of gryphon-type creature. It's epic, indeed, but it's the logo that steals the scene here, and particularly the chromed look, which is undeniably badass, and which inspired the logo for my own show (as seen here or here, all done up for xmas) as well as countless others. This may not be the best of the best, but for the genre, this is undeniably one of the most iconic.

Next up is an understated masterpiece. Look at this thing. It's nearly flawless. With limited visual information, this one album cover conveys so much. Of course, the title font is epic (download it for free here), though I kind of wish they'd gone with a plainer font for the smaller text. What makes this such a gem, however, is the choice to go with the studded leather idea, and then to subvert it by losing a stud. Who among us hasn't felt that pain at one time or another? Not only is studded leather, with one (or more) studs missing, the quintessential rocker/banger/punker accessory, but being a little grubby, messy, with parts missing is a crucial part of the overall identity.

I can't get enough of this one. There's an incredibly visceral quality to this cover that, despite a relatively overwrought illustration style, really grabs you at first sight. The lettering is simple and doesn't mess around, and the image of this dude crying tears of joy? fear? blood? while holding a ridiculous set of amp stacks to each ear makes this album cover a classic. By the way, you know that most of the time, those massive sets of amps are utterly bogus stage props, right? Here's proof. And more proof. And here's more info in case you'd like to buy or make a behemoth set of your own. 

An undeniably important album in the history of modern metal, this cover blows my mind in two specific ways. First, it's proof that simple black and white, while inexpensive, can still look amazing, and second of all, and maybe because of the black & white printing, this cover is incredibly timeless. The lava and skulls look current today, and even the font manages to stay unaged. Before going on to found Metal Blade Records, Brian Slagel put out a series of compilations of unsigned, underground metal bands (including a small band you may have heard of called Metallica). This is the first of those compilations, and looking at the cover, it's impossible to tell that this was released back in 1982. The design of this album was decades ahead, and it remains a visual classic.

This last one is a personal favorite, because it was given to me by my righteous friend Phil (who runs the excellent Cinéclub / Film Society of Montreal) and it currently hangs in a place of pride in my kitchen. While the font itself is a spectacular choice (and I'm particularly fond of how the title is haphazardly sprinkled along the top of the cover), it's the menacing glare of the stoned out banger sitting down to his repast of ball bearings 'n' milk that really sells this record. Of course, the premise is ridiculous, but all that matters is moving units, and an attention catching visual is the way to do it. Plus, if your "tr00" enough, you do eat ball bearings for breakfast, right? ... right?

That's it, a small peek at some of the arguably best heavy metal compilation album covers of all time. Undoubtedly you have your own favorites, so sound off on Twitter to @CJLO1690AM if you think I've missed any!

The president of Quebec’s Human Rights Commission is urging that Charter of Human Rights and Freedoms not be weakened to allow the adoption of Bill 60. 

According to the Gazette, Jacques Fremont voiced the commission’s serious reservations concerning the so called values charter in Montreal on Friday.

Fremont argued that Bill 60’s major amendments to the Charter of Rights would place values above basic human rights like freedom of expression and religion.

He added that the bill is essentially unnecessary, as equality, secularism and neutrality are already established in the Charter of Rights.

The commission’s briefing also warns that if Bill 60 was to be adopted in its current form, it could risk multiplying the number of legal challenges and conflicts in Quebec.