Album Reviews – Sonic Perspectives: Recent Episodes
Sonic Perspectives
Traditionalism thrives in an unexpected place.Old school enthusiasts of the blackened sonic craft are quick to say that the original spirit of the 2nd wave passed out of existence roughly 3 decades ago. But the point that tends to elude most of those who cleave to the days when the likes of Immortal, Emperor, and Darkthrone were shunning conventional definitions of extreme metal for something more primeval is that the philosophy behind the sound can manifest in different ways.
Sometimes all that is needed to discover the ties that bind the new to the old is looking past the modern coat of paint that even rugged DIY outfits enjoy due to greater interest in the subgenre and studio accessibility, thus revealing the same devotion to pre-modern lore with the same signature style. This is the place where Hulder, the brainchild of Belgian-turned-Washington-state-based multi-instrumentalist and vocalist Marliese Osborne, resides amid a scene more readily associated with 3rd-wave naturalism and progressive contemplation, and their third studio LP Verbolgen presents the clearest presentation of the traditional northern European approach.
At its core, this is an album that is born of a mixture of diabolical mysticism and northern coldness that contrasts with a dank naturalism and meditative quality. There is a peripheral flavoring of folksy/medieval period instrumentation and corresponding woodland tunes that runs somewhat parallel to the former, but the predominant character of how Hulder’s brand of auditory grimness is executed is more in line with the melodic and frosty demeanor of the elder Scandinavian masters of the snowy mountains of might.
Indeed, apart from Marliese’s and/or bassist/husband Sam Osborne’s sepulchral barks, epic forays into the arcane black such as “The Crowning” and “View From Nemeton” strike a very similar chord to the seminal mid to late 90s odes to Norse warfare. Then again, the more controlled and methodical character of the instrumentation and the quasi-symphonic character of the keyboards also point to a strong influence from Emperor’s In The Nightside Eclipse.
Even from its very beginning, this is an album that communicates a sentiment that is as spiritually centered as it is defiant. The instrumental prelude “Drie Raven” has all the makings of a Viking Age overture performed at a campfire with mead in hand and a grand tale to tell, though what follows is quite different from the folk metal stylings that one would normally expect. At best, Hulder dabbles in the sort of pomp and bluster associated with Heidevolk or Ensiferum, as the dancing melodic character and more mid-paced feel of “Thy Binding Oath” and “In Blood And In Earth” is draped in a far more morbid atmosphere.
By contrast, the blast-happy and war-torn title anthem “Verbolgen and its longer brother “…And We Shall Sing” are full-on master classes in pure blackened violence that seldom veer into folksy trappings save for a faint chant during its closing moments of the latter that sounds like it’s buried in an avalanche of guitars. Round it out with a thrashing beast of an entry in “Den Nacht Zijn Lied”, featuring some flashy guitar moments out of Obsequiae’s Tanner “Keld” Anderson, and a closing melancholic fanfare dubbed “The Glow Of Dawn,” and an intricate circle of 2nd-wave-inspired power is fully drawn.
In every relevant respect, Verbolgen is among the more compelling examples of an American-based band fully embracing the European aesthetic and making it accessible to mid-2020s listeners. Much of this likely owes to Marliese’s close proximity to where said sound was born prior to her move to the U.S., and is clearly reflected in her prior band Bleeder’s music bearing heavy similarities to the early blackened trails blazed by Celtic Frost and Bathory.
But whether this air of old school authenticity arises from one’s roots or just a desire to walk a similar path to the bands that one identifies with, the result is an impressive anthology of odes that are possessed of the same general character and effectively balance the cold atmospheric character of said sound with a more impact-based and heavy execution. Fans of classic 90s albums like Dark Medieval Times, Blizzard Beasts and In The Nightside Eclipse that don’t mind a 2026 studio upgrade and some Falkenbach and Windir elements along for the ride will definitely want to warm their travel-weary selves by Hulder’s campfire.
Release Date: August 7, 2026Record Label: 20 Buck SpinGenre: Black Metal
Musicians: Hulder / Vocals, Electric & Acoustic Guitars, & Keyboards * Necreon* / Bass, Vocals
Guest Musicians:
- Januaria / Flute
- Vapula / Drums (Tracks 4, 5, 8, 9)
- Vrolok / Drums (Tracks 2, 3, 6, 7)
- Keld / Hurdy Gurdy, Keyboards, & Lead Guitars
Verbolgen Tracklist:1. Drie Raven (Intro) 2. The Crowning 3. Thy Binding Oath 4. Verbolgen 5. …And We Shall Sing 6. In Blood and In Earth 7. Den Nacht Zijn Lied 8. View From Nemeton 9. The Glow of Dawn
Order the album here.
The post HULDER – Verbolgen (Album Review) appeared first on Sonic Perspectives.
Every party has to come to an end.The old adage of “where does the time go?” has become far more poignant in recent years, and not necessarily due to any one icon of heavy metal’s more than 50-year history departing for the next life or calling it a career. There has been a staggered change of the guard in recent years that is difficult to miss if one prefers their sonic aggression to be of a more traditional pedigree; one has seen a new generation of artists picking up where the original NWOBHM left off, and it has even been tagged with a similar name.
On the Teutonic end of the old school spectrum stands Sinner, one of the early adherents of the craft to hit the trail that had been blazed by the pioneering efforts of Scorpions and later Accept, led by bassist/vocalist Matthias Lasch, now better known by the stage name Mat Sinner. Alongside the likes of Victory and Tyran’ Pace, they forged an impressive early metal onslaught during the 80s before the rise of the speed metal craze, though the years since have seen them outlasting the latter and have a more consistent studio output than the former.
Having soldiered on through every change in the musical landscape since their 1981 founding, Sinner is a band that has become synonymous with tenacity, and now at the end of the proverbial road they have ushered in a comprehensive celebration of their 45-year run in Boom Bang Goodbye. Being no strangers to evolving their style over time, this is an album that lives not by nostalgia, but in the present day with an accordingly modern character. A veritable who is who of vocal talent have been tapped to deliver the lyrics of what could almost be a tribute LP, not to mention bringing former guitarist Mathias Dieth back for a guest solo slot roughly 40 years to the day that he contributed to their fifth studio LP Comin’ Out Fighting.
Yet even more impressive than the large ensemble that has joined in the auditory festivities is the focused execution in the songwriting department, which heavily resembles the grandiose fanfare that Mat Sinner often helped produce during his tenure with Frontiers Records, but also flows in a streamlined fashion reminiscent of the radio-oriented material of Sinner’s formative years.
In rather stark contrast to the prior and highly successful studio entry Brotherhood, the tone set is of a far lighter and more optimistic tone. Right from the opening melodic guitar luster of “Dreams Can Come True”, the feel of things is auspiciously upbeat and triumphant, and the culmination of what follows mixes earworm hooks with a soaring vocal display out of Renan Zonta seamlessly.
Subsequent banger entries like “Wait” and the more poignant semi-ballad turned epic crusher “Leave It All Behind” follow a similar path of infectious hooks and brevity, albeit with a little more grit between the respective vocal performances of Michael Bormann and Ronnie Romero, and a heavier tone more in line with the traditional metal side of Sinner’s extensive career. Things seesaw back to a more light-hearted tone with the 80s AOR-like rocker “All Night Long” and the inspirational “Are You Ready”, the latter seeing Bjorn “Speed” Strid bring that signature clean cut swagger he’s been showcasing via The Night Flight Orchestra, all the while the dual guitar assault of Alex Scholpp and Kissin’ Dynamite’s own Jim Muller masterfully blend tasteful melodies with virtuosic flair.
While the opening half of this fun-filled opus is an impressive ride, what follows is where the metal truly meets the road. The somewhat unoriginally named “Born To Run” strikes up a haunting mood with a lone acoustic line before landing on a down-tempo metallic stomp, spearheaded by a riveting vocal display out of Eclipse’s own Erik Martensson, though the real action comes out of the insanely expressive lead guitar display laid down by Mathias Dieth.
The riff-happy metallic punch of “Hellbreaker” proves the perfect backdrop for Ronnie Romero’s Dio-inspired forceful vocal approach; meanwhile, the almost pop/rock smoothness of “Turn The Page” finds a correspondingly clean-cut yet explosive display out of Canadian progressive rock titans Saga’s helmsman Michael Sadler. The final stretch of this grand final hurrah is where things reach an apex, culminating in a massive trifecta of banger entries in fast-paced “Road To Remember”, the riff-driven mid-paced beast “Under The Moonlight” and the explosive finale featuring the virtuoso guitar chops and vocal talent of Magnus Karlsson, “Power”.
It’s never an easy thing, coming to terms with the truth of the saying that all good things come to an end, even if in this particular case Mat Sinner’s ongoing work with Primal Fear will continue into the foreseeable future. The Sinner brand carries a legacy that stood with a stiff upper lip through the trials of late 80s glam excess, the malaise of 90s grunge and alternative rock, and played a role in the revival of true metal in Europe at the turn of the millennium.
To say that it’s near half a century run as a heavy metal institution has been a consequential one would be putting it lightly, but the march of time (apologies to Helloween) does eventually see us all reaching new horizons. Be this all as it may, Boom Bang Goodbye is the sort of final note that any outfit should be proud of striking before the close of the curtain, and for those with a taste for the sort of anthem-oriented pomp and circumstance that Frontiers Records has been dishing out for the past 20 years, or for metal with a melody in general, this is made to order.
Release Date: July 31, 2026Record Label: Reigning Phoenix MusicGenre: Hard Rock
Musicians: Lisa Müller / Keyboards * Mat Sinner / Vocals & Bass * Alex Scholpp / Guitars * Moritz Müller / Drums * Jim Müller* / Guitars
Guest Musicians:
- Ronnie Romero / Vocals (Tracks 3, 4, 7)
- Björn “Speed” Strid / Vocals (Track 5)
- Erik Mårtensson / Vocals (Track 6)
- Renan Zonta / Vocals (Track 1)
- Magnus Karlsson / Vocals & Lead Guitars (Track 11)
- Michael Bormann / Vocals (Tracks 2, 9)
- Michael Sadler / Vocals (Track 8)
- Sascha Krebs / Vocals (Track 10)
- Mathias Dieth / Lead Guitars (Track 6)
Boom Bang Goodbye Tracklist:1. Dreams Can Come True 2. Wait 3. Leave It All Behind 4. All Night Long 5. Are You Ready 6. Born to Run 7. Hellbreaker 8. Turn the Page 9. Road to Remember 10. Under the Moonlight 11. Power
Order the album here.
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Two times the iconic charm.One of the greatest pitfalls of any project falling under the purview of a super-group is an unequally yoked lineup. The list of one-off endeavors featuring a veritable who is who of elite musicians that either managed a mere single studio album or failed to even get beyond a handful of rough drafts that barely qualify as a demo is quite long, owing to clashing egos or chasms in creative goals, but Italian rock and metal label Frontiers Records has proven quite apt in avoiding these snares.
Among their more recent veteran collectives to show heavy promise is the melodic rock quintet Iconic, built off an impressive union of major names in the genre spanning the glory days of 80s arena exploits through the present, all sharing the same philosophy of crafting technically extravagant yet highly accessible material. Their 2022 debut Second Skin set a high standard of excellence that could rival anything that has passed for rock radio in the past 30 years, and their newly finalized follow-up, simply dubbed II, matches it at every point and builds further upon an impressive yet still nascent legacy.
At their core, this is a musical collective that understands how to mix flashy fits of virtuosic flair into the auditory brew without sacrificing brevity or general appeal. At the helm is arguably one of the most powerful voices to rise to prominence in the past 15 years, namely Inglorious vocalist Nathan James, though many likely know him for his 2 year contribution to Trans-Siberian Orchestra. His timbre and range consistently exude a level of intensity and ability not commonly heard in modern rock circles, and often resemble the gritty growl of Brainstorm helmsman Andy Franck.
Then again, the barrage of choir-like guitar harmonies and riveting shred-happy solos unleashed by virtuoso six-string wizard Joel Hoekstra and Stryper’s own Michael Sweet make an equally auspicious showing in the arrangement, to speak nothing of the rock-solid riff work filling out the body of each song. Likewise, a band rarely goes far without a correspondingly tight and able rhythm section, and between Thin Lizzy’s Marco Mendoza handling the bass and former Ozzy Osbourne drummer Tommy Aldridge making a mighty racket behind the kit, no weak link in this impressive chain is to be found.
From start to finish, II is an album that defies the trope of a single-based LP loaded with filler and offers up a consistently potent and spellbinding experience. Banger entries like the promotional single and opening foray “Cry No More”, and other similarly upbeat and guitar-oriented crushers like “Open My Eyes” and “Take Me To The Place” match earworm melodies with mesmerizing feats of guitar gymnastics, all the while relying upon conventional songwriting methods that make it all flow seamlessly.
By the same token, more slow-to-mid-paced entries like “Tears Keep On Falling” and “Nothing Left For Me” keep the rock element hard and heavy while striking a more somber tone, James’ powerhouse vocals bobbing and weaving with the shifting dynamics while Hoekstra’s and Sweet’s guitar work shifts brilliantly between tasteful wails and shredding intrigue.
Sometimes the vibe leans into a bluesy shuffle comparable to early 90s Whitesnake as heard on “S.O.S.”, while at others the flashy guitar high-jinks and 80s glam tropes go into overdrive via “Valley Of Lost Souls” and “Written In The Stars”, but whichever song in the rotation has its say, the energy and spirit factor is unabated, even in the case of the laid back power ballad and closer “Heart Of Stone”, which also sees Mendoza’s bass talents get some time in the sun.
Among the many bands out there keeping the classic rock end up and bucking the trend of rap and EDM/pop completely ruling the 2020s, Iconic is a name that should and most likely will increase its reach with the onset of the latter half of the current decade. It largely reaffirms ideas that have been present in hard rock since the mid to late 80s when Stryper and Whitesnake were at their commercial peak, and also when the influence of earlier strides made by Thin Lizzy were still heavily present in popular consciousness, yet it embraces the more grounded and gritty production character of a band that can communicate it all to the current generation without sounding like a mere nostalgia act.
In a time when many of the elder greats have either shed their mortal coil like John “Ozzy” Osbourne or retired from the scene as the legendary David Coverdale has, this the sort of union of elder statesmen and prime aged talent that acts as a bridge so that the torch of rock ‘n’ roll can be passed on without so much as a flicker of its flame, and II is certainly not an album to be missed.
Release Date: July 31st, 2026Record Label: Frontiers Music SLRGenre: Melodic Hard Rock
Musicians: Nathan James / Vocals * Joel Hoekstra / Guitars * Michael Sweet / Guitars * Marco Mendoza / Bass * Tommy Aldridge* / Drums
II Tracklist:1. Cry No More 2. All I Want 3. Open My Eyes 4. Tears Keep On Falling 5. S.O.S. 6. Nothing Left For Me 7. Far Away 8. Valley Of Lost Souls 9. Written In The Stars 10. Heart Of Stone
Order the album here.
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The many spinoffs Fates Warning has birthed have been nearly as rewarding as Fates Warning itself, with North Sea Echoes holding the distinction of being the brainchild of the two minds who guided Fates through their Pink Floyd era back into heavier territories. Perhaps feeling liberated from the weight of such a daunting legacy, the sophomore outing from North Sea Echoes sees Fates honcho Jim Matheos and longtime Fates singer Ray Alder weaving relatively few elements of their dormant band with the goth rock, new wave, and even synthpop that enamored me before metal found its way into my life.
For the songwriting team that has moved me more than any other to be toying with the music I loved in my pre-metal youth sounds like an experiment that was never supposed to happen, but the more I re-listen to How to Cast a Shadow, the more I find worth appreciating. How to Cast a Shadow begins very much like a Tuesday the Sky record; “A Time of Innocence and Purpose” is a sparse, minimalist soundscape built on clean, damp, and barely audible guitars, interlaced into textures both rich and austere.
The use of synths and electronic drums certainly makes my inner Cause & Effect fanboy happy, especially knowing how unlikely it is that Jim or Ray even know of that Sacramento synthpop duo. This happy coincidence is all the more pleasing for its very singularity: Jim and Ray are trying to be no one other than themselves. They’re simply – and actively – finding new ways to broadcast their inner struggles. It cannot be overstated how heartening it is to see Ray, someone who once reviled the very thought of penning his own lyrics, intoning such affliction as “I look at you and see nothing/ I turn away, and there you are.” If anything is certain about the Alder/ Matheos pairing, it’s that we can always expect self-examination, regret, and just a microdose of acquiescence.
“Enjoy the View” pairs the paradoxical and the prescient with new-wave-inspired rock, where Ray closes his eyes to do as the title dictates; this song begins with an eerie keyboard motif carried by a very new-wave synthesized bass for the first verse, breaking into heavy (and heavily textured) metallic territory for that anthemic refrain. Verse three threatens to go into more technical Fates territory carried by sublime industrial noise, but comes right back into that heavy gothic rock. It ain’t exactly Sisters of Mercy, but we neither need nor want North Sea Echoes to try to ape something that’s already been done pretty damn well.
Instead, Jim and Ray seem to be enjoying the liberty of creating deeply personal music without the pressure of their past threatening to subsume them. Let’s be clear: this is not billed as a Fates Warning album because it very deliberately is not intended to sound like Fates Warning, and that very act gives How to Cast a Shadow a sense of levity despite being a dark and brooding album.
Driving that point home is the wistful “Good Enough,” a delicate three-and-a-half-minute ditty that feels like the resolution of a relationship that benefited and fulfilled both parties, but that had reached the end of its course with both partners grieving that end, but grateful to have experienced each other. “I’ll Leave a Light On” follows without hesitation, as though it were a continuation of the song that precedes it, where the narrator expresses second thoughts about the perceived inevitability of this separation.
It also runs a peculiar parallel with a well-loved Fates classic: it sustains thoughtfully textured chords over a heavy rock riff much in the vein of “Firefly,” itself a song that comes to terms with a connection never fully realized. The resemblance is subtle enough to be either coincidental or just a clever Easter egg meant to reward diehards, and this ambiguity is delicious enough to be left alone without further elucidation. “I’ll Leave a Light On” is strong enough to be enjoyed on its own merit anyway.
Curiously, that song is followed by the almost darkwave opening to “All Fall Away,” where a single gently arpeggiated chord dares you to not recall the triads overlain the verses of “The Eleventh Hour.” The similarities end with that chord though, as the song soon storms into a plenty heavy but barely metal refrain. This brief dance between rock and goth segues into perhaps the most synthpop song on the album, the quite danceable “Revenge.” Despite the decidedly dark lyrics, which include a reference to The Merchant of Venice and an almost imperceptible (and possibly serendipitous) nod to Fates’ Arch era in the line “I’ll wait by the River’s Edge,” “Revenge” does have the potential keep feet shuffling on the goth club’s dance floor, at least right up until Ray has some polyrhythmic counterpoint fun as the song approaches its conclusion. I’m almost certain that technical synthpop exists in this weird world of ours, but this is my first time hearing anything like this, and its execution wisely does not call too much attention to itself.
While “Villains or Saints” might be the most directly hard rock thing Jim and Ray have ever done together, “What Is and What Was” feels like it could have been on a Tuesday the Sky’s sophomore album had Jim asked Ray to participate. “All That Comes After,” on the other hand, not only sounds like something only these two gentlemen could have created, it also leaves me believing that this could be the sound of Jim and Ray finding another voice. Could it just be a happy accident that it’s also the most radio-friendly song on the album?
Ray saves his most stinging lyrics for the closing title track, appropriately cloaked in the sound we heard on Really Good Terrible Things a few years ago: ethereal, despondent, and sparse, with the resignation in Ray’s voice succinctly inspiring his despair within us: “I always knew you could darken doorways. Still, I let you in. But how can you cast a shadow through a doorway when the light’s gone dim from within?”
How to Cast a Shadow is certainly more a day trip than a journey, but it’s the sort of day trip where the traveler makes new discoveries along a familiar path and views his surroundings through different eyes, or at the very least at least in a different light. Moreover – and this can’t be stressed enough – this second outing from North Sea Echoes is the sound of self-rediscovery, where a partnership in its fifth decade is creating a new avenue for its analysis of the human experience.
Release Date: July 24th, 2026Record Label: Metal Blade RecordsGenre: Post Rock / Alt Rock / Progressive Rock
Musicians: Jim Matheos / Guitars, Programming * Ray Alder* / Vocals
How to Cast a Shadow Tracklist: 1. A Time of Innocence and Purpose
2. Enjoy the View
3. Good Enough
4. I’ll Leave a Light On
5. All Fall Away
6. Revenge
7. Villains or Saints
8. What Is And What Was
9. All That Comes After
10. How to Cast a Shadow
Order the album here.
The post NORTH SEA ECHOES – How To Cast A Shadow (Album Review) appeared first on Sonic Perspectives.
Embrace the wrath of the storm.Greatness can often follow a stern refusal to chase the latest trend, and in the case of German power metal veteran band StormHammer, it’s been business as usual for the lion’s share of their 3 decade career. Born out of the alternative rock-dominated wasteland of 1993, nonconformity was in this outfit’s blood from day one as they steadfastly stuck to their traditional heavy metal guns in a time when it was far from fashionable, paving the way for new horizons at the dawn of the new millennium.
Their 2000 debut Fireball would see them tied in with the then-exploding 2nd wave of European power metal, though stylistically speaking they were closer to the traditional template set by the likes of Grave Digger and Running Wild. Despite being continually subject to a revolving door of lineup changes that has found bassist Horst Tessmann as the lone founding member, they’ve continued to be an example of controlled evolution married to a firmly rooted traditional style, resulting in a consistently strong yet varied output, and their 9th studio LP Wrath Of The Hammer is no exception.
In many respects, this 10-part manifesto of hard-hitting metallic splendor could be seen as yet another rebirth of this longstanding power metal institution. Barring the aforementioned co-founder Tessmann’s integral work at the bass and lead vocalist M. Nox’s gravely wails reprising their role from the 2022 Never Surrender – 30 Years of Power compilation, the membership involved in crafting the sonic palace that rounds out this opus is comprised of new recruits.
The dual guitar assault of Phil Meyers and Christos Efstathiou bears a rather uncanny resemblance to the masterful riffing display put on by Mani Schmidt and Thilo Hermann during the late 2000s era of Grave Digger, with some occasional Helloween-inspired technical flourishes. Yet the glue that truly holds this kinetic blast of mid-80s Teutonic speed and thrash metal mayhem with a consonant melodic gloss together is the drum work of ex-Benediction kit man Ashley Guest, who channels the militant aggression that Thomas Stauch brought to Blind Guardian throughout the 90s and proves to be the lynchpin in this album’s unique approach of blurring the lines between thrash and power metal.
In a structural sense, Wrath Of The Hammer embodies all the elements of a classic early 2000s 2nd wave album, perhaps even more so than the material that StormHammer originally contributed to that era. Breaking the silence with a massive symphonic overture dubbed “Beware”, this album proceeds to hit the ground running at full speed and takes very few opportunities to catch its breath. Between driving earworm anthems with plenty of bite like the title entry “Wrath Of The Hammer”, “Ashes Of The Throne” and “Wheels Of Eternity”, the first half of this album presents an unrelenting dose of high-octane, riff-happy fury. Throw into the mix a rerecording of the 2022 crusher “Light In The Dark” off the last album, featuring the vocal talents of Grave Digger’s Chris Boltendahl and Primal Fear’s Ralf Scheepers no less, and this entry leaves a massive crater in the earth before it’s halfway through.
The latter half of this raging metallic beast is no less formidable, though it does take a few more occasions to allow nuance to coexist with unrelenting power. The mournful power ballad “Guardians Of The Night” recalls the lighter side of the coin with a folksy and symphonic gloss, yet ultimately finds itself kicking up the tempo and the heaviness factor considerably at key points. The closing hurrah “The Dune” opts for a pace that could be considered close to mid-tempo, but often digs deep into the thrashing abyss for a few biting segments and lays on the symphonic and epic elements pretty thick. Yet in the same manner as the earlier offerings of this berserker offering, the lion’s share of time is spent flirting with the more insane side of the mosh pit with pummeling riff machines like “Veil Of Fire” and “Shattered Dominion”, to speak nothing for the harrowing speed thrashing masterwork “Scars Of The Abyss”, definitely a brilliant blend of melodic triumph and raw aggression to rival the title song for greatest standout of the bunch.
Insofar as power metal originals that have stood the test of time, StormHammer has had the bizarre disposition of being one of the most qualitatively consistent purveyors of the style but also has been comparatively obscure in relation to their contemporaries. Wrath Of The Hammer is the sort of album that brings the same level of speed, intrigue, and staying power as the better-known works of Stormwarrior and Paragon; yet they remain a lesser-known quantity even next to said bands despite having respectable runs under such noteworthy labels as Massacre Records and Century Media Records.
Then again, their present endeavors under the banner of Reigning Phoenix Music might solidify them as the true dark horse outfit of the 2020s. Any power, thrash, or old school heavy metal junkie worth their salt will want to hear what this opus has to offer, particularly if mid-2010s entries Echoes of a Lost Paradise and Welcome To The End found favor in one’s speakers at full volume. Make ready for the storm and the thunder of the hammer’s mighty wrath!
Release Date: July 17th, 2026Record Label: Reigning Phoenix MusicGenre: Power Metal
Musicians: Horst Tessmann / Bass * M. Nox / Vocals * Phil Meyers / Guitars * Christos Efstathiou / Guitars * Ashley Guest* / Drums
*Wrath Of The Hammer Track-list:*1. Beware
2. Wrath Of The Hammer
3. Ashes Of The Throne
4. Light In The Dark
5. Wheels of Eternity
6. Guardians Of The Night
7. Veil Of Fire
8. Scars Of The Abyss
9. Shattered Dominion
10. The Dune
Order the album here.
The post STORMHAMMER – Wrath Of The Hammer (Album Review) appeared first on Sonic Perspectives.
It’s all about what’s on the inside.In the same spirit as their fellow Canadian progressive rock and metal forerunners Rush and Voivod, Protest The Hero is a band that has little difficulty in standing out from the crowd. Originally cutting their teeth in the metalcore scene during its commercial heyday in the 2000s, they could have best been described as the band with enough technical chops to orbit The Dillinger Escape Plan, but also the melodic sensibilities and songwriting to appeal to the mainline scene typified by the likes of Killswitch Engage and All That Remains.
In the years since, their sound has gradually resolved from a highly frenetic hardcore-steeped assault bathed in mathcore high-jinks into a more elaborate and nuanced template of progressive metal with a healthy level of symphonic flourishes amid the flashy licks and soaring vocals, and their 6th studio LP Within presents the most refined and impressive yet accessible expression of this new direction yet.
Though at present only two founding members form the core of Protest The Hero in both a studio and touring capacity, flanked by several session and touring musicians filling out the arrangement, the presentation has lost none of its cohesiveness. Lead vocalist Rody Walker thrives in the higher range of the post-hardcore spectrum, mostly opting for a cleaner-cut tenor with occasional harsher go-betweens, and rhythm guitarist Tim MacMillar lays down some heavy-hitting riffs amid the auditory chaos, but much of the signature detailing that underscores this outfit’s technical nature is handled by session hands.
Of the bunch, lead guitarist and former full-time member of the fold Luke Hoskin typifies the very concept of madcap technical noodling, all the while acting as a balanced foil to MacMillar, an eventuality that definitely points to his long history with this outfit stretching back to its beginnings. The rhythm section, comprised of longtime on-and-off session bassist Cam McLellan and recently acquired drummer Nathan Bulla, performs masterfully in keeping things locked in despite all the moving parts, and often rivals Hoskin in how many fancy fills they offer into the pot.
In a nutshell, what Within brings to the table is a raging cacophony of complex ideas that somehow manage to come out making sense on the other side and even lands in earworm territory here and there. The opening politically-charged fist to the gut “Mouthpiece” checks all of the boxes of a high-octane progressive romp, cycling through rhythmically mixed segments and rapid shifts in feel, yet nailing a brilliant chorus hook in the midst of it all.
The more driving anthem “Fishhook” lands a little closer to the fast-paced, mid-2000s mainline of melodic metalcore, albeit with more moving parts and frenzied guitar work. The meaty monster “Grandfather’s Axe” blends in more of a thrashing element to the riff work while still wandering all over the stylistic map, spearheaded by Walker’s vocal approach taking on more of a whimsical to almost comedic character. “The Orchard” doubles back to a more straight-up punk feel, though it gets hard to miss the frequent madcap lead breaks streaming out of Hoskin’s guitar. The concluding one-two punch of “Liberty Spike” and especially the massive closing epic “The Mariner” take the cake for the most technically charged and stylistically mixed up of the bunch, often feeling like what Dream Theater would sound like while attempting a punk album after an extended caffeine binge.
The jury is out as to whether Within marks Protest The Hero at their most stylistically potent and refined, but for those that enjoyed the insane technical gymnastics of 2008’s Fortress and the melodically accessible character of Volition and Palimpsest, it’s an album that manages to bridge the divide quite effectively.
The clever usage of dynamic contrast and shifting genre approaches within songs, let alone the subtle melancholy orchestral interludes “Above” and “Below” – that serve to divide this musical play into three distinct acts – finds an album that it’s clearly still grounded in the melodic and stylistic characters, but it’s definitely the sort of cerebral-based endeavor that can appeal to the wider progressive rock and metal world, and underscores a band that, despite shifting membership, is just as in the game now as they were two decades ago.
Release Date: July 17th, 2026Record Label: IndependentGenre: Progressive Metal
Musicians: Rody Walker / Vocals * Tim MacMillar / Rhythm Guitar * Luke Hoskin / Lead Guitar * Cam McLellan / Bass * Nathan Bulla* / Drums
*Within Track-list:*1. Mouthpiece 2. Fishhook 3. I. Above 4. Grandfather’s Axe 5. The Orchard 6. II. Below 7. Liberty Spike 8. The Mariner
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The initiation has come again.It is impossible to overstate the importance that Death has in relation not only to the subgenre of metal that bears their name, but to the broader extreme side of the movement that emerged in the 90s and is still at its vanguard to this very day. Though Bay Area death/thrash pioneers Possessed are often lauded as the first band to field a complete LP in the subgenre via 1985’s Seven Churches, by the same time this Florida trailblazer that had initially gone under the moniker of Mantas had amassed a comparable haul of original studio material in demo form that was already making the rounds in the tape trading circuit and landing a tad closer to where the fully codified style was in the late 80s.
Sadly, much of the early material in question would not enjoy a finalized studio production by the time 1987’s Scream Bloody Gore came to light, and would since be shelved as mastermind Chuck Schuldiner (R.I.P.) continued to expand his creative palette and repertoire with a highly prolific and ever more eclectic streak of compositional output.
Given the ongoing renaissance that old school death metal has been experiencing for more than a decade, it seems to be fate that a tribute band consisting of some of the musicians that helped bring Schuldiner’s vision to fruition decades ago would take on the task of unveiling the many lost treasures of Death’s formative era. Led by charismatic front man and guitarist Matt Harvey of Exhumed fame and also the lynchpin of the OSDM and Death-inspired project Gruesome, guitarist Rick Rozz and bassist Terry Butler have returned to the roles that they vacated at the end of the 90s under the banner of Left To Die, which is arguably the closest that today’s generation will ever come to experiencing Death as it was when death metal first began to challenge thrash metal for prominence at the dawn of the 90s.
Combined with the manic yet technically precise kit work of Gruesome drummer Gus Rios, this reanimated undead juggernaut trudges out of the graveyard that is the old Florida sound with the fury of a vengeful revenant, blowing more than 4 decades of dust off an explosive medley of lost classics. In almost every respect, the resulting Initium Mortis functions both as a version of Scream Bloody Gore that could have happened in an alternate universe, as well as something that well could have been thrown together by Death in between said debut and their game-changing sophomore LP Leprosy.
The more smoothed out and compressed coat of paint that this receives via a mid-2020s digital production does set it apart from the time period in question, yet Harvey’s incredibly faithful emulation of Schuldiner’s signature guttural roar, combined with his and Rick Rozz’s seamless performance of the riffing and soloing approach that these songs had appropriated from the earliest strides into dark sonic territory made by Slayer, Venom and Celtic Frost, makes for a product that is practically indistinguishable from the original.
Occasional allusions to more traditional metal stylings make their way through at times, with Mantas-era entries like “Rise Of Satan” and “Mantas” betraying some fairly overt nods to Motorhead and Judas Priest that would be largely absent from their sound by the late 80s, though could perhaps be considered early forerunners to the latter-day death ‘n’ roll craze.
Of equal importance to the fact that Left To Die has perfectly recreated the original spirit of death metal primordial state is that they’ve done so by constructing what feels like a proper studio LP. From the highly expositional first foray of “Legion Of Doom” through the raging coup de grace of “Death By Metal”, there is a methodical flow to how this album gets from A to B that can stand on equal footing with what the original titans of the style were serving up between 1987 and 1990.
Standout entries that still come off as frenetic 40 years later, like “Archangel” and “Witch Of Hell,” are made to order for anyone that wants their auditory violence at breakneck speeds yet still possessed of a strong sense of musicality. Meanwhile, the haunting vibes put forth by the chilling instrumental “Zombie” could function as the main theme of its own film soundtrack, occasionally showing some thematic similarities to Iron Maiden’s “Transylvania”, though played about twice as fast. But the one that really brings home the necrotic bacon and points to death metal as it became at its commercial peak in the 90s is “Slaughterhouse”, which brings the brutality in a manner pointing directly to Cannibal Corpse’s Eaten Back To Life.
Left To Die can be seen as many things, from a celebration of a sound that paved the way for a revolution within heavy metal itself, to a bittersweet love letter to a legend that was taken from us all far too early. In keeping with the horrific character that typified Death’s formative years, the way in which these songs are so faithfully polished to a moribund shine results in an experience so vivid that it could be likened to the ghosts of the past screaming forward in time through Harvey’s resounding shouts and Rozz’s screaming leads.
To the survivors of the generation that witnessed death metal’s birth, it’s a nostalgic trip back to the youthful days of chaos in the mosh pit being a novel concept, whereas the younger generation will hear the same revivalist stylings that Gruesome, Skeletal Remains and Morfin have been churning out in tribute to the original for the past 10 years. But no matter what perspective one approaches this album from, the greatness of the artists that originally crafted these songs is not in doubt, nor are the abilities of those that came in to unearth them.
Release Date: July 17th, 2026Record Label: Relapse RecordsGenre: Death Metal
Musicians: Matt Harvey / Guitars, vocals * Rick Rozz / Guitars * Terry Butler / Bass * Gus Rios* / Drums
*Initium Mortis Track-list:*1. Legion Of Doom 2. Archangel 3. Power Of Darkness 4. Zombie 5. Witch Of Hell 6. Rise Of Satan 7. Summoned To Die 8. Mantas 9. Slaughterhouse 10. Death By Metal
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These lions rock with pure horsepower.It could be said that any musical endeavor lives and dies by the vision of its principal composer, but it is equally important that the caliber of musicians employed to translate that vision into a reality be top-notch. Regarding both, former Survivor keyboardist and prolific songwriter Jim Peterik has always had all bases covered when delivering a fresh opus of earworm anthems, be it smash hits like “Eye Of The Tiger”, “Burning Heart”, or a host of bangers with the likes of 38 Special and jazz rock icons Ides Of March.
In recent years, much of his energy has been focused on recapturing the same spirit that typified the 80s peak of AOR via Pride Of Lions, a collaboration with vocalist Toby Hitchcock and a cast of formidable instrumentalists that has been flying under the Frontiers Records banner since 2003. Now eight studio albums deep into the game, the latest LP Unbridled finds Peterik and company upping the creative ante considerably, blurring the line between retro rock nostalgia and present-day practices.
The energy factor wants for nothing even as the opening notes of this massive, 57-minute studio excursion unfold. Beginning on what can be best described as the AOR answer to Van Halen’s “Eruption”, the opener and title anthem “Unbridled” sees guitarist Mike Aquino putting on a six-string master class to rival many of the shred icons of the 80s, yet coming off as tasteful enough to make room for those signature melodic hooks that are the hallmark of Peterik’s sonic formula.
Between its extremely upbeat and riff-happy character, one might even go so far as to assume that this outfit let the cat out of the bag early and spent their best ideas on the first 6 minutes of the album, but the ebb and flow of rocking fanfare that immediately follows dispels this notion immediately. Be it the dramatic, guitar-driven fire of “Edge Of Forever” that could pass for a repackaged theme song for Rocky V that never was, or the inspirational power balladry that recalls the spirit of the original Karate Kid trilogy “Don’t Waste A Wish On Me”, the winning moments continue to pile up.
Though most of what occurs through this lofty album’s 12 chapters carries a strong stylistic aroma for what now seems a bygone era, the coat of paint that it sports definitely fits with where things stand in 2026. Mostly manifesting in a production quality that feels more up close and personal when measured against the analog era of Peterik’s career, more acoustically driven odes like “1000 Long Goodbyes” and the almost country-like power ballad “What The Whole World Needs To Know” carry a similar air of intimacy to the more confessional character of the post-90s rock era, even when accounting for the brilliantly vibrant vocal performances of Peterik and Hitchcock that ring similar to AOR contemporaries like Styx and REO Speedwagon.
In fact, the entire middle point of this album leans quite heavily into the ballad department, with standout entries like “I Can See In The Dark” and “Hell Of High Water” spearheading a more vocal-oriented array of craftsmanship that, nevertheless, comes with a healthy amount of melodic guitar and keyboard input to complement the steady grooves and soaring voices.
But for all the partial flirtations with modern rock trappings and the tendencies towards a more rustic atmosphere, Pride Of Lions ultimately hangs its hat on a mode of musical triumph that dates back to when video allegedly killed the radio star. Be it the explosive trifecta that kicks the album off or later guitar-focused banger entries like “I Can’t Let Go” (which sounds like an unofficial sequel to Survivor hit “I Can’t Hold Back”) and the album’s closer and appropriately named “A Mighty Noise”, Peterik has definitely opted to remember his 80s AOR roots quite loudly.
By the same token, the extremely boisterous and high-flying vocal delivery of Toby Hitchcock often closely resembles the signature timbre and luster of Jimi Jamison (R.I.P.), while barring the aforementioned shred fest that kicks the album off, guitarist Mike Aquino often channels the same tasteful melodic character as Franky Sullivan. Indeed, the entire arrangement that brings Unbridled into being could well pass for a 2026 reunion of Survivor, and those who fell in love with what they brought to the masses during the mid-80s are at the center of the wide net that this album has cast.
Release Date: July 10th, 2026Record Label: Frontiers Music SrlGenre: AOR
Musicians: Toby Hitchcock and Jim Peterik / Lead Vocals * Ed Breckenfeld / Drums And Percussion * Mike Aquino / Lead Electric And Acoustic Guitar * Jim Peterik / Keyboards & Secondary Guitars * Bob Lizik / Bass Guitar*
*Unbridled Track-list:*1. Unbridled 2. Edge Of Forever 3. Don’t Waste A Wish On Me 4. 1000 Long Goodbyes 5. What The Whole World Needs To Know 6. I’ll Be Your Rock 7. Hell Or High Water 8. Ride The Lightning 9. Lose Like A Winner 10. I Can See In The Dark 11. I Can’t Let Go 12. A Mighty Noise
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Moonspell have made a career out of defying the trajectory most gothic metal bands end up on. Where others either calcify into self-parody or drift toward industrial textures and cleaner production in search of a broader audience, the Portuguese quintet has kept moving on their own terms: sometimes frustrating, sometimes revelatory, always distinctly themselves. Far From God, their fourteenth studio album, feels like the record they have been building toward for the better part of a decade, even if it takes the form of a deliberate step backward.
The Irreligious comparison is going to follow this album everywhere, and it is not wrong. Far From God shares the same DNA: dense gothic atmosphere, Fernando Ribeiro‘s baritone commanding the center, vampiric imagery treated with the kind of sincerity that lesser bands use as a punchline. But calling it a nostalgia exercise misses the point. Moonspell are not trying to recreate 1996; instead, they are applying what they learned from it.
The title track makes that clear from the opening minute. The riff is heavy and deliberate, the keyboards expand the space around it without swallowing it, and Ribeiro sounds like a man who has been saving something for exactly this moment. The vampire at the heart of the song is not a horror prop: it is the same figure that runs through the best of Moonspell‘s catalog, a symbol of desire that destroys, beauty that cannot survive contact with the ordinary world. It lands because they believe it, and because Jaime Gomez Arellano‘s production gives it the density it needs without flattening the atmosphere.
“Cross Your Heart” is quieter and, in some ways, more affecting. Built around brooding mid-tempo riffing and a melody that takes its time arriving, it deals with roadside shrines, premature death, and the particular loneliness of a life lived in motion. It is the kind of song that sneaks up on you; maybe not immediately striking, but hard to shake afterward.
“The Great Wolf in the Sky” brings in strings courtesy of Alicia Nuhro and functions as the album’s emotional peak. It carries the weight of tribute and collective mourning in a way that gives the record a scope beyond its own runtime, tying Moonspell‘s mythology to the people and losses that helped build it. It is the song that earns the album’s more ambitious claims.
The thematic territory across Far From God — vampires, werewolves, sacred imagery, guilt, faith, desire, mortality — is well-worn ground for Moonspell, and that familiarity is both the album’s strength and its only real limitation. There are moments where the record settles into a groove that feels slightly too comfortable, where you wish it would push harder or take a sharper turn. But those moments are few, and they are outweighed by how consistently the band delivers on what they set out to do.
Arellano‘s production deserves particular credit. He gives the guitars enough weight to carry the darker material without turning the album into a slog, and he keeps Ribeiro‘s voice where it belongs: out front, dramatic, never buried. The keyboards fill space rather than dominate it, which is a balance Moonspell have not always managed on previous records.
Far From God will not convert anyone who has never understood what Moonspell are doing, and it is probably not the entry point for the uninitiated. But for listeners who have followed this band through their more experimental phases and wanted them to find their footing again, this is the record that delivers. It is focused, heavy where it needs to be, atmospheric without being indulgent, and emotionally direct in a way that gothic metal rarely allows itself to be.
Moonspell have been here before. The difference is they sound like they mean it again.
Release Date: July 3rd, 2026Record Label: Napalm RecordsGenre: Gothic Metal
Musicians: Fernando Ribeiro / Vocals * Ricardo Amorim / Guitars * Aires Pereira / Bass * Pedro Paixão / Keyboards, guitars * Hugo Ribeiro* / Drums
Far From God Track-list:1. Cross Your Heart 2. Far From God 3. The Great Wolf in the Sky 4. Biblical 5. Your Promise of Light 6. For the Love of Mortals 7. Our Freedom to Fall 8. Reconquista
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A new slab of metal bursts out of the cocoon.Among the pivotal bands that shaped the European power metal sound in the 2000s, Masterplan holds an especially unique place in history. Originally conceived as a side venture by then Helloween guitar Roland Grapow and Uli Kusch to further pursue the darker and modernized aesthetic of 2000’s The Dark Ride, it quickly morphed into something entirely more substantial following their auspicious and subsequent dismissal from the band.
The inclusion of up-and-coming Norwegian vocalist Jorn Lande and former Iron Savior bassist Jan-Soren Eckert to the fold created a strong supergroup-style hype behind the Masterplan name that quickly saw their ascent to prominence in the European sales charts and rock/metal media with the release of their 2003 eponymous debut. Though in later years lineup instability led to a fall in prominence for this breakaway melodic metal sensation, the initial impact it made in the mid-2000s was beyond question and was rightly viewed as a game-changer, and now, roughly 20 years later, this same outfit has rekindled the same magic with their latest LP, Metalmorphosis.
Though of the original lineup that took the European market by storm, only guitarist Roland Grapow and keyboardist Axel Mackenrott remain; this opus is as effective a return to form as could have been achieved with the entire original quintet. The rhythm section, consisting of former Stratovarius bassist Jari Kainulainen and drummer Kevin Kott, seamlessly lays down a massive sonic foundation fitting of the signature thick and forbidding atmosphere that Masterplan established with their hybrid approach of heavy yet hard rock-infused aggression.
Likewise, vocalist Rick Altzi continues to pour out a similarly gravely and smoky display from the microphone that Lande accomplished on this fold’s early material, though with an extra degree of rawness and grit that makes him easy to distinguish from his predecessor. But more so than anything else, Grapow’s prowess as a studio engineer and producer in approximating and building upon the aesthetic formula popularized by Andy Sneap is on full display, translating a sound that was considerably punchy for 2003 into its 2026 equivalent.
The familiar sounds of yesteryear come raging forth even before the first pummeling riff out of Roland’s guitar has a chance to take the helm, all but to the point of ushering Metalmorphosis in as the long-awaited sequel to the eponymous debut. The cinematic orchestration that flows out of Mackenrott’s keyboards and the accompanying military snare drum line at the onset of opening anthem “Chasing The Light” bears an uncanny resemblance to how “Spirit Never Die” begins, and the subsequent blend of rapid chugging guitar riffs and swift drumming beneath Altzi’s soaring resound could well be treated as the darker and heavier cousin of the latter, complete with a brilliantly crafted virtuoso solo out of Grapow’s mighty six-string.
The follow up mid-paced banger “Electric Nights” accomplishes a similar relation to the famed duet entry that helped put this band on the map “Heroes”, albeit with a nimbler presentation and minus the guest vocal services of Michael Kiske, while the chunky, down tempo beast of an entry “Shadow Man” channels pretty heavy comparisons to this band’s original leadoff single “Enlighten Me”, though the guitar and keyboard work is notably more adventurous and the tone even more aggressive.
The recurring formula of revisiting the early days in a more amped up fashion becomes so pronounced that one can’t help but see this as the album that MK II should have been. Whether it be the bleak, heavy rocking, high-impact bluster of “Bound To Fall”, the Led Zeppelin-like nod to Middle Eastern music with a punchier attack “Pain Of Yesterday,” or the bludgeoning yet earworm melody-steeped “Ghostlight”, it’s all highly reminiscent of the same power-infused format that dominated the debut album and 2005’s Aeronautics.
Likewise, though speed metal was always a secondary element in Masterplan’s formula, a duo of riveting entries that recall the carryover elements of Grapow’s stint with Helloween in the double bass happy crusher and title entry “Metalmorphosis” and the high octane thrasher “Through The Storm” nearly steal the show early in the second half of the album. Though this mighty LP closes with a raging, mid-paced, riff happy banger in “Rise Again”, the entry that really brings it all home is the colossal 8 minute epic “The Call”, which sees this fold stepping out of their comfort zone a bit in a favor of a more drawn out and progressive approach, and it melds perfectly with their hook-oriented and conventional mode of songwriting.
Metalmorphosis is not an album that dwells upon the past, but it definitely takes heavy cues from where Masterplan has been, takes stock of what worked at the height of their career, and builds something substantially new out of a pre-existing template. Along for the ride is a renewed sense of energy and drive that has not been seen out of this band since their initial run with Jorn Lande at the helm, becoming most apparent in just how insanely poised and ambitious Roland Grapow’s guitar performance unfolds, but is clearly spread across the entirety of the arrangement.
With more than a decade’s worth of time having passed since the last time any original studio material came out from this outfit and nearly a decade since their 2017 LP covering Helloween material penned by Grapow dubbed PumpKings, to call this a monster comeback would be putting it mildly.
Those who have ridden the Masterplan train since it first pulled out of the station will find plenty of familiar themes at work here, but those who have yet to discover their unique niche of dark, heavy rocking power metal will also find as good a starting point here as they would going back to where it all began.
Release Date: June 26th, 2026Record Label: Frontiers Music SrlGenre: Power Metal
Musicians: Rick Altzi / Vocals * Roland Grapow / Guitars * Jari Kainulainen / Bass * Axel Mackenrott / Keyboards * Kevin Kott* / Drums
Metalmorphosis Track-list:1. Chase The Light 2. Electric Nights 3. Shadow Man 4. Bound To Fall 5. Pain Of Yesterday 6. Metalmorphosis 7. Through The Storm 8. Ghostlight 9. The Call 10. Rise Again (Album version)
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Savatage is one of those rare bands that has had more than one classic lineup, and in their case, the first of them was mostly in place by the time 1986’s misguided Fight For the Rock dropped. While their previous album, Power of the Night, was a far more commercial and radio-friendly affair than the two albums that preceded it, their debut with powerhouse bassist Johnny Lee Middleton was a poorly thought-out and poorly executed continuation in that direction.
The album also performed poorly, so Savatage decided to confer with veteran producer Paul O’Neill, under whose guidance the band reinvented themselves as a quasi-progressive – and quite aggressive – metal band on the following year’s excellent Hall of the Mountain King. The songwriting was both epic and concise, the performances absolute fire, and the response rabid. A muddy mix and an embarrassing music video for the title track notwithstanding, it was clear that Savatage had found their voice. All they needed to do next was hit the gas, which they began doing by bringing Jersey kid Chris Caffery into the fold for the following tour.
What followed was nothing short of Savatage’s creative peak. Under O’Neill’s guidance, the band began exploring their more theatrical tendencies without betraying their metal roots, and Gutter Ballet strikes the perfect balance between heaviness and opulence. It certainly didn’t hurt that the band effortlessly infused epics like “Gutter Ballet” and ballads like “When the Crowds Are Gone” into their infamously crushing concerts without sacrificing an ounce of that heaviness. Savatage’s 1989-1990 era would come to be regarded by diehards as the band’s live and creative peak, and later live albums from this era stand as compelling evidence in support of this argument even all these decades later.
This is why Madness Reigns From the Gutter is such a welcome album. Not only does it do a damn fine job capturing a band my inner teenager still regards as fucking magical, it also offers a rare glimpse into the band during that curious transitional period between their shamelessly metallic roots and the dive into Broadway metal that would define much of their later output.
Disclosure: Savatage was my favorite band by a significant margin for most of my teenage years, and while with the benefit of hindsight I have many criticisms, my adoration for this band – and this era in particular – has never wavered. I must also confess to a fascination with bands in their transitional phases, Damaged Justice-era Metallica and Marillion’s early Hogarth years, for example.
Madness Reigns From the Gutter could only outdo its outstanding peek into a phase I was too young to enjoy in the moment (I was an eleven-year old synthpop kid when this tour took place) with an accompanying DVD, for which I’m damn near certain the video footage simply does not exist. What a damn shame. I’ve previously written – and I stand by this a good quarter-century later – that Ghost in the Ruins/ Final Bell ranks right up there with Iron Maiden’s legendary Live After Death, and full concert footage of either of these Savatage live albums are among the very few things I’d sit down and watch today.
The time: June 29, 1990. The place: The Palace, near the corner of Vine and Hollywood in sunny El Lay. The tour: in support of Gutter Ballet. And the reason for recording the show: a live radio broadcast of the set, presumably on Z-Rock or KNAC. The band wastes no time in getting things nice and heavy – set opener “City Beneath the Surface” allows madman Jon Oliva to greet his adoring fans with a jovial “Hi! Welcome to hell!” only to follow with a song about freaking cocaine, another about terrorism and nuclear annihilation, and still another about a really horny young woman.
As expected, the band is fucking lit throughout – the Elder Oliva screeches like a damn banshee and dominates the audience with the humor and aplomb only the most charismatic front-men command, while Middleton holds down the fort in conjunction with the inimitable Dr Killdrums (whose performances must be seen to be believed – I only learned that by seeing him play at Progpower USA in 2004). The addition of Caffery on both rhythm guitar and the occasional keyboard allows the Younger Oliva, the irreplaceable Criss, to really let loose on lead guitar. The man possessed a flair for the dramatic that matched the dynamics his band flaunted, and to this day I remain unconvinced that even the most advanced guitarists of the current neo-shred era would have been able to carry Savatage to the heights they attained during their time with him.
Criss was of a rare breed, a shredder who wasn’t showy, a blistering soloist who remained humble enough to allow the song dictate to him. The Younger Oliva didn’t merely play guitar – he sang with it, and his playing shines through as a singular, intangible voice that no other player before or since has been able to approach, regardless of their proficiency. To hear the Younger Oliva solo is to hear a soul baring itself. There’s no feeling like it, and being able to hear it on Madness Reigns From the Gutter is a goddamn privilege.
Which raises my one complaint about the mix: why isn’t the Younger Oliva’s guitar just a hair louder in the mix? It goes without saying that the target demographic for this release regards Criss as one of the finest of his craft. While the mix is outstanding in every other way – Middleton’s bass is especially prominent but by no means overpowering – the latent guitarist in me aches to hear the Oliva I’ll never see perform wail away in all his glory. At several moments during this absolutely stellar performance – during “Crowds,” for example, where Criss is absolutely weeping with his fingertips, or “Hounds,” where he’s running for dear life – I find myself absolutely bleeding to more clearly be reminded why Criss is still my favorite guitarist of all time, over thirty-three years after first hearing him.
I must state, though, that despite this single but considerable gripe, it is not only refreshing to hear classics like “24 Hours Ago” and “Strange Wings” presented with production worthy of the material, it’s also an absolute delight to hear a band at their creative and performative apex captured with such formidable fidelity. If this is the closest I’ll ever come to witnessing this iteration of Savatage at this particular stage in their career, I’ll f*cking take it.
Side note: “Crowds” is also noteworthy for the additional work Criss lays down over Jon’s final, inconsolable verse (“I wasted my time until time wasted me”), where what surely started as licks improvised in the rehearsal room meant to heighten the tension of that famously despondent lament are heard evolving into what would become the harmony solo on “Believe,” the closing cut of the following year’s Streets. I’ll never forget Jon’s surprise when I asked him about that when I interviewed him in advance of the US release of Ghost in the Ruins. “Holy sh*t!” he exclaimed. “I can’t believe you noticed that!”
Another highlight is the aforementioned “Hounds,” which I regard as one of the finest moments in Savatage’s storied career, where the final lick of one of Criss’s finest solos is extended for what seems like an unnerving eternity in order to simulate the terror of said hounds actually hunting you down. “Strange Wings,” which in a just world would have propelled Savatage to stadium status, and the absolutely essential “Gutter Ballet” are both duly served with the fervor they demand, the latter in a mostly unbroken spate of all but one (you already know which one) of their title tracks up to that point, after which we are treated to an unexpected performance of “Thorazine Shuffle,” where Middleton transposes to his instrument what on the studio recording had been a subtly eerie acoustic guitar melody to disquieting effect. Backing tracks? Pfft. Not for these dudes.
Madness Reigns From the Gutter then wraps up with Mountain King’s closing cut,“Devastation,” which turns out to be not just an apt conclusion for this set, but for this era. Caffery would soon leave the band as they proceeded to go full Broadway for Streets, which turned out to be laudable effort and a fitting capstone to the Jon Oliva era of the band, though in retrospect I personally think they went a bit too far. But I digress. What matters is that as excellent a document of this era as Ghost in the Ruins was, Madness Reigns From the Gutter exceeds it in all regards.
Release Date: June 19th, 2026Record Label: earMUSICGenre: Heavy Metal
Musicians: Jon Oliva / Vocals, keyboards * Criss Oliva / Guitars * Steve Wacholz / Drums * Johnny Lee Middleton / Bass * Chris Caffery* / Guitars
Madness Reigns From The Gutter Track-list:1. City Beneath the Surface 2. White Witch 3. Of Rage and War 4. She’s in Love 5. Mentally Yours 6. 24 Hours Ago 7. Legions 8. Strange Wings 9. Hounds 10. Temptation Revelation 11. When the Crowds Are Gone 12. The Dungeons Are Calling 13. Holocaust 14. Sirens 15. Power of the Night 16. Hall of the Mountain King 17. Gutter Ballet 18. Thorazine Shuffle 19. Devastation
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The metal legion is the lawOf the many metal legacies that were spawned in the genre’s 80s heyday, few can hope to compete with the one established by King Diamond, both in the project that bears his stage name and his several stints with Mercyful Fate. The number of recent NWOTHM adherents paying tribute to the signature blend of dark theatricality and virtuosic musicality of the originals has swelled significantly since the late 2000s, spearheaded by the likes of Germany’s Attic, Sweden’s Portrait, and the thrash-infused American outfit Them.
Yet when it comes to emulating the original with a sense of gravitas, it goes without saying that a band comprised primarily of the same musicians who were directly connected to the famed falsetto-toting teller of ghostly tales would be at a strong advantage. Thus stands the newly minted debut of the long-contemplated super group Lex Legion, conceived back in 2008 by former King Diamond guitarist Pete Blakk and drummer Mickey Dee for the purpose of creating music the same way they did in the 80s and delivering a steel-clad gauntlet of greatness appropriate to 2026.
In keeping with a band enjoying the membership of four-fifths of the membership that birthed the late 80s feat of sheer genius that was King Diamond’s Them and most of what produced its two equally colossal successors in Conspiracy and The Eye, Lex Legion is a masterclass in capturing the mystique of said era. It benefits to a sizable degree from the steady production hand of longtime King Diamond guitarist and associate Andy LaRocque, who seamlessly translates the highly retro character of the songwriting into something palpable to the present day while also fielding much of the six-string wizardry adorning each song.
Likewise, the rapid-fire battery and raw power of Dee’s performance at the drum kit help to fuel the modern character of an album that is otherwise a throwback to 1988. But the lynchpin that truly sets this endeavor apart from its competition is the vocal performance of Pagan’s Mind frontman Nils K. Rue, who brilliantly approximates the ghostly character of Diamond’s persona, but takes it to a rawer and more forceful place that also recalls elements of Rob Halford and Geoff Tate.
Atmospheric splendor and impact-based metallic fervor are distilled into 9 individual sonic chapters with a clear eye for brevity, to the point of mimicking the scope that was the norm during the days of terrestrial radio’s dominance. Dark and forbidding yet highly catchy anthems like the opener “Sleep Eternally” and “Gypsy Tears”, both of which preceded the rest of the LP as promotional singles, are a case study in how to scale back the sometimes long-winded offerings of King Diamond’s late 80s and early 90s era into something easily digested by the average rock or metal trustee without losing its immersive character.
Likewise, the manner in which the songs seesaw between mid-paced, atmospheric narrative verse segments with a steady groove to driving, speed-infused bursts during the chorus and solo sections accomplishes the perfect dynamic contrast to a template that is almost uniformly hard and heavy. Other subsequent bangers like the shuffle-happy cruiser “When The Stars Align”, as well as the speed-obsessed “Life Eternal” and the riff-happy “Lost Inside” take the same concept and heighten it further by blurring the lines that separate heavy metal from thrash metal in both the riff and drumming departments.
For an album that is mostly a straight shot of no-nonsense aggression with a side order of creepy vibes, the line that separates an overt banger from a mini-epic is more a matter of seconds than minutes, yet it is impossible to miss. The multifaceted journey through metal’s answer to a haunted house in “(I Am) The Resurrected” clocks in at just under 4 and a half minutes and features a mercilessly memorable chorus hook, but the number of twists and turns it throws into the mix before calling it a day is many.
The breakneck speeder “Dreams Of Darkness” and its technically charged successor “Saviours” tread a similarly elaborate path, not to mention feature some of the most insane guitar solo interchanges between LaRocque and Blakk since their tenure with King Diamond. And just when it seems that everything in the old school arsenal but the kitchen sink has been thrown into the mix, the whole thing ends on a serene acoustic guitar outro with wailing harmonized leads to boot “Far Away”, recalling another fixture of King Diamond’s seminal era and also giving bassist Hal Patino one of his few opportunities to break into the foreground of the arrangement for a spell.
It is said that good things come to those who wait, and given that this album and the project bearing its name had been on the proverbial back burner for almost 2 decades before coming to light, it’s safe to say that the old adage has the ring of truth. This is definitely a project that has legs and massive levels of potential in the future, not to mention a golden opportunity for one of the most competent voices of the current metal world, namely Nils Rue, to be attached to something permanently since Pagan’s Mind went into a 15-year hibernation period in the studio.
Lex Legion is by no means a replacement for the original master of metal theatricality, but with nearly two decades having past since King Diamond’s last full length release as well, it’s is sure to ease the withdraw pains for those that have been waiting for a new tale of otherworldly horrors as only he can deliver while also providing a different twist on it than what many of the younger disciples of the face-painted monarch.
Release Date: June 12th, 2026Record Label: MNRK HeavyGenre: Heavy Metal
Musicians: Nils K. Rue / Vocals * Andy LaRocque / Guitars * Pete Blakk / Guitars * Hal Patino / Bass * Mickey Dee* / Drums
Lex Legion Track-list:1. Sleep Eternally 2. Gypsy Tears 3. When The Stars Align 4. (I am) The Ressurected 5. Lost Inside 6. Dreams Of Darkness 7. Saviours 8. Life Eternal 9. Far Away
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It’s an intergalactic endeavorThe marriage of metal and symphonic music has come a long way since Celtic Frost’s Into The Pandemonium set the blueprint that would give rise to an entire mass movement in the late 90s. Many might point to the famed 1999 collaboration of Metallica and the San Francisco Symphony Orchestra known affectionately as S&M as the pinnacle of this phenomenon in the public’s consciousness, though it would still be the tip of a gargantuan ice berg that is continually seeming new acts and seasoned veterans alike getting in on the action.
Case in point, French Canadian thrash metal innovators turned progressive metal trailblazers Voivod, who have struck pure sonic pay dirt with their own take on mixing their avant-garde take on riff-driven aggression to the classical concert hall. Interestingly enough, the brilliant synchronicity established between the quartet and the Quebec Symphony Orchestra, aptly titled Symphonique, offers up a sonic tapestry of cinematic brilliance that runs mostly parallel to the stylistic character of what Celtic Frost accomplished nearly 40 years prior, if not functions as the logical conclusion of it.
The selection of material adapted for this endeavor from Voivod’s extensive catalog touches upon each of their various incarnations, going all the way back to their 1984 thrash debut War And Pain, itself a far cry from where their sound would be even before the conclusion of the same decade. Yet the entire 72-minute performance is an exercise in pure cohesion and seamless transitions from one auditory chapter to the next, almost as if the band had been gradually composing a soundtrack for the same elaborate space drama that has finally seen its premiere after more than 40 years.
It speaks to a band that was pushing the envelope from the very beginning, well before 1989’s Nothingface saw them progressing to the point of finding themselves in a different stylistic galaxy, and the combined efforts of founding members Snake and Away with that of newer fellow travelers Chewy and Rocky reveal a band that works as a singular, precision-based unit even while in the midst of a sea of symphonic add-ons.
The integration of a full symphonic orchestra into the equation is no mere peripheral gimmick, but a highly consequential hybridization of color and timbre that takes the original versions of each song and morphs them into something far more epic in scope. The dense layers of singing strings and woodwinds, thunderous percussion, and blaring brass do not fight with Chewy’s thrashing riffs or Away’s double-kick happy drumming for prominence, but wrap around them like a magical cloak and bring the implicit science fiction and philosophical themes behind Snake’s gruff vocalizations into full focus.
Whether it be the transitional progressive thrashing power of offerings off 1988’s Dimension Haltross like the opening fanfare of “Experiment” and the speeding fury of “Cosmic Drama”, or the more old school mid-80s aggression of “Nuclear War” off the debut and “Forgotten Space” off of 1987’s Killing Technology, the arrangement acts as one world-conquering juggernaut, though it is curious to note that the latter two early era anthems see the orchestra accenting the impact of the riffs like a collective second guitarist much of the time, while the atmosphere of the more progressive material has a denser and more cosmic demeanor.
In much the same fashion as the original studio run of this outfit in the 80s would suggest, the most overtly ambitious arrangements of this performance have been reserved for the material off of their revolutionary stylistic pivot, Nothingface. Be it the melodically consonant and rhythmically multifaceted up-tempo triumph of “The Unknown Knows” or the spacey and atmospherically rich mini-epic entry “Into My Hypercube”, the latter being one of bassist Rocky’s moments to step up to the foreground, the orchestral element functions far less as a bolstering element and more as a partner in weaving a truly spellbinding collection of otherworldly tales.
By the same token, the dissonant mishmash entry “Pre-Ignition” and Voivod’s signature cover of Pink Floyd’s “Astronomy Domine” really underscore the unique, avant-garde character of where this band was pushing things at around the same time that Dream Theater and Fates Warning were starting to make waves. This is reflected in the few newer songs to make this performance like the long-winded intergalactic slough “The End Of Dormancy” and the technically charged fit of interstellar chaos “Holographic Thinking”, which definitely go the furthest in exploiting the orchestra’s sonic possibilities while also seeing the core band at their more virtuosic.
Symphonique is far from a typical live album, so much so that one might almost think it a collection of studio re-recordings were it not for the intermittent crowd sounds. It is built upon tight, precision-based, and powerful performances that reveal a passion for the craft that is still a rarity even as the ranks of progressive metal have continued to swell, largely in response to the very same astounding compositional feats that broke the mold decades ago and have since found their way to this present form.
The experience that it offers is, if nothing else, an immersive one that will surely conjure up grand battle scenes among the stars that parallel every feat of Sci-Fi cinema and television since the days of the original Star Trek series. Some live albums can transport the listener directly into the concert hall where the performance originally occurred, but Symphonique is the sort that will take them to a place beyond the confines of this world.
Release Date: June 5th, 2026Record Label: Century Media RecordsGenre: Progressive Metal
Musicians: Snake / Vocals * Away / Drums * Rocky / Bass * Chewy* / Guitars
Symphonique Track-list:1. Experiment (Symphonique Live) 2. Holographic Thinking (Symphonique Live) 3. The Unknown Knows (Symphonique Live) 4. The End of Dormancy (Symphonique Live) 5. Into My Hypercube (Symphonique Live) 6. Forgotten in Space (Symphonique Live) 7. Cosmic Drama (Symphonique Live) 8. Pre-Ignition (Symphonique Live) 9. Nuclear War (Symphonique Live) 10. Fall (Symphonique Live) 11. Tribal Convictions (Symphonique Live) 12. Astronomy Domine (Symphonique Live) (Pink Floyd Cover)
Order the album here.
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A symmetrical weave of sounds emerges.Nothing answers the test of time as effectively as longevity, and now with 15 full-length studio albums under their collective belt and about as many lineup changes in a career spanning over three decades, it’s safe to say that Evergrey has made the cut of a seasoned veteran act.
Initially cutting their teeth in the same 90s power/progressive metal explosion that birthed such notable heavy-hitters as Symphony X and Vanishing Point, this Swedish mainstay has often enjoyed favorable comparisons to both aforementioned bands as well as the scene’s obvious forerunner Dream Theater, but these stylistic parallels only tell a small part of the story.
By their breakout third studio opus and debut with InsideOut Music In Search Of Truth, this quintet had carved a uniquely dark and somber auditory niche that featured most of the technical bells and whistles of a progressive approach, yet also a hook-centered songwriting approach that was a tad more accessible than most. Their latest LP, Architects Of A New Weave, bookends a 25-year run with a short interlude in the middle on a decidedly strong yet bittersweet note.
Though generally a pillar of stylistic consistency since the early 2000s, the band behind the sound has often found itself in a state of flux due to a revolving door in its rhythm section. Nevertheless, the core trio of lead vocalist/guitarist Tom S. Englund, keyboardist Rikard Zander, and virtuoso lead guitarist Henrik Danhage has largely endured since 2002 to keep the sonic ship on course through various bassists and drummers, of which Johan Niemann has become a long-term fixture of the fold, and newish drummer Simen Sandnes has seamlessly melded into the fold.
Indeed, the biggest hiccup in Evergrey’s output was a four year hiatus on the part of Danhage that resulted in the subpar Glorious Collision album in 2011, which has now been sadly reprised with the recent second exodus of the famed shredder from the band, though thankfully this has had a negligible impact on the final sonic results this go around with Englund stepping up to perform lead duties alongside Niemann.
In every meaningful respect, the assembly of ear worm anthems with a tall side order of intrigue that rounds out this opus stands as the perfect placeholder for the aforementioned absence in the lineup, striking a heavy chord beneath Englund’s dark and brooding baritone. Following a brief ambient prelude featuring a deep and booming narration in “Welcome To The Pattern”, the metallic grit and edge become palpable courtesy of pummeling riff machines like “The Shadow Self” and title entry “Architects Of The Weave”, exploiting the band’s signature yin and yang contrast of punchy guitars and explosive beats with a dense atmospheric foil from Zander to lay on the dynamic contrast all within the time length of a rock radio banger.
Similarly compact and climactic anthems like “Heaven” and “Chains Of Shame” go even heavier on the thrash-tinged riff work yet still maintain that inescapable chorus hook that commands crowd participation live, spearheaded by Tom’s husky yet soaring upper register. The more straightforward “Leaving The Emptiness” wants for little in the energy department as well, though it tones the progressive detailing down a fair bit for more of a power metal-oriented cooker.
That this collection of songs favors the more kinetic side of Evergrey’s signature style goes without saying, but as always, there is time made for more nuanced fare. The first sign of a mellower blend of rage and melancholy rears its head on the more expansive “The World Is On Fire”, which comes with some swifter moments and a lead guitar master class, but it spends far more time in a more subdued and atmospheric place.
Things stick to a down tempo march with a somber edge on the heartfelt “The Script”, which also features one of the more crooning and poignant performances out of Englund, while the power ballads “Longing” and album closer “The Prophecy” really go hard on the dreamy atmospherics and tempers them with a forbidding yet more mixed up and nuanced riff assault when things go into heavier territory.
A slight gothic rock tinge crops up on the mid-paced fanfare of “A Burning Flame”, featuring the ocean-deep voice of Dark Tranquillity’s Mikael Stanne alongside Tom’s to really bring home the brooding darkness. But for those who are looking for a full-on plunge into progressive metal brilliance, “Call Off Your Lions” sees the whole band landing the closest to Dream Theater territory they have in over a decade.
Architects Of A New Weave stands tall among the albums that they’ve put forth since the 2014 smash opus Hymns For The Broken. Even absent Danhage’s signature shredding, which had long been an integral part of this long-running progress metal institution, the triumph of this fusion of down-tuned aggression and ethereal atmospheres lands with an especially bittersweet thud for anyone that joined the ride since 2001’s In Search Of Truth.
Those who have caught them live over the past year have already been acquainted with the surgical skill of live turned permanent lead guitarist Stephen Platt, who functions as a fitting replacement for Danhage, but this ultimately marks the end of an era, and does so on an extremely high note, for what it’s worth.
Release Date: June 5th, 2026Record Label: Napalm RecordsGenre: Progressive Metal
Musicians: Tom S. Englund / Vocals, guitars * Johan Niemann / Guitars, bass, backing vocals * Simen Sandnes / Drums * Rikard Zander* / Keyboards
Architects Of A New Weave Track-list:1. Welcome To The Pattern 2. The Shadow Self 3. Architects Of The New Weave 4. The World Is On Fire 5. Heaven 6. The Script 7. Leaving The Emptiness 8. Longing 9. A Burning Flame 10. Call Off Your Lions 11. Chains Of Shame 12. The Prophecy
Order the album here.
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Aurora is the third consecutive Yes album produced by Steve Howe — following The Quest and Mirror to the Sky — and it sounds like it. Same lineup, same sonic fingerprint, same songwriting sensibility. Fans who have rejected the band’s current incarnation will find nothing here to change their minds. But for those invested in where Yes has been heading, the record delivers more than it stumbles.
The continuity is remarkable by Yes standards: three albums in a row from essentially the same group of musicians, the only change being Jay Schellen stepping in after the passing of Alan White. Howe‘s production, aided by mixing and mastering engineer Curtis Schwartz, is consistently clear and well-balanced — nothing buried, nothing overwhelming.
The album opens strongly. The title track is symphonic and orchestral — a little Disney-adjacent, but anchored by Howe‘s playing. “Turnaround Situation,” now a single, is a Jon Davison composition with a notable wrinkle: Davison plays keyboards throughout Aurora — piano, synth, organ — making this a shared keyboard record rather than a Geoff Downes solo showcase. The song is hook-laden and layered, with Howe on pedal steel and some properly cosmic lyrics: “a primal voice that speaks so clear / to every heart sincere / guiding every conscience home.” “Love Lies Dreaming,” co-written by Davison and Howe, completes a strong opening three-track run.
The middle of the album experiments. “Ariadne” — co-written by Downes, Davison, and Sherwood — draws on Greek mythology and features the Czech National Symphony Orchestra, one of two tracks to do so. It’s lush and storytelling-driven, reminiscent of “Turn of the Century.” “Outside the Box,” co-written by Sherwood and Howe, is lyric-free, built on layered vocalizations rather than conventional singing — a genuine departure that mostly works. “All Hands on Deck” is a Howe rocker that feels more at home on a solo record. “Emotional Intelligence” carries a worthwhile message with lyrics that could stand to trust the listener a bit more. “Jam Bustin'” is a bonus track — corny, self-aware, skip it if corniness isn’t your thing.
The centerpiece epic, “Counter Movement,” is where the album’s biggest opportunity meets its biggest stumble. The four-part piece has genuine highlights — a third section co-written by Davison, Sherwood, and Schellen that tackles AI with a sharp instrumental jam, Howe trading licks with Downes on synth in a brief but satisfying prog blowout. But the main body hands lead vocals to Howe, and that’s a significant drag. His solo work has shown real vocal growth — Love Is demonstrated he can carry a record — but a Yes epic is a different ask. The repeated lead lines wear thin, a guitar figure uncomfortably close to “Your Move” muddies the waters, and the finale, “Freedom’s Edge,” meanders where it should soar. The epic ends on two Davison a cappella lines that land with a thud.
The closer, “Watching the River Roll,” rescues the finish. Sherwood‘s composition opens with the Portuguese 12-string guitar and builds into one of the album’s warmest moments — Sherwood on clean lead vocals, Davison across a lovely chorus, the whole thing rolling out with ease. Calling it a bonus track is a genuine head-scratcher; it’s among the record’s best.
Schellen is well-served by Howe‘s mix and sounds excellent throughout. Sherwood is the MVP — inventive bass lines, strong backing vocals, carrying the Squire legacy without trying to copy it. Downes is the persistent question mark: capable, but keyboards have receded into the background across all three of these albums, where they once shared the front of the stage with guitars and bass. And Howe — still producing, still playing beautifully, compensating for anything age takes with musicality and taste.
Aurora won’t rewrite Yes history. But as a third chapter in a surprisingly consistent late-career trilogy, it holds up.
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More often than not, those artists who truly push the envelope and come up with something new to offer are not to be found at the top of the charts. Even within the underground metal scene, it is more common for those who play it the safest and stick to traditional modes of stylistic expression to rise to the top of the fray.
It is within those gray areas where one established subgenre begins to give way to another that those rare moments of radical innovation become commonplace, like a mythic borderland between rival kingdoms where the inhabitants are various hybrids of both sides. This is where Massachusetts-born stoner/doom quartet Elder has stood for much of their 20-year history.
Following a traditional beginning that resembled the fuzz-steeped stylings of Sleep and Electric Wizard, merging that very same psychedelic approach to heavy rock/metal with a strong progressive rock element that is fairly similar to where Mastodon went in the late 2000s. Their 7th and latest studio album, Through Zero, continues along the same creative trajectory, pushing the boundaries of what constitutes heavy music without warping to another universe in the process.
Ironically enough, while this album largely breaks with the established orthodoxy of emulating Black Sabbath’s pioneering work on Master Of Reality and Vol. 4 respectively, it affirms much of the same creative spirit that made said founding fathers of the stoner/doom style’s catalog so diverse. The free-flowing structure and extended lengths that the lion’s share of the songs on here enjoy run parallel to the extended jams that were a prominent feature of Sabbath’s eponymous 1970 debut album, complete with loosely grounded and technically prominent contributions from drummer Georg Edert and bassist Jack Donovan that resembles that of Ward and Butler in their prime.
On the other hand, the dreamy keyboards and wandering progressive riff work provided by guitarist Mike Risberg and guitarist/vocalist Nick DiSalvo falls much closer to the Sabotage and the wildly experimental stuff that followed until the end of Ozzy Osbourne’s original tenure with Sabbath in the 70s. Throw into the equation a modern production that accentuates a heavy punch rivaled by a dense yet spacey atmosphere and a vocal performance out of DiSalvo that’s smoother and less abrasive than Ozzy’s nasally bellow, and the highly contemplative and occasionally trippy character of Through Zero comes into view.
From one extended excursion through the lofty realm of the human experience to the next, this is an opus that takes its time to set up its point before getting it across, yet not a second is wasted on anything superfluous. The opening foray “Sigil To Ruin” goes on for over 10 minutes yet has a continuing sense of haste within its dream-like atmosphere, matching droning keyboards with an up-tempo rocking drive out of the guitars and rhythm section, and shifts seamlessly between airy light interludes and pummeling heavy grooves.
A similar trend continues within an even faster and bouncier feel on the rich progressive banger “Capture/Release”, which clocks in at just over 8 minutes, and along with the similarly long and animated title offering “Through Zero”, really plays up the progressive rock side of their hybrid approach in a manner that would make Genesis and Yes proud.
The technical showmanship reaches a clear apex on the extended 10-minute epic “Strata”, which all but sounds like the band tracked their parts while floating among the clouds, and the easy atmospheric flow turned punchy rocking crescendo in 8 minutes “Sight Unseen” proves a formidable instrumental take on progressive rock. Basically, the only entry that comes close to being a song in the conventional sense is the closing acoustic ballad “Blighted Age”, and even then, there are plenty of moving parts to keep things interesting.
If nothing else, the example that Elder has established with Through Zero is that breaking the rules doesn’t necessarily entail throwing out the rulebook entirely. There is a very coherent character along for the ride with all of the quirky twists and turns that this post-60s psychedelic bus makes on its journey through inner space, resulting in a series of songs that are generally too long for rock radio but internally consistent and potent enough to capture the imagination of any heavy rocker willing to stick around past the 4-minute mark.
Whether one prefers a sonic punch to the gut via a bottom-heavy groove or the fluid, jazzy noodling that was all the rage during the early to mid 70s, this album manages to do it all without sounding completely retro. At the end of it all is an album that isn’t too far removed from the sound that has allowed the likes of Baroness and Pallbearer to make big names for themselves, and while Elder are by no means newcomers to the scene, this has all the right elements to break through to new horizons in more ways than one.
Release Date: May 29th, 2026Record Label: Blues Funeral RecordingsGenre: Heavy Psych Rock
Musicians: Nick DiSalvo / Vocals, guitars * Mike Risberg / Guitars * Jack Donovan / Bass * Georg Edert* / Drums
Through Zero Track-list:1. Sigil To Ruin 2. Capture/Release 3. Through Zero 4. Strata 5. Sight Unseen 6. Blighted Age
Order the album here.
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The silence has been broken.Progression is arguably the natural tendency of all things, but for a musical movement that traces its roots back to the late 1960s, it’s a balancing act between the desire of the artist to explore the limits of virtuoso musicianship and retaining the interest of an audience that prefers simplicity.
For the 90s born Australian progressive metal outfit Teramaze, an evolution from a primarily thrash-based stylistic template to the eclectic stylings normally associated with the likes of Dream Theater and Threshold was how the story began, and following an extended hiatus in the 2000s, band founder and guitarist Dean Wells has been on an impressive tear in the studio with a semi-stable lineup. Now 13 studio albums deep into a highly expansive catalog, 7 of them unveiled in the current decade alone, The Silent Architect raises the qualitative bar even further while still showcasing an uncanny ability to package highly involved feats of technical musicality with earworm melodic hooks.
The same winning lineup that has been cranking out intellectually engaging and explosive anthems since 2019’s Are We Soldiers has been retained with the lone exception of guitarist Chris Zoupa, who exited the fold last year following the recording of 2025’s The Harmony Machine. Though an integral piece of the puzzle that has been Teramaze’s sound over the past several years, founder and mastermind Dean Wells does an exemplary job at filling both roles and proves the linchpin in maintaining the same dense arrangement that has been this outfit’s staple since the late 2010s.
The tightness and colossal power of the rhythm section, culminating in the contributions of bassist Andrew Cameron and drummer Nick Ross, has lost none of its fire, especially during the more thrash-infused segments of this finely tuned progressive metal machine. Likewise, the soaring tenor of vocalist Nathan Peachy, which has enjoyed favorable comparisons to Kamelot frontman Tommy Karevik, retains its highly expressive luster and calls out from above the arrangement like a mighty eagle.
Relative to their recent stream of output, Teramaze’s approach to songwriting swings closer to the elongated and reflective character of Flight Of The Wounded and And The Beauty They Perceive over the concise approach of The Harmony Machine.
Highly expansive and musically expressive epic entries like the 10 minute long opening fanfare and title offering “The Silent Architect” and the riff happy, rhythmically nuanced groove of “The Invisible Countdown” represent a healthy share of too long for radio yet melodically inviting anthems that could easily charm the pants off any Kamelot fan despite being far closer to something that Fates Warning might conjure up, the latter actually including a few riffs that sound dangerously similar to “The Eleventh Hour” off of Parallels. Similarly, but with an even sweeter blend of consonant resounds out of Peachy’s pristine pipes and hearty guitar high-jinks out of Wells stands the punchy anthem “Enemy In The Garden”, a gourmet dish of sonic brilliance that any Dream Theater fan could sink their teeth into.
In contrast to many of their peers, this fold isn’t afraid to present their chops in more concise and restrained showcases, and there is a solid representation of songs here that could pass for rock radio were they a tad less intricate. The dreamy ballad turned hard-rocking ode “Doors Of Yesterday” involves some rather blatant pop flourishes, though tastefully delivered amid several harder-edged ones.
The frantic and fleeting rocker “Mr. Crazy” matches a mainline modern sense of heaviness with a flamboyant vocal display and comes dangerously close to playing in the same stylistic pool as Volbeat. The acoustic guitar-dominated power ballad “Arrow” all but crosses the line into present-day alternative rock territory, whereas the jarring metallic storm of “Dust & Bone” takes a highly blatant step back to their band’s early flirtations with thrash metal, complete with Peachy mixing in some gruff elements to complement his signature clean wail.
But when the rubber hits the road, Teramaze’s forte is when things go long, and everything but the kitchen sink is thrown the audience’s way, and the closing hurrah, “Left In The Fire” lands a formidable coup de grace that challenges their most extravagant of past feats in just under 12 minutes.
If there are to be any signs of this multifaceted, cerebrally geared metal train slowing down, they are far from even being in view. Despite the departure of long-time guitarist Chris Zoupa, this is the exact same band sporting the exact same collage of sounds and styles that has made them a major player in the progressive metal scene for the past decade.
In addition to Dean Wells’ creative well seemingly lacking a bottom, there are no impurities in the water being drawn up, nor are there any cracks in the bucket, given that the quality of the yield remains extremely consistent. The Silent Architect is the sort of album that can stand on equal footing with the recent output of major progressive metal players like Redemption, Anubis Gate, and Threshold, but its level of appeal is sure to reach outward to every corner of the melodic side of the metal scene. Come as you are, but don’t be surprised if you come away changed by what Teramaze has in store here.
Release Date: May 8th, 2026Record Label: IndependentGenre: Progressive Metal
Musicians: Dean Wells / Guitars, vocals * Nathan Peachey / Vocals * Andrew Cameron / Bass Guitar * Nick Ross* / Drums
Falling Together Track-list:1. The Silent Architect 10:13 2. Doors of Yesterday 4:24 3. The Invisible Countdown 8:37 4. Mr Crazy 3:37 5. Arrow 4:50 6. Dust & Bone 4:24 7. Enemy In The Garden 8:30 8. Ghost Hands 5:25 9. Left In The Fire 11:56
Order the album here.
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American prog rock/metal troupe Advent Horizon have been going strong for about 15 years. While 2012’s Immured and 2015’s Stagehound rightly earned positive feedback, it was 2023’s A Cell to Call Home that took the ensemble to the next level in terms of both artistry and audience. Dishing out gorgeously complex arrangements and wonderfully introspective songwriting in equal measure, it earned praise from numerous outlets (including our own review).
Naturally, the group had their work cut out for them in trying to strike gold again with Falling Together, and miraculously, they did. Picking up where their last LP left off, it fits well alongside it while also going into some surprisingly heavy places to differentiate itself. The result is a striking companion piece to A Cell to Call Home that – due mostly to its shorter length – doesn’t quite surpass its predecessor but will certainly delight anyone who loves what Advent Horizon have done thus far.
Falling Together upholds the band’s penchant for personal and philosophical subject matter, as they explain that it’s “about holding your beliefs under a microscope and determining whether they are truly yours or whether they were planted by others when you were young and impressionable.”
Furthermore, frontman Rylee McDonald adds: ’ve spent the past decade re-examining my upbringing and realized many of the “truths” I was taught were carefully shaped beliefs. While rooted in my own experience, it revealed how we still divide ourselves by religion, politics, and class — an enduring “us vs. them.” Falling Together is my attempt to capture those reflections in song.
Advent Horizon’s growing ambitions are clear from the jump via “In a Lone and Dreary World,” a 19-minute epic suite that’s almost twice as long as any other composition in their catalog. At first, it’s restrained and atmospheric, with delicate timbres supporting Rylee McDonald’s soaring contemplations; however, it soon picks up steam by incorporating beautiful vocal harmonies, djent-esque ferocity, death metal growls, vibrant keys, and so much more. Throughout the song – and the whole sequence, for that matter – Kristen McDonald’s comparably pure and affective singing matches Rylee McDonald’s magnificently, and as always, the band moves masterfully between hecticness and heavenliness.
While that opener is inherently the most impressive part of the album (if not Advent Horizon’s entire career), what remains is expectedly superb as well.
In particular, and despite how incongruous it might sound, “Faith’s Window” irresistibly mixes the tender pop-rock accessibility of crossover prog with the demonic growls of, say, Rivers of Nihil and Ihsahn. Later, “Past Life Parable” offers an even brighter vibe with its sing-along hooks, sophisticated playing, and stirring lyrics (“You gave a piece of everything you own / To build up someone else’s home / And the whole damn time you believed / You fought against the world”). The two-part “Gravity” is another highlight because of its juxtaposition of transcendental and tumultuous instrumentation alongside unwaveringly gripping verses and choruses.
Every piece of Falling Together’s puzzle is terrific, though, further exemplifying why Advent Horizon are one of the premier acts in modern American prog. Few of their contemporaries are as consistently adept at melding top-tier songwriting/singing with arrangements that’re simultaneously tricky, wide-ranging, and routinely inviting. In other words, Advent Horizon’s craftsmanship continues to be exceptional, and if you’ve yet to discover their greatness, Falling Together is a great place to start.
Release Date: May 15th, 2026Record Label: Self-Released / IndependentGenre: Progressive Rock / Metal
Musicians: Rylee McDonald / Vocals, keys, guitar * Kristen McDonald / Vocals * Mike Lofgreen / Drums, percussion * Cason Wood / Bass, keys, trombone * Grant Matheson* / Guitar, keys, vocals
Guest Musicians Zach Boorman / Guitar, piano, synth, percussion, backing vocals * Doug Robinson / Guitar * Cressa McDonald / Vocal ambience * Griffin McDonald* / Vocal ambience
Falling Together Track-list:1. In a Lone and Dreary World
2. Faith’s Window
3. Patience
4. Past Life Parable
5. Gravity I
6. Gravity II
7. Animals
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If you haven’t checked out Italian prog rock band Karmamoi yet, their 7th album, Eternal Mistake, is your opportunity. Taking inspiration from bands like latter-day Porcupine Tree, which blend edgy riffs with emotion and lush arrangements, this quartet has plenty of musical muscle alongside intriguing lyrical ideas. Indeed, Eternal Mistake is a concept album set not very far into the future, where a romance between a human and a humanoid is possible. Taking the template of Frankenstein and adding a dash of romance, we explore a few of the profound themes surrounding AI and its implications for emotions, soul, and love.
Given the subject material, it’s refreshing to see the disclaimer “AI-Free Statement: Music, Lyrics, Arrangements, Mixing, and Artwork of ‘Eternal Mistake’ are AI-free” boldly declared at the outset. Hopefully, many bands will adopt this approach too, and keep our music human-made. (Though what then comes to mind are the many 70s Queen albums which proudly declared being made devoid of synths…only to later swing dramatically in the opposite direction. Machines…back to humans!)
Whether you’re looking for a creative, futuristic concept storyline or not, Eternal Mistake has plenty to offer from a musical perspective as well. Impressively, the album launches with one banger track after another. Aside from the melodic hooks, what stands out most are the thickly layered arrangements, which juxtapose emotional vocal delivery with chordal progressions that suck you in.
Singer Valerio Sgargi thankfully has a great set of pipes, which are able to even lend an occasional operatic flair when the storyline requires it, a la Devin Townsend or Damian Wilson. With vocals often being the weak link for modern prog bands, it’s gratifying to savor the power and assuredness of a strong singer. Sgargi, who also plays keys and guitar, collaborates with drummer/keyboardist Daniele Giovannoni on all of the material, and apparently, they are a strong team together because the resulting songs deliver time and time again. The band is rounded out by Alex Massari on guitars and Alessandro Cefalì on bass, both of whom bring a confident attitude and performance. It’s a dynamite collection of musicians, occasionally augmented by guest cameos.
The downside of a concept piece like this is that it can take itself a little too seriously, and at times, that can become overbearing or just corny. For the most part, this element only crops up during the bookends: the short opening narrated intro and the closing track. Don’t let them dissuade you, as there’s plenty of gold in between. “Lara Is Your Name” is a dramatic first proper song, bestowing our humanoid with her identity and providing a killer groove in which to do so. Giovannoni’s command of the drum kit is quickly apparent and is well engineered by Fabio Ferri. Throughout the album, Ferri utilizes some very cool techniques in his mix, which don’t distract but rather elevate the listening experience.
The next track, “Don’t Knock On The Door,” begins with a moody atmosphere but turns out to be a favorite on the album, so strong are its melodies and textures, not to mention Sgargi’s vocal impact. Sgargi and Giovannoni understand how to build a track over time, and the payoff is huge. “I’m Not On Your Side” picks up the pace with rough edges and a welcome slam on Trump’s egoistic bravado. But then we’re back to a mellow acoustic intro for “Nothing But”, proving that Karmamoi can succeed in all extremes of their dynamic range, as the song builds with a hypnotic performance over 10 minutes in length.
The existential dilemma of the story starts to dive deeper on the subsequent tracks with titles like “The Mirror”, “No Soul”, “The Question”, and the title track. Humanoid Lara wrestles with the inevitable questions of what home, love, and soul really mean for an artificial entity, especially in the context of a relationship. It’s an ideal backdrop for Sgargi to let it rip vocally, especially on “No Soul”, which even gets bluesy tones added to the mix, including Massari’s killer guitar soloing. One of the album’s best.
The tension continues building through an incredible duet with Susanna Brigatti on “We Are Going Home”, another highlight. Wow. Simply gorgeous. This could easily be the finale of the album, as it is such a fulfilling song and feels like a crescendo, but the band continues with the 10-minute “Hero”, finding Giovannoni going to town on the drum kit.
The band’s attraction to Steven Wilson’s imprint is evident in their music – including the drumming – but they go a step further by inviting Adam Holzman and Randy McStine to cameo for keyboard and guitar solos, respectively. While a cool tip of the hat to these wizards, it also must be said that it feels unnecessary. To their credit, the band’s personnel has enough chops that they don’t really need any outside influence, and so it’s a little bit of a distraction. But it must have been satisfying for them to get that inclusion from these musicians, so no foul there.
Unfortunately, the album starts to deliver diminishing returns towards the end. Rather than choosing to close on the emotionally bonding note of “We Are Going Home”, the band instead ends the album with a track called “No Fucking Way”. Okay, then. Perhaps they felt the storyline had to continue this far, but to these ears it would have been a stronger album if the ending came a little sooner, with one or two fewer tracks. As it is, the album runs 104 minutes, which just feels a bit long.
Still, the ending doesn’t take away from the strength of the album as a whole. Eternal Mistake is unquestionably a success, despite what its title implies. This is an album that deserves to be discovered by the prog masses, a gem of ’26.
Release Date: April 17th, 2026Record Label: IndependentGenre: Progressive Rock
Musicians: Daniele Giovannoni / Drums, keyboards, backing vocals * Valerio Sgargi / Vocals, keyboards, guitars * Alex Massari / Guitars * Alessandro Cefalì* / Bass
Eternal Mistake Tracklist:1. The Regrets 2. Lara Is Your Name 3. Don’t Knock On The Door 4. I’m Not On Your Side 5. Nothing But 6. The Mirror 7. No Soul 8. Eternal Mistake 9. The Question – We Are Going Home 10. HERO 11. Passing Away 12. No Fucking Way
Order the album *here*.
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Total destruction is at hand.Venom is a name that is often cited as the prime mover in metal’s move from its heavy rock roots into more extreme territory, so much so that the subsequent speed, thrash, death, and black metal movements have all claimed it as their respective godfather.
Yet in the abstract, the best way to understand this proverbial dark horse of the NWOBHM’s unique blend of raw sonic fury and theatricality would be as evil, unchanged by the passage of time and corresponding trends. Comparisons to rock icons and heavy metal forerunners Motörhead become inevitable not only due to the same power trio arrangement, but also due to a similar dedication to no frills speed and aggression that lands them in a darker yet still noticeably comparable sound.
And in the same respect as the former being cited as a key bridge between heavy rock and the NWOBHM, Venom’s nastier sonic result provides the link between the aforementioned early 80s British metal explosion and its uglier extreme progeny, and that key place in metal’s formative evolution remains on full display more than 40 years later on their 16th and latest studio release, Into Oblivion.
Though the years have seen numerous lineup shifts since this proto-blackened institution came raging out of Newcastle in 1979, a sense of stability has endured since 2011’s Fallen Angels and a corresponding modern chemistry in an otherwise primordial metallic template. Spearheaded by the glassy bass work and gritty, occasionally guttural snarl of founder and helmsman Cronos, the trio, rounded out by the raging riffs of aptly named John “Rage” Dixon and the rapid-fire kit work of drummer Danny “Dante” Needham put on a display fiery enough to rival many of their death and black metal descendants.
The precise and often flashy character of Rage’s guitar solos and his propensity for mixing things up in the rhythm department play a pivotal role in bringing this beast from the glory days of analog recording into the present, sometimes to the point of channeling some of the stylistic quirks of post-80s black and death metal in the process. Yet when the rubber of this motorcycle from hell hits the road of perdition, the slovenly spirit that originally made Venom a force to be reckoned with endures in every single note played.
In contrast to the often expansive and long-winded character that has come to define much of modern metal, Into Oblivion maintains Venom’s underground credentials while sticking to a concise and to-the-point approach to songwriting. Bludgeoning speed demons with a tall side order of thrash-like riffing such as the opening foray and title anthem “Into Oblivion” and the occasionally doom-steeped and dissonant yet raging “As Above, So Below” stand as the only two entries in this 13 chapter sonic kill fest to go past the 4 minute mark, and both of them manage to cram a good deal of death and black metal oriented ideas into durations that would still pass for terrestrial radio.
On the shorter side of things, the barely 2 minutes long mid-paced crusher “Dogs Of War” is the only offering of the lot that feels fleeting, to the point of almost being a nod to the crossover formula, save all the gratuitous pinch harmonics coming from Rage’s guitar like he’s signed onto a slam project. On the other hand, the generally mid-tempo crusher “Deathwitch” listens like a slower and more diabolical twist on a late 80s British thrash offering, while the quirky progressive entry “Legend” sees the guitars and drums channeling elements of Death’s Human.
The eclectic yet consistently traditional character of this album could almost be likened to a father reminding his progeny where they got their sound from while also paying homage to how much further they took things. One can’t help but notice how the synchronicity between Cronos’ jagged shouts and the dissonant riffs streaming from Rage’s guitar on “Live Loud” resembles something Darkthrone might have dabbled in over the past decade, while the otherworldly atmospheric melancholy brought on by a droning keyboard line at the onset of “Unholy Mother” and its subsequently haunting display heavily parallels several seminal 90s black metal offerings out of Scandinavia and Greece.
The uncompromising punch and flashy detailing of “Kicked Outta Hell” could have easily traded blows with the heavy hitters of the Teutonic thrash explosion of the mid-80s. Yet through it all, the anthem that ends up injecting the most charm into things is the overt throwback to Venom’s too fast for heavy metal early years “Death The Leveler”, showcasing that classic blend of Judas Priest flash and Motörhead grittiness like it never went out of style.
It’s a fool’s errand to draw qualitative comparisons between any subsequent album by any band with that of revolutionary acts of studio-created mayhem like Venom’s unholy first trinity of releases in Welcome To Hell, Black Metal, and At War With Satan, respectively. But as far as this outfit’s studio efforts in the years since, and particularly following their mid-2000s reformation, Into Oblivion is a standout offering that proves equally accessible to the old school purists who don’t want anything overly polished and younger trustees of extreme metal that aren’t immediately drawn to the Persian Flaws that often come with an early 80s production.
Like many of the greats that have been at the game for more years than they were alive before taking it up, this is not a band that is simply standing still or living entirely off the glory of their past, but has seen fit to balance a controlled stylistic evolution with sticking to their guns.
In an age where metal is often defined by a fragmented collection of rivaling and clearly defined styles, Venom remains at a crossroads where one can find a little of just about everything.
Release Date: May 1st, 2026Record Label: Noise/BMGGenre: Thrash / Speed / Black Metal
Musicians: Conrad “Cronos” Lant / Bass, vocals * John “Rage” Dixon / Guitars * Danny “Dante” Needham* / Drums
Into Oblivion Tracklist:1. Into Oblivion 2. Lay Down Your Soul 3. Nevermore 4. Man & Beast 5. Death The Leveller 6. As Above So Below 7. Kicked Outta Hell 8. Legend 9. Live Loud 10. Metal Bloody Metal 11. Dogs Of War 12. Deathwitch 13. Unholy Mother
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This hits harder than the regular moonNostalgia has proven a highly potent force in rock music of late, with the likes of Greta Van Fleet, Dirty Honey, and The Struts rising to prominence by largely rediscovering a sound that hit its original zenith more than half a decade ago.
But in the specific case of the Pottsville, Pennsylvania-born quartet Crobot, it isn’t the only factor in how the glory days of a seemingly bygone era have been enjoying a noteworthy renaissance in recent years. Originally cutting their teeth in the mid-2010s under the same Wind-up Records banner that propelled the likes of Creed and Evanescence into the stratosphere and a subsequent stint under the umbrella of Mascot Records (former home of Black Label Society, Fozzy & Volbeat), they’ve since struck out on their own with a signature blend of 70s heavy rock and 90s alternative influences and hit critical pay dirt with their 2024 self-released opus Obsidian.
Roughly 2 years to the day, this fold has channeled the same winning formula into their 6th and latest studio LP, Supermoon, and there’s scarcely a trace of hyperbole in that title when considering the contents it carries with it.
The road up until now for this Pennsylvania original hasn’t been without its share of bumps, though for the most part those have come in the form of a constantly shifting rhythm section supporting the soaring vocals and occasional harmonica handiwork of helmsman Brandon Yeagley and guitarist Chris Bishop. For their part, newly recruited bassist Willie Jansen and his brother/drummer Nico carry their weight and then some, filling the shoes of an assembly line of players that have come and gone since 2013 without missing a beat or even giving a hint of disruption in the smooth flow from one album to the next that this outfit has continued to exhibit since its inception.
However, from this album’s onset, it’s clear that the heavy, blues-infused riff work and Robert Plant-like vocal gymnastics of this band’s two co-founding members are the most dynamic and auspicious elements in play in how these songs go from typical classic rock revivalism to signature anthems that transcend a single period in history.
An unmistakable air of familiarity hangs over each of the 12 songs that round out this opus, yet while obvious nods to hard rock’s icons Led Zeppelin and alternative/stoner staples like Soundgarden and Queens Of The Stone Age are hard to miss, at no point does anything feel like a total throwback. The dank and punchy “Gun To My Head” could almost be an outright nod to Badmotorfinger, yet intermitted harmonic chime-ins and Yeagley’s smoother and nimbler vocal presentation almost turn it into a homage to Black Sabbath’s “The Wizard”.
Similar raw and distorted stories like “Battle Cry” and “Trouble (Looking For You)” lean a tad closer to a vintage psychedelic twist on the same early 90s grunge format, though the effects-heavy timbre of Bishop’s guitars shows some clear affinities with Tom Morello, though his guitar solo work leans in more of a traditional blues/rock direction. Things get so bottom-heavy later on in the album that hard stomping numbers like “Bigger By The Pound” and “Too Heavy” put their sound right in their respective names, not to mention draw even greater Black Sabbath comparisons by seeing the Jansen brothers go wild and channel their respective inner Geezer Butler and Bill Ward.
How each chapter of this sonic novella varies from the others often involves heavy elements of another genre encroaching upon the hard rock genre’s dominant position. The strong, bluesy swagger of “Foot Off” sees Crobot taking some time to make Dirty Honey work for their title as premier blues rock revivalists. The loose, flowing blend of easy-going balladry and blues-driven swagger of “Happy Days” and “Let It Kill Me”, as well as the harder-edged swing of “Cold Blooded,” would surely have found George Carlin modifying his stance on white guys playing the blues had he lived to hear them.
The spacey ride through the psychedelic haze with a comedic edge, “Me And Your Mother” lands some infectiously funky grooves that could have simultaneously gained George Clinton’s nod of approval and made Ritchie Blackmore quit Deep Purple all in the same day. Though when all is said and done, the song that proves a cut above the rest is the more traditionally hard-rocking banger “Tethered To Maw”, which is definitely one of the more impressive guitar displays in a hard rock context to come about in the past few years.
Supermoon is the sort of album that showcases that while consistency is the best road to a quality album, the versatility of the established formula proves invaluable in keeping things fresh for those who have been in the passenger seat since the beginning. The influences on it are far from a mystery, yet how they are implemented results in a highly unique sound that would not be mistaken for the more straightforward 70s rock revivalism that has been all the rage for the past decade.
It rocks heavy as much as it rocks hard, channeling the dark and brooding character of Tony Iommi’s signature guitar sound while avoiding becoming an outright heavy metal affair due to the combination of Yeagley’s lighter and more vibrant vocal display and a generally more concise songwriting approach. If rock radio were still the dominant medium, Crobot would be all over it, but even in the more fragmented world of streaming media, the universal power of hard and heavy rock that this album carries will find little difficulty punching through.
Release Date: May 1st, 2026Record Label: Megaforce RecordsGenre: Hard / Heavy Rock
Musicians: Brandon Yeagley / Vocals * Chris Bishop / Guitars * Willie Jansen / Bass * Nico* / Drums
Supermoon Tracklist:1. Gun To My Head 2. Foot Off 3. Battle Cry 4. Happy Days 5. Girl From Another World 6. Me And Your Mother 7. Cold Blooded 8. Trouble (Looking For You) 9. Bigger By The Pound 10. Too Heavy 11. Tethered To Maw 12. Let It Kill Me
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Shred majesty that could melt steelThough now a bygone era, one can’t help but hear the echoes of a brilliant up-and-comer from Greece landing in America to pursue a musical education and instead opting to help jumpstart heavy metal’s revival as a cultural force whenever the name Gus G comes up.
Whether it was contributing to the formative works of such noted early 2000s metal staples like Mystic Prophecy, Dream Evil, Nightrage, or his own flagship project Firewind, Gus has continually proven to have the Midas touch not only when it comes to showering the air with impressive virtuosic guitar solos, but also in composing highly accessible and gripping anthems to clue the general public in on his technical prowess.
Initially his own name would only be attached to a 2001 instrumental showcase dubbed Guitar Master, but during a highly auspicious stint in the 2010s with famed godfather of heavy metal Ozzy Osbourne, his eponymous solo project would take on new life as a partly instrumental, but otherwise more rock-focused foil to Firewind. Now with most of these accomplishments in the rearview, a new manifesto of metallic bombast with rock radio sensibilities has come to light under the fitting title of Steel Burner.
In keeping with the character of Gus‘s work under his name since rebranding it as a more commercially viable venture in 2013, the music contained within this 39-minute sonic fist to the sky comes with an assorted cast of prominent vocal characters. Yet while in the mid-2010s this would entail an equal share of prominent mainstream rock figures and fellow-travelers from the European metal scene, this time around Gus has stuck noticeably more to the latter camp and has crafted the sonic template to cater to their specific talents.
The result is an album that is both rich in variety, yet firmly rooted in heavy metal traditionalism that tends to parallel the dual modern heaviness and slight AOR character typical to several projects coming out of Frontiers Records in recent years. Granted, compared to the likes of Magnus Karlsson and Aldo Lonobile, Gus’ approach has more of a guitar-centric character that is heavier and far less reliant upon keyboards and/or symphonic pomp in order to achieve a sense of atmospheric depth and power.
Not one to ever deceive his audience, Gus foreshadows the character of his latest opus brilliantly with an explosive shred display on top of a driving metallic groove that is the opening foray and title entry “Steel Burner”. Shades of a modern heavy/power metal approach after the spirit of Primal Fear and Sinner is subsequently laid down with reckless abandon in “Nothing Can Break Me”, featuring the gritty pipes of iconic metal queen Doro Pesch and enough crazy guitar high-jinks to orbit Paul Gilbert, yet somehow managing to clock in at just under 4 minutes despite bursting at the proverbial seams with climactic moments.
Nipping on its heels is a massive stylistic left-turn into haunting balladry mixed with power thrashing aggression after the spirit of late 90s Iced Earth in “Dancing With Death”, a highly fitting musical eventuality given that none other than Matt Barlow is featured on vocals and puts on a master class in how to mesh deep, gravely rage with a vintage Halford-inspired banshee counterpoint. On the more rocking side of the coin is a sleazy set of mid-paced grooves with a bluesy edge in “No One Has to Know”, which sees Croatian sensation and modern rock hero Dino Jelusic taking up the microphone and holding his own alongside Gus’ surgical genius at the six-string.
Naturally, there is a fair bit more going on here than impact-based rock and metallic fervor, though that is the overwhelming rule from start to finish. Star metal front man and one-time vocalist of Rainbow, Ronnie Romero underscores the versatility factor at play here by taking on two very different stylistic endeavors, the first being a shred-happy 80s rock anthem in “Frenemy” that could almost be a tribute to Whitesnake were it less bottom-heavy, while the latter “My Premonition” veers more into the melancholy, quasi-epic realm of Dio and comes the closest to taking a page out of the Frontiers Records book of mixing metallic force with an arena-like atmosphere.
Both songs naturally function equally well and speak to Romero’s sonic affinity to Ronnie James Dio, though ultimately the latter is more memorable in spite of Gus taking a slightly more toned-down approach. Rounding out the equation is a healthy helping of instrumental offerings with Gus in top form; and be it the power balladry of “Closure”, the jazzy turned mystical journey without words “Confession”, the Joe Satriani-inspired rocking good times of “What If”, or the power metal-infused magic of “Advent”, all of it plays perfectly to Gus’ indomitable ability.
Of the various albums that have come out since 2014 bearing Gus G’s name, Steel Burner lands the closest to what he normally brings to the table under the Firewind moniker and is sure to play well with heavy and power metal enthusiasts. Though the guitar work on display rivals what most of the shred world would consider the pinnacle of the excess that it consumes like candy, the resulting streams of rapid fire licks and runs have an air of tastefulness to them that transcends said fringe market.
Like the other titanic names that have taken the stage alongside the iconic and now dearly departed Ozzman, Gus proves that a balance of technical flair and concisely structured songwriting is a winning formula in any context. This chapter in Gus’ ongoing career may come courtesy of a smaller indie label that might not boast the roster of his past associations via Century Media and AFM Records, but Metal Department is definitely an apt title for whichever outfit counts this album as part of its catalog.
Release Date: April 24th, 2026Record Label: Metal DepartmentGenre: Heavy Metal
Musicians: Gus G / All guitars, bass, keyboards, drums * Andrea Arcangeli / Bass on tracks 6 and 8 * Dennis Ward* / Bass on track 2
Steel Burner Tracklist:1. Steel Burner 2. Nothing Can Break Me (Featuring Doro Pesch) 3. Dancing With Death (Featuring Matt Barlow) 4. Advent 5. What If 6. Frenemy (Featuring Ronnie Romero) 7. No One Has To Know (Featuring Dino Jelusick) 8. Confession 9. My Premonition (Featuring Ronnie Romero) 10. 10. Closure
Order the album *here*.
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A bleak future begets the perfect swansongDeath metal has never been a medium to shy away from the real-world ramifications of its namesake. One might even venture to say that the artists who work in any of the subgenres’ respective styles have a keener sense as to the tragedy of human mortality than the average person.
For longtime and now dearly departed Gothenburg titan and At The Gates vocalist Tomas Lindberg, suspicions of the end of the trail being in view came with the diagnosis of a rare form of cancer in the midst of composing the eventual follow-up to the band’s 2021 LP The Nightmare Of Being, prompting a rather unconventional recording arrangement for their 8th studio album per his band mates’ testimony. In what could be described as a highly self-aware if pessimistic expression of artistry, Lindberg would rebrand what would become his final will and testament to the metal community from the working title of The Dissonant Void to the more poignant and haunting one of The Ghost Of A Future Dead, codifying a mighty swansong and arguably greatest album since At The Gates’ formative years.
Every aspect of this explosive display of northern coldness and aggression embodies the unique disposition that melodic death metal has held, residing in a perfect middle ground between the mainline and extreme wings of metal in much the same manner that thrash metal did before it.
Studio gimmickry and atmospheric additives are generally kept to a minimum to make room for a furious presentation that can stand face to face with the vintage auditory violence of Stockholm forerunners Dismember, Entombed and Unleashed, building a foundation of pummeling riff work and a thunderous rhythm section for Anders Bjorler and Martin Larsson to tastefully sprinkle sorrowful guitar melodies upon.
The instrumental proves far more thrashing and technically charged than the current handiwork of scene compatriots In Flames and Dark Tranquillity, reminiscing almost purely upon where the style was just as it crossed the Rubicon between underground status and popular consciousness in the mid-90s. In the midst of it all stands Lindberg’s final performance on vocals, supposedly performed over a single day just prior to extensive surgery and radiation therapy in early 2024, exuding the same level of rabid fervor that he brought to Slaughter Of The Soul almost 30 years prior.
The sense of urgency that likely dominated the recording sessions that paved the way for these songs is on full display in the final product, almost as if this 5-piece outfit was reliving their initial ascent to prominence with all the ambition and hunger that went with it. The high octane explosion of “The Fever Mask” strikes a mighty first blow, arising from a horrific ambient crescendo to a hyper-thrashing slay fest that exemplifies what melodeath was before it was refined for mass consumption.
The same breakneck approach is taken on the frenzied crushers “The Dissonant Void” and “A Ritual Of Waste”, albeit with an even more chaotic riff display to go with the fast-paced drumming and gravely ravings of Lindberg’s mid-ranged bark. Curiously enough, the technical display put on by Anders during each solo segment is a cut above the rest, bringing an even more overt old school vibe into the equation on more nuanced yet still fast entries like “Of Interstellar Death” and “Tomb Of Heaven” that thrash just as fiercely yet also come with more sectional twists and turns.
Even when the tempo eases off a bit, and a greater degree of groove and depth to the arrangement comes into play, none of the fire and fervor is lost. The almost death ‘n’ roll oriented up tempo stride of “In Dark Distortion” comes with plenty of haunting guitar harmony lines and streaming chords, but the bottom end still shakes the proverbial earth at regular intervals, and Lindberg’s primal growl rages on undeterred. Slower entries like the shuffling fist to the gut “Det Oerhorda” and the mid-paced “Parasitical Hive” come with more subdued and atmospheric moments, but also don’t slouch in the aggression department and match imagery of dark and lonely caverns with a mighty storm of riffs.
Some truly rich and sorrowful melodic guitar lines paint the fringes of two shorter entries in the dreary acoustic balladry of “Forgangligheten” and the shifting groove machine “The Phantom Gospel”. But at the end of the day, things are at their zenith point when raging at full speed, and among the latter entries in this bleak endeavor is a pair of absolute beasts in chaotic thrasher “The Unfathomable” and the closing hurrah “Black Hole Emission”.
It’s hard to fully appreciate the sheer level of loss that comes with this juggernaut of an album, for who can truly quantify the future potential of any person at any point in their life, let alone one with such an impressive body of work as the one carrying Tomas’ name. But insofar as this, his final gift to the scene that he played a pivotal part in shaping, goes, one could hardly ask for a better and more fitting send-off.
The inevitable Persian Flaw of a vocal performance that was put together in a rush during the demo stages of production being grafted onto an instrumental arrangement that was crafted and honed over around 2 months is immediately obvious, yet the contrast between Lindberg’s raw and almost live performance and the polished musical backdrop carries its own charm that parallels the days of lower fidelity recordings that birthed the melodic death metal subgenre.
Where one road ends, others are sure to begin, and this road reached its destination in an utter blaze of glory that no self-respecting fan of death metal should miss.
Release Date: April 24th, 2026Record Label: Century Media RecordsGenre: Melodic Death Metal
Musicians: Tomas Lindberg / Lead vocals * Anders Björler / Guitars * Martin Larsson / Guitars (1–10, 12) * Jonas Björler / Bass (tracks 1–10, 12) * Adrian Erlandsson* / Drums (1–10, 12)
Additional Musicians:
- Charlie Storm / Keyboards (1)
- Fredrik Wallenberg / Background vocals (3)
- Gunnar Hjorth / Classical guitar (11)
The Ghost Of A Future Dead Tracklist:1. The Fever Mask (03:12) 2. The Dissonant Void (02:47) 3. Det Oerhörda (03:35) 4. A Ritual of Waste (03:35) 5. In Dark Distortion (03:50) 6. Of Interstellar Death (03:45) 7. Tomb of Heaven (03:53) 8. Parasitical Hive (04:34) 9. The Unfathomable (04:07) 10. The Phantom Gospel (02:44) 11. Förgängligheten (02:41) 12. Black Hole Emission (03:39)
Order the album *here*.
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Crank those decibels, baby!Many a hard rock icon seemed destined to underground cult status due to the changing musical tides of the early 90s, with the likes of Slaughter and Blue Murder being among the more prominent examples of bands that were a little late to the party and swimming against the wave crashing out of the Pacific Northwest.
Early 90s AOR upstarts Hardline seemed another entry into this club of bands that had all the right moves but hit the field in the wrong decade, featuring the talents of famed Journey guitarist Neal Schon and Bad English bassist Todd Jensen alongside the project’s masterminds vocalist Johnny Gioeli and brother/guitarist Joey Gioeli, not to mention a signature formula and melodic splendor that would have conquered the mainstream were it to have come to light a few years earlier. But perseverance can conquer even the most overwhelming of adversaries, and following a brilliant run with Frontiers Records, this elder hard rock staple has unleashed their heaviest entry yet under the SPV/Steamhammer banner in Shout!
Much of Hardline’s present vitality owes to the keyboard chops and production expertise of Alessandro Del Vecchio, who has refocused their signature 80s AOR sound into something more modern and in harmony with the power and pizzazz common to most of Frontiers’ ever-expanding roster. One can’t help but note that while Johnny Gioeli’s raspy roar remains a dead-ringer for his work with Axel Rudi Pell, yet the music surrounding him has taken on a character that is far less tied to the aforementioned project’s retro production tendencies, despite still being steeped in 80s stylings.
The tight display put on by the rhythm section, consisting of drummer Marco Di Salvia (an occasional fellow traveler of Del Vecchio’s) and bassist Anna Portalupi, plays an equally vital part in shaping this album into a towering golem of sound. But the variable that puts this entry in a distinct and more metallic place compared to their prior outings with Frontiers Records is the guitar work of Blaze and Doro axe-slinger Luca Princiotta, laying down riffs that are at least as heavy as anything in Pell’s extensive catalog.
Though definitely a sizable step into new sonic territory for the Hardline brand, Shout! is an album that plays to the same compact, concise formula that has been the rule since the 1992 debut, Double Eclipse, emphasizing infectious hooks with a straightforward approach. Obligatory up-tempo bangers like “Rise Up” and “I’m Leaning On It’ tap into that 80s magic something fierce and find Gioeli’s sleazy snarl in comfortable territory, with Princiotta’s flashy riff work tilting things dangerously close to mid-80s Ozzy Osbourne territory.
Likewise, though the opening title entry “Shout!” commences with the usual cinematic largess that Del Vecchio likes to adorn his productions with, the heavy punch of the guitars that drives things along carries an uncanny Jake E. Lee-like character rather than the more rhythmically static approach typical of a Magnus Karlsson or Aldo Lonobile in a format like this. Even when things get heavy enough to rival Judas Priest, like on the pummeling foray “Welcome To The Thunder”, the synchronicity established between Luca’s busy guitars and the dense atmospheric backdrop caters perfectly to Gioeli’s signature wails.
Naturally, this isn’t an album based solely on impact-based aggression, but it’s uncanny how even the more stylistically mixed offerings of this opus find themselves back in that same sonic place at key points. The more anthem-based rocking approach of “It Owns You” and “Candy Love” splits the difference equally between keyboard-steeped AOR and 80s Sunset Strip-inspired sleaze rock, functioning as de facto throwbacks to the early days of the Hardline name, but are also tailored in such a way as to fit perfectly into the heavier aesthetic of the rest of this album.
The more melancholic and piano-driven semi-balladry of “Mother Love” tugs at the heartstrings a fair bit both lyrically and melodically speaking, yet once that explosive chorus lands Princiotta’s metallic edge has its say. A similar story is told in a more nuanced and almost progressive way on the down-tempo epic reinterpretation of Scorpions‘ song “When You Came Into My Life,” and the serene acoustic entry turned shuffling hard rock monster “Rise Above No Fear”. The only all-out exception to the rule of raging rock with a soaring voice on top is the closing ballad “Glow”, which offers an extremely poignant message of love and loss with Gioeli opting for a more intimate setting of a lone piano line accompanying his powerful pipes.
While Shout! also presents a sound that is a far cry from the vintage 80s AOR sound that typified Double Eclipse, it definitely draws more so from the mystique of that era than anything else they’ve put out since, and provides a more aggressive and uncompromising metallic edge that is sure to prove far more palpable to younger heavy and power metal enthusiasts. Anything worth playing is worth playing loud, and while this album does not live by decibels alone, it packs far more than one might expect from the average AOR band.
Release Date: April 17th, 2026Record Label: *SPV/SteamhammerGenre: Melodic Hard Rock*
Musicians: Johnny Gioeli / Vocals * Alessandro Del Vecchio / Keyboards * Luca Princiotta / Guitars * Anna Portalupi / Bass * Marco Di Salvia* / Drums
Shout! Tracklist:1. Shout 2. Rise Up 3. It Owns You 4. When You Came Into My Life (Scorpions cover) 5. Mother Love 6. Rise Above No Fear 7. Candy Love 8. I’m Leaning On It 9. Welcome To The Thunder 10. Glow
Order the album *here*.
The post HARDLINE – Shout! (Album Review) appeared first on Sonic Perspectives.
The beauty and torment of discontentmentProgressive rock and metal can thrive in a vast multiplicity of contexts, but arguably the most difficult one for it to maintain a level of accessibility is in the abstract one of purely instrumental expression. It is a setting where the generally esoteric and niche topics that the subgenre(s) lends itself to can often be lost in a sea of virtuosic twists and turns, to speak nothing of the overt showboating that can emerge when a fold of technicians get going on a series of musical ideas for more than a 5-minute duration.
Yet this delicate craft is where Chicago, Illinois-born power trio Aziola Cry has continued to sporadically challenge the preconceptions of metal music itself since their mid-2000s founding, and their 3rd studio LP, dubbed Dysphoria Ritual, takes on the peculiar subject of extreme personal unease and discomfort and turns it into a 45-minute exposition of artistic depth and intrigue.
The same lineup that put together this album’s 2021 predecessor, The Ironic Divide has been maintained, breaking a past tradition of switching out drummers on all previous studio releases and reprising the same stripped-down yet dense arrangement. The kit work of Tommy Murray hearkens a bit towards the jazzy and loose-flowing yet precise approach that typified the performances of Neil Peart during his later years with Rush, establishing a generally mid-paced yet highly intricate set of grooves.
The guitar work of Mike Milaniak also makes frequent stylistic allusions to Rush when exploring lead territory, regularly channeling the crunchy and roaming quality of Alex Lifeson, yet also opting for a heavier metallic riffing approach that reminisces upon the darker side of the progressive coin in the late 90s. But the lynchpin that turns the arrangement from a standard power trio into something far more vast and dense is the dual bottom end and counterpart melodic content put forth by Jason Blake on the warr guitar.
True to their commitment to drawing outside the lines, this avant-garde fold proves highly apt in effectively communicating the message of this opus without the need for words, as anyone flying blind while first experiencing these songs can easily surmise that they are pointing to a state of elaborate and personal disquiet.
From the dissonant beginning of the opening entry “Denial Patterns”, throughout the highly nuanced 8-minute crescendo of varying themes and transition points that it culminates in, a sense of pure unease is established despite every moving part working together in perfect synchronicity. In fact, one might be tempted to assume that this trio let the cat out of the bag completely on the first song given how many varying elements are thrown into the mix, but when the spacey introduction of “Pervasive Sameness” hits that first punchy groove and vacillates seamlessly between a metallic stomp and a soft jazzy ballad-based contrast, it becomes clear that this entire album is equally proportioned.
Though it’s a fool’s errand to select a single composition from this 6-part cycle that stands out the most, each song stands apart in its own unique way and can easily stand alone from the pack. The heavy and forbidding “Ephemeral Joy” definitely lands the hardest and comes with the most technically charged individual performances between Milaniak’s agitated lead guitar bursts and Blake’s polyphonic and rhythmically complex riffing.
“The Delusion Complex” plays the most with dynamic contrast, with a seesaw approach to loud and soft, to speak nothing of the sharp tempo shifts and extreme busyness of Murray’s drum work. On the shorter side of the coin, “Withdrawn And Alone” takes the cake in terms of dissonant timbres and takes the overall anxiety factor up to a 10, mixing noodling clean jazz guitar work with intermittent bursts of punchy distorted segments. Yet for a song that could easily sum up the entirety of this album’s highly abstract and complex character, the closer and title track “Dysphoria Ritual” covers every base hit earlier in the album and functions like a more elaborate mirror to the opener “Denial Patterns”.
Arguably, the only thing that really works against this album is the same thing that could be said about Aziola Cry’s approach since their inception, namely that it’s so unconventional that it could easily fly over the head of 95% of the general public, even if preceded by a synopsis of each individual song. It’s definitely a work that understands its target audience and speaks directly to them consistently from start to finish, almost like a veteran translator adapting the lingo of King Crimson and Tool for a crowd that prefers to communicate outside the medium of the spoken word.
Those with a penchant for the unconventional, a love for those that aren’t afraid to explore the many possibilities of their respective instruments, and aren’t allergic to songs that clock in well beyond the confines of typical terrestrial radio fodder, will definitely be drawn to what this has to offer, as they were to this outfit’s spiritual ancestors, Gordian Knot, 2 decades prior.
Release Date: April 17th, 2026Record Label: 7D MediaGenre: Progressive Metal
Musicians: Jason Blake / Warr guitar * Mike Milaniak / Guitar * Tommy Murray* / Drums
Dysphoria Ritual Tracklist:1. Denial Patterns 2. Pervasive Sameness 3. Ephemeral Joy 4. The Delusion Complex 5. Withdrawn And Alone 6. Dysphoria Ritual
Order the album *here*.
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Techdeath fans bemoaned the fifteen-year gap between Cynic’s first two albums almost as restlessly as they’re doing to the third Necrophagist album that may never come. Spiral Architect fans outdo both by a significant margin amid the recent rumblings in their camp after over a quarter-century of inactivity. All pale in comparison to Florida’s Crimson Glory, who this month are set to deliver their first new platter in twenty-seven goddamn years.
This being Crimson Glory, there has been another shakeup in personnel, with on-again, off-again singers Wade Black and Todd LaTorre being replaced by fellow native Houstonian Travis Wills of Infidel Rising. Original drummer Dana Burnell has also dethroned the computer that cosplayed as ex-Savatage drum-killer Steve Wacholz on 1999’s underloved Astronomica. But by far, the most unexpected exit was that of founding guitarist and bandleader Jon Drenning, with whose blessing Crimson Glory soldiered on with new guy Mark Borgmeyer filling those shoes.
Though Drenning has historically shared songwriting duties with his bandmates, especially bassist Jeff Lords, the significance of his departure cannot be understated. While Crimson Glory’s identity was collectively fashioned, Drenning was arguably the glue that adhered it all together. This is much likeMarc “Xenoyr” Campbell bouncing from Ne Obliviscaris, orChris DeGarmo leavingQueensrÿche all those years ago. And while it took decades for Queensrÿche to find their footing again, and we’ve yet to see how NeO’s output will be affected, we already have the answer for Crimson Glory. Briefly, all is well.
Chasing the Hydra skips the admittedly cool Enya cover that opened its predecessor, opting to get right down to business with an actual drum intro featuring actual drums played by an actual drummer. If Crimson Glory’s use of their classic logo didn’t indicate the direction this, their fifth album, would take, “Redden the Sun” removes all doubt. While the band isn’t merely retreading old ground on this cut, they’re certainly continuing on the path they’d set for themselves on those incredible first two albums of theirs.
They’ve also eschewed the mechanical tones that helped characterize Astronomica – the production onChasing the Hydra is more in line with the sounds that typified much classic 80s metal, though it decidedly (and thankfully) sounds clearer and more organic, especially as far as drums and guitars are concerned. The riffs, harmonies, and textures sound both clean and human, elements severely underserved on Astronomica, though the guitars on Chasing the Hydra could certainly stand to have been mixed a bit louder.
Wills does us a solid by not hitting those highs of his right off the bat: he introduces himself to Crimson fans with an aggressive mid-range bark that suits this apparent continuation to “War of the Worlds” beautifully, easing us into some stratospheric shrieks that would certainly win the approval of fallen frontman John “Midnight” McDonald. The interlude boasts an uneasy tapping flurry by primary riff-writer and sole member to appear on every Crimson Glory album Lords, which indirectly leads us to Borgmeyer showing us why he selected to join this band. This man shreds with the soul of the undead, his living half putting its all into his soloing, with the other half supplying the rage. “Redden the Sun” concludes with an unexpectedly gentle cadence, perhaps inadvertently summarizing everything that makes Crimson Glory what they are: a force not to be fucked with.
Speaking of Lords, there’s much to be admired about him. Drenning has gone on record to state that Lords creates monstrous riffs as casually as most people fart, and if swimming in the Crimson Glory discography doesn’t convince you that Lords is a titan of his instrument, perhaps you ought to just catch them live. His adherence to the instrument’s traditional role is no reason for him not to go beyond: where lesser bassists are content to just fatten the guitar, Lords drives the damn bus, interjecting his grooves with occasional shreddy flair. He embodies the creativity of Sean Malone, the discipline of Rex Brown, and the fury of Randy Coven, capped with the odd nod to Bootsy Collins.
He doesn’t merely play the bass guitar – the bass guitar has chosen him as a conduit for its many facets of greatness. And perhaps typically for a band with a monster bassist, Lords’ parts on Chasing the Hydra feature a tad too prominently in the mix – I actually had to cut the bass on my car’s EQ down to roughly 20% for things to sound decent, however fine the album sounds in my earbuds. Plus twenty points for sounding more like a band than a studio project, but minus several points for the imbalanced mix.
The album’s title track follows with an intro that will leave fans thinking it might be “Red Sharks 2” right up until Wills spits out some unexpected gnarls, bordering on growls. He’ll then leave listeners wondering if he’s the second coming of Midnight, but lest you suspect that the band is merely recycling their classics, the band employs some frightfully heavy, groove-laden riffs at the interlude before Borgmeyer again dazzles us with fretwork, and Wills goes into some wailing falsettos that sound like him and him alone. Crimson Glory are not cloning themselves on Chasing the Hydra; they’re paying homage to their own pedigree.
“Broken Together” is without question at, or at least near, the forefront of this offering decades in the making, and happens to be the first song on this album that doesn’t take direct inspiration from a previous Crimson banger. It is, however, the closest the album comes to sounding like the band’s younger self. Structurally, stylistically, and in delivery, this song could have been on Transcendence, and no one’s gonna convince me that this is a bad thing.
The acoustic intro to “Angel in My Nightmare” also recalls a handful of Crimson classics, most notably “Azrael,” but a minute in we find this song doing its own thing, building up to one of the greatest crescendos on the entire record, with Borgmeyer and Ben Jackson expertly teasing us as they slide their way up their necks and breaking into quick bursts of harmonic tension. The motif that drives this song is also the stuff of legend, and the boys know better than to beat us to death with it. Mark these both as instant classics.
It must be noted that the band has chosen, or at least approved, the use of a handful of cinematic tropes that add nothing to this fantastic platter of new tunes. “Indelible Ashes” opens with the sound of wind, some unspecified Middle Eastern wind instrument, and a gong hit before starting in earnest. A banger of a tune on its own merits, and holy shit does that chorus just slay, the prominent use of raised sevenths foretold in that intro really needs no augmentation.
The following cut, “Beyond the Unknown,” employs an even more obnoxious trope – that dreaded fiend sound designers call the “booj” that’s been heard in so many film trailers that even I, someone who rarely watches movies, am sick of it. “Pearls of Dust” pulls a similar prank, kicking off with some bizarrely unidentifiable clashes that film illiterates like myself are unable to identify or disregard. I question the use of these tropes because they’re external elements that do exactly zero to move the song or the listener; they’re just kind of there, ready to be either ignored or reviled, and I’m grateful that they’re just brief enough not to interfere with the strength of the songs themselves.
“Armor Against Fate” is an eerie, epic crusher that begins mighty thrashily, boasts some wicked guitar melodies, and brings an insecure sense of optimism at the refrains only to kick us down that hellpit it threatened us with when it greeted us, while the aforementioned “Pearls of Dust” might be the heaviest thing Crimson’s ever done. The album concludes with lead single “Triskaideka.” Originally released a good two years ago, this cut opens with another unfortunate sound effect before redeeming itself with the precision and panache that Crimson Glory made their hallmark back before I could even speak English. Certainly a wise choice to tease the band’s return, “Triskaideka” has it all – melody, wrath, grace, and clarity of purpose.
Perhaps the most daunting aspect of a return so many years in development is the fear that the band may not live up to the expectations it’s set for itself. Chasing the Hydra has Crimson Glory facing this for the second time in their career, and once again, they’ve come out on top, this time with the knowledge that they won’t antagonize the Midnight purists of yore like they did last time. Chasing the Hydra does not chase its own shadow – it embraces that shadow to forge a mightier beast.
Release Date: April 17th, 2026Record Label: *Bravewords Records* / No Remorse RecordsGenre: Heavy Metal
Musicians: Travis Wills / Vocals * Dana Burnell / Drums * Jeff Lords / Bass * Ben Jackson / Guitars * Mark Borgmeyer / Guitars * Jon Pyres* / Keys
Chasing The Hydra Tracklist:1. Redden the Sun 2. Chasing the Hydra 3. Broken Together 4. Angel in My Nightmare 5. Indelible Ashes 6. Beyond the Unknown 7. Armor Against Fate 8. Pearls of Dust 9. Triskaideka
Order the album *here*.
The post CRIMSON GLORY – Chasing The Hydra (Album Review) appeared first on Sonic Perspectives.
American black metal has been in a rather mediocre state lately. Homogenized and boring seems to be the order of the day. With that, however, there is still a band that breaks barriers and delivers a listening experience that is new and unique. I’m talking about, of course, UADA. They are the pinnacle of American Black Metal, and nobody even comes close. The irony here is that their current release is an acoustic record. It’s an EP called Interwoven.
When a black metal band releases an acoustic EP, the results can fall anywhere between revelatory and utterly unnecessary. Stripped arrangements can expose compositional depth, but they can also reveal when a band’s power relies almost entirely on distortion, speed, and atmosphere. With Interwoven, UADA attempts something more ambitious than a simple unplugged novelty. The record revisits one track from each chapter of the band’s catalog and threads them together with a new aesthetic vocabulary—one built from acoustic guitars, cello, and the stark vulnerability of unshielded vocals.
Right away, Interwoven establishes that this isn’t just black metal with the distortion dialed down. The opening track, “Djinn,” unfolds slowly, with delicate guitar figures and the mournful weight of C.E. Brown’s cello creating an atmosphere that feels closer to neofolk ritual than to the frostbitten intensity most listeners associate with UADA. Throughout the record, Superchi’s voice (in vastly different form than what we’re accustomed to hearing) becomes the central instrument. In the band’s traditional recordings, vocals often function as another textural element within the storm. Here they are exposed, shifting between hushed incantations, plaintive melodies, and the occasional shadow of the harsher tones fans will recognize. The effect is intimate and slightly unsettling, like hearing a familiar myth retold around a fire rather than screamed across a battlefield.
Selections like “Devoid of Light,” “The Dark Winter,” and “The Purging Fire” benefit from this reimagining. The acoustic arrangements reveal that beneath the band’s usual layers of tremolo picking and blast beats lie compositions that were always more melodic than their genre tag might suggest. The cello work is particularly effective, weaving through the arrangements like a spectral second voice and grounding the songs with a sense of weight and gravity.
The two covers included here demonstrate the breadth of UADA’s influences. “Der Brandtaucher,” originally by ROME, fits seamlessly into the EP’s aesthetic. Its somber, martial atmosphere aligns naturally with the project’s ritualistic tone. The band’s take on “Something in the Way” by Nirvana is more surprising but equally effective. Instead of trying to reinvent the song dramatically, UADA leans into its inherent bleakness, amplifying the quiet despair that always lurked at the heart of the original. Honestly, I love this version as much as I love the original. They really did justice to the composition.
What makes Interwoven even more compelling is the sense that it wasn’t constructed as a calculated side project. According to Superchi, the concept dates back to the very day the band formed in 2014. That long incubation shows in the record’s coherence. Rather than sounding like an afterthought or a novelty release, the EP feels like a missing piece of the band’s identity finally coming into view.
The production reinforces that intimacy. Recorded and mixed by Superchi at Obsidian Spells and mastered by Arthur Rizk, the sound remains organic and spacious. It sounds great in my car. It sounds great in my office. Every creak of the acoustic guitars and every resonant swell of the cello is allowed to breathe. Peter Beste’s cover art complements the mood perfectly, suggesting something ancient and contemplative rather than overtly sinister.
Of course, listeners expecting the icy ferocity that made UADA’s reputation may find Interwoven much more subdued. This is not the band at their most aggressive. It is the band at their most exposed. But that vulnerability is precisely what gives the record its power. It’s not electric and distorted, but it hits nearly just as hard.
In the end, Interwoven feels less like a departure and more like a revelation. Beneath the blackened armor that UADA have worn for years lies a quieter, more reflective musical core. By stripping everything down to strings, voice, and atmosphere, the band shows that the darkness they explore doesn’t require distortion to resonate. Sometimes it only needs silence, wood, and breath. This is the best record I’ve heard so far in 2026.
Release Date: April 10th, 2026Record Label: IndependentGenre: Black Metal
Musicians: Jake Superchi / All vocals, guitars, and percussion * Nate Verschoor / Bass * C.E. Brown* / Cello
Interwoven Tracklist:1. Djinn 2. Devoid of Light 3. The Dark (Winter) 4. The Purging Fire 5. Der Brandtaucher (Rome cover) 6. Something In The Way (Nirvana cover)
Order the album *here*.
The post UADA – Interwoven E.P. (Album Review) appeared first on Sonic Perspectives.
The final enlightenment has come.All good things must come to an end, and while the span of 10 years might seem a fairly short run when measured against the decades that some of heavy metal’s prime movers have been at the game, the prolific road paved in the studio by Austin, Texas’ own Spirit Adrift has been nothing if not formidable.
Led by the guitar and vocal chops of multi-instrumentalist and mastermind Nate Garrett, whom also lent his skills at the six-string to the iconic death metal staple Gatecreeper, this epic and traditionally grounded doom metal institution has scarcely gone a year since their 2015 formation without fielding a substantial studio opus that has won them praise from such noted outlets as Decibel, Revolver, Metal Hammer and Kerrang!
Now, having already marked their March 20th date opening for Crowbar, Eyehategod, and Black Magnet as their last live appearance, the final sonic chapter of this grand tale set to odes of existential woe has been codified via their 6th studio LP, Infinite Illumination.
To the already initiated, this well-rounded opus of dense, forbidding odes recapitulates the unique blend of 80s epic doom, traditional heavy metal, and occasional fits of thrashing sludge that has typified this outfit’s stylistic approach since their sophomore studio outing, namely 2017’s Curse Of Conception. The generally slow-trudging mixture of atmospheric density and melodic consonance inspired by the likes of Candlemass and Solitude Aeturnus seamlessly mingle with a more Sabbath-centered sense of archaic melancholy featured in the seminal work of Trouble and The Obsessed, occasionally giving way to swifter and more aggressive fare that points to the likes of Corrosion Of Conformity and High On Fire.
In essence, Garrett’s artistic vision is nothing if not a multifaceted one, and the crop of high-caliber musicians surrounding him, including bassist Sonny DeCarlo (Goya), drummer Mike Arellano (M.O.D.), and recently recruited Alaska-born guitarist Jason Dahlke, perform masterfully in bringing that vision to life.
Never an outfit to shy away from going long, Spirit Adrift hit the ground with a thunderous dirge of a title entry in “Infinite Illumination”, clocking in at just less than 8 minutes and balancing a towering down tempo punch with hazy, atmospheric respites and chaotic bursts that effectively run the gamut of this fold’s stylistic toolset. At the helm, Garrett also exemplifies the tormented beauty that often comes with an epic doom approach, avoiding the overt operatic character of Messiah Marcolin or Dio-like bombast of Robert Lowe, but also having a soaring quality that makes for a more dramatic listen than what tends to go with modern traditional doom.
A similar musical story is told in a more dissonant, heavy and almost liturgical manner with the 7 minute mystical slough “You Will Never Hold The Key”, while the utterly dark and dreary crunch of “I Am Sustained” leans heavily into the heavy-ended and menacing metallic formula that made Epicus Doomicus Metallicus a pinnacle offering of the subgenre, not to mention showcasing the sort of wild virtuosic guitar soloing stunts that kept it firmly rooted in the 80s.
By the same token, this is a band that knows when to play things more concisely, and along for the ride with the extended jams are some merciless bangers that match accessible melodic hooks and shorter lengths with that same dank aesthetic. The more up-tempo yet highly menacing “Window Within” presents a tighter and punchier take on the doom question, playing off a fairly static riff set and allowing Garrett’s lofty voice to guide things through a generally straight musical path.
The chunky riff machine “Born In A Bad Way” goes even heavier while also taking a highly minimalist approach for its short duration, leaning towards that sludgy sound yet still feeling epic in demeanor. The tempo is kicked up to a mighty metallic roar on “White Death”, which could almost pass for a lost track off of Black Sabbath’s Dehumanizer save for Garrett’s more conventionally gritty vocal approach and a wetter guitar tone. But for a truly harrowing walk through the chambers of auditory woe, the closing epic “Where Once There Was An Ocean” balances the catchier elements of this album’s shorter entries with the grandiose atmospheric quality of the more drawn-out ones.
Amid the titans of modern doom metal that include the likes of Crypt Sermon, Pallbearer, Khemmis, and Wolftooth; Spirit Adrift was always a name that stood no less as tall and provided a bridge between the disparate expressions of the subgenre and the epic offshoots of the New Wave of Traditional Heavy Metal that leaned into a similar aesthetic. Infinite Illumination marks one of the better offerings in a highly consistent discography, channeling a similar kind of magic to the one that made seminal albums like Ancient Dreams, King Of The Dead, Beyond The Crimson Horizon, and Run To The Light the standard by which the new generation is measured.
It’s a bittersweet conclusion to a mighty tale that seemed to have only begun a short while ago, but given the magnitude of what has been committed to recording by this Texas quartet, this is an end that is sure to give rise to many new beginnings, be they by some of these musicians under a different moniker or a new crop inspired by this colossal coup de grace.
Release Date: April 10th, 2026Record Label: IndependentGenre: Sludge / Doom / Heavy Metal
Musicians: Nate Garrett / Vocals, guitars * Jason Dahlke / Guitars * Sonny DeCarlo / Bass * Mike Arellano* / Drums
Infinite Illumination Tracklist:1. Infinite Illumination 2. Window Within 3. You Will Never Hold The Key 4. Born In A Bad Way 5. Buried In The Shadow Of The Cross 6. White Death 7. I Am Sustained 8. Where Once There Was As Ocean
Order the album *here*.
The post SPIRIT ADRIFT – “Infinite Illumination” (Album Review) appeared first on Sonic Perspectives.
Auditory esotericism finds a revival.If recent trends in popular culture have taught anything, it is that safeness and predictability remain the order of the day for artists looking to capture the ears of the mainstream. In this context, a fold of musicians seeking to buck said trends most brazenly, throwing proverbial caution to the wind and inviting all within earshot to step outside of their comfort zone, can’t help but be a welcome breath of fresh air.
Such has been the stock and trade of British progressive rock outfit and purveyors of the mathematical side of the sonic equation, Poly-Math, since their mid-2010s formation, eschewing the very concept of convention and fusing together disparate influences seamlessly into a compact series of instrumental jams. Their latest studio entry, sporting the esoterically themed title of Something Deeply Hidden, marks the fifth and arguably most adventurous foray into the studio LP format they’ve concocted since their 2013 debut EP Vertex.
Standing at a crossroads between the stylings of Ethio-jazz, classic progressive rock, post-rock, and math-rock, the four-piece arrangement that lays down these seven tapestries of sonic ambiguity walks a brilliant tightrope between virtuosic excess and tasteful accessibility.
Between the loose jazzy grooves of drummer Chris Woollison, the happy traveling bass high-jinks of Joe Branton and the crunchy distorted six-string handiwork of Tim Walters; this trio that rounded out the original lineup has all the chops to hold a sizable candle to Rush at their most quirkily elaborate, yet the auditory niche that they establish mixes a greater degree of cold logic to go with the cultural mystique that flows through each composition. Much of this owes to the spacey ambience and oddball studio tricks brought to the fore by keyboardist Scott Gesner, which adds an additional layer of dissonance and depth that rockets the entire arrangement well into the cosmos.
Upon its very opening, Something Deeply Hidden establishes a tone of deep contemplation with an explosive execution, rocking as hard as some of the more aggressive mainline rock bands of the 70s while maintaining a thick, post-rock atmosphere. Consequently, the relatively compact opener “The Universe As An Engine” pounds out a mathematically elaborate rhythmic pulse between the drum kit and guitars that could be likened to an interstellar twist on “YYZ” with double the keyboard presence.
Nipping on its heels with an even more upbeat yet dissonant character is “OneTwoThreeFour Body Problem”, a rather unsubtle nod to the n-body problem (a concept in studying the motion and behavior of celestial bodies where more than 2 bodies result in an unsolvable equation) that matches chaotic drum work with highly agitated riffing and a generally spooky vibe fit for outer space.
Rounding out what might be dubbed the compact trio is the similarly short and upbeat “Chronostesia”, which crams in so many flashy, jazz-inspired twists and turns that it falls just shy of achieving sonic singularity. Generally, the longer things go, the more that the outlandish musical ideas populating this opus are given a chance to grow and develop.
The extended seven and a half minute jam dubbed “No Such Thing As Now” comes with its fair share of abrupt changes in feel and timbre, but it’s smooth grooving intro and its more agitated and hard-edged development section just past the halfway point feel less fleeting and make for a more grounded journey from A to B, even if the song’s title suggests there is no real distinction between the two.
A similar story is told on the slightly shorter “Spectral Disorder”, which sees Branton’s busy bass work enjoy a greater degree of prominence amid the deluge of jazzy drum fills, warring keyboard timbres, and crackling riffs and lead guitar passages. Yet the best is saved for last via the towering 8-minute final hurrah “Terror Management Theory”, which sees every moving part in the arrangement exploding into a kinetic war of virtuosic intrigue while having a clear sense of sectional development and progression that keeps it from being a mere showboating session.
Terms like avant-garde and experimental get thrown around when discussing any brand of progressive rock, perhaps rightly so given that the genre hasn’t really enjoyed a comparable resurgence since its peak in the early to mid 1970s, but they are labels that perfectly encapsulate just what Poly-Math is about.
At first listen, one might be tempted to dismiss this as music written solely for musicians, steeped in technical flourishes and obscure stylings that carry little appeal for those who aren’t already predisposed to performing such feats on their own respective instruments. However, a closer inspection reveals a band that has taken all of the right cues from the formative strides of King Crimson as well as the 2000s progressive/experimental revivalism of The Mars Volta and Battles and translated them into an instrumental template that can be appreciated outside of virtuoso circles.
Something Deeply Hidden rewards patience and punishes assumptions. Poly-Math have built something that belongs to no scene, owes nothing to trends, and sounds exactly like itself — which, in 2026, might be the most radical thing a band can do.
Release Date: April 10th, 2026Record Label: The Lasers EdgeGenre: Progressive Rock, Math Rock
Musicians: Tim Walters / Guitars * Joe Branton / Bass * Chris Woollison / Drums * Scott Gesner* / Keyboards
Something Deeply Hidden Tracklist:1. The Universe As An Engine 2. One/Two/Three/Four Body Problem 3. No Such Thing As Now 4. Euthyphro Dilemma 5. Spectral Dis/Order 6. Chronostesia 7. Terror Management Theory
Order the album *here*.
Something Deeply Hidden by Poly-MathThe post POLY-MATH – Something Deeply Hidden (Album Review) appeared first on Sonic Perspectives.
That signature groove just keeps on raging.For those who had an ear for metal during the 90s, particularly on the western side of the Atlantic, that alternative to the ascendant grunge sound was something a fair bit bleaker and further south. Granted, the stylistic trappings of the NOLA sound that helped kick off the sludge craze shared a spiritual ancestor in the late 80s strides by Melvins to their Pacific Northwest counterparts, but the sonic results were something far more dangerous than even the darkest musings of Alice In Chains.
Even for the more accessible wing, as represented in former punk turned crossover trustees Corrosion Of Conformity and the stoner/sludge variant they helped usher in, one couldn’t help but notice a more faithful and musically apt adherence to the heavy rocking standard set by Black Sabbath. Now more than 30 years since their game-changing 1991 opus Blind codified their status as trailblazers of the NOLA sound (despite being situated in North Carolina), their 11th studio excursion Good God/Baad Man showcases a quartet undaunted by more than 40 years in the business.
Often noted for maintaining a mostly stable lineup since the entry of guitarist/vocalist Pepper Keenan in 1989, recent years have seen this stalwart outfit weathering some sizable storms since the release of 2018’s No Cross No Crown. The combined loss of co-founder and drummer Reed Mullin in early 2020 due to undisclosed illness and the subsequent exit of bassist Mike Dean from the fold left this fold in the unenviable position of having to carry on with a completely new rhythm section.
Thankfully suitable talent has been scouted in one-time Down guitarist Bobby Landgraf to fill in for Dean on bass, and Nick Shabatura taking on the drum kit in a studio capacity after an extended period of North Carolina veteran Jason Patterson handling the drums live. Each one brings the same signature blend of loose-grooving punch and rawness that their predecessors brought to the past few albums under the Corrosion Of Conformity banner, with Shabatura proving particularly apt at channeling the fill-happy high-jinks normally associated with Bill Ward.
But when all is said and done, what makes this more than an hour’s worth of sludge-drenched metal truly shine is the dueling guitar and vocal work put forth by Pepper Keenan and Woody Weatherman, which is channeled into 14 massive compositions of angst with a southern edge.
One can’t help but be transported back to the all or nothing days of early 90s mayhem with a driving feel the minute the up tempo crusher “Good God Final Dawn” kicks this album off with a mighty roar, complete with a nasally vocal display above the sonic fray that reminisces upon Ozzy Osbourne’s wicked snarl back during its prime mixed with a grittier edge. Riff happy beasts like “Gimme Some Moore” and the feedback steeped monster anthem “Asleep On The Killing Floor” pull no punches in the aggression department, drawing about as clear a line back to the peak moments of 1991’s Blind like it’s going out of style.
Even the more mid-paced crunch of “You Or Me” goes hard into COC’s affinity for Black Sabbath’s pioneering take on heaviness, even go so far as throwing in a fairly blatant nod to “Electric Funeral” during a brief jump in tempo after a punishing interlude of ambient samples and guitar feedback.
Though at no point shy about going into the murky depths of sludge, the more accessible side of their southern and stoner rock side of this band’s arsenal is no less present in how they stomp the sonic marshlands. The decrepit blend of hardcore discontent and 70s blues-driven southern swagger oozes from every second of “The Handler”, which also sees one of the most insane drum showcases out of Shabatura and some impressive noodling out of Landgraf’s bass at a few points.
The towering 9-minute slough “Run For Your Life” dives headfirst into the melancholic yet psychedelic side of the doom coin, flowing like an extended rock jam and featuring plenty of flashy lead guitar interchanges by Keenan and Weatherman. The tone becomes a bit more light-hearted and almost cartoonish during the funky rocking cooker “Baad Man”, which almost sounds like a darker and fuzzier nod to ZZ Top at times, and the happy-go-lucky stylings of “Handcuff Country”.
Yet when it comes to a song that truly captures what this album is all about, it’s the return to dark and dank metallic fury with a soulful vocal display that occasionally channels 70s Robert Plant “Forever Amplified” that closes things off in a fitting coup de grace.
The passage of time might make it inevitable that the sum will not arise from all of the same parts, but it doesn’t necessarily mean that the present outcome will be unworthy of its forbearers. Longtime fans of this band will inevitably note the absence of the man who originally provided the beats by which their songs used to march through the swamps of the Deep South, but any functioning pair of ears won’t help but hear a version of Corrosion Of Conformity that has lost none of its edge.
Good God/Baad Man is one of those albums that makes no apologies about the past, yet doesn’t totally dwell upon it, and has something new to offer a time where the prime movers of the NOLA scene and the sound they birthed are experiencing a sizable resurgence in both the festival circuit and in the studio.
It’s a sound that’s not as bleak as Crowbar, nor as raw as Superjoint Ritual and latter-day Pantera, but for those with a penchant for doom metal with a tall order of punk sensibilities and that classic southern edge, it’s a must-hear.
Release Date: April 3rd, 2026Record Label: Nuclear Blast RecordsGenre: Sludge Metal
Musicians: Mike Pepper / Guitars, vocals * Woody Weatherman / Guitars * Bobby Landgraf / Bass * Nick Shabatura* / Drums
Good God / Baad Man Tracklist:1. Good God? / Final Dawn 2. You Or Me 3. Gimme Some Moore 4. The Handler 5. Bedouin’s Hand 6. Run For Your Life 7. Baad Man 8. Lose Yourself 9. Mandra Sonos 10. Asleep On The Killing Floor 11. Handcuff County 12. Swallowing The Anchor 13. Brickman 14. Forever Amplified
Order the album *here*.
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Green Carnation is a band hellbent on making up for lost time. With nearly a decade and a half between their fifth and sixth albums, and five between the sixth and seventh, this Norwegian collective is set to deliver both parts two and three of their Dark Poem trilogy in 2026, with the apparent aim of dropping the entire set within about a year. We’ve seen other bands make similar moves in decades past, and Green Carnation apparently took studious notes to avoid the mistakes Metallica and Guns n Roses made in the 90s. The Dark Poem albums have fewer – and much stronger – songs.
In their previous life, Green Carnation made it a point to travel in varying directions with each record and delivered stunningly excellent output while doing so. Since their reformation, however, they’ve opted to explore the progressive doom that earned them acclaim with Light of Day, Day of Darkness a good quarter century ago, though they’ve shied away from penning any more hourlong opuses this time around. And that’s completely fine – Leaves of Yesteryear was more than a commendable comeback album, and the Dark Poem trilogy is shaping up to be a leaner, more precise, and more biting iteration of that facet.
Notably absent from Sanguis is founder/ guitarist Terje “Tchort” Schei, who in recent weeks has returned from a short leave of absence. This continues what seems to be a revolving cast of musicians who make Green Carnation more of a collective than a band – Schei, fellow guitarists Bjørn Harstad and Michael Krumins, and keyboardists Endre Kirkesola and Kenneth Silden seem to cycle in and out depending on availability, while longtime singer Kjetil Nordhus, longtime bassist Stein Roger Sordal, and newish drummer Jonathan Pérez hold the fort down, with the former two handling damn near all of songwriting duties as of late. While certainly an unconventional approach to maintaining a band, A Dark Poem, Part II: Sanguis is a solid argument in favor of this practice. It’s brief as far as Green Carnation records go, and like most of this band’s catalog, it’s damn good.
The title track greets us with Kirkesola’s very deliberately retro-sounding organ juxtaposed with Pérez’s very deliberately metal drumming before that familiar chugging and that always-welcome croon dispels doubt that this is indeed a Green Carnation record. Everything that has defined the band’s current approach – unapologetic doom with 70s progressive flair – not only shines on its own merit, but it proves to be the ideal conduit for the bleak resolve of Sordal’s gut-wrenching lyrics, where he vows to break the chains of generational trauma.
While there is much to be said in favor of the argument that there is no better person to sing such personal lyrics than the person who penned them, singers like Nordhus make a more than compelling counterpoint. While his delivery never lacks, performances such as “Sanguis” (Latin for both “blood” and “descent”) leave me no choice other than to believe his imposing stature doubles as a reservoir for the anguish his bandmates commit to paper, as if his work on Light of Day, Day of Darkness, which Tchort wrote while grieving the death of his young daughter, didn’t imply that in spades over two decades ago. Those who foolishly harbor doubts need only hear the agony in Nordhus’ voice as he delivers the lines “Father, I do realize that the cards you were given destroyed you… In the light of life, I will not follow you.”
“Loneliness Untold, Loneliness Unfolds,” a 100% clean and brooding “acoustic” cut that features Sordal taking the lead vocal in Green Carnation for the first time since the burden was his alone, is something of a throwback to 2006’s absolutely essential The Acoustic Verses. Though not nearly as punishing as that older cut, which has reduced me to a weeping mess on multiple occasions, this isn’t the intent of “Loneliness.” Its purpose is not to inspire grief, but to provoke despair, and this unpretentious four-minute dirge delivers on that promise. “Sweet To the Point of Bitter,” on the other hand, is heavy to the point of crushing, demonstrating over the course of nearly six minutes that doom can be so much more than the sludge its detractors often accuse it of being.
“I Am Time” continues in this vein, recalling the afflicted glory of “Writings on the Wall” in that tortured reprise as well as Green Carnation’s black metal roots in that tense, trem-picked interlude. And like most well-crafted epics, these songs end without the listener realizing how much time they devour.
The politically-charged “Fire in Ice,” one of the obvious centerpieces of the album, is another similarly structured song that embodies the decades-old promise of “epicus doomicus metallicus” (an album which coincidentally was written by Candlemass’s own bassist, and which nearly included a song called “Dark Reflections”). Every second of this song builds on the second before it, and it is peppered with riffs and melodies that, while unassuming on their own, are layered so expertly as to wring the last breath of life from even more unassuming listeners. I cannot wait to hear this cut live.
Sanguis takes its final bow with another song that would not have felt out of place on The Acoustic Verses. The fully unplugged “Lunar Tale” is without question the most gentle, touching, and heart-wrenching song Green Carnation have committed to tape since they reformed in 2014, and even with the eerily suicidal closing line “sunlight, you’re better off without me/ Moonlight, with me gone, you’ll be free,” offers a glimmer of hope to conclude an album that can otherwise only be described as bleak.
Tchort teased a trilogy, of which Light of Day, Day of Darkness would be the first installments, called The Chronicles of Doom that would follow The Acoustic Verses. It never came to be, and it might never come to be, but I cannot shake the suspicion that the Dark Poem trilogy might be the spiritual successor to the trilogy that never was. Green Carnation have boiled their current identity down to its very essence on this excursion, and while a part of me will never stop wondering what could have been, I’ll never stop being grateful that these are the fruits we reap from that regrettable dissolution.
Release Date: April 3rd, 2026Record Label: Season Of MistGenre: Progressive Metal
Musicians: Kjetil Nordhus / Vocals * Jonathan Perez / Drums * Stein Roger Sordal / Bass * Bjørn Harstad / Guitars * Endre Kirkesola* / Keys
A Dark Poem, Part II: Sanguis Tracklist:1. Sanguis 2. Loneliness Untold, Loneliness Unfolds 3. Sweet to the Point of Bitter 4. I am Time 5. Fire in Ice 6. Lunar Tale
Order the album *here*.
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Another ghostly castle touches the crimson sky.Stalwart 70s hard rock meets 80s metal maestro and wizard of the 6-string, Axel Rudi Pell, has proven a pillar of consistency in the 37 years since breaking away from German AOR band Steeler to forge his own destiny by his own name.
Some might argue that his unyielding loyalty to the same style that typified the likes of Dio, Deep Purple and Rainbow during the early to mid-1980s has put him into a creative box, but a more apt analogy would be an expansive yet highly familiar orthodoxy that comes with the liturgy of a medieval cathedral that was born from a bygone age and endured into the present.
Granted, the concept of orthodoxy might seem counterintuitive for a musical genre that originally signified rebellion against the established order, but what is any kingdom if not an order born out of a revolution that seeks to build better structures upon the ruins of the old? Then again, Pell’s career is less one of creative destruction and more one of crafting highly similar palaces of sound upon a predetermined canvas, of which 2026’s Ghost Town is his latest.
For the newly arriving catechumen, the highly stylized approach by which Axel draws heavily from the established lore of Tony Iommi, Ritchie Blackmore, and, to a lesser extent, the early work of famed Swedish Neoclassical virtuoso Yngwie Malmsteen during his 1983 stint with Alcatrazz.
A misty backdrop of atmospheric synthesizers, mostly consisting of choirs and strings, but also the occasional Hammond organ courtesy of keyboardist Ferdy Doernberg and a tastefully driving rock groove produced by longtime kit veteran Bobby Rondinelli and bassist Volker Krawczak round out the instrumental arrangement surrounding Pell’s guitar driven creations, culminating in a sound that functions as a mystical union between the AOR sound of 1985 and the heavier 2nd wave power metal sound of the late 1990s. Sitting atop this sonic nod to the dark side of high fantasy is the gritty yet highly tuneful growl of Johnny Gioeli, which carries an uncanny resemblance to Ronnie James Dio’s genre-defining voice meshed with a slightly lighter attack that occasionally channels Scorpions helmsman Klaus Meine.
As with any new auditory grimoire unleashed by this outfit, differentiation occurs at an extremely subtle level given Pell’s highly consistent formula, but this same approach of sticking to what is expected also accentuates a few noteworthy surprises. The obligatory instrumental prelude “The Regicide” hints at a few upcoming changes at the periphery by utilizing a less static chord progression beneath a bluesy clean guitar line that comes off as less mysterious and more gallant in character.
What ensues soon after are the first entries of an album that tones down the epic exploits of prior album, Risen Symbol, and also the prolific balladry of earlier entries for a streamlined collection of up-tempo bangers. The mercilessly catchy and driving foray of “Guillotine Walk” lays down the melodic lead guitar lines and boisterous chorus fanfare like it’s going out of style, presenting yet another brilliant bridge between Axel’s 80s AOR beginnings and the 90s power metal revival. Subsequent anthems like the heavier crunch of title entry “Ghost Town”, the cruising anthem with a surprisingly busy bass display courtesy of Volker “Holy Water”, and the steady stride of “Steps Of Stone” tread the same stylistic path with slight variations but the same dose of immersive magic.
Naturally, Axel is not one to dwell on one template for an entire album, and as he breaks away from the dominant formula of swift yet simple bangers, the awaiting twists in the tale begin to manifest. The most auspicious shift occurs via the mid-paced rock anthem “Breaking Seals”, which lands squarely into what can be best described as this band’s take on Accept’s mid-80s niche, topped off with a nasty guest duet between Gioeli and none other than Udo Dirkschneider himself, matching Dio-like pizzazz with AC/DC-like shrieks that sound quite witchy side by side.
Volker takes a break from playing the role of Ian Hill yet again for another distinctive bass performance on the early 80s Black Sabbath-inspired slow march of “Sanity”, and the high speed fury that was the order of the day during this band’s mid to late 90s power metal phase makes an explosive return via “Hurricane”, showcasing that even at 70 Rondinelli can make a mighty racket.
The epic balladry with a Middle Eastern edge makes an appearance via the moderately scaled “The Enemy Within”, and then takes a longer and wider dynamic character on the closing hurrah “Higher Call”, all the while Pell’s master craftsmanship as guitarist and composer remains at the fore.
Insofar as this longstanding heavy metal institution is concerned, change is something that is best taken in extremely small doses amid a near-endless sea of familiar tropes, and Ghost Town stands at the center of an expansive discography where the valleys are few and the peaks differ only slightly in height. Those whom have boarded this train at any point between the mid-90s and the mid-2010s know exactly what to expect, and though the former group might notice a lack of asides into Neoclassical instrumental fair or funky 70s rock interludes compared to the days when Jeff Scott Soto was at the microphone and Jorg Michael of Running Wild and Stratovarius fame was behind the drum kit, the overall flow of magical odes adorned with otherworldly lyrics remain constant.
There are many castles bearing the name of Axel Rudi Pell towering high in various lands, and this one trades in the elaborate flying buttresses and Gothic flourishes for a Romanesque juggernaut of fist-pumping rockers beneath a blood red, overcast sky at twilight’s hour.
Release Date: March 20th, 2026Record Label: SteamhammerGenre: Heavy Metal
Musicians: Johnny Gioeli / Vocals * Axel Rudi Pell / Guitars * Ferdy Doernberg / Keyboards * Bobby Rondinelli / Drums * Volker Krawczak* / Bass
Ghost Town Tracklist:1. The Regicide (Intro) 2. Guillotine Walk 3. Breaking Seals 4. Ghost Town 5. Holy Water 6. The Enemy Within 7. Hurricane 8. Sanity 9. Towards The Shore 10. Steps Of Stone 11. Higher Call
Order the album *here*.
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The relatively small niche category of Christian prog rock gained a significant addition these past couple of years with EchoVerse, a mighty quartet that is set to release their second album in late April. Lest the phrase “Christian” not be your jam, fear not, the lyrics deal with universal themes and are not heavy-handed by any stretch. Rather, the uplifting approach of each song’s subject sails smoothly over the engaged musicianship beneath. This is, after all, a prog band and therefore musical interplay is at the core of the band’s form.
Band leader Doug Bowers covers a huge swath of the group’s instruments, including keys, bass, additional guitars, and backing vocals, in addition to mixing and production duties. However, many of the initial musical ideas and riffs come from lead guitarist Rob Perez, and the songs take their shape through Bowers‘ and Perez’s collaboration. Vocalist Kyle Graves then adds his vocal melodies and lyrics, which establish the soul of the band, both in lyrical content and emotional delivery. Fortunately, all of these pieces are held together by the impressive drumming of Kyle Fagala whose performance conveys a steady confidence and strength throughout the album.
Although most of the material hovers between the six and ten minute mark, a bevy of catchy riffs and chord progressions reveal that this is a rock band at heart, featuring concise arrangements even if occasionally more sections are layered together than a four-minute single would typically feature.
Leading track “Radical Rebirth” is a perfect encapsulation of the band’s approach. While the opening guitar stabs are a bit reminiscent of Van Halen’s approach on “Panama”, the song then roars forth with its own identity as hook after hook is cast over the listener’s ears. Graves’ lead vocals are assured, carrying a biting attitude combined with uplifting lyrical direction that makes for a thrilling combo in this lead single. Beyond the main melodic line, clever vocal layering, backing vocals, and tasteful effects bring the voice’s power right up to that of the guitar. Toward the end of the track, Graves takes the final verse’s vocal line up a notch right after a killer Fagala fill, ending the piece on a high note.
The hooks keep on coming, especially on “10 Plagues,” which lays down a chorus that won’t let go. The cowbell always wins. But Fagala has much more up his sleeve, delivering a powerful punch in track after track, and “Plagues” is no exception. Bowers does a great job in mixing the drum kit to maximize Fagala’s skill without overpowering the song. In addition, the added lines of Charlton Heston from “The Ten Commandments” are an effective use of source material to add extra drama.
“The Serpent & The Schism” follows with a rapid fire of riffage from Perez amidst moody keyboards. This may be the most prog track on the album, reaching nearly 10 minutes long, and featuring strong melodic vocals, grandiose keyboard noodling, effective bass lines, and a killer guitar solo. We even get a “Kyrie Eleison” section which fits right in perfectly, thematically and musically. A more mellow tone is taken on “Gold Bars,” but the lyrics quickly grab attention with their tale of always wanting more, leading to greed and the inevitable double entendre behind the title. A powerful song.
This brings us to the epic finale of the title track, “Fall Towards The Sky,” which is the high point for Graves’ vocal delivery. Tasteful harmony vocal choices really make the song shine, both in the more dreamy and harder-hitting sections. Fagala powers through the lengthy piece, with Perez and Bowers dropping in for impactful guitar and keyboard solos, respectively. Little touches like piano hits add to the urgency of the song, which culminates in a ripping fashion. A mellow addendum then closes out the album, the lilting bonus track “Here Today, Then A Mist,” which is easily as strong as anything else herein, and sends us on our way in 6/8 time. Carpe diem.
Overall, “Fall Towards The Sky” is an accomplished sophomore release that outshines their debut and sets the band’s sights towards even greater scale for the future. This is a talented quartet who have no shortage of melodic ideas and the chops to pull them off. Bowers also knows how to make the band sound their best with his production skills, resulting in an excellent sonic experience from start to end.
The album should be warmly welcomed in Christian circles for its thematic messages and equally enjoyed by listeners outside of that faith, as the uplifting content is delivered in a very relatable and accessible approach. Don’t miss these guys as they’re on their way up towards the sky.
Release Date: March 27th, 2026Record Label: IndependentGenre: Progressive Rock
Musicians: Kyle Graves / Lead Vocals * Doug Bowers / Keyboards, Bass, Guitars, Vocals * Rob Perez / Rhythm & Lead Guitars * Kyle Fagala* / Drums
Fall Towards The Sky Tracklist:1. Radical Rebirth (5:38) 2. Philosophy Abounds (6:08) 3. 10 Plagues (6:49) 4. The Serpent & The Schism (9:33) 5. Gold Bars (8:00) 6. Fall Towards The Sky (9:55) 7. Here Today, Then A Mist (Bonus Track) (6:09)
Order the album *here*.
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The mighty metallic giant returns.Much like the Old Testament figures contained within their namesake, Exodus is a historically significant institution that has seen its fair share of trials and tribulations. Originally an early pioneering band of the thrash metal subgenre and one-time home of later Metallica shredder Kirk Hammett, they arguably defined the metal spirit during the second half of the 1980s and directly challenged the media-concocted suggestion that there were only four titans standing at the scene’s apex.
The 1990s were subsequently the least kind to them relative to most of the other major players, relegating them to obscurity and inactivity for the lion’s share of the decade, and even an explosive revival during the mid-2000s would see frequent lineup shifts hampering their efforts in the eyes of their core fans. Now with highly charismatic and iconic front man Zetro Souza exiting the fold once again, the obvious question is, will this staple of uncompromising aggression rise to meet the challenge again? The answer with 2026’s Goliath, a powerhouse opus of old school thrash wrapped in modern packaging, is a resounding yes.
As with most of the old guard, Exodus is not an outfit that has sought to recreate or otherwise relive the past since their 2004 return to the scene in Tempo Of The Damned, but is one that has embraced the largess of modern production practices. The aforementioned albums and the subsequent late 2000s opuses of Shovel Headed Kill Machine and the Atrocity Exhibit albums, all of which featured the band’s present lineup, stand at the opposite end of the sonic spectrum relative to the 80s-obsessed New Wave of Old School Thrash Metal bands that began cropping up at the same time.
Spearheading an arrangement characterized by a colossal rhythm section consisting of the ultra-crisp battery of founder and drummer Tom Hunting and the distorted glassy punch of Jack Gibson’s bass is a dual guitar assault out of Lee Altus and original axe-slinger Gary Holt that stands at a perfect middle ground between the mainline melodic and technical high-jinks of Megadeth and Forbidden and the darker, more dissonant world of Slayer. The wildcard of the bunch is recently returning vocalist Rob Dukes, who was met with heavy skepticism by hardcore fans back during his initial run in the late 2000s but brings his A-game to this album and rivals the primal snarl of Zetro at every turn.
The promise of a truly brutal undertaking has been fully underway for a little over a month since the breakout single “3111” had its promotional video removed from YouTube due to excessively violent content, proving that edginess can still endure in a convincing form well after a band has graduated from their 20s.
Needless to say, this opening foray of menacing dissonance and pummeling riff work depicting the carnage of narco-terrorism in Juarez, Mexico, is a fitting first act to a sonic play of uncompromising aggression. High octane thrashers such as “Hostis Humani Generis” and “Beyond The Event Horizon” represent some of the fastest and most impressive feats of 80s-tinged speed in a modern package to be heard out of this outfit in over a decade, with the virtuosic chops of Holt and Altus being the key feature.
A strong hint of hardcore punk and some autobiographical content shouted in masterful form by Dukes and some flashy 4-string work out of Gibson come into the equation with the closing crusher “Dirtiest Of The Dozen”, bookending a career of defying auditory boundaries for over 4 decades and showing zero signs of slowing down.
True to form since their mid-2000s reformation, Exodus is a powerhouse that does not live by speed alone and dishes out a healthy cuisine of mid-paced destruction to balance out the frenzied madness. Recent promotional single and meaty anthem “Promise You This” stands the tallest amid a bunch of moderate length, earth-shaking entries with ear worm hooks and busy riff galore that also includes the 90s Megadeth-like beast “2 Minutes Hate” and the cruising melodic machine “The Changing Me”, the latter containing arguably the most insanely harsh yet versatile vocal display out of Dukes in his entire tenure.
The grooves come loaded with some funky bass undertones courtesy of “Violence Works”, creating an ironic synchronicity of fun and lyrical morbidity that hearkens back to the experimental days of thrash something fierce. But where this album truly throws their signature grit into original territory is the menacing, doom-steeped and punishingly slow dirge of a title entry “Goliath” and the near 8-minute-long towering epic “Summon Of The Unknown God”, possibly the most compositionally and technically ambitious entry to grace an Exodus album to date.
Goliath is the sort of well-rounded, methodically crafted yet highly inventive album that fits neatly into the current sonic paradigm of elite Bay Area outfits. It doesn’t quite go so far as to reinvent the entire subgenre and is more of a grower than the seminal works that put them on the map back in the 80s, but any self-respecting thrash maniac who isn’t married to where the style was before 1991 will be hard-pressed to find any fault within this gargantuan golem of metal glory.
Release Date: March 20th, 2026Record Label: Napalm RecordsGenre: Thrash Metal
Musicians: Gary Holt / Guitars * Rob Dukes / Vocals * Lee Altus / Guitars * Jack Gibson / Bass * Tom Hunting* / Drums
Goliath Tracklist:1. 3111 2. Hostis Humani Generis 3. The Changing Me (feat. Peter Tägtgren) 4. Promise You This 5. Goliath (feat. Katie Jacoby) 6. Beyond The Event Horizon 7. 2 Minutes Hate 8. Violence Works 9. Summon Of The God Unknown 10. The Dirtiest Of The Dozen
Order the album here.
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British quartet Godsticks have been a major part of the modern heavy/crossover prog rock scene since they first emerged nearly 20 years ago. With their distinctive rhythmic peculiarities, biting guitarwork and unmistakably world-weary singing and songwriting, it’s not hard to hear why their initial full-length records have been so widely embraced. Unsurprisingly, their seventh LP – VOiD – fits neatly into their catalog by maintaining what’s worked so well thus far (debatably to a fault).
Billed as their “darkest, heaviest, and most uncompromising album to date,” VOiD focuses on “a disillusionment with a world increasingly defined by division, ideological rigidity, and the loss of nuance.” It also “documents a conscious withdrawal from the noise – a retreat into a personal void,” and interestingly, it marks the debut of Francis George (who replaces longtime bassist Dan Nelson). However moderate those changes and additions may be, though, the record generally offers more of the same (so your mileage may vary).
It’s no wonder why “M.I.A.” was chosen as both the opener and lead single of the sequence, as it’s one of Godsticks’ most engaging and abrasive tracks in quite some time. Fueled by djent-esque rhythms and demoralized contemplations, its examination of the nagging “voice in your head that goes under various guises such as ‘inner critic’ or ‘inner monologue’” (as frontman Darran Charles explains) is immediately likeable and relatable. It’s especially strong lyrically, and poetic sentiments such as “Why can’t I remove them / I need to repair / I don’t want the sorrow / They’re giving me to share” will certainly strike a chord with anyone who’s plagued by self-doubt.
By and large, the collection sticks to the band’s fluidly flowing in-your-face attitude until the end, yet most tracks offer something to keep things at least a bit fresh. For instance, the gruff “Hold Back” and “Torn Again” double down on hyperactively sharp guitarwork in interesting ways; “Can’t Withstand” emphasizes electronic accentuations and rich backing vocals; and “Watch It Burn” borders on the illustrative progressive metal fury of, say, Dream Theater and Symphony X.
Although there are no wholly gentle songs included in the set, a few pieces are considerably lighter and overtly multilayered.
Specifically, “Master of a Plan” approaches the moodier and more dynamic side of The Pineapple Thief and Porcupine Tree (in the 2000s, at least). The highlight of the whole album – and perhaps of the group’s entire history – is the two-part suite “Talking Through Walls.” A deeply engrossing odyssey bolstered by haunting harmonies and anxiety-inducing soundscapes, it’s a triumph of pacing as well because of how it evolves from quiet tension to tumultuous yet cathartic jam.
Compared to its predecessors, VOiD arguably unfolds with extra cohesiveness and nuances to discover with deeper listening. Nevertheless, it’s basically the same Godsticks you’ve been hearing – and presumably enjoying – since 2015’s Emergence (which kickstarted their move away from warmer psychedelic/folk tapestries and toward colder and more chaotic arrangements). Consequently, it’s nearly impossible not to feel like you’ve heard VOiD several times before.
As previously mentioned, your enjoyment of VOiD will depend almost entirely on how fresh or overly familiar you find Godsticks’ current formula. If the prior few records appealed to you, there’s no reason to think that this one won’t as well (and maybe even a bit more); if you’re not as keen on them, this one probably won’t bring you back to the camp, and regardless of how enjoyable it is in its own right, VOiD proves that Godsticks really need to shake things up when the return in two or three years.
Release Date: March 27th, 2026Record Label: KscopeGenre: *Heavy / Crossover Progressive Rock*
Musicians: Darran Charles / Vocals, keys * Tom Price / Drums * Gavin Bushell / Guitar * Francis George* / Bass
Void Tracklist:1. M.I.A.
2. Hold Back
3. Watch It Burn
4. Master of a Plan
5. Torn Again
6. Can’t Withstand
7. Ruthless Coward
8. Talking Through Walls Pt. 1
9. Talking Through Walls Pt. 2
10. Hope Is Burning
Order the album here.
The post GODSTICKS – Void (Album Review) appeared first on Sonic Perspectives.
Welcome to pure sonic oblivion.With just over 25 years now in the rearview, or more than 30 if counting their formative years in the mid to late 90s under the moniker Burn The Priest, Virginian natives Lamb Of God have seemingly explored the furthest extremes of America’s post-80s metal landscape.
Often credited as the outfit to carry the groove-oriented style pioneered by Pantera and Exhorder into the 20th century and make it more palpable to the punk sensibilities of the concurrent metalcore scene explosion, they’ve never been one to pull their punches in terms of both sonic and lyrical heaviness, leaving few topics untouched while adding a more kinetic, thrashing character to the stylistic template first codified by the aforementioned bands’ 1992 offerings in Vulgar Display Of Power and The Law respectively.
Now 10 full-length studio albums deep into their career, their latest entry, Into Oblivion, finds a band sticking close to their stylistic home while still managing a few surprises here and there.
Sticking to a highly concise and methodical approach to songwriting, this quintet dishes out an auditory smorgasbord of bite-sized crushers that fall mostly in line with where things have been since original drummer Chris Adler’s exodus from the fold and the release of the 2020 eponymous album.
For his third go behind the kit in the studio, Art Cruz proves just as formidable as his predecessor in making an explosive ruckus and gelling seamlessly with bassist John Campbell’s dark thuds to form a truly colossal foundation. The guitar duo of Mark Morton and Willie Adler remains a highly effective pair of killing machines in the riff department, delivering one crushing pass after the next in the same spirit as Dimebag Darrel Abbott with a healthy side order of Bay Area thrash stylings, the former also serving up numerous fits of bluesy shredding to further complement an already highly kinetic arrangement. And the impresario at the center of it all, namely vocalist Randy Blythe, continues to steal the show with his overwhelmingly aggressive growls and shrieks in true berserker fashion.
While the individual performances of this evenly yoked union of seasoned veterans amount to a veritable force of nature, the anthems of fury and discontent that they weave strike a surprisingly disciplined and methodical tone. The opening trifecta of neck-destroying power to kick things off artfully blurs the lines between this band’s obvious 90s groove metal roots and the more rapid-fire style. Be it the generally fast-paced and harsh opening foray of the album’s title entry “Into Oblivion”, the blazing rage of “Parasocial Christ” or the sludgy crawl turned frenzied thrashing mayhem of “Sepsis”, there is a continual balance of 90s southern punch and 2000s Bay Area revivalism at play.
Other similarly ferocious shots across the bow, like “The Killing Floor” and “St. Catherine’s Wheel,” follow the same scheme in a slightly more drawn-out and elaborate fashion, with Campbell’s bass work being especially auspicious on the latter, and Morton delivers one of his flashier solos about a minute before its conclusion.
Though compared to some of the more expansive opuses during their middle era, this is a more streamlined undertaking, Into Oblivion is pretty far from a one-dimensional musical affair. Amid all of the cynical and shout-steeped sonic carnage stands a dreary fit of balladry with an occasional bite in “El Vacio” that sees Blythe explore cleaner, crooning territory, while the guitar tapestry painted by Morton and Adler takes on a far more nuanced and haunting tone, culminating in a sort of 2020s answer to Pantera’s “This Love”.
On the other end of the spectrum, the hyper-kinetic riff machine “Bully” sees the technical chops of the aforementioned guitar duo shine extra bright at every groove-thrashing turn; ditto the slightly shorter closing hurrah “Devise/Destroy”. But insofar as coup de grace moments, both in terms of musical execution and earworm hooks, the difference is split between the mid-paced groove with enough cowbell to sate Christopher Walken via “A Thousand Years”, and the crushing thrasher with a menacing edge, “Blunt Force Blues”.
Into Oblivion is one of those albums that checks all the obligatory boxes for what one looks for in a textbook Lamb Of God album. In many ways, it channels the same spirit of unmitigated fire and fury through a controlled lens that first put this fold on the mid-2000s map with Ashes Of The Wake, though it ultimately plays things a bit safe in the innovation department and largely winds up in the solid territory that was the 2020 self-titled album and 2022’s Omens.
It’s a well-rounded listen that lends itself well to being heard from beginning to end without the need of the skip button, yet one can’t help but come away feeling that they’ve heard something that’s very good rather than something life-changing. To the uninitiated, it might come off as a less pretty version of what typified metal in the mid-2000s, but to those who have been riding this groove train since said time period, this is business as usual, even though what passes for business as usual with Lamb Of God’s name on it seems to be anything but that
Release Date: March 13th, 2026Record Label: Epic RecordsGenre: Groove Metal
Musicians: Randy Blythe / Vocals * Mark Morton / Guitars * Will Adler / Guitars * John Campbell / Bass * Art Cruz* / Drums
Into Oblivion Tracklist: 1. Into Oblivion
2. Parasocial Christ
3. Sepsis
4. The Killing Floor
5. El Vacío
6. St. Catherine’s Wheel
7. Blunt Force Blues
8. Bully
9. A Thousand Years
10. Devise/Destroy
Order the album here.
The post LAMB OF GOD – Into Oblivion (Album Review) appeared first on Sonic Perspectives.
Another monstrous reinvention emerges.Though perhaps best known as the band that originally put Cannibal Corpse front man George “Corpsegrinder” Fisher on the map and often overshadowed by their more prolific and fellow Florida-based contemporaries, Monstrosity is a band that captures the highly otherworldly character of death metal in its purest form.
The respective niches and gimmicks of unrelenting gore, blasphemy, and occult themes that are often presented to cartoonish degrees by the aforementioned Cannibal Corpse, Deicide, and Morbid Angel are generally tempered in favor of a more abstract and all-encompassing darkness, perhaps best explained as a versatile beast that can assume whatever form of horror it wishes.
Now just shy of six years to the day that their 2018 opus The Passage Of Existence answered an extended period of studio silence with an old school masterwork, their seventh LP Screams From Beneath The Surface accomplishes a similar feat with a fairly different aesthetic.
The arrival of this latest studio excursion, much like the previous six, lands with a couple of highly consequential shifts in the band’s lineup. The most pivotal of changes is the exodus of vocalist Mike Hrubovcak and the entry of one-time Massacre frontman Ed Webb, whose guttural barks and ravings aren’t a massive departure from his predecessor’s diabolical grunts, but prove slightly more nimble and closer to the original standard set by Fisher back in the early to mid 1990s.
Then again, the concurrent exit of guitarist Mark English and acquisition of scene newcomer Justin Walker to cut heads with Matt Barnes has resulted in an even more technically extravagant and melodically rich tapestry of terror being painted, making for an equally chaotic yet more melancholic experience. Top it all off with the return of long-absent bassist and co-founder Mark Van Erp to the fold with his glassy, virtuosic high-jinks to rival Alex Webster on his best day, and the rapid-fire auditory violence from behind the kit courtesy of Lee Harrison, and a seamless link to the formative glory of 1992’s Imperial Doom becomes impossible to miss.
While what this 10-chapter sonic codex of rage doesn’t outright cross the threshold that separates the old school sound from modern subsets of melodic and technical death metal, the building blocks to what birthed those later 90s styles are on full display. Following a brief ambient exposition of dreary keyboards and droning clean guitars, “Banished To The Skies” lands like a primal sledgehammer, showcasing the chops of every instrumentalist involved while also evoking a sense of nostalgia for the epic and multifaceted exploits that death metal regularly unleashed before any orthodoxy was established.
About the only drawback is that this extravagant first offering and the subsequent third entry, “The Atrophied,” in all its tech and blast-happy glory, stand on top of an impressive fray and all but catch the band hitting their apex point prematurely. Then again, the more consistently explosive character of shorter, thrash-infused crushers like “The Colossal Rage” and the chaotic fit of frenzied riff work and noodling bass majesty of “Spiral” hit so hard that even a seasoned death metal enthusiast might find himself knocked on his proverbial ass.
From one song to the next, it becomes clear that Monstrosity’s versatility continues to be their most distinctive feature, and it pays massive dividends at every point. The bone-crushing fits and starts of “Thorns” are painted over with a fluttering gloss of wild lead guitar breaks and a mystical atmospheric flavor that almost feels like an early 90s forerunner to Nile’s brand of brutality in a punchier 2020s package, meanwhile the overtly Middle Eastern-tinged and keyboard-steeped stomp of “The Dark Aura” could almost be a direct nod to the death metal Egyptologists from Greenville.
Compact and chaotic beasts like “Vapors” and “Blood Works” come with the most overtly old school death metal stylings, yet are so insanely busy and extravagant at every point that it effectively blurs the lines between the mad technical noodling of early Suffocation and the early progressive strides of Death’s middle era.
The closing hurrah of “Veil Of Disillusion” essentially compresses everything already encountered into one towering mass of exotic, technically charged mayhem, topped off with some of the most spellbinding guitar solo work since Death’s Individual Thought Patterns, and sees Webb deliver the most ferocious performance of the entire album.
For one of the original pioneers of the Florida scene that has been consistently plugging away in the death metal underground for just over 35 years, Monstrosity might have had more lineup shifts than they’ve had studio albums, but this is an institution where quality trumps quantity.
Much like their more prolific fellow travelers, Malevolent Creation, they’ve walked an interesting middle ground between the technical, brutal, and melodic strains that have subsequently cropped up without being drawn out of their old school sound, though they’ve definitely proven more adaptive in recent years.
Those who have been enamored with the Florida sound since its late 80s birth and younger trustees that may have been introduced to it via revival acts like Gruesome and Skeletal Remains will find a mighty tree of death still firmly rooted in the traditions that they love, but one with branches that spread farther out and touch upon more intricate territory.
Release Date: March 13th, 2026Record Label: Metal Blade RecordsGenre: Death Metal
Musicians: Ed Webb / Vocals * Justin Walker / Guitars * Matt Barnes / Guitars * Mark Van Erp / Bass * Lee Harrison* / Drums
Screams From Beneath The Surface Tracklist:1. Banished to the Skies 2. The Colossal Rage 3. The Atrophied 4. Spiral 5. Fortunes Engraved in Blood 6. Vapors 7. The Thorns 8. Blood Works 9. The Dark Aura 10. Veil of Disillusion
Order the album *here*.
The post MONSTROSITY – Screams From Beneath The Surface (Album Review) appeared first on Sonic Perspectives.
It is funny to think of Black Swan as a new project when in reality, their debut was in early 2020, just before the world came off the rails. Now here we are, exactly six years later, and the number of Black Swan albums becomes three. Maybe the years are just moving faster as our odometers pick up more miles. Regardless, the original supergroup remains intact since the beginning, and they have something new for us in the form of their new LP, Paralyzed.
For those who may not know, Black Swan is a hard rock and classic metal band fusing old-school vibes of Dokken, Whitesnake, and Winger because, well, that’s the background of the members. Reb Beach, Robin McAuley, Matt Starr, and Jeff Pilson are all veterans of the golden age of later hair metal and rock, just before it went a bit underground for a few years. It is strange that just a few years ago (OK, twenty years ago) we were bemoaning the state of terrestrial radio and MTV, and how there was no place for good rock bands to get their music out anymore. Well, now MTV is just TV, and terrestrial FM radio has ceased to be relevant.
Record labels get almost 80% of their revenue from streaming services, and bands rely heavily upon touring, merch sales, and direct physical media channels. In this strange new paradigm, it seems traditional music broadcasting has taken a loss, but who wins? The bands? The fans? It remains to be seen, but it may present an opportunity for old-school rockers to publish music without traditional radio functioning as a gatekeeper. Who knows? Today’s young generation is getting into retro games and physical media; maybe there is still a new emerging market for traditional melodic rock. As there should be, if there is any heart and soul to be found in humanity today.
With that philosophical detour out of the way, let’s talk about this new record. With 11 tracks and the original lineup intact, as well as the same signature sound, it’s time to dig into the songs to see how this album stacks up not only against the body of Black Swan work but also against the contemporary hard rock scene. Well, the album certainly starts strong with “When the Cold Wind Blows.”
Whereas the previous album, Generation Mind, opened with a moody atmospheric swirl of instrumental emotion, this record just dumps the clutch and goes right for the heavy. Thundering Starr drums, Pilson holding down the low end, and Reb holding onto some long lead notes shrieking through his EMG bridge pickup. Without warning, the rhythm section slams to a halt, and Reb executes a melodic lead sequence a few times before cutting into a steady rhythm riff section you might expect from one of the last 3 or 4 Winger records. Robin launches into verse structure, with a voice holding together far too well for a gent in his seventies. In fact, not just keeping it together, but actually pushing it, on a great opening track that would be right at home on a Primal Fear album, and in terms of not only structure but vocals, that is absolutely a compliment. At the end of the track, Reb busts out a real flamethrower of a solo, complete with tapping and Floyd Rose flutters, but not only full of tricks, but melodically satisfying and right in the groove of the song.
The band takes an unexpected exit ramp into Hollywood on “Death of Me,” a song that could be sent into the dark reaches of space with a note politely informing sentient life forms that this is a textbook example of 80s hair metal writing. In a good way, without the excessive cheese we started to see before the glam implosion of 1990. Think Autograph, Firehouse. It’s hard to describe the song with words, but it’s solid with a very hooky chorus and nice melodic structure. The third track, “Different Kind of Woman,” fuses early Whitesnake blues-rock writing with the raw nature of Winger’s debut “Sahara” record. While the song format is inherently limiting, the band does what they can to make it interesting, with creative changeups, a nice verse-chorus feel, a solid solo, and guitar embellishments sprinkled throughout for flavor.
“If I was King” has some of the most ominous aura of any track on the album. It literally just opens with Reb and Jeff chugging quarter notes in D until Matt’s drums move the song into a more traditional minor key melodic metal groove. The track sizzles with mean energy, like something off of the new Extreme album. Not to say this track, or the others, are unreasonably derivative, but writing is a medium where comparison is a powerful tool, where sharing earbuds is not an option. That being said, the track also digs deeply into Reb and Jeff’s Dokken roots to good effect. Nothing new is being invented here, but it’s solid work, with good vocals and a capable solo.
If any track on this record could be called derivative of any style in particular, it would be “Shakedown” which has Sunset Strip energy complete with an Aquanet perm. Well, Reb will be the first to tell you, his name is “Beach,” not “Lynch,” so might as well lean into that glam energy occasionally. There isn’t a lot of detail about this song, aside from being good, and right at home with Ratt and Twisted Sister.
Aside from sounding like a Gus G. and Yngwie collaboration, “Fire and the Flame” is ground zero for wicked riffing, with Reb‘s fingerprints all over it. With a smidge of “Tooth and Nail” energy, to good effect. McAuley’s vocals are especially solid on this one, carrying it in all parts other than when Reb is tap-dancing all over his fingerboard, or at least the fun section above the 12th fret where three fingers from his left hand and one or two fingers of his right hand get together for one hell of a party.
Shifting into a darker mood, we have “I’m Ready,” a darker ballad. You’ll still find varying degrees of distortion on Reb’s amp here, but the tempo is more like the 60 to 70 bpm range, making for a slower, more meaningfully deliberate approach. It’s really some of Robin’s more soulful delivery on the album. Reb’s lead part at the end of the track is much less about shred and much more about a well-thought-out melodic sequence of notes with delicate vibrato. Robin’s vocals come in one last time with Matt slamming the toms with pronounced fury to bring things home.
Surprisingly, the title track, “Paralyzed,” while adequate, is not a standout track on this record. The riffing is capable and creative, including some alternating open note picking. The solo is great, with Reb’s tricks and techniques on full display, right down to whacking the Floyd Rose trem for effect. It’s just unfortunate that neither the verse structure nor the chorus provide a memorable melody for hooking the listener. Again, not a bad track, just not hit material.
Now “Carry On?” That’s another story. The opening riff alone makes it worth checking out. Aside from the blistering rhythm guitar playing, the song just has a bit more mojo and some improved melodic sensibilities around the chorus parts. And if you thought Reb brought the magic in the previous solos, wait until you hear this one. Just a fun track in general. Very reminiscent of the high-energy uptempo stuff on newer Winger records.
“Battered and Bruised” is appropriate nomenclature for the next one, which comes strutting down the street with wah pedal and big attitude. That being said, the chorus has a positive sort of energy, creating a contrast with the gnarly nastiness of the rest of the track. Reb doesn’t even take his foot off the wah for the busy guitar solo near the end of the track. We’re going to go out on a limb and guess the final track, “What the Future Holds,” is at least partially a Pilson creation, based on the funky chorused bass part opening the track and leading into the primary Reb riff. The verses don’t do anything remarkable, but the vocal section that bridges into the chorus is really nice. Whatever that key or chord is, do more of that. It almost takes you to a happy place, like “Better Days Comin’.” The solo is even followed by a fun section where Reb and Pilson take some turns cranking on whammy bars and picking some bass arpeggios. Coming out of that part, Reb picks out some chords one note at a time with some sort of super-wet flange phase chorus kind of setup that just sets a very cool vibe. It’s a nice way to exit the album, in an ending credits way like “Hole-Hearted.”
The Black Swan project was obviously determined to take things to some new level here, but it’s debatable whether that happened, at least as a whole. While some bands with musicians of this generation seem to just be producing music for the sake of packaging a product and sending it to market, these boys do seem to be doing it out of love, right there in Jeff Pilson’s personal studio, one song at a time, with caring and attention, and that is worth something. Alluding to the previous questions about the industry at large, whether that love translates to return on investment is another matter, but it’s clear the band is trying to do something good. Even if it’s for their own love of music, great. If anything, it would be nice if there were more of that attitude in the industry.
It’s our opinion that Black Swan raised the bar a few times on this album, but the problem is that their debut album was just so damned good. What a problem to have, right? Shake the World was like a 9 across the board, where the subsequent albums have songs that are a scattering of 7s, 8s, and 9s. If, for some hypothetical reason, you, as a consumer and a lover of music, can only listen to one Black Swan album, you should just pick up the first album. But if you like Black Swan already, or even just the back catalogs of any of the members, you should listen to all three. You will be glad you did. This one drops February 27th, so be sure to give it a spin if you can.
Release Date: February 27th, 2026Record Label: Frontiers Music SRLGenre: Melodic Hard Rock
Musicians: Robin McAuley / Vocals * Reb Beach / Guitars, backing vocals * Jeff Pilson / Bass, backing vocals * Matt Starr* / Drums
Paralyzed Tracklist:1. When The Cold Wind Blows 2. The Death Of Me 3. Different Kinda Woman 4. If I Was King 5. Shakedown 6. Fire And The Flame 7. I’m Ready 8. Paralyzed 9. Carry On 10. Battered And Bruised 11. What The Future Holds
Order the album here.
The post BLACK SWAN – Paralyzed (Album Review) appeared first on Sonic Perspectives.
This is the opposite of fading away.Experience is arguably the most valuable tool in any artist’s arsenal, and in the specific case of veteran and virtuoso guitarist Joel Hoekstra, it’s one that has allowed him to forge one of the most consequential supergroups in recent memory.
Having cut his teeth playing with such elite artists as Cher, Evanescence frontwoman Amy Lee, Sebastian Bach, and Kevin Cronin, let alone the honor of cutting heads with the legendary Brad Gillis in Night Ranger and handling guitar duties with hard rock legendary outfit Whitesnake, words like prestige and gravitas fall just short of describing what Iowa-born shredder brings to the table. Yet when all the cards are down, Joel Hoekstra’s 13 is a sum built out of multiple equally yoked parts, and their fourth and latest studio offering, From The Fade, presents a master class in how to craft an immersive musical journey while largely relying upon a familiar hard rock template.
True to the reputation that Frontiers Records has built for delivering a quality listening experience, this is an album that features a colossal modern production to rival any mainstream act, but where Joel Hoekstra’s 13 really sells what it has to offer is in the execution of its principle membership. Naturally, Joel’s surgical riff assault recalls such noted guitar legends as Ritchie Blackmore, Uli Jon Roth, and especially the dearly departed John Sykes, a fact that is further augmented by the smooth fretless bass foil provided by none other than the latter’s bandmate in Blue Murder, Tony Franklin.
Throw into the mix the signature kit work of former Black Sabbath and Dio drummer Vinnie Appice, and the free-flowing keyboard gymnastics of ex-Dream Theater titan Derek Sherinian, and the auditory feast that is realized is already nothing short of gourmet. Reprising his role as lead vocalist from 2023’s Crash Of Life is helmsman of the up and coming Indian hard rock act Girish And The Crhonicles Girish Pradhan, whom lands that same brilliantly gravely tone that Russell Allen and Jeff Scott Soto brought to his outfit’s earlier works and infuses an equally formidable rawness into the equation with the latter sticking around to provide backing vocals.
This opus functions as a sonic portfolio in ten masterful subsections, each one channeling a sense of nostalgia for a pivotal moment in one or more of these musicians’ monumental pasts while maintaining a sense of modern freshness. The swift riffing and upbeat groove of the opening foray “You Can Give” has all the makings of an arena favorite, playing off earworm melodic hooks at every point Girish’s voice is in play, while Hoekstra relentlessly lights up the fret board at every opportune moment.
The more driving cruiser “The Fall” strikes a grittier tone and functions as a sort of punchy portmanteau of Whitesnake’s signature bluesy swagger and Dio’s more jagged metallic approach, Pradham nailing a pinpoint middle ground between the two frontmen of said legendary folds before Hoekstra and Sherinian proceed to light up the airwaves with their respective technical chops.
As things progress, so too does this group’s compositional palette, occasionally allowing for a softer and more accessible tone to be struck. One can’t help but hum along and be uplifted by the easier-going groove and almost 70s AOR tone struck by “Lifeline”, and even Girish’s gravely snarl takes on a generally more measured tone that recalls the saccharine-like approach of Steve Perry and Kevin Cronin.
“You Will Remember Me” all but crosses into soft rock territory with a serene blend of accompanying acoustic guitars and a highly expressive bass display out of Franklin to further enrich an already dense atmosphere of musical optimism resting between classic 70s and modern rock balladry. The album’s closer, “Quite The Ride,” turns up the progressive rock vibes something fierce, playing heavily to Hoekstra’s expansive tool set and featuring plenty of raging rock organ and synthesizer moments out of Sherinian above a nuanced wall of sound reminiscent of classic Styx and Yes.
But when the rubber hits the road, *Joel Hoekstra’s 13 is a band that is truly at its best when they throw caution to the wind and play hard enough to effectively blur the lines between rock and metal. The highly agitated riff machine “Misunderstood” sees Hoekstra trading in his Whitesnake card for an approach that all but fully mimics Vivian Campbell circa 1984, and Vinnie Appice* follows suit with a similarly explosive performance on the kit, the song’s high point occurring just after the guitar solo where every member of the fold takes turns showcasing their prowess at the fore.
“Free To Be” leans more into the epic side of the 80s Dio equation with a mid-paced stride that treads dangerously close to Holy Diver territory, all the while Pradhan manages to maintain a catchy melodic gloss on top of a musical foundation replete with twists and turns courtesy of Hoekstra and Appice. But the coup de grace that sees this fold committing fully to the heavy metal side of the coin is the riveting mini-epic ride “The End Of Me”, which might well be the most compelling homage to Black Sabbath’s “Heaven And Hell” penned since Axel Rudi Pell’s “Disciples Of Hell” back in 2004.
For hard rock aficionados, young and old, as well as old school metal heads who believe that the genre peaked in the mid-80s, it’s impossible to go wrong with a fold of seasoned veterans, most of whom were there when big hair and bigger riffs were still filling arenas from Philly to Los Angeles. By the same token, the youthful exuberance displayed by Girish Pradhan makes this a band that can match energy with the past bands from which the rest of this group was drawn.
It’s debatable whether From The Fade is an album that matches the insane quality level that went with genre staples like Whitesnake’s Saints And Sinners, Dio’s The Last In Line, or Blue Murder’s 1989 eponymous debut, but a single listen will reveal an album that is definitely after the same spirit.
Release Date: February 27th, 2026Record Label: Frontiers Music SRLGenre: Melodic Hard Rock
Musicians: Girish Pradhan / Vocals * Joel Hoekstra / Guitars * Tony Franklin / Bass * Vinnie Appice / Drums * Derek Sherinian / Keyboards * Jeff Scott Soto* / Backing vocals
From The Fade Tracklist:1. You Can Give
2. The Fall
3. Lifeline
4. Will You Remember Me
5. Misunderstood
6. Start to Fight
7. All I’d Do
8. Free To Be
9. The End Of Me
10. Quite The Ride
Order the album here.
The post JOEL HOEKSTRA’S 13- From The Fade (Album Review) appeared first on Sonic Perspectives.
Surprise, surprise, surprise. After a pause of 4 years, made a bit longer due to a little band known as Dream Theater, NMB prove themselves to be unstoppable as they pick up right where they left off. Written and recorded in complete secrecy, on a very tight timeline of 9 days to get the framework in place so that Mike Portnoy could lay down his drum tracks, the band did the unthinkable. Namely, they created the bulk of the album on the spot. It’s hard to think of many bands that could pull off such a feat, especially with arrangements and instrumentation as complex as NMB displays here.
After two celebrated concept double albums and two other albums filled with mixtures of side-long epics and shorter, more direct songs, what direction would NMB decide to go this time? Wisely, a double album was off the table, but the band still got in a good 70 minutes of music, meaning this is an extended listening experience. A concept idea inevitably crept in again, too, which we’ll explore below.
Reviewing a Neal Morse Band album is fairly easy at this point because, as with many contemporary prog rock bands, the audience knows what they’re getting. Portnoy has rebuffed any criticism of a pervasive Neal Morse songwriting “formula” by countering, “Hey, we have our sound. That’s what a band does, is create their own sound.” (paraphrased) While that’s a worthy subject for a good prog debate (e.g. Yes and King Crimson certainly changed their sound every album or two), there’s no denying that the vast majority of prog bands these days do indeed find their specific style, and they hone in on it.
Thus, the audience who enjoys what Morse does, whether with NMB or otherwise, has a good idea of what to expect, and it’s merely a question of “what degree of awesomeness does this album deliver?” Other listeners who don’t dig Morse’s approach, whether for lyrical or stylistic reasons, probably aren’t going to be won over by this album any more than the past several. But for the faithful, the news is good. Very good.
Given all of that preamble, we can cut to the chase and share that L.I.F.T. continues meeting the high bar that has already been set by the band, and threatens to raise it even higher. There’s little new ground broken here. To the contrary, it’s almost a “greatest hits of NMB” vibe, from outrageously layered vocal sections to blistering guitar and keyboard solos, anthems, head-banging moments, acoustic interludes, and powerful, tear-jerking revelations. The track listing of 13 songs suggests that there’s no epic included here, but paradoxically, the whole album can be seen as one extended piece. Or, at least two album-side pieces, encompassing tracks 1 – 8 and 9 – 13.
Musically speaking, the band is on fire. As the album opens up with the largely instrumental “Beginning” – a not-very-crafty way of saying “Overture” yet again – their chops are on full display as if they had just stepped off the stage from their last tour 4 years ago. It’s absolutely delightful having Portnoy back behind the kit, well worth the wait.
After they tear through several melodic themes that will be visited throughout the album, we get into the first single, “Fully Alive,” which makes the most of the interplay between Morse, Bill Hubauer, and Eric Gillette trading lead vocals. Having Gillette sing the chorus at such an unexpectedly slow tempo over bass pedals thumping is a striking approach and surprisingly effective. The Similitude vibe is very present with shorter introspective pieces like “I Still Belong” and later, “Contemplation”, which features a beautiful “The Doorway”-esque grand piano and Hubauer’s Geoshred playing.
Subsequent singles contain powerful NMB moments as well: the hard-hitting “Hurt People” features Gillette’s killer vocals and incendiary lead guitar playing with a blistering neo-classical shred-fest and Portnoy raging behind the drum kit before going into an extended instrumental jam (not included in the video single) that’s one of the album’s best. Then “Reaching” hits all those “The Call” vibes, one of NMB’s brightest high-water marks, including their bounty of incredible vocal harmonies. Interestingly, Portnoy is not credited with any singing on the album, likely due to his busy schedule. Thus, the other three work overtime in the overdub studio, and the results are nothing short of spectacular.
Lest you worry that the best has already been released in the format of singles, there are plenty of gems still to be discovered. “The Great Withdrawal” hits home as one of the great Morse angst-ridden pieces – as Gillette’s searing solo is accompanied by Amy Pippin and Julie Harrison’s backing vocals – before going into one of those classic Hubauer bridges. Perfection. At the other extreme, pieces like “Carry You Again” uplift the spirit with Morse’s addiction to sus chords resolving, which never seems to fail. For those of you who have heard his U2 moments at Morsefest, such as “Where The Streets Have No Name”, you’ll get a little taste of that here, too.
It all comes together with the closing number, a Morse staple, and somehow, he always seems to pull out a miracle to seal the deal. This time it’s “Love All Along”, starting off with a vulnerable vocal rarely heard outside of his worship albums (think “Cloudburst”). As the song evolves, it develops into one ofMorse’s most powerful progressions yet, and although it includes more false endings than “The Return Of The King”, each one outdoes the one before it, truly a finale bursting with emotion and revelation.
The backing vocals from Pippin and Harrison shine, and inevitably Gillette sweeps in toward the end to take over the lead vocal and bring it home. Simply sublime. Poignantly, like on his last Joseph album, Morse turns the lyrics towards the listener: “And if you’ve been down this road, And still bear a heavy load, Tell shame it’s time to go!”, and then closing with, “‘Cause you still belong.” It’s a powerful touch.
Lyrically, we’re treading similar ground as before: wholeness (union with God) splinters off into separation (egoic man) and eventually is reunited into oneness for the finale. Once again, we have a male central character and a male savior. The Christian identity is very much present, with references being to Father rather than Jesus, but not as overt as Morse’s other recent albums, and he also mixes in some elemental imagery like wind and skies, along with plenty of love. But there’s clearly a more psychological element present here as well, with some of the song’s lyrical inspirations coming from therapy phrases.
At times, these lines go over the edge a bit, feeling too much like we’re in the therapist’s chair, particularly in “Shame About My Shame” as we traverse the pains of separation. Morse appears to be aiming for a cathartic experience of the human condition, and undoubtedly, many listeners will be able to relate to the lyrics and travel this road with him.
Wrapped up in a beautifully mixed production from Rich Mouser and engineered by Jerry Guidroz, NMB albums always sparkle from front to back, and this is no exception. Although L.I.F.T. doesn’t break new ground, NMB are back to do it all again – doing what they do best. And frankly, they hit it out of the park once again.
Release Date: Record Label: Inside Out MusicGenre: Progressive Rock
Musicians: Neal Morse/ Vocals, keyboards, guitars * Eric Gillette / Guitars, vocals * Bill Hubauer / Keyboards, vocals * Randy George / Bass * Mike Portnoy* / Drums, vocals
L.I.F.T. Tracklist:1. Beginning (6:48) 2. Fully Alive (5:02) 3. I Still Belong (3:32) 4. Gravity’s Grip (2:03) 5. Hurt People (8:05) 6. The Great Withdrawal (5:08) 7. Contemplation (2:20) 8. Shame About My Shame (5:50) 9. Reaching (7:32) 10. Carry You Again (5:02) 11. Shattered Barricade (1:25) 12. Fully Alive, Pt. 2 (6:18) 13. Love All Along (11:18)
Order the album here.
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Long live the new flesh!It is sometimes stipulated that concise songwriting and progressive stylings are opposites, but whoever proposed such a dichotomy likely never encountered the handiwork of British melodic death/thrash stalwarts Sylosis.
Formed right at the turn of the millennium by the then 15 year old guitarist/vocalist Josh Middleton and ushering in their earliest studio material during the latter half of the 2000s when metalcore was beginning to rival the Gothenburg melodic death metal craze in terms of cultural relevance, this was a fold that could easily have glommed onto the mainstream sensibilities of the former yet opted for a less travelled road.
Drawing heavily from the extreme and technically charged well that typifies the likes of Revocation and Bloodshot Dawn while maintaining a streamlined songwriting approach in line with the thrash and groove-oriented adherents of melodic death metal such as The Crown and The Haunted, the resulting sound shares a few peripheral commonalities with the 2000s metalcore rage, but is ultimately a far more dangerous beast.
Being no strangers to revamping their arrangement in light of a continual revolving door of lineup changes, Sylosis enters 2026 with a couple of shifts in personnel, yet comes out with the same pummeling blend of raw sonic fury and virtuosic intrigue with their latest studio entry The New Flesh. The exit of long-time guitarist Alex Bailey following the release of the 2024 EP The Path has seen bassist Conor Marshall taking up the six-string alongside Middleton to make room for newly recruited bassist Ben Thomas of the South Wales-based melodic death metal band Venom Prison.
Needless to say, Thomas fits the mold like a glove and proves a key element alongside drummer Ali Richardson in constructing a truly massive bottom end to what can be described as a colossal display of heaviness. Likewise, the battering riff assault that is laid down by Middleton and Marshall sees this outfit’s sound plunge further into the harrowing depths of thrashing death metal extremeness, often rivaling the brutality of bands more readily associated with the old school side of the coin.
Right out of the gate, Middleton and company come out swinging with some of the most intense yet elaborate material they’ve ever churned out. The ambient exposition turned well-rounded blend of bone-crushing thrash and earth-shattering groove metal that is the opener “Beneath The Surface” pulls zero punches in the aggression department, seamlessly shifting between blinding speed and pummeling mid-paced fare as Josh throws down a brilliant blend of Gothenburg-inspired rasp and hardcore-infused grit.
The generally groovy and measured anthems “Erased” and “Mirror Mirror” veer a tad closer to Lamb Of God territory with a more rhythmically nuanced approach as Middleton takes occasions to throw in a few clean-sung hooks amid the post-hardcore and groove metal carnage in the former, while atmospheric keyboards adorn much of the latter. Several other entries in this 11-chapter sonic slaughter session opt for a similarly merciless yet multifaceted approach, such as the almost ambient turned groove-thrashing epics “Adorn My Throne” and “Lacerations”, both of which blur the lines between Sylosis’ signature mode of brutality with the more dreamy quality of Finnish melodic death staples like Mors Principium Est and Omnium Gatherum.
For every time that this outfit opts to combine almost disparate elements into a singular anthem, they also allot for a more straight-up expression of either a consistently impact-based approach or a full-on foray into lighter territory. In terms of ruining the neck alignment of anyone within earshot, the explosive thrasher “All Glory, No Valor” and the meaty groove-thrashing crusher “Circle Of Swords” take the aggression factor to its logical conclusion and feature some of Josh’s most inhuman vocalizations ever committed to recording.
“Spared From The Guillotine” pushes the envelope so far that the line that divides The Crown from Suffocation practically vanishes for its 4-minute duration in a sea of dissonant riffing and machine gun drumming. The acoustic ballad “Everywhere At One” basically throws the whole arrangement for a loop and lands almost perfectly into 2000s metalcore territory, complete with a brooding, clean-sung performance out of Middleton to perfectly match the air of nostalgic melancholy for a time 20 years past.
Nonetheless, the two songs that truly sum up the unique niche that this album rests upon are the measured yet chaotic thrasher of a title entry, “The New Flesh”, and the drawn-out epic riff monster and closer “Seeds In The River”, which mixes more brilliant mid-2000s balladry and even some symphonic trimmings into the death-thrashing mix.
It’s a very safe assumption that those who have already been drawn into Sylosis’ world of uncompromising metallic fervor with a technical edge between their 2008 breakout debut, Conclusion Of An Age, and now will be satisfied with what The New Flesh has to offer. Though it might seem a bit overwhelming to a newcomer to this outfit’s material, which is more accustomed to the stylistically straightforward character of Trivium, Lamb Of God, or The Haunted, it is grounded enough to appeal to said tastes with a minimal level of adjustment.
This album showcases a band that, in spite of having more than 3 times as many former members as it does current ones, has found a greater degree of focus in how they commit their highly eclectic sound into a package that is reasonably concise and accessible. Opinions may vary as to whether this is Sylosis’ finest moment yet, but The New Flesh definitely ranks high among their growing list of studio accomplishments.
Release Date: February 20th, 2026Record Label: Nuclear Blast RecordsGenre: Melodic Death/Thrash Metal
Musicians: Josh Middleton / Guitars, vocals * Conor Marshall / Guitars * Ben Thomas / Bass * Ali Richardson* / Drums
The New Flesh Tracklist:1. Beneath The Surface 2. Erased 3. All Glory, No Valour 4. Lacerations 5. Mirror Mirror 6. Spared From The Guillotine 7. Adorn My Throne 8. The New Flesh 9. Everywhere At Once 10. Circle Of Swords 11. Seeds In The River
Order the album *here*.
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As a primary member of Arena and Pendragon, keyboardist/composer Clive Nolan has been an instrumental force in neo-prog for over 40 years. That said, even those projects hint at the kind of rock opera/musical theatre foundation that’s dominated Nolan’s own career since at least 2013’s Alchemy. Therefore, only those who’re unfamiliar with his solo work will be surprised at the direction Nolan takes on The Mortal Light, a nearly two-and-a-half-hour Broadway-esque spectacle reminiscent of Ayreon’s Transitus and Gandalf’s Fist’s The Clockwork Fable.
In fact, both musically and narratively, The Mortal Light is the direct follow-up to Alchemy and 2017’s King’s Ransom (hence the similar artwork). Nolan describes it as continuing “the ongoing journey of [Samuel] King and his friends as they navigate the dangers and challenges of this colourful Steampunk Victorian ‘Universe.’” Specifically, “old allies” and “old enemies” return as King and company fight to conquer “his biggest threat yet,” Makaria, “a malevolent demigod” who lives in Norway.
Supported by major or minor contributions from dozens of people – such as drummer Scott Higham; vocalist Laura Piazzai; and modern prog legends John Mitchell, Peter Jones, and Damian Wilson– The Mortal Light is a damn good addition to Nolan’s catalog. It can feel a bit repetitive and extraneous at times (which, let’s be honest, is partially inherent to the style), and misguided listeners looking for something traditionally [prog] rock might bail before long. Yet, those who know what they’re in for and can give the LP the time and attention it deserves will find plenty to enjoy.
By its nature, “Overture” is a highlight from an instrumental perspective, with its radiantly complex and majestic vibe cascading over you as traditional and symphonic rock timbres collide. In a sense, it’s what might happen if you merged Songs from the Wood era Jethro Tull with Trans-Siberian Orchestra, and its imaginative cinematic empowerment will surely put a smile on your face.
Of course, the rest of the disc upholds that core DNA, with many other tracks (including “Crime,” “Threat,” “Escape,” and “Siege”) falling under the same umbrella in either more robust and intricate – or more subtle and nuanced – ways. Elsewhere, “Cavalry,” “Escape,” and “Convergence” tap the most into Nolan’s keyboard-driven prog rock past, and multiple tunes (such as “Wedding,” “Magician,” and “Tovenaar”) enhance the immersion with operatic narration and scene-setting ambiance.
The album isn’t without conventionally engrossing melodies and song structures, either. For instance, it’s easy to get hooked on the intersecting male/female verses and angelic harmonies of the brooding “Fade,” just as the jovial folksiness of “Guidelines” and the catchy chaos of “Makaria” can’t help but appeal even to those who’re otherwise not into the overarching musical theatre aesthetic.
On that note, and despite being intentionally histrionic, The Mortal Light is a lot to take at once. That’s true not only because of its extensive length but also because of its frequent (and at times, meandering) over-the-top vocals and production. Like Dream Theater’s The Astonishing, it can feel self-indulgent and monotonous, with singers singing and players playing in the same ways across the set (to the point that it becomes difficult to differentiate which song is which). Admittedly, you kind of sign up for those elements when you listen to an album like this, but it’s hard to deny that the LP would benefit from wider-ranging blueprints and a shortened runtime.
Those gripes aside, The Mortal Light undeniably accomplishes its goals with flying colors, further cementing Nolan as a master of his craft who can still charm fans of this style. Whether it tops the other two entries in the “Alchemy” trilogy is debatable, but it certainly earns its place alongside them by continuing the storyline(s) and genres that made them so beloved by fans. If you’re already a fan of this sort of thing, The Mortal Light is sure to delight, and even followers of Nolan’s other endeavors will get some enjoyment out of it.
Release Date: February 15th, 2026Record Label: Crime Records / We Låve RockGenre: Rock Musical
Musicians: Clive Nolan / Keyboards, orchestration, additional percussion * Scott Higham / Drums * Arnfinn Isaksen / Bass * Mirko Sangrigoli* / Guitar
Cast: Clive Nolan / Professor Samuel King * Gemma Ashley / Eva Bonaduce * Robbie Gardner / Tom Worthy * Christine Ekeberg / Alice Hyde * Natalie Barnett / Lady Agatha Gill * Ryan Morgan / Father Caleb/Tovenaar * Andy Sears / Lord Henry Jagman * Chris Lewis / Edwin Deeks * Laura Piazzai / Makaria * Guy Barnes / William Gardelle * Verity White / Dr. Josephine Kendrick * Ross Andrew* / Master of Ceremonies
The Mortal Light Track-list:Act One:
- Wedding
- Overture
- Demigod
- Prophecy
- Magician
- Decisions
- Cavalry
- Fade
- Escape
- Guidelines
- Conversation
- Guardians
- Promise
- Unbowed
- Makaria
Act Two:
- Port
- Confession
- Crime
- Spy
- Thunder
- Agreement
- Witch
- Portal
- Wings
- Threat
- Satisfactory
- Justice
- Arrival
- Seduction
- Tovenaar
- Siege
- Trust
- Convergence
- Explosion
- Sunset
Order The Mortal Light here
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A band’s evolution has seldom felt so right. After 15 albums over a 30-year timeframe, Big Big Train’s twists and turns have resulted in a remarkable career featuring an ever-evolving cast of musicians. Having confidently achieved a stunning comeback with The Likes Of Us after the crippling tragedy of losing previous lead singer David Longdon, here we are two years later with the arrival of the natural next step: a concept album from a story-based band.
That Big Big Train haven’t specifically written a concept album before almost seems beside the point, so rich is the storytelling that runs throughout the band’s discography. Still, Woodcut is definitely taking the band to a new level, as band co-founder Greg Spawton shares that they genuinely saw the album as one entire piece: “In the studio, that’s kind of how we viewed it – seriously. It’s a single epic song from which other shorter songs can be pulled.”
Spread over 16 tracks, the whole album runs just over an hour to tell its story of the Artist and his psychedelic woodcut journey. While the run time isn’t quite on the scale of a classic prog double album, that might be for the best: it’s definitely a long ride you need to strap yourself in for, but it doesn’t become tiresome or indulgent. This is mostly due to the consistently high level of songwriting, arrangements, and performance. It’s simply one marvel after another. If anything, the songs only get better and better as the album progresses, ensuring that the listener is compelled to enjoy to the end.
Special appreciation needs to be given to the cohesiveness of the musicians and how collaborative a family this band has become. Lead vocalist Alberto Bravin is the ringmaster, taking over the daunting production duties, but it truly feels like a group effort throughout, much to everyone’s credit. The songwriting is shared by a wide swath of the band, sometimes individually and often collaboratively. Lyrics were also a shared effort all around, with violinist Clare Lindley coming more to the fore to pen many of the words.
Vocally speaking, the album shines with lush harmony arrangements that make the most of all 7 members singing. Everyone gets a lead vocal spot at some point, too, even the usually reluctant Spawton. While Bravin still carries the album with his artful tenor voice, key lines are given to other members like Rikard Sjöblom’s striking cameo lead on “Dead Point”. Backing vocal harmonies are also rich and abundant, often breathtaking, like at the end of “Chimaera”. There’s even some Gentle Giant-style vocal interplay, like Neal Morse is fond of exploring.
On the instrumental side, everyone gets their areas to shine. Rikard Sjöblom now covers the bulk of the electric guitar, and his solos are extraordinary throughout the album, such as on “Light Without Heat” and “Counting Stars”. Clare Lindley’s violin has found a perfect sweet spot in the mix, from the lilting grandeur of “Arcadia” to a more searing tone at the end of “The Sharpest Blade”. Elaborate keyboard performances run rampant throughout the album, and while four musicians are listed on keys, we can credit Oskar Holldorff as the main genius behind this role.
I suspect that Bravin contributed a good deal to backing guitars and keyboards during the recording process, both stemming from his pervasive songwriting credits, and delivering the finishing touches as producer. Only the newest member, Paul Mitchell on trumpet, seems to be underutilized on the album. Although occasionally adding nice flourishes to some of the arrangements, his involvement here would seem to suggest he’d be listed as a guest musician rather than a full-fledged member.
Of course, Nick D’Virgilio remains BBT’s drummer extraordinaire, and he packs a punch throughout this odyssey. The thrilling instrumental track “Cut And Run” is an NDV tour de force, continuing the tradition of excellent instrumentals from albums past like “Apollo”. Also holding down the rhythm section, Spawton’s bass playing has always been one of BBT’s very top strengths, and this holds true once again, whether it’s propelling forward the D’Virgilio burner “Warp and Weft” or laying down a more melodic groove on the gorgeous “Light Without Heat”.
This Big Big Train is on a roll and, almost unfathomably, keeps getting better and better. And although it’s true that the credit goes to the entire collective, there’s no denying that the band struck gold by choosing Bravin as their frontman. Little did they – or perhaps even he – realize how instrumental he would be behind the scenes as well. His songwriting, arranging, multi-instrumentation, producing, and sheer enthusiasm have undoubtedly helped gel the rest of the family together even more tightly than they might have imagined possible at this stage, and the results speak for themselves.
As the album’s lyrics conclude in the final thrilling song: “There’s gold in the skies. Find it, keep moving on.”
Release Date: February 6th, 2026Record Label: Inside Out Music / English Electric RecordingsGenre: Progressive Rock
Musicians: Alberto Bravin / Lead vocals, acoustic and electric guitars, keyboards, Moog, Mellotron * Nick D’Virgilio / Drums, percussion, keyboards, acoustic and 12-string guitars, vocals * Oskar Holldorff / Grand piano, Wurlitzer and Fender Rhodes electric pianos, Hammond organ, Mellotron, synthesizers, vocals * Clare Lindley / Violin, acoustic guitar, vocals * Rikard Sjöblom / 6 and 12-string guitars, Hammond organ, vocals * Gregory Spawton / Bass, bass pedals, 12-string acoustic guitar, Mellotron, vocals * Paul Mitchell* / trumpet, piccolo trumpet, vocals
Woodcut Tracklist:1. Inkwell Black (0:56) 2. The Artist (7:16) 3. The Lie of the Land (2:55) 4. The Sharpest Blade (4:16) 5. Albion Press (5:46) 6. Arcadia (5:46) 7. Second Press (0:37) 8. Warp and Weft (3:45) 9. Chimaera (5:37) 10. Dead Point (5:28) 11. Light without Heat (3:22) 12. Dreams in Black and White (2:34) 13. Cut and Run (6:19) 14. Hawthorn White (1:54) 15. Counting Stars (5:40) 16. Last Stand (3:34)
Order the album *here*.
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Embrace the existential darknessTranscending a cultural phenomenon might seem a fool’s errand, particularly one born of infamy and immortalized by a mainstream media that is, at best, ambivalent to the subject under consideration. Yet this is what Norway’s earliest and arguably most consequential purveyor of black metal, Mayhem, has been doing since the 1990s.
A winding maze of stylistic evolution, lyrical subject expansion, and lineup shifts has left this fold in the unique middle ground between upholding the grim orthodoxy that originally typified the 2nd wave’s low fidelity production practices and chaotic execution and moving into the more polished and progressive character that the subgenre has largely embraced since becoming a worldwide expression.
Coming in just over 6 years to the day that their sixth studio LP Daemon was unleashed via Century Media Records, their seventh and latest excursion into the sonic world of existential blackness and fury, dubbed Liturgy Of Death, continues this outfit’s stride into darker yet more nuanced territory.
For those who have kept up with things since the beginning of the trifecta of modern offerings dating back to 2014’s Esoteric Warfare, the cast of diabolical characters contributing to Mayhem’s modern sound remains wholly consistent. The rhythm section, rounded out by founding member and bassist Necrobutcher and longtime drummer Hellhammer, lays a cacophonous foundation of shimmering blast beats, thundering machine gun double-kicks, and occasional respites in slower territory meshed with a murky, necrotic bottom end that often bends the boundaries of reason.
The twin guitar assault of Teloch and Ghul seamlessly fills out the middle and upper reaches of the arrangement, often achieving a comparable level of density and frostbitten dreariness to what Ihsahn and Samoth put forth on Emperor’s later studio albums, and occasionally channels some of the technical flourishes that would be more readily associated with the likes of Rotting Christ and Necrophobic. At the head of it all are the sepulchral ravings with intermitted spoken lines and operatic flourishes courtesy of Attila Csihar, painting the atmosphere even bleaker still.
In contrast to the more compact songwriting found on Daemon and Esoteric Warfare, Liturgy Of Death takes a longer and less symmetrical approach that might almost be called epic were it the handiwork of a band like Dimmu Borgir or Immortal. Things begin on a highly atmospheric and arguably cinematic note via “Ephemeral Eternity”, which grows from a haunting ambient prelude to a droning stride, and then finally an explosive blizzard of northern rage. It exists in what can be best explained in a state of moving so fast that it seems to phase while standing in place, then it pulls back to a punishingly slow stride and feels like it’s somehow covering more ground, spearheaded by a truly ghoulish performance out of Attila.
The chaotic storms of fury continue in an extended duration with the even more menacing and heavy blast of arctic night dubbed “Despair”, consisting of fewer breaks in the blinding fury and greater dissonance in the arrangement. “Weep For Nothing” rounds out the opening epic trilogy of philosophical woe with a more complex guitar display out of Teloch and Ghul, delving further into the reaches of auditory oblivion and coming out with something that is both immersive and distinctive enough to almost be considered catchy.
Curiously enough, it is when these songs pull back into more compact territory that things get especially intricate. The sub-5-minute fit of blasting fury “Aeon’s End” matches the usual mix of icy melodic motives with something fairly close to the death/thrashing riff work heard during Immortal’s peak into popularity in the late 90s through early 2000s, complete with a ripping guitar solo and a dramatic clean stint out of Atilla amid a quasi-symphonic backdrop.
“Funeral Existence” leans even harder into the thrashing side of the blackened coin during an explosive middle bridge segment that displays Hellhammer’s ability to seamlessly switch gears at the drop of a warlock’s hat, while “Realm Of Endless Misery” gives Necrobutcher a rather auspicious moment to showcase his bass chops in the midst of one of the most insanely chaotic entries on the album.
“Propitious Death” lands so close to the familiar riffing style of Abbath and the accompanying aesthetic of snow-covered mountains that only Attila’s distinctive growl keeps it from sounding like a smoothed-out lost entry from Battles In The North. The canon of this necrotic musical offering is closed in much the way that it opens, with an extended fit of theatrical blackness in “The Sentence Of Absolution”, throwing just about every decrepit element covered earlier in the album against the wall and exiting to the sound of tribal drums out of a pagan ceremony from a bygone era.
It may be a far cry from the overt occultism and crackling cult trappings that typified their sound from their mid-80s founding through the release of De Mysteriis Dom Sathanas, but Liturgy Of Death is best described as the quintessential expression of what black metal has been about over the past couple of decades.
More so than even the obligatory bells and whistles in the instrumental and vocal departments, the sum of this album’s parts is a generalized sentiment of darkness and sorrow that is completely becoming of the aesthetic that it carries. It will ring familiar to anyone who has kept up with Mayhem since the early 2010s, and it effectively walks the line between the rawness that most purists require and the more accessible production practices that have made the likes of Dimmu Borgir and Behemoth commercially ascendant.
It might not carry the same mystique as their seminal offerings, but Liturgy Of Death proves a highly formidable and immersive experience for those with the courage to venture into the blackened realm. It’s another brilliant sonic manifesto of existential darkness and rage, showcasing that an infamous past pales in comparison to auditory greatness expressed in the present.
Release Date: February 6th, 2026Record Label: Century Media RecordsGenre: Black Metal
Musicians: Attila Csihar / Vocals * Teloch / Guitars * Ghul / Guitars * Necrobutcher / Bass guitar * Hellhammer* / Drums
Liturgy Of Death Tracklist:1. Ephemeral Eternity 2. Despair 3. Weep For Nothing 4. Aeon’s End 5. Funeral Of Existence 6. Realm Of Endless Misery 7. Propitious Death 8. The Sentence Of Absolution 9. Life Is A Corpse You Drag(Bonus track) 10. Sancta Mendacia (bonus track)
Order the album *here*.
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Although all three of frontman Maynard James Keenan’s main projects (Tool, A Perfect Circle, and Puscifer) share several traits, they each have enough that’s unique to be distinguished and justified. In particular, Puscifer eschew some of APP’s emotional alt-rock commerciality and Tool’s progressive/psychedelic metal indulgencies in favor of exorcising Keenan’s most bizarre and boundless rock tendencies.
It’s always worked out quite well, and the aptly named Normal Isn’t (which arrives over five years after predecessor Existential Reckoning) is another fascinating testament to the wonders of his “creative subconscious.”
The same lineup from Existential Reckoning returns here, and the record is bolstered by guest appearances from Tool drummer Danny Carey, legendary bassist Tony Levin, and Ian Ross (father of Atticus Ross). The band view the album as “modern post-punk . . . with a dash of goth-tinged drama” and touches of new-wave. It’s an accurate description, and Normal Isn’t also sees Keenan incorporating music software such as Logic and Pro Tools to fine-tune his ideas.
Along the same lines, multi-instrumentalist Mat Mitchell says that the trio wanted to make Normal Isn’t more guitar-driven to achieve more “rawness and edge.” As usual, the LP also finds a solid balance between metaphysical, poetic, and sardonic lyricism as it explores the abnormality of modern times.
Right away (via opener “Thrust”), you know you’re in for a musically, vocally, and intellectually stirring ride. Off-kilter percussion and unsettlingly atmospheric instrumentation support the duality of Keenan and Carina Round’s quirky melodies. They’re an irreplaceable duo who offset playful animosity with angelic breathers, and all the while, they offer cynically contemplative observations (“Bicker bicker bicker / People getting sicker / Needle needle needle / Giggle giggle titter / Fucking agitators / Rabble goading rabble / Trying not to murder’s / Daily fucking battle”).
Afterward, Normal Isn’t constantly reinvents that foundation so that every piece of the puzzle fits without it ever sounding repetitive or lazy. Rather, there’s always something new to discover and appreciate as Puscifercontinue to innovate (rhyme not intended).
For instance, there’s the relatively radio-friendly title track and “The Quiet Parts” (both of which are cut from the same cloth as Steven Wilson’s The Future Bites and The Harmony Codex), as well as the more subdued and eerie electronic bases of “Bad Wolf,” “ImpetuoUs” and “Pendulum.” Plus, the group get really experimental with the intersecting vocals, hyperactive industrial textures, and clever production of “Self Evident,” “Mantastic,” and the especially cinematic and complex “Seven One.”
Despite not being a formal part of the album (it was originally released in 2024 as part of the soundtrack to Sumerian Comics’ American Psycho comic book series), “The Algorithm (Sessanta Live Mix)” is a welcomed way to end. The band clearly brings invigorating live energy to this version of the track, showcasing their ability to be even more exhilarating on stage, and hearing the crowd cheer enhances the experience.
As with pretty much everything Keenan puts out, Normal Isn’t is wonderfully entertaining, ambitious, and thought-provoking. Specifically, it illuminates Puscifer’s sustained drive to present something that’s simultaneously mature and meaningful yet fun and unpredictable musically and academically. Keenan and Round’s chemistry continues to be the trio’s greatest asset (which isn’t to say that their other components aren’t great, too), and expectedly, it rewards repeated listens. Whether it surpasses its predecessor(s) is obviously a subjective opinion, but its heightened aggression and focus surely make it a distinctive but fitting addition to Puscifer’s catalog.
Release Date: February 6th, 2026Record Label: Recordings / BMGGenre: Experimental Rock / Art Rock
Musicians: Maynard James Keenan / Vocals, additional synths * Carina Round / Vocals, vocal sampling, additional synths * Mat Mitchell* / Bass, guitar, synths, stick
Additional Musicians: Gunnar Olsen / Drums * Sarah Jones / Drums * Greg Edward* / Bass
Guest Musicians: Tony Levin / Additional bass on “Normal Isn’t” and bass on “Seven One” * Danny Carey / Drums on “Seven One” * Mr. Ian Ross* / Narration on “Seven One”
Normal Isn’t Tracklist:1. Thrust
2. Normal Isn’t
3. Bad Wolf
4. Self Evident
5. A Public Stoning
6. The Quiet Parts
7. Mantastic
8. Pendulum
9. ImpetuoUs
10. Seven One
11. The Algorithm (Sessanta Live Mix)
Order the album *here*
The post PUSCIFER – Normal Isn’t (Album Review) appeared first on Sonic Perspectives.
Is this the last note?It is said that all good things must come to an end, yet one can’t help but take note of the scores of veteran bands and artists spanning the decades who have had farewell tours before many of us were born, yet are still at it on the road or in the studio.
In this context, there is a level of earnestness that comes with the unique case of Bay Area thrash metal legends Megadeth and their tireless helmsman Dave Mustaine’s announcement of their part in the grand metal experiment coming to a close, and not merely because the latter has yet to hint at permanently hanging it up until entering his mid-60s, after kicking a nasty case of cancer to the curb no less.
Love him or hate him for his brazen style of communication, Mustaine is not one for misleading his fans for the sake of marketing or notoriety; what you see and hear is what you get. Thus, the 17th and purported to be final studio offering of Megadeth, bearing the same name no less, comes with few surprises, but also with zero punches pulled.
To dispense with the obvious, Dave has never failed to be a master at scouting the perfect talent to maximize Megadeth’s potential in the face of numerous lineup changes, and the recent departure of Brazilian virtuoso guitarist Kiko Loureiro has proven a case study in this respect.
Filling the vacant slot of Mustaine’s technical foil on the six-string is none other than Finnish guitarist and renowned Wintersun member Teemu Mantysaari, who seamlessly blends his chops into the old school thrash metal formula alongside the punchy battery of bassist James LoMenzo (taking the place of the departed Dave Ellefson as he did in the late 2000s) and elite drummer Dirk Verbeuren.
Mantysaari often weaves ingenious solo passages reminiscent of the majesty of Marty Friedman’s early run under the Megadeth banner, as well as occasional flourishes of his more recent virtuoso predecessors Chris Broderick and the aforementioned Loureiro. The resulting metallic militia of our under Dave’s command dishes up a sound that often reminisces upon the glory days of 80s thrash, but frequently touches upon the more nuanced character of Megadeth’s commercial zenith during the early to mid 90s.
Whether the song hits fast and ferocious or mid-paced and menacing, this eponymous audio book in 11 chapters is peppered with intricate elements at almost every point. Among the promotional singles to have been building up hype online, the high octane mayhem of the opening foray “Tipping Point” and the riff happy throwback to thrash’s formative years at warp speed “Let There Be Shred” are the obvious favorites, each bursting at the seams with neck-destroying brilliance and topped off with Teemu’s expert-level flashy leads nearly everywhere that the vocals aren’t.
That being said, the up-tempo slab of punk attitude with a more technical edge, “I Don’t Care,” is by no means a slouch in the intricacy department, even if the lyrical scheme gets a tad repetitive. Rounding out the teaser tracks is the more rock-infused, mid-paced anthem of discontent “Puppet Parade”, which leans a bit closer to the mid-90s side of the Megadeth coin, matching the crunchy stomp of select offerings from 1994’s Youthanasia with a melodic scheme and riff set that points to Cryptic Writings bangers like “Almost Honest” and “Secret Place”.
The album’s pacing feels like a nostalgic back-and-forth: fast thrash blowouts, chunky mid-tempo crushers, then another burst that drags you back into the pit. And the standout moments keep stacking up. One of the slower cuts, “Hey God!”, still lands as one of the heaviest tracks here. It leans into that mid-’90s tension and grit, and its riffing will sound instantly familiar to anyone who’s worn out “Symphony Of Destruction”.
“I Am War” hits with a gritty punch, blending early-’90s weight with the kind of melodic hooks Megadeth leaned into later in the decade. On the other end of the spectrum, “The Last Note” is a melancholy, story-driven ballad that echoes “A Tout Le Monde” in a few key ways, especially in the haunting acoustic passages. Even so, it spends much of its runtime in a higher mid-tempo lane, and it carries a heavier edge than you might expect.
Still, this band is at its best when it floors it. That’s where “Made To Kill” and “Obey The Call” deliver: two militaristic thrash bruisers built for the pit. “Obey The Call” also starts with an atmosphere that briefly recalls “Mary Jane” before it detonates into something much more aggressive.
For a band that has announced that the end of the trail is well within sight, Mustaine and company have definitely opted to go out with a bang. The overall quality of what is presented here mirrors the consistently glorious character of the past couple of entries in The Sick…The Dying…And The Dead and Dystopia, respectively, as well as that of the late 2000s smash Endgame.
For his part, Dave’s voice has a tad bit more power and edge to it than what he’s put forth in the past decade or so, but where this album truly sells itself is in the songwriting and execution department, which speaks as much to the brilliance of Teemu’s, James’ and Dirk’s contributions to the colossal sound that emerges as it does Mustaine’s prowess and ingenuity. This is underscored by the high energy cover of one of Dave’s songwriting contributions to Metallica’s greatest studio accomplishment Ride The Lightning, namely the title entry, which is reproduced with a generally drier production quality and with only a few tweaks around the periphery, but showcases why his contributions to thrash metal’s rise and development are no less consequential than any other individuals tied to The Big Four.
It’s a bittersweet consolation for those who only came to this metal original recently or are likewise hungry for even more, but if this truly is the end, it’s hard to imagine a better send-off.
Release Date: January 23rd, 2026Record Label: BLKIIBLKGenre: Thrash Metal
Musicians: Dave Mustaine / Vocals, guitar * Teemu Mantysaari / Guitars * James Lomenzo / Bass * Dirk Verbeuren* / Drums
Megadeth Tracklist:1. Tipping Point 2. I Don’t Care 3. Hey, God?! 4. Let There Be Shred 5. Puppet Parade 6. Another Bad Day 7. Made To Kill 8. Obey The Call 9. I Am War 10. The Last Note 11. Ride The Lightning (Metallica song; bonus track)
Order the album*here*.
The post MEGADETH – Megadeth (Album Review) appeared first on Sonic Perspectives.
Sometimes, a truly novel experience can come from the unlikely coupling of two disparate eras in music’s long and complex history, and few combinations could be considered more unlikely than that of Bach’s High Baroque compositions and one of the Teutonic metal scene’s more unconventional projects.
At first glance, these two contrasting styles would seem to share little in common apart from the nation that birthed them, as the signature compositional style typical to Alkaloid’s brand of progressive metal rests in a curious middle ground between the dark expressionism of the German avant-garde composers and the subsequent Neo-Romanticism of the later 20th century, a far cry from the Baroque world of common practice tonality and grandeur.
Yet when all elements are considered, the 62-minute concert experience captured on audio that is Bach Out Of Bounds showcases a brilliant synchronicity that reveals a level of ingenuity by those involved in its creation that few could hope to rival.
Though much of the material of this album’s namesake covers was likely intended for a larger orchestra, to speak nothing of the massive sound that comes with any shade of death metal, this is a very up close and intimate affair that resembles an 18th century chamber music performance.
Accompanying the guttural vocalizations and explosive guitar work of frontman Morean, the bombastic kit work of ex-Obscura drummer Hannes Grossmann, and the virtuosic bass gymnastics of scene veteran Linus Klausenitzer is a highly accomplished troupe of instrumentalists bridging the nostalgia of the 1700s with the modern bombast of the 2020s.
Guitar shredder and recent Pestilence member Max Blok and highly competent six-string slayer also of Eternity’s End Justin Hombach fill out the metallic end of things in a live capacity, while an ensemble of classically trained players round out the rest of the arrangement, consisting of 2 soprano voices, 2 violins, a cello and an accordion (likely standing in the place of Bach’s organ or harpsichord).
In many respects, the marriage of two sounds that were born roughly three centuries apart results in a veritable rollercoaster ride of sound, but the necessary guardrails manifest at each jarring twist and turn. Kicking things off are high-dynamic performances of the first two movements of Bach’s famed “Keyboard Concerto No. 1 in D minor (BWV 1052)”, reflecting both the technical skill of every musician involved and the genius of Morean in adapting a classic from a bygone era into a modern context.
Between the expressive and impassioned vocal deliveries of sopranos Rianne Wilbers and Chrysa Tsaltampasi, the wildly reworked and elaborated cadenza that blazes from Max Blok’s fret board, and the dynamic balance that faithfully approximates the terraced dynamics of the Baroque era, true homage is paid to the original. By way of contrast, the later performance of the “Agnus Dei (BWV 232” from Bach’s Mass in B minor strikes a consistently orthodox and solemn tone, falling far closer to the way a traditional concert hall would perform it and avoiding any metallic add-ons.
While carrying the name of Bach in its title, this live offering is still predominantly an Alkaloid concert in a somewhat unconventional setting, and along for the ride are 5 offerings from the band’s three-album catalog performed in a manner that can be best described as Alban Berg meets death metal.
Extended excursions into the realm of the Lovecraftian, like “Beneath The Sea” and “Cthulhu,” mix intermitted bursts of riff-centered brutality with machine gun drumming galore, bringing to mind the analogy of dark jazz meeting expressionist collage of sound, bolstered by the expanded arrangement of instruments and voices.
On the latter aforementioned entry and the closing fit of technically charged death metal “The Fungi Of Yuggoth,” there are zero punches in the aggression department relative to the band’s studio material in spite of a litany of bow-string noodling being along for the ride. But in terms of a total experience that blurs the lines between what Alkaloid’s existing fan base expects and the intimate chamber setting in play here, the apex performance belongs to that of “Haunter Of The Void”, which over its 10-minute run dwarfs what many symphonic bands accomplish with 5 times this many instruments.
Though the concept of merging the musical timbres of the 18th and 19th century into an extreme metal context has come a long way in the near 40 years since Celtic Frost’s Into The Pandemonium pioneered the concept, there is something truly surreal about hearing the raw, explosive fury of death metal adapted into a medium more readily associated with the tranquility of a 1730s chamber music event.
It may prove a hurdle in terms of accessibility for those that prefer their metal straight out of the bottle rather than mixed with the sweetness of a fruit juice or soda, yet it’s pretty easy to picture classical music enthusiasts and metal heads observing this spectacle side by side in a rare state of shared camaraderie given the avid yet politely measured applause following each performance.
It’s an interesting variation on the usual studio output of bands associated with Hannes Grossmann, like Obscura and his ongoing solo project bearing his name, and a fairly close cousin to Triptykon, but more than anything else, it’s a highly complex undertaking that may bear repeated listens before its full character is revealed.
Release Date: January 23rd, 2026Record Label: Season Of MistGenre: Progressive Metal
Musicians: Morean / Vocals, guitar * Hannes Grossmann / Drums * Linus Klausenitzer / Bass * Justin Hombach / Guitar * Max Blok* / Guitar
Guest musicians: Rianne Wilbers / Soprano * Chrysa Tsaltampasi / Soprano * Julija Hartig / Violin * Oene van Geel / 5-string violin * Marieke Hopman / Accordion * Ketevan Roinishvili* / Cello
Bach Out Of Bounds Tracklist:1. Allegro (BWV 1052-I) 2. Adagio – All Is Vanity (BWV 1052-II) 3. Beneath the Sea 4. Cthulhu 5. Haunter of the Void 6. A Fool’s Desire 7. Agnus Dei (BWV 232) 8. The Fungi from Yuggoth
Order the album here.
The post ALKALOID – Bach Out Of Bounds (Album Review) appeared first on Sonic Perspectives.
If anything is more clear about Soen than their affinity for single-word song titles, it’s their commitment to refining their well-established sonic identity.
Always a unit that’s prefered to tiptoe into the broadening of their sound, the multinational outfit born from Martin Lopez’s exit from the mighty Opeth and the dissolution of Joel Ekelöf’s indie rock band Willowtree continues to cautiously cultivate their voice while expunging what few elements detract from their very Soen-ness, all the while honing in on their singularity.
Reliance, the outfit’s seventh outing, continues the metalward trajectory the Soen has unapologetically taken since 2019’s seminal Lotus, after which the band has shamelessly heavied up an already heavy sound.
Reliance opens with the riff-happy “Primal,” a typically brooding, prog-infused banger of a tune that leaves both metalheads and prog nerds more than just a little satisfied. From the outset, there’s no room to doubt that Lopez, Ekelöf, and their compatriots are in absolute control of both their songwriting chops and their technical proficiency. Proudly rejecting the oft-maligned excesses of progressive metal, Soen has the good sense to keep their song structures relatively simple while letting their progressive creds shine in their meticulous arrangements.
The verses on “Primal,” for example, have multi-instrumentalist Lars Åhlund laying a moody, gentle, and 70s-inspired key arrangement while Lopez carries both Åhlund and Ekelöf with his signature Latin jazz-inspired grooves. The verses continue with Åhlund shedding the ivories in favor of frets as he and British-born guitarist Cody Lee Ford rock some wonderfully direct metallic riffage that subsides just enough for Ford’s funereal textures to fully carry Ekelöf’s powerfully morose voice as it plunges the listener to ever more depressive depths, leaving a hint of hope.
The refrains further intensify the insidious sense of bleakness as Lopez’s suddenly direct 4/4 approach leaves us feeling as if this desolation is merely a part of everyday existence, Ekelöf’s unexpected death roar punctuating the rage at resignation. Banality of evil? Try the banality of despondence.
“Primal” is the ideal opener for Reliance because it encapsulates the essence of Soen’s current state. The myriad voices that embody the Soen choir – texture, heaviness, a kinship with the retro, and the overall intimation of accepted defeat – sing in tense harmony with no single voice ever subjugating another. Verses within verses cede ground to an array of approaches to this thing we call “rock music,” with the smoothness and effortlessness of a transmission in a form so pure and so distinctly Soen, I would welcome the opportunity to distill it. This one song, in all its complex simplicity, is the Soen sound. And we get to experience it nine more freaking times over the course of this phenomenal record without ever feeling like we’ve just got the same song on repeat.
Things slow down for the third entry, the languid “Discordia,” a spacey piece of atmospheric progrock that evokes predecessors as disparate as ELP and Mortiis, with some well-placed djent breaks thrown in just to fuck with the listener’s anxiety. Not satisfied with simply communicating their feelings, Åhlund and Ekelöf deftly tap just the right veins to stir our unease throughout this melancholic mire. It’s not enough for them to just tell us they’re sad: they leave us no option other than to feel their sadness ourselves. Call it weaponized empathy if you want, but it simply is not possible to master this ability while also sucking.
“Indifferent” is a lovelorn, string-laden lament that picks up where Soen’s acoustic/orchestral live album Atlantis left off. Where that album succinctly reinterpreted selections from the band’s past in order to accent their despair, “Indifferent” does so from its inception. Ekelöf strips down to his very soul in this sonically naked dirge, accompanied only by Åhlund’s piano, that aforementioned string section, and a brief solo by Ford.
Clocking in at barely three and a half minutes, “Indifferent” demystifies the art of balladry by rejecting the saccharine slop that makes so much heartbreak music completely unpalatable. Instead, Soen once again incarnates their dejection to us rather than just whining about how much heartache blows. There may never be another Anathema to define what breakup music could be when done right, but Soen is rising to the challenge without it having been issued, and the prospect of Soen further exploring this path in the future is as appetizing as it is harrowing.
“Drifter” and “Vellichor” have Åhlund adding electronics to his arsenal of ambient weirdness, where both he and Ford toss in a nod to Pink Floyd for good measure, while Ekelöf’s almost rap-like staccato in “Axis” further expands his already noteworthy dynamics, while Lopez and the rest of the band flex their metal might.
Meanwhile, “Huntress” kicks off with an almost doomy riff before Ekelöf whispers the first verse in a way that will neither excite ASMR-philes nor annoy the rest of us. Ekelöf’s delivery on “Huntress” establishes as an undeniable fact that power, conviction, and fluidity can carry more weight than any amount of formal training. So powerful is his elocution that it’s actually an indictment against the insistence that a mile-wide range is even necessary to be an effective singer.
It must be stressed, though, that Reliance is not a groundbreaking album by any stretch. Soen are not reinventing metal here, nor are they redefining themselves. Like a well-trained chef, they start with a thoughtfully crafted base, set it ablaze in order to reduce it to its essentials, and then build on that. Soen’s genius is not in their considerable technical ability or in the opulent arrangements they could easily master but opt to forgo. Nah, their genius lies in how they take that mountain of musical mastery and reduce it to a molehill without sacrificing its mass. If progressive metal at large is a meticulously choreographed Wushu sequence, then Soen is the musical equivalent of a one-inch punch.
Release Date: January 16th, 2026Record Label: Silver Lining MusicGenre: Progressive Metal
Musicians: Joel Ekelöf / Vocals * Martin Lopez / Drums * Lars Enok Åhlund / Keyboards and Guitar * Cody Ford / Lead Guitar * Stefan Stenberg* / Bass
Reliance Tracklist:1. Primal 2. Mercenary 3. Discordia 4. Axis 5. Huntress 6. Unbound 7. Indifferent 8. Drifter 9. Draconian 10. Vellichor
Order the album here.
The post SOEN – Reliance (Album Review) appeared first on Sonic Perspectives.
There are albums that impact your life on such a level that it alters the course of your life. For drummer Nick D’Virgilio, Genesis’ classic double album The Lamb Lies Down On Broadway took his life to the next level when he joined the legendary Kevin Gilbert in a live performance of The Lamb at 1994’s Progfest in California. That show turned out to be a catalyst for his future career in myriad ways, often intertwined with Genesis itself: D’Virgilio actually played drums on Genesis’ final studio album back in 1997, and he just finished a 2025 tour with guitarist Steve Hackett whose setlist featured much of…The Lamb.
In between those Genesis bookends, he’s been an integral member of Spock’s Beard and Big Big Train (both with their own Genesis influences), been touring drummer for Tears For Fears, Fates Warning, Mr. Big, and more, and played on countless albums by a wide range of artists, along with two solo albums and an EP of his own.
Now, 30 years after that live performance with Gilbert, and as The Lamb receives a deluxe 50th Anniversary Edition, it seemed fitting for D’Virgilio to re-release his own celebration of The Lamb, which was originally recorded over 17 years ago.
Titled Rewiring Genesis, this was a full-blown tribute album which originated from a bonkers idea to get some top Nashville musicians to re-arrange and record the enigmatic track “The Colony of Slippermen”. For some reason, D’Virgilio and his partner in crime, Mark Hornsby, thought that a bluegrass version of “Slippermen” would be a direction to explore. They were only partly successful: the resulting 8-minute track barely suggests a bluegrass vibe, but what did emerge was a fantastical blend of electric sitar, accordion, big band horns, and flutes that left the quirky song feeling refreshed, elevated, and even celebratory. It was enough to encourage the two to tackle the entire double-album. Just on a whim, eh?
When the dust settled, D’Virgilio and Hornsby had accomplished a small miracle – recording a must-have version of The Lamb that any life-long Genesis fan would adore. Not simply a faithful rendering of the original, this is a playful re-wiring whose arrangements sometimes run in fanciful directions with literally all the bells and whistles included. Unfortunately, after succeeding in pulling off this huge endeavor, the album itself fell by the wayside after its release and ended up being unavailable for a long time, falling out of memory and being enveloped by a dark cloud like a fly on a windshield.
Happily, the 50th Anniversary of The Lamb seemed a ripe time to bring Rewiring back to the public eye (or, ear), and several factors coalesced to make that a reality, including being released on BBT’s English Electric label.
To get The Lamb rolling, John Hinchey accomplished the essential work of charting and arranging the songs, along with contributing trombone to the album. Hinchey charted a wise course regarding how close to stay to the original form and where to stray. As the title track’s trademark intro is played on the piano, for example, the listener might have nary a clue that they’re not listening to the Genesis version. Until the accordion, strings, and horns enter the picture. It almost swings. Add some jazz guitar for good measure. Of course, D’Virgilio himself is most prominent, being right up front with his emotive, smooth vocals, and also commanding the background with his drum kit, doing what he does best and getting to pay homage to his favorite drummer in the process.
With almost two dozen songs spread over the course of 100 minutes, Rewiring is filled with delights, surprise turns, and occasional faithful recreations. Some of the most rewarding include:
- “Counting Out Time” goes in an all-out ragtime, big band joyous romp direction, highlighting D’Virgilio’s playful lead and countless backing vocals. This is perhaps where Rewiring shines strongest in originality.
- A brand new recording of Abbey Road’s orchestra was made for “In The Cage”, lending an epic depth to this classic as Tony Bank’s lead keyboard lines are replaced by a full string section.
- Also new to this 2025 version is a fresh Steve Hackett scathing guitar solo on “Fly On A Windshield”, elevating the entire piece and building the intensity until final release into D’Virgilio’s vocals on “Broadway Melody”.
- The gorgeous “Hairless Heart” gets a lounge piano approach to offset the jazz guitar sections, with a vibrant string section tying the two halves together. Brilliant and classy.
- The barbershop quartet vibe of “Grand Parade of Lifeless Packaging” is a hoot.
- “Back In NYC” brings the edginess of Rael’s punk visage to new heights with orchestration and horn hits to punctuate his ferocity.
- “Riding The Scree” again makes supreme use of the horn section, a revelation in how the clarinet can reinvent Banks’ keyboard runs. The closing piece, “It,” also benefits from the energy the horn section brings.
Aside from those highlights, every song on here is lovingly tended to with innovation, bearing some new twist. The classics like “Carpet Crawlers” and “The Chamber of 32 Doors” are powerful as ever, boasting additional sheen and emotion. Even the second album retains the listener’s attention, from the lush yet hard-hitting “Lilywhite Lilith” to the emotive ballad of “In The Rapids”.
Although the original may be etched upon our brain synapses, when revisiting the album in this new century, I dare say that I’ll often be reaching for this Rewired version. Kudos to D’Virgilio, Hornsby, Hinchey, and their gang of musicians (including Don Carr on guitars and Dave Martin on bass) who breathed fresh new life into this masterpiece.
For even more Lamb Tribute fun, check out Dave Kerzner’s own take on “IT”, which also features D’Virgilio on drums and has Francis Dunnery at the mic along with Fernando Perdomo and many other special guests. With all of this activity last year, we can now say that 2025 went out like a Lamb – and that’s a good thing.
Release Date: November 28th, 2025Record Label: English Electric RecordingsGenre: Progressive Rock
Musicians: Nick D’Virgilio / Lead vocals, drums, percussion * Mark Hornsby / Engineering, mixing * John Hinchey / Arrangements, trombone * Don Carr / Guitars, sitar, banjo * Jeff Taylor / Piano, accordion, whistle, keyboards * Dave Martin / Bass * Doug Moffet, Sam Levine, Leigh Levine / Saxophone, clarinet, flute * Anthony Lamarchina / Cello * Prentis Hobbs / Trombone * Jeff Bailey, Steve Patrick / Trumpet * Kristin Wilkinson / Viola * David Angel, David Davidson, Pam Sixfin* / Violins
Order the album: Burning Shed | The BandWagon USA | Bandcamp
The post NICK D’VIRGILIO – Rewiring Genesis: A Tribute To “The Lamb Lies Down On Broadway” (Album Review) appeared first on Sonic Perspectives.
Leveling the world, one city at a time.The road that thrash metal has taken since its early 80s inception has been anything but a straightaway track, especially for those who were there from the beginning. Since the resurgence of the subgenre to public prominence at the turn of the millennium, it has become a safe venture for newcomers to the sonic foray to adopt an established style that hearkens back to the traditional synthesis of classic heavy metal riffing with aggressive hardcore sensibilities. However, the changing musical landscapes and label pressure in the 1990s presented a far different prospect for those among the old guard.
For their part, Kreator was one of the veteran outfits that balanced the pressures to mix groove, gothic, and industrial elements into their auditory template while still maintaining a reasonable semblance of who they originally were throughout the aforementioned decade. Few would contest that they not only fully recaptured their former glory, but were among the more consequential bands in bringing about the rebirth of the style via 2001’s Violent Revolution.
Granted, the early 2000s also saw this premier part of the 80s German thrash scene continue to evolve as they rekindled past glory in the recording studio, introducing a strong degree of Gothenburg brand melodic death metal elements into the picture. In the time since this niche has continued to pay dividends, and has arguably been taken to its most logical conclusion with the advent of 2026’s Krushers Of The World, Kreator’s 16th and latest studio LP.
Taking heavy cues from the formative works of In Flames, Dark Tranquillity, and Arch Enemy and blending them into their more frenetic and chaotic brand of Slayer-influenced mayhem, this Teutonic quartet has bottled up the best of both worlds and shipped it out in 10 concise cases of uncompromising thrash metal aggression.
Between the melodic luster streaming through the dueling riff work and virtuosic soloing work of Mille Petrozza and longtime fellow axe-man Sami Yli-Sirnio and the unrelenting battery provided by co-founder and drummer *Jürgen* “Ventor” Reil and ex-Dragonforce bassist Frederic Leclercq, the synchronicity of sound that emerges is nothing short of exhilarating, topped off with a vicious vocal display out of Petrozza that blurs the line between 80s Essen and 90s Gothenburg.
Though not Kreator’s first venture into sonic largess, one can’t help but notice a certain cinematic, if not quasi-symphonic character to how Krushers Of The World makes its presence known. The introductory resound of the opening speed machine of an entry “Seven Serpents” could almost be likened to the sort of looming sonic danger that can come with the recent work of Cradle Of Filth, though the ambient mixture of orchestral sounds comes adorned with a mournful melodic guitar line that couldn’t be any more In Flames-inspired if it were included as a B-side to The Jester Race.
But in true master thrashing fashion, this anthem explodes into a full-blown riff-happy assault quickly and refuses to relent for the duration of its 4 and a half minute duration. The Gothenburg elements are no less apparent on the more bulldozer-like crusher with a slight metalcore flair, “Satanic Anarchy” and the dreamy serenade turned Arch Enemy-like beast “Tranenpalast”, the latter featuring a gut-wrenchingly nasty guest vocal display out of Hiraes front woman Britta Gortz, herself a near dead-ringer for Angela Gossow in her prime. Rounding out the lion’s share of melodeath-infused entries in this opus’ opening half is an earworm anthem of a title entry, “Krushers Of The World,” that draws back the tempo a bit but stomps the ground like a 40-story-tall iron golem.
Roughly halfway to this mighty musical codex’s conclusion, the stylistic palette at play becomes a fair bit more centered in traditional thrash territory. The neck-destroying speed and bone-pulverizing riff display adorning “Barbarian” could have easily been featured on Terrible Certainty or Extreme Aggression had the production clock been turned back roughly 40 years and a few melodic nuances in the songwriting been downplayed a tad. A similar story is told with more of a menacing Slayer-like vibe on “Blood Of Our Blood,” save for a hopelessly infectious and slower chorus section.
Even though the mid-paced “Combatants” begins with a more ambient prelude that could almost be mistaken for the intro to a Dark Tranquillity album, the old school thrash bona fides of the ensuing metal storm that follows and the wild solo exchange between Petrozza and Yli-Sirnio are impossible deny. “Psychotic Imperator” goes a bit longer and has several moving parts that hearken back to the melodic schemes and cinematic character of the first half of the album and “Deathscream” comes with plenty of harsher vocalizations that blur the lines between thrash and death metal, but the dominant character of sound is definitely that of an old school Teutonic thrash assault in a modern package.
Following a return to the heavily orchestrated pomp and bluster of the opus’s opening in “Loyal To The Grave,” effectively bookending what could easily be mistaken for a conceptual studio offering, the lasting impression is of a warrior leaving the battlefield victorious. There are no weak links in this auditory chain; you could start with any of its 10 chapters in any order and still come away with a similarly potent experience, though the original sequence naturally proves the most methodical in terms of pacing and flow.
Arguably, the only strike against this highly dynamic and forceful presentation is its relatively short length and general sense of safety from a structuring standpoint. Compared to even modern predecessor entries like Enemy Of God and Gods Of Violence, this tends to the well-rounded and concise character of 2022’s Hate Uber Alles with a slightly more predictable song set.
Nonetheless, when the riffs and the unrelenting angst hit the airwaves, Krushers Of The World is the sort of metallic gauntlet to the gut that thrash maniacs and melodeath addicts of every stripe are sure to take as a call to show no mercy in the pit.
Release Date: January 16th, 2026Record Label: Nuclear Blast RecordsGenre: Thrash Metal
Musicians: Mille Petrozza / Vocals, guitars * Sami Yli-Sirnio / Guitars * Jürgen “Ventor” Reil / Drums * Frederic Leclercq* / Bass
*Krushers Of The World* Track-list:1. Seven Serpents 2. Satanic Anarchy 3. Krushers of the World 4. Tränenpalast” (featuring Britta Görtz) 5. Barbarian 6. Blood of Our Blood 7. Combatants 8. Psychotic Imperator 9. Deathscream 10. Loyal to the Grave
Order the album here.
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Two heroes brave a new symphonic quest.If a subgenre is to be judged by the viability of its underground newcomers, the European power metal scene is still doing quite well in spite of more than 20 years of naysayers and shifts in musical trends. Case in point, the recently unleashed quarter of Swedish symphonic extravagance that bills itself as a duo in Hans & Valter, who have made some waves on the internet over the past year and a half.
Built primarily off of 3/5th of the lineup of the similarly obscure female-fronted symphonic metal outfit Emetropia, they have opted for a stylistic niche that aligns with the campier side of the coin, with the likes of the ultra-melodic and over-the-top Gloryhammer, Fellowship, and Twilight Force among the most obvious points of comparison. Yet this fold’s debut studio LP from earlier in the year, The Legend Of The Oakensource, comes with a few distinctive quirks that make for a slightly less comedic and more gallant brand of high fantasy storytelling set to music.
Playing off the obvious tropes of a peace-loving country being threatened by external evils and the corresponding magical quest of a group, in this case a pair of compatriots sporting the band’s namesakes, these Swedes weave an engaging tale with all the usual bells and whistles. High octane, speed-driven anthems with earworm chorus fodder straight out of the Rhapsody Of Fire playbook, communicated through a less overtly dramatic lens comparable to the likes of Dragony and Serenity are the order of the day, and are presented in a surprisingly concise fashion that makes for a studio album that is almost succinct enough to be mistaken for an EP.
For his part, lead vocalist and keyboardist Liam “Hans III” Strand utilizes a clean cut and often deep baritone that might otherwise be compared to Siegfried Samer were he to utilize his upper range more often, and also build a truly impressive symphonic arrangement around the steady and occasionally flashy guitar work of Olle Renius and the almost digitally precise and mighty drumming of Oscar “Valter The Beast” Heikkinen.
The presentation of this roughly 34-minute-long book on tape is a highly methodical one, with each part of the story being elaborately fleshed out. Liam’s keyboard handiwork provides the background for a series of narrated interludes that add a strong cinematic touch, the spoken words of Alexandra Pettersson playing perfectly to the archaic character of the mood.
Explosive power anthems like the opening foray “Land Of The Free” and the similarly molded yet more folk-like cooker “The Stranger” take heavy cues from the Gloryhammer playbook, though with a more reserved usage of each member’s respective technical chops. For a fair amount of time, things are content to rest in a more mid-paced groove, hence the steady march of “Warriors Without A Quest”, the tavern-oriented romp “Hefleth The Pirate”, and the dancing shuffle of “In The Name Of The Oak”, both of which are straightforward enough to orbit Sabaton.
The only outlier that really goes hard into epic territory and throws caution to the wind is the towering 10-minute anthem “The Endless Night,” which also features an oddly placed yet utterly charming saxophone solo in the midst of all the metallic drama. A few token comedic moments and the band’s rather goofy video bits on Spotify aside, Hans & Valter is a collective with the songs and the musical prowess to be serious players in the Euro power metal world in the coming years.
It’s unclear whether The Legend Of The Oakensource is a standalone story or the beginning of a grand saga that will span several successive LPs or even the band’s entire career, but come what may, this is the sort of album that is extremely accessible and has the quality of melodic hooks that don’t soon escape one’s memory.
Those whom has continued to support the steady symphonic capers of Dragony and also enjoy the more cartoonish high-jinks of Gloryhammer, Twilight Force and even Victorius are clearly the target audience, though it wouldn’t be too much of a stretch for older and more serious-minded 2nd wave power metal fans whom went for the more chivalrous flavor of Human Fortress and even the woodland folksy ponderings of Elvenking to enjoy this. Onward for the deliverance of the Flower King and his domain!
Release Date: April 23rd, 2025Record Label: IndependentGenre: Symphonic Power Metal
Musicians: Oscar “Valter The Beast” Heikkinen / Drums * Olle “Dark Lord” Renius /Guitars * Siegfried Samer / Vocals (backing) * Liam “Hans III” Strand* / Vocals, Keyboards
*The Legend Of The Oakensource* Track-list:1. The Legend of the Oakensource 2. Land of the Free 3. The King’s Call 4. Warriors Without a Quest 5. A Dark Road 6. In the Name of the Oak 7. The Scene of Life 8. The Stranger 9. The Endless Night 10. Hefleth the Pirate
Order the album here.
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It’s not at all weird that one of the most exciting bands to have come to my attention in the past decade is releasing an orchestral live album almost immediately after Moonspell did. Many things set Persefone apart from Moonspell and their ilk (their uplifting lyrical content among them), but the most obvious distinction is Persefone’s head-spinning complexity. To say that I was eager to hear how a band I’ve often described as “tech-death for yoga nerds” would meld with the Orquestra Nacional Clàssica D’Andorra would understate my anticipation by a margin wide enough to comfortably seat said orchestra.
It’s Persefone’s very impenetrability that limits what conductor Albert Gumí and concertmaster Pere Bardagí are able to arrange; a band with as many time changes in a song as I have follicles on my face will present a monumental challenge even to the most accomplished arrangers. Their noble efforts are nearly imperceptible during much of Persefone’s metric madness, which is where I was most anxious to hear their work.
However, it’s during Persefone’s more meditative moments, as on the instrumental break and interlude during “Stillness is Timeless” and the interlude to “Prison Skin”, where the ONCD is actually noticeable, accented strikes notwithstanding. In fact, it’s only towards the end of the set, during “The Great Reality,” where we hear the orchestra adding sounds and moods to Persefone’s heavier material. When it happens, though, it becomes clear that it fucking works.
This is where more moderately paced songs like “Kusanagi” and “One Word” come in. While the band’s signature suffocating rage leaves very little room for breathing, comparatively mellow cuts like this one actually have room for the orchestra to add dimension to what’s already there. We also hear this on the stellar “Merkabah” and the mostly-crushing “Living Waves,” though Persefone continues to make the baffling decision to pipe in Paul Masvidal’srobo-tuned vocals even though they now have two plenty-capable clean singers in their ranks. This very song, in fact, boasts both longtime keyboardist Miguel Espinosa and newish frontguy Daniel Flys singing fucking perfectly together while the ONCD adds unnerving beauty to one of the more succinct moments in this band’s intimidating discography.
This, y’all! This is what I was hoping to hear throughout! While the set’s heavier moments certainly do not suffer from the orchestra’s relegation to the background, it’s on songs like these – especially “Kusanagi” – where hearing the band and the orchestra truly work in tandem takes the listener places where these two prodigious ensembles somehow couldn’t do on their own. That’s some fucking teamwork right there. And the actual strings doing what Espinosa’s synths had previously done on “Flying Sea Dragons” and the “Spiritual Migration” outro? Fucking perfection.
As daunting a challenge as Gumí and Bardagí face here, and as smoothly as it works, Live in Andorra amounts to a terrifyingly accomplished band playing their own songs almost completely by the book, with the odd orchestral flair, flawlessly executed with formidable aplomb, but only occasionally adding to what was there already.
Unless viewed as a live “best-of” compilation that somehow omits “Spiritual Migration,” Live in Andorra is a marvelous performance that only diehard Persefone fans really need in their collections. (I’m getting mine on vinyl the moment it becomes available).
Release Date: December 5th, 2025 Record Label: Napalm Records Genre: Progressive Metal
Musicians: Daniel Rodríguez Flys/ Vocals * Sergi Verdeguer / Drums * Toni Mestre Coy / Bass * Carlos Lozano Quintanilla / Guitars * Filipe Baldaia/ Guitars * Miguel Espinosa* / Keys, vocals
*Live In Andorra* Track-list:1. Sounds and Vessels 2. One Word 3. The Equable 4. Stillness is Timeless 5. Prison Skin 6. Cosmic Walkers 7. Living Waves 8. Kusanagi 9. Leap of Faith 10. Merkabah 11. The Great Reality 12. Flying Sea Dragons 13. Mind As Universe 14. Outro
Order the album here.
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Presumed nearly dead – or maybe just transformed into Godzilla monsters and other pattern-seeking animals – the infamous Spock’s Beard have been gloriously resurrected once again. A band with more lives than Genesis, and nearly as many drummers as Spinal Tap, their legacy continues as one of the most lauded prog bands of the modern era. Indeed, their 90s foundation, helmed by Neal Morse, helped to breathe life into the disappearing form of prog rock, which has since gone on to expand and flourish in surprising ways.
So, who exactly is donning the Beard this time around on this, their first new release since 2018’s fine album Noise Floor? It’s essentially still The Beard 3.0, consisting of Ted Leonard at the mic & guitar, Alan Morse on guitars, Dave Meros on bass, and Ryo Okumoto on keys. Still, perhaps we should call it The Beard 3.3 since this specific quartet has been through a few drummers since they began, now landing on Nick Potters on drums and vocals.
Let’s just make it clear from the get-go that Potters is an excellent discovery and perfect fit for the band. His drumming is top-notch throughout the album, fueling the band with additional energy. And let’s face it, how many drummers also fit the bill to deliver excellent tenor backing vocals, which has become a Beard staple? So, Potter’s inclusion is a major win.
Fortunately, it’s not only Potters who bring the fire to the band. From the first single and lead-off track “Invisible”, it’s clear the Beard are back and sound like they haven’t missed a beat. The entire album carries the vibe of a lean, mean version of the band that is getting down to the business of sounding like Spock’s Beard should sound. While that might appear to be an obvious observation, there’s an immediacy to The Archaeoptimist that’s been missing from the past couple of albums, bringing the Beard back in your face and doing what they do best.
An interesting twist is that this project started as a follow-up to the previous Okumoto solo album, The Myth of Mostrophus, which itself was almost a lost Spock’s album, given the number of appearances from Beard alumni. For that album, Okumoto had teamed up with I Am The Manic Whale’s Michael Whiteman to cover the songwriting. It was a fun album with tons of special guests, and after its success, the two got busy writing a follow-up. However, after Spock’s played a short run of live dates in Europe, inspiration began to set in, and it was proposed that the new Okumoto/Whiteman songs might be offered to the Beard for a new album. Which is what essentially happened.
Morse and Leonard reworked the lyrics on several songs, but the music itself is all penned by Okumoto and Whiteman, which in itself is a new departure for the band. Although Okumoto had written some material on previous albums, he was by far not the prime mover as far as songwriting goes. But now his fingerprints are all over this new release, becoming in essence the clear driver of the band, if not the de facto leader. Not bad considering he wasn’t on the Beard’s debut album, The Light. From classically-influenced piano runs to jazz chords to his signature screeching keyboard solos, Okumoto is confidently propelling the band forward into the future. It’s long been said that “Ryo IS Rock ’n Roll,” but now he’s Spock’s beating heart as well.
Happily, the other members help in Spockify-ing Whiteman’s writing, and musically they have no problem in matching Okumoto’s energy and Potters’ attack. Bassist Meros gets a full workout on “Electric Monk”, defining what Spock’s bass playing is all about in this one track alone. Morse’s incendiary guitar tone is back in all of its delicious glory, just check out his raucous solo on “St. Jerome In The Wilderness” – clearly one of the best songs on the album – which is then followed by Okumoto’s Hammond madness, while Potters goes to town. The three of them hold court in the middle of the song for about three unbridled minutes until Leonard brings them back with a fantastic chorus, one of Whiteman’s best in this collection. Speaking of Leonard, his vocals never fail, bringing emotion, unending power, and that Kansas vibe to the proceedings.
Another highlight of the album is the closing “Next Step,” which begins with Okumoto lending a classical flair on the piano, sounding somewhere between Tony Banks and Keith Emerson. With Leonard’s vocals having room to stretch out a bit more and really shine, this mini epic turns into Spock’s triumph, exploring exciting terrain while sounding familiar and yet fresh at the same time. Okumoto and Whiteman found the perfect equation in this one, and the Beard members excel in making it their own.
The Spock’s tradition of recurring Thoughts stays alive with “Afourthoughts”, complete with synth flashbacks to the original, Gentle Giant vocal breakdowns, and inspired new directions. Obviously, Potters’ vocal contributions are most welcome in moments like these. And yes, there is a lengthy epic on here as well, the title track, which goes longer than the Beard have gone in ages. It roars off to a mighty start and a fun apocalyptic storyline (yes, those two adjectives work together here) courtesy of Leonard. Each of the sections works on its own, tied together by Meros’ relentless bass playing. Still, I find my attention wandering when I take in the whole piece together as one. The final climactic theme – punctuated by Potters’ expressive drumming – perhaps would have been more effective if it had come sooner.
Once again, Rich Mouser is at the mixing console, ensuring that the sonic performance shines. The good news is that the band’s energy seems revived, and perhaps they won’t wait so long for a follow-up, and will get more involved collectively with the writing next time around. Still, the band as a whole has managed to turn Okumoto’s and Whiteman’s source material into their most Spocky-sounding album in ages, which is welcome news for any Beard fan. Welcome back, my friends, to the show that apparently still never ends.
Release Date: November 21st, 2025Record Label: MadfishGenre: Progressive Rock
Musicians: Ted Leonard / Lead vocals, guitars, keyboards * Ryo Okumoto / Keyboards, vocals * Alan Morse / Guitars, vocals * Dave Meros / Bass, keyboards, vocals * Nick Potter* / Drums, vocals
*The Archaeoptimist* Track-list:1. Invisible 2. Electric Monk 3. Afourthoughts 4. St. Jerome In The Wilderness 5. The Archaeoptimist 6. Next Step
Order the album here.
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Some names need no introduction, only respect. In the concrete jungle where hardcore was born, Agnostic Front remains the voice of the dispossessed, those tired of being silent, those who fight every day to stay alive. More than 40 years after their first roar, Roger Miret and Vinnie Stigma return with Echoes In Eternity, an album that doesn’t seek to reinvent anything: what it does is remind you why New York is written with blood, sweat, and feedback.
Out November 7th, under the banner of the Reigning Phoenix Music (RPM) label and with Mike Dijan on production, the band delivered 15 tracks of pure social dynamite. From the first drum beat on “Way Of War,” you feel the fury that can only come from decades of watching the world repeat itself in its misery. Miret roars against politics, manipulation, and institutional violence with the conviction of someone who has experienced what he sings about.
“Turn Up The Volume” is a direct anthem to the pit, a call to unity, to body to body, to leave it all on stage. But perhaps the most surprising moment comes with “Matter of Life & Death,” an explosive collaboration with Darryl “DMC” McDaniels that blends the pulse of New York hip-hop with the rawness of classic hardcore. A natural connection between two schools that always shared the same class range.
The sound of “Echoes in Eternity” is a kick in the face: saturated, dirty, but honest. Dijan manages to capture the spirit of the Lower East Side in every riff; Stigma‘s guitars sound like rusty knives on the sidewalk, while the bass and drums pound like a stampede of cobblestones. Everything is where it should be: no embellishments, no tricks. Just the truth. The lyrics, for their part, are a chronicle of survival.
Agnostic Front isn’t here to please, but to remind you that the system remains the same, that the struggle continues. There is rage, yes, but also wisdom: the echo of four decades of street warfare that turns into pure resistance. Visually, Ernie Parada‘s art and An Maes‘s photography complete the picture: a raw, almost documentary-like portrait of a band that refuses to die or soften its message.
With the “East Meets West” tour just around the corner alongside Strung Out, Murphy’s Law, and La Armada, the message is clear: Agnostic Front doesn’t live in the past; it continues to write it. Echoes In Eternity is the testament of a life dedicated to hardcore: unfiltered, uncompromising, unafraid. Forty years later, Roger Miret still screams for us all. And the echo, as the title promises, will continue to resonate for eternity.
Release Date: November 7th, 2025Record Label: *Reigning Phoenix MusicGenre: Hardcore*
Musicians: Roger Miret / Vocals * Mike Gallo / Bass * Craig Silverman / Guitars, backing vocals * Vinnie Stigma / Guitars, backing vocals * Danny Lamagna* / Drums
*Echoes In Eternity* Track-list:1. Way Of War 2. You Say 3. Matter Of Life & Death 4. Tears For Everyone 5. Divided 6. Sunday Matinee 7. I Can’t Win 8. Turn Up The Volume 9. Art Of Silence 10. Shots Fired 11. Hell To Pay 12. Evolution Of Madness 13. Skip The Trial 14. Obey 15. Eyes Open Wide
Order the album here.
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Four years ago, Jonas Lindberg and his band The Other Side made considerable waves as their second full-length album, Miles From Nowhere, was picked up by Inside Out Music. Coming out of Nowhere, the Swedish prog rock outfit delivered one of the best albums of the year, flaunting Lindberg’s impressive prog songwriting style supported by a fully developed band setting. Turns out that the pandemic enabled Lindberg and his bandmates to fully focus on producing the best album they possibly could. But writing and recording the follow-up during post-pandemic times meant encountering life’s inevitable obstacles and detours, thus the lengthy four-year wait until completion. Happily, it’s worth the wait.
Time Frames picks up right where the previous album left off, incorporating a similar blueprint and membership of band personnel. Lindberg himself is the songwriter, bassist, keyboardist, and one of the main guitarists and vocalists. On this album, he decided to record most of the backing tracks himself, along with Jonathan Lundberg on drums, and then afterwards he let loose Calle Schönning, Nicklas Thelin, and Joel Lindberg to work their extra guitar magic into the songs. The results speak for themselves – it sounds like a cohesive band effort, with strong musical writing at its core.
The album is bookended by the two longest tracks, and in many ways, these are the most rewarding peaks in this collection. Rooted in the strengths of various symphonic prog legends, while again drawing a heavy inspiration from the writing style of Neal Morse, Spock’s Beard, and similar artists, Lindberg knows how to expertly develop pieces over 12 minutes in length, and isn’t shy about demonstrating this skill. “End Of The Road” is actually the start of the album, and features Jonas Sundqvist and Jenny Storm on lead vocals. Lead synth lines swerve through the various sections, from solo noodling to establishing the poignant themes that establish themselves as earworms. It all pays off during the final two minutes, where the main theme is reprised with soaring guitars at an anthemic pace. This man knows his prog, and he delivers.
The other epic, “The Wind,” closes the album, clocking in at over 17 minutes. Both Jonas members contribute lead vocals to this one, as well as Storm being featured in a particularly rocking section of the piece. Like on “End Of The Road”, strong melodic themes are established early on and then are reprised toward the end for a triumphant return. In between, Lindberg lets his warbly fretless bass find just the right vibe to notch up the emotions a little higher amidst the dueted male and female voices. Slide guitar adds extra shivers down the spine at key moments, right up to the climactic finale.
While the two epics alone occupy a half hour of running time, there’s plenty of other choice material to enjoy as well, and even the shorter pieces aren’t that short. “Galactic Velvet” is one of the strongest, a transcendent cosmic trip which finds Storm ably taking the main vocal spot and Maria Olsson adding extra percussion. Lindberg’s writing is filled with hooks that latch on and won’t let go. This skill shines through on other songs, too, like the first driving single “Faces Of Stone”, the harder-hitting “Running Out Of Time”, and the more acoustic “Someone Like Me,” which also adds Conny Lindgren on violins.
The last few years found Lindberg becoming a father, which influenced his writing process. But even on instrumental “Gruvan”, his new muse inevitably finds her way into the song once again: “On this one, my 2-year-old daughter crashed the percussion sessions, grabbed a shaker and played along. It sounded so cool that she ended up appearing on the track.” The word “Gruvan” is Swedish for ‘The Mine’ and is also the name of the studio where most of the album was recorded. Originally intended to become more of a bluegrass tune, it derailed and ended up as an ‘Other Side’ track with a 12/8 fusion groove instead.
Considering the impressive consistency of his output and his excellent supporting musicians and vocalists, Lindberg promises to have a lengthy and successful career still in front of him. Although it can be hard to gain a wide audience in a relatively small niche like prog rock, Lindberg possesses the skills to make shorter, accessible songs if he so chooses. Maybe he’ll even record a bluegrass album, like he alluded to with “Gruvan”. Regardless of the style, Lindberg’s talent will shine through, and you can bet we’ll be listening.
Release Date: November 7th, 2025Record Label: Inside Out MusicGenre: Progressive Rock
Musicians: Jonas Lindberg/ Bass, double bass, keyboards, guitars, mandolin, ukulele, backing vocals, lead vocals on tracks 2, 6 & 7 * Jonas Sundqvist/ Lead vocals on tracks 1,3 & 7 * Jenny Storm/ Lead vocals on tracks 1,4 & 7 * Calle Schönning/ Guitars on tracks 1,3,4,5 & 7 * Nicklas Thelin/ Guitars on tracks 1,4,5,6 & 7 * Joel Lindberg/ Guitars on tracks 5 & 6 * Jonathan Lundberg/ Drums * Maria Olsson / Percussion * Conny Lindgren*/ Violins on track 2
*Time Frames* Track-list:1. End Of The Road 2. Someone Like Me 3. Faces Of Stone 4. Galactic Velvet 5. Gruvan 6. Running Out Of Time 7. The Wind
Order the album here.
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There are a few genres of music that by definition should be described as “intoxicating”, but the rare albums featuring Middle Eastern Rock easily achieve that status. Californian band Rubi Ate The Fig serves up their version of this sumptuous intoxication on a silver platter, complete with Moroccan mint tea on the side. Their new album, Desert Electric – many years in the making – is a swooning collection of 9 songs that promises to add much-needed spice to any rock fan’s collection.
Seeing as much of the public may have little idea what “Middle Eastern rock” means, Rubi lays it out in terms that many of us can understand: Zeppelin meets Mahavishnu Orchestra meets Jefferson Airplane. And by “Zeppelin” we mean, of course, “Four Sticks”, “Friends”, and most of all “Kashmir”, inspired by their jaunts to Morocco and explorations of exotic rhythms and scales. Those clues give at least a sense of the grip that this style can command on the listener’s heart and hips.
Rooted in the darkly compelling scale of Hijaz with that half-step up from the root note, these pieces combine traditional drums, bass, and guitar with oud, ney, duduk, dumbeq, riq, finger cymbals, and other forms of hand percussion. But it’s the unusual and mesmerizing Qanun, a rare Middle Eastern 76-string zither played by the expert hands of Ali Paris, which is one of Rubi’s most precious secret weapons. What’s more, a four-piece string section adds much to the sense of scale and atmosphere on many of these pieces.
Main songwriter, singer, and group leader Sharon Eliashar tethers the lineage of the Bedouins from the Sinai into this album, having spent extended time in their company, establishing a foundation of authenticity to the proceedings. Even the cover photo of the album captures Eliashar’s Great-Grandmother posing in front of the Sphinx, with her daughter (Eliashar’s Grandmother!) on her lap. It’s clearly her project, but with such an extensive cast of diverse musicians supporting her vision, the stage is set for a magical carpet ride of epic proportions.
“Breathe With Me Slowly” dives right into the depths of this genre, propelled by a sizzling percussive groove in the hypnotic Beladi rhythm courtesy of Polly Tapia Ferber’s Dumbeq and Riq hand percussion and Danny Montgomery’s full drum kit. Marc Mann’s melodic and harmony guitar lines follow their snake-like scale, augmented by the Qanun. If there was any doubt about the captivating power of this style of music, it is laid bare at the outset with scintillating results. With seductive lines like “I want a tiny drop of amber placed behind my knee,” Eliashar opens the door to a much wider range of lyrics than one would typically find on a rock album, matching the energy of the musicians.
“Gilgamesh” slides in next, accompanied by dancing finger cymbals and electric guitar swells. Even more instruments are introduced here, from Faruk Tekbilek’s Zourna (Turkish field horn) to Haig Manookian’s Oud. Still, the electric guitar of Rich Mouser roots the proceedings in a familiar rock terrain, even as the aura is much more ethereal. “If you wanna be on a camel to the moon, I’ll pack your bag for you, but if you wanna be in love with me…then follow sacredly.” Good luck keeping your hips from moving.
Although Ali Paris’ Qanun graces much of the album, its harp-like flow of notes is especially featured on the solo section of “They Came With Stones”, trading lines with Mann’s electric guitar for a thrilling duet, unlike any you’ll find in other genres.
The band really hits that “White Rabbit” vibe on “Caress The Moon”, Eliashar’s vocals caressing and captivating in equal measures as Kenny Blye’s bass slides over the rhythm. Strings are added, too, for extra impact. The tension of the verses sublimely gives way to a wistful but hypnotic chorus, making this sensual ode one of the album’s finest.
The enigmatic “The Tent” then swirls up the desert sand with passion and fury, revealing that this – this – is the intoxication we were talking about. Paris’s playing on the Qanun is once again on fire on this track, alongside Mouser’s guitar soloing, with hand percussion and a lavish string quartet accentuating the drama. The main theme hits as hard as “Kashmir”, making this one of the most compelling pieces on the album.
Delightful notes of the Ney flute arise from the breath of Hasan Minawi on “In The Garden” as a Chiftetelli rhythm rings out on a wide range of percussion. The chorus is perhaps the most uplifting in this collection, augmented by a vocal arrangement from Marc Mann. Then the achingly mournful Duduk makes an appearance on “Tremor” courtesy of Souren Baronian, before Mann unleashes an extended bluesy solo. “Flight” closes the album, again supported by a string quartet sailing across the hills of the desert to the pounding of Montgomery’s drum kit. Whew. It almost feels like we need a brief Epilogue to seal the album and bring us closure after such an epic journey.
By now, it should be clear that Rubi Ate The Fig is an ensemble worthy of your attention, and Desert Electric is a collection that is meant to be savored bite by bite. The mix is well-balanced thanks to Rich Mouser, assuring that the Dumbeq and other hand percussion find the right balance with the drum kit, and that the Qanun rings out like it should, while the vocals find their assured prominence front and center. It’s not a flashy production with lots of extra effects, as the richness in this bounty of exotic instruments provides more than enough ear candy. Let yourself unwind and enjoy the journey laid out before you by Eliashar and her sumptuous band; you may never be the same again.
Release Date: September 22nd, 2025Record Label: Desert RecordingsGenre: Middle-Eastern Folk Rock / Progressive Rock
Musicians: Sharon Eliashar / Compositions, Vocals, Guitar, Production * Ali Paris / Qanun * Polly Tapia Ferber / Dumbeq, Frame Drum, riqQ (tambourine) * Marc Mann / Guitar, keyboard, vocals, production, orchestration * Danny Montgomery / Drums * Rick Mouser / Recording engineer, Guitar, Production * Kenny Blye* / Bass
Guest Musicians:
- Hasan Minawi / Ney (Arabic Flute)
- Emad Roshdy Ibrahim / Arabic strings
- Raed Oiweina / Middle-Eastern percussion
- Souren Baronian / Duduk, Tamborine
- Haig Manookian / Oud
*Desert Electric* Track-list:1. Breathe with Me Slowly 2. Gilgamesh 3. They Came with Stones 4. Caress the Moon 5. Your Story 6. The Tent 7. In the Garden 8. Tremor 9. Flight
Stream the album here.
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By now, most of us have kinda had it with orchestral metal. While the idea of writing music with both an orchestra and a very loud rock band in mind dates back to the 1960s, it really wasn’t until Rhapsody came around in the late 1990s that actual metal bands really started toying with this cross-pollination to great effect.
The appeal was certainly limited – as jaw-dropping as Legendary Tales was at the time, synthesized orchestra and all, you really had to be predisposed to floofy and flowery arrangements, castrati singing, and lyrics about dragons and goblins and warriors n sh*t for it to really land.
Metallica did make their attempt at symphonic metal shortly afterwards, and not to speak ill of the band that turned me on to metal in the first place, but S&M defied both letters in its title by being too ill-conceived to be truly sadistic, and by not being particularly enjoyable. Fortunately, the metal underground is where the innovation is, and with recording technology advancing even more rapidly than my aging process, the last twenty-five years have seen some truly adventurous forays into the concept, with Symphony X’siconic V: The New Mythology Suite really getting things going in 2000.
Before long, groups as prominent as Therion and Cradle of Filth were recording albums with actual orchestras. Why recount all this? Just to point out that symphonic metal is no longer special in and of itself. The bars need to be continually raised in order for such endeavors to really stand out, especially if orchestras are being added to existing music, as Metallica had attempted.
Perhaps due to their recent – and mostly compelling – experimentation with synthesized orchestras, the long-running gothic lycanthropes Moonspell have succeeded at doing just that onOpus Diabolicum. A concert film/ live album documenting an ambitious performance alongside the Orquestra Sinfonietta de Lisboa, Opus Diabolicumis a damn-near masterful offering that cuts very few corners, but does so with enough venom and vigor for it not to really matter.
The concert begins with a plodding and frankly unnecessary orchestral intro called “Tungstennio” that I can only imagine would have been a cue for the audience to take their seats on the night of the actual event. It’s a forgivable move though, given that Moonspell immediately launch into performing half of what I believe the finest record of their career, the masterful 2017 album 1755, a grotesque retelling of the earthquake and tsunami that caused the destruction, burning, and flooding of Lisbon (near which the long-running goth metal outfit originated) on All Saints’ Day in the mid-18th century.
While guest musician Jon Phipps did a remarkable job creating a very convincing virtual orchestra for the studio release, the work that the Orquestra Sinfonietta de Lisboa provides on this performance adds depth and dimension to the already powerful songs that I scarcely believed were even needed. Without casting any undue shade towards Mr Phipps, the absolutely expert work that conductor Vasco Pearce de Azevedo and the OSL deliver on this performance makes a reissue of the 1755 album with an actual orchestra sound very appetizing indeed.
We can’t discuss the partial 1755 performance without stating the obvious: the choirs are piped in. While this is certainly not an uncommon practice when metal bands tour, a one-off performance like this – especially in a venue like the MEO Arena that seats some twenty thousand and where the likes of Beyonce and Iron Maiden perform – seems like a unique excuse to go all-out. While the performance certainly does not suffer in the least from this decision, I can’t help but imagine how songs like “Em Nome do Medo”and “In Tremor Dei” could have benefited from being sung by a live choir.
Regardless, said songs are given a fresh breath of life thanks to the contributions Mr Azevedo and the OSL provide, to say nothing of “Ruinas” and that monumental title track, where longtime guitarist Ricardo Amorim takes a rare moment to deliver an absolutely poetic solo. Given that frontman Fernando Ribeiro later gives a shoutout to Moonspell’s absolutely fanatical Mexican fanbase, it would have made almost too much sense to perform the crushing “Desastre” in Spanish (a Spanish version of this song was included as a bonus track on the American releases of 1755).
This particular concert would also have been a golden opportunity to invite Portuguese punk/ fado singer Paulo Bragança to perform the eerie, nearly Arabesque parts supplied on the studio cut of “In Tremor Dei;” Amorim instead delivers these parts, capably, though his voice could stand to be louder in the mix. None of this is to suggest that these decisions somehow cripple the performance or its grandeur – both Moonspell and the OSL are in fine f*cking fine form, with the former in particular giving the performance they were always destined to deliver. The band and the orchestra are on freaking fire, and performing together with such majestic brutality, damn near threatened to set Lisbon ablaze all over again.
“Breathe (Until We Are No More)” appropriately follows the 1755 set, its synthesized strings at last turned into a real boy, with an added set of horns, under the watchful eyes and ears of Mr Azevedo. As with the rest of the set, the band outperforms their younger selves, the OSL apparently having provided them with an elixir that lets their rage flow freely without affecting their focus.
The set continues with rearranged selections from the band’s storied past where it is all too obvious that Azevedo took to heart Ribeiro’s instructions to not deliver anything resembling S&M – the band and orchestra play off and for each other, pushing themselves and each other to heights previously unreached, never once sounding like they’re competing with one another for the audience’s bandwidth.
Paradoxically, the orchestra does so while also honoring its role as a support to the stars of the show, Moonspell themselves, and never attempting to steal the listener’s attention. They respect the fact that this is a Moonspell concert that features Moonspell songs, and the restraint that both Azevedo and the OSL offer highlights their professionalism. Not once do they even attempt to upstage Moonspell, even as they push the Portuguese wolfpack to outdo themselves.
The band and orchestra perform a selection of songs from the band’s late 2000s output that had sadly gone under my radar at the time of their release, and the vigor on display on Opus Diabolicum has prompted me to investigate an era of the band I’d missed. While Moonspell certainly heavied things up again after the more gothic and industrial work of the late 90s and early 2000s, they did so without merely aping their younger selves. The music performed in this concert is that of a band intent on maturing and redefining themselves, using their impossibly excellent debut full-length Wolfheart not as a destination but as a launchpad, and Moonspell’s collaboration with Azevedo and the OSL brings that material to an even higher, angrier level, Anneke van Giersbergen’s absence on “Scorpion Flower” notwithstanding.
The set wraps up with a triad of oldies yoinked from Wolfheart and Irreligious, two seminal albums from that mid-90s era when metal was commercially unviable but thriving on a creative level. Azevedo’s rearrangement of the original synth parts on “Vampiria” in particular deserves accolades. Opus Diabolicum boasts this song as it was always intended to be heard, and the band dropping out of the performance so that Ribeiro can sing the closing verse, accompanied solely by the OSL adds a subtly chilling vibe to an already chilling song. The set triumphantly ends with the band’s signature song, “Alma Mater,” followed immediately by “Full Moon Madness” to the thunderous applause of a stadium full of rabid wolfbeasts, many of whom crossed entire oceans to witness this phenomenal performance.
Opus Diabolicum doesn’t merely state that symphonic metal still has life in it. It also demonstrates that with a bit of clarity, ingenuity, and humility, the approach can yield music that is eerie, majestic, and not overly pompous for fear of “underutilizing” an orchestra and its many talents. A clear head and clearer vision can absolutely yield the right balance between opulence and savagery, and this remarkable performance is a masterclass in this discipline.
Release Date: October 31st, 2025Record Label: Napalm RecordsGenre: Gothic Metal
Musicians: Fernando Ribeiro / Vocals * Hugo Ribeiro / Drums * Aires Pereira / Bass * Ricardo Amorim / Guitars * Pedro Paixão / Keys, guitars*
*Opus Diabolicum: The Orchestral Live Show* Track-list:1. Tungstennio 2. Em Nome Do Medo 3. 1755 4. In Tremor Dei 5. Desastre 6. Ruinas 7. Breathe (Until We Are No More) 8. Extinct 9. Proliferation 10. Finisterra 11. Everything Invaded 12. Scorpion Flower 13. Vampiria 14. Alma Mater 15. Full Moon Madness
Order the album here.
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Led by the angelically somber singing of Jan-Henrik Ohme, Norwegian sextet Gazpacho have long been in a class all their own in terms of taking listeners on gorgeously harrowing journeys. Full of songwriting both devastatingly intimate and fascinatingly theoretical – delivered through equally impactful and inventive prog/art rock collages – their work is never less than great (Bravo, Molok) and routinely extraordinary (Night, March of Ghosts, Missa Atropos).
Therefore, newcomer Magic 8-Ball (which arrives five years after 2020’s stunning Fireworker) had a lot to live up to in trying to earn its place alongside its predecessors. If any band can be counted on to regularly satisfy – or even exceed – expectations, though, it’s Gazpacho, and that’s exactly what they’ve done here. Simply put, it houses everything fans could want and stays true to the group’s flawless formula while also feeling sufficiently rejuvenated and surprising. Best of all, it proves once again that Gazpacho are truly an unparalleled act.
As usual, Magic 8-Ball’s concept is as ambitious as its compositions, with the troupe dealing with fate this time around. Specifically, they say (via the official press release) that it investigates how fate “moves without warning, and how the choices we make can slowly strip away who we thought we were.” Of course, each song deals with a separate story that connects to that overarching theme, and true to their intentions, the LP retains their “core” of “atmospheric, layered, and emotional” compositions but with a bit more “focus” and less “unnecessary weight” than some prior outings might’ve had.
That doesn’t necessarily mean that Magic 8-Ball is the band’s best effort, but it’s easily in the upper echelon of what they’ve done.
In fact, opener “Starling” immediately sucks you into gratifyingly familiar territories, with its initial blend of gloomy strings, morose piano chords, tense guitar notes, and grief-stricken vocals capturing the chilling yet elegant isolation and poignancy they do so well. As new coatings surround the divine harmonies of Ohme’s main mantra (“Let us be reborn”), it’s classic Gazpacho, fusing the fluidly dynamic developments of Fireworker’s “Space Cowboy” with the anxious despair of Night’s “Upside Down” and the guitar-driven catharsis of Tick Tock’s “Desert Flight.”
Going back to their intention of making Magic 8-Ball particularly economical and precise, every subsequent song does something special to cumulatively represent Gazpacho’s broad musical personality.
For instance, the electronic tones, irregular rhythms, and irresistibly catchy chorus (“We are strangers / In the silver sky we fly / We are hunger / You will know us all in time”) of “We Are Strangers” make it simultaneously unsettling and strange but also unexpectedly radio-friendly. Later, the hauntingly stilted central motif and biting percussion of “Ceres” wash over you like a dreadful dream, whereas the playful and robust “Magic 8-Ball” captures the band in full carnival mode. Penultimate ode “Immerwahr” is typically pensive and ever-changing as well, building its lusciously sobering environment with meticulous care until it culminates in one of Gazpacho’s most exquisite instrumental passages in years.
Closer “The Unrisen” is an especially powerful ending, too (which is really saying something considering how amazing Gazpacho’s finales can be). Evolving from a sparse and sorrowful reflection into a full-blown angst-ridden rocker, its dense moodiness and interlocking/multilayered voices encase you in heartrending beauty. As with all great works of art, you’ll need a few moments to process what you’ve just experienced before moving on with your day.
Whether Magic 8-Ball is Gazpacho’s finest hour is certainly debatable, as the majority of their previous records are equally remarkable in their own ways. (That said, the life-changing Night will probably always be their masterpiece.) Regardless, Magic 8-Ball upholds everything that makes their music magical, with its hodgepodge of serenity, suspense, fury, quirkiness, and liberation leaving you in awe from start to finish. As such, devotees will surely adore it, and newcomers will find it to be a perfect entryway into Gazpacho’s one-of-a-kind world.
Release Date: October 31st, 2025Record Label: *KscopeGenre: Progressive Rock*
Musicians: Jan-Henrik Ohme / Vocals * Jon-Arne Vibo / Guitars * Thomas Andersen / Keys, programming * Kristian “Fido” Torp / Bass * Robert R. Johansen / Drums * Mikael Krømer* / Violin, additional guitars
*Magic 8-Ball* Track-list:1. Starling 2. We Are Strangers 3. Sky King 4. Ceres 5. Gingerbread Men 6. Magic 8-Ball 7. Immerwahr 8. The Unrisen
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KK Fosser’s ultimate mind trip set to metal.There comes a point in every prominent horror franchise where successive sequels will compel a massive left-turn in the story arc. Even when the frequent companion theme of the supernatural allows for titular characters to cheat death and/or abruptly shift the setting of the narrative, a corresponding twist in the mode of storytelling is also called for to keep the concept fresh and the audience engaged.
Enter the predicament of KK Fosser, the protagonist and brainchild of Troy Norr and King Diamond tribute band turned unique conceptual heavy metal powerhouse THEM, who has had not only the misfortune losing his family and being subsequently killed, resurrected and repeatedly thwarted by the evil machinations of the witch hunter Peter Thompson, but returned to life in the 1980s and was apparently expelled from the world again via exorcism at the close of 2022’s Fear City. One can only ask just where the story could go at this point, and the answer provided by THEM’s fifth and latest studio offering, Psychedelic Enigma, presents the most jarring plot twist yet.
To those uninitiated into the creepy world of KK Fosser, the commonality with iconic Danish heavy metal icons Mercyful Fate and their theatrical frontman King Diamond’s solo work is obvious, but takes on a more subtle character. Despite their namesake being drawn from the 3rd studio album of the latter focal point of influence, THEM plays in sonic territory that can be best described as a high-impact blend of thrash metal with a highly technical but old school take on traditional metal, touched by a horror aesthetic that includes dense atmospheric keyboard and vocal arrangements that are uncommon to the 2 aforementioned metal subgenres.
In relation to past endeavors, Psychedelic Enigma benefits from the continued tenure of 5/6 of the membership that put together its riveting predecessor, Fear City, and the sonic results are comparably elaborate, though a little less focused on narrative interludes and more on raw, high-octane metallic aggression. Trading riffs in a manner that resembles that of Andy LaRocque and his various collaborators over King Diamond’s roughly 4 decade solo run, Markus Ulrich and Markus Johansson spearhead an explosive cacophony of auditory mayhem with keyboardist Richie Seibel weaving spooky ambient tapestries in its midst, all to erect a mighty mansion of sound from which Troy Norr can effectively channel his elaborate narrative via singing, shouting and the occasional banshee wail.
In most respects, this album follows the basic heavy metal principle of “more is more”, repeatedly serving up one haymaker anthem after the next, most often in a fairly compact and banger-oriented fashion. After a brief prelude that sets the stage of a man comatose in a hospital bed about to embark on a bizarre mind trip in “Ad Rem”, things cut to the chase in rapid succession with the kinetic thrasher to rival every Iced Earth speeder “Catatonia”. Suffice it to say, this is the ideal opener to any horror story set to heavy metal, and sets a precedent of machine gun metallic precision with an ethereal keyboard backdrop that is recapped on the complex dueling guitar extravaganza “An Evil Deed” and the creepy thrashing rollercoaster ride “Silent Room”.
The lone exception to the excess of warp speed drumming, shred-happy solo interchanges, and haunting synthesized strings and choirs is Troy Norr’s vocalizations, which largely stick to a mid-ranged bellow flanked by frequent gang vocals right out of the Bay Area formula. This proves to heighten the impact of occasional bursts of King Diamond-inspired falsetto shrieks that paint over the head-banger extravaganza “Remember To Die” and the dissonant and ghostly extremeness of “Psychonautic State”.
Though Psychedelic Enigma tells a tale of existential horror in a comparatively straightforward fashion compared to prior efforts, some sizable occasions are taken to explore the elaborate songwriting territory of a more epic scope. Not too far into things, the extended anthem “Reverie” draws out the quick-paced thrashing formula of the shorter material with more twists and turns, coming close to channeling the same brilliance that King Diamond took to the Conspiracy album opener “At The Graves”, albeit minus the heavy falsetto vocal employment and at an even more chaotic speed.
The more melancholy and atmospheric yet still highly metallic “Electric Church” veers even closer to orthodox early King Diamond territory with a series of sorrowful ballad-like segments woven into a still strongly thrashing template that seems to pay tribute to Abigail, with Troy eventually letting those banshee wails soar at the song’s apex. A somewhat shorter and more consistently riff-happy take is told on “Echoes Of The Forgotten Realm”, which features Ulrich and Johansson showcasing a more melodically rich guitar presentation. But it all comes to a head at the album’s tail-end with the riveting 8 minutes plus coup de grace “Troubled Minds”, which comes with the most moving parts in every respect and stands as the most complex yet memorable long-form anthem in THEM’s catalog so far.
Arguably, the only thing that proves more compelling than the massive musical undertaking that culminates in Psychedelic Enigma is where the story is ultimately taken, which is far more cerebral than the classical horror elements of the previous installments. In similar fashion to the famed Alan Moore run of the Swamp Thing comic series, the trials of KK Fosser take on a more existential nature, one that presents the possibility that the more than 120 year quest for vengeance against the Thompson bloodline might have itself been the elaborate fantasy of a man named Troy living in the late 20th century while in a coma after murdering his unfaithful wife.
Indeed, the entire KK Fosser persona may well be either entirely imaginary or the alternate persona created by dissociative identity disorder. Then again, it could just as easily be the bizarre side-effects of the prior exorcism being either botched or thwarted, and that the entire hospital scenario itself is an illusion.
Until THEM returns for the inevitable 6th installment of the series, all bets are off, but in the meantime, the open-ended nature of the story provides the icing on an extremely delicious heavy metal cake that is sure to turn lots of banging heads upon its release.
Release Date: October 24th, 2025Record Label: SteamhammerGenre: Thrash / Heavy Metal
Musicians: Markus Ullrich / Guitars * KK Fossor / Vocals * Markus Johansson / Guitars * Alexander Palma / Bass * Richie Seibel* / Keyboards
*Psychedelic Enigma* Track-list:1. Ad Rem 2. Catatonia 3. EvilDeed 4. Reverie 5. Remember To Die 6. Silent Room 7. Psychonautic State 8. The Scarlett Remains 9. Electric Church 10. Echoes Of The Forgotten Realm 11. Troubled Minds 12. Delirium
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Mariusz Duda is best known as the singer/bassist of Polish progressive rock/metal troupe Riverside, yet he’s spent almost as much time (nearly 20 years) delivering equally original and compelling – if drastically different – solo work as Lunatic Soul. Whereas the former project clearly taps into “prog” conventions, Lunatic Soul’s catalog is considerably more organic/rustic and abstract, focusing more on electronic/folk/art rock soundscapes and songwriting that are as ethereal and vague as they are traditionally appealing and sophisticated.
Duda’s eighth studio LP under the moniker –The World Under Unsun, which follows 2020’s Through Shaded Woods – carries the torch very well. In a sense, it combines the pastoral warmth and directness of its predecessor and 2018’s Under the Fragmented Sky with the relatively avant-garde stylings of 2011’s Impressions. Split into two discs that cumulatively last about 90 minutes, it can be a lot to digest at once, but every track earns its place, and at least a handful of them are instant classics.
As described in the press release, the central goal of Lunatic Soul is to pull from artists such as Dead Can Dance, Peter Gabriel, Mike Oldfield, and Depeche Mode by “blending ambient music and electronic music with folk and rock influences.” Duda justifiably sees Lunatic Soul and Riverside as equally important endeavors, too, and depending on your tastes, it’s quite understandable to prefer either one over the other.
As for the album itself, it tackles characteristically frank and complex psychological themes as it centers on “the story of a man trying to break free from toxic relationships and repetitive patterns. . . . It’s a story of inner conflict, something we all experience when faced with morally difficult decisions.” Interestingly, it also acts as the final chapter of the “Circle of Life and Death” saga, taking place “after . . . [2017’s] Fractured and before [2014’s] Walking on a Flashlight Beam.”
Duda’s always been a superb singer and musician, but his greatest attribute is his top-tier songwriting, and that’s abundantly clear here. Be it the poised catchiness of the opening title tune, the inspiring hooks of “Confession,” the grief-stricken confessions of “Good Memories Don’t Want to Die,” or the piano-led vulnerability of “Torn in Two” and “The New End,” every shade of Duda’s idiosyncratic songwriting is on full display. Beyond evoking prior Lunatic Soul material, these songs also recall the welcoming fragility and sincerity of Riverside records such as 2015’s Love, Fear and the Time Machine and 2018’s Wasteland.
Of course, the other key component of Lunatic Soul is its penchant for experimental and enigmatic instrumental collages (in which various textures and patterns overlap and intersect as intensity builds and diminishes). On that front, the LP is largely just as successful, with the looping tribal percussion of the aptly named “Loop of Fate” and the unabashed prog rock complexity of “Hands Made of Lead” standing out.
While there are no duds in the set (Duda is basically incapable of creating something less than good), there are a few pieces that would benefit from either shorter durations or additional ideas and surprises to justify their durations. Specifically, the longest tracks here –“Mind Obscured, Heart Eclipsed,” “Self in Distorted Glass,” and “Game Called Life” – are wonderful as is, but they’d probably work better if condensed by even a minute or two. Likewise, the cores of “Monsters” and “Parallels” are lovely, but as a whole, they’re a tad too repetitive.
Those minor complaints aside, The World Under Unsun is a majorly fulfilling and impressive return. As Duda reflects, it kind of feels like “a ‘Best of Lunatic Soul’” release in that it incorporates multiple eras and approaches. Despite suffering from sameness in certain spots and an overall prolonged runtime (as many double albums do), there’s more than enough here to appreciate and applaud. It’s probably not the best starting point for newcomers – or the best Lunatic Soul record from start to finish – but it’s an excellent addition to the Lunatic Soul universe.
Release Date: October 31st, 2025Record Label: Inside Out MusicGenre: Progressive Rock / Art Rock
Musicians: Mariusz Duda / Vocals, piano, keyboards, acoustic guitar, bass, percussion, piccolo bass * Wawrzyniec Drumowicz / Drums (tracks 1, 2, 4, 5, 8, 9, 11, 13) * Marcin Odyniec / Saxophone (tracks 2, 6, 8) * Mateusz Owczarek* / Guitar, soundscapes (tracks 4, 12)
*The World Under Unsun* Track-list:1. The World Under Unsun 2. Loop of Fate 3. Good Memories Don’t Want to Die 4. Monsters 5. The Prophecy 6. Mind Obscured, Heart Eclipsed 7. Torn in Two 8. Hands Made of Lead 9. Ardour 10. Game Called Life 11. Confession 12. Parallels 13. Self in Distorted Glass 14. The New End
Order the album here.
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The war for the future has been declared.Some look to the future with the eyes of optimism, while others see tomorrow through a bleak lens, but wisdom dictates that all should be prepared as time continues its march forward. Bay Area thrash metal veterans Testament’s extensive career speaks loudly to this fact, as their evolutionary trek through the subgenre’s heyday in the ’80s up until the present has been marked by several fits of innovation, stretching the very definition of their adopted style at times.
Yet this highly dynamic career also moved from point to point less out of a desire to conform to the various trends that came and went over the past 40 years and more so out of an earnest desire to avoid standing still, like a soldier always on the move as changing times bombard his surroundings. It is thus fitting that their 14th studio album, Para Bellum, which is Latin for prepare for war, stands as both a culmination of where each respective band member has been, both inside and outside the fold, as well as arguably the most innovative thing to come to light bearing the Testament standard.
Throwing everything at the wall except for the proverbial kitchen sink, this 10-part cautionary tale of future tumult and technology gone awry told via riff and roar all but blurs the lines between a modern expression of the old Bay Area sound and its various extreme and progressive offshoots.
Drummer and recent acquisition Chris Dovas proves a highly auspicious wildcard in the arrangement, unleashing a highly chaotic yet machine precise display from the kit that often veers into black and death metal territory, yet these genre-bending elements meld perfectly with an equally eclectic guitar template painted by co-founder and guitarist Eric Peterson, whom frequently recalls his past studio work with symphonic black metal project Dragonlord.
Steve DiGiorgio brings further elaboration to this highly complex sonic tapestry via his signature fretless bass work, delivering arguably his most prominent and technical work during his tenure with Testament, though one would be remiss in discounting the insane technical lead guitar work thrown into the pot by Alex Skolnick. Chuck Billy navigates this veritable labyrinth of musical twists and turns seamlessly, exploring every guttural and gravely expression in the book of metal vocals and even venturing into cleaner territory not often explored by this franchise born of pure aggression.
In terms of ferocity and production-based luster, Para Bellum fits neatly into the same modern paradigm that has typified Testament’s studio output since 2008’s The Formation Of Damnation, but where prior albums struck with the force of a terrestrial behemoth, this one hits from all angles like the tentacles of a raging leviathan emerging from the stormy sea.
The frenetic thrasher with a tall side order of blast-happy blackened mayhem of an opener, “For The Love Of Pain,” graces the airwaves like a nuclear explosion, enveloped by a maddened guttural barking display out of Chuck Billy, with Peterson frequently chiming in with sepulchral ravings right out of the Shagrath playbook. More compact fits of auditory chaos like “Infanticide A.I.” and the dark and frosty “Witch Hunt” further explore Peterson’s past ventures into black metal territory with occasional tremolo riff and shimmering chord flourishes, complementing an otherwise thrash-based foundation that frequently trades rich harmonized passages with heavy-ended grooves.
Monstrous crushers like the ode of old western duels “High Noon” and the equally violent sonic rollercoaster “Havana Syndrome” also occasionally showcase a blackened aesthetic, though land much closer to standard thrash territory when putting aside DiGiorgio’s flashy interchanges with the rest of the arrangement. Even when forays into death and black metal territory are absent, there is a continually unconventional character to what Testament is dishing out here.
The generally mid-paced stride of “Shadow People” falls fairly close to the modern yet direct character of what occurred on Dark Roots Of Earth and Brotherhood Of The Snake, though things get really frenzied during the blast-happy middle section, and the guitar solo segments feel twice as flashy. “Nature Of The Beast” leans in to the older, NWOBHM-influenced take on thrashing and could almost pass for a nod to Practice What You Preach if it didn’t pack such a massive, 2020s punch; ditto the heavier yet still mostly conventional grooving thrasher “Room 117”.
The grand epic closer of a title anthem “Para Bellum” stands as arguably the most technically complex offering out of this band since their 1983 formation under the moniker Legacy, yet apart from a few blackened odds and ends almost comes off as an extended power/thrash banger complete with a few overt earworm hooks. But the entry that truly goes off into uncharted waters if past precedents under the Testament name are the standard is the grandiose, heavily acoustic power ballad “Meant To Be”, which shares a lot of thematic similarities with something Iced Earth might do, but with the massive scope of something along the lines of thrash metal’s answer to “Stairway To Heaven”.
Para Bellum’s greatest strength could also be seen as its greatest weakness, which is that it succeeds in being just about all things to all people. It’s a lot to take in for even the most seasoned of metal heads with eclectic tastes, as it runs the gamut of just about every subgenre of metal short of doom/sludge in some capacity in just over 50 minutes. But insofar as grower albums that take a few listens to fully process, the payoff is so massive that it can hardly be considered a flaw.
For the average fan of Testament’s brand of thrash, which tended to rub stylistic shoulders with that of Exodus and Metallica in the past, it may come off as jarring when compared against what they’ve put out since the late 2000s, and is about as far removed from their formative late 80s sound as one could get. In a time when the telltale warnings put forth by the Terminator franchise have become even more prominent, Testament has entered the conversation armed with the auditory equivalent of enough firepower to take down Skynet and bring humanity back from the brink.
Release Date: October 17th, 2025Record Label: Nuclear Blast RecordsGenre: Thrash Metal
Musicians: Chuck Billy / Vocals * Eric Peterson / Guitars & vocals * Alex Skolnick / Guitars & vocals * Steve DiGiorgio / Bass * Chris Dovas* / Drums
**Para Bellum Track-list:1. For the Love of Pain 2. Infanticide A.I. 3. Shadow People 4. Meant to Be 5. High Noon 6. Witch Hunt 7. Nature of the Beast 8. Room 117 9. Havana Syndrome 10. Para Bellum
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The winds of time blow fervently.There has been a new wind blowing in the U.S. heavy metal underground for the past couple of years, one that’s been hitting a bit differently than its contemporaries as it rushes past the trees of the West Coast. Arguably establishing themselves as the new elite of the American contingent of the NWOTHM even before attaining label support, Los Angeles’ own Wings Of Steel has embarked on a rapid ascent since their 2022 eponymous EP and 2023 debut LP Gates Of Twilight hit the scene.
Beginning as a de facto two-person project between the highly charismatic and awe-inspiring vocal presence of singer Leo Unnermark and the guitar and bass wizardry of virtuoso Parker Halub, both rank newcomers to the metal ranks, their signature sound walked a very fine line between pure retro 80s heavy metal revivalism and a versatile application of its many variant styles that borders on progressive. Now with the support of High Roller Records and newly recruited permanent drummer Damien Rainaud (Once Human, ex-Hamka), this power trio has unleashed an even more colossal studio endeavor dubbed Winds Of Time.
In all respects, this opus is an endeavor in throwing caution to the wind, yet also a highly calculated fit of stylistic evolution that maintains the diverse character of Wings Of Steel* while expanding upon the songwriting possibilities that came along with it. On the familiar side of the equation, *Unnermark’s insanely wide vocal range is on full display, often embodying the sleek and strong clarity of Hammerfall’s Joacim Cans, but also the insane heights and brightness of select glam era icons like Mark Slaughter and Jim Gillette.
Likewise, Rainaud’s kit work strikes with a bit more fury and force compared to past sessions and current touring drummer Mike Mayhem, but generally conforms to the blend of frenetic speed matched with the down-tempo grooving of the latter. The axel that makes the 2 aforementioned wheels truly spin with a new level of brilliance is clearly Parker’s guitar and bass work, which is equally split between forging iconic riffs that give these songs their true power, and the insanely expressive and technical soloing displays that put a degree of luster on this album that rivals the pivotal strides made the 80s by the likes of George Lynch and Brad Gillis.
Where before a degree of brevity was maintained from one song to the next to contain the intricate blend of past influences, Winds Of Time all but fully takes the plunge into the free-flowing world of progressive metal, albeit from a mid-80s standpoint. Whether it be the gargantuan 10 minutes plus title song that kicks the album off and throws about every intricacy that Queensrÿche and Crimson Glory might have thrown at the metal masses circa 1984-1988 yet ultimately did not, to the slow-building melancholic balladry of “Flight Of The Eagle” that closes things off, it’s abundantly clear that Wings Of Steel**** are playing for keeps here.
Yet amid the elaborate design of cogs and wheels that make this metal machine go there is a clear and consonant sense of melody and drive that keeps things engaging for those who might not necessarily be predisposed to towering epics after the spirit of Iron Maiden’s “Rime Of The Ancient Mariner”, while even moderate length anthems like “We Rise” and “Burning Sands” maintain a sense of subtleness despite tacking on some truly infectious hooks and relying upon traditional metallic drive for the lion’s share of their respective durations.
By the same token, this fold has not forgotten the value of a solid, accessible banger to keep their audience’s attention span from getting overworked. Among the more bombastic and to-the-point entries to ever come out of the Wings Of Steel* arsenal is a truly explosive speed anthem in “Saints And Sinners” that could easily stand toe to toe with any *Judas Priest-inspired up-tempo beast. Nipping on its heels is a slightly less kinetic but heavy as an anvil metal crusher in “To Die In Holy War” that also functions as a rather poignant antiwar anthem, spearheaded by an incredibly impassioned and acrobatic vocal display out of Unnermark.
A more mid-paced nod to the spirit of lovelorn 80s power balladry makes a showing in “Crying”, which has a bit more of a Dokken-like flavor to it relative to the more bluesy rocking fodder off of Gates Of Twilight. Closing the circle of this outfit’s stylistic trifecta of hard rock, progressive, and doom metal is a Tony Martin-era Black Sabbath influenced entry in “Lights Go Out” that goes so dark and heavy that it could almost be mistaken for a lost Solitude Aeternus track save for the more high-end and clean-cut vocal display and Halub’s shred-happy soloing.
Whether such a thing as the perfect heavy metal album actually exists is open for debate, but wherever one may fall on the question, it’s pretty hard to see the answer being something far from what Wings Of Steel**** have just unleashed. It takes just about every existing trope outside of the extreme fringes of the 80s metal paradigm. It melds them into something that is both instantly familiar but also something that could not have possibly been written and recorded at the time due to the lack of hindsight and the compartmentalization of the stylistic expressions into rivaling scenes.
There is not a dull moment to be had within the nearly 50 minutes that contain its duration, and even the long-winded epics that bookend it seem to all but pass in about half the time. One might call them the latest addition to a growing family of young metal bands keeping the original spirit alive, but it wouldn’t be much of a stretch to say that Wings Of Steel* are en route to be the most significant band since *Hammerfall brought the genre back from the brink in the late 90s.
Release Date: October 17th, 2025Record Label: High Roller RecordsGenre: Heavy Metal
Musicians: Leo Unnermark / Vocals * Parker Halub / Guitars & bass | Lead Guitars during tour * Stefan Bailet / Rhythm guitar during tour * Mathieu Trobec / Bass during tour * Damien Rainaud / Drums | Marcel Binder* / Drums during tour
**Winds Of Time Track-list:1. Winds Of Time 2. Saints And Sinners 3. Crying 4. Burning Sands 5. To Die In Holy War 6. Lights Go Out 7. We Rise 8. Flight of the Eagle
Order the album: USA/Rest of World here | Europe: here
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Contradictions instigate the downfall.In the wild west of ’80s metal, innovation and adaptation seemed the order of the day as trailblazing upstarts on both sides of the Atlantic strived for their own unique niches and paved the way for the craft’s numerous mainline and extreme subgenres. Even the particular subset of thrash metal, born partly out of the primitivism and simplicity of the hardcore scene on both the east and west coast of the continental U.S., began a rather swift trek down the road of stylistic progression within a year or so of its birth.
Spearheaded by the mid-’80s studio strides of the likes of Watchtower and Voivod, what was originally a stripped-down and formulaic marriage of punk’s most fast-paced and angry mode of expression and the pizzazz of the NWOBHM turned into something flashy and advanced enough to rival the heyday of 70s progressive rock. A concurrent storm was brewing in central Europe via Zurich-based trio Coroner, who made a substantial splash in the late 80s and early 90s with a more elaborate and virtuosic take on things relative to their contemporaries in Germany and the U.K.
Now with more than 3 decades in the rearview since their final studio hurrah in 1993’s groove metal-tinged Grin, this power trio of forward-looking thrashers has unleashed a truly colossal expression of modern technical, riff-centered brutality in Dissonance Theory that is sure to put the Bay Area forefathers of the style on notice.
Marking his first opportunity to show his thunderous chops in the studio under the Coroner banner since being recruited in 2014 for extensive touring, Diego Rapacchietti pulls zero punches from behind the kit and also showcases a similar penchant for a jazzy, rhythmically mixed-up approach that plays perfectly to this album’s progressive tendencies. Guitarist Tommy Vetterli* proves an even more stylistically kinetic player in this arrangement, draping every song in a highly elaborate tapestry of heavy-ended grooves, pummeling thrash riffs, dissonant chords, and melodic motives that are sure to keep even the most seasoned progressive metal consumer guessing, and rips out a healthy supply of tech-happy guitar solos that blur the lines between tasteful and extravagant. At the helm, bassist/vocalist *Ron Royce provides a precise musical foundation and also a gravely, snarling narrative to provide a needed anchor for what would otherwise be a freewheeling endeavor.
At first glance, old school fans of Coroner’s long thought to be fully codified sound are sure to pick up parallels to the high-grade clean thrashing modernity of 1991’s Mental Vortex and the droning grooves of 1993’s Grin, but this only tells part of the story. Picking up where things left off back in the 90s can’t fully account for time appropriate blend of raging speed and dense atmospheric richness that comes with elaborate thrash entries like “Crisium Bound” and “Renewal”, both of which trade blows with the sort of quirky aesthetic that Vektor has used to bring this style into the present age and a more traditional mode of aggression that one might hear out of present day Bay Area titans like Testament and Heathen.
The drawn out succession of twists and turns with a forceful drive that kicks the album off in the riveting “Consequence” mixes a similar blend of modern thrashing fury with a spacey futuristic aesthetic, spearheaded by Royce‘s intermittently employing similar Vocoder voice effects to those heard out of Cynic and some correspondingly unconventional harmonic choices in **Vetterli’s guitar layering, yet returns to a highly effective chorus hook to keep it all in the realm of coherence.
Though the complex entries that grace this album tend to dredge up the shiniest moments of metallic luster, Dissonance Theory is a finely tuned technical thrash scene that has plenty of moving parts that all hit hard. The down tempo, 90s groove/thrash crusher “Sacrificial Lamb” and the quick-paced yet straightforward aggression of “Symmetry” definitely land the closest to pure ear worm fodder on this otherwise labyrinth-like succession of complex compositions, the latter seeing **Vetterli* land arguably his most spellbinding guitar solo and resting comfortably in the shimmering post-thrash territory that one might compared to *Machine Head’s recent studio outings.
The mid-paced stomp and melancholic contours of “The Law” showcase some rather blatant nods to the melodic death metal side of the stylistic coin as heard out of The Crown and latter-day At The Gates, with **Vetterli****’s riffs hitting with the force of a wrecking ball. But the entry that brings this album home and showcases the entire fold’s ability to match technical majesty with memorable songwriting is the towering opus of groove and post-thrash majesty, “Trinity”, which brings a whole new meaning to the concept of a cynical outlook set to music.
Despite the obscenely wide gap between this album and its mid-’90s predecessor, a fact born out of the band’s desire to simply tour since their 2010 reformation and leave things where they were, Dissonance Theory is a near-perfect continuation of Coroner’s practice of putting out albums that avoid rehashing prior precedents. There is an obvious stylistic commonality that goes with even the more progressive approaches, given the consistency of the artists themselves, but while this album has noticeable parallels to where things were back in the 90s, it adds to and builds upon them rather than outright rehashing things and playing to nostalgia alone.
Dissonance Theory is a collection of highly distinct and challenging series of auditory reflections and critiques that play heavily into the abstract side of things, essentially attempting to make sense of life in its present state, much as Mental Vortex and Grin sought to make sense of the chaotic and ever-fluctuating musical landscape of the early ’90s. It’s a different beast from the one that most may remember, but in essence, it’s still the same one that pushed the boundaries before and is hopefully to continue doing so in the years to come.
Release Date: October 17th, 2025Record Label: Century Media RecordsGenre: Technical Thrash Metal
Musicians: Ron Royce / Bass, vocals * Tommy Vetterli / Guitars * Diego Rapacchietti* / Drums
**Dissonance Theory Track-list:1. Oxymoron 2. Consequence 3. Sacrificial Lamb 4. Crisium Bound 5. Symmetry 6. The Law 7. Transparent Eye 8. Trinity 9. Renewal 10. Prolonging
Order the album here
The post CORONER – Dissonance Theory (Album Review) appeared first on Sonic Perspectives.
A noble cause takes on a life all its own.The eventuality of a one-off project becoming a formidable player on the heavy metal stage is not unheard of, but one exploding with the level of interest that 2020 charity-based super group Dirkschneider And The Old Gang (DATOG) has is particularly rare.
Originally slated as a short-term endeavor during the COVID lockdowns to support out-of-work musicians and crews, the popular response that ensued around their 3-song run via AFM Records was so unexpectedly large that it rivaled lead vocalist and standard-bearer Udo Dirkschneider’s own solo studio ventures.
This turn of events might have been chalked up as the result of quarantined fans having more time to spend on streaming sites, but a careful inspection of the magic that has been conjured by this sextet of veteran metal and rock stalwarts comes in the form of a potent blast from the past that fits the current craze of 80s heavy metal revivalism, as underscored in the riveting display of AOR-infused metal majesty that is this fold’s debut LP Babylon.
The sonic recipe dished out on this 12-chapter anthology of sonic power and triumph is almost completely analogous to the high era of Accept during the tail-end of Udo’s initial run with said German icons, namely the pomp-infused majesty that was 1985’s Metal Heart and classic mid-80s swansong and follow-up Russian Roulette.
The marriage of hard-hitting metal riff work projected through the duo of former Accept drummer turned guitarist Stefan Kaufmann and ex-Sinner and early U.D.O. axe-man Mathias Dieth and the soaring vocal counterpoint of Kazakhstan-born rock singer Manuela Bibert accomplishes a unique synchronicity with Udo’s dirty Brian Johnson-like snarl and the bombastic punch of his son Sven’s drum work, plus the steady foundation of former Accept bassist Peter Baltes that is as much a creature of 80s AOR as it is the metal sound of the present day. Combined with tasteful yet virtuosic displays out of Dieth and Kaufmann in the soloing department and a songwriting formula that is about as versatile as they come, the formula that emerges can’t help but be a winning one.
Striking like a collective colossus from the very start, this gang of old with a couple of younger cohorts establishes their bona fides in short order with a barrage of mostly compact metal anthems with an eye for brevity and the all-important melodic hook. Quick-paced and riff-happy cruisers like the opening foray “It Takes Two To Tango”, the haunting rocker “Time To Listen”, and the crunchy metallic goodness of “Metal Sons” rival the flash and flair of Judas Priest’s recent output, with Udo’s signature snarl showing zero signs of fatigue after more than 50 years of punishment on the road.
Mid-paced crushers like the towering sledge of heaviness “Hellbreaker” and its more shuffle-happy cousin “Batter The Power” reach back a bit further to the primal formula of the Balls To The Wall era and inject a level of atmospheric nuance and layering normally seen out of power metal bands of late. Even the piano-driven balladry of “Strangers In Paradise” and the acoustic-driven melancholic longing of “Blindfold” carry an implied heaviness through a highly earnest delivery, spearheaded by Manuela’s more serene vocal contrast to Udo’s beastly growls.
But what truly makes this album stand out among the massive back catalog of opuses bearing Udo and company’s handiwork is when innovation comes into full view. Case and point, the seemingly typical mid-paced, Accept-inspired rocker “Dead Man’s Hand”, which comes with several bluesy rocking elements at the periphery that all but blur the lines between standard 80s fanfare and the funkier side of 70s hard rock. The lightning fast speed metal anthem “Propaganda” could all but be a more technical and power metal-like sequel to Accept’s “T.V. War”, not totally new ground but a definite exception among Udo’s post-Timebomb output.
Moreover, the mystical eastern edge and slow march of the title song “Babylon” further blur the lines with modern power metal, sounding halfway between something Hammerfall might dream up and a more guitar-oriented take on mid-2000s Nightwish. But the coup de grâce that sets this LP apart comes at its very end courtesy of the mid-paced rock anthem epic “Beyond The End Of Time”, which carries a poignant message of hope in the face of mortality to a grooving structure that could almost stand as Udo’s long-awaited answer to Def Leppard’s “White Lightning”.
It’s more the exception that an album comes out with Dirkschneider and associates’ names in the credits that falls short, but this newly minted union of old and new stands as the most musically significant thing to come since Udo permanently cut ties with Accept. Much of this owes to DATOG’s sound breaking with the character of U.D.O.’s studio output since the late 90s in favor of something far more nostalgic yet not totally removed from the presence.
One might even go so far as to say that this is the album that should have followed Russian Roulette in the late 80s and that it strikes closer to the heart of what Accept was at its peak than even the band currently carrying the name has put forth since Wolf Hoffmann resurrected it in the late 2000s. We can only hope that these elder statesmen have enough years left in them to give this masterpiece a follow-up, for there were many grand empires to follow the one that was its namesake.
Release Date: October 3rd, 2025Record Label: Reigning Phoenix MusicGenre: Melodic Heavy Metal / Hard Rock
Musicians: Peter Baltes / Bass, backing vocals * Udo Dirkschneider / Vocals * Manuela Bibert / Vocals, backing vocals * Stefan Kaufmann / Guitars, backing vocals * Mathias Dieth / Guitars, backing vocals * Sven Dirkschneider* / Drums, backing vocals
**Babylon Track-list:1. It Takes Two to Tango 2. Babylon 3. Hellbreaker 4. Time to Listen 5. Strangers in Paradise 6. Dead Man’s Hand 7. The Law of a Madman 8. Metal Sons 9. Propaganda 10. Blindfold 11. Batter the Power 12. Beyond the End of Time
Order the album here
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Not since Alan Parsons and Eric Woolfson collaborated on their semi-eponymous Alan Parsons Project has there been a more ambitious concept rock project than Arjen Lucassen and his Ayreon Universe. Certainly, there have been ambitious producers like Zappa, Bowie, and Prince. There have been ground-breaking concept albums like The Wall, Tommy, Streets, Scenes from a Memory, and Operation Mindcrime. However, in terms of scope and breadth, nothing quite compares to the Ayreon body of work, with its dozens of world-class performers, and an ambitious, cohesive story that ties together all but a couple of the albums, which are double-LPs with very few exceptions.
Self-described big, tall Dutch hippie Arjen Lucassen may fool many with his affable demeanor, but there is little to hint at the capable producer and intense dreamer lurking beneath, aside from his obvious ability to nerd out at Hollywood movies, especially the sci-fi and fantasy variety. A few Arjen projects are floating at the periphery of the Ayreon universe, such as Star One, Stream of Passion, and Gentle Storm, but the nine(-ish) Ayreon albums remain the brightest and most prominent jewel in Arjen’s crown as King of Concept Prog Rock. For reasons which will be apparent soon, it is necessary to at least attempt to summarize the thematic elements of Ayreon’s story. Is it even possible to summarize such a grand body of work? Well, let’s see.
In something resembling chronological order, there is some primal soul called the Universal Migrator at the dawn of all things (let there be light?) and this gives rise to life around the galaxy, but most notable to the story are “the Forever” who start on Planet Alpha, but due to catastrophe relocate to Planet Y (aka 01011001 in binary). These advanced people seem to have traded their mortality and humanity to be perfect and undying, but in doing so, doom themselves.
Before they pull the plug and unalive themselves from the galactic census, they conceive some means of germinating faraway Earth with what will eventually become humans like us. Unless you are a very well-read cat or squirrel, in which case, well done. At any rate, humanity eventually does as humans do. Nearing the end of our current century, things look less than optimal, so they use time telepathy to show the future to a poor, blind bastard bard in 6th-century Britain named Ayreon.
Our titular hero is intended to warn humans to maybe human a little less, but this spooks Merlin, who summarily proceeds to yeet his mortal coil. Merlin has instant regrets, but the damage is done. It is unclear whether humanity gets wiped out in 2084 by global conflict or in 2085 by air conditioning and KFC, but what we know is that a small last-ditch effort is made to colonize Mars. Somehow, there ends up only being one lonesome man left on Mars, and he uses a reincarnation device to send his consciousness backwards over the course of about a dozen eras of human history before eventually skipping Earth to get back to the Forever and eventually reincarnating himself as the Universal Migrator, starting the whole thing again.
So, here we are in 2025, and Arjen has decided to do a second solo album. Two obvious questions would be what the first album is about, and why do a solo album when you are essentially a solo artist? Well, the first solo album seems somehow adjacent to the Ayreon storyline, with the protagonist “Mr. L” being on loan from the binary 01011001 album. Apparently, Mr. L is frozen to save him from terminal illness and wakes in the future, where he must learn to adapt and cope. Is this a future where humanity “listened to the warning” and does not perish from misadventure? Only Arjen knows.
Speaking of whom, regarding the second question, these solo albums seem to be an opportunity to do something obviously Ayreon-like, but without the vast cast of characters, and without the pressures of operating while wearing the Ayreon mantle and all its high expectations. Heavy is the head that bears the crown, after all. Our own publication was very critical of the final Ayreon album Transitus, in part because it deviated so forcibly from the Ayreon formula.
So what is it that Prince Arjen is doing while masquerading in the markets as a commoner? Oh, nothing too heavy or serious, just a concept album about a massive asteroid colliding with Earth and eradicating all life as we know it. The album Songs No One Will Hear suddenly seems less like a fun poke at oneself and more like a “now I understand why no one will hear these songs” moment. This is also why the context of the Ayreon Universe comes into play. Like the previous album, Lost in the New Real, it seems to exist not quite in the canonical Ayreon lore, but all the same, interwoven with the themes, with some obvious connections.
The album actually opens with a disc jockey sting for Mike “Toehider” Mills, and his self-titled apocalyptic radio program. In snarky Aussie delivery, he proceeds to complain about the imminent bummer in a way that clues us in to what is happening. One fun fact is that the album liner notes contain more Mills DJ persona notes before every track, although they do not appear in the actual album audio. In any case, it seems the asteroid/meteor/space-rock is about 4 or 5 months away from ending everything, which is just enough time for humanity to make a big mess before signing off. So let’s get into it.
The first real song is “The Clock Ticks Down,” opening with Arjen’s vocals. While he often plays supporting characters in other albums, on his solo albums, he does most of the heavy lifting. Interestingly enough, shortly after the song starts, it sounds like Irene Jansen from Human Equation joins in for a couple of verses, and the way she sings about surrendering to our fate is very close to Day 2 of the Human Equation: “listen to your heartbeat, surrender to its pulse.” Perhaps it’s a coincidence, but it feels like Ayreon already. Once her vocals are done for the moment, synth keys come hammering in with some fierce distortion guitar riffing in the classic Arjen wall of sound, complete with his signature lead guitar licks. The song’s lyrics mostly deal with the obvious first phase of worldwide grieving, little vignettes of people and their sadness, denial, and regret about wasted years, failed relations, and incomplete plans.
“God-damned Conspiracy” is in that distortion-and-flute flavor only Ayreon can do so well, and it’s an obvious poke at human nature, in the vein of previous Ayreon work about people being delusional in the face of impending doom. This one makes references to comedic potbelly vampire goblin sort of conjecture while lamenting the fact that a rock the size of the moon is right there if you just open your eyes. For all the good it does. “The Universe Has Other Plans” is a more subdued work of a string quartet, laying the foundation for a minor-key rock piece about unrealized dreams and unrequited love. It’s essentially a song about forgoing bucket list experiences so you can pay off your car loan on time, only to have Earth explode next month.
In all seriousness, if the world’s smallest violin is trying to play a heart-tugging series of vibrato notes in the middle of the song, it works. Really good playing. On a side note, the Mike Mills disc jockey liner notes refer to how we all have to go sometime, and quote an anonymous wise man as saying “Not ragged clothed, nor silver spooned, you’re all the same when extinction looms,” which is actually a Mike Mills lyrical verse from Ayreon’s “The Source” album. See? It’s all related. Then again, as Death says, “whether you are a king or a lowly street-sweeper, sooner or later you all dance with the reaper.”
On the other end of seriousness, we have “Shaggathon,” a tongue-in-cheek (and other places) fancy about what a substantial portion of the population would probably spend the last couple of months doing while the rest of humanity is trying to live beyond Thunderdome. Aside from the comedic eroticism, the song has a fun major key jangly beat, with nice interplay between guitar and fiddle. Back to the grim topic, “We’ll Never Know” spends more time pondering the profound loss at the end of all things. In this case, it seems to be a couple expecting the birth of a daughter who will never arrive due to the coming catastrophe, and all are wondering what person she may have been. The arrangement of the track is very nice, on par with most anything from the Human Equation album. It’s a dark metal song, but the use of strings is great. The female vocalist sounds like it could be Marcela Bovio from Stream of Passion, or maybe even one of the Jansen sisters, but the singing is 10/10.
“Dr. Slumber’s Blue Bus” comes in dark and heavy, but resolves into a happy little tune about the titular bus taking everyone to Sanctuary Island for a front row seat to Armageddon. It would honestly be disappointing if the big Dutch hippie did not include a song about a blue bus going to a commune. Questions remain about the logistics of a bus that moves thousands or millions of people across oceans, but we’ll just assume it’s pulled by magic reindeer. Acoustic guitar and strings come together for a poignant “acceptance” phase of the grieving process in the track “Just Not Today.” The imagery of an uninhabited rock orbiting the sun is rather bleak, but when you pick up an Arjen album, it seems like there’s at least a 50/50 chance of “everybody dies.”
Finally (pun intended), we come to “Our Final Song.” Maybe this is what Arjen is strumming on acoustic guitar on a beach with his faithful Papillion. It’s a 15-minute beast of a track. While much of this album is “Diet Ayreon,” this last track is fully switched on. No, it does not have 10 different vocalists, or Akerfeldt growls or Hevy-Devy screams, but all the other trappings are there. The rising and falling action, the elaborate arrangements, the bombastic keys, the slamming guitar chords. It’s all there.
The track checks in on the vibe at Sanctuary Island, where apparently people want to be the first ones hit by the meteor, which, in fairness, might not be the worst idea. Then the glow intensifies as the meteor breaches Earth’s atmosphere, and we get some more confessions from people at the end, wracked with guilt and regret. An instrumental section moves along with Arjen’s signature leads and some lovely woodwinds, before Anger and Acceptance intertwine in a vocal duet, pleading with fate, perhaps wondering if Earth’s arsenal could be turned to eliminate the threat, while others accept the situation as it is. And so we come to the crux of the album:
And me, I’m out here all alone
I’m free, as music fills my soul
Inspiration madly flows, I feel no fear
Writing songs, no one… will hear
We have a few more verses to reflect on the end of humanity as we know it. Don’t expect anything uplifting. It’s a funeral dirge for, well, us. A crashing explosion is heard, and DJ Mike Mills clicks the mic to send one last transmission, and hopefully, to the delight of Eric Idle, tells us to “Always look on the bright side of…”
There are a few more verses about the end of all things, just to really drive home the bummer vibes (Arjen, are you OK buddy? Do you need a hug?” Before a mysterious phase says “Mission Complete. Let the new Phase Begin.” We have heard similar clues at the end of Ayreon albums. The voice at the end of Electric Castle telling the cast of characters from across history that this was a grand experiment (not the final one, of course) to experience human emotion. Likewise, at the end of Human Equation, which seemed to be a pedestrian psychological study about guilt and betrayal in a coma, we hear the dream sequencer sound effects from Universal Migrator, telling us that the entire story had been a simulation or a reincarnation replay. So, we are left to wonder if this is a clue about the Ayreon Universe, or just the whims of the author and his love for little Easter Eggs.
For a single-disc album, it’s a fair amount to take in, and the subject matter hardly feels like feel-good popcorn. Let’s summarize it as such. As mentioned before, it’s mostly a diet Ayreon cola. Shame the concept is about as dark as a concept can be without being a work of actual grisly horror, because otherwise it could serve as an Ayreon album for when you want to listen to something that’s less than 2 hours long and isn’t about intergalactic societal collapses and cosmic consciousness. Well, maybe that’s what you have Steely Dan and the Eagles for.
Arjen did a good job here of only giving Ayreon fans what they like, and probably little or nothing that they dislike, and all without the expectations that come with the Ayreon brand. It’s like watching the hour of deleted scenes from Spinal Tap and realizing it’s 90% as good as the movie itself. This is like the Ayreon bonus album you did not know existed, but you are glad it does.
Production is top-shelf as all things with Arjen’s fingerprints. Arrangements are above-average, or at least on par with the high standards of Ayreon and Star One material. Considering the vocal duties are Arjen himself and some participation from a few old friends, the vocal area of the album really punches above its weight class. Despite the topic being less-than-inspiring, it contains enough comic relief and Ayreon-adjacent elements to make it required listening all the same.
In short, this is like Revel In Time, the third and most recent Star One album. Is it technically an Ayreon album? No. Is it just as good? Pretty much, and it is required for any of Arjen’s fans. It actually holds its own against Theory of Everything and is actually better than Transitus. So if this is something Arjen just did in his spare time as a whim, well done. It’s actually great. If there’s any regret at all, it’s that we don’t know much more about Arjen himself, despite being a solo album. It reveals no more about Arjen than any of his other projects. One can infer things about the storyteller from the story itself, but for his next solo offering, he might consider cracking the Ayreon mask just a little bit and giving some lyrics that reflect on the philosophy and life of Arjen Lucassen. Otherwise, great work, and we look forward to the next offering, in whatever form it may be. Be sure to check out Songs No One Will Hear on September 12.
Release Date: September 12th, 2025Record Label: InsideOut MusicGenre: Progressive Metal
Musicians: Irene Jansen / Lead and backing vocals * Koen Herfst / Drums * Joost van den Broek / Hammond organ * Ben Mathot / Violin * Jeroen Goossens / Flute * Jurriaan Westerveld / Cello * Arjen Anthony Lucassen / Lead vocals, all other onstruments * Floor Jansen / Vocals on “We’ll Never Know” * Robert Soeterboek / Vocals on “Our Final Song” * Marcela Bovio / Vocals on “Our Final Song” * Patty Gurdy / Hurdy-Gurdy on “Our Weary Soldier” * Michael Mills* / All narrations
**Songs No One Will Hear Track-list:1. End of the World Show 2. The Clock Ticks Down 3. Goddamn Conspiracy 4. The Universe Has Other Plans 5. Shaggathon 6. We’ll Never Know 7. Dr. Slumber’s Blue Bus 8. Just Not Today 9. Our Final Song
Pre-order the album here
The post ARJEN LUCASSEN – Songs No One Will Hear (Album Review) appeared first on Sonic Perspectives.
To be chosen by greatness.It is said that you are only as young as you feel, and for a man who has seen highs and lows comparable to several deaths and subsequent rebirths, English hard rock bassist/vocalist Glenn Hughes has entered his golden years with a remarkably youthful stride. In addition to his past participation with British rock icons Deep Purple (for which he was inducted into the Rock And Roll Hall Of Fame in 2016) and a short-term mid-1980s stint as lead vocalist of Black Sabbath, his career has been a highly prolific one as a session and solo artist with numerous collaborations and an expansive studio output spanning nearly 5 decades.
In recent years, his ventures have included membership in the English-American supergroup Black Country Communion and the Australian-American hard rock band The Dead Daisies. Now with nearly 10 years in the rearview since his last solo studio album, namely 2016’s Resonate, Hughes has returned with a vengeance with his 15th LP bearing his name in Chosen.
Walking a fine line between holding up the hard rock traditions that he helped to codify in the 1970s and embracing the genre’s evolution in the years since, Hughes and his fold of instrumental surgeons have constructed a comprehensive collection of musically involved anthems that stand tall in an ever-expanding field. Be it the distinctive and modern punch of guitarist Soren Andersen’s riff work, the hard-hitting yet measured barrage of drummer Ash Sheehan’s kit work, or the tasteful and atmosphere-bolstering influence of Bob Fridzema’s keyboards, the sonic tapestry that is realized proves massive while maintaining a stripped-down feel conducive to Hughes’ old school roots.
For his own part, Glenn’s work on bass proves integral in establishing the heavy character of several key tracks, while also avoiding excessive technical flourishes to free him up to deliver a highly impassioned and extravagant vocal performance that bridges the divide between hard rock’s early days and its modern post-grunge context.
Though the instrumental arrangement presented on Chosen is an exercise in back to basics, the resulting collection of songs that is realized proves to be anything but that. Drawing from a varied well of ideas and stylistic templates, this is an album that is never content to stand still and practically runs the gamut of every major hard rock era covered in Hughes’ nearly 60-year career.
Up-tempo rockers with an eye to punchy grooves and earworm hooks like opening foray “Voice In My Head” and “In The Golden” hit auditory pay dirt with an interesting hybrid of traditional 70s influences and a dark, 90s and 2000s vibe that conjures up comparisons to the likes of Soundgarden and Alter Bridge. Meanwhile more blatant nods to the old days like “Black Cat Moan” and “Hot Damn Thing” turn up the blues rocking stylings with reckless abandon, the former also coming with some parallels to the whimsical early works of The Black Crowes, while the latter sees a particularly flamboyant vocal display out of Hughes and a flashy guitar performance out of Andersen that all but screams Great White in their 80s prime.
If nothing else, Glenn and his crew are not content to make an impression but seek to leave one in the pavement as well, leaning into each expression in hard rock’s expansive arsenal. One can’t help but note the dark and forbidding character of heavy rocker “The Lost Parade”, which almost sounds like it’s a lost track from Hughes’ work with Iommi, the latter’s 2005 solo album Fused. Likewise, the heavy-ended turned dreary ballad-like character of the title entry “Chosen” doubles as one of the deeper entries on this album while also sparing no expense in the catchy hooks department.
The modern groove machine “My Alibi” sees a rather curious blend of early ’90s alternative rock vibes, complete with a principal riff that could almost be mistaken for a Tom Morello creation and a Chris Cornell-like vocal performance out of Glenn that is so soulful that it completes the Audioslave analogy all but to a fault. Special mention should also be made to the psychedelic rocking balladry of “Come And Go”, which sees a lighter side of Hughes’ vocal persona emerge to mesh with the lighter acoustic and keyboard-drenched atmosphere to truly spellbinding results.
It was a foregone conclusion long before the present date that the title of hard rock original is one deserved by this one-time Deep Purple member and hard rock mainstay, but if any further word in the matter were necessary, Chosen is the sort of album that speaks it effectively to those who remain ignorant of Hughes’ legacy and continued influence on the art.
Indeed, the lack of fashionableness that citing Glenn as an influence may have carried during the heyday of grunge and its post-grunge successors may explain why the likes of Chris Cornell and Myles Kennedy never gave the former a shout out despite his signature soulful resound being an uncanny forerunner to their respective styles by a couple of decades.
In a time where the mainstream seems ambivalent on where it stands in relation to the hard rock genre, the proper remedy ought to include one of the original voices that came roaring out of the British Isles, getting his due credit in corresponding sales and ears lent on the touring circuit.
Release Date: September 5th, 2025Record Label: Frontiers Music SLRGenre: Hard Rock
Musicians: Glenn Hughes / Vocals, bass * Soren Andersen / Guitars * Ash Sheehan / Drums * Bob Fridzema* / Keyboards
**Chose Track-list:1. Voice In My Head 2. My Alibi 3. Chosen 4. Heal 5. In The Golden 6. The Lost Parade 7. Hot Damn Thing 8. Black Cat Moan 9. Come And Go 10. Into The Fade
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Few metal bands have traversed as many genres and soundscapes as Norway’s Green Carnation have. From their beginnings as a blackened doom project, to their venture into hard rock on The Quiet Offspring, to their unplugged offering of original material (and two covers) that was The Acoustic Verses, Green Carnation have found their happy place in the quite unhappy world of progressive doom, a sound they first explored over twenty years ago on the album many consider to be their masterwork, Light of Day, Day of Darkness. On A Dark Poem, Part 1: The Shores of Melancholia, their second proper album since their unexpected reformation in 2014, Green Carnation continues refining their prog-doom identity while honoring the ground they’ve covered during their adventurous career.
Tchort’s slow, trudging, Sabbath-inspired riff gets “As Silence Took You” going before the entire band kicks in, lead guitarist Bjørn Harstad laying a morose dirge overhead. Part Viking/ part nephilim frontman Kjetil Nordhus delivers the album’s chilling opening lines: “A lion could rip the flesh right off your bones/ A mother the same – she could do it with six simple words… ‘I am so disappointed in you.’” Yow. With a delivery as imposing as his stature, Nordhus then laments that he comes with burden, concern, and constant worry, his bandmates hoisting him aloft a sonic palanquin as if he needed their assistance.
The effect? The absolute dissolution of the listener’s sense of self-worth, the aural equivalent of weeping at one’s own funeral, only for the interlude riff to wordlessly describe your own spiraling descent into that Fabled Abyss Below. Now-former keyboardist Kenneth Silden gives us his finest Mark Kelly impersonation underneath Nordhus’s lament that “there was no limit to your compassion, I was just too blind to see.” Harstad revives that doleful mourn as Nordhus delivers the cut’s petrifying closing line: “Your watch has ended, but I feel that you are still here with me/ I never got to say goodbye as silence took you.”
That was just the first song, y’all. Epicus doomicus metallicus indeed.
“In Your Paradise” opens with shockingly direct metal riffage that pays homage to past glories like “Crushed to Dust” and “The Writing on the Wall.” While “In Your Paradise” could easily have fit on the record that boasted those two fine tracks, it boasts the refinement of a band that’s undergone some shit in the twenty-plus years since that particular record made a Green Carnation diehard out of me. That maturity manifests in such subtleties as a gentle flute at the refrain, with a somehow even gentler Nordhus crooning a melody that borrows from Sarah Brightman that “these are the lies you don’t want to stay alive,” but repeating that after the heaviest moment on the album up to this point – and where drummer Jonathan Perez pays homage to one Mike Portnoy – gives that surprisingly smooth transition even more weight. So flawlessly is it executed that the listener barely notices that Green Carnation has gone from Alive and Well in Krakow to A Night Under the Dam in literal seconds. This miracle ain’t no sleeper.
“Me My Enemy” beckons both Soen’s “Savia” and Green Carnation’s own “Lullaby in Winter,” Stein Roger Sordal’s delicately driving bass carrying the verses without drawing much attention to himself. This cheerful ode to suicidal ideation spends its first half lulling us into a false sense of tranquility as the narrator tries to talk himself off the ledge before he finally admits that darkness has gotten the best of him. Harstad’s poignant solo and Silden’s further salute to Marillion walk us through the descent and the turmoil of a mind set on ridding itself of thought. The song’s heaviness crushes the soul without damaging your hearing and is a masterfully crestfallen depiction of despair. Don’t listen to this within arm’s reach of a weapon.
Where “Me My Enemy” rejects heaviness for the sake of heaviness, “The Slave That You Are” embraces it with vile fervor. The listener is greeted with freaking blast beats and trem picking, crowned by the unmistakable shriek of (wait for it…) Enslaved frontman Grutle Kjellson. Let’s those who recoil at black and death metal be dissuaded, rest assured that this, while it is unmistakably a progressive black metal tune, bears no resemblance to titans of that genre like Borknagar.
It is 100% Green Carnation, their melodic doomy goodness shining through the entirety of the track with the unmistakably blackened elements relegated to where they’re most appropriate: in your face. Despite an interlude that will leave you thinking you’re listening to My Arms, Your Hearse and lyrics that evoke Nazi Germany (“The work will free you/ your work will welcome you as the slave that you are”), the non-blackened moments are a worthy reward for listeners who consider themselves enemies of extreme metal.
The title track follows that blackened beast with all the regal ruinousness we’ve come to expect from this reformed ensemble. A pleasantly direct tune, it bears the distinction of feeling like a brief radio ditty despite its nearly six-minute duration. Given that these guys made their mark with a song over ten times the length of this one, “The Shores of Melancholia” sometimes seems over as quickly as it started. But given the strength of the composition, melodies, and evocative imagery, there’s a lot of yumminess packed into a song whose length rivals that of an interlude or two Green Carnation have written. It’s clear, it’s concise, it doesn’t stray from its very clear path, and it’s as close to conventional as we are likely to hear from these guys in a while. A powerful point, made relatively quickly. Perhaps this is what passes as a radio single for these guys, Kjellson’s occasional gnarls notwithstanding.
“Too Close to the Flame” is the curtain call, and I’ll be damned if it ain’t a fine way to top off a first-rate album. Opening with one of the many straight-ahead metal riffs that adorn this stellar record, it veers into more nomadic territory immediately following the second refrain. What you thought was to be a direct metal tune (d)evolves into a propitiously tense accompaniment to such lyrics as “if you only knew the things I do to get over you” that matches the urgency of Light of Day, Day of Darkness, with the knowledge that we’re quickly approaching the end of the line.
And with that, Part 1 of what is expected to be that “trilogy of doom” founder Tchort has discussed for decades ends. Though A Dark Poem, Part 1: The Shores of Melancholia is absolutely not the Rise and Fall of Mankind that the band had teased before their 2007 breakup, it does more than live up to the stratospheric expectations a band of this caliber has set for itself. Seldom is such a whirlwind of emotional earspank so effortlessly crammed into an album that clocks in at under 43 minutes, but Green Carnation have done exactly that. Again.
Release Date: September 5th, 2025Record Label: Season Of MistGenre: Progressive Metal
Musicians: Kjetil Nordhus / Vocals * Jonathan Perez / Drums * Stein Roger Sordal / Bass * Terje Vik “Tchort” Schei / Guitars * Bjørn Harstad / Guitars * Kenneth Silden* / Keys
**Dark Poem, Part 1: The Shores Of Melancholia Track-list:1. As Silence Took You In Your Paradise 2. Me My Enemy 3. The Slave That You Are 4. The Shores of Melancholia 5. Too Close to the Flame
Pre-order the album here
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Rarely have Between the Buried and Me had a record as heavily anticipated and important as The Blue Nowhere. Beyond signifying the band’s longest gap between LPs – predecessor Colors II released in 2021 – it’s their first album without Dustie Waring since 2003’s The Silent Circus and their first album ever as a quartet. Thus, The Blue Nowhere needs to demonstrate not only that Between the Buried and Me can knock it out of the park once again (which is obviously a challenge every artist faces with every release), but that they can do it with fewer members.
Unsurprisingly, they immediately and consistently prove themselves more than capable of both tasks by delivering a very worthy addition to their esteemed catalog. In fact, the collection falls perfectly within the quartet’s modern wheelhouse, once again fusing elements of technical death metal and progressive rock as only they could.
What’s more, Paul Waggoner does an impeccable job as the band’s sole guitarist (so much so that only aficionados who’ve studied how his style differs from that of Waring will probably notice the absence of the latter musician). Therefore – and despite being a bit too safe and predictable in spots – The Blue Nowhere is a terrific first entry into Between the Buried and Me’s latest era.
As usual, the LP is a conceptual statement revolving around existential quandaries (situated within a hotel called – you guessed it – The Blue Nowhere). This time around, however, it’s disconnected and abstract rather than linearly narrative. As vocalist/keyboardist Tommy Rogers explains, the lyrics take the form of “journal entries, letters, fleeting and introspective thoughts—chaotic at times, depending on the music.”
He adds, “I feel like this album just exists in a world that’s not tied to a storyline. It’s more about a feeling, where the songs live for me. It’s more of a feeling—those moments when you feel alone in the world and you’re reflecting, and in that process, you’re finding out new things about yourself and your place in the world. Existing in a space where nobody can find you, as you’re hidden from all forms of reality – that’s The Blue Nowhere.”
The group’s full-length sequences typically kick off with one of their most representative and enjoyable tracks, and The Blue Nowhere is no exception. Indeed, opener (and first single) “Things We Tell Ourselves in the Dark” is a multifaceted beast that evokes the warmer and zanier personas of 2009’s The Great Misdirect, 2015’s Coma Ecliptic, and 2018’s Automata II (but with the self-professed ‘80s synth pop/prog tones of INXS, Duran Duran, and “90125-era Yes”). It seamlessly oscillates between intricate chaos, unusual segues, and hooky purification, confirming that Between the Buried and Me are still operating at full capacity. There’s even a touch of Gentle Giant-esque interlocking vocal counterpoints just to spice things!
Likewise, the record finishes with its other two standout songs: “The Blue Nowhere” and “Beautifully Human.”
The former tune is probably the catchiest song they’ve ever done (sorry, “Memory Palace” and “The Proverbial Bellow”), and in a respectably polarizing move, it’s also their most radio-friendly one due to its lack of growls and instrumental fury. Instead, it’s a “serene, reflective ballad” inspired by “classic rock and yacht rock” that essentially combines Between the Buried and Me’s characteristically colorful poignancy with the inspirational guitarwork of Devin Townsend and the poppy sensibilities of Haken. No matter how controversially conventional and simple it is, there’s no denying its overwhelming power as a gorgeously uplifting sing-along earworm.
As for “Beautifully Human” – and like numerous other album closers – it’s both new and reflective, recalling at least one prior theme as it captivatingly brings the experience full circle. Its cosmic textures, six-string arpeggios, central piano motif, and blend of clean and demonic singing are a real treat. By the end, it feels like you’ve completed another incredible Between the Buried and Me journey.
The rest of the record is quite good, too, if too recognizable and formulaic. In particular, the quartet checks the requisite boxes for moody industrial hostility (“God Terror,” “Psychomanteum”) and quirky breakdowns/interludes and accents from Rogers (“Absent Thereafter,” “Pause,” “Mirador Uncoil,” “Slow Paranoia”) to the point that it can seem like they’re plagiarizing themselves. All of it works wonderfully and is immensely entertaining, but there’s also an undeniable sense of “been there, done that” to certain sections.
Consequently, The Blue Nowhere will undoubtedly impress Between the Buried and Me novices more than veteran followers. Even so, its marginal lack of originality/freshness and memorability (compared to its superb predecessors) barely takes away from everything it does exceedingly well. In other words – and at the risk of using a clichéd analogy – it’s like eating reheated leftovers of your favorite meal for the third night in a row: it’s still great, but it’s also a tad too familiar.
Regardless, The Blue Nowhere is a triumphant return that further cements Between the Buried and Me as the masters of this style while also confirming that they’re well-equipped to continue as a quartet if that’s what they’re intending.
Release Date: *September 12th, 2025Record Label: InsideOut MusicGenre: Progressive Metal*
Musicians: Tommy Rogers / Vocals, keys * Blake Richardson / Drums * Dan Briggs / Bass, keys * Paul Waggoner* / Guitars
**The Blue Nowhere Track-list:1. Things We Tell Ourselves in the Dark
2. God Terror
3. Absent Thereafter
4. Pause
5. Door #3
6. Mirador Uncoil
7. Psychomanteum
8. Slow Paranoia
9. The Blue Nowhere
10. Beautifully Human
Order The Blue Nowhere here
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“The Circle,” the opening track from the Amorphis album Borderland, greets listeners with Tomi Koivusarri’s clean, saturated guitar textures awash with delay to evoke a psychedelic mood. It is underpinned by a deep tonic drone courtesy of longtime keyboardist Santeri Kallio, and as if on cue, the rest of the band amps up the tension before halting with a brief tacit before diving all in with Jan Rechberger’s flawless footwork, Olli-Pekka Laine’s stentorian deep end, and Esa Holopainen’s merciless chug.
Frontman Tomi Joutsen throws us for a mild loop when his incredibly capable baritone manifests a placid sense of hope that only intensifies as other Tomi swells his 60s flair under the song’s refrain, revving that texture up even more for the viciously growled interlude.
Sound familiar? Sure it does. This is roughly the umpteenth time Amorphis has opened an album in such a manner. With only the vocal approaches slightly differing, this is how Queen of Time, Tuonela,Elegy,and others start. This is often emblematic of a band who are content to spin its wheels without really innovating anymore, preferring to stick to what’s worked in the past. Why strive to be Mr Juicy when you can guarantee cash flow by being McDonald’s?
Thankfully, this ain’t fast food. This is Amorphis. And where lesser bands might retread well-established ground in the hopes of maintaining an audience, Amorphis insist on further strengthening what’s proven to be their forte. Twenty years into their Joutsen-led revitalization, Amorphis has released one excellent record after another, hitting a terrifying stride with 2015’s Under the Red Cloud that’s seen the band hone in on the sound they created on that album without deviating too far from what they’ve demonstrated to be their dominion. What plodded on the weaker albums of the late Pasi Koskinen era has morphed into precision; the collective continuously moulting to maintain its youthful rancor while still bearing the bounty borne by the wisdom they’ve cultivated over their thirty-five years at this game. The beast ain’t stagnating if it feeds on itself to become more deadly, is it?
“Bones” is a callback to older cuts like “Greed” and “Better Unborn,” boasting a near-eastern verve accented by an unsettling sitar and Joutsen’s diabolical roar. This cut, like its predecessor, highlights Joutsen’s dominance as a singer – his clean delivery at the refrain is a demonstration that one needn’t have studied under the likes of Callas or Pavarotti to master the art of delivery. All you need is to recognize your limits, push them, and bleed at least a metric ton of conviction. Joutsen’s knack for always finding the right melody is a treasure unto itself, and coupled with his death metal bona fides, it has lifted a faltering titan and nourished it into the monstrosity whose fruits we lasciviously reap. He did not carry them there – he simply brought them the strength to get back on their feet and reconquer.
“Dancing Shadow” cuts to the chase pretty quickly, its mildly overdriven textures rapidly giving way to the anthemic, partially folky, quasi psychedelic, and semi progressive death metal we crave from these dudes. Every note, sound, melody, and growl is chosen with the utmost care, as if this sextet were more a surgical team than a bunch of freaking deathheads. If any band has mastered the art of melding the progressive with the practical, it’s Amorphis. We hear this evidenced further on “Fog to Fog,” which also manages to cut unnecessary grease without sacrificing that unique Karelian take on progmetal that has defined this band’s sound for over three decades.
Said Finnish flair is perhaps most prominent on “The Strange,” a mid-paced piano-led ditty that wouldn’t sound out of place on a Nightwish record, while the brooding “Tempest” turns yet another page in the Kalevala playbook. “Light and Shadow” approaches power metal territory, its upbeat and enspiriting stylings defying Koivusaari’s requisite clean delays. It also permits one of Koivusaari’s very few chances on Borderland to take a blistering lead, all of which are always appropriate, always fiery, and never, ever showy. And this is one of the many things that make this aging ensemble such a delight – they fall squarely into progressive metal territory, but you will never hear them shred just because they can.
“The Lantern” illuminates the record with more folky psychedelia that sounds like a more securely anchored “Elegy,” oozing minacious melancholy and perdition, and the following title track projects the listener through that desolation with the promise of adversarial hope. Borderland ends neatly with the despondent “Despair,” Koivusaari’s absolutely soaked trem picking creating a tension that’s released nearly instantly with the song’s balladic brooding and a brief, subtle, but incredibly effective orchestral flourish. Nary a note nor second is wasted on the entirety of the record, as just the right amount of fat has been trimmed without abdicating the finesse Amorphis commands.
Despite the album’s title, Amorphis are no longer pushing boundaries of any sort – they did that ages ago. Instead, they’ve spent the past decade perfecting their craft. For a band who long ago overpaid their dues and have committed themselves to excellence, that’s way more than good enough. Amorphis no longer merely stands on the shoulders of giants – they stand on the shoulders of giants of their own making, and the shadow they cast will long outlive the beast itself.
Release Date: August 29th, 2025Record Label: Reigning Phoenix MusicGenre: Progressive Metal
Musicians: Tomi Joutsen / Vocals * Esa Holopainen / Guitar * Tomi Koivusaari / Guitar * Santeri Kallio / Keyboards * Olli-Pekka Laine / Bass * Jan Rechberger* / Drums
**Borderland Track-list:1. The Circle 2. Bones 3. Dancing Shadow 4. Fog To Fog 5. The Strange 6. Tempest 7. Light And Shadow 8. The Lantern 9. Borderland 10. Despair
Bonus Tracks (digipak-CD & vinyl only!)
- War Band
- Rowan And The Cloud
Order Borderland here
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Six times the hex.For a decade, the all-female troupe of old school revivalists with a penchant for modern aggression dubbed Burning Witches have been at the forefront of the New Wave of Traditional Heavy Metal. Though it might come across as counterintuitive given their very present-oriented approach to studio production relative to much of said movement, their commitment to the stylings of noted trailblazing metal institutions like Iron Maiden, Judas Priest, Dio, and Manowar is unmistakable.
Since the release of their 2017 eponymous debut, the quality of their studio output has mirrored the mighty crescendo of their rise to prominence in heavy metal circles, with each subsequent album proving more potent than the last. True to form, their sixth studio opus Inquisition finds this fearsome quintet tapping deeper into their creative well, conjuring forth a brilliant succession of metallic anthems that blur the lines between traditional, power, and occasionally thrash metal.
Though by every measure a band dealing in consistency on all fronts, Burning Witches has not been totally immune to shifts in membership and corresponding modifications in sound, the most notable and positive of which being the entry of the mighty banshee pipes of Laura Guldemond following the departure of Seraina Telli.
This time around, the 2024 departure of guitarist Larissa Ernst has seen former The Iron Maidens guitarist Courtney Cox stepping in to wield the six-string alongside Romana Kalkuhl. This was arguably the most logical choice given her occasional work on both the Hexenhammer and The Dark Tower albums in a session capacity and her signature style serving to further accent the Iron Maiden influences upon their sound from both a songwriting and performance standpoint. The ultimate result is the same well-oiled machine of melodic mystique and driving force with a little added potency to make for an even more explosive result than past efforts.
As has been the case since their 2018 sophomore LP Hexenhammer, Inquisition makes its menacing presence known via a short theatrical prelude in “Sanguini Hominum”, evoking visuals of chanting monks preparing for the conclusion of a witch trial with its haunting atmosphere and military-like march. The subsequent first foray into metallic fury, “Soul Eater,” pulls zero punches in laying down this quintet’s speed metal bona fides, rolling through like a runaway freight train with crushing riffs, blinding lead guitar breaks, and the chilling resound of Guldemond’s Halford meets Dio-like shrieks.
Nipping close on its heels are two no less formidable bangers in “Shame” and “The Spell Of The Skull”, each stomping the ground mercilessly, while the latter proves a tad more expansive while delivering the most infectious chorus hook yet. Then again, if there were a couple of contenders for earworm anthem of the year, “High Priestess Of The Night” and “In The Eye Of The Storm” would definitely be in the running.
The sheer power at play throughout this LP’s 41-minute run is brilliantly tempered by a multifaceted approach to songwriting that touches just about every base that heavy metal established 40 years prior. The speed and luster of “Burn In Hell” channels the fast-paced splendor of early 80s Manowar and Judas Priest that inspired the likes of Hammerfall and Wolf to a sheer fault, while the pummeling riff work and dueling guitar elements of “In For The Kill” and “Mirror, Mirror” blur the lines between traditional and thrash metal similarly to several prominent melodic death metal bands, though Guldemond’s wrathful wails maintain their melodic character and the wild leads of Cox and Kalkuhl remain unapologetically 80s in demeanor.
Throw in a coup de grace epic banger of a title anthem in “Inquisition” that doubles as a demonstration of the chops of every individual member of the fold, a harrowing and sorrowful power ballad right out of the Iron Maiden playbook in “Release Me” and the whole album being bookended by a ghostly atmospheric outro dubbed “Malus Maga” and virtually no stone is left unturned.
In a time where heavy metal has become increasingly theatrical in character, Burning Witches may just have found the ideal balance between thematic intricacy and a straightforward presentation. Each chapter in this compact yet highly elaborate auditory codex could easily stand as its own short story, as was the norm during the days when terrestrial radio was king, yet the whole thing works even better as one continuous tale of unforgettable melodies woven into a storm of distorted riffs and a rampaging beast of a rhythm section.
It stands as the best entry in a continually expanding catalog of archaic spells with a jolting dose of modern rage, building upon an impressive legacy that has already become the envy of their contemporaries in the NWOTHM and beyond. It’s perhaps fitting that Inquisition marks this fold’s sixth studio offering, for it casts a mesmerizing hex upon all within earshot from which none would want or even hope to escape.
Release Date: August 22th, 2025Record Label: Napalm RecordsGenre: Heavy Metal
Musicians: Romana Kalkuhl / Rhythm guitar, backing vocals * Jeanine Grob / Bass * Lala Frischknecht / Drums, backing vocals * Laura Guldemond / Lead vocals * Courtney Cox* /– Lead guitar, backing vocals
**Inquisition Track-list:1. Sanguini Hominum 2. Soul Eater 3. Shame 4. The Spell Of The Skull 5. Inquisition 6. High Priestess Of The Night 7. Burn In Hell 8. Release Me 9. In For The Kill 10. In The Eye Of The Storm 11. Mirror, Mirror 12. Malus Maga
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Dragon boats breathe fire upon the lands.Getting the job done can mean several different things in the context of crafting quality death metal, be it telling a vivid story of gratuitous violence and gore, or delving headfirst into the dark world of the occult. But for old school Swedish death metal pioneers Unleashed, the sign of victory comes in the form of plundering hordes of Norsemen invading the rest of Europe at the height of the Viking Age.
Indeed, ex-Nihilist bassist turned helmsman Johnny Hedlund and his fold of sonic warriors can be counted among the pioneering acts to blend the brutality of death metal with the exploits of the sons of Odin, even predating the early strides made by fellow Swedish trailblazers Amon Amarth. Yet with more than 35 years of storming the auditory battlefields now behind them, this Stockholm-born quartet has lost none of the musical luster with the arrival of Fire Upon Your Lands, their 15th and latest studio LP.
Where some bands might find it prudent to allow modern stylistic innovations to redefine their style, Unleashed has made the ongoing strides in studio technology the servant of their signature sound, retaining the same blend of early 90s brutality with a frostier bite that initially typified Hedlund’s former Nihilist band mates’ game-changer project Entombed and fellow Stockholm scene pioneers Dismember and Grave.
The result is a level of crispness and clarity that is tailored for the present day, but loses none of its edge and its archaic mystique. The gargantuan battering ram of force brought to bear by drummer and co-founder Anders Schultz proves as potent as a raging blizzard yet highly controlled, while the master craftsmanship and virtuosic flair of the riff and solo work of axe-wielders Tomas Olsson and Fredrik Folkare would have little trouble felling the competition in open combat. But the steady bass lines and highly distinctive growl of Hedlund himself stand tall as the lone berserker leading the mighty charge.
Streamlined and concise skirmishes of blood-soaked aggression are the order of the hour, wherein Fire Upon Your Lands’ eleven mighty anthems are concerned. Wasting no time, the opening barrage of death thrashing carnage “Left For Dead” kicks things off with a rapid fire, textbook early 90s charge that is as heavy as it is technically extravagant, trading pummeling down-tuned riffs with lightning fast shredding.
“A Toast To The Fallen” flies a similar flag of flash above a driving dash, but goes a little more chaotic and sees Schultz blasting away at the kit like he’s auditioning for Immortal while the guitars occasionally flirt with a melodeath aesthetic. Rounding out the opening trio of deathly terror in a metal helmet is “The Road To Haifa Pier”, which leans into an almost blackened aesthetic with shimmering tremolo riffs and blast-happy drumming, anchored by Hedlund’s low-tone beastly barks like a bearish bard roaring at the frozen sky.
As this anthology of Viking exploits progresses, so too does the stylistic toolbox at Unleashed’s disposal, like a growing crescendo encompassing just over 38 minutes. Among the more elaborate battle scenes set to music include “War Comes Again” and “Hold Your Hammers High”, both of which bounce back between the deep and forbidding dissonant doom meets thrashing mayhem of the old school sound one might expect from Bolt Thrower and Benediction with the crackling coldness with a sorrowful melodic flair more unique to the Scandinavian approach.
That said, one would be remiss not to be blown away by the frenzied shredding and chaotic mayhem that is “Loyal To The End” or its more riff-centric thrash-infused cousin “To My Only Son”, both of which bring the energy factor something fierce. Ironically, the most iconic offering of the bunch also proves to be the shortest and Unleashed’s tribute to those Vikings who went seeking adventure eastward instead of southward and fought under the banner of the Byzantine Empire, namely “Hail The Varangians”, which rivets musically at every point as Hedlund all but morphs from mere death metal front man to Norse king rallying his army for battle.
In an expansive discography of qualitative consistency, Fire Upon Your Lands definitely ranks in the upper echelon of albums bearing the moniker of Unleashed. The raging flames of victory amid a frozen wasteland that were initially set with the mighty 1991 debut Where No Life Dwells have yet to even flicker, let alone show signs of receding. Like the blades of mighty broadswords forged by the master dwarves Brokkr and Sindri themselves, there is not a dull crevice to be found within this finely tuned old school death machine.
It recaptures the same balance of frostbitten rage that emanated from every moment of The Hunt For White Christ and merges it with the towering power and bluster of 2012’s Odalheim, all the while managing to up the technical ante further still. Though they are occasionally regarded as the odd ones out among the early guard of the Stockholm death metal scene, Unleashed has proven the most tenacious and prolific of the lot, and Fire Upon Your Lands is the sort of unapologetic expression of traditional brutality that translates well to the ears of any self-respecting death metal enthusiast.
Release Date: August 15th, 2025Record Label: Napalm RecordsGenre: Death Metal
Musicians: Johnny Hedlund / Bass, vocals * Anders Schultz / Drums * Fredrik Folkare / Guitars * Tomas Måsgard* / Guitars
**Fire Upon Your Lands Track-list: 1. Left For Dead
2. A Toast To The Fallen
3. The Road To Haifa Pier
4. War Comes Again
5. Fire Upon Your Lands
6. Loyal To The End
7. Midjardarhaf
8. Hail The Varangians!
9. To My Only Son
10. Hold Your Hammers High!
11. Unknown Flag
The post UNLEASHED – Fire Upon Your Lands (Album Review) appeared first on Sonic Perspectives.
One common complaint I often hear leveled at the progressive rock genre is that there isn’t much originality anymore and that many artists’ releases sound too much like another artists. If that’s your complaint, I challenge you to give Dave Bainbridge’s new release a spin. While there are a few moments that remind me of some things I’ve heard before (and loved), the vast majority of this double-length release forges its own path and establishes Dave as a unique artist with his own thing going on.
For one point, there’s his guitar tone. Dave has honed a signature sound not only in the timbre of his instrument but also in the style he plays. Blending an eclectic mix of Celtic, progressive rock, folk, jazz, and even some ambient/ethereal moments, On the Edge (Of What Could Be) is a distinctive journey for the listener that requires multiple spins to take full effect. The invested time will be rewarded as the dynamics and intricacies of this recording unravel.
Much the same way that Kansas successfully used the violin in a rock setting, Dave’s former Iona bandmate and current Nightwish member Troy Donockley utilizes high & low whistles and the uber-unique sounding uilleann pipes to create a rocking Irish jig vibe that permeates this recording and delivers one of many elements of unique sonic quality.
Another excellent contributor featured on the record is Simon Phillips, whose punchy, boisterous drum sound is easily recognized and adds power and precision to a number of upbeat tracks. In addition, Sally Minear’s vocals present a signature sound that is fragile at times, ethereal in others.
Take the opening track, “For Evermore,” for example, which serves as a soundtrack to the descent of Bainbridge’s Narnia-like world. It is passage music, abruptly shattered by the opening of “On the Slopes of Sliabh Mis,” where Phillips thumping toms announce the listener’s arrival in a new place, and Donockley’s pipes carry an earworm melody that gets established, only to be shifted into “jiggy” gear as the band ignites into a rocking Irish swell. The music of this track, and several others, is cinematic in scope and conjures up visions of grand adventures soaring over majestic landscapes. Most rewarding to these ears is that the instrumental jam doesn’t sound like anything you typically hear, other than perhaps Bainbridge’s former band, Iona.
This is welcome news, as Iona also managed to defy all projected stereotypes despite being on a Contemporary Christian Music label. Bainbridge’s writing reaches into veins of different styles that magically merge into a Celtic stew that is spicy in spots and smooth in others. One can almost hear the joy that Phillips is feeling as he propels Dave and Troy forward on this excellent instrumental track.
“Colour of Time” conjures up the spirit of Yes in a more interesting and energized fashion than Yes themselves have managed for at least a decade. With a Squire-like dancing bass line and some very Howe-like guitar playing, what this track borrows in sonics from the past, it moves forward with vigor and spirit. Once again, Dave’s electric guitar tone cuts through the mix at his solo, climaxing in a “Roundabout” reminiscent moment that maybe loses a point for originality but gains a few more for excellent execution. This is one of the rarer moments on the record where influences dominate the songwriting, but it’s so well done, I wish Yes could still put out music like this.
“That They May Be One” follows with an introspective, floating vibe that highlights Dave’s capacity to “sing” with electric strings and create an aural landscape that is beautiful and majestic all at once. Strings float in and out, providing an underpinning for his soaring playing that is tasteful and tone-rich.
The title track, “On The Edge (Of What Could Be)” opens with some acoustic guitar that runs like a river, and Donockley’s pipes floating like a boat on the waters. The track rollicks into a chorus that has a pastoral Big Big Train vibe with some angelic background vocals, but this is more of a nod than a knock-off. It all seems to be building slowly into something more, which finally comes at the instrumental break at the 4:40 mark, where Dave’s sailing guitar solo dances for a bit before the tempo breaks and the track turns into a racing final minute of abandon that is glorious fun. I can’t dance, but this ending section makes me almost want to.
The aptly named “The Whispering of the Landscape” throttles the record back with a calm acoustic guitar interlude that is peaceful and poetic, offering shade to the previous light and cleansing the listener’s palate for the next sumptuous course about to be served.
“Hill of the Angels” opens with heavenly sounding vocals setting the stage for an exciting transition that conjures up the widdly bits of Neal Morse and the jazzy note choices of the Dixie Dregs. Again, these are slight reminders, not rip-offs, and the song melds into a suspended section that floats across a broad countryside of lush green foothills and cold lakes within the listener’s mind. Sally Minnear’s fragile vocals arrive a few minutes in to lightly tell a tale. This 12:30 track travels through a winding road of dynamics, with Dave’s angular guitar rising to the forefront with a sweeping, almost soundtrack-like melody. The track swoops down to the ground for another introspective section that eventually builds again to another raucous section that feels like the best of Jean-Luc Ponty in style.
Disc 2 opens up with a frenzied electronic keyboard patch that is the bed for another of Bainbridge’s soaring leads to some beautiful shared leads of guitar and pipes. “Farther Up and Farther In” gives Simon Phillips a chance to shine, which he unquestionably does. This is a great snapshot of the overall unique sound of the entire record, with all the elements thrown in the pot, and the musical virtuosity on display.
“Reilig Odhrain” is another 12+ minute track that is grandiose and dynamic, opening with a slow-building melody that gives way to a lilting display of Minnear’s light, layered vocals that evoke a “music of the fairies” atmosphere. This tune is another musical journey that passes through both dim and day, from calm to stirring to driving, and returns to resting all before mounting a final climax.
“Beyond the Plains of Earth and Time” is a suspended piece that is graced by a sad and introspective violin section that seems entirely written to tell a story on the big screen. It maintains a melancholy mood for what feels like a fairly long time with its plodding pace, only to be ripped open by the opening of “Fall Away,” another epic that clocks in at almost 17 minutes. Like some of the previous tracks, this tune travels through many phases of both energy and volume, testing a listener’s attention at times only to shift into a new section of renewed strength and direction. Dave unloads some tasty playing in the final minutes, showcasing his unique style that blends feel and flight.
The record ends somewhat as it began, with a vocal tapestry that serves as a return to the place from which the listener came before descending into Bainbridge’s Celtic Progressive underworld. While this record has a very spiritual feel to it, there are no heavy-handed Christian lyrics that would steer a faith-message leery listener away.
Dave Bainbridge has delighted crowds on Cruise to the Edge in his contributions to Lifesigns, and this mature record is another chapter in his storied career of merging multiple genres with a Celtic twist that doesn’t sound like anyone else. If you’re ready to get lost in some musical storytelling, On the Edge (Of What Could Be) offers a great escape to a fictional place I imagine you’ll want to revisit.
Release Date: July 18th, 2025Record Label: Open Sky RecordsGenre: Progressive Rock
Musicians: Dave Bainbridge / Many instruments * Sally Minnear / Vocals * Susie Minnear / Vocals * Iain Hornal / Vocals * Ebony Buckle / Vocals * Nick Burns / Vocals * Rachel Walker / Vocals * Simon Phillips / Drums * Troy Donockley / High & low whistles, uilleann pipes * Jon Poole / Basses * Randy McStine / Vocals, guitars, keyboards, percussion * Frank van Essen / Drums, percussion, violin, viola * David Fitzgerald / Tin whistle, flute, saxophones * Nigel Cameron* / Whistles
*On The Edge (Of What Could Be)* Track-list:1. For Evermore 2. On the Slopes of Sliabh Mis 3. Colour of Time 4. That they May be One 5. On the Edge (of What Could Be) 6. The Whispering of the Landscape 7. Hill of the Angels 8. Farther Up and Farther In 9. Reilig Òdhrain 10. Beyond the Plains of Earth and Time 11. Fall Away 12. When All Will Be Bright
Pre-order *On The Edge (Of What Could Be) *here
The post DAVE BAINBRIDGE – On The Edge (Of What Could Be) (Album Review) appeared first on Sonic Perspectives.
Harbinger of the apocalypse.Since its mid-80s rise to prominence, the San Francisco Bay Area has staked its claim as the original masters of thrash metal, but not without an equally loud and formidable challenge from said city’s New York rivals.
Among the bands maintaining the East Coast’s unique blend of raw aggression with a unique sense of melody is the Long Island trio Electrocutioner, who may also be in the running for the most insane expression of the sub-genre to grace the 2020s. Unmitigated speed and fury with a penchant for the end times is arguably the best way to distill the sonic message delivered by their sophomore and latest studio outing Harbinger, culminating in an album that could hold its own against the likes of Sodom’s Tapping The Vein and Demolition Hammer’s Epidemic Of Violence in terms of both pure intensity and quality songwriting.
Though the jury is out on whether this album can be qualified as a conceptual work, Harbinger presents the theme of Armageddon from ten unique perspectives, divided into two nearly equal chapters by a pair of ambient place holder tracks carrying the name “Vision” to achieve an almost cinematic sense of realism.
The pedal is kept to the proverbial metal from start to finish, presented in the explosive power trio format that was common to all three members of the Teutonic Trio (Sodom, Destruction, and Kreator) during their formative days. The harrowing assault accomplished by drummer Tyler Bogliole and bassist Rich Nieves lays the perfect foundation of auditory steel for the insane brilliance of guitarist/vocalist Mark Pursino to weave a highly intricate succession of bone-shattering riffs and impressive lead guitar gymnastics while also shrieking with the same caliber of sepulchral rage as Tom Angelripper circa 1987.
Each compact entry in this nuclear explosion of extreme thrash metal brilliantly walks a line between being a throwback to the style’s early flirtations with death metal territory and conforming to the modern character of the present scene. Short and speed-infused crushers like the opener “Doomsday Device” and “End Of Days” carry a lot of the frenetic qualities that one would expect out of the most insane offerings out of both the German and American scenes between 1987 and 1991, but also sees Bogliole throw in way more machine gun kick work and even a few blast beats that were far less common during thrash’s 80s and early 90s heyday.
Alongside similarly chaotic blurs of pure chaos like “Lightning Sacrifice” and 2025’s answer to Persecution Mania‘s “The Chariot”, these are the sort of fleeting thrashers that largely stick to 3 minutes in duration or less yet come packed with enough power to fill a song twice as long.
Naturally, there are occasions where Electrocutioner opts for a more drawn-out and controlled expression of thrashing intensity to tell their tales of the coming end. Though only slightly longer than the aforementioned entries, “Heaven’s Gate” takes a more mid-paced route and lays on the gang-vocals like their going out of style, meanwhile the more drawn out yet quick-paced “Frozen File” plays things more complexly and throws a healthy array of riffs at varying velocities before fading into an eerie atmospheric epilogue.
But insofar as moving into territory that could be construed as epic if it weren’t still contained in sub-5 minute territory, the title entry “Harbinger” and the technically charged final hurrah “Seven Seals Of Koresh” is where this trio proves their virtuoso musicianship and songwriting bona fides, transitioning from one section to the next with the seamlessness normally associated with classic era Forbidden, but with that continual extreme thrash sense of intensity.
It’s still a bit early in the game to be throwing around titles like album of the year, but as far as thrash metal goes in 2025, Electrocutioner have essentially gone from underground sensations to contenders for the crown in short order. Harbinger has all of the makings of a new classic, not to mention being an album chock-full of so many explosive moments that it all but transcends the confines of its adopted style.
This isn’t the sort of thrash that concerns itself with pizza, beer, partying, or any of the pleasantries that have all but become cliché in the sub-genre’s circles since the early 2010s, but rather the kind that scares the mainline crowd right off their skateboards and into the 9th layer of hell.
Think of it as something along the lines of what Heathen’s Victims Of Deception might have been were it to have been recorded in the style of Sodom and Demolition Hammer. But analogies aside, this is essential listening for every single mosh pit maniac still walking the planet.
Release Date: September 5th, 2025Record Label: CDN RecordsGenre: Thrash Metal
Musicians: Mark Pursino / Guitars, lead vocals * Rich Nieves / Bass * Tyler Bogliole* / Drums
**Harbinger Track-list:1. Doomsday Device 2. Lightning Sacrifice 3. Heaven’s Gate 4. Frozen File 5. Harbinger 6. Final Prophet 7. Vision I 8. End of Days 9. The Chariot 10. Azazel 11. Seven Seals of Koresh 12. Vision II
Pre-order Harbinger here
The post ELECTROCUTIONER – Harbinger (Album Review) appeared first on Sonic Perspectives.
Fifty years ago, a band came out of Weirton, West Virginia (where?!?!?!?!) with an album that was an instant classic. Crack the Sky’s self-titled debut mixed rock, funk, prog, and art in a unique and appealing fashion. Rolling Stone liked it so much that the magazine proclaimed the record the Top Debut of 1975 (and one of the best albums of the year). CTS seemed destined for big things.
Except their record company botched distribution. The record didn’t get to most markets. It made it to places like Baltimore and Pittsburgh, where, to this day, CTS is a huge draw. But all the dreams of world success and acclaim went down the drain…fast.
But if you listen to that first album, it stands the test of time. The songs are outstanding, matched only by the musicianship. The production is first-rate. This is an album that deserved much more than it got.
Jump ahead to today. Crack the Sky decided to make some amends as well as celebrate its history by releasing a live performance of that first album. Crack the Sky Live 2025 is more than a tribute; it’s a cracking great album that shows what this group can do in a live setting, even 50 years after its inception.
Now let’s get one thing out of the way. The Crack the Sky of 2025 is basically the same band that recorded the first album in 1975. Four of the five original musicians — vocalist John Palumbo, bassist Joe Macre, drummer Joey D’Amico, and guitarist Rick Witkowski — are on Live 2025. Guitarist Bobby Hird has been with the group since 1981; keyboardist Bill Hubauer (Neal Morse Band) is the new kid on the block, joining just last year. That should end any questions or arguments about whether CTS is just a cover band at this point.
It also means these guys know one another, musically and otherwise. They were wonderful musicians back in the day; they still are, a facile and tight unit that makes things seem spontaneous (the art of a great band). And as someone who saw them back in the ‘70s, I can say this: they’re just as good, if not better than what they were back in the day. The live album is proof of that.
It starts off with the double barrels of “Hold On” and “Surf City”, two art rockers with a punch to them. The twin guitars of Hird and Witkowski lead the way in the herky-jerky rhythms, which are kept in check by the bass of Macre and the drums of D’Amico (who are both underrated, frankly — these are two of the best in the biz).
“Sea Epic” is a bit of opera about a shipwreck in which the narrator prays that certain members of the crew be spared. God responds and basically tells him to shut up, that He’ll save whoever He feels like saving. In the end, the narrator and the cook are the ones who make it out alive. Palumbo’s use of words is clever, as always, and even a bit thought-provoking. And the music — also from Palumbo — just adds to the story.
“She’s a Dancer” fits in with the sound of the first two songs, a rocker that has art intention. And the words offer something akin to The Kinks’ “Lola” (a gender-bender story, indeed). The twist on this one is that the music suddenly kicks into funk, featuring some great sax work by Hubauer (yes, the man can pretty much play any instrument). This is a toe-tapper that also invites the listener to do some air performance — guitar, bass, drums, keys, or even the sax. “She’s a Dancer” is one of the highlights of the album.
It’s followed by the ballad “Robots for Ronnie”. There’s a sadness to this one — in a weird way — as the narrator talks about their kid who has no friends. So maybe they should get him a robot companion (“A boy or a girl. Maybe an aluminum cat”). Hubauer’s solo keyboards get things going before Palumbo comes in on vocals. It then goes into a music hall break before going into a more straightforward ballad.
“Ice” is the showstopper, and it has been that for 50 years. This is an operatic epic that tests Palumbo’s vocals (which are up to the challenge). The twin guitar attack of Hird and Witkowksi keep things moving. Hubauer has some key solos that add to the overall feeling. But perhaps the star of the song is bassist Macre, whose work is just stellar, with fills and leads that are outstandingly appropriate. The words bespeak someone who is facing a difficult time and hope that someone special will ride the ice storm out with them (“Will you stand by me against the cold night—or are you afraid of the ice?”).
“Mind Baby” goes back to rock with a tinge of funk and art. It’s a bit herky-jerky in a very good way. The vocal harmonies are stellar, backing up Palumbo’s plaintive singing. The instrumental break toward the end shows a band that knows what it is and what it can do, and indicates a comfort among the players.
“I Don’t Have a Tie” is the next-to-last cut. It’s a natural coming out of “Mind Baby”, with reflective and complementing rhythms accompanying catchy musical lines. This is art rock with, again, a bit of funk tossed in.
“Sleep” rounds things out. The narrator likes to slumber, often, because then he can live out his dreams that don’t materialize during the waking period (“I can be anything in my dreams”). It features acoustic guitar setting a foundation for Palumbo’s singing. There is a dreamy aspect to this one, yet the music pulls the listener in to be part of the fantasy.
If you missed Crack the Sky (the album and band) 50 years ago, do yourself a favor. Pick up the original album — and also get the new, live one. They’re not exactly the same (the solos and flourishes in 2025 just add to what was done in 1975). Hopefully, this one will get the distribution that the original failed to get — for it is deserving and then some. This is one of the best albums of the year, hands down. No surprise there; it’s been 50 years in the making.
Release Date: June 20th, 2025Record Label: Adobo RecordsGenre: Progressive Rock
Musicians: John Palumbo/ Guitars, lead vocals * Joe Macre / Bass * Rick Witkowski / Guitars, vocals * Joey D’Amico / Drums * Bobby Hird / Guitars, vocals * Bill Hubauer* / Keyboards, sax, vocals
**Crack the Sky Live 2025 Track-list:1. Hold On 2. Surf City 3. Sea Epic 4. She’s a Dancer 5. Robots for Ronnie 6. Ice 7. Mind Baby 8. I Don’t Have a Tie 9. Sleep
Listen to *Crack the Sky Live 2025* here
The post CRACK THE SKY – Crack The Sky Live 2025 (Album Review) appeared first on Sonic Perspectives.
Addicted to the Violence is the third record from the helm of System of a Down guitarist and vocalist Daron Malakian in tandem with his Scars on Broadway. A smashingly varied recording of sounds, Daron and friends present a dazzling and luminously dark LP of ten standout songs.
The record opens with two blistering rockets in the form of the angry “Killing Spree” and the politically-charged “Satan Hussein.” Daron, no doubt, wanted to make a clear statement with this record both lyrically and musically. “Killing Spree” is fast yet groovy, with a catchy chorus: “Insanity, controlling me, society, the kids are on a killing spree.” There’s also some blast beats here from drummer Roman Lomtade that I really wasn’t expecting but found endearing. The song doesn’t pull any punches as it makes a statement about the rash of violence we’ve been experiencing here at the hands of young people who seem to lack empathy and emotion. “Satan Hussein” is a grittier sounding track that seems to run the gamut of themes from drug use to religion to neighborhood violence.
While “Satan Hussein” is a bit repetitive for me personally, it’s followed up by the masterfully melodic and catchy “Done Me Wrong.” Co-written by multi-instrumentalist wizard Orbel Babayan, this is one of the record’s best songs and features a classic Malakian bridge followed by a really unique Armenia-style saxophone solo. In fact, Malakian and associates use several instruments on this record in rather unconventional ways that are pushed into new directions.
“The Shame Game” is a more traditional rock track that’s a bit more contemplative and reserved than the earlier cuts on the record, but it’s filled with affect and more masterful use of the keyboards, organ compounded with rich melody. This particular song is emblematic of just how talented the songwriting for Scars on Broadway has become. “You Destroy You” is a slightly similar cut in the vein that the band isn’t afraid to slow the tempo down a bit and allow the vocals to get a turn in the driver’s seat.
“Destroy the Power” has a thumping baseline and a lead guitar track that sounds a bit Middle Eastern. The keys also offset a hammering groove that envelops a percussive lead chant. Malakian isn’t afraid to delve deep into his heritage here on this piece and the rest of the record.
“Your Lives Burn” is a straight-ahead rocker that will satisfy your need to get your pulse raised. This particular cut has a bit of a punk edge to it. It’s short, punchy, powerful, and in your face, and politicians and the media are conspiring. “Imposter” follows with that same raw energy, with really thick guitars taking center stage. I can see this one being a favorite in the live show. “Watch that Girl” has a similar up-tempo mixed with some time changes that accentuate the emotion the band is trying to convey as they warn you to “watch that girl…she is the one that will walk all over you…”
The record closes with the fantastic “Addicted to the Violence,” which again brings in the keyboards to match the guitars to form a rich wall of sound. I’m actually getting some shades of latter Ghost in this particular track as it’s a clear rocker but with some pop sensibilities. It’s five plus minutes of magic that will leave you breathlessly wanting more. In a catalog of brilliant songs by Malakian, it’s difficult to stand out, yet this one clearly does.
Addicted to the Violence, in my opinion, is the pinnacle of the Scars on Broadway releases. Of course, System of Down fans will wonder… is this as good as System? My answer, quite frankly, is yes. It is. It shares the same diversity of sound, the same careful layering of sonics, and similar urgency. I will also admit that, like some of you, I actually prefer Daron’s lead vocals to those of Serj Tankian, thus another reason to love this record. The contrast between Daron’s solo work and Serj’s is rather sharp, as Daron seems to be more apt to embrace the System sound.
Release Date: July 18th, 2025Record Label: IndependentGenre: Alternative Metal, Punk, Psychedelia
Musicians: Daron Malakian / Vocals, guitar, bass * Orbel Babayan / Keyboard, guitar, bass * Roman Lomtadze / Drums * Matthew “Narducci” Silberman* / Saxophone
Addicted To The Violence Track-list:1. Killing Spree 2. Satan Hussein 3. Done Me Wrong 4. The Shame Game 5. Destroy The Power 6. Your Lives Burn 7. Imposter 8. You Destroy You 9. Watch That Girl 10. Addicted To The Violence
Listen to Addicted To The Violence here
The post DARON MALAKIAN & SCARS ON BROADWAY – Addicted To The Violence (Album Review) appeared first on Sonic Perspectives.
Norwegian Viking/black metal icons Helheim are back with their 12th studio album — a groundbreaking effort that sees the band venture into uncharted territory by crafting a split album with… get this… themselves! For the first time in their more than 3 decade plus history, core songwriters V’gandr and H’grimnir have each taken complete creative control over one half of the album, handling both vocals and musical direction independently of one another. The outcome is that we get two different takes on the classic Helheim sound.
HrabnaR is the title of the first half of the record. H’grimnir has control of the reins here. It opens with the powerful, yet dark and cold “Geist.” This cut is pure Helheim and will take the listener back to some of the band’s earlier work in the verses, but is meshed with some lovely vocal harmonies in the chorus. An extremely strong opening. The melodic “Sorg Er Dodens Spade” follows and slows things down a bit. Some stand-out vocals again here. I love the space in the mix for the bass, and with that, you can hear a touch of some 80’s goth in here – think The Cure – but just a touch. “Livsblot” speeds the tempo up again and features some of the lightning-fast tremolo guitar the band has made part of their signature sound. Similar sonics are found on “Mennesket Er Dyret I Tale.”
Ad Vesa is the second half of the split record, with V’gandr helming the back four songs. You might recognize V’gandr from his work as live bassist in the legendary Taake, also based out of Bergen, Norway. “Fygla” is the opener here. It’s a bit black and roll and probably the most accessible track on the entire LP, which is accentuated by some very unique sounds here and there with a Hammond organ.
“Hamingja” is a track that uses mixed tempo and time changes. It reminds me a lot of the band’s work from 2010 and their Asgards Fall EP. Some shades of “Dualitet og ulver,” which is one of their best tracks. “Hugr” likewise harkens back to the band’s earlier years with some grit, velocity, and lyrical content that goes deep into Norse metaphysics. The record closes with “Hamr” which introduces some keyboards alongside traditional blastbeats and chord progressions that are unmistakably Norwegian.
Recorded in Duper and Solslottet Studio in 2024-2025, the album was engineered, produced, mixed, and mastered by Iver Sandøy, who you know as the drummer and vocalist for Enslaved. This is Iver’s second record that he produced, that is coming out this month (Gaahl’s Wyrd being the other one).
Helheim is one of those bands that cares little about boundaries or rules. They have always carved their own unique path. This record, in that regard, is no different. It takes risks, and luckily, those risks pay off. While not their best record, this is an invigorating record that is going to really satisfy those who desire genuine Norwegian black metal.
Release Date: June 20th, 2025Record Label: Dark Essence RecordsGenre: Viking Black Metal
Musicians: Hrymr / Drums, grand piano, Hammond organ, vocals (clean) (tracks 5-8) * V’gandr / Vocals (tracks 5-8), bass * H’grimnir / Vocals (tracks 1-4), guitars (rhythm) * Noralf* / Guitars (lead)
HrabnaR / Ad Vesa Track-list:1. Geist 2. Sorg er dødens spade 3. Livsblot 4. Mennesket er dyret i tale 5. Fylgja 6. Hamingja 7. Hugr 8. Hamr
Listen to HrabnaR / Ad Vesa here
HrabnaR / Ad vesa by HelheimThe post HELHEIM – HrabnaR / Ad Vesa (Album Review) appeared first on Sonic Perspectives.
One of the most persistent myths tied to progressive metal is the notion that a truly unique expression of the subgenre necessarily comes at the expense of accessibility. Even when considering its well known purveyors in the likes of Dream Theater and Symphony X, there is common notion that what is being conveyed is on an entirely different wavelength than what tends to appeal to the metal mainline, despite when said bands opt to hold off on the technical extravagance and longwinded compositions for something closer to what passes for terrestrial radio.
But occasionally, the elusive middle ground between high artistry and the music of the common man that typifies those moments where the progressive sound enjoys crossover appeal is achieved by a relative newcomer to the scene; in this case, the formerly Brazil-born turned Brooklyn-based multi-instrumentalist and vocal extraordinaire Tiago Masseti via the project bearing his surname.
Many items are on the menu regarding Odds And Ends, the first studio album to carry the Masseti name, but subtlety is not among them. Extensive expositional material or drawn-out overtures are forsaken in what can be dubbed a very direct yet also highly nuanced blend of virtuosic musicianship and no-nonsense metallic aggression. Tiago’s vocal approach could be likened to an intricate hybrid of the typically smooth and introspective stylings of James LaBrie and Ray Adler and the gritty snarl of Ronnie James Dio, resulting in something that one might almost mistake for Nils Patrik Johansson fronting a progressive quintet.
Likewise, his skillful command of the guitar and keyboards is responsible for much of the instrumental tapestry that surrounds his face, which could easily be likened to the seminal 90s output of Dream Theater mixed with some of the aggression heard out of Nevermore and Manticora. Other musicians are present in a session capacity to provide the highly involved rhythm section and add further technical flourishes, but this is otherwise a highly involved one-man show.
The most unique feature of this album is how it subverts expectations by first conforming to prototypical progressive metal practices before breaking with them. This is accomplished via a series of well crafted, rhythmically complex crushers in “Serpents And Whores” and “Against Our Fire” that play ups the polyrhythmic and odd time signature-based mayhem like it’s going out of style, paralleling the elaborate character of Metropolis Pt. 2: Scenes From A Memory but amping up the heaviness factor and distilling it down to two moderately long anthems with soaring choruses.
“The Pool Of Liquid Dreams” arguably takes the technical showmanship a step further and throws all the same tricks up against the wall at a faster tempo and in just over 4 minutes, rediscovering the concept of a progressive banger entry. In most respects, what makes these songs truly unique isn’t any peculiar stylistic quirk, but just how seamlessly these musical elements that normally accompany a more subdued vocal performance work with Masseti’s highly bombastic voice.
This prototypical formula of mixing things up musically while still holding on to a strong level of melodic coherence is recapped towards the end of the album in two highly complex epic entries dubbed “Never Be Like You” and grand hurrah “Heir Of The Survivor”, veering the closest to pure virtuosic insanity with the latter featuring Masseti himself throwing out some shredding guitar work to rival John Petrucci. That being said, where things get truly interesting is when Masseti opts to pull back on the complexity for a more straightforward approach.
This primarily manifests in a duo of ballad entries in “Gone” and “Hindrance” that evoke emotions of introspection and melancholy that, while not alien to the progressive metal format, are presented in a plainer fashion with Tiago’s voice leading things along. But the song that truly breaks the mold is the down-tempo, old school heavy metal ode “The Singer In The Arms Of Winter”, which channels both the musical and vocal spirit of Dio so authentically that it could pass for something that said icon might have recorded in the past 15 years following his passing.
Though by no means a stranger to the metal scene in general or the progressive one in particular, Masseti displays such a concentrated dose of youthful exuberance and free thought in how his solo debut album is put together that it just feels like a triumphant new voice has broken through the established order. Odds And Ends is the sort of album that may still fall short of being the best progressive metal album of 2025, but it will undoubtedly force the eventual winner to work for it all the harder should that prove to be the case when December comes calling.
Anyone with any level of appreciation for what the subgenre has been since the early 90s would be foolish to pass this up, though the level of crossover appeal present on this 45-minute musical manifesto is sure to find a receptive audience in the power and traditional heavy metal crowd as well. The name might suggest a collection of leftovers, but Odds And Ends is musically the main course from start to finish.
Release Date: June 20th, 2025Record Label: IndependentGenre: Progressive Metal
Musicians: Tiago Masseti / All instruments and lead vocals, except where noted * Benhur Lima / Bass guitar * Pinheiro Machado / Guitar solo on “Gone” * Renato Osorio / Guitar duet with Tiago Masseti on “Gone,” guitar solo on “The Singer in the Arms of Winter” * Marcelo Pereira / Guitar solo on “Never Be Like You” * Cezar Tortorelli / Orchestrations on “Against Our Fire” * Fabio Caldeira* / Orchestrations and pianos on “Hindrance”
Odds And Ends Track-list:1. Serpents and Whores 2. Against Our Fire 3. The Pool of Liquid Dreams 4. Gone 5. The Singer in the Arms of Winter 6. Never Be Like You 7. Hindrance 8. Heir of the Survivor
Listen to Odds And Ends here
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With 2023’s conceptual The Approbation, Avkrvst instantly revealed themselves as one of today’s most promising new Norwegian prog rock bands. In fact, we championed it as a “must-hear collection” that balanced originality with clear allusions to influences such as “King Crimson, Porcupine Tree, Anekdoten, and Opeth.” Clearly, expectations were high for its follow-up, and thankfully, all of them have been met or surpassed with Waving at the Sky. Occasionally fiercer and more adventurous than its predecessor, Avkrvst’s second sequence is a lovingly sophisticated, diverse, and melodic journey that demands your attention.
As vocalist/multi-instrumentalist Simon Bergseth explains, the album sees the quintet pushing themselves “in a bit more original direction, and maybe a tiny bit more mature?”
He adds: “It sounds like us, but I think this album sounds even more like us than The Approbation. And that was kinda what we hoped and aimed for as well, to dig a bit deeper into our musical selves, try a bit more stuff than last time, but without losing ourselves in it. I think we’ve achieved exactly that.”
Narratively, Waving at the Sky takes place before The Approbation and is similarly inspired by true events. “The lonely man in the cabin, who was going insane on The Approbation, is one of the characters [here], referred to as ‘the stepdad,’” Bergseth clarifies in the official press release.
He continues: “The story is about two families that are neighbours, who both abuse their children, and then they start doing it with each other’s children too. It was a big thing on the news in Norway. The spoken words in the intro and in the last song are things taken from the eventual trial. It’s basically as dark as you can get. Martin [Utby, drums and synths] and I were a lot younger, so we didn’t comprehend or grasp the depths of it at the time. Now, over a decade later, each with our own daughters and family, the case suddenly had an extreme impact when it came to mind on one of the first trips to the cabin.”
From the moment instrumental opener “Preceding” begins, it’s clear that Avkrvst are deadest on capturing evocative moods and cinematic scopes. After all, it conveys the mystery and emotion you’d expect from the prelude to a dramatic – and even disturbing – story, with crunchy guitar riffs and agitated rhythms ebbing and flowing around beautifully pastoral timbres (silky strings, acoustic guitar arpeggios, etc.) to yield a musical world both rustic and rebellious. Expectedly, and as with the rest of the LP, the group juxtaposes these hellish and heavenly moments brilliantly to simultaneously foreshadow the varied temperaments to come and highlight their enhanced aptitudes and ambitions.
On that note, the remaining six tracks are equally spellbinding in their own ways. For instance, there’s the piercing chaos and harrowing sentiments of “The Trauma” (during which Bergseth sings, “God, please let me / Out of this loathsome life / Godforsaken times / Oh, please let me die”); the death metal growls and ominous yet soothing catharsis of “Families are Forever”; and the symphonic hyperactivity at the heart of “Ghosts of Yesteryear.”
That said, arguably the record’s greatest passages lie elsewhere, with “Conflating Memories” incorporating a subtly gorgeous and arresting motif halfway in (you’ll know it when you hear it) and the title track serving as an epic finale bursting with perhaps the most excitingly intricate and adventurous instrumentation the fivesome have composed thus far. Sure, it’s inherently reminiscent of other established acts (including Haken, whose frontman, Ross Jennings, does a superb job guesting on “The Malevolent”), but it’s nonetheless a jaw-dropping example of Avkrvst enriching their characteristic artistry.
Whether you’ll like Waving at the Sky more than The Approbation largely depends on who you are. If you enjoyed the lighter, dark folk elements of their debut, you’ll probably still prefer it, whereas those who favor savagery and complexity will probably enjoy this newer offering more. Regardless, Avkrvst have now crafted two of the best progressive rock/metal albums of the 2020s, with Waving at the Sky maintaining everything that was essential to its predecessor’s success while also pushing themselves into fresher and more ferocious places. It’s a total triumph that genre fans should study and celebrate as often as possible.
Release Date: June 13th, 2025Record Label: InsideOut MusicGenre: Progressive Rock / Metal
Musicians: Auver Gaaren / Keys * Simon Bergseth / Vocals, guitars, bass * Martin Utby / Drums, synths * Øystein Aadland / Bass, keys * Edvard Seim* / Guitars
Waiving at the Sky Track-list:1. Preceding
2. The Trauma
3. Families are Forever
4. Conflating Memories
5. The Malevolent (feat. Ross Jennings)
6. Ghosts of Yesteryear
7. Waving at the Sky
Order Waving at the Sky here
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A vintage soundtrack fit for a tyrant’s funeralFor those not living under a rock, the resurgence of thrash metal as a force in the underground has been common knowledge for more than 20 years, yet certain bands can’t help but make it seem like a much more recent phenomenon. Spearheading this trend of old remaining new is Sicilian-born trio Xenos A.D., who were slaying the airwaves and the vertebrae of all within earshot since 2019, albeit minus the A.D. until 2023.
Sporting a multifaceted style that encompasses the well-rounded mixture of high speed mayhem and mid-paced muscle with a side order for haunting acoustic balladry that was common in both San Francisco and Great Britain during the late 1980s and the more brutal trappings of the style that came to prominence in the late 2000s, they produce a sound more befitting a 5-piece band, especially insofar as their 3rd and latest LP Reqviem For The Oppressor is concerned.
In keeping with their small arrangement, this is a band where every member of the fold pulls their weight and functions as an integral part of the resulting whole. Guitarist Giuseppe Taormina, whose extensive work both in and outside of thrash metal includes such notable groups as Crystal Viper and formerly Crimson Wind, lays down a brilliant riff assault topped off with enough flashy detailing and shredding solo moments to orbit both Eric Peterson and Alex Skolnick.
Drummer Danilo Ficicchia functions as a key bridge between Xenos A.D.’s stylistic affinities for the ’80s and the present with a varied blend of straight-up brute force, jazzy go-between, and even the occasional blast beat. But the lynchpin that brings the whole thing together is the charismatic persona and bass chops of front man Ignazio Nicastro, who manages to emulate such notable bass masters as Dave Ellefson and D.D. Verni while also growling out the lyrical content resting above the sonic fray.
Though set to a production template that is appropriately large and forbidding by 2025 standards, one can’t help but feel a blast from the past in every individual offering that rounds out this 42-minute kill session. One can’t help but recall the haunting acoustic resound and sense of impending doom that kicked off Sepultura’s Beneath The Remains during the creepy overture of “1986”, though Taormina crafts something that’s a tad more elaborate and leads directly into a pounding electric march set to the same theme for added intensity.
The calendar gets flipped back even further for the first full-on thrash assault in “Dogma Of War”, which channels the battle-torn modernity of Warbringer and recalls the horrific aftermath that rocked Hiroshima in 1945. Other war anthems like “Tears On The Face Of God” and “Children Of The Atomic Sun” cover similar subjects in the lyrical department, though the former mixes in some more haunting classical guitar high-jinks before going for the proverbial jugular while the latter throws in a few progressive elements and sees Taormina tearing up the fret board like it’s going out of style.
Even more impressive than the sheer level of aggression and technical intrigue on display is the careful attention to detail that turns each of these anthems into elaborate stories of shock and awe. The pummeling riff fest “Crown Of Separation” could almost be a lost track from the seminal days of Watchtower in how it seamlessly wheels through contrasting melodic segments and fleeting acoustic interludes while still functioning as a coherent song.
“Welcome The Destroyer” accomplishes the same sense of musical busyness, but relies more on interplay within the 3 principal instruments, as Ficicchia’s ever-expansive drum work regularly trades technical blows with the kinetic guitar work and rapid-fire vocal work. Nevertheless, the epic beast of a title entry “Reqviem For The Oppressor” is where complexity comes to a head, manifesting in the form of how a 2020s thrash revival act might emulate the arguable pinnacle of latter-day thrash metal, namely Megadeth’s “Hangar 18”.
In a day and age where thrash metal is often expressed through a one-dimensional fit of high-speed madness or otherwise relegated to the simplistic mode of attack, the bands that stand out from the pack are the ones that aren’t afraid to mix things up and venture into less explored territory. Reqviem For The Oppressor is such an album that sees thrash as an expansive way of expressing the angst and discontent that was originally embodied in the ’70s punk rock movement, one where intrigue and excellence are not shunned as elitist but embraced as something that everyone can bring to the table after putting in the work.
While still one of the lesser known acts to come out of Italy since said nation became a key player in the 2000s thrash revival, Xenos A.D. has primed themselves for a much larger audience, and those that crave the flashier side of the coin embodied in the likes of Forbidden, Death Angel and several newer bands treading a similar stylistic path would do well to add this to their collection.
Released By: *My Kingdom Music
Release Date: May 23rd, 2025
Genre(s): Thrash Metal*
Musicians: Danilo Ficicchia / Drums * Ignazio Nicastro / Bass, vocals * Giuseppe Taormina* / Guitars
*Reqviem For The Oppressor Track-list:*1. 1986 2. Dogma Of War 3. Tears On The Face Of God 4. Crown Of Separation 5. Welcome The Destroyer 6. Children Of The Atomic Sun 7. The Bleeding Hands Of Faith 8. Reqviem For The Oppressor 9. Dance Of The Gods
Order Reqviem For The Oppressor here.
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“Music holds the secret, to know it can make you whole. It’s not just a game of notes, it’s the sounds inside your soul.” When it came to combining intricate performance, uplifting lyrics and a head-banging good time, Triumph held the magic power. This Canadian power trio may not have become the worldwide sensation that their brothers in Rush achieved, but they clearly gained the admiration of their peers as they sold millions of albums to fans from the late ‘70s through the ‘80s. That respect plays out on this new tribute to Triumph, where a host of hard rock and metal all-stars come out to offer their homage to the band via inspired performances. It’s a sleek, well-produced affair that is a stimulating experience in and of itself, while ultimately reminding the listener of their love for the band’s original recordings.
Every song features a different lineup, though several musicians play on multiple tracks. There’s a noticeably tasteful design to the running order of songs, evident in the choice to open with the beautiful brief intro of “24 Hours A Day” which appropriately segues into “Rock And Roll Machine”. Both are sung by Sebastian Bach, who himself performed the latter song on stage with a latter-day version of Triumph back in 1993. To live up to the song’s reputation, a killer guitarist is needed to cover Rik Emmett’s tour de force performance, and Bumblefoot surely fits the bill with an incendiary solo.
“Magic Power” is likely the most successful song the band ever charted, hence being the title track to this tribute. Joey Belladonna from Anthrax got the call to sing on this classic, while drumming legend Kenny Aronoff sits behind the kit for this and several other songs, delivering the power that Gil Moore originally laid down. The arrangement is true to the original, though a little less nuanced and a little more focused on rocking out, which holds true for much of this album.
There are some surprising choices in the album’s lineup, such as Starship‘s Mickey Thomas singing the crunching “Spellbound”. While not quite as heavy as Moore’s original vocals, Thomas does a convincing job, this time with Tommy Aldridge on drums. Most interesting on this tribute is the presence of Phil X (Xenidis), who infamously took Rik Emmett’s place on guitar after Emmett left the band, albeit only for one studio album. Phil X appears on several tracks, including guitars and backing vocals for “Spellbound”.
Dee Snider jumps in to sing a scorching lead vocal for “Lay It On The Line” while Paul Gilbert ensures that all of the crunch and blazing notes are well represented on the six strings. Next up is Lawrence Govan (lead singer of Styx), whose vocal tone perhaps most closely approximates Emmett’s as he sings their pop-rock hit “Somebody’s Out There”, while REO Speedwagon’s Dave Amato covers the lead guitar parts. It’s a perfect rendition.
“Never Surrender” may not have been my favorite Triumph song of all time, but on this collection, it wins top spot. There’s something about the combination of Deen Castronovo’s (Journey) vocal delivery, veteran bassist Tony Franklin’s fretless tone, Brooks Wackerman’s drum kit, and Justin Derrico’s tasteful guitar playing that really captures the magic on this piece. Excellent.
The spell continues with Tesla’s Jeff Keith singing “Hold On” and Phil X covering all of the guitars for a most energizing performance. Then the setlist takes an unexpected turn by including “Just One Night”, the band’s most blatant attempt at cashing in on the ‘80s hair metal ballad craze. This version wisely keeps the keyboards to a minimum, transforming it into a more respectable mid-tempo rocker.
It’s all about guitars on “I Live For The Weekend” when Slash is teamed up with Nita Strauss, along with Phil X on rhythm guitars. Dorothy and Tyler Connolly match – or even outdo – the vocals of the original (sorry, Gil). It’s a rare moment on the album where a cover outdoes its source inspiration.
Then we hit one of the most unexpected arrangements of the beloved “Fight The Good Fight”. Nancy Wilson takes lead vocals on a moody, even sultry version of this classic anthem as Mason Stoops’ guitars create a unique atmosphere and vibe. At first, it seems to be a total miss, we can’t help but yearn for the attack and energy of the original. But taken on its own terms, Wilson’s version proves to be successful and inventive. And for the best of both worlds, the end of the album includes a bonus track of the same song played much more faithfully, featuring none other than Dino Jelusick on lead vocals. So, you can rock out and eat your cake, too.
If that arrangement of “Fight The Good Fight” wasn’t enough, Envy of None’s take on “Blinding Light Show” really hits home the potential for these songs to have another life when performed with very different arrangements. Maiah Wynne’s dreamy vocals are fantastic on this atmospheric take. Of course, this is Alex Lifeson’s band, so it’s cool to get his tip of the hat to Emmett. Don’t expect any La Villa-style pyrotechnics here, though you might want to check out Lifeson’s cameos on Emmett’s excellent “RESolution 9” album from 2016.
Spinal Tap may have gleaned some inspiration from rockers like “Rock And Roll Machine” and “Allied Forces” (because, come on, bassist Mike Levine SURELY inspired Harry Shearer’s portrayal of Derek Smalls), and the latter is well represented here by Phil X taking over not only guitars but lead vocals convincingly. “Follow Your Heart” also gets an airing with Jack Blades (Night Ranger) on vocals and Reb Beach on guitars.
With a track list that’s on point and top-tier performances throughout, this is a worthy tribute to the legendary band. The agenda is largely to keep things rocking and fairly heavy – there’s no chance of hearing Alison Krauss crooning on “Suitcase Blues” for example – but along with some unexpected arrangements and an ever-rotating cast of all-stars, this Magic Power lives up to its name and reminds us why we love this band so much. Therefore, at the end of it all when the lights go down, you’ll likely want to revisit the originals to once again be inspired by this creative and cherished rock and roll machine.
Released By: *Round Hill Records
Release Date: June 6th, 2025
Genre(s): Classic Rock*
*Magic Power: All-Star Tribute To Triumph Track-list:*
| 24 Hours a Day – 1:22Vocal – Sebastian BachBass – Sean HurleyGuitars – Brent Woods Rock & Roll Machine – 4:34Vocals – Sebastian BachDrums – Kenny AronoffBass – Todd KernsAll Guitars – Bumblefoot Magic Power – 5:24Vocal – Joey BelladonnaBackground Vocals – John SpikerDrums – Kenny AronoffBass – Todd KernsAll Guitars – Justin DerricoKeyboards – Jamie Muhoberac Spellbound – 4:55 Vocal – Mickey ThomasBackground Vocals – Phil X and John SpikerDrums – Tommy AldridgeBass – Todd KernsAll Guitars – Phil XKeyboards – Jamie MuhoberacLay It On the Line – 4:11Vocal – Dee SniderBackground Vocals – Kyle Glass and John SpikerDrums – Victor IndrizzoBass – Sean HurleyAll Guitars – Paul Gilbert Somebody’s Out There – 4:30Vocal – Lawrence GowanBackground Vocals – Lawrence Gowan and John SpikerDrums – Kenny AronoffBass – Chris ChaneyRhythm Guitars – David Levita and Josh GoochLead Guitar – Dave AmatoKeyboards – Jamie MuhoberacNever Surrender – 6:43All Vocals – Deen CastronovoDrums – Brooks WackermanBass – Tony FranklinAll Guitars – Justin DerricoHold On – 5:29Vocal – Jeff KeithBackground Vocals – Mike BrayDrums – Brent FitzBass – Sean HurleyAll Guitars – Phil X | Just One Night – 4:01Vocal – Jason ScheffBackground Vocals – Jessie Payo and John Spiker Drums – Kenny AronoffBass – Sean HurleyRhythm Guitars – Dave Amato and John SpikerLead Guitar – Josh GrussKeyboards – Jamie MuhoberacI Live for the Weekend – 4:50All Vocals – Dorothy and Tyler ConnollyDrums – Josh FreeseBass- Todd KernsRhythm Guitars – Phil XLead Guitar – Nita StraussSlide Guitar – SlashKeyboards – Jamie Muhoberac Fight the Good Fight – 4:47Vocal – Nancy WilsonDrums – Tony BraunagelBass – Sean HurleyAll Guitars – Mason StoopsKeyboards – Jamie Muhoberac Follow Your Heart – 4:04Vocal – Jack BladesDrums – Victor IndrizzoBass – Sean HurleyRhythm Guitars – Phil XLead Guitar – Reb BeachBackground Vocals – Jack Blades and John Spiker Allied Forces – 4:21Vocal – Phil XBackground Vocals – Phil X and Daniel SpreeDrums – Brian TichyBass – Daniel SpreeAll Guitars – Phil XKeyboards – Jamie Muhoberac Blinding Light Show – 4:15 Envy of NoneVocal – Maiah WynneDrums – David SteinbergBass…Andy CurranRhythm Guitars Alf AlibilliniLead Guitar Alex Lifeson Fight the Good Fight (Encore) – 6:43 Vocal – Dino JelusickDrums – Victor IndrizzoBass – Sean HurleyRhythm Guitars – David Levita and John SpikerLead Guitar – Joel HoekstraKeyboards – Jamie Muhoberac |
Order Magic Power: All-Star Tribute To Triumph here.
The post VARIOUS ARTISTS – Magic Power: All-Star Tribute To TRIUMPH (Album Review) appeared first on Sonic Perspectives.
For all of the misgivings that exist around what black metal is (some of which are perpetuated by members of the genre themselves) it is in the bright light of day a genre of incredibly variety and contrast, with hard charging bands of inscrutable malice to virtuosic love letters to a bygone era of compositional extroversion and experimentation. The free-for-all “do as you like” ethic and DIY ethos of a genre predicated upon expression in its purest sense as an ontological good can birth music of immense thematic gravitas, or, on the other hand, unfocused hodge-podges of flagrant mediocrity. Thankfully, Obsidian Tongue strikes the proverbial chords of the former with their latest effort, Eclipsing Worlds of Scorn.
A shifting, contorting, dirge-like melodic guitar draws us into the earliest throes of track 1, “Orphaned Spiritual Warrior,” which itself is a transitive and nuanced piece of avant-garde black metal. Perhaps it could do with going harder, bringing in more rawness, asserting itself more poignantly, but in all fairness, by the halfway mark, this is recognized, and the intensity shifts with explosive intent whilst still retaining the most sonorous parts of the melodic portion of Obsidian Tongue’s style.
Suffice to say, such melodic focus lasts about as long as ice cream in heat, with “Snakeskin Tunnel Colony” being a far more traditional affair, replete with messy, compressed production, howling vocals that evoke macabre nightmares, and impactful percussion at the gifted hands of Raymond Capizzo. However, once the most intense parts of the tracks opening peel away, an extended segment of entrancing guitar solo announces itself with a reposed and relaxing conveyance, before eventually carrying this change of pace into a relapse towards loud and aggressive intensity, creating a cohesive and stylistically rich song that displays a multitude of sonic directions and mixes them into a cohesive whole.
The opening entries on “Eclipsing Worlds of Scorn” do a solid job of setting your expectations for what is to come from the rest of the album, as from here it is much of the same for better and for worse. It is certainly a mark on the “for better” side that the melding of elements that Obsidian Tongue focus in on are blended in such a way that overall product is so distinctive and unique, with a progressive side to their music that doesn’t manifest in the way other black metal bands of the same ilk such as Deathspell Omega do, insofar as the overall product feels more deliberately segmented and the progressive and melodic passages given a greater room to breathe and stand for themselves, trading some of the chaotic and spasmic flair of those bands for a mature and coherent refinement instead. As with all things in music, your mileage with that may vary.
To boot, track 3 doubles down upon the established formula with greater aplomb, the title track “Eclipsing Worlds of Scorn” fulfilling exactly what is needed of a title track – to be the bearer of the albums vision, and furthermore to show the greatest execution of it within the wider context of the release. Drums crash, guitars buzz, vocals summon inky perturbation of a kind most deranged, then sublime passages of blissful repose like velvet cover the sprawling catastrophe created by such maleficent aural force, only to be peeled back once more by the onslaught.
It does remain to be said however that when placing a strong song within an album, any weaknesses of the next track are likely to become more noticeable, and I am afraid that whilst “To Forgive Oneself” is by no means a bad track per se, that it’s somewhat meandering pace and overly type-casted stylistic bent does begin to grow slightly old by what is well over the half way point of Eclipsing Worlds of Scorn.
In a sense, a band can become a victim of their own uniqueness, because what makes them stand out also becomes immediately recognizable across all of their music. When this happens, such as to some degree in Eclipsing Worlds of Scorn that it does, it can feel as if Obsidian Tongue became risk-averse and has fallen too much in love with their admittedly otherwise very good sound. Ultimately, for me, and others who find themselves drawn to their sound, it’s no dealbreaker, but I’d be lying if I said a part of me wasn’t yearning for some difference and sonic risk by the 30-or-so-minute mark of the album.
As the old adage goes, “ask and ye shall receive” because following “To Forgive Oneself” is the tranquil and rather different “…And Still They Dream” which doubles down on the more fleeting relaxed passages of music that have been dispersed between the somewhat more traditional black metal sections of ferocity within the album. As I often say, if everything is heavy within an album, then nothing is heavy, and the strategic and frankly necessary deployment of this well-accomplished piece of artistry allows us to reset our listening parameters, enjoy some solid production and be ready again for the last song of the record…
As you may well have come to expect by now, the sixth and final track returns to a harder style, but with a renewed energy that carries the predictable yet well accomplished assorted compositional traits they so distinctly comprise of across its long yet merited 8 minute run time, it’s not a special track – well, not like the title track is anyway, but it conclusively brings to an end the album in a competent, cohesive and interesting enough manner, collating the last 40 minutes of listening into something enjoyable and not overly self-insistent.
Released By: Profound Lore Records
Release Date: May 30th, 2025
Genre(s): Melodic Black Metal, Progressive Metal, Technical Death Metal
Musicians: Brendan Hayter / Guitar, vocals, bass, synth * Raymond Capizzo* / Drums
*Eclipsing Worlds Of Scorn Track-list:*1. Orphaned Spiritual Warrior 2. Snakeskin Tunnel Colony 3. Eclipsing Worlds of Scorn 4. To Forgive Oneself 5. …And Still They Dream… 6. Theatre of Smoke and Wind
Order Eclipsing Worlds Of Scorn here.
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Norway’s Gaahls Wyrd returns just in time to blacken your summer with the heartfelt Braiding the Stories. Picking up with 2019’s Gastir – Ghost’s Invited left off, the band continues their foray into the avant-garde and post-black metal manifestations of sound.
The title track, “Braiding the Stories,” is an affect-filled diversion into Gaahl‘s world. It’s complicated, sometimes dark, misty, and multi-faceted. Unique sounds keep up your interest through the 8-minute-plus opus of breathtaking, yet complicated beauty. Not at all obvious on the first listen, you have to grapple with this work to fully appreciate its composition. Sometimes black metal, but with a Lindsay Buckingham-type lead guitar tone, Gaahl (Kristin Espedal) and friends break new ground with this one.
Things are different, however, on “Time and Timeless Timeline,” which is a straight-up rocker that immediately grabs you by the throat and pulls you in deep. It’s about as close to traditional black metal you’re going to get on this record, however, those who’ve been listening to Gaahl’s more recent work over the past decade know that he’s moved far beyond that. This is another track where Gaahl effectively uses his vocals in novel ways to add texture and nuance. Similar sonics are present in the less direct, more circuitous “Through the Veil,” as well as “Visions in Time.” The latter also gives some shades of Queen and Brian May‘s guitar.
“And the Now” is a dreamy sort of endeavor. Again, throwing traditional song structure to the wayside, the band utilizes its multitude of talents and musicianship to take the listener into a dream-like state of being. It’s these types of tracks where the band really excels at creating something that’s more than just “black-gaze” or “shoegaze;” there’s more direct purpose and engagement with the person on the receiving end of the audio. You can’t help but be moved, shifted, and turned in a multitude of directions, not just with this particular track, but really with the entire record as well. Listening to Gaahls Wryd is like watching an episode of the Apple TV show Severance, you become so immersed in the art, and you have absolutely no idea where it’s going to take you.
The record was co-produced with Iver Sandoy, who you might already know from his work as drummer and vocalist in Enslaved. The production on the record is really outstanding, as we can hear all the barely audible sounds that Gaahl has created throughout the record. Gaahl’s voice is there, of course, to deliver the vocals, however, he often uses it as its own instrument as well, bringing in layers of atmosphere to the recording. As he tells us, “Throughout this album, I use a lot of different voices, and I’ve thought a lot about how all these different characters fit [into the music]. So, I wanted the listener to fall into the album, not be distracted, and I think I’ve accomplished that. It’s cinematic.”
If you’re expecting something completely different from Gaahl’s earlier work with Gorgoroth or Trelldom, you’re in for a pleasant surprise. This album pushes boundaries and is likely to take even the most devoted black metal enthusiasts into uncharted territory. Some traditionalists might be scared off, but those who imbibe will be better off for it.
And here’s a new one for vinyl collectors – you can get a special 12-inch record that is actually filled with hair! Now, I can’t tell you whose hair it is, but nevertheless, certainly a first in any collection, regardless! Even without the gimmicks, this is a no-doubt, more than genuine release from one of Norway’s most brilliant artists.
Release Date: June 6th, 2025Record Label: Season Of MistGenre: Black Metal
Musicians: Kristian Espedal “Gaahl” / All voices * Ole Walaunet “Lust Kilman” / All guitars * Andreas Salbu “Nekroman” / Bass * Kevin Kvåle “Spektre”* / Drums
*Braiding the Stories Track-list:*1. The Dream (02:11) 2. Braiding the Stories (08:37) 3. Voices in My Head (02:00) 4. Time and Timeless Timeline (03:03) 5. And the Now (05:49) 6. Through the Veil (01:57) 7. Visions and Time (06:00) 8. Root the Will (05:25) 9. Flowing Starlight (07:11)
Order Braiding the Stories here.
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I didn’t expect to enjoy an album that went out of its way to incorporate so many of the traits that made much 80s music unbearable to me, but the debut from the band that reunited Fates Warning alumni Ray Alder and Mark Zonder was just too damn good not to enjoy. Just shy of that album’s third birthday, this addictive collective is set to release their follow-up, the cleverly titled A-Z², and I’m grateful to report that it’s a record that’s worth what really doesn’t seem like much of a wait.
The first thing that’ll jump out at most listeners is that A-Z have decided to forgo the more overt 80s trappings that their first record somehow had me enjoying. In place of the beer commercials and Miami Vice vibes, we get 80s-inspired melodies and sensibilities, again dressed up with contemporary production. It’s a move I welcome.
The next thing we notice is that there’s been a shakeup in personnel, with Vivien Lalu and Joop Wolters being replaced by keyboardist Jimmy Waldo and guitarists Nick van Dyk and Simone Mularoni, effectively turning A-Z into a Warlord/ Redemption hybrid. It’s not a scenario I’d had on my 2025 lotería card, but again, it’s a move I welcome.
Why? Quite frankly, because both the songwriting and the execution on A-Z² freaking smokes. The compositions are concise and catchy, yet dynamic and kinetic, and sound nothing like one would expect from a band with such a curious lineup. You’ll find neither Redemption’s complexity nor Warlord’s iniquity, because A-Z is a beast unto itself.
That’s not to say you won’t hear similarities. The verses on the opening track “Fire Away” bear an eerie resemblance to Redemption’s “Walls,” but the A-Z guys are wise enough to keep references to earlier work with their other bands nice and subtle. As if to announce that the Alder/ van Dyk duo has reunited, “Fire Away,” also recalls the stellar “Black and White World” in the refrain without bringing too much attention to this citation – I only noticed it after about ten listens. How can this be, you ask?
To start, Alder is in as fine a form as he’s ever been, and his melodies never fail to fit so perfectly over what his bandmates are doing that you can ever fool yourself into thinking that anything else would work better. This man just bleeds hooks, and his ability to create such sinless melodies remains intact and unmatched. Meanwhile, Mularoni and van Dyk focus on texture in the song’s intro while letting Zonder and bassist Phil Bynoe do the heavy lifting. Behaving as if its title is a mission statement, “Fire Away” does just that; it seizes your attention and enjoyment, you deliver those things to it whether you want to give it that satisfaction or not, and you do so while recognizing that you admire this cut not for its nods to Alder and van Dyk’s history, but it for its own merits.
Alder makes it a point to grease things up a bit on “A-Z²,”rasping his voice just a hair when reaching for the higher notes in the verses to “Running in Place.” Lesser singers (and I’m thinking specifically of one of Ray’s contemporaries) often distort to hide the fact that they’ve lost their range, but Ray has the skills and the cred to make it work, regardless of whether he can hit that note without straining or not. He’s not doing it to hide anything at all. He’s doing it to add character to an already aggressively mellifluent line. The refrain on “Running in Place” also employs gang vocals more typical of older thrash to offset the downright prettiness of what Waldo calls the song’s b-section. In an album overflowing with bangers, this is one of the better ones.
Ray isn’t the only one who’s letting loose a bit more. Under direction from Zonder, Phil Bynoe has let himself go off in cuts like “Nothing is Over,” “This Chaotic Symphony,” and especially in the bridge on “Now I Walk Away,” cautiously not overdoing anything within the setting of a band who has deliberately shunned overshredding. Often overlooked if they’re not playing like Lars Norberg or Sean Malone, bassists like Bynoe are a rare commodity in that while he certainly does more than simply pump away at the root or gallop a-la Steve Harris, he manages to elevate the song without hogging the spotlight.
A case in point is the album’s clear showpiece, “A Wordless Prison,” where he carries an already expertly crafted composition to near-epic proportions. I stress “near” because not overdoing things is part of the A-Z manifesto. “A Wordless Prison” may indeed start off sounding a bit like Disconnected era Fates Warning, and its title may sound like it could be an Emperor cover, and while it does approach progressive territory, it sticks closely enough to the basics to just barely toe the line.
Meanwhile, “The Remedy” opens with octave lines that recall Dream Theater’s“Under a Glass Moon,” but like the rest of the album, otherwise remains firmly planted in Not Prog territory, even as Mularoni solos his heart out while the rest of the band holds things firmly together. Zonder then adds just a skosh of technical flair underneath, just as Ray brings the rasp as the song reaches its conclusion.
“I Am Numb” is another instance where a song with a character all its own tips its hat to the band that first brought Mark and Ray together (you’ll hear it about two minutes in), and Bynoe even brings out his cello and his fretless bass for “This Chaotic Symphony,” where we also hear Waldo the most prominently and where the band approaches progressive land while also playing a few passages would only shock you to hear on modern rock radio because they just sound so damn good.
While certainly heavier and less retro than its predecessor, “A-Z²,”remains true to what Mark and Ray set out to do when they formed the band. This album is direct and infectious enough to border on pop, relies on riffs enough for it to be decidedly metal, and exhaustively avoids prog metal excess while still allowing these monster musicians to shine. More importantly, the songs themselves are forged wonderfully, with each one grabbing the listener’s attention and denying them the option to reclaim it. Is this why Hugh Syme seems to be saving all of his actual creativity for this band?
Release Date: June 6th, 2025Record Label: Metal Blade RecordsGenre: Progressive-Tinged Hard Rock
Musicians: Ray Alder / Vocals * Mark Zonder / Drums * Phil Bynoe / Bass * Simone Mularoni / Guitars * Nick van Dyk / Guitars * Jimmy Waldo* /Keys
*A-Z²* Track-list:1. Fire Away Running in Place 2. Nothing is Over 3. A Wordless Prison 4. Reaching Out 5. The Remedy 6. I Am Numb 7. This Chaotic Symphony 8. Learning to Fly 9. Now I Walk Away
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Charlie Robbins, the virtuoso behind Syncatto, returns with Memento, a bold, intricate, and emotionally resonant instrumental journey. Known for his seamless fusion of progressive metal, flamenco, and jazzy cinematic elements, Charlie pushes his craft even further with this release. Memento not only highlights his technical command of the guitar but also his growth as a composer with a flair for groove, atmosphere, and melodic storytelling.
Memento opens with “Mother of God,” a barnstormer that sets the tone with Charlie’s percussive rhythm playing offset by a playful melody. It’s a strong prelude that hints at the journey ahead, mixing heaviness with restraint. As is typical with Syncatto, the song changes direction constantly, forcing the listener to just try and keep up.
Arguably one of the album’s most infectious tracks, “Change of Wind” explodes with syncopated riffs reminiscent of his alter ego band Artificial Language and exotic Eastern melodies. Charlie’s super slidey and hybrid picking riffs are on full display here. The groove here is unrelenting, and Charlie’s confidence shines through every phrase. The blend of thumping djenty rhythms with Asian influences creates something distinctively Syncatto: quirky, technical, and wildly creative. Two songs in, and it’s clear that Charlie Robbins is continuing to evolve his trademark sound. The one guarantee is that the musical output will continue to surprise and delight.
In a shift of pace, “I’ll Be Okay” leans into the melodic side. Though Chon-esque in some ways, Charlie stays true to his identity. This track floats in and out of time, creating a dreamy, fluid atmosphere. As is common in the Syncatto repertoire, he will occasionally reference melodies from prior albums. In this case, “Prestige” from the Fiction album comes to mind. It’s a solid track that feels vocal-ready, as if begging for a collaboration, but holds its own beautifully in instrumental form.
With “Ritual”, Charlie expands his sonic palette even further. Vocalizations, samples, and harpsichord-like elements elevate the track beyond the typical prog guitar format. It’s a masterclass in thematic development — groovy, melodic, and brimming with ideas. It’s the album’s creative peak and a personal favorite.
“Hollow” reinforces Charlie’s unique voice. Percussive riffs duel with hypnotic Asian drone melodies, while hybrid picking and thick tone walls create a powerful dynamic. Just some truly stellar techniques present throughout the entire track. It doesn’t reinvent the wheel, but it doesn’t need to—it reaffirms what Syncatto is all about. Certainly one of the strongest tracks of the album.
Returning to a more grounded approach, “Blind Faith” offers a groove that builds patiently, showcasing Robbins’ knack for melody. While more traditional in structure, it remains engaging and technically rich. Echoes of the A Place to Breathe album surface here, reinforcing Charlie‘s ability to write emotionally compelling music without relying on overly flashy shredding.
With “Codex”, we’re treated to the soothing, classical voice of the nylon guitar. Robbins navigates this terrain with finesse, crafting a transportive piece that evokes movement through different musical landscapes. It’s a welcome change in direction within the album — meditative and warm — and suggests that a full-on flamenco-inspired record wouldn’t be out of place in his discography.
“Blossom” is busy, fusion-tinged, and full of twists. It dances airily before dropping into a detuned breakdown, keeping the listener guessing. Robbins thrives in this kinetic environment, flexing his ability to blend chaos with cohesion. The number of guitar tones surfaced on this album is astounding. Charlie is like the man of a thousand tones, constantly shape-shifting, sometimes measure to measure within the music.
Short and punchy, “Neon Nights” leans into quirky electronic textures. True to its name, it feels like a neon-lit dash through a futuristic cityscape. It’s a quick display of virtuosity and playfulness. “Smoke & Mirrors” brings back Robbins‘ signature slide and hybrid picking combo. While it doesn’t break new ground, it distills his most recognizable elements into a tight, effective package. The rhythmic complexity and time play make it another highlight.
Closing the album with grace, “Waiting for You” strips things back a bit. It’s cinematic, restrained, and breathtakingly melodic. By slowing the pace, Charlie allows space and emotion to carry the piece. The crescendo that concludes the track is not only uplifting and satisfying but alsoa fitting farewell. This is one of his most beautiful compositions and proof that his music doesn’t always need to flex to impress. Sometimes, it just needs to breathe.
Memento is a triumph. It’s the sound of a mega-talented guitarist evolving into a full-fledged composer. Charlie channels groove, melody, experimentation, and storytelling into a cohesive and fulfilling listen. While the technical prowess is ever-present, what truly shines is his artistic maturity, his ability to convey emotion, surprise the listener, and expand the instrumental guitar genre. Fans of Plini, Polyphia, and Chon should drop what they are doing and give Memento a listen. You just found your new favorite jam.
Release Date: May 30th, 2025Record Label: IndependentGenre: Progressive Metal
Musicians: Charlie Robbins* / All instruments
Memento Track-list:1. Mother of God 2. Change of Wind 3. I’ll Be Okay 4. Ritual 5. Hollow 6. Blind Faith 7. Codex 8. Blossom 9. Neon Nights 10. Smoke & Mirrors 11. Waiting for You
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Pennsylvania’s Rivers of Nihilhave only been around for about fifteen years, and they’ve released only a handful of albums; however, they’ve already proven to be among the greatest progressive/psychedelic death metal bands of all time. Their initial two albums showed a lot of promise, but it was 2018’s ingeniously bonkers Where Owls Know My Name and 2021’s more subdued The Work that truly launched them to the top of their class.
That said, Rivers of Nihil may’ve just topped themselves with their fifth studio LP, Rivers of Nihil, since it strikes a virtually flawless and relentlessly mesmerizing balance between sheer brutality, mind-boggling complexity, and downright addictive clean hooks. Whether it surpasses Where Owls Know My Name as the group’s magnum opus is certainly up for debate, but there’s little doubt that Rivers of Nihil is an astonishingly confident, purposeful, and gripping ride.
It’s often said that self-titled records act as a new statement of purpose for artists, as they can suggest that their creators are moving into a new era in terms of their members, style, etc. Rivers of Nihil definitely has that intention because it’s their first LP since losing vocalist Jake Dieffenbach and guitarist Jon Topore (and adding ex-Black Crown Initiate guitarist Andy Thomas).
As guitarist Brody Uttley aptly explains: “I feel like these songs are the perfect blend of all our albums, with all the fat cut away. There are more technical songs that call back to The Conscious Seed Of Light and Monarchy sound, but with a more mature understanding of how to pace a song. There’s a fair bit of the Where Owls Know My Name and The Work-type experimental stuff, but with a more refreshed perspective on those styles for the current era of the band.”
Indeed, the record sounds invigorated and all-encompassing without losing sight of what’s made the group so distinctive and reliable. That they’re able to pick up precisely where they left off and provide arguably their finest hour yet with a significantly different lineup makes Rivers of Nihil even more incredible.
It’s no wonder why opener “The Sub-Orbital Blues” was also chosen to be the first single from the LP, as it kicks off with perhaps the catchiest clean chorus Rivers of Nihil have ever dished out. Seriously, it’s extremely simple but utterly addictive (especially with its multilayered singing), and the guttural screams, fierce riffs, and hyperactive rhythms that surround it are nearly as enthralling. The use of angelic bellows and saxophone accentuations enhances its absorbing vibrancy, too.
However, that doesn’t mean “The Sub-Orbital Blues” is the best track here, as both the “proggier” cosmic mellowness of the Work-esque “Water & Time” and the unpredictable range of the anthemic “House of Light” give it a run for its money. No matter which you prefer, all three easily rank among Rivers of Nihil’s greatest compositions, as they embody Uttley’s point about the album offering a wonderfully filtered and focused distillation of the quartet’s magic.
Thankfully, the rest of the sequence earns its place alongside those standouts, with majorly hellish chapters such as “Dustman,” “Criminals,” and “American Death” still providing a fair amount of calming moments and wide-ranging textures amidst the chaos. Likewise, more dynamic pieces such as “Despair Church,” “The Logical End,” and “Rivers of Nihil” intersperse plenty of aggression into their zany detours and colorful instrumentation (which may also include cello and banjo).
There really isn’t a weak moment on Rivers of Nihil. In fact – and at the risk of sounding hyperbolic – it’s an almost immaculate journey that every fan of progressive death metal needs to hear. No matter what’s been lost or gained with the changing of members, Rivers of Nihil haven’t sacrificed a modicum of quality in the process. On the contrary, they’ve returned with a stronger tenacity and ability to demonstrate why they’re at the forefront of the genre.
If you’re already a fan of theirs, you’re guaranteed to love it, and if not, well, get ready to sing its praises as soon as you can pick your jaw up off the floor.
Release Date: March 30th, 2025Record Label: Metal Blade RecordsGenre: Progressive Death Metal
Musicians: Adam Biggs / Vocals, bass * Jared Klein / Drums, vocals * Andy Thomas / Guitars, vocals * Brody Uttley* / Guitars, piano, keys, programming
Rivers Of Nihil Track-list:1. The Sub-Orbital Blues 2. Dustman 3. Criminals 4. Despair Church 5. Water & Time 6. House of Light 7. Evidence 8. American Death 9. The Logical End 10. Rivers of Nihil
Order Rivers of Nihil here
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It takes a bold band to start off an album with an 18-minute epic. Make no mistake, Magic Pie is audacious. Its new album, Maestro, kicks off with “Opus Imperfectus Pt. 1 – The Lost Chord”. And it is 18 minutes long. In this case, that’s a good thing, with shifting melody and time changes that reflect the influence of various Neal Morse outfits (and the occasional musical reference to Deep Purple, David Bowie, and Pink Floyd).
The thing – people – that takes this to a new level include composer/guitarist Kim Stenberg and keyboardist Erling Henninger, who throw off solo riffs that are both evocative and energetic. These two deserve more attention in the land of prog; they are top-notch.
The rhythm section of bassist Lars Petter Holstad and drummer Martin Utby keeps things lively yet on track. And Eirikur Hauksson gives voice to the music and his lyrics, providing personality and character; some have compared his singing to that of Ian Gillan of Deep Purple, and there are some similarities.
Oh, and back to the record. None of the other songs is up to 10 minutes long. “By the Smokers Pole” is a smoldering blues ballad that showcases Stenberg’s guitar. “Name It to Tame It” is a hard rocker that emphasizes Hauksson’s singing. “Kiddo…” is the shortest cut at just over 2 minutes; it’s an acoustic piece that leads right into “Someone Else’s Wannabe”. This song rocks; it’s filled with hooks and abrupt time changes to keep it within the progressive rock realm. The next song, “Everyday Hero”, is in that same vein, although with a harder edge. These two songs really provide an appealing foundation similar to previous Magic Pie albums (and this is their sixth).
Rounding out the festivities is a coda, of sorts: “Opus Imperfectus Pt. 2 – Maestro”. Musically, it harkens back to the intro track, yet it also provides a somewhat different approach to it, with greater vocal harmonies rounding out the sound (a la Queen) and Stenberg’s blazing guitar raising the emotional quotient up a notch.
If you haven’t heard of Magic Pie before, this is a great starting point. Maestro is Prog at its best, showcasing great music performed by truly talented musicians. It is foreground music – you’ll want to concentrate on listening, not sticking the songs in the background of whatever you’re doing. They’re too good to relegate to wallpaper. And that’s true, no matter what the length of the piece is. This is Magic Pie’s time – boldly and audaciously presented.
Release Date: May 16th, 2025Record Label: Karisma RecordsGenre: Progressive Rock
Musicians: Kim Stenberg / Guitars, vocals * Lars Petter Holstad / Bass, vocals * Eirikur Hauksson / Lead vocals * Martin Utby / Drums * Eirik Hanssen / Vocals * Erling Henanger* / Keyboards, vocals
*Maestro* Track-list:1. Opus Imperfectus Pt. 1 – The Missing Chord (18:29) 2. By the Smoker’s Pole (4:19) 3. Name It to Tame It (7:10) 4. Kiddo… (2:12) 5. Someone Else’s Wannabe (7:34) 6. Everyday Hero (5:10) 7. Opus Imperfectus Pt. 2 – Maestro (4:17)
Order Maestro here
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The beast stomps forth yet again.Behemoth has long been an exemplar of innovation, not only insofar as the Polish extreme metal scene is concerned, but in the context of the stylistic development of the craft worldwide. Originally cutting their teeth in the obscure realm of 2nd wave black metal as far back as 1991 outside of its Nordic stronghold, this Pomeranian born power trio would send shockwaves across Europe and beyond by being among the first to successfully marry the haunting, atmospheric aesthetic of the aforementioned style with the impact-based brutality of its death metal predecessor.
The road since has generally been a straight line of further development and refinement of the once novel death/black metal hybrid, barring a few legal controversies and front man Nergal overcoming leukemia in 2010. With the same principle lineup since 2004 smash LP Demigod in tow, this fold stood primed to deliver numerous successive storms of auditory fury, of which 2025’s The Sht Ov God* is the latest.
The tight rope of remaining faithful to the bleak and forbidding character of sound that typified Behemoth’s low-fi early days while embracing the pomp and bluster of modern quasi-symphonic death metal is successfully walked at every point of this 38-minute blast of rage. The most dynamic character remains Nergal, whose deep and menacing barks and episodic shrieks somehow remain wholly intelligible, all the while the mixture of blurring tremolo riffs and bludgeoning grooves from his guitar charts an elusive middle ground between Deicide and Immortal.
Naturally this is far from a one man show, as the insane drumming display out of Inferno at the kit and the steady rumbling quake of Orion’s bass work gives each song their full armored bodies, to speak nothing for the keyboard and sample contributions of each to give said plate-mail its elaborate insignias and ornamentation. Likewise, longtime session lead guitarist and de facto 4th member Seth throws in a few truly spellbinding shred segments to further enhance this album’s occasional tech death tendencies.
Brevity has generally been a reliable ally in Behemoth’s ongoing career, and The Sht Ov God* exemplifies this fact in a manner not seen since their transitional period in the late 1990s. The stage is set with a concise explosion of riffs and blasting drums in “The Shadow Elite”, which manages to hit each point in this fold’s stylistic arsenal from the creepy ambient introduction to the varying extremes of blackened coldness and death-like putridity while barely breaking the 4-minute mark and even throwing in an ear worm chorus refrain to boot.
Subsequent rollercoaster rides through high-speed mayhem with jarring shifts in feel like “Sowing Salt” and “To Drown The Svn In Wine” hit with even greater impact in even less time, all the while Nergal’s riff work remains uncannily busy and unrelenting. The only slightly longer “Lvciferaeon” somehow manages to outdo every previously noted banger in terms of impactful moments, not the least of which being a captivating solo out of Seth in the midst of a blur of sonic chaos.
Though no chapter in this blackened sonic codex goes extraordinarily long, there tends to be a greater variety of contrasting moments to be found on those that go a little past 5 minutes in length. Arguably the most blatant example of Behemoth’s tendency to stir the stylistic pot a bit is the fist-pumping title anthem, which has all the bells and whistles of a typical death/black composition, yet somehow packages it into something almost akin to a catchy, groove-based take on the style that could be analogous to what Abbath’s side project I did for black metal almost 20 years ago.
“Nomen Barbarvm” and “O, Venvs Come!” both lean especially hard into the rich symphonic yet frosty black metal aesthetic, yet prove even more complex than previously noted songs, underscored by the two most technically charged solos out of Seth’s arsenal this time around. Things close off on the most aggressive and mayhem-driven fit of blackness of them all with “Avgvr (The Dread Vvltvre)”, chock full of unrelenting blast beats and tremolo riffs, yet also managing to bookend this auditory novella with a haunting acoustic guitar outro.
As a total package, The Sht Ov God offers up all the usual feats of extreme metal that fans have come to expect since the mid-2000s. The only real Persian Flaw in this offering is a lack of artfulness to the lyrics that come along for the ride when contrasted with the contributions of Polish poet Krzysztof Azarewicz to Behemoth’s repertoire from the late 90s through 2014’s The Satanist*, or even the subtle eloquence of the material that immediately preceded it.
The message comes with a certain bluntness that doesn’t necessarily fight against the elaborate character of the music carrying it, but seems a tad static and repetitive in light of it. Then again, such an approach does lend itself to greater audience participation, which seems to be a big part of why these feel immediately familiar.
But one thing that Behemoth can’t be accused of is slowing down with age, and with nearly 35 years now at their backs, the immediate future looks like nothing but smooth sailing to new uncharted realms of darkness.
Release Date: May 9th, 2025Record Label: Nuclear Blast RecordsGenre: Blackened Death Metal
Musicians: Adam “Nergal” Darski / Lead and rhythm guitar, lead vocals * Zbigniew “Inferno” Promiński / Drums * Tomasz “Orion” Wróblewski* / Bass, backing vocals
*The Sht Ov God Track-list:*1. The Shadow Elite 2. Sowing Salt 3. The Sht Ov God 4. Lvciferaeon 5. To Drown The Svn In Wine 6. Nomen Barbarvm 7. O Venvs, Come! 8. Avgvr (The Dread Vvltvre)
Order The Sht Ov God here*
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A golden crown rests above a blackened brow.Stylistic evolution can take many forms and occur at varying paces, but it only ever proves successful if some degree of attention is paid to where things began. The trajectory of Polish blackened death metal stalwarts Hate has definitely been one of qualitative consistency, but also one that has seen some sizable changes.
Originally cutting their teeth in the early to mid-90s death metal scene, they opted for an occult-driven mode of old school brutality that has often drawn comparisons to the likes of Deicide and Vader. More recently, the decrepit swamps that they’ve been treading bear more likeness to that of Necrophobic and fellow Polish blackened death trailblazers Behemoth from a musical perspective; though lyrically they’ve eased off on the edgier themes of blasphemy and antitheism for a more contemplative blend of esotericism and philosophical inquiry with a mystical bent, spearheaded by a series of sonically furious yet thematically nuanced albums since 2017’s Tremendum.
A few twists and turns along the way has brought this Slavic quartet to Bellum Regis, their 13th and latest studio LP, and also one of the first offerings from their arsenal in a while towards the black metal side of their hybrid style. An air of primordial nostalgia and mysticism hangs over a truly spellbinding balance of uncompromising metallic aggression and a mournful atmosphere accomplished through samples, orchestration, intermittent acoustic guitar passages, and a haunting accompaniment series of chants and melodic asides by Polish singer and voice instructor Eliza Sacharczuk.
Most of the peripheral moving parts that gives these songs their uniquely magical quality owes to lead vocalist and rhythm guitarist/band founder ATF Sinner’s ingenuity as a songwriter and arranger, though one would be remiss not to be impressed by the visceral power of his old school guttural vocal delivery. Likewise, the intricate riff work that typifies much of what occurs on here is further amplified by a stellar lead guitar delivery by Domin, who, along with the super cell-like storm of controlled fury projected by drummer Nar-Sil and bassist Tiermes, rivals the virtuosic take on this style often exhibited by Necrophobic.
The grandiose imagery of a struggle for power between rivaling parties hinted in the album’s very title, which translates to “A War of Kings”, is mirrored at every turn in the epic and ambitious way in which these songs unfold. The exploratory tale of human conflict begins with a riveting exposition and title entry in “Bellum Regis”, which commences with a highly cinematic acoustic and orchestrated introduction that paints a picture of fatalism and proceeded to explode into a war-like storm of machine gun drumming and rapid fire riff work that could all but topple any castle’s wall.
The transitions that follow between pummeling death metal heaviness and shimmering black metal chaos are seamlessly realized, while the constantly deep and animalistic character of Sinner’s vocal delivery provides a more static foil for the melancholic atmosphere that surrounds it. Subsequent entries like “Iphigenia” and “A Ghost Of Lost Delight” follow a similar modus operandi of drawn-out songwriting with a well-rounded mixture of brutality and sepulchral sorrow, the former favoring more acoustic passages while the latter achieves nuance through more frequent breaks into slower territory.
Though, as a collective whole, the mixture of black and death metal elements remains mostly balanced, individually, things occasionally see one side being favored over the other. The constantly hazy and occasionally chaotic “The Vanguard” leans all but totally into the blackened end of things, save for the bestial yet intelligible barks of Sinner and a rather flashy guitar solo thrown in by Domin.
“Perun Rising” could all but be mistaken for something that Abbath might have created either with his solo band or during the latter days of his tenure with Immortal were he doing the vocals, and if the production had been slightly more low-fi.
On the other hand, the more Arabian-like and blast happy storm of war-like tech death intensity that is “Alfa Inferi Goddess Of War” could all but be a lost entry from one of Nile’s recent albums, save the lack of any Egyptian vernacular instrument samples and a few blurring segments of blackness. But in terms of straight-up brutality that sums up this outfit’s death metal roots, the highly memorable riff machine “Prophet Of Arkhen” lays down the chaotic heaviness with the best of them.
For longtime fans of what Hate brings to the table, along with other black/death metal mainstays like Azarath and Belphegor, Bellum Regiis presents a fresh, 2025 updated version of the sort of hybrid carnage that has been shocking the masses since the 2000s.
It often hearkens back to the multifaceted and ambitious character that typified Hate’s 2010 smash entry Erebos, though the added benefit of improved studio production equipment and practices, coupled with an even more grandiose approach to storytelling, makes for an album that doesn’t feel derivative while towing the same basic stylistic line. The level of theatricality that comes into play is naturally heightened, though the use of symphonic and other peripheral elements is done quite tastefully and serves as an album that is built primarily out of raw metallic aggression.
Equal parts cinematic and savage, Bellum Regiis it’s a triumphant reckoning from a band that still revels in the art of controlled chaos. This is blackened death at its most venomous and imperial, a declaration of war from a band still hellbent on conquering the genre they helped define.
Release Date: May 2nd, 2025Record Label: Metal Blade RecordsGenre: Blackened Death Metal
Musicians: ATF Sinner / Vocals, guitar * Domin / Guitar * Tiermes / Bass * Nar-Sil* / Drums
*Bellum Regiis* Track-list:1. Bellum Regiis 2. Iphigenia 3. The Vanguard 4. A Ghost of Lost Delight 5. Rite of Triglav 6. Perun Rising 7. Alfa Inferi Goddess of War 8. Prophet of Arkhen 9. Ageless Harp of Devilry
Order Bellum Regiis here
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American extreme metal experimentalists Kardashev have enjoyed over a decade of recognition now for their complex, ever-shifting sound, with each release being notably distinctive from the ones that came before, yet always still managing to conform to a style that is instantly recognizable as theirs.
This year’s Alunea carries on a tradition of excellence and diversity that makes them a must listen, especially for those who enjoy a proggier twist on their harsher metal, replete with all the nuanced beauty and adroit instrumental virtuosity one would come to expect with that.
The intentions of the album are made clear right away with the oft serene, but no doubt hard, driving, deathcore-tinged “A Precipice. A Door.” The poised introduction brings forth a sweeping, epic, almost grandiose scale before crashing into a hectic, frustrated, juxtaposed spasm of abrupt but still cogent intensity; such 1-2 combinations of melodic excellence and full-octane intensity trade with one another, with rousing call and punishing response.
In many ways, the composition feels alive and breathing, organic in a sense, which is to say that it’s so deeply impassioned, and full of emotion, as if it captures the blurs of passion which so often pass us by in life, noticed, but so sparingly indulged in. Perhaps the “precipice” or “door” here leads to a place where you can be invited to give way to such indulgence, and spend some time in the company of simply good music.
With such a glowing indictment of what is to come, it is then a pleasure to report that from this, track 2, “Reunion” uses the same formula to achieve broadly the same overall effect, the main distinguishing feature of the track being the extra space given to the truly gorgeous, smooth, ephemeral clean vocals of Mark Garrett, who’s voice I could frankly listen to all day. It’s not always easy to pull of such a composed male voice in the higher register that Mark does make use of without sounding, well, a bit like a choir in some dim church in rural England, but thankfully such loathsome memories of school choir practice are not conjured up, with far far more class and richness to the hopeful, angelic tones he produces than could be said to exist there.
It is refreshing to so deeply fall into an album like this. When I saw “Deathgaze” used to describe the band in their own description, I admittedly felt that as interesting as the concept is, it would ultimately be lacking in either of the two influences that comprise it, with either the death side feeling copy-cat or the -gaze side feeling as if it were nothing more than some fuzzy guitars and 30 seconds of quiet with a boring synth line we’ve all heard before.
However, Kardashev so convincingly merge the two influences together that I think they’ve landed on something that really suits them, and creates an artistic gravitas that merits commendation more than just belles-lettres and high scores can give. It’s not totally unique, I am indeed reminded of both Persefone (whom I also love) and Eidola in some of the softer passages, but never so much that one could levy the claim that Kardashev have simply spat out many influences. What is here is clearly their own.
Anthemic vibes and hopeful, swirling, free-flowing heart song of the most indelible quality continue throughout track three, “Seed of the Night.” The twist here is the mid portion of the song actually borrows some rather black metal-influenced riff-arpeggio, building back into their more familiar style again later in the song. Some ultra-harsh vocals here are perhaps not implemented as well as they could be, however, and I have to say I do find them to be detracting slightly from the mature feeling cultivated otherwise so far. Some people will likely hear them and appreciate them as a vehicle for cranked-to-11 intensity, but I suspect ultimately that they don’t feel like they warrant the space in the composition. It’s no deal-breaker though, they’re not the broad body of the vocals on the track, and “Seed of the Night” remains a fantastic song.
Adorning the center point of Alunea with its laid back and progressive trappings is the slow-but-warming “Speak Silence.” It’s quite a relaxing track really, oddly serene due to its confident but not overzealous usage of those shoegaze elements Karadshev are so proud to have cultivated over many years. Whilst the album was in no danger of being garish, it is nice to have a more reposed and tighter song to reset the pacing and give a redoubled impact to the more intense songs to come.
With over half of Alunea completed, you’re left very much in this contemplative, meditative state – nothing overly dramatic, no vows of silence or Shaolin Monk Tai-Chi sort of thing, but just this pleasant openness to thought and reason. Perhaps it’s just the way I feel when listening to this sort of music; by my own admission, I am in my own world most of the time. It just feels, though, that there is something philosophical and statement-like in the compositions, which does align with the multi-album concept Karadshev speak of in the notes they attached to the album. I haven’t really been focusing on the lyrics, because bluntly, in metal, I often don’t, but even without them, I am made aware of and subsequently immersed in the thematic bent of the album.
Fighting back against the peace and serenity of “Speak Silence” is “Truth to Form,” which pulls no punches, getting right down to gritty and frantic riffage, guttural lows, pissed-off goblin highs, and driving percussion with beautifully timed and implemented blast beats from drummer Sean Lang. The switch of pace is great here, and the criticism levied before at the ultra-harsh vocals has to become praise here, as they really do add a spiteful edge to things that completes the intensity of the track. There’s still a beautiful midpoint and continuation from there in “Truth to Form” as you’d expect by now, all in all completing the best song since the album opener, “A Precipice. A Door.”
Fans of deep metallic chugging rejoice, for track 6, “Edge of Forever,” slams into action with a dirge-like descent into the darkest caverns of metaldom. Tempos change, intensity thickens and wavers, tension is built in the ways Kardashev trades on, and the sum total of the song is perhaps the angriest, most back-biting, brawling entry on the album.
I definitely appreciate the switch up of intensity late into Alunea, which prevents their style from becoming stale but also does help solidify the death metal credentials that have underpinned Kardashev throughout their artistic journey, them having been less adulterated with other influences in their earlier works. It’s good to hear that in their quest to keep going in new directions with their sound, they at their core never forget what’s good about what they have already achieved.
Track 7, “We Could Fold the Stars,” is determined to be heard and heard loudly. A dark foreboding casts itself across the track’s earliest moments, sounding out its warning, announcing its manifesto, extolling its gnosis. With dignity and decorum, it proceeds into a wistful “what could be” with promises of a future brighter than that which we find ourselves in now, collapsing again though into an anguish worse than to simply suffer or fail, but to know how, in many ways, that is an epitaph to our own folly and ineptitude. For what is worse than to have missed a chance to be and do better, and to instead sit amongst the ashes of promise?
To answer the uncertainty of “We Could Fold the Stars,” we have the longest and final entry on Alunea, “Below Sun and Soil,” which recalls the journey so far, but with a sense of resolution and drive to carry forward, to push onwards in the pursuit of new enlightenment. “Below Sun and Soil” is still tense and fraught with angst, but it feels now as if it is building to something tangible, left for you, the listener, to solve.
All in all, Alunea is a fantastic album, it has scale, compositional competency, virtuosic performances from all band members, stylistic growth for the band, and above all, makes you actually feel something when you listen to it. So often I find progressive bands, especially those in the death metal space don’t always give you a reason to do so.
There are still areas to refine, knowing when exactly to go full force and how to frame that can be worked on, and Kardashev can push the boundaries of creativity even more in their next release to create something that cements deathgaze as a genre to watch out for. These are but minor quibbles, however, that were it not the fact I was reviewing the album, I would scarcely ever think of.
Kardashev have hit the ball out of the park with Alunea blending stormy and standoffish death metal with outstandingly accomplished and thought-inspiring progressive and shoegaze elements to create an album I can thoroughly recommend in the strongest of terms. Now to see if I can’t get my hands on one of those limited edition black and gold vinyls…
Release Date: April 25th, 2025Record Label: Metal Blade RecordsGenre: *Death Metal / Progressive Metal / Deathgaze*
Musicians: Mark Garrett / Vocals * Nico Mirolla / Guitars * Alex Rieth / Bass * Sean Lang* / Drums
Alunea Track-list:1. A Precipice. A Door 2. Reunion 3. Seed of the Night 4. Speak Silence 5. Truth to Form 6. Edge of Forever 7. We Could Fold the Stars 8. Below Sun and Soil
Order Alunea here
The post KARDASHEV – Alunea (Album Review) appeared first on Sonic Perspectives.
The downtrodden shall ascend.Although a relatively recent phenomenon in the grand scheme of both hardcore and metal, metalcore has become an all too familiar tale of a subgenre ascending the heights of public consciousness and falling from grace to later rise again.
Attendant to its rise to prominence in the mid-2000s was a toning down of its more extreme character in favor of a curious duality of impact-based metal riffing and haggard shrieks inspired by the late 90s Gothenburg melodic death metal style and a pop/punk infused approach to chorus sections, creating a niche that began as a unique curiosity but quickly became contrived and cliché by the onset of the 2010s.
Some recent strides coinciding with this blend of punk sensibility and metal flair’s resurgence are a return to a more fiery and primordial expression of metallic rage in line with the earliest releases of trailblazing pioneers of the craft Darkest Hour, Overcast, Caliban, and Shadows Fall.
Among the hungrier of a new generation rediscovering this more dangerous and forbidding brand of metalcore are Scranton, Pennsylvania natives Traverse The Abyss, who have been raining down the hardcore-infused metal mayhem since 2016 and have put forth their most refined offering yet via their latest studio opus Memento Mori.
Billed as a cohesive, conceptual tale in EP form of mental fortitude, self-empowerment, and fighting for one’s dreams, this release could be best understood as a singular, 20-minute song in five parts, each flowing seamlessly into the next with little in the way of respite.
At the helm is arguably the rawest, most viciously piercing exercise in extreme vocal work courtesy of Eric Abyss, rivaling the heaviest hitters in the present deathcore and grindcore scenes, and providing the most extreme element of what is otherwise a stripped-down blend of melancholy melodic hooks, consonant melodeath riffing and mid-paced to moderately swift drum work.
For their part, the rest of the band plays the straightforward card effectively, balancing occasional moments of technical flair with a general philosophy of song service. The guitar work of *Justin Coe and Jamie Macheska brings an In Flames-like sense of hook-driven accessibility that is a tad more through-composed, but comparable to something hard out of early All That Remains, while the leads of “Iron” Mike White* come with a few shred lines and strategically employed sweep picking.
The rhythm section provided by *Nick “Big Shits” Cotillo and drummer David Wilczewski* is geared towards tightness and precision, the latter’s kit work being driving and surgically powerful but particularly focused on keeping the arrangement together.
Individually speaking, the songs that round out this 5-part story could all qualify as bangers in the traditional radio sense of the term. Bookending things are two somewhat adventurous mini-epics in “Reasoning” and “Manifest” that mix things up and play up the atmospheric side of things a bit, but don’t venture too far beyond the brevity over longevity approach typical of their subgenre.
The middle body of the album is even more straight up in its sense of impactful themes with a quick withdraw, with “Viewpoint” veering the closest to becoming an outright love letter to 90s Gothenburg, while “Pursuit” and the ultra-brief “Consequence” play up the post-hardcore angle and strip back the riffing while bringing out some rare clean vocal moments amid Abyss’ all growls, all the time extravaganza.
Memento Mori is the sort of work that might have been considered tried and true circa 2002, but in a 2025 context is more of a rare occasion where a style normally geared towards a mainstream audience largely eschews the elements associated with its broader appeal. It presents what metalcore was before the likes of Atreyu and Avenged Sevenfold turned it into a darling of MTV, a ferocious expression of hardcore angst that emphasized individual achievement and actualization over group conformity.
It’s been done before, and it could maybe stand to go a little further outside the box, but it’s rarely done with this level of intensity and honesty. I am excited to see where the Traverse The Abyss guys can go next.
Release Date: April 25th, 2025Record Label: IndependentGenre: Metalcore | Melodeath
Musicians: Eric Abyss / Vocals * “Iron” Mike White / Lead Guitar * David Wilczewski / Drums * Jamie Macheska / Guitar * Nick “Big Shits” Cotillo / Bass * Justin Coe* / Guitar
*Memento Mori* Track-list:1. Reasoning 2. Viewpoint 3. Pursuit 4. Consequence 5. Manifest
Order Memento Mori here
Memento Mori by Traverse the AbyssThe post TRAVERSE THE ABYSS – Memento Mori (EP Review) appeared first on Sonic Perspectives.
It is said that all good things come to an end, but those who speak such things would do well to mind the skull lurking in their closet like something out of Poltergeist. Such is the blend of 70s and 80s slasher/horror camp and mid-80s thrashing mayhem that typifies longtime purveyors of old school thrash metal revivalism, Game Over, a formula that has been paying heavy dividends since their 2008 founding.
In a sense, their entry into the early 2010s melee and subsequent studio albums functioned as a more conservative counterpoint to the meteoric rise of Power Trip’s gritty crossover approach to the sub-genre, almost like another old school adherent to Punishment 18 Records’ roster despite the band being a long-running adherent to rival Italian label Scarlet Records.
They’d face a comparable challenge in maintaining their 5 LP winning streak following the 2024 departure of bassist/vocalist and co-founder Renato Chiccoli, but now 5 members strong between a new bassist and lead singer, this neck-wrecking crew has struck pay dirt yet again with a beast of a comeback dubbed Face The End.
To those unfamiliar with this band’s sonic stock and trade, a high-octane blend of Bay Area influences reminiscent of where Metallica and Testament were circa 1987-1988, distilled down to a more compact songwriting reminiscent of the iconic Nuclear Assault debut that is their namesake, covers a fair deal of it.
However, this generally tried, true, and streamlined approach to awakening the mosh pit comes with a heavy degree of dueling harmonies and rapid-fire lead guitar high-jinks axe-slingers Alessandro “Sanso” Sansone and Luca “Ziro” Zironi that will surely draw comparisons to Xentrix’s iconic 1990 sophomore LP For Whose Advantage.
Pile on top a mighty battering ram of a rhythm section accomplished by drummer Anthony “Vender” Dantone and newly recruited bassist Leonardo Molinari and a razor-sharp production that cuts like …And Justice For All would have if the bass were audible, and what emerges is a dual course meal of 80s nostalgia and modern day aggression.
One would be remiss not to note the huskier bite and forceful baritone of new vocalist Danny Schiavina, perfectly emulating the Chuck Billy brand of soulful fury and bringing Game Over’s sound into a far more epic place.
True to form, this sixth chapter in Game Over’s LP saga begins with a synthesizer-driven nod to the 80s slasher film genre in “The Final Hour”, but then opts to up the ante to a might metallic overture with guitar melodies oozing out of every crevice. The subsequent ignition of madcap speed that is “Lust For Blood” trades in the band’s usual sledgehammer approach for a pile driver, pulling zero punches and allotting enough slots for Sanso and Ziro to tear up the fret board between Schiavina’s raging yet melodic verses to orbit Kill ‘Em All.
This guitar solo-happy approach proves to be a recurring theme that graces up tempo crushers like “Grip Of Time”, “Veil Of Insanity” and “Gateway To Infinity”, though there is a parallel and equally impactful element of earworm chorus hooks and a tight sense of rhythmic structure that turns these technical festivals of notes into highly accessible bangers. Brevity matched with kinetic riff works and virtuosic flair is such a pivotal factor that it wouldn’t have been hard to picture these songs being rock radio fodder back in the ’80s had there been a welcoming attitude towards thrash metal at the time.
While this album’s adherence to impact-based metallic splendor is without question, its well-rounded nature also affords a heavy amount of atmospheric contrast and toned-down melodic balladry to enter the equation.
Apart from the aforementioned introductory instrumental, the menacing interlude with a John Carpenter-like synthesizer bent “Tempesta” and the subsequent melancholic and slow-paced anthem “Crimson Waves” channels a dreary doom metal element that could be likened to a dark marriage of early Candlemass with Metallica’s “The Thing That Should Not Be”, albeit in a far less repetitive package.
The haunting mid-paced beast of an entry “Lost In Disgrace” takes a similar approach but leans into more of a late 80s Slayer aura while maintaining a crushing, Testament-inspired riffing approach. Otherwise frenzied thrasher “Weaving Fate” introduces a dreary element with a brief voiceover intro, and the iconic “Neck Breaking Dance”, in addition to functioning as Game Over’s answer to Exodus’ “Toxic Waltz”, sees Schiavina shifting to a casual yell amid the snarls and gang vocal interchanges that makes for a song that sounds like it’s in a live venue every time it plays.
Though it’s all but a foregone conclusion that no album that this outfit could muster post-2016 could ever surpass the lightning in a bottle studio feat that was Crimes Against Reality, Game Over has all the right elements at work here to give their classic 3rd album a run for its money in the coming years.
In all respects, Danny Schiavina has the needed level of personality and charisma to bring this fold to the head of the ever-growing thrash metal pack, and the rest of the band are playing for keeps while keeping the final product short and succinct enough to rival the Lich Kings and Havoks of the world.
Even though the impression that is left by Face The End and even the group’s own moniker is one of a conclusion being reached, it is surely not the final word in the Game Over story, and may well mark a band that is about to truly come into their own before the decade is out.
Release Date: April 25th, 2025Record Label: Scarlet RecordsGenre: Thrash Metal
Musicians: Alessandro “Sanso” Sansone / Guitars * Luca “Ziro” Zironi / Guitars, Vocals * Anthony “Vender” Dantone / Drums * Leonardo Molinari / Bass * Danny Schiavina* / Vocals
*Face The End* Track-list:1. The Final Hour 2. Lust For Blood 3. Neck Breaking Dance 4. Grip Of Time 5. Lost In Disgrace 6. Veil Of Insanity 7. Gateway To Infinity 8. Tempesta 9. Crimson Waves 10. Weaving Fate
Order Face The End here
The post GAME OVER – Face The End (Album Review) appeared first on Sonic Perspectives.
The sonic floodgate has opened.After more than 30 years of prominence within the metal circle, one would think that just about every nook and cranny within the broader musical world has already been explored by the progressive metal flock, yet there remain a number of novel discoveries of late.
One infrequently explored niche that has proven especially puzzling given the explosion of the scene following Dream Theater’s popular ascent in the early 90s is the stylistic eclecticism that they brought to the table and the concurrent grunge craze. Though by no means new players in town, Detroit-born quintet Imminent Sonic Destruction may well have stumbled head first into that elusive middle ground that exists between the highly refined brilliance of Images And Words and the dreary, sludgy and haunting tapestries that painted the radio waves in the 90s courtesy of the likes of Alice In Chains and Soundgarden, at least insofar as their 4th studio opus Floodgate is concerned.
Naturally, the aforementioned mixture of traditional progressive metal stylings with the ’90s Seattle alternative rock ones only tells part of the tale, as these Michigan natives have no shortage of tricks up their sleeves. The prototypical 5-piece arrangement of drums, bass, guitar, keyboards, and vocals has been augmented by de facto lead vocalist Tony Piccoli also takes up guitar duties alongside virtuoso riff man and multi-instrumentalist Scott Thompson, weaving a denser six-string foil to the Kevin Moore-like musings of keyboardist Pete Hoperberger.
Furthermore, the fact that every other member of the band, save drummer Pat DeLeon takes up supporting and occasional lead vocal duties makes for a multifaceted collage of voices with varying timbres that resembles the one established by Layne Staley and Jerry Cantrell, though often comprising more than 2 voices. Throw in a few off-kilter forays into extreme vocal territory and some truly dark and heavy moments reminiscent of Nevermore, and this 2025 album all but feels like one that should have hit the shelves back in the mid-90s, but ultimately did not.
As with any artistic endeavor involving surprise, Floodgate goes about the business of exploring the world of progressive nuance by doing some things that are to be expected. The opening rock-infused romp “Floodgate I” pounds the pavement with a bluesy groove that almost could have been a nod to King’s X’s Tape Head were it not enveloped in a spacey keyboard gloss and doubled by a smooth rock organ, let alone that it shifts about for close to 7 minutes and features a highly drawn out and flashy guitar solo section.
Driving banger and promotional single “Memento Mori” takes it a step further and could almost be mistaken for a missing love child of Dirt and Badmotorfinger save for the same atmospheric keyboards and a less yarling vocal presentation. Later on, closer to the album’s close, the similarly concise and woeful ballad “Weight” marries a hazy shoegaze element into the equation, which yet again, would amount to a full-on foray into 90s rock territory were the technical guitar work and elaborate keyboards and piano interplay absent from the equation.
All of the prior noted songs, along with a significant chunk of the marathon 13 minutes plus closer “Floodgate II”, represent a band that one might chalk up as a more musically adventurous alternative rock outfit. However, along with the extremely proficient chops displayed by each instrumentalist and the wandering epic song structure of the longer offerings of this album, one can’t help but be jarred at the pummeling metallic intensity that lands on “No One”, which does revert to a more atmospheric character at times, but screams Nevermore almost to the point of having Jeff Loomis’ name appearing as a guest guitarist.
“The Game” also goes particularly hard and nasty at times, though it frequently veers into that signature mixed meter, jazzy balladry, and Rush-inspired sense of eclecticism that one associates with Dream Theater. But the coup de grace that truly captures this album’s sense of defying the rules while still sounding accessible is the punchy riff monster and technically-charged “Find Center”.
Though a band that can count touring with the likes of Fates Warning, Pain Of Salvation, and Circus Maximus, as well as having the renowned guitarist/producer Roy Z at the controls for their debut LP, Imminent Sonic Destruction still feels like a well-kept secret in progressive metal circles.
It clearly isn’t for any want of originality in a field that is largely populated by bands still sticking close to the example set by Dream Theater on one end and Nevermore on the other, nor can one qualify them as being too long-winded or virtuosic to be inaccessible. But if there is a point where this veteran outfit might find a way to break through into the larger rock and metal world, Floodgate has all the elements to make it happen. It’s a swirling, snarling trip through shadowy moods and jagged riffs, where nothing stays still and everything hits deep. It’s hypnotic, heavy as hell, and crackling with the kind of weird energy that lingers long after the final note.
Release Date: April 25th, 2025Record Label: IndependentGenre: Progressive Metal
Musicians: Pat DeLeon / Drums * Pete Hopersberger / Keyboards, vocals * Bryan Paxton / Bass, vocals * Tony Piccoli / Guitars, vocals * Scott David Thompson* / Guitars, vocals
*Floodgate* Track-list: 1. Floodgate
2. Memento Mori
3. No One
4. The Game
5. Find Center
6. The Light at the End of the Tunnel
7. The Weight
8. Floodgate II
Order Floodgate here
The post IMMINENT SONIC DESTRUCTION – Floodgate (Album Review) appeared first on Sonic Perspectives.
The world turns upside down.Though often overshadowed by fellow British death metal titans Bolt Thrower and Benediction, Telford’s own Cancer were a force to be reckoned with during the early 90s heyday of the subgenre.
Following a well conceived debut as a power trio after the spirit of American death metal standards like Death and Master dubbed To The Gory End, featuring some guest vocal work from none other than Obituary’s John Tardy to boot, this fold would find themselves unleashing a formidable sophomore outing in 1991’s Death Shall Rise with none other than the mighty James Murphy on lead guitar and Scott Burns in the producer’s chair.
After a rather schizophrenic foray into mid-90s groove metal with Black Faith and an underwhelming mid-2000s comeback, it seemed that these masters of the morbid had reached their journey’s end. But fate and a renewed interest in the old school death metal sound in the mid-2010s saw the original early 90s trio reunited to unleash a formidable beast in 2018’s Shadow Gripped, proving that the old ways were still strong in the British Isles.
Despite the 2022 departure of longtime bandmates Ian Buchanan and Carl Stokes, leaving Cancer with no rhythm section, guitarist and helmsman John Walker has continued undaunted, relocating the band to Madrid and rekindling the moribund flame anew with their latest studio foray, Inverted World.
A tapestry of dystopian dread has been painted that builds upon the strength established 7 years ago and comes within striking distance of where this outfit was at their early 90s zenith, delivering one crushing anthem after another in the same sonic spirit that delivered seminal thrash-tinged death metal staples like Master’s eponymous debut and Scream Bloody Gore.
Bassist Daniel Maganto and drummer Gabriel Valcazar prove equally adept to their predecessors in providing a brutal bottom end and thunderous fury to Walker’s signature riff work, while newly recruited shredder Robert Navajas’ harrowing solos almost perfectly recapture that magical edge that James Murphy brought to the fold 34 years prior. In essence, this is the same band that Cancer was in their prime, despite being comprised almost entirely of new members and being based at Europe’s southwestern fringe.
Tried and true might well be the order of the day with these songs, but they hit with a level of intensity and impact that makes them as shocking as they were when extreme metal was still a novel sound. Meaty berserker anthems like the opening colossus “Enter The Gates” and similarly molded golems of pure mayhem in title anthem “Inverted World” and “Amputate” present a brand of death metal that is both forbidding yet well-rounded in their approach to mixing pure brutality with a penchant for mid-paced grooving amid the fast-paced carnage.
John Walker’s forceful bark presents the most static element of a musical approach that emphasizes progression to an apex point that usually lands on Navajas’ technically intricate solo sections, resulting in songs that are highly accessible and even catchy. This tendency comes to a head with the ultra-memorable banger entry “Until They Died”, which manages to go from a pummeling groove that could be likened to death metal’s answer to Slayer’s Seasons In The Abyss and ends up blasting away with the same fury as Cannibal Corpse; the most iconic entry in an album oozing with memorable moments.
Though the general formula at play here emphasizes a straightforward mode of aggression, Walker and company take several opportunities to mix things up a bit and keep from repeating themselves. The upper mid-tempo crusher “39 Bodies” has all the lyrical hallmarks of an early 90s death metal tale drenched in blood and gore, but musically it brilliantly melds the classic auditory violence of Death’s Leprosy with the sort of groovy punch that one might have heard out of mid-90s Entombed.
“Test Site” and “Corrosive” take the more simplistic approach even further, the latter seeing Valcazar’s dark and dreary bass work shine through the arrangement and could almost be mistaken for the hardcore-tinged mode of brutality that Jungle Rot was dabbling with in the late 90s, though Navajas’ solo breaks come off a bit fancier and Walker’s riff work seems a bit more elaborate.
But the one chapter in this decrepit sonic tale that stands out from the pack is the haunting acoustic ballad turned chaotic crescendo “Jesus For Eugenics”, which draws Cancer even closer to late 80s Slayer territory save for Walker’s morose grunts.
There may be further strides towards that illusive state of perfection that all bands seek once this lineup has had the time to jell into a more cohesive unit, but Cancer has landed with enough of a mighty crash here that any old school death metal junkie would be hard pressed to find any fault with what has been brought to the table here.
Inverted World is the sort of uncompromising, musically impressive fist to the jaw that has been in short supply until recent years, and even now it feels like a rare gem in a pile of unrefined coal. It hits with slightly more force and has more staying power than Benediction’s latest LP, but treads a similarly traditional swamp despite now being situated on one of the opposite corners of Europe.
The world may be a bleak and inhospitable place, but Cancer brings forth a collection of anthems chronicling the worst of what it has to offer in both literal and metaphorical terms that ironically make it all seem just a little more bearable.
Release Date: April 25th, 2025Record Label: Peaceville RecordsGenre: Death Metal
Musicians: John Walker / Guitars, Vocals * Daniel Maganto / Bass * Gabriel Valcázar / Drums * Robert Navajas* / Guitars
*Inverted World* Track-list:1. Enter The Gates 2. Until They Died 3. Inverted World 4. Bodies 5. Test Site 6. Amputate 7. When Killing Isn’t Murder 8. Covert Operations 9. Jesus For Eugenics 10. Corrosive
Order Inverted World here
The post CANCER – Inverted World (Album Review) appeared first on Sonic Perspectives.
About three years ago, your intrepid reporter/reviewer had the temerity and good foresight to name Ghost’s Impera the Album of the Year for 2022. Every cut was strong. The lyrics were clever and insightful. There were hooks followed by hooks followed by hooks – with some very interesting chord progressions thrown in for good measure. And there was anger, as main-man Tobias Forge aimed his imperial stick at the powers that be in government, politics, finance, religion, etc. And throw in a couple of horror movie-type songs, and you had something special. Heck, I still listen to the album straight through at least once a week — and that’s the biggest endorsement I can give.
So in late April, Ghost’s new album Skeletá comes out. I was gunning to get a chance to hear it ahead of time, to prepare a review, to continue to go all fanboy on this Swedish band…again.
You’re in for a letdown.
I really wanted to like Skeletá. I listened to it, over and over. I checked it out in the car, in my office, in a music room, hoping that a different environment would increase my appreciation. No such luck.
Don’t get me wrong – Skeletá is a good album. It’s just nowhere close to Impera…which makes it a disappointment in my book.
It shouldn’t have been that. In its way, Skeletá is the flip side of the Impera coin. The latter was lashing out at the world; the former is very introspective, talking about feelings and emotions of various sorts.
So here’s my take on things, cut by cut.
- “Peacefield” leads things off in a fairly typical Ghost-like fashion. Keening vocals on top of a church organ give way to a guitar break that this band does so well. The song is about hope (what?!?!?!). But it lacks the bite and grab of “Imperium/Kaisarion” from the last record. Not an auspicious beginning.
- “Lachryma” (which refers to tears) is much heavier. In fact, it might have worked as a cut on an album two or three back. The song is about self-deception, according to Maestro Forge.
- “Satanized”… Yeah, now we’re getting into real Ghost territory! Or not. Because it’s not about the devil. Or ghouls. Or whatever other evil beings you can think of. It’s about the power of love, how it can make one crazy, as if possessed by a demon. It’s a jaunty little 8/4 time tune, one that reminds you that Ghost is not a metal band. Not that that’s a bad thing… “Satanized” was originally in the mix to be included on Impera, but it didn’t make the final cut. I agree with that choice; it’s just not that strong.
- “Guiding Lights”… Forge says this one could have been an instrumental, as Impera had a couple of such cuts. But that didn’t fit the new one. This song is a rock ballad about the road less traveled – or maybe that shouldn’t have been traveled at all.
- “De Profundis Borealis”, which basically translates to “from the northern depths.” It starts with a quiet piano section before the guitars burst in (a cool sound, by the way). This is a real rocker, like “a driving snowstorm that never stops.” This one is a highlight.
- “Cenotaph”… Obviously, our boy Forge is a reader with a very strong vocabulary. A cenotaph is a memorial or monument that doesn’t include any bodies within or underneath. The lyrics talk about losing part of oneself as the guitars chug along with a toe-tapping flow.
- “Messilia Amori” is something that Ratt or Def Leppard or another hair band might have come up with, a rocker that encourages the crowd to sing along with the chorus. Oh, and the title means “missile of love.” So take that any way you want (so to speak). Forge calls it “stripper pole music.” This one is fun.
- “Mark of the Evil One” just sounds like a Ghost title. And Forge says the song is a “dummified but cool” interpretation of biblical stuff, as he sees it in the world today. Ooookay. But the hook is absolutely killer on this one.
- “Umbra” starts with a moody synthesizer section – that then breaks into a rocker complete with MORE COWBELL! Tobias says this one is about the need for human touch: it is a coital song. And if you don’t know what that means, ask your pastor.
- “Excelsis” wraps up the proceedings, a power ballad talking about changes.
Everybody leaves one day
I know it hurts
Everybody goes away
Come with me to the rainbow’s end.
Come with me to the Holy Land.
That message may be more than it seems. Of late, Forge has been talking about the end of the Ghost lore, the characters and tales of the papas and cardinals, and sisters et al. Maybe he’s preparing us for a seismic directional shift for Ghost (one that I’m sure he’s got fully planned out).
If so, more power to him. Ghost has done some pretty remarkable shape-shifting in its 20-year existence. Tobias Forge is too talented and too smart to keep beating a dead horse, and he seems awfully close to that point. If this is the end of the era, sadly, Skeletá is not the perfect coda.
Impera was and is the height of the Swede’s powers. Let that be the summary of this Ghost-story period, ca 2025. Let these bones rest in peace. May Forge’s next creation be a monster.
Release Date: April 25th, 2025Record Label: *Loma Vista RecordingsGenre: Occult Rock / Arena Rock*
Musicians: Tobias Forge / Vocals and various instruments * Nameless Ghouls* / Various instruments and background vocals
*Skeletá* Track-list:1. Peacefield 2. Lachryma 3. Satanized 4. Guiding Lights 5. De Profundis Borealis 6. Cenotaph 7. Messilia Amori 8. Mark of the Evil One 9. Umbra 10. Excelsis
Order Skeletá here
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Following our review of the excellent Neal Morse & The Resonance album several months ago, perhaps we could call this Part 2 of Morse’s report on “What I Did During My NMB Vacation While Mike Was Back in Dream Theater”. As with No Hill For A Climber, Morse has wasted no time putting together a crack team of musicians and doing what he does best – progging out.
The main difference is: whereas The Resonance is a band of relative youngsters, Cosmic Cathedral is comprised of aging veteran heavyweights from multiple genres. Turns out the old guys can crank it up as much as those young whippersnappers.
The two albums could easily have been paired together, so strong is the common writing thread of Morse. Yes, we could say Cosmic Cathedral has more jazz undertones and more of a groove ethos, whereas the Resonance is perhaps more adventurous (e.g. there’s no “Thief” on “Deep Water”), but if compared to any other band, these recordings are nearly two of a kind. They are both clearly Neal Morse projects in style and content, and they are both unabashedly Christian prog rock albums.
Regarding Cosmic Cathedral’s personnel, while bassist Byron House is absolutely top tier and a joy to take in, and it’s a delight to hear Chester Thompson drumming once again in a prog context (after his recent stint with Unitopia), what truly stands this band apart from other Morse projects is Phil Keaggy’s guitar work. Simply put, his playing is an album (and band) highlight. We’ve heard Keaggy join Morse before, but his role as a core member of this quartet truly pays off and is one reason to keep coming back for repeat listens.
The majority of the material on “Deep Water” is uplifting and often downright fun. They dive right into it with the opening mini-epic “The Heart Of Life”. Just like The Resonance immediately proved themselves with the astoundingly good “Eternity In Your Eyes”, Cosmic Cathedral does the same with their lead-off track.
Following predictable Morse arrangement values, an opening instrumental overture engages the listener right away, complete with a break for a bass/drum groove provided here by House/Thompson instead of the usual Randy George/Mike Portnoy in NMB, but then Keaggy’s guitar solo takes us to unexpected places. Very cool. Keaggy’s voice also provides a nice complement to Morse’s when harmonizing, often sounding surprisingly similar to Eric Gillette.
However, even here, he sometimes goes in unexpected places – check out his almost raga-like vocal descent at 5:06 as he sings “Heart of liiiiiiiife.” Where did that come from, never to be repeated? With intoxicating Genesis-drenched moments yet to come and outstanding melodic vocal choruses, this is a triumph right out of the gate. It’s quintessential Morse that’ll make a believer out of nearly anyone.
The two tracks that most give Cosmic Cathedral a unique sound away from Morse’s usual productions are “Time To Fly” and “Walking In Daylight”. The former is the one that Morse has been unfortunately referring to as Prog Yacht Rock – understandable, but don’t give that classification too much oxygen. Regardless, it goes down smoothly and shares the good vibes freely. The only other time I can think of Morse toying with Steely Dan territory was Flying Colors’ “Geronimo”, and this is equally successful, though much more laid back. With horns, conga, and female vocals, a great groove from House underneath, and Keaggy solos on top, what’s not to love? The longer “Walking In Daylight” features Keaggy on lead vocals more than anywhere else on the album. Talk about groove – House and Thompson really propel the piece with swagger while Keaggy serves up searing extended guitar solos before returning to the catchy chorus.
There’s one short piece called “I Won’t Make It,” which honestly doesn’t feel like it belongs on this album at all. Cut from the cloth of Morse’s acoustic singer-songwriter albums (the most recent being Late Bloomer), there’s nothing about this song that feels like it’s a Cosmic Cathedral track. The lyrics will likely touch many people, and it may be a welcome change of style for some, but it seems very strange to have it included here. Thick with string accompaniment and a key modulation, this just feels like a solo Morse song that takes away from the energy being created by forming a new band. Given that the album already runs over 70 minutes, that’s one more reason that this song could have been saved for a different Morse project. That’s one opinion, though, yours might be totally different, and it may be a favorite song here.
There’s still the 38-minute title track suite at hand. Here, the band gets to play in Morse’s wheelhouse of epic prog creations. There’s definitely some new sounds here – not to mention that some sections were the result of extended jamming sessions – but by and large we’re in familiar territory, from the instrumental overture to the edgy hard rocking “Launch Out – Part One” to the more acoustic story ballad of “Fires Of The Sunrise”, the dark and foreboding “Nightmare In Paradise” and so forth.
It’s all classic Morse, but the rest of the band sounds great playing along. Keaggy’s extended soloing in “Storm Surface” is a highlight, while House gets a fretless moment of his own on “Nightmare” and in general, his bass tone dominates the entire piece. Behind it all, Thompson has his host of drums covering all the bases, keeping the sound full while driving the pace, which includes many unexpected time signatures. The playful expression of “New Revelation” offers an almost gospel fervor along with more jamming, a fine example of making the Spirit accessible to everyone.
However, the closing “The Door To Heaven” quickly reminds the audience that this is a Christian prog album – in case you thought that we were just having some secular fun here – so all hailing King Jesus is the inevitable culmination. The song itself has been written many, many times over by Morse before – melodically and lyrically – so it’s only the sincerity and joy in his (and Keaggy’s) voices that convince that this is the best way to conclude an album yet one more time. But the over-reliance on the form is starting, ironically, to feel like a crutch.
Reportedly, audio engineer Jerry Guidroz was an indispensable member of this team, helping to make some sense of all the initial jam sessions and giving more direction to the project. Whether this turns out to be a one-time event or the birth of a new ongoing side project remains to be seen, but “Deep Water” certainly succeeds in delivering an inspired context for these four extraordinary musicians to play together. No matter who he works with, Morse ends up creating magic time and time again.
Release Date: April 25th, 2025Record Label: Inside Out MusicGenre: Progressive Rock / Fusion
Musicians: Neal Morse / Vocals/ Keyboards * Phil Keaggy / Guitars, Vocals * Byron House / Bass * Chester Thompson* / Drums, percussion
Deep Water Track-list:1. The Heart Of Life 2. Time To Fly 3. I Won’t Make It 4. Walking In Daylight 5. Deep Water Suite I: Introduction 6. Deep Water Suite II: Launch Out, Pt. I 7. Deep Water Suite III: Fires Of The Sunrise 8. Deep Water Suite IV: Storm Surface 9. Deep Water Suite V: Nightmare In Paradise 10. Deep Water Suite VI: Launch Out, Pt. II 11. Deep Water Suite VII: New Revelation 12. Deep Water Suite VIII: Launch Out, Pt. III 13. Deep Water Suite IX: The Door To Heaven
Order Deep Water here
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Singularity is a double-edged sword. Immediately identifiable bands are a scarce commodity that carry an unwelcome burden: dedicated fans who decry any deviation from the band’s established sound. A band will often feel locked into a sound they may have perfected or even pioneered, and rather than risk alienating the fans who support them, they’ll often repeat themselves rather than grow or evolve their sound.
I fear that Eluveitie, a band I’ve hailed as the finest the folk metal world has to offer for nearly two decades, may be approaching that uncoveted crossroads. There is absolutely nothing wrong with Ànv, and a new listener would rightly be awed by the band’s flawless fusion of Celtic folk music with Gothenburg-styled melodeth. But given that this Swiss horde of Helvetian heathens have delivered multiple genre-defining albums, “Ànv” falls just short of a mark they themselves set.
Ànvis paradoxical in that while it doesn’t reign in the Eluveitie‘s signature folk fury, it feels poppier and more streamlined than previous efforts. “The Prodigal Ones,” for example, opens with a downright cheerful melody that would sound right at home on an Illumishade album. Both that cheer and melody are carried into the Fabienne Erni-led refrain and so starkly contrast with the song’s crushing verses that the listener is left wondering if the song is cohesive or cacophonous.
It’s not a necessarily disjointed shift, but Eluveitie‘s marriage of beauty and beast has seldom felt this forced. In many ways, “The Prodigal Ones”is the defining track on Ànvin that while it does not lack rage, the influence of Erni and guitarist Jonas Wolf‘saforementioned power-pop metal side project overpowers both the brutality and the nuance that Eluveitie have famously wielded when uniting these once disparate approaches. If this was the aim, then Eluveitie have certainly hit the mark.
It’s worth noting that “The Prodigal Ones” is the only instance on Ànvwhere the pop factor surfaces. The problem is that the rest of the album relies almost entirely on wheel-spinning to balance that out, and on an album as brief as this one is (it’s a hair over forty minutes in length), that’s simply not enough. One could reasonably spin this album multiple times while on a walk or during a work commute, and that unwelcome foray into Delain territory is an uncongenial enough deviation for it to fool the listener into believing that it’s the album’s dominant mood. It took writing physical notes while listening to Ànvfor me to realize that Eluveitie was in fact not going power metal.
All that said, Ànvis no dud of an album. Cuts like the headspinning “Premonition,” the epic “The Prophecy,” and the Erni-led ballad “Awen” hit us with all the hallmarks that made Eluveitie special in the first place – a finely woven fabric that unites musical traditions that are centuries apart. “Premonition” in particular could have been lifted from Everything Remains as It Never Was, but therein lies the rub: these songs are outstanding on their own merit, but they retread ground that Eluveitie covered long ago, and they offer few if any fresh takes on the band’s admittedly unique twist on folk metal. These songs will slay live, but soaring anthems like “Thousandfold”or “Inis Mona” they ain’t. However, “Premonition” comes pretty damn close, and will surely become a set staple for the next several touring cycles.
Listeners would also be wise to not overlook such objectively excellent tracks as “Aeon of the Crescent Moon” or “Taranoías,”the latter of which peppers its interludes and outro with a string section the band wisely prohibits from stealing the show. The Eluveitie sound is as dense as it is compelling, packed with an array of traditional Celtic instruments that include pipes, whistles, hurdy-gurdy, fiddle, and mandola that interplay with the traditional melodeath setup. To allow a string section – or Tír Tairngire forbid, an entire damned orchestra – to dominate an already profuse sonic landscape would simply be overkill, and we owe a debt of gratitude to Eluveitie for not getting too carried away.
All this raises a few questions: Are Eluveitie holding back from their own progress? Do the poppier elements on Ànvhint at what they have up their sleeves? Does the lopsided feel on Ànvowe to the great (and thankfully un-publicized) personal upheaval the band has endured since their last release? We’re in no position to know, nor do we need to know. But we must recognize that behind all the lyrical and musical genius in the Eluveitie catalog, it is the work of a multitude of musicians who all have one thing in common: they’re all human beings and are subject to all the trappings of the human condition.
We all have personal knowledge that turmoil will affect the output of one’s work, regardless of that work’s nature, and I challenge anyone who has been freshly subjected to the kind of maelstrom this remarkable outfit has suffered to make an album half as good as Ànv.I sure as shit couldn’t. Eluveitie will likely look back at Ànvas a testament to their determination, a reminder that they have the fortitude to plow through adversity and still come out strong. Lesser bands would be justified to be proud of an album likeÀnv, but for a force like Eluveitie, we must take comfort in knowing that they can, and will, overcome.
Release Date: April 25th, 2025Record Label: Nuclear Blast RecordsGenre: Folk Melodic Death Metal
Musicians: Chrigel Glanzmann / Harsh vocals, pipes, whistles * Kay Brem / Bass * Rafael Salzmann / Guitar * Jonas Wolf / Guitar * Alain Ackermann / Drums * Fabienne Erni / Vocals, celtic harp * Leah-Sophie Fischer /* Violin, hurdy-gurdy
*Ànv* Track-list:1. Emerge 2. Taranoías 3. The Prodigal Ones 4. Ànv 5. Premonition 6. Awen 7. Anamcara 8. The Harvest 9. Memories of Innocence 10. All Is One 11. Aeon of the Crescent Moon 12. The Prophecy
Order *Ànv here*
The post ELUVEITIE – Ànv (Album Review) appeared first on Sonic Perspectives.
All good things come to an end.Ever since the explosive display of power metal intrigue with a folksy gloss that was 2014’s The Pagan Manifesto, Italian stalwarts Elvenking have been on a continual winning streak in the studio, crafting one masterpiece after the next with an eye to the fantastical.
Their latest endeavor, a conceptual trilogy dubbed Reader Of The Runes has proven no less spellbinding in its brilliant marriage of this outfit’s original signature mix of olden folklore and driving metal anthems with a more cinematic presentation that has become their studio production standard since the mid-2010s.
To the uninitiated, this resulting sound could be likened to the grandiose character of recent offerings out of Ensiferum and Eluveitie, albeit with the ratio of harsh to cleaner vocal work reversed and the sort of lofty power metal sensibilities more readily associated with Blind Guardian. The consequential 3rd studio act of the previously noted trilogy in Luna underscores these somewhat disparate elements in masterful form, bringing an otherworldly saga to an end on a climactic note.
The continuity in both style and quality that Elvenking enjoys comes from a lineup that has been, for the most part, stable since the close of the 2010s and has remained unchanged since this album’s immediate predecessor.
Multi-instrumentalist and lone constant member of the fold Federico “Aydan” Baston provides a tasteful tapestry of keyboard and symphonic backgrounds, occasional growled vocals while trading riffs with lead guitarist and de facto new guy Mattia “HeadMatt” Carli, whom lands some truly technical solo work on several of this album’s ten towering anthems.
The thunderous rhythm section put forth by bassist Alessandro Jacobi and drummer Simone Morettin is an exercise in tight precision, as the latter proves equally competent in pulling back to a straight rocking stride between laying down the machine gun drummer expected of most power metal percussionists.
The rivalry for most impactful melodic helmsman between Fabio “Lethien” Polo’s intermitted violin melodies that often trade lead work with the guitars and the soaring tenor of principle vocalist Davide “Damnagoras” Moras reaches a fever pitch, turning what is an already elaborate game of notes and timbres into a vivid picture of woodland world beyond.
From a structural standpoint, this closing chapter of the Reader Of The Runes tale bears a greater resemblance to the 2019 first episode Divination, building from a highly kinetic exposition to a grand finale that sees little respite from the action in between.
The opening foray sonic splendor “Season Of The Owl” strikes an instantly cinematic tone with a full-blown Hollywood-like percussion intro before laying down the frenzied riffing, folksy hooks, and rapid fire drumming like it’s going out of style. It proves to be one of the more epic power metal styled entries of the bunch, as what immediately follows plays closer to their folk metal bona fides, beginning with a compact sing-along romp and title entry “Luna” that hearkens back to more stripped-down character of their earliest bangers circa Heathenreel, albeit with the added advantage of a massive 2025 production.
Subsequent banger entries like “Gone Epoch”, “Starbath”, and “The Ghosting” favor a more mid-paced, drinking song mode of folk metal with a heavy emphasis on Lethien’s tuneful violin, though HeadMatt’s singing guitar lines refuse to be upstaged. All the while, the mood maintains an entrancing synchronicity of being festive and mystical, almost as if Damnagoras is leading a woodland mass with a backing band with a pint of ale held high.
Though each individual anthem in this 10-song cycle balances the worlds of power and folk at every second, the longer things go, the more the technical and epic elements of the former are heightened.
Alongside the previously noted speed and majesty of opener “Season Of The Owl”, riff-infused metal crushers like “Stormcarrier” and “Throes Of Atonement” pull no punches in the speed and fury department, featuring plenty of technical moments courtesy of HeadMatt’s 6-string skill set and a correspondingly elaborate displays out of Lethien; culminating in songs that often blur the lines between Elvenking’s established sound and that of Blind Guardian’s Nightfall On Middle Earth.
The pummeling riff work of “On These Haunted Shores” brings in a strong thrash element to further mix things up, and the mysteriously dissonant blend of acoustic and electric elements with a slight symphonic edge that is “The Weeping” all but abandons the folk metal umbrella save for the recurring chant of the chorus section. But the album’s 11-minute coup de grace “Reader Of The Runes – Book II” is where all players in congress truly outdo themselves, taking their audience on a final auditory journey with so many twists and turns that one might get lost were it not for the steady melodic guideposts that come and go amid a tumultuous sea of sound.
The old adage of all good things must come to an end is a bittersweet one in itself, but it proves doubly so given how much of a grand tale Elvenking’s recently concluded trilogy has been. All has been revealed for those who have been following this riveting blend of power/folk grandiosity and fantastical storytelling since its 2019 inception.
But insofar as the broader question of this outfit’s career is concerned, one ending will undoubtedly lead to another beginning, and given the 11-year track record of one winning album after another, it’s safe to say that lore of woodland magic still has many mysteries yet to be unveiled.
Elvenking has hit it out of the park yet again with the final installment of the Reader Of The Runes saga, and as surely as any power metal fan worth their salt will want Luna as part of their collection, many more stories from the forests yore will hopefully arrive in the coming years.
Release Date: April 11th, 2025Record Label: Reaper EntertainmentGenre: Pagan Folk Metal / Heavy Metal
Musicians: Damna / Vocals * Aydan / Guitar * Headmatt / Guitar * Jakob / Bass * Lethien / Violin * Symohn* / Drums
Reader Of The Runes: Luna Track-list:1. Season of the Owl
2. Luna
3. Gone Epoch
4. Stormcarrier
5. Starbath
6. On These Haunted Shores
7. The Ghosting
8. Throes of Atonement
9. The Weeping
10. Reader of the Runes – Book II
Order Reader Of The Runes: Luna here
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Aspiring to ever greater heights.As surely as the sun rising in the East, the prospect of a new studio offering from Dutch symphonic metal titans Epica will carry the promise of a deep and thought-provoking experience. But for their 9th studio LP Aspiral, named after a bronze sculpture by acclaimed Polish painter and sculptor Stanisław Szukalski and embodying the concepts of inspiration and renewal, the usual result of lofty symphonic odes with a real world lyrical bent has come with a heightened sense of unity and camaraderie among the band’s collective membership.
A series of secluded writing camps where the six individuals responsible for making up the core of Epica’s sound can be counted among the measures taken to arrive at the highly multifaceted yet unified stylistic expression that culminates in just over an hour of cinematic splendor minus the literal theater. But for all the extravagant bells and whistles that have gone into this endeavor, not the least of which being another stellar orchestral accompaniment courtesy of the Prague Symphonic Orchestra, Aspiral emerges as one of the most straightforward albums in Epica’s discography.
Arguably, the most distinctive aspect of this latest studio excursion is the sum being equal to its parts, as each of this fold’s highly competent instrumentalists brings their distinctive craft to the fore.
Founder, guitarist and de facto mastermind Mark Jansen proves his usual credentials as a thrash-leaning riff creator with an eye for aggression and power that is mirrored in his occasional harsh vocal contributions, which continually reminisce upon the guttural 90s death/doom groan typical to some of Epica’s influences such as Tristania and Theater Of Tragedy.
Longtime lead guitarist Issac Delahaye offers up several technically charged solos to complement the wide arrangement during several select songs, and brings a few isolated progressive metal episodes into the rhythm work as a foil to Jansen’s more symmetrical riffs.
Keyboardist Coen Janssen provides some acoustic and synthetic textures to further complement the bombast and serenity of the accompanying orchestra, while the steady foundation of drummer Arien van Weesenbeek and bassist Rob van der Loo provides the depth and drive to turn an already mighty golem of sound into a towering colossus. Soaring high above the fray of pomp and rage is Simone Simons’ angelic mezzo soprano, walking its usual dual path of operatic flamboyance and measured smoothness to bring it all home, proving equally as impassioned as versatile in the process.
All of the noted elements at play are somehow translated into an album that proves far more streamlined and accessible than anything in Epica’s recent past. The usual orchestral overture gracing the beginning has been switched out for a standard up tempo banger in “Cross The Divide” that wastes little time in getting the story going, placing the emphasis on infectious hooks and heavy-hitting guitars that run parallel to what Nightwish often brought to the table on their 2004 commercial breakthrough album Once.
Other brilliant ear worm entries that keep things concise while still throwing a lot against the wall includes the punchy mid-tempo march of “Apparition” and the ultra-heavy, almost djenting stomp of “Obsidian Heart”, the latter showcasing Delahaye’s unique approach to down-tuned riffing while the former features one of his most explosive guitar solos.
The dynamic thrasher with a lofty anthemic chorus hook “Eye Of The Storm” brilliantly showcases the duality of Simons’ soaring voice and Jansen’s raw and technical rhythm work in a reasonably concise context, while the fits and starts of shorter and down tempo dramatic entry “T.I.M.E.” offers up a clear example of Epica’s theatricality and pizzazz standing high above the fray.
Naturally, this fold hasn’t made a complete break with the more elaborate character of their past, and has even gone so far as to bring it back in its most primordial form in recent memory at times. The somewhat Danny Elfman-like playful orchestrations mixed with death metal-like fury of “Arcana” definitely draws close to where things were for Epica circa the mid-2000s, while the more drawn out and proggy musings of “Fight To Survive – The Overview Effect” comes with several odd twists and turns between the extremes of overt balladry and metallic mayhem that typified Dalehaye’s 2009 entry into the fold, underscored by yet another shred happy lead display amid a lot of moving parts.
But where the early days of Epica come raging back like a torrent of bygone memories is the return of the song cycle “A New Age Dawns”, not seen since the 2009 LP Design Your Universe, in 3 amazing parts. Choosing which of this trifecta of grandiose compositions is the most glorious is no easy task, though those craving complexity and high speed metallic fervor might choose “Darkness Dies In Light”, while those seeking sheer dynamic contrast and aggression would opt for “Metanoia” and the crowd hungering for brilliant melodies and power balladry will gravitate towards this series’ concluding chapter “The Grand Saga Of Existence”.
If there is any final takeaway from Epica’s 9th studio offering, apart from the peculiar synchronicity between complexity and simplicity that it manages to establish, it is that a pivotal transition point has been hit. With the return of the noted “A New Age Dawns” saga has also come its conclusion, and with it an era of this fold’s creative output that has been long deferred.
It has been thusly accompanied by a newer approach to things where elaborate schemes have been simplified for a more accessible version of things, which is underscored by the serene ballad and denouement ending of this album and title entry “Aspiral”, which comes with arguably the most passion-steeped and beautiful performance out of Simone Simons in her 23 years fronting Epica.
The aftermath of it all is a band at a crossroads, one that may see a more stripped-down version or one that sees a new lofty saga coming into being to replace the old. Such a disposition is the mark of greatness, and fans of Epica, young and old, will find no shortage of it here.
Release Date: April 11th, 2025Record Label: Nuclear Blast RecordsGenre: Symphonic Heavy Metal
Musicians: Mark Jansen / Rhythm guitar, harsh vocals * Coen Janssen / Keyboards, synthesizers, piano * Simone Simons / Lead vocals * Ariën van Weesenbeek / Drums * Isaac Delahaye / Lead guitar, backing vocals * Rob van der Loo* / Bass
Aspiral Track-list:1. Cross the Divide 2. Arcana 3. Darkness Dies in Light – A New Age Dawns Part VII – 4. Obsidian Heart 5. Fight to Survive – The Overview Effect – 6. Metanoia – A New Age Dawns Part VIII – 7. T.I.M.E. 8. Apparition 9. Eye of the Storm 10. The Grand Saga of Existence – A New Age Dawns Part IX – 11. Aspiral
Order Aspiral here
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See if you can follow along with this series of cause and effect: With the future of The Winery Dogs uncertain in the wake of Mike Portnoy’s return to his native Dream Theater habitat, a pandemic-era project between Richie Kotzen (Mr. Big) and Adrian Smith (Iron Maiden) may actually now be more important than ever. Naturally, the angler and sometimes rock star Adrian, often known to friends and colleagues as “H,” has a gig with arguably the greatest metal guitar band of all time, so he stays busy. However, Nicko McBrain’s recent retirement from touring may be a sobering reminder that the party will not go forever, and an act like Smith/Kotzen might be an easier outlet to fall back on when Mr. Dickinson hangs up his pilot hat to bring the band in for one last landing.
With it now seeming to be particularly important to keep the 2021 Smith/Kotzen project watered in a sunny window where it can grow, the band has announced a second album, Black Light, White Noise. For a band based around a dynamic duo, the yin and yang nature of the album title is an interesting word choice for the imagery alone. So, let’s get into it.
The first track, “Muddy Water,” opens as a big blues-rock groove, so perhaps it’s possible to explain the ostensible mission of this band for anyone who might not know. While Richie does not seem to have ever been forced like a round peg into a square hole in his career, it was obvious by 1988 to 1990 that Adrian was getting a little musically claustrophobic in the land of Eddie, and songs by bass players based on books and movies. His fingerprints were all over Maiden’s 1986 Somewhere in Time album, most notably the B-sides, including “Reach Out,” which he sang, and it felt more like a Van Hagar ballad than any kind of Maiden epic about fighter planes or world conquest.
While he still had a strong and positive influence on Seventh Son, it was clear to Adrian during the No Prayer sessions that the tide was changing, and it was time for him to chart a new course. Enter Adrian Smith And Project, or “ASAP,” whose Silver and Gold record was pure pop-rock of a very impressive caliber. When this seemed to emerge at an inopportune time in rock history, he embraced more of an “Alternative” approach with some King’s X feeling when he fronted Psycho Motel. Finally, he ended up gigging with Bruce solo, which might have been the best thing, at least until the two returned to Maiden around 2000.
With all that being said, it was obvious all along that Adrian had pop, blues, and melodic classic rock DNA the whole time, and it just needed an outlet. Kotzen, who has lent his Telecaster and great big Eric Sardinas vocals to a variety of pop-rock projects as well as his own very impressive solo catalog, ended up being a kindred spirit for whatever Adrian needed to get out onto paper, and eventually into our hands as a record. With all that out of the way, the first track, much like the entire first Smith/Kotzen record, makes much more sense. The song has a King’s X “Dogman” sort of groove to it, with double vocal duties and plenty of traded guitar parts. It’s a strong start.
This album actually sort of has two title tracks, and “White Noise” is the first to appear. The song opens with a sludgy medium-high gain riff in the same vein as Young’s “Cinnamon Girl.” After a couple runs through that riff, the song leans back into a chill 4/4 blues rock verse structure, with lyrics lamenting the societal shift into social media, tethered to apps and being lost in the noise as an individual voice. After a delivery of the chorus asking if you can “hear me through the white noise,” the two gents take some turns on some ZZ Top flavored parts, with Richie demonstrating his frantic Telecaster pyrotechnics and Adrian balancing it out with some melodic vibrator-laden blues licks.
The other titular piece, “Black Light,” opens up with drums pounding into the reverb and gets pretty quickly into Richie bringing some fluid legato leads. This track is laden with 70s rock roots, perhaps most closely to the Deep Purple of Coverdale and Hughes. In fact, Richie’s vocal parts are often aligned with what we hear on Burn material, such as “Lay Down / Stay Down.” The lyrics do not seem to harbor any deep philosophical significance, but they set the stage for a cool album cover, and the guitar work on the track does all the heavy lifting anyway.
The next track, “Darkside,” has Adrian written all over it, and it’s some of his best writing since “Scars” on the previous record. It’s the same style that made “Writing on the Wall” the strongest track on Maiden’s recent Senjutsu album. The track opens with steel string acoustics and light percussion, maracas, shaker eggs, that sort of thing. The format walks the line between Southern rock and Texas SRV blues. It’s a strummy, low-gain kind of track, with a standard verse-chorus layout, seasoned judiciously with some juicy guitar parts.
“Life Unchained” opens with a wet chorus over single coil electric chords until Adrian eases in with a lonesome solo a bit like the break in “Stranger in a Strange Land.” After a minute or so of this, the song takes an unexpected turn, and a nasty old-school high-gain guitar riff starts banging out, existing someplace between Queen’s “Tie Your Mother Down,” and maybe something from the respective eras of Bon Scott and Paul Di’Anno. The riff relents a bit, but the beat doesn’t, and the boys take turns delivering verses and harmonizing on the chorus. It is easy to tell which lead guitar part belongs to whom if you have listened to Richie era Mr. Big, or pretty much any good Iron Maiden record.
“Blindsided” opens with an interesting plucked series of chords alternating with open notes before the bass guitar joins in and the gain gets cranked right up. Adrian leads the way with some verse structure, and the chorus is solid enough. Impressive guitar work on the last half of the track keeps this one from being otherwise unremarkable. Not bad, mind you, just not a standout on this record.
“Wraith,” on the other hand, opens with some great dripping wet guitar effects, both pre and post-gain. Tremolo, flange, chorus, you name it. The first 9 seconds are so abstract, it could be an interesting new take on Zep’s “No Quarter.” The lead part that emerges is so cool, it could carry the song all by itself. Make no mistake, this song has one of the better choruses of the album, and the latter parts of the song have some very cool interplay between the toms and the guitars.
“Outlaw” opens with a two-part guitar lead harmony before Richie lays out the verse structure, but Adrian adds another layer of vocals before a few staccato notes of bass guitar lead into a reasonably melodic chorus. As is sometimes the case on this album, the lead guitars steal the show. With tricks ranging from tapping to legato scales, but most importantly a sense of melody and timing to complement the final chorus and last minutes of the song.
While it may seem more relaxed than the rest of the album, the final track, “Beyond the Pale,” is a seven-minute melancholy swan song to the ending. A distorted three-note chord plucked out as individual notes lays the groundwork for a slow, ponderous beat for what is largely an Adrian-driven vocal song. However, both vocalists get in on the act, especially with some harmonized parts. The mournful lead guitars take some turns and play some nice harmonies together. In a general sense, this closing track is not really there to do anything flashy or remarkable as much as to create a soulfully moving vibe to ponder.
Much like the previous self-titled Smith/Kotzen record, this one will be required listening for fans of either artist. Fans of Mr. Big and The Winery Dogs will definitely want to give it a spin. Iron Maiden fans will be hit or miss depending on the rest of their personal musical palate. Hopefully, if these two gentlemen try to do this a third time, they can take some time to really dig deep and do something novel. Most of us would rather have five or six songs that really push, and give us memorable moments and hooks, than what we have here, which is another ten songs which, although objectively solid, are a linear continuation of what we had in the first album, along a similar trajectory, with few pleasant surprises.
It is evident that the entire mission or vision here is to do something less ostentatious than what’s been in both men’s musical backgrounds. Something accessible, something raw, something based on feel and vibe, something you could play in a poorly-lit blues club while people shoot pool and drink bourbon and whiskey at the bar. This music does do that, and it does do it well. Perhaps it does it too well because even the great classic rock albums still have more memorable songs, and this album really takes a few listens to find those golden moments where the listener can say, “I really dig this part right here.” But there is, nonetheless, gold to be found. Black Light, White Noise, is going live online and at retailers this Friday, so be sure to check it out.
Release Date: April 4th, 2025Record Label: BGMGenre: Hard Rock / Blues Rock
Musicians: Adrian Smith / Guitars, vocals * Richie Kotzen / Guitars, vocals * Julia Lage / Bass * Bruno Valverde* / Drums
Black Light, White Noise Track-list:1. Muddy Water
2. White Noise
3. Black Light
4. Darkside
5. Life Unchained
6. Blindsided
7. Wraith
8. Heavy Weather
9. Outlaw
10. Beyond The Pale
Order Black Light, White Noise here
The post SMITH/KOTZEN – Black Light, White Noise (Album Review) appeared first on Sonic Perspectives.
A crimson dusk consumes the tapestry of the Great War.Call it nostalgia, but there was something truly spellbinding about the early strides towards extreme metal made by the thrash scene in the mid-1980s; a sort of vintage mixture of sinister blackness and high-speed carnage that would pave the way for even darker material.
Spearheading this revolutionary stylistic precedent on the European front were Teutonic elites Kreator, Destruction, and Sodom, the latter of which proved to be a consequential figure in driving the style towards something a tad more dangerous than even the seminal works of Slayer.
In more recent years, with the rebirth of the subgenre in the early 2000s, German successors to the legacy set forth by Sodom have been few and far between, whereas other nations like Greece and South America have been hotbeds for extreme thrashing with a blackened edge. But in the 2010s, a near-dead-ringer for the glory days when Angelripper was leading his fold into the late 80s emerged, Rhineland in Warfield, a similarly styled power trio with all the fire, fury, and youthful vigor of the aforementioned original.
Having first made a sizable splash in the decrepit pool of the thrash underground with their 2018 debut Wrecking Command under the banner of independent metal label Metal On Metal Records, 7 years of subsequent effort and toil have found them on the roster of the powerhouse Napalm Records and an explosive sophomore LP in With The Old Breed that reaffirms the ways of old with a pummeling modern production.
The elements at play might lead one to chalk this up as a tribute band that started coming up with original material, with the sepulchral ravings of bassist/vocalist Johannes Clemens sounding like a somewhat more maniacal Tom Angelripper, and guitarist Matthias Clemens’ frenetic riff work and wailing solos often paralleling a vintage Fran Blackfire.
Combined with an unrelenting, high-speed battery out of drummer Dominik Marx and a songwriting template right out of 1987, it’s pretty easy to see this as the album that Sodom could have written between Persecution Mania and Agent Orange. But closer inspection reveals a band that is building upon an existing framework as much as they are paying tribute to it.
As with any great surprise, the first ingredient begins with what is expected, and Warfield sets the battle scene in a truly classic fashion. The explosive riff machine of an opener, “Melting Mass,” lives up to its name by hitting the pavement at full speed and keeping things concise and to the point, sounding the most like something a late 80s German thrash trio with a love for Motorhead would concoct.
Not long after this introductory kill session wraps, things evolve into something a tad more elaborate than standard Sodom emulation, with the frenzied follow up “Appetitive Aggression” throwing in some more diabolical and tremolo-steeped riff work that gets a little closer to Slayer territory and going mad enough in the machine gun drumming department to almost cross over into death metal territory.
The final part of this album’s warp speed opening trifecta “Soul Conqueror” builds upon the same technical and chromatic template and starts playing with the atmosphere with some tasteful guitar layering, resulting in something a little difficult to recreate live but possessed of a compellingly black demeanor that feeds into the undead soldiers at war imagery that adorns this album’s cover art.
The further things go, the more elaborate and diabolically rich the sonic tapestry becomes, until Warfield finds them becoming less a band following the Teutonic masters and more one that takes their legacy a step further. The more mid-paced and mixed-up “Fragmentation” and “Dogs For Defense” showcase Matthias’ riff work becoming a full-on technical nod to the late 80s Bay Area masters, often accomplishing a dueling assault via overdubs that the likes of Forbidden and Vio-Lence would gaze upon with pride.
Meanwhile the sinister beast that is “Tie The Rope” gets so gallop happy in the guitar department and chock full of harmonized fills that it almost turns into a homage to Iced Earth’s Night Of The Stormrider set to a late 80s German thrash foundation. The neck-ruining mayhem of “Lament Of The White Realm” and the cacophonous coup de grace of a title anthem “With The Old Breed” tread similarly complex realms of riffage, but sound a tad closer to an orthodox mid-80s thrash excursion with a crazier, 2020s mindset.
But the song that truly breaks away from the pack and solidifies this trio as their own phenomenon is the towering 7 minute epic “GASP”, which seamlessly combines the down-tempo mystique of Slayer’s “South Of Heaven” with incidental symphonic moments right out of Celtic Frost’s Into The Pandemonium playbook, amounting to a modern horror masterpiece set to thrash.
Thrash metal revivalists paying homage to the classic German sound might be a dime a dozen, but this team comes to the plate with the benefit of the home field advantage and enough musical gravitas to easily stand as a cut above the rest.
Fans of the old school Sodom sound from 1987 through 1992 are the primary audience of With The Old Breed’s signature style, but even the most fervent of fans that mosh within the orbit of the Teutonic Trio and other heavy-hitters from the more recent revival days like Suicidal Angels, Angelus Apatrida and Nervosa might come away surprised at the sheer level of auditory violence and intensity that just oozes out of every moment of this opus.
Warfield might not be the first band to adopt the motif of German warfare during the days of The Great War and set it to the darkest crevices of thrash metal, but they’re not the old breed that you’d want to mess with while on the other side of the trenches.
Release Date: April 5th, 2025Record Label: Napalm RecordsGenre: Thrash Metal
Musicians: Dominik Marx / Drums * Matthias Clemens / Guitars * Johannes Clemens* / Bass, Vocals
With The Old Breed Track-list:1. Melting Mass
2. Appetitive Aggression
3. Soul Conqueror
4. Fragmentation
5. Lament Of The White Realm
6. Tie The Rope
7. Inhibition Atrophy
8. Dogs For Defense
9. GASP
10. With The Old Breed
Order With The Old Breed here
The post WARFIELD – With The Old Breed (Album Review) appeared first on Sonic Perspectives.
After bursting out of the gate with a pair of eclectic albums released during the lockdown years, Randy McStine and Marco Minnemann took more time to craft their third release, the suitably titled III. Whether it’s due to McStine’s hiatus to go on tour with Porcupine Tree, or Minnemann’s relentless gigging with his power trio The Aristocrats, or a maturing of their rapport together, this new album is easily their most direct and accessible yet.
Which isn’t to say it’s not still completely all over the map. After all, their shared wild range of musical tastes is what first drew them to one another. But there’s no question that there’s a little more polish around the edges, while keeping the edginess intact.
Considering McStine is the primary lead vocalist and guitarist, it can be surprising to realize that the songwriting is evenly split between the two, and it’s not always easy to parse their styles from one another. Still, McStine’s catchy melodies often shine through and reveal their pop potential, while Minnemann’s darker tones and staccato rhythmic focus help reveal their author. Regardless, the listener soon realizes that they’re in good hands as far as instrumentation is concerned with these two musical savants.
The album opens in an unexpected manner as seagulls cry and acoustic guitar strums on “Over The Bay”, the softest song in the collection. Minnemann doesn’t even get to his kit for this one, instead playing electric guitar, shaker, and some keys. It’s a sweet little tune but a bit strange to put up first at bat, considering most of the subsequent material hits much harder.
This brings us to “Survive”, an ideal first single release that finds McStine doing what he does best – rocking hard with prog and pop overtones. Minnemann then brings two of his tunes forward: “Tigress” and “Your Own Choices”. While McStine can throwsome curve balls into his writing, Minnemann takes that approach and then doubles or triples it. A bit too manic for my tastes, honestly, but still, there’s Minnemann’s brilliant drumming in the mix, so one can’t complain.
All of these dynamics reach their apex on “Crossing Wires”, the only track co-written by both men, and it lives up to its name. After the initial 2 minute fury, things get a bit more spacious so that the two can have an extended jam without distraction. In some ways, the second half of the song is a highlight of the album, the payoff for the frenetic energy that precedes it.
The album continues with a mix of warmer tunes, like the luscious, Beatles-infused “Green”, the hypnotic “Lines Around You” or fanciful tripped out “Free” to a nearly jazz fusion vibe on “Riding On Clouds”. In some ways, the second half of the album feels more consistent and accessible on the whole. Minnemann seems to hit hardest on the songs that he brings to the table, but the two work well in integrating their strengths, resulting in a cohesive album from the duo.
Considering their own creative solo catalogs, M & M are finding the fertile middle ground where they thrive best together. Boasting an insane amount of notes, hits, and directions, it’s a good thing that the album is produced and engineered as well as it is, allowing all of these ideas to be heard in all their glory.
Having witnessed two of the few live gigs this duo has played thus far (supplemented by the virtuosic Mohini Dey on bass and Nick D’Virgilio on a host of instruments and vocals), I can say that the rapport is genuine and the talent undeniable. Hopefully, these guys will find a way to make their way to the stage more often. Until then, you’ve got 3 albums and a zillion notes to keep you company.
Release Date: April 4th, 2025Record Label: IndependentGenre: Progressive Rock
Musicians: Randy McStine / Vocals, electric & acoustic guitars, bass, keyboards, percussion, Fx * Marco Minnemann* / Drums & percussion, electric & acoustic guitars, keyboards, vocals, bass, Fx
III Track-list:1. Over the Bay
2. Survive
3. Tigress
4. Your Own Decisions
5. Crossing Wires
6. This Time
7. Lines Around You
8. Riding on Clouds
9. Green
10. Free
11. The Unmanned Flight
Order III here
The post MCSTINE & MINNEMANN – III (Album Review) appeared first on Sonic Perspectives.
The dynasty continues undaunted.There is something to be said for not messing with a winning formula, but this does not mean that innovation needs to fall by the wayside. For their part, Swedish melodic death metal mainstays Arch Enemy have raised the concept of sticking to what works to an art form over three decades, fielding 12 exemplary LPs with three very different lead vocalists at the helm.
In fact, the only thing that could be viewed as outright inconsistent in this band is their lineup, leaving guitarist and de facto mastermind Michael Amott as the lone constant member since their 1995 founding; though to be fair, the rhythm section consisting of drummer Daniel Erlandsson and bassist Sharlee D’Angelo have been in congress since the 90s and share a near equal share of credits in Arch Enemy’s back catalog.
Now, with the departure of Jeff Loomis to rekindle the old modern metal flame that was Nevermore, this tenacious powerhouse of an outfit has soldiered forward with arguably their most intense offering yet, aptly dubbed Blood Dynasty.
In the words of Amott himself, “We’re not trying to reinvent the wheel, we’re just writing the best music we can.” A truer statement could not be uttered when a perusal of the explosive anthems that lie in wait is made. Now accompanied by shred surgeon Joey Conception on 2nd guitar, a logical choice given his past work in Amott’s brother Christopher’s project Armageddon, some of the most melodically rich material has been unleashed upon an equally explosive foundation courtesy of the band’s aforementioned rhythm section, to speak nothing for the tasteful yet daunting technical feats that weave in and out of the arrangement.
The culmination of it all is an album that adheres to every practice that fans have come to expect from this fold, though in a more concentrated dose and with a few surprises. Chief among the new elements at play here comes courtesy of front woman Alissa White-Gluz, whom has already proven quite capable of matching her predecessor Angela Gossow in the guttural department, but has now taken a few occasions to showcase the consonant side of her vocal tool kit, drawing upon her soaring soprano as often witnessed during her guest work with Kamelot and some dirty melodic fair that perfectly complements the thrash elements of the Arch Enemy template.
Despite this outfit’s generally straightforward approach to the melodeath craft relative to other prime movers in Sweden and beyond, the ebb and flow of their 13th opus is nothing if not multifaceted. Things commence on an uncompromisingly familiar note with “Dream Stealer”, arguably the most chaotic, thrash-infused beast of an anthem to emerge from Arch Enemy’s creative well in over a decade, which fully embraces a modern sense of raw fury as Alissa’s ferocious roar vacillates between a deep bark and an almost tuneful snarl during the triumphant chorus section.
Other monstrous entries like “Don’t Look Down” and “March Of The Miscreants” tread similarly extreme paths and put the band’s money where their riffs are, the latter taking a brief left turn into mid-paced Gothenburg territory before circling back to destroy all who oppose sonically. Similarly swift and hard-hitting cruisers like “A Million Suns” and “Liars & Thieves” lean a little more into the melodic end of things and come off a tad closer to power metal-like bangers, while the punchy slab of savory ear candy that is “The Pendulum” has all the makings of a rock radio hit with a venomous bite.
One might almost be content to consider this a higher octane rendition of where things have been since War Eternal, but that summation falls short when a few rather interesting twists in the tale unfold. The most blatant departure from the established order is the somber power ballad “Vivre Libre” – a rendition of a rather obscure original by French hard rock band Blaspheme – which leaves the melodic death realm entirely, at least insofar as Alissa’s performance is concerned. Barring a few forceful gang chants from the background, Gluz’s dynamic soprano sticks to smoother territory, though a few brilliant Janis Joplin-like moments mixed into an otherwise angelic presentation keeps things from getting too safe.
Coupled with a soaring melodic display during the chorus of the mid-tempo banger entry “Illuminate The Path”, the vocal occasions taken add to an already highly dynamic display. Beyond the vocal strides being taken, the songwriting and instrumental execution takes a few very auspicious chances at more nuanced and hook-driven fair on the duo of ear worm anthems “Paper Tiger” and the title entry “Blood Dynasty”, rivaling the most infectious anthems ever put forth by In Flames and Dark Tranquillity, and solidifying Amott and Conception’s virtuosic union at the very first attempt.
Though it would be a stretch to qualify Bloody Dynasty and the riveting anthems that preceded its release as promotional singles as throwbacks to Arch Enemy’s pre-2003 era, the temptation to consider them as such is understandable given that they stand on a similar qualitative footing.
It is very much a modern opus that would more readily be compared to the most recent outings of Amon Amarth and Soilwork than the archaic splendor that typified albums like Black Earth, Stigmata, or even Wages Of Sin. Those that come to it expecting something along the lines of where melodeath was in the late 90s will undoubtedly not find it but are assured to come away with the same sense of fulfillment that comes with hearing a classic metal album from any era.
As the old saying goes, one can never step on the same river twice, yet when stepping into the rapids that Arch Enemy plays in, this is about as close to the waterfall as it gets.
Release Date: March 28th, 2025Record Label: Century Media RecordsGenre: Melodic Death Metal
Musicians: Alissa White-Gluz / Vocals * Michael Amott / Guitars * Joey Concepcion / Guitars * Sharlee D’Angelo / Bass * Daniel Erlandsson* / Drums, keyboards, sound effects
Blood Dynasty Track-list:1. Dream Stealer 2. Illuminate the Path 3. March of the Miscreants 4. A Million Suns 5. Don’t Look Down 6. Presage 7. Blood Dynasty 8. Paper Tiger 9. Vivre Libre (Blaspheme cover) 10. The Pendulum 11. Liars & Thieves
Order Blood Dynasty here
The post ARCH ENEMY – Blood Dynasty (Album Review) appeared first on Sonic Perspectives.
Metal that chastises the sun itselfAs an art form, metal music has an uncanny disposition of being malleable enough to be adapted to any cultural mythos. Its borderless potential is underscored by the massive strides made by New Zealand-born modern groove metal upstarts Alien Weaponry, who have been making the rounds on a global scale following their landmark 2018 debut offering Tū.
The years since have seen this dynamic trio of Māori extract garner critical acclaim from prominent media outlets for their 2021 sophomore LP Tangaroa, with Metal Hammer in particular hailing them as the “future of metal”. Tours with the likes of Guns N’ Roses, Gojira, and Slayer, and even a documentary film dubbed Kua Tupu Te Ara before the close of 2024 would also be on the roster for this rising star of an outfit. Now, at the midpoint of the current decade, the sky has become the proverbial limit, and one of its most prominent occupants, the subject of their 3rd and most recent studio album Te Rā.
Per the band’s own testimony, the album derives its name from the Māori sun deity and draws lyrical inspiration from the corresponding mythology involving said god and the mythical trickster Māui, purveying their ongoing message of cultural, environmental, and societal resilience through 11 highly dynamic compositions.
The accompanying sonic content retains the highly aggressive hybrid style of groove, thrash, and metalcore elements with the band’s affinity for their culture’s unique vernacular music, but is distilled into a more accessible, anthem-oriented approach that places greater emphasis on strong melodic hooks and streamlined song structure.
The thunderous battery of drummer Henry de Jong’s kit work and the steady, bottom-heavy foundation of Turanga Morgan-Edmonds present an exercise in war-like ferocity with a modern sense of precision, allowing guitarist and lead vocalist Lewis de Jong to lay down a highly dynamic performance that all but runs the gamut of stylistic possibilities.
From the opening rush of the cruising riff monster “Crown”, it’s clear that this power trio is playing for keeps, not to mention bringing a higher level of technical and melodic flair into the equation. Along with similarly swift and busy thrashers like “1000 Friends”, “Hanging By A Thread” and “Blackened Sky”, the sound accomplished bears an uncanny resemblance to the up tempo, hook-driven handiwork of noted metalcore outfits like Killswitch Engage, Trivium and the early offerings of All That Remains, all the while still retaining a progressive bent that keeps things from getting too predictable.
The closest thing to a ballad on this album’s roster in “Myself To Blame” only serves to further accentuate this parallel with the American metalcore sound with a melancholy, almost emo-like approach that sees Lewis’ cleaner vocalizations occasional arrive at a heartfelt croon, though the overall picture remains highly aggressive and falls more along the lines of a latter day In Flames take on a quasi-ballad.
Alongside the five aforementioned anthems adorned with English lyrics are six pummeling groove metal entries in the band’s native Māori language, leaning a tad closer to their sound on previous albums but still adapted to the album’s generally anthemic aesthetic. The mid-pace ferocity of “Mau Moko” hits hard enough to trade blows with Gojira and comes chock full of plenty of forceful gang chants alongside the litany of harsh and cleaner vocalizations unleashed by Lewis while simultaneously handling all the riff work.
The chunky grooves of “Tama-nui-te-rā”, the full name of the sun god for which the album derives its title, is another key point of intrigue as it goes all in on the imagery of a Māori war dance as the attendant lore is communicated in its original language, going the heaviest of any entry on this album and again pointing to a strong Gojira influence in the instrumental department. But the song that truly brings home this album’s metallic bona fides is “Taniwha”, which puts the pedal to the proverbial metal in the riffing and general aggression department, not to mention featuring a harrowing guest vocal performance by Lamb Of God helmsman Randy Blythe.
Though only 7 years deep into their career and with so much ground left to conquer, it could be safely argued that Alien Weaponry has solidified themselves as an elite player in the modern metal scene.
The fire and fury was always there since day one, but what Te Rā brings to the table is something accessible enough to be easily digested by any metal maniac from the shores of Oceania to the coast of North America and everywhere in between, not to mention get them all singing along in a language normally reserved to a small conclave of anthropologists outside of New Zealand without missing a syllable.
Metal has always been a dish best served loud and with zero compromises, but with Alien Weaponry comes a hybrid of the familiar and the highly exotic that is guaranteed to keep the masses guessing as surely as it will keep their heads banging.
Release Date: March 28th, 2025Record Label: Napalm RecordsGenre: *Groove Metal / Metalcore / Thrash Metal*
Musicians: Henry Te Reiwhati de Jong / Drums, backing vocals * Lewis Raharuhi de Jong / Guitars, lead vocals * Tūranga Porowini Morgan-Edmonds* / Bass, backing vocals
Te Rā Track-list:1. Crown 2. Mau Moko 3. 1000 Friends 4. Hanging by a Thread 5. Tama-nui-te-rā 6. Myself to Blame 7. Taniwha (Featuring Randy Blythe) 8. Blackened Sky 9. Te Riri o Tāwhirimātea 10. Ponaturi 11. Te Kore
Order Te Rā here
The post ALIEN WEAPONRY – Te Rā (Album Review) appeared first on Sonic Perspectives.
The Darkness fans, brace yourselves, because you’re in for quite a ride. Having been consistent since their return with Hot Cakes in 2012, with a new album every two years or so, they took a little longer this time around, but finally Dreams On Toast will be released on March 28th.
Much like every other album they put out, absolutely everything counts, even the visual elements. On the cover and all promo photos of Dreams On Toast we see the band posing as yuppies, with silky suits and the giant mobile phones that were common in the mid to late 80’s. The album kicks off in high gear, with “Rock and Roll Party Cowboy”, with thunderous drums and an addictive bassline. The song is cut from the same ilk of “Solid Gold”, from 2017’s “Pinewood Smile”. The lyrics here are both homage and satire of the hard rock culture, with nods to leather jackets, ripped jeans, and other clichés of the genre. The combination of the screaming whammy bar and Justin’s high shrieks is pure heaven, and this one will go down a storm in the upcoming tour. At this point, they have a gazillion songs to choose from, but this one has the potential to stand the test of time and become a staple of their setlists in the future.
Track number two is called “I Hate Myself”, but you’d be wrong to assume they’re channeling the woes of Joy Division or Depeche Mode. This is an upbeat number that talks about broken love. Think of a clash between The Stones’ “Rip This Joint” with Led Zeppelin’s “Hot Dog”, including Justin Hawkin’s soaring falsetto and a horns section. The guitar solo here is simple and effective, alluding to the early days of rock and roll – Chuck Berry and Little Richard would be proud.
“Hot On My Tail” promises to be a divisive track for old-schoolers. It kicks off with vocal harmonies that harken back to Queen’s “A Night at the Opera”, and goes into country territory. A humorous and exaggerated tale about an unfortunate digestive disaster, this one might remind some fans of the experiments that Queen did on “Seaside Rendezvous” or “Lazy on a Sunday Afternoon”, but others might find it cringe-worthy – that will depend on whether or not you’re ready to embrace this song’s in-your-face ridiculousness.
“Mortal Dread” gets things back to more familiar territory, with a riff that would fit in like a glove on AC/DC’s Powerage. It sees Justin perhaps coming to terms with turning 50 recently, discussing the inevitability of death with a mix of dark humor and poetic melancholy. Bassist Frankie Poullain and drummer Rufus Taylor provide the perfect base here, from which singer-turned-YouTuber Justin and his brother Dan fly off. The cherry on the cake of this one is a heavy breakdown that gives way to a joyful piano and yet another blistering guitar part.
“Don’t Need Sunshine” brings back the Queen-esque vocal harmonies, and discusses themes of self-sufficiency and minimalism in a mid-tempo setting. Not a bad song, but it sounds like a watered-down version of the band’s sound. If this was recorded on the Permission To Land days, it would have come out in a completely different arrangement, perhaps with a little bit more power. But things get more interesting on “The Longest Kiss”, where Queen and The Beatles fuse and become one of the happiest songs they ever released, betting on the absurdity of love.
In stark contrast with its preceding track, “The Battle for Gadget Land” brings punk riffs and discusses the addiction to apps and mobile phones. “Cold Hearted Woman” on the other hand, is pure 60’s country, and will also raise a few eyebrows. But hey…if The Rolling Stones got away with “Far Away Eyes”, so can Justin and his mates!
The current state of the music business and what it means to release music in 2025 are discussed in the heavenly “Walking Through Fire”, where the band breaks the fourth wall on verses like “We never stopped making hit album…it’s just that no-one buys them anymore”. Reflecting on this one, Justin says “The life of an artist is a grueling endeavor, leavened with rare moments of shining success. We wade through sweet treacle every day, to make things for others to love. For we chosen few, this is akin to climbing a mountain for the glorious view, whilst studiously avoiding looking at the discarded condom that has attached itself to our stylish yet practical hiking footwear. To rephrase in less oblique tones, nothing worthwhile is ever easy, and that is why we, The Darkness, are WALKING THROUGH FIRE… thinking of you.”
Dreams On Toast ends as weirdly as its title suggests, with the curveball of “Weekend in Rome”. A love letter to the Italian city, this humorous number includes mentions of the Spanish steps, orchestrations, Justin doing his best impression of Pavarotti, and a monologue from actor Stephen Dorff. Produced by Dan Hawkins, Dreams On Toast flawlessly captures The Darkness looking for new avenues to explore their sound, celebrating their influences, and adapting to a new age. If this was indeed a sandwich, one could definitely call it “the works” or “fully dressed”, depending on what part of the world you live in.
Release Date: March 28th, 2025Record Label: Cooking Vinyl / Canary DwarfGenre: *Hard Rock*
Musicians: Justin Hawkins / Lead vocals, guitar, piano * Dan Hawkins / Guitar, backing vocals, production * Frankie Poullain / Bass, backing vocals * Rufus Tiger Taylor* / Drums, backing vocals
Dreams On Toast Track-list:1. Rock and Roll Party Cowboy 2. I Hate Myself 3. Hot on My Tail 4. Mortal Dread 5. Don’t Need Sunshine 6. The Longest Kiss 7. The Battle for Gadget Land 8. Cold Hearted Woman 9. Walking Through Fire 10. Weekend in Rome
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Bloodywood‘s shift from viral screamo band to folk/djent/rap/prog/however the hell you describe Rakshak was as sudden as it was stunning. Rakshakis one of those rare debut albums that threatens to redefine an entire genre, and it comes from a band that was seemingly content to be a novelty act metalizing pop and Bollywood songs in the streets of their native New Delhi left unsuspecting audiences both whiplashed and hungry for more. The strength of that album and the power of their live performance – and seriously, these guys smoke the stage – made it clear to all who paid attention that Bloodywood had arrived. The question then became, would they be able to live up to the absurd expectations they’d set for themselves?
Briefly, the answer is yes. But it might take repeated listens to make that realization. On the first few spins, Nu Delhi sounded more of the same: cyclonic, earsplitting, and unapologetically forward-thinking fury. But it felt as if Bloodywood were just repeating themselves. The pounding rhythms, rapid-fire rapping, roaring savagery, and the inexorable homage to their heritage were all present with undeniable sincerity. It just sounded kind of samey at first.
It took a little under a week for it to dawn on me that Bloodywood doesn’t owe it to us the reinvent the wheel. They’ve done that already. Bloodywood is, after all, a band who have taken metal, rap, and Indian folk, broken them down, and reconstructed them entirely because merely blending them together wasn’t exciting or challenging enough. Ridding myself of the unreasonable expectation that they needed to do all that again was all I needed to appreciate Nu Dehli for what it is: a worthy successor to a monstrous introduction.
“Halla Bol”opens with eerie backmasked chanting that soon gives way to guitarist Karan Katiyar’s positively sinsiter bansuri. Seconds in, we’re in full groove territory, Katiyar‘s djentle crunch leading Vishesh Singh‘s frenetic drumming, Roshash Roy‘s thunderous bass, and Sarthak Pahwa‘s demonic abuse of the traditional dhol drum. By the time Raoul Kerr starts spitting his rabid rhetoric in tandem with Jayant Bhadula‘s bestial roar demanding that the masses raise their voices, we realize this can only be one band, as the Bloodywood sound is singular to the point that literally no other band out there sounds even remotely like them.
Thus we’re prepped for “Hutt,” a lethal inspirational that not only demands that Bloodywood’s audience do and be better but reassures them that however arduous the journey to self-actualization may be, it’s a shot worth risking even in the face of hatred. “Hutt” immediately stands apart for multiple reasons: this mid-paced motivational opens with Bhadula barking out two verses with Kerr providing the refrains. The band goes completely silent for the interlude, allowing a faint piano arpeggio to support a brief but beautiful violin melody that recalls Evergrey‘s“Words Mean Nothing,” over which Kerr’s righteous and relentless rage reminds us that we can take our curses and turn them into gifts. Perhaps I too hastily convinced myself these guys didn’t have any genre-bending left in them. Good thing I kept listening.
We can’t discuss Bloodywood without referencing Raoul‘s rapping. I claim exactly zero expertise in rap. But as a writer and occasional orator, I absolutely envy the astute artistry and aptitude rappers like Busta Rhymes and Eminem harbor when they perform. Say what you will about the genre and the subject matters, but it is simply not possible to paint such vivid pictures using only words if you don’t have an astronomical level of skill, and being able to deliver those words with the amount of passion and precision these men have is a feat unto itself. The reason that the old Celebrity Death Match sketch featuring a bout between “the two greatest poets of all time: William Shakespeare and Busta Rhymes” was so hilarious is that it recognized that Rhymes’ output is no less indomitable than The Bard‘s simply because it’s street.
So does Raoul Kerr compare to these men? I’m not the one to answer that. But the fury of his delivery and the precision of his verbiage is powerful enough to convince me that it’s a point worth investigating. Raoul doesn’t just spit rhymes. He batters your mind and your eardrums with the wrath of a warlord, the passion of a preacher, and the prose of a civil rights icon, all while peppering his poetry with a sentiment towards his heritage that can only be described as “honor.”
Raoul Kerr‘sunashamed reverence for his roots and his decidedly modern approach to embracing them demand attention and admiration, and his elocution is such that it’ll rile an audience up for a full-on revolution even as he describes his mother’s biryani (see “Tadka”). This dude is good.
As if mixing Indian and Western musical approaches weren’t enough, “Bekhauf (Fearlessly)” takes things several thousand miles further, with Suzuka Nakamoto, Moa Kikuchi, and Momoko Okazaki (collectively known as Babymetal) contributing bridges and supplementing Bhadula on the refrains. Besides being a collaboration between the two most divisive groups in contemporary metal, “Bekauf” deserves recognition for being a true culture jam, seamlessly uniting an already eclectic sound with the kawaii craze of Babymetal‘snative Japan in a move that will surely piss off metal purists worldwide.
Those weenies would do well to get over themselves and take a few hard listens to this cut, as it will reward them with an invigorating anthem that urges them to defeat their own inner demons. Complete with an anime-inspired video, “Bekhauf” is a blatant attempt to rope in the growing legions of otaku and self-described weebs who like their music a bit on the heavy side. And you know what? I dig it and IDGAF what you have to say about that. And c’mon, three languages in one metal song? That’s some Orphaned Land shit right there. What’s not to love?
Nu Delhialso sees Bloodywood adding more electronics to their sound, mostly in the form of Eurodance-inspired keyboards, without sacrificing a micron of their metal cred. It all culminates to create a record that expands boundaries by obliterating them entirely, and only strengthens my conviction that metal is one of those genres that can go literally anywhere. Its optimism deters not at all from its furor, nor does its whimsy detract from its fortitude. A furious “fuck you” to chuds who mistakenly believe that SJW types are a bunch of wusses, the essence of Nu Delhi is best reduced to just two words: violently uplifting.
I can’t tell what’s harder to believe: that so much can happen in a barely half-hour record, or that a work of such merciless bloodthirst failed to grab me at first listen. Maybe I really do need therapy.
Release Date: March 21st, 2025Record Label: Fearless RecordsGenre: *Heavy / Nu / Folk / Modern Metal*
Musicians: Karan Katiyar / Guitars, flute, bansuri * Jayant Bhadula / Vocals, growls * Raoul Kerr / Rap vocals * Vishesh Singh / Drums * Roshash Roy / Bass * Sarthak Pahwa /* Dhol
Nu Delhi Track-list:1. Halla Bol 2. Hutt 3. Dhadak 4. Bekhauf (Featuring Babymetal) 5. Kismat 6. Daggebaaz 7. Tadka 8. Nu Delhi
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Founded in 2005 with the desire to “write heavy, catchy music underlaid with subtle complexities,” Portland-based quartet Red Fanghas left a huge mark on the modern sludge metal/stoner rock scene. In fact, we declared that their last studio album – 2021’s Arrows – was “a thrilling collection that pushes the band’s ambitions and artistic vision to the next level.”
Now, in honor of their 20th anniversary, the group returns with the logically titled Deep Cuts (which they describe as a vast collection of “non-album tracks, covers, and previously unreleased singles”).
Frontman Aaron Beam reflects: “Perhaps unremarkable to anyone else, it’s fucking amazing to me that we have made it TWENTY YEARS. Before we started jamming in [drummer] John Sherman‘s basement, I’d already been in 40 (maybe more!) bands, none of which lasted more than a year or two. Yet somehow in 2005, for the first time since probably 1987, I found myself without any band to play in. It turned out this was also true of John, David [Sullivan, guitars], and Bryan [Giles, guitars, vocals, and synths]! So it was only natural that we’d start playing together.
He also concludes that the album “feels very much at home,” adding: “It’s got a sampling of the weird variety of covers that reflect the different shit that inspires us.” To his point, Deep Cuts offers a wide-ranging and very satisfying showcase of Red Fang’s multifaceted anarchy across its 26-cuts and 85 minutes. It’s probably not the best starting point for newcomers since it’s essentially the exact opposite of a “Best of” collection, but longtime fans will find a lot of gold by scouring its depths.
Naturally, the group’s dynamic fury is at the heart of Deep Cuts, with opener “Antidote” (originally from the Red Fang: Headbang! mobile game) setting the stage via piercing guitar riffs, thunderous percussion, and Giles’gruff vocals. In a sense, and with only the most positive implications, it’s what might happen if Baroness or Mastodon leaned into their most primitive and straightforward inclinations. Later, tracks such as “Stereo Nucleosis,” “Murder the Mountains,” “Black Water” and “Bad Places” build upon that foundation in equally compelling ways.
There’s much more to Red Fang than that, though, as demonstrated by the inherently novel change of pace brought by Beam’s relatively gentler, Josh Homme-esque singing on “Shadows,” “Wires,” “Hollow Light,” and “Endless Sea.”
Similarly, the more abstract and/or instrumental natures of “Champ Chugger,” “OMG OMD,” “Ice Ice Baby,” “Weird Poly,” and “In 5 With Keys” spice things up further amidst highlighting how unconventional and bizarrethe troupe can get. Plus, their renditions of Wipers’ “Over the Edge,” No Talent’s “Through,” and Dust’s “Suicide” (among other covers) do a fine job of staying faithful to the originals while infusing plenty of characteristic grittiness.
Deep Cuts is certainly a lot to take at once, with its central formula inherently getting a bit repetitious by the end. Still, it totally lives up to the promise of its title and marketing by giving devotees a robust assortment of hidden gems to discover and digest. Therefore, it’s pretty much a must-have set for Red Fang fans, as well as a strong recommendation for lovers of the style in general.
Release Date: March 14th, 2025Record Label: Relapse RecordsGenre: *Stoner Rock / Sludge Metal*
Musicians: Aaron Beam / Bass, vocals, guitar, keyboards * John Sherman / Drums * David Sullivan / Guitars * Bryan Giles* / Guitars, vocals, synthesizers
Deep Cuts Track-list:1. Antidote
2. Shadows
3. Murder the Mountains
4. Weird Poly
5. Hollow Light
6. Over the Edge
7. Listen to the Sirens
8. Stereo Nucleosis
9. Black Hole
10. Through
11. Champ Chugger
12. Ice Ice Baby
13. It’s Always There
14. Black Water
15. Pawn Everything
16. Wires (Demo)
17. In 5 With Keys
18. Bad Places
19. Forgot to Write
20. Endless sea
21. Suicide
22. OMG OMD
23. LSP
24. 50’s Tremors
25. AGB Fruit
26. Feeder
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Otherworldly locomotion set to music.Brazil might well be regarded as the metal capital of South America, but it also seems to be the land of some of the genre’s best-kept secrets. Case in point, Sao Paulo-based progressive metal stalwarts Maestrick, who have been at the game since 2004, yet have a fairly sparse output in the studio department and have only recently come to enjoy a sizable presence in the worldwide underground.
Originally flying under the banner of local Brazilian label Die Hard Records for their early 2010s debut EP and subsequent LP Unpuzzle, they would see their stock rise considerably with their highly ambitious 2018 sophomore studio outing Espresso della Vita: Solare, a stylistically multifaceted and epic in scope conceptual work that the Japanese-based Avalon Records would also pick up for distribution on the other side of the world.
Now being among the ranks of the melodic metal powerhouse label Frontiers Records, this dynamic four-piece outfit comes back bigger and better with a sequel to their sophomore breakthrough dubbed Espresso della Vita: Lunare.
For the uninitiated masses, the unique niche that Maestrick plays within relies upon a combination of virtuoso feats between each of its individual members, a highly theatrical and bombastic presentation that borders on symphonic, and a sense of melodic splendor and stylistic variation that reconciles the otherwise highly divergent influences of Kamelot and Dream Theater.
The most dynamic character of this troupe is vocalist and pianist Fabio Calderia, whose largely clean-cut yet highly expressive voice is highly reminiscent of present Kamelot frontman Tommy Karevik, but isn’t shy about playing up a more eccentric angel at key points through a combination of operatic chops and quirky studio effects.
That being said, the insane chops put forth by axe-slinger Guilherme Henrique and bassist Renato Somera could easily stand toe to toe with the technical feats of Petrucci and Myung while being far from carbon copies of the two. Likewise, the steady yet highly involved kit work of drummer Heitor Matos showcases some notable parallels to legend Neil Peart, though with a much heavier timbre to complement the punchy grooves and frenzied bursts out of the rest of the band.
Clocking in at a gargantuan hour and 18 minutes, Espresso della Vita: Lunare is as ambitious as it is comprehensive, yet it’s also not bereft of a needed level of accessibility in the songwriting department for those looking to balance out extended jams with a few smaller-scale bangers.
Following a brief Hollywood-like overture aptly named “A Very Weird Beginning”, the first foray into a conceptual train ride through life set to music “Upside Down” has all the earworm moments of a rock radio hit with a side order of dissonant, Danny Elfman-inspired quirkiness and enough technical high-jinks to orbit Dream Theater’s “Metropolis Pt. 1” in just over 4 minutes.
Subsequent entries “Boo” and “Ghost Casino” maintain the same general sense of theatricality and whimsical twists; the former in the form of a driving metallic anthem with some extreme vocal elements, the latter coming off as a nightmarish blend of heavy grooving and a retro-swing jazz number. Things even go into mainstream pop/rock balladry with the heartfelt, piano-driven serenade “Sunflower Eyes”, which sees Calderia’s keyboard chops and crooning voice all but begging for a Billboard Top 40 slot.
The mystically-tinged and symphonic “Mad Witches” leans pretty heavily into the aforementioned Danny Elfman-like musical theater realm, chock full of oddball twists and turns, to speak nothing for some truly wild virtuosic moments from Henrique’s guitars and some spellbindingly weird choral moments out of Calderia and a throng of supporting voices.
The 12-minute progressive slough “The Root” lands a little closer to a traditional metallic entry, throwing in a cacophony of wild guitar and keyboard solos on top of a chaotic sea of shifting time signatures, yet never venturing too far from a consistently heavy drive.
Naturally, this is an album that also doesn’t shy away from exploring either the longer-winded and wildly adventurous side of the songwriting spectrum or the shorter, punchier, and ethnic side of the band’s heritage and the result is a handful of tracks that we would be remiss not to highlight.
Approaching the final section of the record we find two entries where Calderia is joined by two distinctive voices of the progressive metal world. First comes “Agbara” – featuring Caligula’s Horse frontman Jim Grey — a track that fuses Afro-Brazilian rhythms with the band’s distinctive metal edge tapestry. Grey sings in both English and Portuguese, alongside the all-female Maracatu group Movimento Baque Mulher, turning into a brilliant cohesive mix that embodies both strength and power through the harmony of culture and languages, peppered with Somera extra tasteful bass lines.
“Lunar Vortex” comes next, and takes the Kamelot‘s nostalgia to 11 by simply featuring the distinctive voice of none other than Roy Khan himself. While Khan can probably duet with anyone in the prog/power metal realm, the pairing of his voice and Calderia‘s is a match made in heaven. The best way to sum up this song — without using too many words — is to say this could be easily mistaken as the best Kamelot track the band has ever written after The Black Halo. And I stand by that statement.
If you have gotten excited up to this point, the album’s most ambitious moment is still to come. The pinnacle arrives with The Last Station, an 18-minute odyssey that explores nearly every sonic possibility within the progressive rock and metal realm, feeling vast enough to stand as its own self-contained EP. As its final note fades, resisting the urge to restart this musical journey from the beginning is hard to control.
At its core, Espresso della Vita: Lunare pushes the boundaries of the subgenre while simultaneously embracing its foundational elements — an ambitious balance fitting for an album so expansive that it would spill beyond a single CD, thanks to the sonically daring bonus track, “Zion.”
Although 2025 isn’t even halfway through, Maestrick has already delivered what could be considered a progressive metal magnum opus — one that stands as a strong contender for not just the best progressive metal album of the year, but possibly the best album overall. This is no small feat, especially given Dream Theater’s powerhouse release Parasomia earlier this year and the equally impressive early showing from Italian power/prog titans Labyrinth.
The concept of train-themed albums is becoming increasingly common, perhaps even verging on cliché. However, Maestrick’s take on the idea is so distinctive that mistaking Espresso della Vita: Lunare for anything else would prove to be utterly impossible.
Release Date: May 2nd, 2025Record Label: Frontiers Music SLRGenre: Progressive Metal
Musicians: Fábio Caldeira / Lead vocal, piano, synths, orchestrations * Guilherme Carvalho / Guitars, vocals * Renato “Montanha” Somera / Bass, vocals * Heitor Matos* / Drums, percussion, vocals
Espresso Della Vita: Lunare Track-list:1. A Very Weird Beginning 2. Upside Down 3. Boo! 4. Ghost Casino 5. Mad Witches 6. Sunflower Eyes 7. The Root 8. Dance of Hadassah 9. Agbara (Featuring Jim Grey of Caligula’s Horse) 10. Lunar Vortex (Featuring Roy Khan of Conception) 11. Ethereal 12. The Last Station (I a.m. Leaving) 13. Zion (Bonus track)
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While I’ve always been more in tune with the more raw sounding black metal, I can’t but help be drawn into the melodically gothy goodness that Cradle of Filth keep grinding out. While many folks may have written the band off years ago when they took a more polished approach to their sound, after a number of listens to The Screaming of Valkyries I’d say that they’re missing out.
Don’t get me wrong, the Cradle of Filth of the 1990’s has not re-emerged, however, what is ever-present in every track on this new LP is clear advancement in musicianship and production. The introduction of Donny Burbage brings in a renewed vigor to the guitars and Zoe Marie Federoff shines as the new female vocalist. Federoff, who is married to guitarist Ashok, presents a voice that is especially profound on tracks like “Non Omnis Moriar” and lushly operatic on “White Hellebore.” In this respect, Zoe plays expertly off of Dani’s signature dirty vocals that really exemplify the ying and the yang ever present in the compositions.
“To Live Deliciously” is a slamming opener and destined to be another Cradle of Filth classic that just grabs the listener right from the get-go and doesn’t let go. A great deal of depth in songwriting that matches the cadence of the lyrics to the music incredibly well. Similarly, “You are my Nautilus,” uses a bit of a gallop to engage us and then takes us through a number of sections that draw heavily on the melody emphasized by interesting time changes, dueling guitars, and just the right amount of keyboards.
“Demagoguery” is an uptempo banger with a chorus you can’t help but sing along to. There is some killer riffing on that track along with a great wishbone style solo. “Trinity of Shadows” maintains the speed of the preceding track with some exemplary musicianship at the hands of all involved. “White Hellebore” is a third cut in a row that maintains the ferocious velocity interspersed with a pleasant reprieve every so often in the form of the melodic feminine vocals.
It seems that every extreme metal band these days needs a song about drinking blood, and we have that here with “Ex Sanguine Draculae,” a plodding, track with hints of tremolo giving us just a touch of that early black metal sound. The overall composition, however, is signature Cradle, with perhaps a hint of King Diamond influence here and there.
Overall this is really some solid output from Mr. Filth and company. You’d be hard pressed to find a song on this record that feels out of place or doesn’t belong. I expected a bit of filler on this record given the band’s strong relationship with mid-career mediocrity, however, to my surprise, it’s hard to identify any track here that wasn’t particularly well-crafted or well thought-out. The vocals are on point, the guitars have lots of room to produce unique sounds in the mix, and the band just sounds more complete than it has in a very long time. Quite frankly, I can’t wait to hear some of these songs performed live with the band hits the road later this Spring.
Release Date: March 28th, 2025Record Label: Napalm RecordsGenre: Black Metal
Musicians: Dani Filth / Lead vocals * Martin “Marthus” Škaroupka / Drums, keyboards, orchestrations * Daniel Firth / Bass * Marek “Ashok” Šmerda / Guitars * Donny Burbage / Guitars * Zoe Marie Federoff* / Keyboards, female vocals
The Screaming Of The Valkyries Track-list:1. To Live Deliciously 2. Demagoguery 3. The Trinity Of Shadows 4. Non Omnis Moriar 5. White Hellebore 6. You Are My Nautilus 7. Malignant Perfection 8. Ex Sanguine Draculae 9. When Misery Was A Stranger
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You have to give Coheed and Cambria (and especially mastermind Claudio Sanchez) credit for their endless dedication to both the musical and narrative formulas they’ve established over the past 25 years. After all, they’ve almost always stuck to the same overarching storyline (concerning “The Amory Wars”) and prog/electronic rock and post-hardcore hybrids since they broke out with 2002’s The Second Stage Turbine Blade.
Now, they’re nearly a dozen studio albums into their career, so the question that becomes increasingly important to ask isn’t, “Are they keeping things fresh?” as much as it is: “Are they keeping things interesting?” With Vaxis – Act III: The Father of Make Believe, the answer is a resounding “Yes!”
True, it offers little stylistically that fans haven’t already heard, but like all great albums, it gets more and more impressive and addictive with subsequent listens. As such, it’s an extremely fitting and rewarding new chapter in the band’s ongoing sci-fi saga whose new compositions and callbacks to prior works (especially the underappreciated Afterman duology) will surely satisfy longtime followers.
Interestingly, Sanchez says that The Father of Make Believe is more overtly autobiographical than prior entries in the “Amory Wars” series (thereby also connecting it to the band’s only unrelated collection, 2015’s The Color Before the Sun). Specifically, he jokingly calls it “a midlife crisis,” adding:
“I realized, 20-some-odd years in, I was struggling with the brand I’ve given myself: Am I satisfied being the science fiction rock ’n’ roll guy when so much of my material comes from personal experiences? Throughout my career, I’ve navigated the insecurities of putting my truth out for the world to pick apart and scrutinize. I’ve chosen to keep the struggles of my life private out of respect and love to those people and events that inspired the art. When I can’t express myself in words, I express myself in worlds.”
To his point, one of the greatest aspects of The Father of Make Believe is its emotional resonance.
In particular – and in typical fashion – opener “Yesterday’s Lost” is a downtrodden and sparse piano/acoustic guitar prelude that recalls a main theme from the saga before Sanchez whispers moving promises. The combination of his falsetto contemplations, poetic lyricism, and backing ambiance is gorgeously heartbreaking, earning its place alongside some of the band’s other top-tier lamentations (“The Light and the Glass,” “Wake Up,” “The Hollow,” “Subtraction,” etc.).
Likewise, closer “The Continuum IV: So It Goes” is deceptively frisky and fun on top of its bittersweet undercurrent (kind of like a more carnivalistic take on “Old Flames” and the final section of “Window of the Waking Mind”). Just like the opening of “Yesterday’s Lost” – as well as several Coheed and Cambria album bookends – the closing orchestration of “The Continuum IV: So It Goes” will give diehard fans goosebumps, too.
In general, what’s left along the way is mostly business as usual. For instance, you have the requisite sing-along peppy rockers (“Meri of Merci,” “Someone Who Can,” “One Last Miracle,” “Goodbye, Sunshine”) next to more aggressive, hyperactive, and complex trademarks (“Searching for Tomorrow,” “The Father of Make Believe,” “Blind Side Sonny,” “Play the Poet”). There’s also another acoustic ode (“Corner My Confidence”) that works quite well.
Although there isn’t a bad track on the LP – frankly, just about everything Coheed and Cambria have done is at least good, if not exceptional – a lot of it is instantly familiar. Whether or not that’s a significant problem depends on how much you love what they do (in much the same way that eating your favorite meal for the 10th time in a row can still be very enjoyable). Either way, it’s clear that Sanchez remains a superb songwriting and singer, just as the quartet as a whole remain masterful musicians.
The other major distinction (if not outright downside) of The Father of Make Believe is that it kind of lacks the heroic scope and bombastic instrumentation of most of its predecessors. In other words, it feels more like a mere collection of songs than it does a sprawling tale with varied pacing and distinctive movements.
The same was somewhat true for 2022’s Vaxis – Act II: A Window of the Waking Mind, yet its closing trio of tunes unfolded like a cumulative 20+ suite (which added to the overall grandness of the record). In contrast, and despite being quite good, The Father of Make Believe’s four-part “Continuum” finale lacks the engrossing connective tissue that made A Window of the Waking Mind’s final sections (as well as prior suites such as “The Willing Well” and “The End Complete”) so epic.
On that note, anyone looking for another larger-than-life prog rock belter (in the vein of “Welcome Home,” “No World for Tomorrow,” “Key Entity Extraction I: Domino the Destitute,” “The Dark Sentencer,” and “Window of the Waking Mind”) won’t really find it here. Of course, not every Coheed and Cambria album needs such a standout piece of raucous intricacy, but it would’ve been nice to have another one since the foursome proved that they could still knock them out of the park with the title track to their last LP.
Nitpicky criticisms aside, the notion that Vaxis – Act III: The Father of Make Believe is the weakest of the Vaxis trilogy should be seen more as a complement to its predecessors than as a detriment to the quartet’s latest work. On its own, it’s a terrific sequence that gets better with each listen, and as usual, its lyrical and musical allusions to the overarching “Amory Wars” chronicle is extremely gratifying. It doesn’t quite match Coheed and Cambria’s greatest achievements, but that’s an extremely high bar to reach, and for a group who’re roughly a quarter-century into their career, it shows that they’re still full of passion, skill, and ambition.
Release Date: March 14th, 2025Record Label: Virgin Music GroupGenre: Progressive Rock / Electronic Rock / Post-Hardcore
Musicians: Claudio Sanchez / Vocals, rhythm guitar * Josh Eppard / Drums, keyboards * Travis Stever / Lead guitar * Zach Cooper* / Bass
Vaxis – Act III: The Father of Make Believe Track-list:1. Yesterday’s Lost 2. Goodbye, Sunshine 3. Searching for Tomorrow 4. The Father of Make Believe 5. Meri of Mercy 6. Blind Side Sonny 7. Play the Poet 8. One Last Miracle 9. Corner My Confidence 10. Someone Who Can 11. The Continuum I: Welcome to Forever, Mr. Nobody 12. The Continuum II: The Flood 13. The Continuum III: Tethered Together 14. The Continuum IV: So It Goes
Order Vaxis – Act III: The Father of Make Believe here
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Thrash metal gets medieval.For a little over two decades, the resurgence of old school thrash metal has brought the proverbial thunder back to the underground, ebbing and flowing to varying degrees, but always present for those whom crave the art of the almighty riff distilled to its greatest potency. At the forefront of this revival of the same hybrid of classic heavy metal stylings with the unfettered attitude and aggression of hardcore punk that Metallica and Slayer first unleashed upon the San Francisco Bay Area are Ventura, California natives Warbringer.
Combining the old school fervor and virtuosic intrigue of Testament and Exodus with the harrowing, near death metal-like aggression of Demolition Hammer and Kreator, theirs has been a niche that has waxed a bit more modern than conservative adherents of the 2000s retro-thrash wave such as Evile and Bonded By Blood, but they’ve always been uncompromising in their commitment to preserving the fundamentals of the sub-genre and their latest studio entry Wrath and Ruin is no exception.
Though a band dogged by frequent lineup changes that has left vocalist John Kevill and drummer turned guitarist Adam Carroll as the lone founding members of this quintet, a sense of stability has emerged just before the release of their previous and 2020 opus Weapons Of Tomorrow. On top of the gut-wrenching screams and shouts of Kevill and the neck-destroying riff work and Gary Holt-inspired shred fests of Carroll, fellow axe man Chase Becker (whom has been lighting up the fret board with Exmortus for almost as long) and the bombastic rhythm section comprised of bassist Chase Bryant and drummer/scene veteran Carlos Cruz form a titanic synchronicity of power that could sink any ice berg in its path.
Such colossal feats of modern thrashing brilliance as *Exodus’ Persona Non Grata and Power Trip’s Nightmare Logic could be treated as points of comparison to this album’s massive production and unrelentingly furious character, though the wild dueling lead work of Carroll/Becker and the flashy bass gymnastics out of Bryant* take it more than a few steps further.
True to the lofty blend of medieval extravagance and modern brutalism adorning the album art, Wrath And Ruin walks a fine line between pure auditory carnage and an almost grandiose sense of melody. The opening thrill ride “The Sword And The Cross” begins on an almost Manowar-like sense of fanfare befitting a crusader’s anthem, only to gradually build up and explode into a mad-thrashing extravaganza. Above the fray of riffs and rapid fire drumming, Kevill’s distorted shouts could be likened to the maddened raving of a berserker that is somehow clad in plate-mail armor and carrying the Christian standard while charging into battle.
Throughout its 6-minute duration, it just walks a brilliant line between grandeur and rage, seamlessly transitioning from a runaway train to a mid-paced crusher and back again, searing itself into the memory of any within earshot of it. Subsequent entries like “A Better World” and “Jackhammer” manage to accomplish a similar sense of grandiosity while being little more than half the length and sticking mostly to a fast-paced frenzy of pit-friendly mayhem.
Though *Warbringer is generally a band that keeps to the impact-based side of the thrash coin, this album is not wholly averse to playing in atmospheric territory and slowing things down for a change of pace. Following a haunting clean intro, the slow-paced trudge of “Through A Glass, Darkly” showcases a band that is no less extreme in presentation despite pulling back on the tempo and throwing more tasteful melodic elements into the instrumentation to soften the fury of Kevill’*s borderline death metal vocalizations.
The extended anthem “Cage Of Air” takes the same general concept into even darker territory, beginning on a dreary acoustic guitar dirge before launching into a blackened mode of thrashing that is generally fast-paced but often painted over with tremolo-based riffing to throw in a dense, hazy aesthetic to complement the moments of vertebrae-destroying heaviness. The final hurrah of this 8 song cycle “The Last Of My Kind” leans back a bit closer to a pure thrashing experience, albeit one that begins with a sorrowful piano intro and throwing in recurring blast beats and layered acoustic lines to achieve a maddened melodic death metal shtick to accompany the pummeling riff work.
There is something to be said for sticking to what works, as well as for evolving one’s sound to keep things fresh, and Wrath And Ruin is one of those albums that manages to accomplish both while sacrificing nothing save for a few thousand infidels on the battlefield. It’s the sort of prime cut thrash that embodies the sub-genre’s apex period during the mid to late 1980s when the likes of Death Angel, *Exodus, Slayer and Kreator* were unleashing their most classic material, but also sounds wholly appropriate for the mid-2020s from its modern production to its more eclectic array of influences.
It packs a slight bit less of a punch compared to the insane display of power that transpired on Weapons Of Tomorrow, but is generally of the same caliber and stands tall among a high consistent discography that now boasts 7 LPs and a few additional odds and ends. This time around the mosh pit goes back to the 1100s and comes with helmet-clad heads banging against shirts of solid metal, and it’s a good thing too given that this album hits like a spiked flail followed by a storm of arrows.
Released By: Napalm RecordsRelease Date: March 14th, 2025Genre: Thrash Metal
Musicians: John Kevill / Vocals, guitars * Adam Carroll / Drums * Chase Becker / Guitars * Chase Bryant / Bass * Carlos Cruz* / Drums
**Wrath And Ruin Track-Listing:1. The Sword And The Cross 2. A Better World 3. Neuromancer 4. The Jackhammer 5. Through A Glass, Darkly 6. Strike From The Sky 7. Cage Of Air 8. The Last of My Kind
Order Wrath And Ruin here and check out Napalm Records exclusives here.
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One land becomes seven impressive continents.Staying in touch with the past is always advantageous for those seeking to forge a brighter future, especially in the context of discovering an innovative take on a pre-existing craft. Though it might seem counterintuitive, even the nonconformist dominated progressive metal scene has developed a sense of orthodoxy in recent years and with it a sense of predictability.
Among those who seem aware of this dilemma is Haken guitarist and occasional solo artist Charlie Griffiths, whom ended up treading upon highly unique waters with his 2022 album under his own name Tiktaalika, channeling a number of older traditional and thrash metal influences into a progressive template while contemplating a bygone era where all the land on this planet was confined to a singular super-continent.
Following just under 3 years and rebranding this newly minted solo project after the title of the aforementioned debut, Griffiths has embarked upon a highly ambitious sequel in Gods Of Pangaea that expands upon the musical and lyrical lore of its predecessor.
By his own testimony, Griffiths set out to craft something of a less conceptual nature this go around, placing greater emphasis on song-oriented composition and paying tribute to the art of the guitar riff. Iconic and foundational metal institutions such as Metallica, Megadeth, Mercyful Fate and Judas Priest are counted among the principle influences that are adapted to Charlie’s progressive sense of structure to craft seven (eight counting the bonus track “Chicxulub”) highly developed chapters of a grand, 54 minute sonic novella.
The virtuosic chops of Devin Townshend drummer Darby Todd have been reprised to match wits and rhythmic motives with Charlie’s methodical yet highly elaborate guitar work, ditto the vocal talents of Tommy Rogers (Between the Buried And Me), Danïel De Jongh (Textures) and Vladimir Lalić (Organized Chaos); while newcomer and Protest The Hero’s own Rody Walker makes an equally impressive showing alongside Haken band mate Conner Green handling bass duties, the latter bringing a Cliff Burton-like sense of the instrument to the arrangement and elaborating on an already complex arrangement more so.
True to form, Gods Of Pangaea hits the pavement running and pulls zero punches in unveiling its guitar-driven take on stylistic progression. The opening thrasher “Tyrannicide” unleashes one pummeling riff after the next in rapid succession, heavily resembling the jagged yet fluid flow of Megadeth’s early 90s heyday via Rust In Peace and with a comparably snarling vocal presentation and virtuosic lead guitar gymnastics reminiscent of Marty Friedman’s handiwork.
The more drawn out and mid-paced title entry “Gods Of Pangaea” also leans heavily on a Dave Mustaine take on the guitar as both a rhythm and lead instrument, albeit in more of a mid-90s flavor and chock full of enough melodic lead hooks to orbit Iron Maiden. The slow and dreary resound of “The Forbidden Zone” ends up going a little heavier on the punchy grooves and nastier on the vocals, approximating a balanced dance between Metallica and early Machine Head, and ultimately painting a bleak dystopian sound that fits perfectly with the empty and radioactive landscape carrying the songs namesake in Planet Of The Apes.
For the first half of this album’s duration, one might conclude that Griffiths and company have opted to go in an exclusively old school metal, but by midpoint this project’s progressive bona fides become just as apparent. The somber balladry turned punchy grooves of “Mesozoic Mantras” presents the story of a cult-like religion in an alternate reality that is in keeping with early 80s heavy metal lyrical tropes, but musically this six and a half minute foray throws so many elaborate moving parts against the wall that the result is a mural far too abstract for a standard heavy or thrash metal affair, though the melodic and rhythmic elements of both remain in place.
The deep chugging and bass heavy 9 minute slough “Lost Continent” swings closer to an outright thrash metal affair, but more in the rigorously avant-garde character one might expect out of Watchtower collaborating with Voivod. Even more compact thrashers like the high octane nod to Anthrax with a comparably smoother vocal delivery “Fault Lines” and the closing nod to Megadeth “Give Up The Ghost” come with plenty of twists and turns that most 80s and 90s practitioners of the craft would not have thought up.
Though progressive metal is often dogged by a somewhat narrow target audience, what Gods Of Pangaea brings to the table is something with an extremely wide reach in spite of its highly complex nature. It wouldn’t be much of a stretch to see a legions of rank and file that continue to fill venues for Metallica to this very day to take to this, to speak nothing for the sizable assembly of metalcore faithful that might give this album a listen just because of Tommy Rogers’ and Rody Walker’s involvement and wind up staying for the long haul given its ironically accessible character.
It’s the sort of album that presents a best of both worlds scenario where its creators are free to explore some of the outer fringes of metal’s technical and experimental possibilities without sacrificing mass appeal, even when accounting for the extended instrumental bonus entry “Chicxulub” that takes the final seven minutes and change of this album even further into uncharted waters. Simplicity and complexity may exist as opposites, but in the world of *Tiktaalika*, they are quite far from being mutually exclusive.
Released By: Inside Out MusicRelease Date: March 14th, 2025Genre: Progressive Metal
Musicians: Charlie Griffiths / Guitars * Conner Green / Bass * Darby Todd* / Drums
With:
- Tommy Rogers (Between the Buried And Me) / Vocals
- Danïel De Jongh (Textures) / Vocals
- Rody Walker (Protest The Hero) / Vocals
- Vladimir Lalić (Organised Chaos) / Vocals
**Gods Of Pangaea Track-Listing:1. Tyrannicide (3:55) 2. Gods of Pangaea (8:36) 3. The Forbidden Zone (5:52) 4. Mesozoic Mantras (6:32) 5. Fault Lines (6:30) 6. Give up the Ghost (5:15) 7. Lost Continent (9:12) 8. Chicxulub (Bonus Track) (7:31)
Order Gods Of Pangaea here.
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Here in 2025 you could be forgiven for not knowing who Karmakanic are. After all, they haven’t released an album since 2016 and their principal architect has been…shall we say, busy, with other projects. But now that new album Transmutation has unexpectedly been unveiled, it’s high time to get acquainted (or reacquainted, if you were fortunate enough to know of them previously). That mastermind is, of course, Jonas Reingold, one of the most highly regarded bassists in the prog rock world today.
Having begun to make a name for himself internationally as the prodigious bassist with The Flower Kings, Reingold formed a project of his own in 2002 with the debut Karmakanic release Entering the Spectra. Several excellent albums, tours, and live releases later, Reingold always seemed to find time for his band in between his other increasing commitments. Since joining Steve Hackett’s band, however, and the ensuing relentless touring, there hasn’t been as much space for extra-curricular activities. His long tenure in The Flower Kings even fell away, along with other budding projects from The Fringe to The Sea Within and many more. Happily, however, Karmakanic is back and, as they say, it’s been worth the wait.
Transmutation is a stunningly good album, but the title is well placed. The band had previously retained a fairly cohesive roster of personnel over its history but much of that has now changed, with this latest album boasting a “who’s who” roster of prog’s elite appearing as guests. As Reingold explained to me: “After 25 years in the prog business, I got to know all these great musicians and so I’m sitting on a pool of great players. So I have the luxury to pick and choose who I think would fit this part or that song, for the sake of the music. I call it the Real Madrid of prog.”
Most apparent is the lead vocal role, formerly taken by Göran Edman. At this stage in his career, Edman was no longer up for extended touring and so Reingold thought it better to look for an experienced ally who could deliver the goods from start to finish. His choice, John Mitchell, is one of the finest voices (not to mention guitarists, songwriters, producers, etc…) in modern prog, and the entire album literally sings under Mitchell’s spell.
Personally, although a big Mitchell fan, I was initially resistant to this news, as his ubiquitous voice already adorns so many bands and side projects that I had to wonder if the world really needed another John Mitchell vocal project, which might rob Karmakanic of having its own identity? Fortunately, Reingold’s material is so strong and personal that it stands out from blending in with Mitchell’s other discography. And of course the ultimate proof is revealed by the album itself, which finds that Mitchell fits in perfectly with this material.
For all of these reasons, Transmutation truly describes what’s happened to Karmakanic, with the best of circumstances. Happily, some of the previous band members make appearances, too. Reingold sums it up pretty well himself: “I wanted to create not just music but an experience – the best progressive rock album in modern time, a place where the listener can dream, reflect, and be carried away by the sound. Working with these extraordinary musicians has made this album truly special to me.”
Did he really just say “the best progressive rock album in modern time”? Those ballsy bassists. But if you like this kind of melodic symphonic prog, damn if he isn’t hitting his target.
The album opens with a brief appetizer, a short blast appropriately titled “Brace For Impact”, that makes sure the audience is awake and listening. It’s quickly followed by “End of the Road” which might wind up being one of my favorite songs of the year. Whether it’s because of his time in The Flower Kings, or something in the Swedish water, Reingold’s writing seems to capture many of the best elements of the Kings and then takes it further.
This 10 minute mini epic features Simon Phillips on drum kit, sounding utterly flawless in this mix by Chris Lord-Alge. Awash in a sea of acoustic guitars from Jan-Olof Jonsson, the joy in Mitchell’s voice is palpable as he sings, “You can feel it in the wind, you can see it’s closing in, days of wonder longtime due, oh I’m over you.” As Reingold’s luscious chord changes progress, Fringe-man Randy McStine joins Mitchell on vocals (side trivia: which one of these gentlemen has had more projects and side cameo appearances in the past five years?) and the listener is melodically swooped away to the end of the road. The masterful Luke Machin is brought in for his characteristic guitar neck-bending solos which elevate the piece even higher.
Oh, and Reingold? He’s having a blast on the low end, not to mention the mid and high ends of his bass, plucking away busy lines when the inspiration strikes, but making sure to cover the rhythmic drive of the piece. He also establishes the main bed of this and every song by playing keys, guitars, and additional vocals.
The opening single “Cosmic Love” is a compact rocker finding McStine covering all of the copious guitars, while Craig Blundell comes in to deliver a hard-hitting performance behind the drum kit. It’s the piece that sounds most similar to some of Mitchell’s previous history, so in some ways is unfortunate to be the lead single but nonetheless is a captivating vocal performance and a great song.
“We Got The World In Our Hands” feels like classic Karmakanic as original guitarist Krister Jonsson plays his electric six strings and McStine chimes in on 12-string acoustic guitars and serves up a beautiful lead slide guitar line. Phillips is back on his full drum kit and it has to be said that Reingold even sounds pretty impressive on those keyboards, along with his lower-end groove. I like how “All That Glitters Is Not Gold” opens with the wistful accordion lines of Lelo Nika, alongside Reingold’s fretless bass, while later in the piece Rob Townsend’s transcendent saxophone playing gets an airing. The piece is alternatively fanciful and heavy, representing the subject material, right up to its dramatic ending.
We get a bit more dark energy on “Lose This Ball And Chain”, which is welcome at this point in the track listing. Göran Edman shows up for a side vocal spot, Jonsson takes lead guitar, and even Tomas Bodin makes a nice surprise appearance on keys for this one. Which triggers another side note memory: don’t miss the one-off Reingold/Bodin/Lehrmann instrumental trio release Barracuda Triangle from several years ago, there are several sumptuous tracks on there.
All of this leads up to a whopper of a finale in the epic title track, nearly 23 minutes of full-on prog. With a subtitle called, “The constant change of everything”, we get lyrics as open ended and transcendent as the music herein. Again, this one sounds very Karmakanic through-and-through, with sufficient Flower Kings influence to draw in that audience as well. As we’ve heard throughout the album, having Reingold as the author of this project means that he gets to noodle on bass as much as he wants, and there’s plenty of that here, thankfully.
Drums are handled by third The Fringe-member Nick D’Virgilio and he makes his presence deliciously known. Dina Höblinger offers a beautiful voice to duet with Mitchell in parts of the song, while Geri Schuller’s brief piano solo is like heaven raining down. Jazz fusion jams, pastoral prog, crunching guitars, freaking Lalle Larsson and Andy Tillison (and Roger King!) playing keys on the same track, and even Steve Hackett tremolo’ing his nylon stringed guitar, it’s all here.
Although spearheaded and written by one man, Karmakanic feels more like a celebration of modern prog. The talent represented throughout is perfectly utilized but not overbearing. The production and sound stage couldn’t possibly be better than they achieve here, bringing each musician to the fore in a satisfying way. Hats off to Reingold for achieving this monumental release, which must be a career highlight. If he plans to continue Karmakanic beyond this album, it will have to be as a rotating VIP roster, there’d be no other way to match these heights. Consider this transmutation complete.
Released By: IndependentRelease Date: March 7th, 2025Genre: Progressive Rock
Musicians: Jonas Reingold / Bass, Keyboards, Electric Guitar, Vocals (2,7), Backing Vocals (3,4,6), Fretless Bass (5) * Krister Jonsson / Lead Guitar (1,4-7) * Göran Edman / Lead Vocals (6) * Lalle Larsson* / Keyboard Solo (1), Keyboards (7)
With:
- Andy Tillison / Hammond Organ (1,7), Clavinet (1)
- Simon Phillips / Drums and Percussion (2,4,6)
- Jan-Olof Jonsson / Acoustic Guitars (2,7)
- Luke Machin / Solo Guitars (2), Nylon Acoustic Guitar (2)
- John Mitchell / Lead Vocals (2,5-7), Vocals (3,4), 12-string Guitars (4)
- Randy McStine / Lead Vocals (2), Guitars (3,4), Backing Vocals (3,4), 12-string Acoustic Guitars (4)
- Geri Schuller / Piano (2,5,7)
- Craig Blundell / Drums (3,5)
- Dina Höblinger / Backing Vocals (4), Lead Vocals (7)
- Lelo Nika / Accordion (5)
- Markus Lukastik / Flute (5)
- Rob Townsend / Tenor and Soprano Saxophone (5,7)
- Tomas Bodin / Keyboards (5,6)
- Sven Cirnski / Electric Guitars (6)
- Nick D’Virgilio / Drums (7)
- Steve Hackett / Nylon Acoustic Guitar (7)
- Amanda Lehmann / Backing Vocals (7)
- Roger King / Keyboards (7)
**Transmutation Track-Listing:1. Brace For Impact (2:33) 2. End Of The Road (10:22) 3. Cosmic Love (4:56) 4. We Got The World (7:53) 5. All That Glitters Is Not Gold (6:38) 6. We Gotta Lose This Ball And Chain (6:23) 7. Transmutation (22:53)
Order Transmutation here.
The post KARMAKANIC – Transmutation (Album Review) appeared first on Sonic Perspectives.
Since time immemorial, man has gazed up to the stars above him in wonderment of their gleaming beauty. In some ways, our fascination with space, though in its nature has changed throughout the tides of history and progress, has always maintained a foreboding sense of scale, its sheer size, complexity and power both self-evident and often alarming.
I remember as a child both being fascinated but also terrified of space, after all, we are condemned to fear what we do not understand. Dutch tech-death staple Cryptosis in their first full length since 2021 wield the power of space in all its inky splendor in Celestial Death to complete a spasmic, intense, epic feeling release that hits many of the right notes for those looking for tech-death that avoids falling too hard into the traditional traps of the genre, both thematically and in their compositional approach.
Celestial Death opens in a manner that has become almost obligatory for modern tech-death bands: a synth-heavy, ambient intro track. “Prologue – Awakening” may be standard fare, but it effectively sets the tone of the album, evoking an alien, space-like atmosphere. While some might argue for diving straight into drop-tuned chugs or mind-melting riffs, doing so would strip the album of the necessary buildup and sense of occasion. Context is everything, and here, the intro serves its purpose.
With formalities out of the way, the album truly begins with “Faceless Matter,” which erupts into a supernova of blast beats and a razor-sharp guitar tone. The most immediately striking element is Lourens Houvast’s vocal delivery — a mix of deep gutturals and a raw, strained fry that carries an almost punk-inspired edge. This nuance adds a layer of intrigue to an otherwise solid but conventional track. Without Houvast’s distinctive voice, “Faceless Matter” might not stand out as much as it does.
Despite my skepticism toward short, synth-laden intro tracks in metal, I have to admit that “Prologue – Awakening” proves essential. Without it, launching straight into “Faceless Matter” would feel jarring, robbing the album of the thematic framing it carefully constructs. What makes Celestial Death compelling isn’t just its aggression but its surprising melodic sensibilities—perhaps reflecting the eerie contrast between the chaos of deep space and its vast serenity.
Bands that truly embrace the abstract qualities of their themes always stand out. It speaks to a level of collective thought, a vision crafted through deep discussion rather than a fleeting idea. This commitment becomes clearer as we progress into the lead single, “Static Horizon.” Here, the band delivers fret-dancing guitar lines, driving percussion from Marco Prij, and an anthemic, high-octane climax reminiscent of Japanese metal’s soaring lead work. This track is an immediate standout — expansive, technically impressive, and irresistibly compelling. If you were introducing a friend to *Cryptosis*, “Static Horizon” would be the perfect gateway. The song’s resolution into weightless, ethereal electronics—playfully dubbed “ET Go Home” synths—wraps it up beautifully.
Reigning in the extravagance, but injecting some dissonance and brutality into proceedings is “The Silent Call,” which is ironically, about as far from silence as a SpaceX rocket launch. Midway through, the unexpected appearance of an organ adds an intriguing textural shift. While likely synthetic, its placement deep in the mix makes it feel natural, blending seamlessly with the rest of the instrumentation.
By this point, Celestial Death has firmly established its identity — showning a commitment to common tropes within the genre(s) it encompasses, whilst simultaneously carving out its own constellation of stylistic trappings. It would be easy to become overly formulaic, but by this point in the album, such potential issues are broadly unfounded, with each track presenting its vision of *Cryptosis*’ distinctive soundscape.
The album’s midpoint introduces “Ascending” and its ambient counterpart, “Motionless Balance.” While “Ascending” charges forward with intensity, it unfortunately falls a bit flat compared to the tracks before it. “Motionless Balance,” however, plays a structurally important role in maintaining the thematic continuity of the album, by once again redirecting attention to the Sci-Fi influences present within the work. The ambient soundscape reminds me of watching my father play EVE Online as a child — the music in the game sounding remarkably similar to what is presented here in the ambient, reflective, maybe even meditative passages of Celestial Death.
This raises an interesting question: how do we define “spacey” music? Space is effectively silent, it is a functional vacuum, even if it is for the most part not quite a perfect one. Why is it that amongst all the environments we evoke with music, something sounding as if it resembles space, given its silence, is one of those that is near instantly recognizable?
It would be easy to suggest that it is simply down to a deluge of films and media obsessed with it, from Georges Méliès’ A Trip to the Moon to modern works like Interstellar giving us a base from which to make such genre-like distinction, and sure, somewhat this is true. However, I would argue that Jean-Michel Jarre’s Oxygène series is foundational, its curious, jaunty, impassioned and unfamiliar sounds successfully encapsulated man’s reverence, fear and curiosity for what lies beyond our pale blue dot. Celestial Death wisely builds upon this well-established sonic legacy, to its own advantage, rather than trying to reinvent it.
Somewhat philosophical digression now concluded, we are wormholed into track seven, “Reign of Infinite,” which continues the established formula: hybrid death/sludge vocals, propulsive percussion, and Icarian soaring synth-work and your broadly typical tech-death guitar work, alternating between overt virtuosity and well-incorporated complementation of the rest of the soundscape. However, some listening fatigue starts to creep in. The early album’s variety kept things fresh, but by this point, the structure begins to feel predictable. Despite the previous ambient reset, the sheer length of “Reign of Infinite” makes this stagnation more apparent. *Cryptosis* has demonstrated their capability for innovation, making this moment of repetition feel like a missed opportunity.
Thankfully, the album’s most distinct track, “Absent Presence,” follows. Slower, doom-laden, and atmosphere-driven, it provides a necessary contrast. With a more conventional song structure, a downtempo broodiness and an overt reliance upon atmosphere perhaps beyond that of much else existing on Celestial Death you’re granted some sonic and compositional variety that is integral to keeping one’s attention moving into the final throes of the release.
The final stretch brings “In Between Realities” and “Cryptosphere,” which echo earlier tracks but more concisely and effectively. Of the two, “Cryptosphere” cuts a slightly different angle with its neoclassical intro, quickly spiraling into a frantic and claustrophobic assault before becoming a hectic and claustrophobic affair, amping itself up to a satisfying resolution.
The album closes with its longest ambient piece, “Coda – Wander into the Night.” Unlike the earlier interludes, this one prominently features guitar, providing a peaceful, contemplative resolution. It allows the listener to transition smoothly out of the album’s intensity — a rare and appreciated touch. It means you can transition from this heavier sort of music to something much more peaceful if you’re on a listening binge, and you are an album listener, as I am. Many tech-death albums maintain relentless energy until the very end, leaving no natural exit point. *Cryptosis*, however, understands the importance of release, giving listeners the option to come down gently.
Ultimately, Celestial Death is a well accomplished and thematically driven ode to the cosmos, man’s inability to comprehend and good metal fundamentals. Whilst it perhaps becomes a bit constrained by its adhesion to its theme — and it could benefit from greater variety in its latter half — the overall listening experience is compelling, and offers something for those wanting to get away from the more common tropes of the genre. Celestial Death makes landfall on March 7th, 2025, and audionauts of all death metal enjoying colors should don their proverbial suits and join the expedition to the eerie and foreboding world of this release.
Released By: Century Media RecordsRelease Date: March 7th, 2025Genre: Technical Death Metal
Musicians: Lourens Houvast / Vocals, guitars * Marco Prij / Drums * Frank Te Riet* / Bass, melotron, synths, backing vocals
**Celestial Death Track-Listing:1. Prologue – Awakening 2. Faceless Matter 3. Static Horizon 4. The Silent Call 5. Ascending 6. Motionless Balance 7. Reign of Infinite 8. Absent Presence 9. In Between Realities 10. Cryptosphre 11. Coda – Wander into the Night
Order Celestial Death here.
The post CRYPTOSIS – Celestial Death (Album Review) appeared first on Sonic Perspectives.
Liturgical sludge rocks the house.It is said that the apple tends not to fall far from the tree, and while Black Label Society’s decade-long co-shredder Dario Lorina may not be Zakk Wylde Jr., one might suspect a familial tie between the two based on how the former approaches his craft via his latest project dubbed Dark Chapel.
Drawing upon a similar blend of southern rock, groove metal and a slight sludge aesthetic, this undertaking presents more as a band in the collective sense rather than a solo project, yet one can’t help but note Lorina’s status as the driving force and dominant personality within the fold.
Undertaking both guitar and lead vocal duties, alongside the piano and keyboard work that graces several of the songs, Dario essentially stamps his name onto every moment of this quartet’s seamlessly-crafted debut entry Spirit In The Glass; injecting what one might dub a liturgical flavor into a sub-genre of heavy metal that is already noted for its spiritual character.
One would be remiss not to note that this album is the consequence of the handiwork of four highly skilled instrumentalists. Alongside Lorina in the guitar department is the 6-string work of Brody DeRozie, best known as the touring guitarist of ex-Skid Row vocalist Sebastian Bach, allowing for a multi-faceted blend of dueling guitar parts that make for rich dueling harmonies, contrasting riffs and a dense texture befitting a murky, southern approach to rocking out.
Handling bass duties is Mike Gunn, whom lays a rock solid foundation between the aforementioned blues-driven guitar wizardry and often takes the occasion to add his own brief flourishes to complement what is an already busy arrangement, while Luis Silva raises a racket on the drum kit that emphasizes tightness and power, yet also embodies that looser and tinny atmospheric aesthetic that is often associated with the slow jamming character of doom acts like Sleep and Saint Vitus.
Wanting for nothing in the aggression department, this album wastes little time in laying down the metallic thunder and codifying this quartet’s heavy music credentials for any would-be doubters. Channeling the muddier side of the coin while unleashing what would otherwise be an old school heavy metal homage, opening crusher “Afterglow” hits with the speed and intensity that one might expect from an early 80 Saxon or Tank album translated through a mid-2020s production and with a cleaner voice in tow.
The swift-paced “Hollow Smile” treads a similar path and features a kinetic riffing assault that sounds as much a nod to Judas Priest as it does anything else. Even when things drift into more of a mid-paced rocking groove and a droning organ injects a gothic vibe into the formula, the guitars lead the way through a maze of punchy grooves that have all the hallmarks of a powerful emulation of Black Sabbath with a modern metallic edge.
Though Dario and company’s affinity with the accessible, dank rocking swagger of Black Label Society is obvious from one song to the next, it only tells part of a story that is just as much their unique take on things. The vocal presentation put forth by Lorina has a notably more airy and mellow quality to it when measured against Zakk Wylde’s nasally snarl, and takes greater occasions to engage in rich harmonic layers that invite comparisons to the haunting character of Alice In Chains’ vocal arrangements.
It is especially apparent on the lighter rocking, grunge-infused offerings of the bunch like the dreary semi-ballad and lead single “Glass Heart” and the slow-crawling and mournful closing entry “Bullet In Our Chamber”, but it proves to be a regular fixture of a sound that is quite eclectic. In like fashion, the lead guitar presentation proves a fair bit mellower and measured compared to Wylde’s raucous, screaming shred fests, with both of the previously noted entries being no less technically ambitious, but notably smoother and channeling the likes of Carlos Santana and David Gilmour in terms of timbre and feel.
It could be argued that Dark Chapel is a band that already knows its target audience and is prepared to give them exactly what they want despite it occurring on their debut studio album. Then again, Spirit In The Glass is pretty far from a typical entry even when compared against the extensive body of work that Dario has participated in both with Black Label Society and his prior work with Lizzy Borden and Jani Lane Band.
Even when putting aside brilliantly realized stylistic outliers like the almost pop-like piano ballad “Dead Weight” and the nostalgic acoustic romp “Dark Waters”, this is an album that comes with about as many surprises as it does tried and true moments. While for some the adventurous strides into broader stylistic horizons might prove jarring, it can be safely assumed that those that have ridden things out with Lorina throughout his career since joining Black Label Society will find yet another tasty brand of heavy rocking to sink their teeth into.
Released By: MNRK HeavyRelease Date: February 28th, 2025Genre: Sludge Metal
Musicians: Dario Lorina / Guitars, vocals * Brody DeRozie / Guitars * Mike Gunn / Bass * Luis Silva* / Drums
*Spirit In The Glass Track-Listing:*1. Afterglow 2. Hollow Smile 3. We Are Remade 4. Corpse Flower 5. Glass Heart 6. Dead Weight 7. Dark Waters 8. All That Remains 9. Gravestoned Humanity 10. Bullet in Our Chamber
Order Spirit In The Glass here.
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Steven Wilson sets his sights on lofty heights for his latest thematic release. To the heavens and beyond, to the farthest reaches of human imagination, and then some. It seems appropriate that this interstellar trek aligns with his own ethos as an artist: to boldly go where no one has gone before. Or, at least, to surprise his audience and not repeat himself too often.
On that count, Wilson is only partly successful. After the 80s pop rock of To The Bone, the electronic pop of The Future Bites, and the genre-blending artistic work of The Harmony Codex, Wilson gets big points for taking a surprising turn for his next creation: a concept album comprising of two lengthy tracks.
If he ever was going to blatantly return to prog-rock territory, this seems like a classy way to do it. Even more impressive is his choice to thematically utilize ‘the overview effect’ – a cognitive shift reportedly experienced by astronauts as they look at Earth from space. This gave Wilson the proper “perspective” for the album, by attempting to relate the infinite vastness of outer space to our myopic egocentric concerns here on Earth. Brilliant.
Still, the album in its entirety does not explore as much new ground on a musical level as one might assume. Although he has one of the most eclectic musical tastes – and libraries – of anyone in this galaxy, that doesn’t mean he’s going to reinvent himself every time. While his previous The Harmony Codex was bursting at the seams with new ideas and fresh sounds, The Overview finds Wilson reining it in a bit and reprising what he’s done before, albeit in a new template.
Indeed, musically the album feels like a retrospective of all-things Wilson. You can hear so many specific quotes from moments past (right back to *Porcupine Tree’s more psychedelic days) that one wonders if he even hid them there on purpose, like Easter eggs for his fans to discover and trace back to their original source. Even the structure of these two side-long epics has been tried out before with The Incident*, where several independent songs are strung together into one extended piece.
However, it must be acknowledged that the effort is more seamless with this latest release. This is all to say that while The Overview is a grand and epic idea, it’s more of a celebration of what has come before. Which, after the swings of his aforementioned recent albums, may come as some relief to his faithful fans, who can now simply luxuriate in these two extended pieces of art.
To pull off this cosmic concept, Wilson employs friends new and familiar, but it’s still largely a solo album. In addition to vocals, acoustic and electric guitars, keyboards, drum programming, sound design, and piano, Wilson also plays almost all of the bass on the album. Apparently, he enjoyed becoming the bass player heir apparent for *Porcupine Tree*, and so is continuing that passion here.
Nary a Nick Beggs lick in sight, though don’t worry, Beggs will be on the tour. In an unexpected twist, however, Beggs’ daughter Willow shows up on two songs with backing vocals. And it may come as a surprise to learn that touring drummer Craig Blundell is only featured on part of the album, with a larger portion being ably handled by Adam Holzman’s son Russell. Yes, Adam is on board at the keyboard chair on several tracks, too. Along with Rotem Wilson returning on spoken word vocals, The Overview is turning somewhat into a family affair.
But it is Randy McStine who is most present throughout nearly the whole album, offering backing vocals, sound design, keys, exactly 12 individual bass notes (see if you can spot them, ha), and a host of guitars including some of the most formidable moments of the album. Suggested to Wilson by Gavin Harrison for the role of touring guitarist with Porcupine Tree in ’22, McStine appears to be the perfect co-conspirator for Wilson, both musically speaking and from a similar headspace.
For example, McStine‘s recent solo album Mutual Hallucinations (which includes some mixes from Wilson) is a fine companion piece to Wilson’s own The Harmony Codex. Not to mention he has three albums out with drummer extraordinaire and Wilson alumnus Marco Minnemann. Okay, finally, let’s get on to the two songs themselves.
The 23-minute “Objects Outlive Us” opens the album and immediately there it is: Wilson’s high falsetto voice drenched in a bed of reverb. For those who might incur a moment of PTSD from “Personal Shopper” or “Permanating”, fear not…the piece moves on. Into the mist we go, apparently finding us positioned on a moor of another planet with an alien asking in monotone spoken word (a la in “Detonation”), “Did you forget I exist?”. With the wry answer from Wilson being, “I said, ‘Yes, ‘cause you played too hard to get’”, one could think this was a conversation poking fun at God. But no, this is a sci-fi story here, as hints of Major Tom and Rocket Man to 2001 and “A Smart Kid” or “Last Chance To Evacuate Planet Earth Before It’s Recycled” float by occasionally.
The subsequent choral chant of “The Buddha of the Modern Age” recites a litany of reasons that our species – wallowing in its own feces – is not going to come to a pleasant end. It’s quite a wallop of a start, though not uncharacteristic of Wilson’s gloomy take on humanity’s aspirations. Two sections in and already we need a ray of light to give us a brighter perspective.
Enter Andy Partridge to the rescue – himself being quite the sardonic observer of human foils – who offers lyrics for the subsequent “Objects: Meanwhile”. Partridge beautifully juxtaposes our trite dramas with the space oddity of the stars above: “A shopping bag broke sending eggs and flour crashing down to the ground just like star clusters smashing”, or of a failing marriage: “Of course he’s alive, he’ll be home around five, still silence arrives when a nebula dies into a milky way.”
Bonus: just for fun, imagine Partridge singing these lyrics in his own inimitable vocal style. It works. With Wilson getting to play some in-your-face distorted acoustic bass to open up the second half of the song (a la “Harridan”), trippy guitars start to fly and we finally get signs of more musical muscle starting to show up.
Unfortunately, the next section – forebodingly titled “The Ark” – slows things up a bit, with a repetitive melodic vocal structure not much more inspired than the earlier “Buddha” section. The main bulk of the story seems to be told here but isn’t easy to make out given the layered vocals. Fortunately, Russell Holzman is starting to really impress on the drum kit, Wilson is doing quite well on bass as well, and by the time we get to “Cosmic Sons of Toil” and a fiery solo from McStine, our planet-evacuation story is rocking out in classic Wilson fashion.
A reprise of the misty moor conversation launches the sumptuous payoff that closes the piece: a spacious three-minute-plus McStine guitar solo. It’s kind of his “Drive Home” moment, but having been given guidance to not play the guitar hero, it’s more rooted in Fripp sensibilities than in Gilmour‘s grandeur. The solo closes in a slow-motion dive bomb which deliciously is drowned out by abrasive strings conveying outer space static in “Heat Death of the Universe”.
One epic down, one to go, as the title track takes us deeper into the far reaches of space. How far? Rotem Wilson answers that question, providing a bit of context by reciting distances from Earth to various galaxies, clusters, and stars. (No, she’s not mentioning the movie Beetlejuice, but rather the red supergiant star in the constellation of Orion, Betelgeuse) Trippy, mind-expanding stuff. Still, will spoken-word numeric recitations sustain repeated listening without growing tiresome for the listener? Only time will tell.
It’s nearly 5 minutes before we reach the first proper song, the gorgeous “A Beautiful Infinity” which is certainly one highlight of the album. Niko Tsonev gets tapped for the guitar solo this time, and Craig Blundell finally makes his appearance, though ironically it starts out as one of the more straightforward drum parts on the album. McStine even gets a moog solo which sounds hauntingly familiar to that of Richard Wright.
Lyrically, Wilson goes out of his way to preach his atheistic take on things: “There’s no reason for any of this, just a beautiful infinity. No designer, no one at the wheel, just an existential mystery. La la la la…” Okay, Steven, have it your way, it’s your album. Humanity is an insignificant speck of dust in this endless expanse of mystery…is that depressing or hopeful? It appears that we get to create the meaning we choose.
“Infinity Measured in Moments” picks up the pace with the drums kicking into a higher gear and Adam Holzman finally letting it rip with an extended Moog solo. As the end draws near, McStine’s ringing ukulele surrounds the listener, and Rotem returns, launching us into the final sequence. Although Wilson comments on space being such a cold, unforgiving place of death, he decides to send us off in a heavenly fashion – on an ambient cloud of suspended keys and Theo Travis’ soprano saxophone. It’s kind of a shame this closing section is only three minutes long, as it feels like it could extend to an entire eighteen minutes in its own right.
There’s a lot going on here, though some of the sections don’t knock it out of the universe as much as might be hoped. Does the 18-minute title track even match the heavens achieved by Phase 1 of “The Sky Moves Sideways”? Perhaps it’s unfair to compare the two, separated by thirty years.
The good news is that Wilson continues to engage us with thoughtful, engaging music as he develops his career. Of course, it’s also impeccably produced and sounds as sonically perfect as one could hope for. And perfectly suited to a cinematic experience, which should be forthcoming, along with the accompanying tour. It may not be the defining moment of his career but The Overview is a welcome progression to his catalog, which continues expanding to a beautiful infinity.
Released By: Fiction RecordsRelease Date: March 14, 2025Genre: Progressive Rock
Musicians: Steven Wilson / Vocals, guitars, keyboards, sampler, bass, percussion, programming, strings, piano * Adam Holzman / Keyboards, mellotron, Hammond organ, piano, modular synth, Rhodes piano * Randy McStine / Guitars, sound design, FX, backing vocals, harmony vocals * Craig Blundell / Drums * Russell Holzman / Drums * Theo Travis / Sax, ambient flutes * Niko Tsonev / Guitar solo on “A Beautiful Infinity I” * Andy Partridge / Voices * Rotem Wilson* / Voices
**The Overview Track-Listing:1. Objects Outlive Us (23:17) :
– No Monkey’s Paw
– The Buddha of the Modern Age
– Objects: Meanwhile
– The Cicerones
– Ark
– Cosmic Sons of Toil
– No Ghost on the Moor
– Heat Death of the Universe
2. The Overview (18:27) :
– Perspective
– A Beautiful Infinity I
– Borrowed Atoms
– A Beautiful Infinity II
– Infinity Measured in Moments
– Permanence
Pre-order The Overview here
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The unstoppable heavy metal force known as *Avantasia is set to release its latest album, Here Be Dragons, on February 28th, 2025. This release will be the band’s tenth studio album, and mastermind Tobias Sammet* aims to write a new golden chapter in the band’s glittering career, which has spanned over a quarter of a century.
Some might believe that at this stage in Tobias Sammet’s prolific and enduring career, there is nothing left to discover — that the German artist has revealed all his tricks and that his lineup of guest singers has grown predictable. However, Here Be Dragons will surely make them think again.
A distinctive feature of *Avantasia is its cast of exceptional guest singers, each of whom has left an indelible mark on the world of rock and metal. While this new album holds no surprises in that regard — since all the guests have previously collaborated with Tobias — it’s undeniable that their iconic voices have helped solidify Avantasia* as a powerhouse in power metal.
Tobias’s latest effort aims to merge *Avantasia’s classic sound with a fresh musical direction, striking a solid balance between the old and the new, the familiar and the uncharted. The result is a highly diverse album where various songs come together, ranging from epic and uplifting to anthemic and deeply heartfelt ballads. Here Be Dragons represents a new approach to Avantasia*’s music, and it is undeniably refreshing.
As a first glimpse of what the band has in store for listeners, we encounter “Creepshow,” a straightforward, concise, and catchy track that serves as the new album’s first single. All symphonic elements have been set aside for this track, resulting in an accessible, radio-friendly, ‘80s-inspired rock song that echoes Tobias‘s former band, Edguy. Sammet delivers a theatrical performance that draws the listener into the supernatural spectacle about to unfold. With vibrant, electrifying energy, the song features a catchy chorus destined to be sung in arenas across the upcoming *Avantasia* tour.
For the title track “Here Be Dragons”, Tobias joins forces with the brilliant Geoff Tate, who, as always, delivers a stellar performance. This track, the longest on the album, is primarily a duet between the two singers, with symphonic elements making a return to create a heartfelt mid-tempo song rich in mellow melodies.
“The Moorlands at Twilight” picks up the pace, delivering a track that seamlessly shifts between speed and classic power metal. The music echoes *Avantasia’s early sound, heavily inspired by bands like Helloween, making it only fitting that the magnificent Michael Kiske joins Tobias. The song maintains a Stratovarius*-style keyboard foundation, setting the stage for the lead guitars to unleash a series of extensive, fierce solos at thrilling speed.
The album takes a darker, more dramatic turn with “The Witch”, which features a gloomy atmosphere that allows the duo of Sammet and the fabulous Tommy Karevik to shine. The song shifts between epic power metal grandeur and constant melodic hooks. The instrumentation is immersive, with Sascha’s crushing guitar riffs creating a striking contrast to the melodic interplay between the two singers, culminating in a catchy chorus that will make this song an instant classic for the band.
“Phantasmagoria” follows with a more direct, concise, and accessible track featuring the powerful Ronnie Atkins. The result is a practical and more straightforward song than the rest of the album. However, it remains an enjoyable listen, with interesting shifts in its structure without ever feeling convoluted.
*Avantasia‘s music has several distinctive elements, but one plays a crucial role in the band’s success. Tobias‘s choruses are often unforgettable, especially when sung alongside Bob Catley‘s smooth, magical voice. The two musicians reunite in “Bring on the Night”, delivering yet another memorable collaboration filled with melodic hooks, a catchy chorus, and a beautifully melancholic atmosphere. The instrumentation is rich in melody, with mellow keyboards taking center stage, allowing Catley‘s voice to shine as always. With this track, Avantasia* has crafted another staple for their live performances.
“Unleash the Kraken” is the second and final song on the album featuring Tobias as the sole vocalist. In it, he unleashes his distinctive vocal power full of dramatic intensity and aggression. The song starts off softly and calmly before a heavy storm of pure power metal breaks loose, with fast, powerful, and crushing riffs. Sascha Paeth shows no mercy with this one.
The following track “Avalon”, offers a track infused with a Celtic atmosphere, featuring the versatile and impressive Adrienne Cowen as the chosen guest. The instrumentation feels festive, blending orchestral passages, folk elements, and precise power metal, resulting in a mid-tempo piece enriched by the striking contrast between Sammet and Cowen’s voices.
For the next song, *Avantasia ventures into hard rock, enlisting the expressive and intense Kenny Leckremo, vocalist of H.E.A.T. to perform “Against the Wind”. In a duet with Tobias, he helps craft a track reminiscent of The Metal Opera era, blending power and emotion in a precise balance that shifts between power and heavy metal. Conceptually, the song is a testament to the strength of will, staying true to oneself, and achieving one’s goals. It feels as though Tobias* is telling us that this is his music, how he feels it, composes it, and brings it to life.
After an intense journey filled with furious riffs, epic orchestrations, killer solos, and catchy choruses, *Avantasia closes the album with an emotive power ballad. “Everybody’s Here Until the End” is an emotional, melancholic, and haunting piece. Supported by Roy Khan‘s hypnotic voice, this track brings the album to a close with a unique emotional intensity, where orchestral arrangements, sublime piano notes, and the moving performances of Toby and Roy come together for a stellar and touching finale to Here Be Dragons*.
Overall, Here Be Dragons presents a more dynamic, adventurous, and revitalized Tobias, seamlessly blending Avantasia’s trademarks with fresh sonic approaches that bring new life to the album. The signature elements of classic *Avantasia* remain intact to satisfy longtime fans, but this time, they are delivered with renewed energy and dynamism.
Released By: Napalm RecordsRelease Date: February 28th, 2025Genre: Power Metal
Musicians: Tobias Sammet / Vocals, bass, keytar * Felix Bohnke / Drums * Sascha Paeth / Guitar * Michael Rodenberg* / Drums, keyboards
**Here Be Dragons Track-Listing:1. Creepshow 2. Here Be Dragons (Featuring Geoff Tate) 3. The Moorland at Twilight (Featuring Michael Kiske) 4. The Witch (Featuring Tommy Karevik) 5. Phantasmagoria (Featuring. Ronnie Atkins) 6. Bring on the Night (Featuring Bob Catley) 7. Unleash the Kraken 8. Avalon (Featuring Adrienne Cowan) 9. Against the Wind (Featuring Kenny Leckremo) 10. Everybody’s Here Until the End (Featuring Roy Khan)
Pre-order Here Be Dragons here
The post AVANTASIA – Here Be Dragons (Album Review) appeared first on Sonic Perspectives.
Hailing from Norway, Dim Gray dance between the lines of chamber pop, progressive rock, and atmospheric folk with a sound that feels comfortingly familiar and intriguingly unique at the same time. This quintet has found a friendly welcome in the audiences of Marillion and Big Big Train after having performed opening sets for those headliners over the past few years. Their primary songwriter, keyboardist, and vocalist Oskar Holldorff also plays keys with BBT (check out his impressive contributions on the recent The Likes Of Us).
With the release of their third studio album approaching, and another gig supporting *Marillion coming up in June, Dim Gray hopes to achieve a brighter, more colorful future. Judging from Shards*, they certainly deserve it.
Several tracks on the new album bear a more alt-rock radio-friendly approach, including the opening track “Defiance” and the upbeat lead single “Peril”, both of which feature guitarist Håkon Høiberg’s chiming lead guitar lines. The former song benefits from Holldorff’s swooning vocal cries, while the latter nearly calls forth the jaunty bagpipe guitar lines of Big Country’s namesake song “In A Big Country”.
Wielding a similar tone to The Edge, Høiberg’s guitar approach instantly makes these songs accessible…perhaps too much so, lest the casual listener decides to lump Dim Gray into the same bucket as many other mainstream bands. But don’t let these catchy singles fool you (good as they are), there’s much more in store from this band.
The third single from Shards, “Myopia”, is not only one of the album’s strongest moments but a video game has been created around the song. Yes, you can choose to be a member of the band and throw guitars or drumsticks at the attacking monsters in an 80s retro-styled video game accessible online. Meanwhile, the song itself features guest vocalist Vaarin, whose voice blends so seamlessly into the mix that you’d think she was a full member of the band. Although set to a dreamy melody and atmosphere, supplemented by guest cellist Ellen-Martine Gismervik, the lyrics deal with echo chambers and tunnel vision, an unfortunate predicament of our modern society.
Ambient textures meld with pop sensibilities throughout Shards, none better demonstrated than on “Feathers”. Holldorff’s smooth melodic vocals carry the lyrics as if riding on a cloud: “I had a dream but now it’s over, someone please wake me up,” with an arrangement that is bolstered by input from noted producer Lars Horntveth.
Guitar patterns build a repetitive intensity a la Anathema, with lush strings sending the atmosphere even higher. “Mooneater” follows with one of Holldorff’s most poignant vocal deliveries and an intense closing keyboard progression whose only fault is that it doesn’t extend for another several minutes. Come on guys, embrace the prog and develop these potent ideas even further – they deserve it.
Other members of the band get their moments to shine, like Tom Ian Klungland’s fury of drum thunder on the bewildering “Little One”, or Høiberg lending his own lead vocals on “Murals” and “Peril”, his voice offering more vibrato and vulnerability than the smooth tones of Holldorff. With additional guitar and keyboards provided by Milad Amouzegar, and steady bass lines from Kristian Kvaksrud, the ensemble delivers a very full, lush sound on every track, creating a unique work of art.
A title track of sorts, “Shards From A Broken Crown” is a beautiful, short symphonic intro for the longest piece on the album, “Attakulla”. Beginning with indie folk sensibility a la Fleet Foxes, the mini-epic builds as strings and backing vocals weave together, Høiberg offering one of his characteristic jig guitar sections and some tricky time signatures are introduced. Still, the piece doesn’t quite feel like it enters prog-rock territory, just as Dire Straits’ “Telegraph Road” isn’t prog simply because it’s 14 minutes long. Nevertheless, it’s a convincing effort which is one more reason Dim Gray stands out amongst its peers.
Shards is skillfully produced, balancing the power of a rock band with the grace of a symphony and more than a dash of ambient atmospherics. Along with strong musical performances – most notably Holldorff’s voice and keys – and engaging songwriting, Dim Gray are a band to enjoy today and watch for the future as they continue to develop.
Released By: Grim Day RecordsRelease Date: February 28th, 2025Genre: Progressive Rock
Musicians: Oskar Holldorff / Vocals, keyboards * Tom Ian R. Klungland / Drums, vocals * Håkon Høiberg / Guitars, vocals * Kristian Kvaksrud / Bass * Milad Amouzegar* / Guitar, keys, santour
**Shards Track-Listing:1. Defiance
2. Myopia
3. Murals
4. Feathers
5. Mooneater
6. Peril
7. Little One
8. Shards From A Broken Crown
9. Attakulla
Pre-order Shards here
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There aren’t many bands these days who have the capacity to release five albums of original music in six years…much less contemporary progressive rock bands. For any who would dare to attempt such a feat, one might expect lengthy improvised jam sessions that run long on time but short on substance, and result in an equal number of hits and misses along the way.
Remarkably, Pattern-Seeking Animals have achieved one of modern prog history’s most consistent five album discographies. Their musical ethos is quite the opposite of jam bands, as they utilize elaborately constructed epic songs as storytelling vehicles, all while employing a wide range of instruments from around the globe. Pattern-Seeking Animals clearly have established their own sound, but they continue to wield a wide palette of musical colors to inhabit that world.
But if you’re reading this album review – chronicling album number five – you likely already know all of this. You’re probably already aware that the band was formed out of the ashes of the not-quite-dead Spock’s Beard (long live The Beard!), and that mastermind John Boegehold writes the bulk of the music and the arrangements…we could say he is the main orchestrator of the band. Having at his disposal one of the best drummers, bassists, and vocalists in prog (Jimmy Keagan, Dave Meros, and Ted Leonard respectively), he’s got an ideal band to realize his visions.
Friend Of All Creatures – named from a verse in the Bhagavad Gita – approaches the heights of the band’s second and third albums. As mentioned before, their sound is incredibly consistent, but there was an extra magic to those albums, and happily, number five isn’t far behind. It’s a little more mellow overall but that doesn’t mean it slouches in terms of energy delivered, quite the opposite.
“Future Perfect World” is a glorious opener, running nearly ten minutes long, one section running into another as new worlds open into fields of clover. It just may be the best track on the album, when taken as a whole. While some bands are content to write songs with two or three-chord progressions (at most) and fairly straightforward instrumentation, Pattern-Seeking Animals excels at writing complex arrangements with a bountiful quiver of musical expressions. The fantastical “Another Holy Grail” gets a little carried away in that regard, running over twelve minutes with more musical ideas than most bands deliver on a full album. If you’re seeking engaging symphonic prog, there’ll be plenty to chew on here.
The heavily orchestrated “Down The Darkest Road” gives a breather from the proggier moments on the album – and (sadly) from Keegan’s drum kit. It’s a serene pause, whose beauty belies its mysterious and somewhat foreboding storyline. “In My Dying Days” and the triumphant “Days We’ll Remember” are both typical straightforward Pattern-Seeking Animals rockers, the latter bordering on achieving anthem status and making one wonder how it wasn’t a single off the album, marvelous as it is. Both tracks also make you wonder why Leonard wasn’t tapped at some point to be the singer for Kansas.
Two more transcendent songs come toward the end, both clocking in over eight minutes long. Leonard reminds us that he’s got guitar chops too, with nearly every song containing at least a short solo, but on “The Seventh Sleeper” and “Words of Love Evermore” the notes hit home even more strongly. His wailing six strings are featured during an extended fade out on the final piece, with Keegan’s drum kit accompanying in full glory.
While Boegehold’s production and mix are pristine, if there’s anything lacking here it’s the punch of one of the mightiest rhythm sections in prog. During their time in Spock’s, for example, Meros and Keegan stood out for all the right reasons. Being two of the hardest-hitting players on their bass and drums, they are almost blended in a little too well with the rest of the orchestra here in Pattern-Seeking Animals. Still, it’s a minor complaint. Friend Of All Creatures keeps the bar high and ensures that the modern era of quality prog does not go wanting.
Released By: Giant Electric Pea RecordsRelease Date: February 14th, 2025Genre: Progressive Rock
Musicians: Ted Leonard / Lead vocals and guitar * John Boegehold / Keyboards, guitars, programming * Dave Meros / Bass * Jimmy Keegan* / Drums and vocals
**Friend Of All Creatures Track-Listing:1. Future Perfect World
2. Another Holy Grail
3. Down the Darkest Road
4. In My Dying Days
5. The Seventh Sleeper
6. Days We’ll Remember
7. Words of Love Evermore
The post PATTERN-SEEKING ANIMALS – Friend Of All Creatures (Album Review) appeared first on Sonic Perspectives.
When you think of Italian gothic/alternative metal, you almost certainly think of Lacuna Coil. After all, the quintet has been going strong since 1994, releasing nine studio LPs stretching from 1999’s In a Reverie to 2019’s Black Anima. Despite enduring multiple lineup changes in that time, they’ve never lost their signature sound, and that remains true with Sleepless Empire. Very much picking up where Black Anima left off, it’s another solid – if unsurprising – sequence from the genre masters.
The band describes the LP as “captur[ing], through our eyes, the chaos of a generation trapped in a digital world that never stops, where social media consumes identity and every day pushes us one step closer to becoming soulless zombies.” They continue: “We find ourselves in between, having witnessed a full analogic world and the modern one, confronting the evolution and searching for a true meaning of it all. Throughout every song, the journey is an undercurrent of rebellion, a desperate cry to reclaim oneself in an era that seems to have lost its sense of time and reality.”
That’s certainly a relevant and impactful message on which to build an album. Thankfully, they do it justice from beginning to end, with new guitarist Daniele Salomone (who replaces Diego Cavallotti) – as well as guest appearances from Lamb of God’s Randy Blythe and New Year’s Day’s Ash Costello – spicing things up so that the record never loses steam.
Often, *Lacuna Coil stick to their tried-and-true recipe of having Andrea Ferro’s guttural eruptions permeate the verses while Cristina Scabbia’s clean singing radiates during the choruses. That’s far from a bad thing, though, as it still works quite well, especially on the downright demonic (and catchy as hell) “Oxygen,” “Gravity,” and “*Sleepless Empire.” As the saying goes, “If it ain’t broke, don’t fix it,” and while these tracks could do a bit more to distinguish themselves from each other, all of them pack a satisfyingly hooky and hectic punch.
Elsewhere, Scabbia has more of a leading role, with tunes such as subtly atmospheric opener “The Siege” and “In Nomine Patris” placing her front and center the entire time (with Ferro popping up here and there for some brief dueting and solo outbursts).
Interestingly, Sleepless Empirealso embodies the furthest extremes of *Lacuna Coil’s sound, as the overwhelmingly heavy “Hosting The Shadow” is an almost relentlessly brutal track punctuated by Blythe’s accompaniments. In contrast, “I Wish You Were Dead” and “Sleep Paralysis” are – for the most part – relatively soft and radio-friendly, if not borderline poppy. There’s also the LP’s most multifaceted composition, “In the Mean Time,” which benefits not only from Costello*’s leads and harmonies but also from some particularly dynamic and intricate instrumentation.
Sleepless Empirecould certainly do more to differentiate certain tracks from each other, not to mention add more variety and innovation to its arrangements, production, and compositions overall. Yet, by this point, *Lacuna Coil* have obviously perfected their formula enough to give longtime followers exactly what they want.
Likewise, it’s equally clear that there’s still plenty of passion and chemistry between the band themselves, so while Sleepless Empire is a majorly familiar ride, it’s also a thoroughly engaging one that deserves praise from *Lacuna Coil* devotees and gothic metal lovers in general.
Released By: Century Media RecordsRelease Date: February 14th, 2025Genre: Gothic Metal
Musicians: Cristina Scabbia / Vocals * Andrea Ferro / Vocals * Marco Coti Zelati / Bass, guitars, keyboards * Richard Meiz / Drums * Daniele Salomone* / Guitars
*Sleepless Empire Track-Listing:1 The Siege
2. Oxygen
3. Scarecrow
4. Gravity
5. I Wish You Were Dead
6. Hosting the Shadow (Featuring Randy Blythe)
7. In Nomine Patris
8. Sleepless Empire
9. Sleep Paralysis
10. In the Mean Time (Featuring Ash Costello*)
11. Never Dawn
Order Sleepless Empire here.
The post LACUNA COIL – Sleepless Empire (Album Review) appeared first on Sonic Perspectives.
Our train has come in.Though to many the name Majestica refers to a project that seemingly came out of nowhere in the late 2010s and became a major fixture of Nuclear Blast’s heavy metal roster, the story goes far deeper and centers around the musical force of nature and recent social media sensation Tommy “ReinXeed” Johansson. Originally a project bearing the aforementioned guitarist and lead vocalist’s stage name, its musical legacy spans back to the height of the early 2000s European power metal wave when he was still in his mid-teens no less.
Following six studio albums under the banner of Narnia helmsman Christian Liljegren’s Rivel Records, Johansson’s Malmsteen-like virtuosic command of the six-string and songwriting expertise would find a more auspicious home in the ranks of Sabaton, which would in turn find his long-term eponymous project renamed and rebranded into something a tad more happy-go-lucky, but still possessed of the same Helloween-inspired blend of fantasy and adventure-obsessed spirit that originally made Reinxeed name a staple of the European underground.
After their ambitious take on A Christmas Carol, Majestica is back to their roots with Power Train, cranking up the theatrical energy to full blast. This album feels like a return to the vibe of their electrifying 2019 debut, Above The Sky, ditching the concept-driven approach for something more straightforward—but no less over-the-top.
With Power Train, they dive headfirst into a world of fairytales, packing the album with the signature earworm melodies and intricate, Baroque-tinged guitar work that defined the ReinXeed era. But this time, there’s an extra layer of playful self-awareness, almost like they’re fully leaning into every power metal trope on purpose. It’s big, it’s flashy, and it embraces every cliché with the kind of unshakable enthusiasm that makes it impossible not to get swept up in the fun — like watching the northern lights blaze across the winter sky.
The same rhythm section that made A Christmas Carol a powerhouse of speed and precision, namely shred-happy bassist Chris David and Veonity drummer Joel Kollberg, have returned to reprise their roles in like fashion, while the acquisition of Mad Hatter and Morning Dwell frontman Petter Hjerpe on guitar to replace Alex Oriz has arguably increased this fold’s musical gravitas to an even greater degree.
One of Majestica’s greatest charms is their uncompromisingly retro approach to the craft, constructing mighty anthems that could well be mistaken for something that came out over 20 years prior were it not for the upgraded production quality that comes with the present day. Right from the rousing first segment of the opening anthem and title entry “Power Train”, one can’t help but notice the similar brand of consonant and keyboard-rich swiftness that the likes of Freedom Call and Edguy originally brought to prominence in the late 90s.
However, while Tommy’s vocal work encompasses an expansive range that most laymen would struggle to match, the songwriting that is along for the ride is a continual exercise in hook-driven accessibility. Up tempo bangers like the Nightwish-tinged and folksy “No Pain, No Gain”, the neo-classically geared cruiser “Thunder Power” and the rocking gallop and 80s AOR-like “Go Higher” present the most blatant sing-along romps of an album that consistently places memorable anthems a rung above the individual techniques of the musicians involved.
That being said, technical ambition and some adventurous forays into more formally involved material are clearly along for the ride, to speak nothing for a few rather auspicious nods to some of the big names in power metal. Though he only had a brief stint doing live vocals in their ranks, “My Epic Dragon” is about as obvious of a homage to symphonic power metal mainstays Twilight Force as one could get, and ReinXeed’s lead work combined with Kollberg’s insanely on point drumming sells it like it’s the original.
The bass-driven slow march of “Megatrue” channels Tommy’s stint with Sabaton all but to a fault, but also ups the ante via a stellar showing on the 4-string by David, some killer Hammerfall-inspired gang vocals, and a more ambitious execution reminiscent of Sabbath’s “Heaven And Hell”. But the coup de grace that accentuates Johansson and company’s insane abilities at their respective instruments while creating something truly memorable is the epic album closer “Alliance Anthem”, standing as a fairly blatant nod to Stratovarius’ brand of classically charged melodic speed and fury that somehow manages to be unmistakably Majestica through it all.
Whether one counts this as the band’s 3rd studio entry, or its 9th considering it is essentially ReinXeed under a new name, few could hope to argue that Majestica is anything other than a force to be reckoned with, if not one of the standard-bearers of power metal. Dull moments are not in this fold’s vocabulary, and the added participation Petter Hjerpe and his corresponding capabilities as both a guitarist and vocal helmsman in his own rite has opened up a richer degree of sonic possibilities to a band where the sky has already become the limit.
Arguably the only flaw to be found here is that Hjerpe’s more Michael Kiske-like vocal persona was not used as a more constant foil to Johansson’s titan-like wail, but the moments where this does occur are nothing short of spellbinding. Somewhere in the same world where the Keeper Of The Seven Keys saw the defeat of evil in the late 1980s, a wacky train conductor and his crew would later emerge and add a fitting sequel to its triumphant soundtrack, fueled by an engine built of pure power no less.
Released By: Nuclear Blast RecordsRelease Date: February 7th, 2025Genre: Power Metal
Musicians: Tommy “ReinXeed” Johansson / Lead guitar, lead vocals, keyboards * Petter Hjerpe / Rhythm guitars * Chris David / Bass, backing vocals * Joel Kollberg* / Drums
*Power Train Track-Listing:*1. Power Train
2. No Pain, No Gain
3. Battle Cry
4. Megatrue
5. My Epic Dragon
6. Thunder Power
7. A Story In The Night
8. Go Higher
9. Victorious
10. Alliance Anthem
Order Power Train here.
The post MAJESTICA – Power Train (Album Review) appeared first on Sonic Perspectives.
A silver lining arises from a chaotic canvass.Thinking outside the box is rarer than one might expect, for even the most ardent of progressive artists and bands will be faced with the pitfall of their novel niche becoming a standardized ritual. Yet to Ukrainian modern progressive metalcore/groove metal quartet Jinjer, bucking trends and forging onward into new territory seems more like the order of the day.
The dueling elements of rage and beauty have been carried through a melding of various musical genres into a compact 4-piece arrangement, resulting in a quirky synchronicity that has seen a continually original and distinctive music output. With nearly 4 years now in the rearview since their relatively nuanced and smoother 2021 LP Wallflowers, this fold has returned in full form with a harsher and more aggressive beast of an LP in Duel, arguably the most appropriate name and descriptor of what Jinjer has been about since day one.
It is near impossible to overstate the integral roles that each part of this outfit plays in forging the elaborate and furious tower of sound that unfolds during this opus’ 9 respective chapters. True to the example of influences noted by the band themselves like Pantera, Lamb Of God, and Gojira, the highly intricate contributions of the rhythm section are particularly noteworthy, with drummer Vladislav “Vladi” Ulasevich’s loose-flowing, jazzy, and fill-happy kit work hitting with the same level of impact as Vinnie Paul but also the complex dynamic range and elaborateness of Mike Portnoy.
Eugene Abdukhanov’s traveling bass work matches the cacophony of dissonant riffs thrown out by Roman Ibramkhalilov’s guitar work at every turn and often breaks away to further accent the jazzy and funky brand of virtuosic musicianship that makes Jinjer’s sound so distinctive. On top of this towering auditory mountain stands Tatiana Shmayluk’s blend of gut-wrenching screams and angelic sung melodies, fully embodying the beauty and the beast concept that has permeated metal for the past 30 years in a single, vibrant persona.
The aggression and impact factor has been accented to its greatest degree yet, resulting in an album that continues to push the envelope even within the already auspicious precedents set in this band’s previous studio work. Thrashing, speed-infused beasts like the opening crusher “Tantrum” and the similarly ferocious entries “Fast Draw” and “A Tongue So Sly” rank among the darkest and most brutal offerings out of Jinjer to date, frequently crossing the lines that separate their modern progressive groove tendencies from that of death metal.
Vladi’s kit work frequently veers into chaotic blast beats amid a cacophony of shifting beats and rapid-fire fills as the riff work rips and slams like a stream of tornadoes emerging from a supercell, with Tatiana’s dual vocal characters providing the clearest markers of where the verse ends and the chorus begins. Other similarly aggressive yet slower entries like “Hedonist” and the riff-happy closing hurrah and title entry “Duel” carry similar death metal tendencies via a dissonant and disturbing presentation, Tatiana’s more triumphant clean sung moments functioning as momentary glimpses of sunlight amid a sea of chaotic darkness.
The almost uniform sense of rage and discontent that this album expresses does come with moments of contrast, though they tend to be fewer and farther between than usual. The groove-driven stomp and disturbing presentation of “Rogue” veers the closest to the mechanistic feel of Meshuggah, leaning a bit closer to the raw side of things but coming off as a bit more methodical and precise.
The still heavy yet more melodic “Tumbleweed” could almost be mistaken for a lullaby if going by Tatiana’s mostly clean performance and the more common practice harmonic scheme of the music, ditto the twisted serenade that is “Kafka”, which brilliantly adapts the surreal and existential horror of its namesake’s writings into a dreary, distorted ballad with a chilling conclusion. The jazzy and experimental side of this outfit’s stock and trade comes into full view on “Dark Bile” and especially the progressive musical labyrinth “Someone’s Daughter”, both conveying dark and complex messages through a correspondingly dreary and through-composed musical template.
Comparing a musical creature of this sort to anything else is a fool’s errand, as even about what this band has accomplished previously in the studio, this is a piece of music all its own, drawing inspiration from the tumult and tragedy of a world where such things are always in ready supply. It clocks in at just over 42 minutes with each song never venturing too far beyond the 4-minute mark, yet the sheer level of content that is thrown to its audience could rival albums put forth by seasoned progressive outfits that span more than an hour.
It stands strong amid an already growing array of formidable albums to grace the early weeks of 2025, and will undoubtedly serve to expand Jinjer’s already expansive reach in the popular consciousness. Duel is the sort of album that shines a twisted mirror upon an already twisted world, yet somehow manages to come out with an uncanny blend of realism and beauty that may uplift the spirits of even the most downtrodden.
Released By: Napalm RecordsRelease Date: February 7th, 2025Genre: Metalcore | Progressive Groove Metal
Musicians: Tatiana “Tati” Shmayluk / Vocals * Roman Ibramkhalilov / Guitars * Eugene Abdukhanov / Bass * Vladislav “Vladi” Ulasevich* / Drums
*Duel Track-Listing:*1. Tantrum
2. Hedonist
3. Rogue
4. Tumbleweed
5. Green Serpent
6. Kafka
7. Dark Bile
8. Fast Draw
9. Someone’s Daughter
10. A Tongue So Sly
11. Duél
Order Duel HERE.
The post JINJER – Duel (Album Review) appeared first on Sonic Perspectives.
Having left his heavy metal band Tribulation in 2020, Jonathan Hultén chose the road less traveled. Retreating into the woodlands armed with acoustic guitars and haunting harmonies, he created The Mountain, his first full-length solo album. A stark contrast from the music of his previous band, that album still bore a different kind of heavy atmosphere, while being infused with an earthy spirituality and grace. The Mountain was a bewitching triumph of 2020, one of the year’s most spellbinding offerings.
We’ve waited nearly five years for Hultén to release a follow-up and with Eyes Of The Living Night he is clearly evolving his sound while still retaining – and perhaps even deepening – his mystique. The sparse arrangements of acoustic guitar strings from The Mountain have largely been replaced by layered textures of keyboards, electric guitar, percussion, and bass. On several songs, it almost feels like a full band has now taken over Hultén’s folksy solo approach. Yet, like on its predecessor, (nearly) all of the instrumentation on the album is still performed by Hultén himself. And despite more elaborate arrangements, the mood and vibe remain consistently and utterly unique.
The opener “The Saga And The Storm” establishes the new, wider-lens approach with a wall of sound matching Hultén’s signature vocals. The first single “Afterlife” follows with an equally thick soundscape of sequenced midi keyboards and percussion, achieving greater success thanks to the ethereal melody that Hultén delivers. We quickly realize that we have now traveled far from The Mountain, through swirls of dust across valleys and plains; the journey continues but through novel terrain.
“Falling Mirages” plays like a haunted lullaby. Like so much of Hultén’s music, it’s a blend of folk, rock, world influences, blues, and music for a horror film score. Later on “Song of Transience” (and even better, his masterful piano instrumental version titled “Through The Fog, Into The Sky”) and “Vast Tapestry” contain a similar atmosphere, the latter pulling in a little cowboy music as well. Although Tim Bowness released an album entitled Abandoned Dancehall Dreams, it seems that Hultén has truly found a way to perfectly illustrate that image through music.
Despite all of the added instruments in many of these new songs, Hultén shines brightest when the layers are stripped back. The evocative “Riverflame” adds a bit of soul to the mix, its simple electric piano vibes, and sparser arrangement allow Hultén to stretch out vocally with perhaps his best performance of the album. An artist with a wide array of talents, let’s not forget that his expressive voice is most treasured among them. “Dawn” is another tender offering, even calling in a wailing harmonica courtesy of Ida Nilsson, which matches the longing in Hultén’s voice.
“Starbather” closes the album yet seems like it would have been a good pick for the lead-off single, benefitting from a full band approach including Esben Willems on the drum kit. Apparently, Hultén chose to go out on a high note, instead of choosing one of the more moody pieces for his farewell.
At 43 minutes long, Eyes Of The Living Night achieves a perfect album length, making its mark but not overstaying its welcome. The production is inventive and impactful, especially when it comes to shaping Hultén’s lead and backing vocals. While ultimately the fuller arrangements result in a bit less intimacy and emotional impact, they demonstrate that Hultén is evolving his sound and broadening his reach.
Judging by the costumes and makeup in his videos, he is committed to creating a world all his own, one that entrances and mystifies his audience. Coupled with his skillful and evocative drawings, Hultén proves to be a unique artist making an impact that few others dare to consider.
Released By: Kscope
Release Date: January 31st, 2025
Genre: Folk / Ambient / Prog Rock
Eyes Of The Living Night Track-Listing:1. The Saga And The Storm 2. Afterlife 3. Falling Mirage 4. Riverflame 5. The Dream Was The Cure 6. Song Of Transience 7. Through The Fog, Into The Sky 8. Dawn 9. Vast Tapestry 10. The Ocean’s Arms 11. A Path Is Found 12. Starbather
Order Eyes Of The Living Night here.
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When a legendary band undergoes a lineup shift, the anticipation among fans tends to skyrocket, often fueled by curiosity, nostalgia, and a dash of apprehension. Dream Theater’s upcoming album, Parasomnia, not only heralds the much-anticipated return of founding drummer Mike Portnoy but also serves as a bold statement: after four decades, this band still has plenty of fuel in the tank, and its sounds as organic and commanding as they did back in 2009.
Portnoy’s influence as more than just a percussionist — more often than not shaping the band’s creative direction since the beginning — makes this reunion utterly significant. While his absence over the past decade gave fans a chance to experience different creative dynamics, his return feels like rediscovering an old but well-loved instrument, instantly familiar yet brimming with potential.
True to its title, Parasomnia dives into the eerie realm of sleep disorders and nocturnal phenomena — subjects uniquely fitting for a band whose name evokes dreamlike imagery. The album takes listeners on a 72-minute sonic exploration of sleepwalking, night terrors, shadowy figures, and more. It’s not a strict concept album, but its thematic cohesion provides a sense of narrative threading through its tracks.
The opening track, “In the Arms of Morpheus,” sets the tone with atmospheric city noises that dissolve into an unsettling musical prelude. As the tension builds, John Petrucci’s sludgy, eight-string riffs burst into the mix with the most massive, down-tuned sound he’s ever recorded in a Dream Theater record, pounding over Portnoy’s thunderous rhythms. This track is pure cinematic drama, with Jordan Rudess contributing hauntingly ethereal tones and John Myung’s bass providing a steady, almost hypnotic pulse. Though instrumental, the piece feels less like a jam session and more like a meticulously crafted overture, foreshadowing the themes and motifs to come.
The second track, “Night Terror,” is one of the album’s already released singles, and opens with a chilling minor-key riff reminiscent of Train of Thought’s heaviest moments, the song captures the oppressive weight of nightmares. The verses alternate between dark, brooding passages and James LaBrie’s introspective lyrics, which convey the suffocating anxiety of sleep paralysis. The chorus, bolstered by Rudess’ soaring orchestration, strikes a balance between melodic accessibility and intricate arrangement. The song’s instrumental middle section is where the band shines brightest—Petrucci and Rudess engage in a frenetic duel, trading blistering solos that recall the virtuosic interplay of Scenes from a Memory. Portnoy’s drumming is the glue holding it all together, his fills and syncopations adding layers of complexity without overpowering the ensemble.
“A Broken Man” shifts the tone, exploring the fragility of the human psyche. The song opens with an explosive burst of energy — Portnoy’s rapid-fire tom rolls set against a backdrop of military radio chatter and a ceremonial gong. Thematically centered on PTSD and its nightmarish echoes, the track alternates between somber verses and thunderous choruses. Petrucci’s riffing is sharp and rhythmic, punctuating LaBrie’s emotionally charged delivery. About halfway through, the song takes an unexpected turn, diving into a fusion-inspired jam, a detour that accentuates the band’s playful side, proving they continue to be unafraid to step outside their comfort zone. The joyful tone of the instrumental section here is a perfect contrast with the heaviness of the subject at hand and reflects the confusion in the protagonist’s mind. The hard rock feel of Petrucci’s solo shows a side of his playing that is rarely on display and is a breath of fresh air.
“Dead Asleep” is a harrowing tale inspired by real-life incidents of sleepwalking tragedies. The intro is deceptively serene, with Petrucci’s clean, mournful chords evoking a sense of vulnerability. This calm is shattered by a frantic, detuned riff, mirroring the chaos of the protagonist’s dream state. The song oscillates between these two moods — gentle introspection and aggressive outbursts — mirroring the protagonist’s internal struggle. The instrumental break is a highlight, with Petrucci unleashing a bluesy, heartfelt solo that gradually morphs into a shredding frenzy. Rudess matches this intensity with a lead synth line that alternates between classical elegance and electronic ferocity, while Myung’s bass lines slither beneath, anchoring the chaos.
“Midnight Messiah” offers a stark contrast, celebrating the liberation and power of lucid dreaming. The track’s main riff is a headbanging masterwork, blending palm-muted chugs with sweeping melodic phrases. Portnoy‘s lyrics, his first lyrical contribution after returning to the band, explore the allure of creating a perfect dream world and the danger of losing oneself in it. The chorus is infectious, leaning into a more straightforward rock sensibility, yet the real magic happens in the latter half, where Petrucci and Rudess take the song into hyperdrive, with a synchronized and turbocharged tapping sequence. Fans who enjoy the homages they made to Metallica in the past, on songs such as “Fall Into the Light” or “As I Am”, will enjoy this chaotic tale. Also, there are plenty of nuggets in the lyrics here, and the sense of nostalgia is palpable.
“Are We Dreaming” and “Bend the Clock” serve as a thematic pivot, shifting focus from dreams to the regrets of reality. The former is a haunting interlude, with Rudess’ church organ creating an uneasy atmosphere punctuated by whispered voices. “Bend the Clock,” on the other hand, is a bittersweet ballad reflecting on lost time. Petrucci’s warm, overdriven chords carry the verses, while LaBrie’s heartfelt delivery tugs at the listener’s emotions. The climactic and extended outro solo is pure Petrucci’s magic: a blend of expressive playing with Gilmour-like phrasing and technical brilliance, building to an emotional crescendo before fading into the ether, leaving me wanting for more.
The album’s grand finale, “The Shadow Man Incident,” is a 20-minute sprawling epic that encapsulates the album’s themes and showcases the band’s technical and compositional excellence. The song begins with the eerie wind-up of a music box, its melody unraveling into a crushing seven-string riff that sets a sinister tone. The verses weave a tale of shadowy figures lurking in the periphery of consciousness, drawing inspiration from Lovecraftian horror – the lines “That is not dead which can eternal lie, and with strange aeons even death may die” from “The Nameless City” are included in the lyrics. Midway through, the song transitions into an extended instrumental section, with throwback snippets to previous songs like “Octavarium”, “The Ministry Of Lost Souls” and “Strange Deja-Vu”, a playground to the band’s legacy. Portnoy’s drumming is roaring and precise, his signature fills driving the momentum. Petrucci’s solos are fiery yet emotive, complemented by Rudess’ cinematic keyboard textures. Arguably, James’ most inspiring vocal melodies are featured here, and as far as epics go, this one is way more impactful than the title track of the previous album, A View from the Top of the World. The final moments are a symphonic tour de force, with all members locking into a tight, climactic march that crescendo into silence, leaving only the faint echo of a ticking clock.
Parasomnia is a dense, ambitious record that rewards repeated listens, with a stellar production – arguably the best-sounding Dream Theater album in decades – that manages to capture the band’s complex dynamic range with utter clarity and depth. While it occasionally leans into familiar territory, it does so in a way that feels intentional, celebrating the band’s legacy while embracing their renewed chemistry with Portnoy’s return.
Released By: Inside Out Music
Release Date: February 7th, 2025
Genre: Progressive Metal
Musicians: James LaBrie / Lead vocals * John Petrucci / Guitars, backing vocals * Jordan Rudess / Keyboards * John Myung / Bass * Mike Portnoy* / Drums & percussion, backing vocals
*Parasomnia Track-Listing:*1. In The Arms Of Morpheus (5:22) 2. Night Terror (9:55) 3. A Broken Man (8:30) 4. Dead Asleep (11:06) 5. Midnight Messiah (7:58) 6. Are We Dreaming? (1:28) 7. Bend The Clock (7:24) 8. The Shadow Man Incident (19:32)
Pre-order Parasomnia HERE.
Additional writing contributions by Rodrigo Altaf
The post DREAM THEATER – Parasomnia (Album Review) appeared first on Sonic Perspectives.
How progressive rock got its fusion back.Some players seemingly come out of nowhere and hit pay dirt on their first studio venture, but while Canadian guitarist and producer Thomas Polychuck’s newly minted eponymous debut stands as his first LP as a solo artist, he is far from a newcomer to the industry.
Cutting his teeth early on in the late 2000s via Quebec-based black metal outfit Blight in a multi-instrumentalist capacity and behind the drum kit on doom/sludge metal mainstays Dopethrone’s debut album Demonsmoke, Polychuck would go on to make a splash in the progress rock scene via his ongoing work with noted band THE || HIMN and In Sylva and also make a name for himself on social media as a guitar coach, eventually accumulating over 100,000 followers throughout the Covid lockdowns in the early 2020s, showcasing a highly diverse range of styles and expressions.
In recent interviews, he has noted the likes of Kirk Hammett and Alexi Laiho as early influences on his approach to the guitar. Lately, such noted virtuosos as British jazz fusion pioneer John McLaughlin, acclaimed jazz/rock player Allan Holdsworth, and even the more recent country-rock sensation Johnny Hiland have been among Thomas’ stylistic muses.
In light of the experience that comes with roughly 2 decades grinding it out in the studio and on the live circuit, to speak nothing for the diverse array of influences in tow, Polychuck’s first studio foray into the market of virtuoso, guitar-driven instrumental rock carries all the trappings of a modern masterwork.
Enlisting the skills of noted drummers Virgil Donati and Simon Phillips, as well as legendary keyboardist and one-time Dream Theater member Derek Sherinian, Thomas lays out a highly accessible yet technically rich tapestry of sound, culminating in 9 compositional feats that speak loudly without the need of words.
Brevity plays heavily into the formula at work here, as the generally drawn-out jam sessions one might associate with the likes of Liquid Tension Experiment or Spastic Ink are avoided for a compact songwriting approach, though a similarly improvisational flavor and a general sense of asymmetry permeates the entire album.
Though the jazzy, free-flowing kit work put forth by Donati and Phillips prove highly impressive and the noodling key work of Sherinian is in full force, Polychuck consistently rules the roost between busy riffs and freewheeling leads that rival both the skill and melodic consonance typical heard out of Joe Satriani and Paul Gilbert.
Perhaps the only thing more impressive than the technical chops on display by Thomas and company is how seamlessly the album they’ve constructed moves from one end of the spectrum to the other, often coming off as an anthology of several bands from disparate musical genres. Things open on what might pass for a typical note in the quirky world of progressive rock and metal in “Genèse”, a work named for consequential prime movers Genesis but landing a bit closer to the sort of forceful yet frequently shifting metallic fervor that could be mistaken for a snippet from Dream Theater’s “Metropolis Pt. 1”.
Other heavy-hitting entries like “1316”, “Construct” and “Reality” tread similarly aggressive territory, though the wildly technical keyboard and guitar interchanges of the former and the dissonant punch of the second make each its distinct entity, while the cruising sense of triumph and splendor of the latter betrays occasional flourishes of Polychuck’s past affinity with Children Of Bodom. A duo of full-on free jazz displays that any John Coltrane fan could appreciate unfolds on “Dieze 11” and “They Carry On”, while “Signs From Beyond The Veil” marries a similar stylistic template to a more rocking guitar approach and anthem-like sense of balladry.
If there is criticism that might be thrown Polychuck’s way, is that despite its concise tracklist of songs under four minutes each, the complexity and depth of the music make it challenging even for seasoned listeners to fully grasp in a single listen. Then again, this is in keeping with the complex and ever-progressing spirit that the original jazz masters were chasing since venturing beyond the confines of traditional song structures and is ultimately this album’s greatest strength rather than a flaw of any degree.
Progressive rock fans of every stripe will find a truly breathtaking experience here that closely aligns with the longer-winded and lyrically intricate bands that have come and gone over the past 50 years, and instrumental shred fans from the Vinnie Moore camp to the Steve Vai crowd will find something special locked within these 9 wordless poems.
The original glory days of jazz fusion may belong to that sweet spot where the ’60s ended and the ’70s began that was its birth, but it’s alive and well in the 2020s, and is sure to be for the foreseeable future if Polychuck’s existing reach from both the stage and the computer screen is any indication.
Released By: Deko EntertainmentRelease Date: November 29th, 2024Genre: Progressive Rock
Musicians: Thomas Polychuck / Guitars, Keys, Bass * Derek Sherinian / Keyboards on 2, 4, 5, 7 & 9 * Simon Phillips / Drums on 2 * Virgil Donati / Drums on 4 * Brian Tichy / Drums on 9 * Chris Madden / Keyboards on 8 * Maciek / Upright bass on 6 * Federico Gucciardo / Drums on 1 & 5 * Lucio Cheli / Drums on 6 * Will Régnier / Drums on 7 & 8 * Ezequiel* / Drums on 3
*Polychuck Track-Listing:1. Genèse 2. The Cyclone (Featuring Simon Phillips & Derek Sherinian) 3. DièZe 11 4. 1316 (Featuring Virgil Donati & Derek Sherinian) 5. Construct (Featuring Derek Sherinian) 6. They Carry On 7. Reality (Featuring Derek Sherinian) 8. Sign from Beyond the Veil 9. Retold Story (Featuring Derek Sherinian & Brian Tichy*)
Order Polychuck HERE.
The post THOMAS POLYCHUCK – Polychuck (Album Review) appeared first on Sonic Perspectives.
Scorched worlds come to those who wait.“The despairing musings of a fatalistic mind” could be a phrase used to describe any creation from the depressive side of black metal, but this characterization is particularly fitting for the post-black variant at the genre’s modern edge. Despite being a relatively new stylistic niche, labeling post-black metal as “modern” feels like a stark contrast, considering its raw, organic essence—not to mention its frequent lyrical critiques of modern society.
Since the early 2010s, Austrian-born two-man project Harakiri For The Sky has proven masters of this highly nuanced craft, marrying a varied mixture of melodic post-rock, grunge, hardcore, and atmospheric black metal influences into a songwriting template that shuns conventional notions of brevity and structure, yet manages to be highly accessible and melodically consonant by extreme metal standards.
Following a predictable rhythm in the studio of an LP release every 2 years, culminating in 5 highly involved sonic anthologies in under a decade, a break in output for about 4 years has elapsed before the unveiling of their 6th and most polished album in “Scorched Earth.” Very much a product of the time that it was conceived, this 67-minute epic excursion into the realm of auditory cynicism delves head-first into a world divided, moving further from a state of peace and toward one of brokenness.
Built off the prowess and innovative craftsmanship of multi-instrumentalist Mattias Sollak (known by his initials M.S.) and the mostly haggard and jagged shouts and shrieks of vocalist Michael Kogler (aka J.J.), it is a collection of extended compositions that effectively embody the isolation and tumult that typified the lockdown era of the early 2020s and the political chaos that has since arisen in its wake.
Like a flowing stream amid a landscape shrouded in mist that hits a larger body with an explosion of force, this album is a continual exercise in crescendo, where the beginning is often a serene atmospheric precursor to a coming storm. The opening chapter of this musical story, “Heal Me” enters with a soothing melodic piano drone and a gradual swelling of fuzz-steeped guitars that lands with a booming, down-tempo post-rock thud that eventually weaves its way into a blasting fury of raw fury.
In essence, this is black metal removed from its normally dank or frigid element and brought into an equally bleak yet warmer setting. Other entries like the massive 10-minute slough “Keep Me Longing” and “Too Late For Goodbyes” enter similarly chaotic territory, though the former dwells a bit more on its serene, piano-driven introduction and presents a more elaborate melodic refrain, while the latter dispenses with an atmospheric prelude and goes even harder into the blackened and blasting extreme while also feeling the most overtly sorrowful.
Continuing to adhere to a sound marked by heavy stylistic eclecticism, M.S.’s songwriting arsenal proves more and more intricate the closer to the center the album progresses. The extended anthem “Without You I’m Just A Sad Song” vacillates between being a lullaby and a hurricane of pure agony, and frequently blurs the lines between this project’s post-rock proclivities and a Gothenburg-inspired melodic death metal sound.
“No Graves But The Sea” often mimics the atmosphere of a lost ship adrift at the ocean’s center, and also presents Mattias’ technical chops at the guitar through a series of intricate rhythmic riffs and melodic motives. “With Autumn I Surrender” stirs the stylistic pot in an almost gothic direction while still maintaining a blackened post-metal vibe, and the punchy drive of “I Was Just Another Promise You Couldn’t Keep” finds the instrumentation leaning heavy into a modern hardcore sound with J.J. ushering in a correspondingly gritty yet occasionally clean cut vocal delivery.
Amid a highly consistent and expansive catalog, “Scorched Earth” is an album that both maintains and expands upon Harakiri For The Sky’s distinctive brand of depressive and stylistically rich post-black metal and is also an appropriate album to kick off the mid-point of the 2020s. It comes with a reinterpretation of Radiohead’s “Street Spirit (Fade Out)” as an addendum that further reveals a band bent on merging a melancholy outlook with just about every subgenre of rock under the sun, not to mention showcases Kogler’s voice in a very different light.
But even when putting aside the innovative nod to one of the biggest household names in 90s alternative rock, this is an album that effectively walks a line between the esoteric world of atmospheric black metal where extreme music becomes more of a mystical and meditative experience, and one that isn’t far removed from where rock radio was 30 years ago.
In a world that seems hell-bent on committing seppuku minus the element of honor, Harakiri For The Sky has managed to compose a fitting soundtrack.
Released By: AOP RecordsRelease Date: January 24th, 2025Genre: Post-Black Metal
Musicians: Matthias “MS” Sollak / Guitars, bass, drums * Michael “JJ” V. Wahntraum* / Vocals
“Scorched Earth” Track-Listing:1. Heal Me (Featuring Tim Yatras / Austere) 2. Keep Me Longing 3. Without You, I’m Just A Sad Song 4. No Graves But The Sea 5. With Autumn I’ll Surrender 6. I Was Just Another Promise You Couldn’t Keep 7. Too Late For Goodbyes (Featuring Serena Cherry / Svalbard)
Pre-order “Scorched Earth” HERE.
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*An escape from the embers of modernity is found*.The ephemeral nature of modernity has often been the catalyst of some of the most compelling artistic expressions of escapism. Contrary to the notion that this approach of coping with the unpleasantness of present circumstances is necessarily shallow, a number of bands under the metal umbrella have taken the occasion to construct some truly deep and involved works of protest against the drudgery of the day.
Of particular note is Thy Kingdom Will Burn, a rather interesting new player in the Finnish melodic death metal scene that treads a stylistic path fairly similar to the nuanced, dream-like musical contemplations of noted veterans such as Insomnium and Omnium Gatherum. Having already unleashed two formidable LPs in the early 2020s following several years of honing their craft, 2025 has seen this fold break into even more substantial territory via their third and latest opus “The Loss And Redemption,” a lyrically compelling yet musically well-rounded excursion into the melancholy world of isolation and alienation that plagues the present age.
For a band toting a name that one might associate with the metalcore scene of the mid-2000s, this quartet proves a somewhat counterintuitive package as they play up the traditional side of the melodeath coin almost to a fault. The almost meditative and post-rock-informed influence of *Insomnium is tempered with a more symmetrical and concise approach to songwriting and riff work that often dovetails with the classic stylings of Dark Tranquillity, while the occasional flash and flair of the six-string work put forth by vocalist and axe-wielder Sami Kujala and guitarist Esa Viren could almost be likened to the power metal-infused wizardry of Kalmah and early Norther*.
Throw in some occasional folksy melodic hooks and dancing synthesizer lines that ring fairly similar to those put forth by Wintersun and a mighty battery from the drum work of Lauri Viren and the steady groove of bassist Janne Ruuskanen, and what this outfit brings to the table is typical yet also highly distinctive, bridging the divide between various subsets within Finland’s rich, near 30 year-long response to the Gothenburg scene.
In essence, what “The Loss And Redemption” presents is a manifesto of existential woe in 10 parts, marrying a deep sense of lyrical complexity with a compact and accessible songwriting approach. The opening trifecta of melancholy melodies with a frosty bite in “Perpetual Void”, “Obscure Existence” and “Martyrs Of Killing Floor” present the most distinctive examples of this synchronicity, the former sticking close to cold and contemplative character, as powerful metallic moments trade blows with serene atmospheric passages over its near 6-minute duration, while the second plays up a folksy set of melodic hooks with a driving feel and the latter does the same with a more thrashing character.
Sami’s vocal assault ranges from a shrill, jagged growl that would make Tomas Lindberg nod in approval to a smooth baritone chant that further accentuates the dueling themes of disquiet and tranquility inherent in the musical presentation, while the surrounding music is moderately complex, avoiding overt technical elements yet proving flashier than the bulk of Gothenburg and more atmospheric Finnish bands that has most greatly influenced this album’s overarching character.
The rest of the album follows the same basic modus operandi of infectious songwriting caught in a nuanced template. Among the most noteworthy musical chapters to unfold at the album’s center is the quasi-ballad “Escape From Solitude”, which plays the heaviest upon the band’s atmospheric prowess and invokes a more dissonant and agonizing feel while featuring the greatest amount of clean passages and keyboard usage, including a haunting piano line that weaves in and out of the arrangement at seemingly random intervals.
On the other hand, “They Have Come” stands tall among the pack by opting for a more riff-driven and methodical approach, underscoring Lauri’s ability to invoke a mighty thunder from behind the kit. But the most riveting entry to grace this album is that of “To End Of Times”, which is the rawest and most aggressive offering of the lot and also sees the most impressive lead guitar display. Then again, those with an eye for poignant musical moments might draw a comparable experience from the album’s closer “Sydanyo”, which is no slouch in the power department and presents a highly dynamic mix of chaotic and orderly, quieter moments.
The power of an album’s message can often make the difference between a good album and a great one, provided that the former doesn’t completely overshadow the latter. By this standard, “The Loss And Redemption” is pretty comfortably in the camp of greatness, though it tends to play things a bit safe within the confines of established melodic death metal parameters.
It’s the sort of album that just about any fan of the style can immediately understand and identify with, while the individual songs present a finely polished middle ground between the almost radio-oriented character of the traditional Gothenburg approach and the long-winded one common to the atmospheric and symphonic side of its Finnish counterpart.
But within its familiar blend of rich melodic motives and cold metallic bluster is the deep and intricate protests of a poet who is sick of the shallowness of the present and longing for a more spiritual existence, and it’s a perspective that most of the world has shared at some point.
Released By: Scarlet Records
Release Date: January 17th, 2025
Genre: Melodic Death Metal
Musicians: Sami Kujala / Vocals, guitars * Esa Viren / Guitars * Lauri Viren / Drums * Janne Ruuskanen* / Bass
“The Loss And Redemption” Track-Listing:1. Perpetual Void 2. Obscure Existence 3. Martyrs Of Killing Floor 4. Forever In Dark 5. Escape From Solitude 6. Suffering Sky 7. They Have Come 8. Dreams Of Calamity 9. To End Of Times 10. Sydānyō
Pre-order “The Loss And Redemption” HERE.
The Loss And Redemption by Thy Kingdom Will BurnThe post THY KINGDOM WILL BURN – The Loss And Redemption (Album Review) appeared first on Sonic Perspectives.
*Musical 3D chess with extra riffs.It might seem completely contradictory to associate descriptive terms like nuance and subtlety with the impact-based, uncompromising aggression of thrash metal. From its very inception, it was a stylistic expression more closely aligned with the blunt and rustic character of hardcore punk, yet even when trailblazers like Metallica and Slayer* unleashed their earliest studio material, the metallic side of this stylistic coin was driving at a far more elaborate product.
By the late 1980s when thrash had reached peak popularity, it wasn’t uncommon for bands from the Bay Area and beyond to dabble in greater levels of progressive songwriting and technical extravagance. In the latter-day context of this subgenre’s post-2000s renaissance, this more stylistically mixed and expansive take on instigating the mosh pit is a road less traveled, yet among North American adherents to the old-school thrash revival, the Calgary-born quartet Hazzerd has proven a major player since their early 2010s inception.
With a glowing nod of approval from none other than Dave Mustaine, who touted them and Power Trip as promising thrash hopefuls, this fold now stands three studio albums deep into a whirlwind career with the explosive LP dubbed “The 3rd Dimension.” The title itself is an apt description of *Hazzerd’s multifaceted approach to crafting thrash anthems, taking a typical level of inspiration from the explosive and attitude-drenched character of Exodus’ seminal 80s works, but adapting it to a less conventional blend of traditional heavy metal and progressive stylings that compare heavily to the high era of Megadeth*.
The most static aspect of their execution rests in the vocal character of drummer/front-man Dylan Westendrop, whose raging snarl rests somewhere between that of Zetro Souza and Havok helmsman David Sanchez, but functions more as a steadying element amid a torrent of technical wonder, including that of Dylan’s own work at the kit as throngs of intricate riffs flow from the six-string wizardry of co-founder/lead guitarist Toryin Schadlich, rhythm guitarist Brendan Malycky (who plays in the album, even though the band has recruited Nick Schwartz as a permanent guitarist now) and bassist David Sprague.
Though a band that has shown little shyness in tackling controversial topics pertaining to politics and religion, this time around *Hazzerd* has opted for an auditory excursion focused primarily in the realm of Sci-Fi, and the accompanying music is possessed of a correspondingly otherworldly quality. For a collection of songs that pulls no punches in the aggression department, one can’t help the frequent interludes into the harrowing acoustic territory and the melodic consonance that regularly rises above the sonic chaos like a soundtrack from beyond the stars.
Be it the compact and seemingly textbook thrashers in “Interdimension” and “Parasitic” that don’t venture far past the 3-minute mark, or more drawn out and dynamically rich entries like “Unto Ashes”, the cacophony of ideas that flow forth from this outfit have a highly methodical result that often parallels the high watermark set by Megadeth’s “Rust In Peace,” spearheaded by a brilliant soloing display out of Schadlich that frequently exhibits the melodic idioms of Marty Friedman and occasionally the raw intensity of Mustaine.
Setting itself apart from the pack of uniformly fast and stripped-down crossover-oriented works that have been all the rage lately, the lion’s share of what this opus unleashes runs the gamut of just about every technique employed during the late 80s heyday of technical thrash.
The ever-evolving and borderline noodling riffs that cycle through the cruiser “Scars” is a master class in how to go from impulse to warp speed in short order. The old school metallic luster with a technical edge that is “Plagueis” and its even shorter and more off-the-hook cousin “ThRaSh TiLl DeTh” throw just about as many notes as possible against the wall and they all manage to stick, while the somewhat conventional thrashing beast and lyrical nod to the Dead Space video game series “Control” sees some of the most insane guitar solo work this side of the dominion of Earth Gov.
Throw in a somber acoustic interlude in “TTT”, a gallop-happy mini-epic dubbed “Deathbringer” that all but channels old-school Iron Maiden, and a gargantuan instrumental feat in “A Fell Omen” that could serve as a standalone score to a short film and descriptions like conventional or typical just fall by the wayside.
Every metal band in the business rightfully dreads the idea of being labeled “the thinking man’s metal band”, yet *Hazzerd continues to be an outfit that functions on their own wavelength. There are precedents for the territory that it frequents to be found among such noted old-school stalwarts as Death Angel, Forbidden, Heathen, Megadeth*, not to mention a select number of bands to crop up since the mid-2000s revival of the subgenre, but the sum of its parts is an LP that boldly goes where no thrash starship has gone before.
Think of it like the amalgam of films Terminator, The Kindred, and From Beyond that graces its cover. “The 3rd Dimension” is an album that carries all the punch and fire of a typical thrash album, yet proves atypical in every other sense, a 41-minute musical journey that takes all the best of what has been done and comes out with something that has hardly been done before.
Released By: M-Theory Audio
Release Date: January 17th, 2025
Genre: Thrash Metal
Musicians: *Dylan Westendrop* / Vocals, Drums * *Toryin Schadlich* / Lead & rhythm guitars * *Nick Schwartz* / Rhythm guitars (The rhythm guitars on the album were recorded by Brendan Malycky) * *David Sprague**** / Bass
“The 3rd Dimension” Track-Listing:1. Interdimension 2. Scars 3. Unto Ashes 4. Deathbringer 5. TTT 6. Plagueis 7. ThArSh TiLl DeTh 8. Parasitic 9. A Fell Omen 10. Control
Pre-order “The 3rd Dimension” HERE.
The post HAZZERD – The 3rd Dimension (Album Review) appeared first on Sonic Perspectives.
Think Steven Wilson is the hardest-working musician in the rock/prog world? Think again. He doesn’t hold a candle to the output and work ethic of multi-instrumentalist, songwriter, producer, champion-of-prog’s-hidden-legends, the one and only Fernando Perdomo. That’s not a slight on Wilson. No human being should reasonably be expected to be capable of the number of projects that Perdomo seems to juggle every week of the year. Yet his output seems to be accompanied by such a high level of enthusiasm and joie de vivre that we have to assume he follows the adage “if you love what you do, you’ll never work another day in your life”. *Perdomo* literally plays. And plays and plays. So, maybe we can call him the hardest-playing musician out there today.
Often Perdomo keeps his upcoming works-in-progress up his sleeve (or under his hat), resisting the urge to promote them months in advance. Instead, like a magician, he suddenly pulls back the curtain and – POOF! – here’s my latest creation that you had no idea I was working on which would normally take a year for someone to complete, but no, here it is all done and ready to go, even though it’s just a couple of months since my last album, and the few other unrelated singles I’ve released in the interim. That’s the essence of what Perdomo seems to be saying. (And he’ll do it again within 6 months with a different musical endeavor, just wait and see)
Such is the case with his latest epic project, unveiled a day before release. This isn’t just one album of brand-new material, nor is it even a double album. No, this is an overarching 2025 box set, where one new album will be released EVERY MONTH OF THE YEAR, each containing 10 new songs. January’s edition is already out without advanced notice – naturally – leaving reviewers such as myself scrambling to get a few words out about it because, as already explained, Fernando just plays and plays while the rest of us try to keep up and grab onto his coattails.
Completely written, performed, and produced alone by Perdomo, “Waves” is instrumental guitar rock with a progressive flair. Taking its cue from his previous “Out To Sea” instrumental series (itself a run of 4 albums), Perdomo wanted to get back to a prog-focused experience. But unlike some of “Out To Sea,” he doesn’t inviteany guest musicians. This is a solo affair. The only collaboration, at least on this album, is the cover artist, Joe Galdo, who interestingly has played drums for Crosby Stills and Nash, Robert Palmer, Gloria Estefan, and Foxy, but here he is supplying the gorgeous photos of surf that will adorn the 12 covers.
Musically speaking, “Waves” is rooted in the early 70s vibes of Jeff Beck, Jean-Luc Ponty, and Focus among many others, with some heroes of Perdomo’s like Peter Banks added to the mix. “In The Beginning (First Wave)” appropriately opens the album with an almost “Bolero” feel to it, though drummer Perdomo resists the urge to indulge the corresponding drum pattern. Instead, the focus remains on guitarist Perdomo to provide the regal entrance to the album – and the series – with swooping guitar lines ringing out over the ocean as the mist of crashing waves surrounds him.
“Mind Reader” is one of the most satisfying pieces on the album, the simple arrangement and chord changes setting up the emotional payoff that Perdomo’s lead guitar provides. You can almost imagine what would have happened had he brought in Steve Howe’s pedal steel to take the instrument into the stratosphere. Still, it remains very rewarding as is, an almost mystically psychic journey. Although not quite pedal steel, “Puzzle Peace” does indeed feature slide guitar to surf the smooth waves, along with more of a funk mindset. It’s a satisfying compact piece with a solid driving rhythm to contrast some of the more airy arrangements elsewhere.
Finding the right title for instrumental pieces can often result in unexpected choices. “Outer Worlds” appropriately describes the spacey, meandering lucid dream we find ourselves in, with acoustic guitars supported by warbling bass and hand percussion. This would lead us to expect “Nova” to be another interstellar journey through the cosmos but instead the true vehicular identity is revealed somewhat unceremoniously during the jam.
“The Endless Coast” provides a perfect soundtrack for images of endless coastal breaks as Perdomo’s melodic guitar lines rise and fall like crashing waves. Not surprisingly, this is exactly what the video for the song offers, overlaid with Perdomo who appears to be playing the actual recorded lead line heard on the album, adorned in his King Crimson shirt. Later on, he dips most deeply into the acid jam scene with “Transcendental Medication”, guaranteed to elicit divine flashbacks and visions of eras gone by.
Perdomo’s DIY work ethic is certainly impressive and as mentioned at the outset, the pace of his output is breathtaking. As an artist, he is dedicated to creating on an unlimited canvas that stretches beyond the horizon. “Less is more” is not an adage that he seems interested in entertaining, which means there are 110 more waves still to catch in 2025. Wax up your surfboards because surf’s up. If love is the seventh wave, I guess by December of this year we’ll find out what secrets the hundredth and twentieth wave holds.
Released By: Independent
Release Date: January 1st, 2025
Genre: Progressive Rock
Musicians: Fernando Perdomo* / All instruments
“Waves” Track-Listing:1. In the Beginning (First Wave) 2. Mind Reader 3. Puzzle Peace 4. Outer Worlds 5. The Endless Coast 6. Nova 7. Beautiful Soul 8. My Favorite Feeling 9. Transcendental Medication 10. Waves At Nightfall
Order “Waves” HERE.
The post FERNANDO PERDOMO – Waves (Album Review) appeared first on Sonic Perspectives.
The unheard are the loudest.Though seemingly a bygone era, the days when marrying the extreme aggression and fervor of death metal with the melodic contours of 80s traditional metal was considered a novelty remain fresh in the minds of many. The trailblazing early strides of At The Gates’ “Terminal Spirit Disease,” the agonized beauty of Dark Tranquillity’s “The Gallery,” and the mournful odes of In Flames’ “The Jester Race” stand among the pivotal forerunner albums that codified a musical movement that still impacts much of the genre nearly 3 decades later.
Yet, as often with any cultural phenomenon, innovation and evolution take things far from their home, finding even the original pioneers of a minted subgenre moving on with the times. But for The Halo Effect, a quintet of veteran musicians and former members of Gothenburg Big 3 adherent outfit In Flames, turning back the clock and manifesting new ideas from an older craft is the chosen path.
This fold’s 2022 debut LP “Days Of The Lost” was not so much an attempt to outright retread the past, nor necessarily to dwell upon the specific style In Flames brought to the table, but more so a general restatement of the original style that arose from the metallic wastelands of the mid-1990s. To this end, their sophomore follow-up “March Of The Unheard” conforms to the same modus operandi, but sees further distillation and refinement of that signature tightrope between infectious melodic hooks and harrowing darkness that melo-death walked before the rise of metalcore.
It channels the driving feel and concise simplicity of where In Flames was just before “Reroute To Remain” and marries it to colder and more electronic character of Dark Tranquillity’s “Fiction,” spearheaded by Jesper Stromblad’s and Niclas Engelin’s signature melodic riffing and the latter band’s front man Mikael Stanne’s frosty growls and occasional deep, gothic-tinged croons.
Banger entries that stick to conventional songwriting structures continue to be the order of the day here but from the opening foray of “Conspire To Deceive” in all its driving and riff-happy glory, the potency factor has been noticeably amped up. One can’t help but revel in the dancing melodic lines that filter in and out of Jesper’s and Niclas’ guitar work as Stanne shouts with the force of a raging blizzard and Daniel Svensson’s fill-induced drum work further spices up an already elaborate dish.
Even swifter entries like “Detonate” and “The Burning Point” reminisce upon the early Gothenburg classics’ ties to the thrashing character of their Stockholm death metal predecessors while still maintaining a consonant, Iron Maiden-inspired sense of melody amid the torrents of speed and fury. Equally rapid-paced yet more power metal-inspired anthems like “Cruel Perception” and compact title entry “March Of The Unheard” don’t slouch on the aggression, but push the memorable side of the coin the hardest.
Along for the ride in this riveting journey of dark messaging set to pristine harmonies is a surprising degree of nuance and contrast, considering the short and to-the-point songwriting approach. The otherwise pummeling heaviness and death-thrashing intensity of “Our Channel To The Darkness” is preceded by a poignant acoustic intro that hearkens back to the primordial strides *In Flames* made during the mid-90s.
The closest thing this album has to an epic entry, “Between Directions” plays up a quasi-cinematic approach complete with dense symphonic elements amid a seesaw approach of forceful stomps and mournful balladry, complete with Stanne breaking into arguably the most serene fit of clean singing he’s ever committed to recording. One would also be remiss not to note the Hollywood-like largess of the short instrumental entry “This Curse Of Silence” and the dramatic symphonic epilogue in “Coda” that closes things out on a note that all but begs for a screen upon which to roll the album credits.
Many analogies could be made about what “March Of The Unheard” actually is, from an album that In Flames could well have put together immediately following “Clayman,” to a more dynamic throwback to where Dark Tranquillity was circa the late 90s but with the production quality of their present material. But all of these lofty hypothetical eventualities only tell part of the story, as this album does touch upon territory that wasn’t explored in the 90s by any band in the Gothenburg locale and corresponding style.
It’s very much a modern album that fits in well with the practices of the present, occasionally mirroring some of the more progressive ideas that *At The Gates* brought in following their 2010s reunion. But when all is said and done, this is music that doesn’t shy away from channeling the glory of the past, and any old-school melodic death metal fan worth their salt will have little trouble hearing what originally drew them to the subgenre in each of this sonic storybook’s 12 chapters.
Released By: Nuclear Blast Records
Release Date: January 10th, 2024
Genre: Melodic Death Metal
Musicians: *Mikael Stanne* / Vocals * Jesper Stromblad / Guitars * Niclas Engelin / Guitars * Peter Iwers / Bass * Daniel Svensson*** / Drums
“March Of The Unheard” Track-Listing:1. Conspire To Deceive 2. Detonate 3. Our Channel To The Darkness 4. Cruel Perception 5. What We Become 6. This Curse Of Silence 7. March Of The Unheard 8. Forever Astray 9. Between Directions 10. A Death That Becomes Us 11. The Burning Point 12. Coda 13. Path Of Fierce Resistance (Bonus Track – CD Edition only) 14. The Defiant One (Bonus Track – CD Edition only) 15. Become Surrender (Bonus Track – CD Edition only)
Pre-order “March of the Unheard” HERE.
The post THE HALO EFFECT – March Of The Unheard (Album Review) appeared first on Sonic Perspectives.
Arise, mighty skeleton hunters of the night!If the New Wave of Traditional Heavy Metal could be boiled down to a single mission statement, it would assumedly be to recapture the same lightning in a bottle that had occurred back in the 80s. Whether or not the movement has been successful at this grand endeavor is naturally in the eye of the beholder, but sometimes a band opts to perform the seemingly impossible feat of capturing the electrical bolts raining down during a mighty storm by erecting a massive metallic tower towards the overcast sky.
This is how the Greek old-school metal quintet dubbed White Tower can be best described, a mighty and fully fortified tower reaching towards the heavens for the sole purpose of capturing the discharged energy of a supercell and projecting its might onto the masses below, hence the explosive sophomore LP bearing their moniker in 2024’s “Night Hunters.”
Much like several recent Hellenic bands tied to the old-school thrash revivalist scene, this fold takes heavy cues from the Teutonic metal scene in their adopted sub-genre. The grit and muscle of *Grave Digger the riff-happy speed and bluster of Rage, and the old-school sensibilities of Accept* are melded into a melting pot of tempered steel and unleashed in the form of 11 harrowing anthems that blur the lines between heavy, thrash, power and speed metal to the point of being all 4 at once.
Equally as compelling is the prowess of each member within the fold, as the thunderous battery of the rhythm section provided by kit destroyer Theodoros Trohidis and the active bottom end delivered up by bassist Nick Vekis ride in perfect synchronicity with the pummeling riff work of Orestis Koulas and the nimble melodic and solo work of Nikos Patronopoulos, whom effortlessly rivals the majestic handiwork of Herman Frank and Uwe Lulis at every turn. Although, the most dynamic and pivotal role in this metallic passion play is put on by vocalist Gago Karapetian, who is the ideal hybrid of Halford and Dirkschneider in their respective youths manifest in the flesh.
The ebb and flow of this album consists primarily of the latter and very little of the former, as this is an album built primarily off of adrenalized fury with few opportunities for respite. Following a brief exposition and build-up of tension in the form of “Blood”, which is essentially a more horrific-sounding homage to Priest‘s “The Hellion”, all hell proceeds to break loose. Like a proverbial freight train from the pits of perdition, the blistering speed metal machine “Total Evil” blitzkriegs its way into the mix like a mad thrashing berserker, listening almost like the answer to the hypothetical question of what Udo would sound like fronting a thrash band.
Its immediate successor and title entry “Night Hunters” plays in the same territory and even ups the ante in the technical department between the blurring drum work and shrieking lead guitar episodes. Other wild cruisers like “Knife In The Back”, “Warmonger” and “Malice And Lust” reach similar peaks of intensity, raising questions as to whether this band has fully left the traditional territory for thrash land. Even when the tempo pulls back a tad like on the gallop-happy “Banshee” and the upper mid-paced cruiser “Early Warning”, the tone of things is well into the frenetic territory.
Despite being near the tail end of 2024, “Night Hunters” has all the makings of an album of the year contender both in the traditional metal category and just about every other one short of death and black metal. It hits every note with the weight of a 2-ton anvil and leaves an impression in much the same way as a massive meteorite upon a hapless plot of Earth.
Those who remember the days when Grave Digger and Running Wild bucked every trend in the 90s by releasing some of their most ferocious offerings in their respective careers, and especially those who remember the days when albums like Riot‘s “Thundersteel” and Judas Priest‘s “Painkiller” initially broke the boundaries that separates heavy metal from its faster and more fierce speed and thrash cousins, this is of a similar caliber and also comes with all the benefits of a mid-2020s production.
It rarely gets more metal than undead skeleton knights with glowing eyes rising up from a decrepit castle’s hall and the soundtrack that goes with the visual lives up to it at every single turn.
Released By: Independent
Release Date: December 6th, 2024
Genre: Old-School Heavy Metal / Thrash Metal
Musicians: Gago Karapetian / Vocals * Orestis Koulas / Guitars * Nikos Patronopoulos / Guitars * Nick Vekis / Bass * Theodoros Trohidis* / Drums
“Night Hunters” Track-Listing:1. Blood 2. Total Evil 3. Night Hunters 4. Knife In The Back 5. Banshee 6. Tear Up The Night 7. Warmonger 8. Early Warning 9. Masters of Menace 10. Enforcer 11. Malice and Lvst
Night Hunters by White TowerThe post WHITE TOWER – Night Hunters (Album Review) appeared first on Sonic Perspectives.
Wrangling steeds of chrome and steel.Sometimes it takes the changing of a name and a brand new flock of musicians for a vision to come to full fruition, and that is the basic story behind the short-lived underground Polish heavy metal band Savager and the successor outfit led by vocalist Bartek Koniuszewski in Bladestorm that has risen like a phoenix from the ashes of the former.
Taken at face value, what this now fully codified quintet represents is metal distilled down to its most primal quality, refined by the speed-obsessed style that took hold of Germany in the mid-1980s and given a modern coat of paint for production. It might seem a contradiction that an album penned in a subgenre that was all but fully codified 40 years ago could also exist as a shining example of metal modernity, but old tricks ultimately prove that best wherein this outfit’s 2024 debut LP “Wrangler Of Thunder” is concerned.
One look at the post-apocalyptic hell with five leather-clad bikers at its center and parallels to Rebellion‘s 2003 ode to metal’s rebellious spirit “Born A Rebel” are inevitably drawn. The comparison fits from a sonic perspective as Bartek‘s throaty roar carries the same Boltendahl-inspired character that Michael Seifert has repeatedly brought to the Grave Digger spinoff project in question, though in this case the songwriting is a tad more stripped down and to the point.
For their part, Jarek Zygmański and newly acquired co-guitarist Grzegorz Lewandowski play well off each other and bring that same dueling leads approach that Rebellion imported from the pre-Alex Ritt era of Grave Digger presenting something flashy enough, but maybe a little more restrained than Tipton and Downing during their heyday. Perhaps even more auspicious is the speed and constancy of Piotr Kołodziejczyk‘s kit work and the often fancy and prominent contributions of Kacper Ptak on the bass, the latter taking a few more cues from Harris and Demaio than any bassist to be in Rebellion or Grave Digger‘s employ.
\When compared against the extremely simple and rhythm-centered quality of Storm Of Blades, this time around the formula plays heavily into the two guitar arrangements and finds a far richer blend of ideas playing off the same explosive, speed-obsessed formula. Kinetic frenzies of speed riffing and madcap drumming, frequently chased by surprisingly fancy bass work such as “Predator” and “Onward To Victory” ratchet the aggression factor up with zero apologies, yet also take plenty of time to employ those dueling harmonized guitar lines after the example of Iron Maiden to further spice things up.
Occasional atmospheric richness via gang vocal arrangements like the one that kicks off the opener and title entry “Wrangler Of Thunder”, which has a slight Native American-like vibe to it, further augment this album’s expansive character, though it’s the extended banger “Speed Demon” that truly gets into the weeds with what can be described as a truly spellbinding atmospheric interlude at its center that throws the whole album for an impressive loop, though surrounding it is the usual foray of metallic fury.
If Conan The Barbarian had come of the age in the 80s and taken up with a motorcycle gang rather than usurping kingdoms in a bygone age, this album could have said movie’s soundtrack. Bladestorm might be billed as heavy metal, but enough speed and power metal trappings are oozing out of this baby to put it in the same league as the most intense offerings out of *Grave Digger and Running Wild, while the outright carnage that comes to pass via the last original entry on here “I Am The Beast”* barrels headlong into thrash territory.
Likewise, the rendition of Manowar‘s “Hail And Kill” that closes things out proves just as formidable as the original, with Bartek‘s even dirtier roar providing an interesting contrast to Eric Adam‘s quasi-operatic approach. This is how it should be, it’s been done before, and by all that is metal, it should be done again and again.
Released By: Independent
Release Date: April 27th, 2024
Genre: Old-School Heavy Metal
Musicians: Kacper Ptak / Bass, Vocals * Piotr Kołodziejczyk / Drums * Jarek Zygmański / Guitars, Vocals * Bartek Koniuszewski / Vocals * Grzegorz Lewandowski* / Guitars
“Wrangler Of Thunder” Track-Listing:1. Wrangler of Thunder 2. Predator 3. I Set My Sail 4. Onward to Victory 5. Speed Demon 6. Scream & Shout 7. I Am the Beast 8. Hail and Kill (Manowar cover)
Wrangler Of Thunder by BladestormThe post BLADESTORM – Wrangler Of Thunder (Album Review) appeared first on Sonic Perspectives.
Sometimes a rock album becomes a work of art. When crafted with precision, imagination, and skill, music is created that transcends category or genre. When it’s also imbued with an infusion of love, the results can be transformative. Ifall’s new release “Stillness and Trust” is just such an album.
Though you’ve likely never heard of Caio Duarte – or his pen name Ifall – this can play to his advantage. You have no preconceived ideas of what Ifall’s music should sound like. And considering the scant info found in his press kit or even the video of his first single – which continually obscures his face – we don’t even know what this Ifall looks like. All the better…we can approach the music like an open slate.
“Stillness and Trust” touches the heart in ways that too few albums do. Perhaps due to his Brazilian heritage, Ifall’s delivery is sensitive, passionate, and creative. Yet it is rooted in music which intuitively feels familiar and accessible. Combining an organic folksy feel with an almost metal subconscious, these seven songs are easy to be appreciated by just about any music fan. Yet upon repeated listenings, they wrap themselves around the the listener’s psyche. Therefore it comes as no surprise to learn that the lyrics herein were written for Duarte’s children: lessons of life, love, and the heart.
The album is born as is a child: “And so, like this, you enter made into being, nothing into everything,” sings the opening track “Steel and Ills”. Though certain words shine through the mix, tracking the actual meaning is not easy without a lyric sheet as a reference. This is not due to sloppy production – for the engineering here is masterful – but rather due to Ifall’s unique phrasing and sudden shifts of instrumentation. It’s likely by design, as is his shrouded image on the cover, intended to reveal only certain aspects and let our imagination fill in the rest.
When the lyrics are finally read, we realize that we have been listening to poetic musings describing the indescribable, eliciting wonder and amazement to court the mind of a child. “To sleep, to sing, to yawn, whisper, and dream, the wind flowing inside of you makes you whole.” The words float by in “Air” as if carried by whipping winds of whimsy, the acoustic nature of the music dancing in 3/4 time on the breeze.
“Temple of You” is an album highlight, its transcendent chorus illuminating the listener’s mind through a beautiful blend of acoustic and phased guitars as Ifall’s vocals effortlessly sway, rise, and…fall. “Within me, I have a temple of you. I have mine and you live there, you occupy me and you won’t understand, As no one will ever understand yours.” The subsequent “Heed Within” brings a little more edge, a touch of Opeth perhaps, with vocals that remind of Haken’s Ross Jennings. Dealing with finding yourself in a chaotic, noisy world, also has the most bite on the album.
We quickly transition to the most sensitive piece offered here: “The Hunger and The Thirst”. Tender piano and symphonic support provide the backdrop for Ifall’s impressive vocal delivery, which now starts to approach the terrain of Jeff Buckley. “Sol Ipsis” then kicks up the energy with an acoustic strum straight out of Porcupine Tree’s “Time Flies” (itself borrowed from Floyd’s “Dogs”). Another album highlight, Ifall’s is now in full-on Buckley mode and we start to wonder “Who is this guy?” in earnest. When you find someone who can sing and express like this, hold on tight.
The album closes with the moody “Mount Mistake”. Rooted in keyboards more than the rest of the album, the vocal harmonies snake their way around the listener like smoke rising. It’s an intoxicating ending, even as the lyrics continue to make their plea to their offspring, “You will think that I’m standing tall, that I know the truths, I’ve figured it all. But lost as I am, I’ll plough open the way, I’ll do it all for you.”
And now to reveal one of Ifall’s secrets: the entirety of this recording was done by one man: Caio Duarte. The transcendent voice, the skill behind the guitar, bass, keys, drums, the production – it’s all him. As a professional engineer, he covers the sonic output with skilled ease. Rarely does a one-man show sound this good, not just technically but emotionally.
If “Stillness and Trust” succeeds on nearly every level, it falls short purely in terms of length. At only 32 minutes, this qualifies for EP status in the digital age. Still, the recording offers a transcendent half hour of listening pleasure, which often results in hitting the “play” button again upon its conclusion.
To call IFall a diamond in the rough is an understatement. Probably the only way this gem will find its audience is if you, the listener, share it with others. So, after enjoying this artful collection, be sure to spread the word. It will be fascinating to see what Duarte’s children think of this ode to them many decades down the road. But for now, we can all enjoy his sincere outpourings of love in the form of “stillness and trust”.
Released By: Independent
Release Date: December 11th, 2024
Genre: Progressive Rock / Folk Rock
Musicians: Caio Duarte* / All Instruments, Vocals
“Stillness And Trust” Track-Listing:1. Steel and Ills 2. Air 3. Temple of You 4. Heed Within 5. The Hunger and the Thirst 6. Sol Ipsis 7. Mount Mistake
Listen to “Stillness And Trust” HERE
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The whip strikes outside the queen’s realmSeattle’s premier progressive heavy metal forefathers Queensrÿche have been on a colossal upsurge since the shakeup of their lineup and subsequent release of their 2013 eponymous studio album, rekindling the old flame that originally put them on the map in the 80s. Yet one would be remiss to deny some of the strengths that came into the band following their foray into more conventional rock territory in the late 1990s, though much of it was hampered by a lack of consistency and a clear sense of direction.
Coming off the heels of yet another crackerjack outing in 2022’s “Digital Noise Alliance,” lead guitarist and co-founder Michael Wilton has opted to go it with a different fold of musicians for a newly birthed solo venture bearing his name, and their newly hatched debut LP simply dubbed “Volume I” brings a sound that arguably revisits the controversial middle era of his flagship band, redressing many of its flaws and realizing much of its missed potential.
Though cut for more of a modern rocking grain, the nine anthems that round out this opus come chock full of enough heaviness and vigor to rival the metallic attack inherent to Queensrÿche’s style. Wilton’s signature and highly idiomatic lead guitar work remains unmistakable, arguably shining a bit more brightly during each song’s solo slots as the groove-driven and simplistic character of the surrounding music leaves it more exposed, while his rhythm work hits like a mighty anvil and the occasional subdued interlude segment finds him recalling some of the haunting elements of his primary fold.
The bass and drum work of Hodgy and Sonny Sundra plays it mostly by the numbers, but occasionally the former breaks out of the pocket for a few auspicious moments and the latter’s steady drive keeps the whole arrangement in working order. The vocal work of Mark Winterman also opts for a methodical approach, adapting with greater degrees of grit and smoothness relative to where the music goes, and packing plenty of power during those pivotal chorus hooks while occasionally resembling the grungy aesthetic of Layne Staley minus the overt yarl.
The various moods that are articulated by each chapter of this hard-rocking novella express a fairly wide array of expressions, ranging from outright raging to solemn and melancholy. The opening pummel of “People Suffer” lands like a 2-ton anvil yet comes with some rather consonant melodic detailing between the guitars and Winterman’s mid-ranged howl, occasionally shifting to a faster metallic feel reminiscent of Queensrÿche’s current sound on more straightforward entries.
“Reason To Fight” and “Turn The Page” also strike with a metal-like sense of fervor and trade heavy-hitting grooves for singing lead guitar passages, hearkening again back to Wilton’s work with his primary band, but in a much less quirky and elaborate fashion. More measured anthems like “Glitch In Time” and “Toxic Girl” mix forceful, riff-happy choruses with some subdued and atmospheric verse segments that heighten the dynamic contrast factor and showcase Mark’s ability to really explore his range of vocal expressions.
But as far as a song that brings home the heavier and lighter elements of this opus in a singular package that is as catchy as it is compelling, the closing number “Drowning At Daybreak” steals the show on all fronts.
Though this is stylistically a bit closer to something that one might have heard out of Soundgarden if Chris Cornell were still with us or even a slightly more upbeat and less dissonant response to what Alice In Chains has been up to of late, it wouldn’t be too much of a stretch to see the lion’s share of Queensrÿche’s fan base taking to what Michael Wilton has unleashed here. “Volume I” is the sort of album that sees a seasoned veteran of the days of 80s excess settle comfortably into the laidback world of present-day hard rock and still finds him unleashing his oldest tricks to seal the deal.
It’s a tad less wild and technically extravagant than some of the recent material that George Lynch has been putting out via several different projects but has that same sort of older guy playing like he’s still young vibe. It’s proof positive that a straight-up hard rock approach doesn’t have to be contrived by the numbers, and anyone looking for an album that effectively matches heaviness with nuance will find a winner here.
Released By: Rat Pak Records
Release Date: December 7th, 2024
Genre: Hard Rock / Alt Rock
Musicians: Mark Winterman / Vocals * Michael Wilton / Guitars * Hodgy / Bass * Sonny Sudra* / Drums
“Vol. I” Track-Listing:1. People Suffer 2. Get Away 3. Glitch In Time 4. Toxic Girl 5. Reason To Fight 6. On Your Way 7. Turn The Page 8. Wasted Time 9. Drowning At Daybreak
Order “Vol. I” HERE
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Transparently dark and forbiddingSince the mid-1980s Chicago, Illinois has proven something of a dark horse entry within the greater North American death metal scene. Though arguably less prolific than the ones that sprang out of Tampa, Florida, and the New York area, it has proven a formidable and enduring player, spearheaded by the seminal works of Master, Death Strike, and a couple of other noteworthy projects tied to bassist/vocalist Paul Speckmann.
In recent years, the tone and tenor of the windy city’s approach to sonic brutality has taken on a side venture into the dank and bare bones stylistic template pioneered by England’s own and sadly defunct Bolt Thrower, with the likes of Kommand and Bear Mace making some sizable splashes in the death metal underground.
The latest and arguably the closest to an outright tribute band to adopt the auditory standard of Warhammer 40k set to death metal is a trio going by the name of Primal Code, and their debut studio outing “Opaque Fixation” is a dead-ringer for what the metal masses have been missing since 2005’s “Those Once Loyal.”
Opting for more of a generalized lyrical pursuit of apocalyptic and nightmarish themes rather than the specific themes and conceptual storytelling of their inspiration, Primal Code’s handiwork is a distilled dose of forceful rage in a concise and streamlined package. Vocalist/guitarist Gene Marino’s blend of guttural growls and hardcore-infused shouts blend seamlessly with a sludgy and straightforward riff set to paint a canvass of utter bleakness that instantly recalls the glory of the style during its early 90s ascent.
Drummer James Farn provides an equally integral contribution to the dreariness and fatalism of these songs with a thunderous yet controlled stream of chaos, playing heavily to the crust punk influences upon this side of the death metal coin. Yet the true murkiness of this outfit’s power trio arrangement can be credited to the swampy and distorted bass work of Will Lindsay, who arguably brings the greatest level of experience to the fold given his past stints with Wolves In The Throne Room and Abigail Williams, and definitely reaches all but to the depths of hell itself to provide these songs with their immense bottom end.
From beginning to end, this album is a consistent display of how less is more, though this applies more so to the number of notes employed than it does to the degree of force that comes with them. After kicking off with a 37-second prelude of ambient guitar feedback and distorted bass noise simply titled “Intro”, what follows is a consistent display of slow-progressing, almost minimalistic songwriting draped in a dense, marshy atmosphere.
The driving swiftness of banger entries like “Anapside” and “Hive” recall some of the faster entries of Bolt Thrower post-“Realm Of Chaos” with some occasional hints of Entombed’s slight flirtations with death ‘n’ roll on “Clandestine,” while the driving fury of “Terminal” all but crosses over completely into the muddier end of the Stockholm death metal sound altogether.
The doom-laden turned high-octane crusher “Derelict” presents the closest to an outright death thrashing experience, tearing up the airwaves like a less technical answer to present-day Cannibal Corpse, while the even more drawn-out beast “Extinction” accomplishes a similar feat while leaning harder into the groove-driven side of things.
In every respect, this is an album that discovers the most varied way of working with an extremely limited toolset, though ironically the strongest entry of the bunch is the most stripped down, namely the highly concise and infectious “Totem” that exemplifies the closest that old school death metal can get to sounding catchy.
One might go so far as to conclude that the only thing wanting in an album like this is originality, and there is something to be said for the growing number of younger bands emulating sounds that were codified more than 30 years ago. Then again, any death metal fan worth their salt would also note that Bolt Thrower’s studio output was comparatively sparse to most of the prime movers, even when considering a respectable 4 albums showing in the same basic style by Karl Willetts’ subsequent band Memoriam.
If nothing else, Primal Code has put together something here that can make the nearly 20-year absence of the original sting a lot less and something that can stand on its own amid a crowded field of newer bands playing in the old style. For those still hungry for brutality removed from all the technical wizardry and studio gimmicks, “Opaque Fixation” is a sonic delicacy that fits as well into 2024’s retro death metal craze as it would have 3 decades prior.
Released By: Relapse Records
Release Date: November 15th, 2024
Genre: Old-School Death Metal
Musicians: Gene Marino / Guitars, Vocals * Will Lindsay / Bass * James Farn* / Drums
“Opaque Fixation” Track-Listing: 1. Intro 2. Anapsid 3. Totem 4. Derelict 5. Hive 6. IWL 7. Extinction 8. Terminal 9. Angler 10. Stuck
Order “Opaque Fixation” HERE
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Hailing from France, Klone are a band who have been on the rise over the course of several albums. Although originally employing heavier and darker approaches – like that of Gojira – the band has mellowed out in recent years, including doing multiple acoustic tours. However, this turn of direction seems to be lifting their profile even higher. Other bands have taken this approach as well: Anathema, Leprous, Opeth and more. Some of the old guard may be understandably put off by the softer direction, but an even larger fan base eventually ensues.
“The Unseen” is perhaps Klone’s gentlest recording yet but that doesn’t mean the intensity scale has been lowered. Their hypnotic approach creates a fervor with repeat listens as the band wraps their sound around the listener. Frontman Yann Ligner often seems right on the edge of turning his rich, soaring vocals into growls, but he consistently remains on the melodic side of things.
Despite having two guitarists flanking Ligner, the presence of ambient drones and spacey reverb surprisingly dominates what should be considered a head-banging band. Perhaps this is due to Matthieu Metzger who is credited with “Samples, Wind Midi Controller, Keyboards, Saxophones”, or perhaps it’s the approach that Ligner takes in writing and arranging the material. Whatever the cause, the good news is that “The Unseen” excels in capitalizing on Klone’s trademarked blueprint, so much so that the album’s seven tracks become an addictive pleasure, beckoning repeat listenings.
“Interlaced” opens the album, an entrancing lead song that mixes in the right amount of shoe gaze to make the most of the simple guitar riffs and fluid bass lines. Ligner’s melodic sensibilities take center stage as the foundation is established by the rest of the band. Towards the latter part of the song there is an opportunity to take it to the next level with a searing lead guitar crunch, but instead we get two high-pitched sax solos from Metzger, which at first seems like a shock. The solos themselves are artful and skilled but to these ears they ultimately seem out of place in the context of the song, taking the energy away from where it naturally could have gone.
The title track follows, another well-paced track which gives Enzo Alfano’s bass a little more room to flourish. The atmospherics here are absolutely entrancing as the bass swims beneath the surface. As the song gets more frenzied and Ligner’s vocals become possessed, drummer Morgan Berthet goes to town. This time a brief, buried solo either on keys or sax makes more sense and adds to the intensity. “Magnetic” carries the familiar Klone vibe but eventually reveals itself to be a song of discovery and delight. “I love you all, I want to leave you memories, I want to see you smile, life is only just beginning, it’s good to be alive!” Who would have thought Klone would give us a joyous anthem, making us walk a little lighter and smile a little brighter?
Every one of the seven songs offered here is a gem. “Desire Line” breaks it down a little further, nearly begging for a bluesy solo to cut through. “Slow Down” does just that – submerging us in to the depths of surrounding reverb reflections with intoxicating pleasure. Alfano once again keeps things moving with his bass lines, until the chorus condenses the energy for a packed punch. However, it’s in the final track “Spring” where Klone truly accentuates the spaces between notes. With a 2 minute ambient opening and a 6 minute looped guitar riff closing the piece, the song proper is about 4 minutes long in between. Every section of this 12 minute exploration is rewarding in its own unique way, an intriguing manner in which to close the album.
Although Klone doesn’t have a lot to offer in terms of variation to their dedicated sound, they accomplish what they set out to do many times over. “The Unseen” is a satisfying success, a measured combination of restraint and indulgence. While lead guitar solos are still frustratingly absent from their repertoire, Klone is focused on winning the listener over by sheer determination. Their melodies, arrangements and production draw you in until you are caught in their web, gratefully ensnared by… the unseen.
Released By: Pelagic Records
Release Date: November 8th, 2024
Genre: Progressive Rock / Metal
Musicians: Yann Ligner / Vocals * Guillaume Bernard / Guitars * Matthieu Metzger / Keyboards, saxophones * Aldrick Guadagnino / Guitars * Morgan Berthet* / Drums
“Unseen” Track-Listing:1. Interlaced (5:39)
2. The Unseen (5:45)
3. Magnetic (3:19)
4. After the Sun (4:04)
5. Desire Line (5:28)
6. Slow Down (5:41)
7. Spring (12:15)
Order “The Unseen” HERE
The post KLONE – The Unseen (Album Review) appeared first on Sonic Perspectives.
The road to being an established solo artist continues. Although Randy McStine has been a member of several bands (e.g. The Fringe, Minneman & McStine, In Continuum) and came to more recent widespread attention by being a member of Porcupine Tree’s touring band, finding his way under his own name seems to be a priority.
No longer using the moniker of Lo-Fi Resistance, McStine has released a patchwork of solo singles, EPs, live recordings, improvisations, and more as he determines what kind of recording artist he wants to be. The most impactful thus far has been “Idle”, which itself is a double-album compilation released in 2019. “Mutual Hallucinations” holds the promise of being the next natural step in McStine’s evolution which could garner a wider audience. Boasting an extremely diverse range of styles, there’s undoubtedly something here for everyone, though adventurous listeners will enjoy the breadth of the entire experience.
As a singer, songwriter, guitarist, bassist, keyboardist, producer, and even drummer, McStine has all of the skills necessary to make a complete album on his own. Still, that doesn’t stop him from bringing in some of his A-list friends to collaborate or add their own unique imprints, most of whom are some of the best drummers alive. “Bodies In Space” is an unlikely opener, a short 2-minute instrumental heavy on electronic sheen, as if to proclaim that this is going to be an experimental album. But it remains accessible and its quirky angular diversions soon become endearing.
Ukulele forms the foundation of “Counterintuitive”. Like a modern-day Kevin Gilbert, McStine wields a wide array of instruments to pull off the unexpected in a pop song, while Pat Mastelotto does the same on percussion. “Counterintuitive creatures we are, it’s a wonder we’ve made it this far. If we just lived forever, we’d still look for new ways to die.” Mixed by Tim Palmer, it all comes together convincingly, McStine’s vocals being the steady common link.
“Adopted Son” finds Gavin Harrison at the drum kit and Steven Wilson at the mixing board for this expressive ballad, one of the more mellow songs on the album which comes in surprisingly early in the track listing. Then it’s Minnemann’s turn in the drum chair for “Send Your Light”. Having seen McStine perform this song several times in a solo acoustic setting, it’s rewarding to hear the full ensemble flesh it out with some wild guitar sounds and soloing.
A highlight of the album is the 9+ minute “Economy of Differences”. Adam Holzman collaborates on numerous keyboards, opening up the soundscape with sublime style. These two musicians have been teaming up in various contexts lately, and hopefully, a full album will be forthcoming. However, it’s McStine’s vocals that are the glorious standout here, rising and falling with grace and patience.
Bordering on an ambient vibe, it’s an apt precursor to the subsequent instrumentals “Bask” (which features a string section) and “The Scroll”, a proggy delight that includes fretless bass soloing and even Keith Emerson-style organ, while bringing in Nick D’Virgilio on drums. By the time we hit the enigmatic “Incandescent” a little later on – all three instrumentals being mixed by Steven Wilson – we start to see “Mutual Hallucinations” as being a worthy counterpart to Wilson’s own “The Harmony Codex” in scope and content.
The chiming “Impossible Door” returns to Gilbert/Jellyfish territory, all impeccably performed by McStine with a ravishing guitar solo that ends with a dying Pacman motif. Riding on an anthemic vibe, “Remains” ties things up nicely: “What a time to be alive – what a time to die – what a time to fall in love – what a time it is to try – everything is dangerous – but everything is alright.” Alright.
Beyond the quality of the music, the instrumentation and the lyrics, what strikes the listener most about the album is its professional style and character. Classy yet edgy, challenging yet accessible, McStine achieves his vision clearly throughout these “Mutual Hallucinations”, paving the way to his desired future as a notable solo artist.
Released By: Independent
Release Date: November 1st, 2024
Genre: Progressive Rock
Musicians: Randy McStine* / Vocals, Acoustic and Electric Guitars, Electric Sitar, Ukulele, Bass, Piano, Keyboards, Synthesizers, Glockenspiel, Drum Machines, Drums, Percussion
“Mutual Hallucinations” Track-Listing:1. Bodies in Space 2. counterintuitive 3. Adopted Son 4. Send Your Light 5. Economy of Differences 6. Bask 7. The Scroll 8. Impossible Door 9. Incandescent 10. Remains
Order “Mutual Hallucinations” HERE
Mutual Hallucinations by Randy McStineThe post RANDY MCSTINE – Mutual Hallucinations (Album Review) appeared first on Sonic Perspectives.
If you’re looking for Autumnal prog-rock to fit the mood of the season, there’s no better place to look than Sweden. Happily, Beardfish’s unexpected reunion album has all that your heart needs. After disbanding in 2016, it didn’t take too long after a global pandemic for the quartet to find their way back to one another. Rikard Sjöblom, David Zackrisson, Magnus Östgren, and Robert Hansen seemingly continue right where they left off. Starting with a few jam sessions of older material, their bond quickly reaffirmed itself as new musical ideas started emerging. The result is an hour of some of the best Beardfish you’ll find in their catalog. In other words, it’s high time they made amends and made music once again!
The album is focused on two main songs: “Ecotone” which shows up in three different guises throughout the album, and most notably “Out In The Open” which is a five-part epic, cohesively woven together. These pieces alone are worth the price of admission, though there are several other gems included here, too. Let’s dig in.
Acoustic fingerpicking and Sjöblom’s warm vocals open the album with “Ecotone”, carrying the title of the album in its lyrics, “I can hear songs for beating hearts, the seismic rhythm underground. What once was lost shall be found.” Indeed. Bordering on melancholic, these wistful melodies wrap themselves around the listener like autumn leaves falling, as Amanda Örtenhag’s supporting vocals float on by. “The ever-present sadness, a companion of sorts. I almost named you after myself but you are not of this world.” It’d be heartbreaking if it weren’t so beautiful. What a song.
Twenty-minute epic “Out In The Open” is the natural centerpiece of the album, so the fact that it begins right after “Ecotone” is somewhat of a surprise. Hang on to your hats, this band isn’t messing around. Sprinting out of the gate with an overture for Part One, Sjöblom’s piano and keyboards are at the fore with Hansen’s bass prominently established as the driving force. Themes are introduced which will repeat throughout the subsequent sections and as we move into Part Two “Oblivion” (not to be confused with the recent Big Big Train song of the same name which Sjöblom also appeared on), the lyrics start to reveal that Sjöblom might be singing about the breakup and reunion of the band itself. At times the vibe is reminiscent of Phish, whose fans would do well to check out this bearded fish if they want to up their musical ante. Quirky, passionate, and deftly executed, “Oblivion” is a fantastic piece on its own, but we soon move into a tender acoustic passage for Part Three, “Hopes And Dreams”, which is more of a love song to Sjöblom’s kids. A reprise of “Oblivion” compromises Part Four where the whole band gets to flex their chops – including an absolutely killer organ solo – and they’re on fire. The concluding section wraps up in an intoxicating reverb-drenched slow-motion jam that’ll send your pineal gland into orbit. Brilliant.
As if that grandeur wasn’t enough, the title track “Beating Hearts” follows up with 11 minutes of symphonic prog delights with nary a moment to catch one’s breath. Opening with a string section intro and moving into a mini overture from the full band, the piece then segues into a classic acoustic motif straight out of Robert Fripp’s playbook. From raging vocal delivery to passioned guitar solos to the busy bass line underneath and accompanying percussion, it’s classic Beardfish, all with strings supporting throughout the piece. What’s not to love?
Two fine songs already released as singles round out the latter part of the album: the chiming “In The Autumn” which features a potent duet with Amanda Örtenhag, and the marching pulse of “Torrential Downpour”, its lyrics providing an outlet for Sjöblom to process the passing of his father. “Call me the son of sun, daughter of the moon, we live in the clouds.” The aforementioned “Ecotone” gets two reprises as well: a brief passage played as if on an old beaten-up piano, and a curious – almost funny – “Norrsken 1982 edition” which does indeed feature plenty of effects evoking the belovedly maligned ‘80s.
“Songs For Beating Hearts” marks a triumphant return for Beardfish, featuring songs that intuitively hit the mark and leave us hungering for more. Promisingly, the band has noted that additional songs were recorded during these sessions, so already there is more material in the queue. Welcome back, friends, you’ve been missed.
Released By: Inside Out Music
Release Date: November 1st, 2024
Genre: Progressive Rock
Musicians: Rikard Sjöblom / vocals and keyboards * David Zackrisson / guitars * Robert Hansen / bass * Magnus Östgren* / drums
“Songs For Beating Hearts” Track-Listing:1. Ecotone (4:30)
2. Out in the Open (20:33)
3. Beating Hearts (11:01)
4. In the Autumn (5:58)
5. Ecotone (Reprise) (0:43)
6. Torrential Downpour (8:29)
7. Ecotone – Norrsken 1982 Edition (Bonus Track) (6:13)
Order “Songs For Beating Hearts” HERE
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Step into a new garden of sound.Some musical couplings seem destined even when they come with an age gap measured in decades, and the recently minted project dubbed Casandra’s Crossing is arguably the most auspicious to come into being in years.
Combining the vocal talents of Paralandra’s front woman Casandra Carson, who has been making a respectable splash in the American rock scene for roughly a decade, and the iconic guitar chops of ex-Dokken and Lynch Mob virtuoso George Lynch; it’s a fold that follows the recent trend in Lynch’s career of frequent collaborative efforts, yet also one that stands out pretty easily from said pack.
With arguably the only obstacle of note being the heightened expectations that tend to dog Lynch’s post-Dokken studio exploits, “Garden Of Earthly Delights” is the sort of debut that is technically a first outing, but comes with a level of experience and gravitas normally reserved for releases preceded by an extensive career of development and progression.
To qualify the eleven expansive rock anthems rounding out this opus as the handiwork of two certified musical titans wouldn’t be far off, as while Casandra might be a less-known quantity relative to Lynch, she delivers a vocal performance that matches the instrumental excellence surrounding it and even rivals her superstar contemporary Lzzy Hale. The range of expression served up proves massive, as moments of soulful smoothness are contrasted with explosive fits of gritty power and pizzazz in rapid succession while never sacrificing that needed sense of structure and accessibility that defines the hard rock genre.
Whether it is raging, mid-paced modern groove machines with an anvil-like heavy edge like “Just Business” and “Mind Eraser” that see Lynch’s songwriting channeling his underrated songwriting on Dokken’s checkered mid-90s opus “Dysfunctional,” or mystical to outright spacey forays into 60s psychedelic wonderment with a modern twist like “Impatient” and “Wicked Woman”, Carson’s vocal persona adapts accordingly and fits the mood seamlessly.
The songwriting aspect of this collection of banger entries is no less intricate than the dynamic performances of its two masterminds, tastefully anchored by the superb rhythm section of jack-of-all-trades – and recently named Vanden Plas‘s keyboardist – Alessandro Del Vecchio in the 4 strings and keys department (is there something this guy doesn’t excel at?), and Slaughter‘s drummer Jordan Cannata manning the sticks.
Right out the gate, Lynch delivers what can be best described as a high-octane celebration of his glory days with Dokken in “Stranger”, which channels the swift metallic bluster of “Tooth And Nail” and “Till The Living End” with a less than subtle nod to “Dream Warriors” during the verse riff that rivets with the best of them. Busy riffs and flashy lead guitar passages drenched in double kick beats trade blows with a raw vocal performance out of Carson that occasionally reminisces upon Janis Joplin’s pioneering contribution to hard rock history.
The similarly metallic crusher “Run For Your Life” and the up-tempo and crunchy riff monster “Ring Me Around” also showcase a bombastic vocal display coupled with enough guitar heroics to take the listener back a few decades while still having a decidedly modern character. Occasions are naturally made for some nuance, namely via the haunting verse display that occurs in “Devastating Times”, but for the most part, this is a continual succession of anthems where the decibel level is pushed to the limit.
When measured against Lynch’s recent musical forays alongside the likes of Stryper’s Michael Sweet, Willie Basse, King’s X’s own Doug Pinnick in KXM, let alone the rock scene at large over the past decade; “Garden Of Earthly Delights” comes out standing pretty tall. Those who normally go for the overt retro rock stylings of Greta Van Fleet and Rival Sons will find plenty of old-school bluesy goodness between George’s flashy guitar high-jinks and Casandra’s soulful wails, but overall this is an album that is pretty consistently geared towards the sort of modern, female-fronted rock splendor that is regularly associated with Halestorm and The Pretty Reckless.
One could argue that perhaps is not quite on the same level as the certified classics that featured Lynch’s signature licks under the Dokken moniker during the 80s – as it plays things a little safer than the first two Lynch Mob albums – but at the age of 70 this classic rock staple and his trusty six-string master shows zero signs of slowing down, and matches the youthful exuberance of his vocalist counterpart, culminating in a very solid slab of hard rock that brings some needed credibility to the 2020s years.
Released By: Frontiers Music SLR
Release Date: October 25th, 2024
Genre: Melodic Hard Rock / Modern Rock
Musicians: Casandra Carson / Vocals * George Lynch / Guitar * Alessandro Del Vecchio / Keyboards and Bass * Jordan Cannata* / Drums
“Garden Of Earthly Delights” Track-Listing: 1. Stranger 2. Impatient 3. Closer to Heaven 4. Ring Me Around 5. Devastating Times 6. Waltzing Nites 7. Just Business 8. Mind Eraser 9. Run for Your Life 10. Wicked Woman 11. Kneel Before You
Order “Garden Of Earthly Delights” HERE
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Hallelujah – the prog is back! After focusing on singer-songwriter and Biblical rock opera projects over the past couple of years, Neal Morse proves that he doesn’t need to wait for Mike Portnoy’s return to deliver a convincing prog rock album. Assembling a collection of musicians from the ‘hood, Morse surprisingly releases his strongest album since NMB’s “Innocence & Danger”. “What?!” you say, “Are you forgetting Transatlantic’s last double album?!” The songwriting here is easily on par with “The Absolute Universe” but it also contains the secret prog weapon that Transatlantic did not utilize: the prog epic, and does so twice to great effect.
Let’s start out by saying that Morse’s new band – The Resonance – clearly brings the goods. Don’t be fooled into thinking that just because some of these guys live down the street means they aren’t ace players. The Nashville area does have a certain reputation, after all. Chris Riley on bass and vocals is perhaps the most impactful, adding several quirky sections to the songwriting, while guitarist Andre Madatian impresses with his electrifying lead skills and additional writing contributions to the epics. The drumming is ably covered by both Joe Ganzelli and Philip Martin – the latter being the official drummer in the ongoing band – who ensure that Morse’s legacy doesn’t miss a beat, considering his history with D’Virgilio and Portnoy. Lead singer Johnny Bisaha was discovered at the last minute – literally – and brings that soaring tenor voice in at key moments just like Eric Gillette is known for.
Despite the strengths of the new players, it’s Morse who still commands this ship. Most of the songwriting, much of the singing, and even some of the guitar solos are delivered by him, along with the keys. The vibe for a good percentage of the album is strongly rooted in Spock’s Beard and Transatlantic territory and nowhere is this more apparent than in the opening epic “Eternity In Your Eyes”. On one hand, this piece draws so strongly from Morse’s background that you can almost name specific source material from earlier in his catalog. On the other hand, it’s all done so damn well that this becomes one of Morse’s best epics in…well…eternity. From the mystical symphonic opening to the hyped-up finale, we feel like we’ve heard most of this before, but somehow its execution still makes it one of his greatest achievements. The 21-minute piece is comprised of seven different sections, a couple of which were contributed by Riley who plays the role of Roine Stolt’s foil to Morse’s style.
In the “Hammer and Nail” section you can almost imagine Stolt’s quirky voice delivering the lead melody, with accompanying whirling musical curios like tubular bells and other The Flower King references. Musically, both Morse and Madatian get to stretch out on guitar, the “Echoes Of Forever” section belonging to Morse’s delicious wah soloing with tons of emotion, and then Madatian bringing on the pyrotechnics later with a jaw-dropping duel of guitar and Morse on keys. The bass playing is on point and the drumming isn’t that far off from what we’d expect from Portnoy’s approach, either. When Morse’s ragged vocal comes in for the closing section with an impassioned “Daylight comes to break on through the dark night”, we’re right back to the early Spock’s days and it’s glorious. Although the finale gets drawn out a bit too long, the album has already made a huge statement. The Resonance is resonating and then some.
Two epics bookend the album, the closer being the 29-minute title track. Where Morse took the majority of the lead vocals on “Eternity”, Bisaha is given the starring role of “No Hill For A Climber”. It feels like he was brought into the band specifically for this piece, and then added to the other songs as the cherry on top. Split into six sections, there’s no official “overture” like happens so often, but the opening instrumental “The Mountain And The Valley” essentially acts as one. This epic plays out a bit more like an NMB arrangement, with Gillette’s role being split between Madatian’s melodic lead playing and Bisaha’s heavenly voice.
Morse had actually fancied bringing in Jon Anderson for those high parts but made the wise choice of finding Bisaha instead, for the sake of creating a cohesive band identity. As Martin wows on the drums, echoes of “The Door” appear as the two singers trade off vocals lines, but Riley then offers a tasty contrasting section in “Burn It Down”, much like Bill Hubauer would offer a different songwriting approach in NMB. Riley’s voice is lower in Morse’s register, but then Bisaha channels his inner Devin Townsend as he almost operatically delivers, “Holy Fire! Burn me down…” Tight instrumental sections are interspersed in this lengthy journey as we metaphorically climb the hill, the title holding two opposing meanings. Ultimately, Bisaha claims the final word in the piece with a magnificent “To the mountaintop beyond the SKY!”
If the two epics are reasons enough to celebrate, the shorter songs are no less spectacular. “Thief” is a short prog number unlike anything Morse has written before, which is both refreshing and undeniably successful. Queen-style harmonies meet smoky jazz club stylings, along with a freakout middle section that Riley brought in. From the slinky walking bass line to the slow slide guitar solo to the swinging conclusion, this is an incredibly fun piece even as it deals with treacherous subject matter. Just when you think it’s done, it re-emerges once again, the thief can’t be held down. Bravo to Morse for trying something largely outside of his wheelhouse and pulling it off so well. “All The Rage” takes a more classic approach, kind of like “The Great Adventure” or “Momentum”, offering a welcome if well-trodden first single and introduction to the band.
“Ever Interceding” finds Morse’s acoustic 12-string never sounding better, exquisitely picked and strummed for maximum emotional impact. I absolutely love this song, which was written by Morse and sung by Bisaha. Carrying the spirit of a Kansas anthem, this is a song that can make a believer out of anyone. By the time the full band comes in and they kick into the chorus, it’s magnificently breathtaking. Riley’s bass bounces effectively through the symphonic glory as Bisaha’s voice shimmers. Fans of songs like “June” and “We All Need Some Light Now” have another classic on their hands here.
One foundational difference between this album and a Spock’s or Transatlantic release (or even “Innocence & Danger”) is that it is more explicitly a Christian rock album. Every song has some reference in it to Morse’s Christian bedrock, but being delivered so exquisitely on a bed of rock, there’s plenty of musical delights here for all. Let’s face it, for anyone who is still following Morse at this point, it probably won’t be an issue. But for anyone who was hoping phrases like “There is a God who loves you so”, “The Son of the Father” or “My Lord laid down His life” wouldn’t be included in this project, be prepared. However, as with most of Morse’s recent prog explorations, the faith aspect doesn’t feel heavy-handed. Rather, there’s more of a sense of positivity and optimism shining through, which ultimately is a welcome contrast to much of what else is out on the market today.
Once again, the ever-reliable Rich Mouser helms the mixing desk, so we’re guaranteed a pristine sonic experience. The combination of Morse’s inspiring compositions along with the skill and fire of this younger generation ensures that we’re going to be just fine in the Portnoy-less years. Indeed, Morse’s career appears to be born again yet one more time. Bravo!
Released By: Inside Out Music
Release Date: November 8th, 2024
Genre: Progressive Rock
Musicians: Neal Morse / Keyboards, Guitars, Bass, Percussion, Lead and Backing Vocals * Chris Riley / Keyboards, Guitars, Bass, Lead Vocals * Andre Madatian / Guitars and Orchestration * Johnny Bisaha / Lead Vocals * Philip Martin / Drums (2-5) * Joe Ganzelli / Drums (1,2,5) * Chris Carmichael / Violin, Viola, Cello * Amy Pippin / Backing Vocals * Julie Harrison / Backing Vocals * Chris West / Trumpet, Flugelhorn * Desmond Ng* / Trombone and Euphonium
“No Hill For A Climber” Track-Listing: 1. Eternity in Your Eyes * I: Prelude to Eternity (Instrumental) * II: I See the Sun * lll: Northern Lights * IV: Echoes of Forever (Instrumental) * V: The Dream’s Still Alive * Vl: Hammer and Nail * VIl: Daylight 2. Thief 3. All the Rage 4. Ever Interceding 5. No Hill for a Climber * I: The Mountain and the Valley (Instrumental) * II: A Hill So High * III: Burn it Down * IV: Love is All * V: The Resonance * VI: The Mountaintop Beyond the Sky
Order “No Hill For A Climber” HERE
The post NEAL MORSE & THE RESONANCE – No Hill For A Climber (Album Review) appeared first on Sonic Perspectives.
In the decidedly Eurocentric sphere of Symphonic Metal, there are always stars rising and stars falling, and yet there seem to be a handful who are such permanent fixtures, they could be the Belt of Orion. Primarily, the ones we tend to think of are Nightwish, Epica, and to some extent Kamelot, but the honorable mention spot should now be reserved for Switzerland’s newcomer Ad Infinitum. With a connected trilogy of big concept albums since 2020, the band, fronted by Swiss singing sensation Melissa Bonny, has carved a blazing trail through a genre that at times struggles with keeping things fresh.
The band’s most recent offering, “Abyss,” departs from the thematic elements of the band’s previous conceptual work. At this point, in album review coverage, it would be pro forma boilerplate to mention a few updates on the band and dive right into how the first track sounds. However, this album is a pretty significant course correction from the band’s previous musical trajectory, so let’s talk about that first. Perhaps the best way to approximate the evolution is to say the songwriting and overall texture seem to be an attempt to make the music more accessible.
Whether this is good or bad is situational, and highly dependent on individual perspective. Are you a fan of old Journey and its Santana roots, now disillusioned with this young Steve Perry and the band’s radio appeal? Are you someone who was turned off by the brutal thrash of early Metallica, but you like this new “black album” stuff and how catchy it is? Are you a band manager? Do you work at a record label in artist relations, or the “other AR,” accounts receivable? All these points of view have valid perspectives on artists adopting a more commercially-accessible approach.
What is not changing is the band’s lineup, which remains intact as it has for most of the band’s career together. Melissa is still backed by Adrian on guitars, Korbinian on bass, and Niklas on drums. The band retains some key synths and other symphonic elements, and in the future, if we get to talk with the band, it will be good to get some insights into the production elements, who is composing the elements that extend out beyond the usual guitar, bass, and drums.
Speaking of which, the album opens with an interesting reworked wah-pedal synth-sounding sequence before Melissa’s clean soft vocals lead the listener into the opening track, “My Halo.” The chorus is catchy and crafted to signal to label and listener alike that the band is ready for big attention and bigger things. What we weren’t quite ready for was Melissa quietly asking “Are you ready?” and then being assaulted with guttural metal growls over top of percussive staccato rhythm guitar playing. This gets back into the very listenable chorus again before this short and sweet four-minute number draws to a close.
Perhaps to let us know they remain the band we know, the second track, “Follow me Down,” has some prog metal elements, a bit more like Seventh Wonder or DGM. The guitar and bass are keeping busy with some meandering riffs and single note sequences down below the 7th fret, while Ms. Bonny carries some nicely melodic verses over top of some cool reverb-laden Depeche Mode sort of keys. The song emerges into some nice chorus parts and trades that with the technical riffing for the rest of the track.
“Outer Space” almost sounds like it might be a bit introspective with more of those soft keyboard parts with reverb and delay, until Melissa pounces immediately with ferocious growls (“Out of Control!”) alongside some intense high-gain rhythm guitar chunks, before everything just sort of calms down allowing for the clean emotional singing we sort of expected from the beginning. Just when it seems safe to get comfortable with that vibe, the heavy comes back, and this rising and falling action continues until angry growls emerge once again. Just when it seems like it cannot get heavier, it actually gets unbelievably soft and quiet, a series of delicate verses floating in an ethereal atmosphere. Or a lack of atmosphere, as the case generally is in outer space. And then all the heaviness comes back and goes again one more time before it’s all said and done. In many ways, it’s the most thoughtful piece of the record with a lot going for it.
“Aftermath” is a modern mash of industrial alt-metal with some mildly prog-metal underpinnings. Most noteworthy is the counterpoint between gnarly growls and delicately controlled upper-register vibrato vocals. Meanwhile, “Euphoria” is a bit more straightforward. The song is a meandering minor-key exploration of emotion-laden vocal melodies, but noteworthy is the blend of textures, from acoustic guitars to electric guitars and synth keyboard atmospheric elements, and percussion sections more like something one might find among Tori Amos or later Peter Gabriel.
“Surrender” is a sound reference point for discussion of whether Ad Infinitum is stretching out and redefining their sound. From the onset, it exudes a vibe straddling a line between Nine Inch Nails, and something more modern dance/EDM like Gigamesh (Feral Youth, All My Life, etc). The track has a rising and falling sense of guitar-driven heaviness, while Melissa’s vocals are a consistent soulful delivery. Moving once again in another direction, “Anthem for the Broken” may be one of the more musically interesting tracks of the album. Opening as a clean track of simple piano, with gentle vocals and swirling atmospheric synth elements, the track seems unassuming enough, until the drums and high-gain guitars kick in, with chanting choir vocals. Once the chorus structure emerges, it becomes clear what is anthemic about this track, but the lead guitars are what truly sets this one apart. On an album where lead guitars are a bit of an endangered species, this track is some sort of wild animal refuge. Left-hand techniques borrowed from Marty Friedman to Jason Becker to Jeff Loomis can be heard through the middle section, and they take an otherwise above-average track and elevate it to something worth hearing.
The album detours into a metal flavor one might describe as straightforward yet firmly planted in a contemporary sound. When describing this track, titled “The One You’ll Hold On To,” it’s true that on the one hand, there’s the usual bit of synth/computer elements one will find in modern pop, while on the other hand, there is drop-tuned chugging complete with bent pinch harmonics. With its punky chords and strong keyboard employment, one might think “Parasite” is some kind of modern alt-pop tune, except that it opens with the Åkerfeldt growls turned all the way to the “Blegh” setting. It dips back into the poppy stylings here and there, but there are some nice soaring lead guitar bits for seasoning.
The finale of the album, “Dead End,” has the industrial goth underpinnings of “Beautiful People,” paired with an indescribable vibe that can only be said to hearken to the Type-O Negative “Cinnamon Girl.” The vocals are powerful and commanding, the guitars are both capable and tasteful, and in all, it’s a respectable way to close out an album. As a bonus of sorts, the opening track, “My Halo” makes a return in a more orchestral remix as the final track.
The value of this album is going to be highly dependent upon the listener. Yes, that sounds like a lazy-as-hell verdict, but it’s especially true in this case. This is not something like “Dark Side of the Moon” or “Number of the Beast” where we want to mail everyone on earth a copy for purposes of world peace and enlightenment. If you, as a listener, go to Prog Power every year so you can revel in Sabaton and Symphony X, this really might not be in your wheelhouse. Make no mistake, it’s going to be alright for tunes in the background for just about any stripe of a metalhead. However, the more accessible contemporary pop angle present in much of the album will limit its appeal to adherents to several metal subgenres, while also simultaneously opening it up to a wider market.
Melissa Bonny and her instrumentalist crew have put together a quality album with enough variety to make it noteworthy. The unanswered question is whether this new course correction will steer the band to less fans and exposure, or to a brighter future with bigger venues and even bigger sales.
Released By: Napalm Records
Release Date: October 11th, 2024
Genre: Symphonic Metal
Musicians: Melissa Bonny / Vocals * Adrian Thessenvitz / Guitar * Korbinian Benedict / Bass * Niklas Müller* / Drums
“Abyss” Track-Listing: 1. My Halo 2. Follow Me Down 3. Outer Space 4. Aftermath 5. Euphoria 6. Surrender 7. Anthem For The Broken 8. The One You’ll Hold On To 9. Parasite 10. Dead End
Order “Abyss” HERE
Abyss by Ad InfinitumThe post AD INFINITUM – Abyss (Album Review) appeared first on Sonic Perspectives.
Rare is the rock band that elevates the violin to the fore as a lead instrument. Your first thought likely goes to “Dust In The Wind”. No surprise then that Stratospheerius’ lead singer and violin player is also currently the violin player in Kansas. Yes, it’s a small world for the electric violin players who wish to rock out. All the more reason to explore Joe Deninzon & Stratospheerius‘ latest release “Impostor!” which pulls off the feat with aplomb.
The “Impostor!” album has the benefit of largely being culled from various singles released over recent years, meaning that this is an excellent collection that is diverse in scope. Happily, all the pieces seem to fit well together, including new tracks included here for the first time. Deninzon’s band has shifted membership over the years but this outing sports a truly stellar lineup: Jason Gianni’s drumming commands each song, several of which he co-wrote, and Paul Ranieri wields a wide range of tones on his bass to support his supple playing, Michelangelo Quirinale’s guitar is a suitable scorching lead to match Deninzon’s violin solos, and keyboard maestro Bill Hubauer dazzles on the symphonic level. All contribute backing vocals, so this is a very strong band at the mic as well. Oh, and ace Rich Mouser adds his skills to the production with crisp results.
One of the most exciting pieces on the album is a new instrumental titled “Voodoo Vortex”. Rooted in a ‘70s-era Jean Luc Ponty vibe, this Vortex takes the listener on a transcendent sonic journey in two parts. In typical unexpected prog fashion, a shorter Part 2 opens the album with more fanfare, while the more extended Part 1 arrives later in the album’s sequencing. Hey, it works. The melodious piano of Hubauer then introduces the new single “Outrage Olympics”, a pointed observation on the state of cancel culture in our society today. It’s a loaded topic in which Deninzon sidesteps current politics and instead focuses on the caustic nature of moralistic policing and its consequences.
The next few songs bring more fire to the album, starting with the title track which touches a bit on the Kansas vibe even though it was penned before Deninzon joined that band. Dealing with a psychological insecurity theme that most self-conscious people carry to some degree but that the power-hungry and narcissists never would, the lyrics wisely observe “Everybody has an impostor syndrome except the fools who run the world.” Musically the song finds Deninzon in great form vocally as the band cranks it out and features a hot violin solo towards the end. “Cognitive Dissonance” keeps up the intensity – and the charged lyrical content – which is delivered in one verse by guest Randy McStine. As Deninzon explains: “The guitar/violin duel in the last section represents two sides crying and screaming at each other, full of hatred, fading out screaming, never reaching an understanding or resolution.” How much cooler would it be if we could air our differences on the fretboard instead of computer screens, a la the classic guitar slinger duel in “Crossroads”?
More guests are introduced for the dramatic “Storm Surge”. Although written during the pandemic, we could apply it to the literal hurricanes storming through the southeast States right now. Michael Sadler delivers an impassioned lead vocal. The song features wonderful dynamics, finding Fernando Perdomo performing on all kinds of guitars, and Rachel Flowers playing delicate flute and piano during the more delicate sections. Based on a piano etude theme from Friederich Burgmüller, Deninzon knocks it out of the park with this rock arrangement that borders on Queen grandiosity.
As the flute and piano gently subside from the storm, it’s a perfect moment for a violin-infused rendition of King Crimson’s classic “Frame By Frame”. This piece sounds so natural and fitting for Stratospheerius to cover – Deninzon’s vocals and Val Vigoda’s backing vocals offering a very satisfying delivery, Ranieri’s flanged bass is captivating and Gianni powers through the Bruford approach with skill. Quirinale lays down a scorching solo towards the latter half, too. It’s impressive that a cover doesn’t detract from the album as a whole but instead elevates it, a welcome moment of nostalgia that feels very relevant.
Vocals are featured on the light & airy “Tripping the Merry Go Round”, accompanied primarily by guest cellists and Deninzon’s violin, serving as an aperitif before the mini-epic “Chasing the Dragon” which follows. This 12-minute piece brings Chloe Lowery to the fore on lead & backing vocals on some of the sections, a lovely addition. The multi-part mini rock opera tells the tale of getting lost in the dreams of our passions – for better and for worse. Ranieri’s bass turns fretless at one point to make his point, while Hubauer comes a little more into the mix, both vocally and especially on synths and piano. Towards the last section, there’s a rousing 3-way-duel between violin, guitar, and keys which culminates in chasing the tale (tail?) of the dragon. It’s an ambitious piece that makes for a great closure to the album.
If you haven’t checked out Stratospheerius before, this is the perfect place to start, with an album that has a little something for everyone but flows together as one cohesive outing. It’s classy, edgy, and masterful at the same time. Bravo!
Released By: 7D Media
Release Date: October 11th, 2024
Genre: Progressive Rock
Musicians: Joe Deninzon / Lead vocals, electric 7-string Viper violin, acoustic violin, viola, chin cello, acoustic guitar, bass * Michelangelo Quirinale / Guitars, background vocals * Paul Ranieri / Bass, background vocals * Bill Hubuaer / Keyboards, backing vocals * Jason Gianni* / Drums, percussion, backing vocals
“Impostor!” Track-Listing: 1. Voodoo Vortex (Part II) 2. Outrage Olympics 3. Impostor! 4. Cognitive Dissonance 5. Storm Surge 6. Frame by Frame 7. Voodoo Vortex (Part I) 8. Tripping the Merry-Go-Round 9. Chasing the Dragon
Order “Impostor!” HERE
Impostor! by Joe Deninzon & StratospheeriusThe post JOE DENINZON & STRATOSPHEERIUS – Impostor! (Album Review) appeared first on Sonic Perspectives.
The term American Prog might seem somewhat of an oxymoron given the overarching status of international progressive rock legends. Still, amidst some of the bigger names like Kansas, Dream Theater, and Spock’s Beard, plenty of American musicians have been inspired by the genre and end up writing their own intricate prog creations, often with impressive results.
Bill Bressler came to our attention several years ago with his clever debut “Normal Boy”, putting South Orange, New Jersey, on the map as a prog enclave. Or something like that. At the end of our review of that album, we said, “…this is a thoroughly enjoyable album which hopefully will lead to bigger aspirations in the future.” Well, the future is now – and every other time period as well – as Bressler returns with a time-bending concept album using the double-entendre title of “A Second Past”. So, crank up your Delorean to 88, and let’s go time traveling together.
Set in a utopian future, the main protagonist of the album, a certain Dr. Severin Maxwell, can’t stay content and for some reason decides to go meddle in the past with his cool new roadster called “The Asp”. A typical lonely scientist, he must not have a social life because although he wants some companions to travel to the past with him, he needs to conduct a lottery to find three lucky passengers. That sorted out, the foursome head back in time, each with a unique goal they wish to witness. Maxwell doesn’t seem to instill enough caution in his passengers when considering the implications of time travel, saying, “Let’s try to be discreet,” but adding, “But souvenirs – just help yourself, I think that would be neat.” What could go wrong?
Musically speaking, Bressler has a ton of influences to draw from and the chops to pull it off when it comes to keyboards. For the other instruments, he brings in a host of additional musicians, primarily being Stephen Goldberg on lead guitar, Jeremy Abbate on acoustic & electrics, and Vin Tabone on bass. Drums are all programmed which usually isn’t a plus, but Bressler puts in the time and skill to make them an engaging part of the ensemble, along with Quinn Bressler on handclaps. Most importantly, John Wilkinson handles the bulk of the lead vocals and he’s a charming and convincing choice. Production & engineering are usually an Achilles heel for independent artists but, again, Bressler has put in the time so that the album can comfortably sit alongside releases from bigger bands with higher budgets. Mastering (and some bass playing) from Jacob Holm-Lupo in Norway helps achieve the sonic sheen.
After starting out with an electrifying overture that would make Genesis proud – lead keyboard lines sizzling alongside Goldberg’s defining guitar lines and some wah-bass from Tabone – the story is cast with a “Sales Pitch” from Maxwell. While the scientist’s motives are still suspect, given that everyone lives in a freaking utopia already, the listeners get caught up in the accompanying music just like his passengers get caught up in the sales pitch. Soon they’re loading into The Asp as Maxwell declares a “victory for science” before a large crowd of spectators. All I’ll say is that if I were in the audience living in a perfect world, I wouldn’t be so happy about these renegades going off to meddle with the past, lest it leave the present dark. And keep it dark. Nevertheless, Maxwell cheekily declares, “Doc Brown, ya got nothin’ on me. Here we go!”
The music for each song keeps the listener engaged alongside the story, drawing from a wide swath of prog inspirations, though Duke-era Genesis feels the strongest among them. While Bressler understandably roots the material in his keyboards, synths, and piano, there’s plenty of room set aside for his guest musicians to join in, such as a fine solo from Goldberg in “There In Time” as the momentum builds. Most of these songs keep the running times under 5 minutes, and the prog reined in but not without making an impact. For those who like shorter prog bordering on intricate pop, there are plenty of gems here like “Don’t Forget” and “The Girl From Salem”.
Gratefully, the album is satisfying vocally, too. On the clever “St Helens UK” we get a vocal cameo from Peter Jones, who just happens to be portraying a “Mr. Jones” in the storyline. Wonderful to have Wilkinson and Jones singing on the same track. Later on, Rebecca Farnham delivers a strong vocal performance on “Girl From Salem”, describing a girl rescued during a harrowing choice for a time-traveling pit stop. Through it all, Wilkinson makes for a great protagonist, his singing lifting the storyline higher in its telling. Thanks to well-written layered harmony vocals in key spots, the vocal impact is as noticeable as the instrumental passages.
“Insofar” is the longest piece here, featuring several choices ripping organ solos, proving that Bressler is no slouch on his core instrument. “It’s All We Can Do” tries to wrap up the storyline towards the end, but all the sing-song “Na Nana Nana Na”’s (think: “Hey Jude”) in the world can’t tie up the loose ends still dangling across the centuries from this time-travel-gone-wrong tale. While we don’t exactly know what happens when Maxwell and his companions return to the time they originally departed, it doesn’t bode well, and that’s even before we hear the car crash alarm sounds going off.
As if the ending weren’t mysterious enough, the album finishes up with a dark instrumental Afterword called “As For McGee”, an unexpected interstellar jam, featuring Stian Larsen on rousing lead guitar. Let’s just say that the door is left open for at least one sequel, if not more.
As on his first album, Bressler’s understated sense of humor shines through several tracks amidst the keyboard runs, with references to his boyhood past. “A Second Past” is an impressive, natural next step from “Normal Boy” for Bressler, a reminder that it’s worth seeking out independent artists to enjoy their original, whimsical, and talented music. For this moment in time, it’s time well spent.
Released By: Independent
Release Date: October 1st, 2024
Genre: Progressive Rock
Musicians: Bill Bressler / Keyboards, Synthesizers, Guitars (played, bottlenecked, programmed and reversed), drums (played and programmed), Percussion, Optical Theremin, Vocals (track 6 and 10, as Mr. McGee), Backing Vocals, Vocoder * Jeremy Abbate / Acoustic and Electric Guitars * Rebecca Farnham / Vocals (Track 8) as the Girl From Salem, Backing Vocals (Track 9) * Stephen Goldberg / Lead Electric Guitar (Tracks 1,3,6,8,9), additional electric guitar (Track 6) * Jacob Holm-Lupo / Bass (Track 5) * Peter Jones / Vocals (Track 5), as Mr. Jones * Stian Larsen / Lead Electric Guitar (Track 10) * Vin Tabone / Bass (Tracks 1-4,6-10), additional electric guitar (Track 4) * John Wilkinson / Lead Vocals (Tracks 1-7,9) as Maxwell Severin and the Narrator, Backing Vocals * Quinn Bressler* / Additional Claps (Track 4)
“A Second Past” Track-Listing: 1. An Overture, A Sales Pitch 2. A Victory For Science 3. There In Time 4. Don’t Forget 5. St Helens UK 12-27-1982 6. Salem MA 7-18-1692 7. Insofar 8. The Girl From Salem 9. It’s All We Can Do 10. As For McGee
A Second Past by Bill BresslerThe post BILL BRESSLER – A Second Past (Album Review) appeared first on Sonic Perspectives.
Trolls of the world, beware.
The world of J.R.R. Tolkien is so vast that it seems a single fragment of its corresponding lore could culminate in a band’s entire career. Such is the disposition of Wind Rose, a one-time progressive power metal upstart of the early 2010s after the spirit of Symphony X, who has since embarked upon a more folk-infused stylistic path primarily concerned with the kin of Erebor.
Naturally old habits die hard, and while the niche they had adopted on their colossal sophomore studio album “Wardens Of The West Wind” presented a more accessible template than their multifaceted storybook of a debut “Shadows Over Lothadruin,” their sonic craftsmanship has retained a sophisticated and adventurous sense of song structure and contrasting themes that have stuck with them in the years since. However, 2024 has seen this quintet opt for a more streamlined approach on their 6th and latest opus “Trollslayer,” one that might well fit their highly particularized lyrical pursuit all the better still.
The general formula at work has remained unchanged, boasting elaborate yet highly infectious melodic hooks dancing about via interplaying voices and instruments. The visual of a crowd of drunken dwarves singing the night away after 10 hours of mining for precious metal comes courtesy of helmsman Francesco Cavalieri, whose versatile pipes act as a massive male choir, mostly devoted to deep-ranged shanty themes, but also occasionally getting into grittier thrash metal territory and channeling his past affinity with Russell Allen’s soaring yet pummeling tenor.
Guitarist Claudio Falconcini takes a measured approach consisting primarily of heavy riffs and a driving rhythmic assault to further bolster the veritable 2-ton hammer of force coming from Cristiano Bertocci’s steady bass work and Ancient Bards’ own Federico Gatti’s double kick happy beats. While Falconcini occasionally channels Blind Guardian’s Andre Olbrich with his melodic leads, he often doubles keyboardist Federico Meranda, who handles much of the non-vocal melodies and adds a powerful symphonic layer to the arrangement.
“Trollslayer” ArtworkIn keeping with the cinematic character that has generally accompanied European power metal since the turn of the millennium, this latest episode of dwarven exploits kicks off with a mighty orchestral prelude dubbed “Of Blood And Ice” that could easily be mistaken for an ode ushering in the beginning credits of some Hollywood blockbuster. Like a seamless segue into a scene of explosive warfare, the resound of Falconcini’s distorted guitar ushers in “Dance Of The Axes”, a high-octane banger of an ode, complete with Cavalieri even throwing in a few harsh shouts to complement the rapid foray of dueling chants and blazing riffs.
This thrasher entry is by no means an outlier, as an equally ferocious, albeit more of a driving speed metal variant of the same formula follows suit in “The Great Feast Underground”. Taken alongside similarly fast and hook-drenched sing-along romps like the epic cruiser “Home Of The Twilight”, the wandering melodies of “Legacy Of The Forge” and the driving Celtic charm with a heavy edge of a title entry “Trollslayer”, one can’t help but draw parallels between what this album dishes out and what Ensiferum’s mighty sophomore album “Iron” did about 20 years prior.
Though arguably the most straightforward collection of twilight tales set to power metal, “Trollslayer” does come with a few entries that recall Wind Rose’s more nuanced work of years past. The slightly longer and more mid-paced crusher “Rock And Stone” could almost function as a direct sequel to their popular metallic rendition of the internet meme phenomenon and turned dwarf anthem and The Yogscast cover “Diggy Diggy Hole”, albeit with a slightly decreased level of symphonic interludes in the mix.
“To Be A Dwarf” treads a somewhat similar path, though more steeped in folksy noodling and grandiose symphonic atmosphere, culminating in one of Meranda’s most impressive showings at the keyboards. But in terms of an elaborate compositional affair that showcases this fold’s prowess at their instruments and ability to weave a set of folk influences into a long-winded affair, “No More Sorrow” functions as the perfect coup de grace to this 42-minute anthology of high fantasy splendor. Cavalieri mixes a heavy degree of higher-ranged wails to complement the obligatory deeper chants and intermitted shouts, while the rest of the band wheels through a plethora of intricate ideas, landing triumphantly on one of the most riveting yet solemn chorus hooks the band has ever committed to recording.
Those who have followed this Italian powerhouse since the mid-2010s will find few surprises with “Trollslayer,” as it sticks true to the band’s established style, offering a more stripped-down version of where they had been in recent years. However, they will also find an album that lacks nothing in terms of quality and sheer power, simply favoring a more streamlined and working-class character over exaggeratedly upbeat majesty and happy-go-lucky high-jinks.
Wind Rose is a band that sticks to what works, and while this might be a tad less complex than “Stonehymn” or a bit less extravagant than “Warfront”, it certainly is a record that pulls zero punches and offers no apologies. Whether in the mine, the dining hall, or on the battlefield, these are the sort of dwarves that are not to be messed with, let alone underestimated.
Released By: Napalm Records
Release Date: October 4th, 2024
Genre: Power Metal
Musicians: Francesco Cavalieri / Lead Vocals * Claudio Falconcini / Guitars, backing vocals * Federico Meranda / Keyboards * Cristiano Bertocchi / Bass, backing vocals * Federico Gatti* / Drums
“**Trollslayer**” Track List:1. Of Ice and Blood
2. Dance of the Axes
3. The Great Feast Underground
4. Rock and Stone
5. To Be a Dwarf
6. Home of the Twilight
7. Trollslayer
8. Legacy of the Forge
9. No More Sorrow
Order “Trollslayer” HERE****
The post WIND ROSE – Trollslayer (Album Review) appeared first on Sonic Perspectives.
Finally, the weather forecast looks bright for Anathema fans. Although it has been a long 12 years since the album named “Weather Systems” was released, and an even harder 4 years since the band Anathema officially and mysteriously folded, 2024 finally sees a fully realized new album from Daniel Cavanagh. Borrowing the moniker from what he considers “the best Anathema album”, Cavanagh clearly aims to continue carrying the torch of his previous band. Fair enough, considering he was the primary songwriter, multi-instrumentalist, vocalist (along with his brother Vincent Cavanagh who was the main lead vocalist), and co-founder. And taking into account that much of this material was written by Cavanagh prior to Anathema’s breakup in 2020, originally meant to find a home on their subsequent album which never materialized, there’s a certain inevitability to “Ocean Without A Shore”.
Still, it’s all been a little confusing along the way for the fans. Aside from understandable references to the devastating impact of the 2020 pandemic on the band’s finances, there was never a clear reason given for the band’s demise, much less any closure. Personal instruments were sold to raise money. Statements were made on social media, though the authorship was unclear. It was a dark chapter for the band and fans alike. Then demos started to circulate of material that Cavanagh was working on. There was a crowdfunding effort for a forthcoming album, by a band sporting the name of an Anathema album. Some members of the former band were reported to be involved. But no one was really clear what the hell was going on given the obscure rollout of information.
Happily, that album (and band) has finally materialized and the results will likely soothe many ears who have longed for a new Anathema fix. Even more than expected, Cavanagh has apparently been determined to make the album that Anathema had abandoned, and to do it almost exactly as Anathema would have. There are subsequent “parts” of previous Anathema songs (including one from the album “Weather Systems”) featured here. There are multiple guest vocalists, including a woman who seems to fill the role that Lee Douglas so pivotally occupied on the past several Anathema albums. There are soaring guitar lines supported by symphonic grandeur. And the emotions drip off of each track. It’s Anathema as we almost know it, missing some beloved key members but still covering the bases as much as possible.
“Ocean Without A Shore,” ArtworkCavanagh’s approach to songwriting over Anathema’s recent history (as well as his last solo album “Monochrome”) brings to mind a quote that guitarist Leo Kottke made during a live recording, “I’m going to demonstrate one of my favorite techniques in this next song – I’m gonna take a lovely, simple melody and drive it into the ground.” Few bands employ that technique as masterfully as Anathema, building a small melodic riff or progression into an orchestrated wall of emotion that leaves its listeners breathless.
“Ocean Without A Shore” is no exception, the bulk of its tracks offering swirling repetitive meditations that become intoxicating through their relentless cycles. The first single “Do Angels Sing Like Rain?” employs this technique nearly as deftly as “Thin Air” did over a decade ago on “We’re Here Because We’re Here”. The second single “Synaesthesia” goes even further – in length and distortion – as drummer Daniel Cardoso (yep, from that Anathema band again) launches thunderous hits during the heavy sections. Still, there the gentle movements, falling sweetly as “rain down on me” drenches the listener’s ears with Cavanagh’s lead guitar line. Isn’t this what you’ve come for?, he seems to wordlessly ask.
Connecting the dots more explicitly, “Untouchable – Part 3” picks up where the first two Parts left off on the “Weather Systems” album. Still, as beautiful as the rendering is, it has to be said there’s a bit of dissonance in hearing Daniel’s and Soraia’s dueting vocals instead of Vincent’s and Lee’s. If one can let that nostalgia go, however, there’s plenty here to enjoy as a Cavanagh vocal tone is still present, and Soraia’s voice is lovely. Additional vocals on the album are credited to Petter Carlsen, Oliwia Krettek, and Paul Kearns. Further on, “Are You There? – Part 2” achieves a similar impression, linking the new band with the mother ship one additional time.
Every track succeeds in its own way. “Ghost In The Machine” finds male & female voices intertwining as Cardoso’s drums surround the listener. “Still Lake” employs the piano to stake out its repeating sonic structure, the ensemble vocals, and Soraia’s soaring voice ultimately making it one of the most thrilling new songs offered, especially as things get heavy towards the end with crunching guitars. “Take Me With You” exudes spiritual love, as the recurring theme of angels shows up yet again. Indeed, angels and water seem to form the core of the album’s subject matter, which we find again on the title track: “Can you see what’s behind the door, an ocean without a shore, a sky that can never fall…” This is a more synthesized piece, perhaps a nod to the “Distant Satellites” era, but still mesmerizing in its relentless repetition.
“The Space Between Us” offers an enigmatic close, revolving around a looped vocal chant. Featuring some of the album’s best lead vocals, ethereal production as swaths of keyboards and effects float by, and Cavanagh’s electric tremolo-picked guitar, it’s a sumptuous finale to an Anathema album that almost was.
There’s no getting around that Weather Systems is a bittersweet continuation of what’s come before. Still, taken on its own merits (if that’s even possible), “Ocean Without A Shore” stands confident as an accomplished, textured album that packs an emotional punch. Given the tenuous past four years, that’s genuinely more than most of us could have expected or hoped for. As such, let’s send love and appreciation to all the members of the previous band for all they gave us, and then to the continuing and new members of Weather Systems who are moving it forward.
Released By: Mascot Label Group / Music Theories Recordings
Release Date: September 27th, 2024
Genre: Progressive Rock
Musicians: Daniel Cavanagh / Vocals, guitars, bass, keyboards * Daniel Cardoso / Drums * Soraia / Additional vocals * Petter Carlsen / Additional vocals * Oliwia Krettek / Additional vocals * Paul Kearns* / Additional vocals
“**Ocean Without A Shore**” Track List:1. Synaesthesia
2. Do Angels Sing Like Rain?
3. Untouchable Part 3
4. Ghost In The Machine
5. Are You There? Part 2
6. Still Lake
7. Take Me With You
8. Ocean Without A Shore
9. The Space Between Us
Order “Ocean Without A Shore” HERE****
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For well over 20 years South African-born alternative metal stalwarts Seether have been one of the most consequential players in what has come to be labeled as the post-grunge scene, despite critics have often pointed to the band’s straightforward presentation – and lead vocalist and guitarist Shaun Morgan’s similar stage mannerisms and vocal tinge to that of Kurt Cobain – as a way to pigeonhole them as Nirvana wannabes.
Naysayer aside, now 8 albums deep into their career (9 if counting the 2004 rerelease of their 2002 debut “Disclaimer” under the “Disclaimer 2” name), Seether has been broadening their stylistic horizons in a most auspicious manner, introducing an especially nuanced blend of dark progressive elements that run parallel to the likes of Deftones and A Perfect Circle on their 2020 smash studio outing “Si Vis Pacem, Parabellum.” This new creative trajectory has come to an even more polished and refined state roughly four years to the date with the arrival of 2024’s “The Surface Seems So Far,” a record marked both by a heightened sense of nuance and a consistently impactful edge.
At first glance, this is an album that points to something as ambitious and deep as what Tool has been known for, but it takes equal care to maintain the accessibility factor and keeps those infectious hooks front and center. There are no individual offerings to be found here that don’t fit into the rock radio template, yet one can’t help but note the numerous layers that come along with the steady sense of groove and streamlined songwriting that dominates the entire album.
Lead guitarist Corey Lowery provides a brilliant melodic counterpoint to Morgan’s bottom-heavy riffs and melancholy clean guitar lines that reminisce heavily upon Jerry Cantrell’s glory days via 90s Alice In Chains, to speak nothing for the haunting vocal harmonies that both he and bassist Dale Stewart lend to the arrangement that parallels the same aforementioned influence. The kit work out of John Humphrey also manages to come off as a tad fancier than the lion’s share of Seether’s previous studio outings, often channeling a freer, jazzy feel amid an otherwise tight and rock-based rhythmic template.
“The Surface Seems So Far” Album ArtworkBut even more consequential than the various intricacies in the arrangement and Morgan’s more versatile vocal delivery is the sheer variety that manifests in Seether’s songwriting formula this time around. The dreary atmospheric progression of the opening foray “Judas Mind” from a subdued introduction to a harrowing heavy rocker, seesawing between fatalistic balladry and a punchy rocking refrain is a veritable juggernaut unto itself. The similarly structured yet more infectious “Beneath The Veil” somehow manages to cram a similar amount of moving parts into an even shorter package, while the straightforward groove machine “Illusion” most closely approximates those smash radio singles that first put this outfit on the map.
“Semblance Of Me” takes things into a somewhat lighter alternative rock place, yet doesn’t disrupt the generally dark and brooding tone of the album, ditto the semi-balladry simplicity of “Same Mistakes”. Riff happy, nu-metal oriented crushers like “Try To Heal” and “Dead On The Vine” present this band at their most animated and heavy, yet consistently incorporate the same bipolar separation of deafening rage and near-silent resignation.
Though core fans are likely to note this as yet another hit in a career free of misses, “The Surface Seems So Far” is arguably one of the most adventurous excursions into the alternative rock wilderness to come out of any post-90s band exploring the style. It’s an album that strikes hard when making its first impression, but ultimately proves to be more of a grower that isn’t fully appreciated until at least the third or fourth time through.
Each of its 11 chapters can stand alone as varying displays of how the so-called post-grunge sound could be as dark and aggressive as its Seattle-born forefathers but also could go beyond the low fidelity and insular quality of the original grunge scene to a more universal appeal. Upon hearing the riveting displays set forth from the grinding heaviness of “Try To Heal” to the heartfelt balladry of the closing ode “Regret”, one could almost picture all of the musicians of said bands looking upon this album with a sense of fatherly pride.
Released By: Fantasy Records
Release Date: September 20th, 2024
Genre: Alternative Metal
Musicians: Shaun Morgan / Rhythm guitars, vocals * Corey Lowery / Lead guitars * Dale Stewart / Bass * John Humphrey* / Drums
“**The Surface Seems So Far**” Track List:1. Judas Mind 2. Illusion 3. Beneath The Veil 4. Semblance Of Me 5. Walls Come Down 6. Try To Heal 7. Paint The World 8. Same Mistakes 9. Lost All Control 10. Dead On The Vine 11. Regret
Order “The Surface Seems So Far” HERE
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Allegorical power of Greek mythology dream in extreme metalAh yes, Akhlys. Black metal is a style that has had a fairly peculiar evolution throughout its history, isn’t it. Utterly minimalist to begin, and lately permeated with the technical/dissonant bands. Quite the shift in tendencies. In the middle of that, there’s Akhlys, and they said “Hey, black metal is cool. Let’s use it as a conduit for nightmare fuel”. And so, they did use it for that purpose. What’s good about it is that it doesn’t rely on technicality. Technicality is fine in and of itself but can quickly turn gimmicky if it isn’t spot on. And this is unmistakably a story of substance over flash.
Another thing that’s good with this band and this album here is that it’s highly musical. It feels like a smooth listen, because the songs are built on strong musical themes; not sections assembled for the sole purpose of impressing. These are maturely thought out and carefully crafted pieces of music, that don’t feel like their shelf-life is over by the second listen. The sections stick, even on the more chromatic/non-melodic moments like Track 2 “Maze of Phobetor”. This is what happens when as a composer you focus on memorable melodies that lock in just right with the chord progressions. It’s that lasting, satisfying effect that makes you enjoy it upon first serving but also want to come back for more.
Black metal is at its best when it attempts to embody a complex universe, whether esoteric or mystical or generally metaphorical, and this does just that as it puts a raging extreme metal terror with atmospheric dread, along with a captivating sense of grief through melodic expression. Here, the anguish is as tangible and penetrating as ever. Only, they’ve added a facet to the sound: a distinctly industrial-tinged shine on the production, and the guitars in particular. They sound closer to a processed NIN guitar from the original Quake soundtrack. They’ve got that synthetic scintillating varnish for contour, and they mix in with the heavier textural drum component, forming one massive rhythm section, with the infernal vocals taking on the front row role.
Of course, there’s a genuine cinematic dimension over the black metal. A bit like Hans Zimmerman if he took way too much of that stuff, looking back at his friend saying “hey, this isn’t weed”. The entire title- track “Black Geminus”is the band asking Hollywood producers for a scoring job on the next big horror movie, and just like the rest of the album, it’s convincing and does not leave the listener indifferent.
Released By: Debemur Morti Productions
Release Date: July 5th, 2024
Genre: Black Metal
Musicians: Naas Alcameth / Vocals, Keyboards, Ambience, Guitars, Bass * Eoghan / Drums * Nox Corvus* / Guitars
“House Of The Black Geminus” Track List:1. The Mask of Night-speaking 2. Maze of Phobetor 3. Through the Abyssal Door 4. Black Geminus 5. Sister Silence, Brother Sleep 6. Eye of the Daemon – Daemon I
Order “House Of The Black Geminus“ HERE.
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The manifesto of a legend is unleashed.Fame is often dogged by myth and misconception, so it behooves any prospective fan to get the full story in order to fully comprehend an artist’s greatness. Granted, wherein the legacy of a guitarist most readily associated with late-70s hard rock beasts and late-70s forerunners to the NWOBHM Motörhead is concerned, some might consider the term artist a tad out of place, but there was definitely something more than just partying and booze going on in the roughly 4 decades that one Fast Eddie Clarke was in the spotlight.
His nickname itself is a case study in how rumor clashes with reality, as what is often thought a reference to his antics in the bedroom or an uncanny ability to shred that might rival the likes of Eddie Van Halen is actually a reference to his signature skill at tremolo picking, paralleling the misconceptions that often follow one of his own inspirations Eric Clapton’s title of “Slowhand” given by the latter’s manager Giorgio Gomelsky. Now via Sanctuary Records, a highly comprehensive 320-page biography and 4 CD box set compilation of Clarke’s musical repertoire has been unleashed to bring full context to this iconic yet often unsung guitar hero.
Though most often though the proto-speed metal trailblazer that paved the way for the likes of Venom, Metallica, and several other early figures in the thrash and extreme metal themes via his riff work with Motörhead, his formative years were steeped in the blues-driven hard and progressive rock context of the early to mid-1970s.
Chronicled in this box set’s 1st CD is a collection of expansive offerings via his tenure with former Jimi Hendrix associate Curtis Knight’s progressive rock outfit Zeus and a pair of anthems from the aptly dubbed and subsequent Continuous Performance project with Be-Bop Deluxe bassist Charlie Tumahai, of which the longer running “Cloud” and “In The Morning” reminisce upon the splendor and musicality heard from the likes of Uriah Heep and UFO, with Clarke showcasing a highly nuanced and free-flowing lead guitar presentation. By way of contrast, the gritty and jagged-edged rocking 3-song display of Clarke’s and Phil Taylor’s late 70s side project The Muggers, spearheaded by a raunchy live rendition of “Just A Nightmare”, closes the first CD on a more familiar note for those coming to this release with only Motörhead on their minds.
The 2nd CD dives head first into what most mainline fans of Clarke are familiar with, namely the classic “Three Amigos” lineup era of Motörhead from the 1977 eponymous album through 1982’s somewhat underrated and ill-fated “Iron Fist.” Classic staples of said trio’s trailblazing fits of proto-speed/thrash a la “Overkill”, “Ace Of Spades” and “Iron Fist” are naturally among the chosen entries to fulfill the “best of” end of this earth-shaking anthology, though the lion’s share of material to emerge from this era digs quite deep.
Rare demo entries off 1979’s “Bomber” in “Lawman”, “Alligator” and “Dead Men Tell No Tales” showcase an even rawer and more intimate take on Motörhead’s iconic blend of nasty rocking and proto-metallic thunder, to the point of feeling like hearing them in some small pub during their formative years. But it’s when Eddie takes on lead vocal duties himself on “Step Down” and a variant version of “Stone Dead Forever” that things truly get interesting, as Clarke’s everyman rock vocal approach is a tad less distinctive than Lemmy’s, yet injects far more of an earlier 70s rock vibe into what is otherwise the prototypically down and dirty Motörhead sound.
The years immediately following Clarke’s unceremonious and disputed exodus from Motörhead are covered comprehensively on CD 3, documenting the highlights of the 80s hard rock staple that was Fastway. Though unforeseen label issues following Pete Way’s departure from UFO prevented him from recording any official material with this project which bore his surname alongside Clarke’s stage handle, demo recordings of “All I Need Is Your Love” and “Feel Me Touch Me” featuring him on bass kicks off this medley of classic rocking bangers, the former cooking away like a long awaited sequel to Led Zeppelin’s “Heartbreaker” and featuring the then little known Dave King dishing out a fittingly Robert Plant-like wail on top, while the latter accomplishes a similar vibe with more of an old school bluesy shuffle.
Remixed versions of groovy rockers like “Deliver Me” and “Lovin’ Fool” are among the exclusive entries to maintain Clarke’s 70s rock roots the most, alongside a ripping live performance of “Easy Living” from 2007. But wherein the spirit of this project’s era is concerned, more AOR-tinged bangers like “Trick Of Treat” and “Change Of Heart” take the cake, not to mention feature much of Clarke’s most stellar lead guitar slots post-Motörhead.
Towards the end of Eddie’s career run nostalgia became a driving force and the old days seemed to be born anew, as underscored by the solo material that rounds out the 4th and final CD of this box set. One can’t help but note the uncanny similarity that the re-recorded version of 1993 crushers “Snakebite” and “Laugh At The Devil” share with the classic days of Motörhead, the former perfectly mimicking the proto-speed metal thunder of “Ace Of Spades” and “Iron Fist”, while the latter lays on the mid-tempo heaviness something explosive and features Lemmy himself on vocals to ratchet the aggression factor further still.
Clarke’s lead guitar chops see some special moments on the down-tempo blues rock romp “All Over Bar The Shouting” and the somewhat swifter swagger of “No Satisfaction,” not to mention two of his finest moments as a vocal helmsman. Things end up reaching back to Clarke’s more progressive pre-Motörhead era via the material featuring keyboardist Bill Sharpe, though between Eddie’s crunchier modern guitar tone and more gravely vocal display relative to the vocalists he collaborated in the mid-70s, heavier rocking fodder like “Walking Too Slow” and “Heavy Load” comes off as almost metallic, while much of the other material off the 2014’s “Make My Day” album that inspired this box set’s title plays it a bit lighter and in line with old school blues rock practices.
It might seem a bit counterintuitive, but by essentially demystifying the persona of Fast Eddie Clarke via a very up close and personal posthumous compilation, a greater mystique has emerged surrounding his colossal contributions to both rock and metal. Where at first glance the music seems strictly tied to the parameters of old-school hard rock, the full picture that is presented over the course of these 46 songs accounts for the career of a guitarist who seemed to inspire so much change while basically sticking to what he knew, aided in no small part by the gravitas of the other musicians with whom he collaborated.
The accompanying biography penned by rock journalist Kris Needs and Eddie’s widow Mariko Fujiwara is no less comprehensive, charting the entirety of Clarke’s life and career, including the epiphany that drove him into the life in rock and roll during a Yardbirds concert at Eel Pie Island, the various bands he would play with before his first breakthrough with Curtis Knight, and the subsequent bouts of success with Motörhead, Fastway and his solo career. But more so than anything else, it documents the mundane and very human element of Clarke’s time with us, as underscored by the recorded salutation given by him at the beginning of the accompanying musical content like a word of encouragement from beyond this world.
Released By: BGM
Release Date: September 6th, 2024
Genre: Hard Rock / Heavy Metal
“**Make My Day: The Rock ‘N’ Roll Story Of Fast Eddie Clarke*” Track List:CD ONE: The Early Years*
- Intro – Fast Eddie Clarke
- Cloud – Curtis Knight Zeus
- The Confession – Curtis Knight Zeus
- People Places And Things – Curtis Knight Zeus
- Takin’ It Easy – Continuous Performance
- In The Morning – Continuous Performance
- White Lightning – The Muggers
- (Just A) Nightmare – The Muggers
- Summertime Blues – The Muggers
CD TWO: Motörhead
- Ace Of Spades
- Step Down (Eddie vocals)
- Lawman (Bomber demo)
- Alligator (Bomber demo)
- Dead Men Tell No Tales (Bomber demo)
- Emergency (Eddie vocals)
- Motörhead (Live)
- Stone Dead Forever (Eddie vocals)
- Iron Fist
- Bomber
- The Chase Is Better Than The Catch
- The Hammer
- Overkill
CD THREE: Fastway
- All I Need Is Your Love (Pete Way Demo)
- Say What You Will
- Feel Me, Touch Me (Pete Way Demo)
- Easy Livin’ (Live, Loudpark 07)
- Trick Or Treat
- Heft
- All Fired Up
- Change Of Heart
- Deliver Me (Remix)
- Fade Out (Remix)
- Leave The Light On (Remix)
- Lovin’ Fool (Remix)
- Sick As A Dog (Remix)
CD FOUR: The Solo Years:
- Snakebite (New Version)
- Laugh At The Devil (New Version)
- All Over Bar The Shouting
- No Satisfaction
- Make My Day (feat Bill Sharpe)
- Heavy Load (feat Bill Sharpe)
- Walking Too Slow (feat Bill Sharpe)
- Ethereal Blue (feat Bill Sharpe)
- Mountains To The Sea (feat Bill Sharpe)
- My New Life (feat Bill Sharpe)
- Over And Out
- 21st Century (Alternative Mix) – Black Electric
The post FAST EDDIE CLARKE – Make My Day: The Rock ‘N’ Roll Story Of Fast Eddie Clarke (Album Review) appeared first on Sonic Perspectives.
Considering how ubiquitous *Tony Levin’s bass playing has been in the world of rock over the past fifty years, there are relatively few albums that solely bear his name on the spine. There were a flurry of releases around the turn of the century on the Narada and his own Papa Bear record labels, but after his “Stick Man” album he went on to form the Stick Men ensemble and there hasn’t really been an opportunity for a recording under his own name since then, given the barrage of constant touring with Peter Gabriel, King Crimson, Stick Men* and others during that time.
“Bringing It Down To The Bass” is a classy way to return to his own solo discography. Extremely well-produced, well-crafted, well-performed, and well-stocked with Levin’s illustrious musician friends, “Bringing It Down” has a little something for everyone. From rock to punk to classical to prog to ambient to jazz to barbershop, Levin indulges in the wide array of styles in which he has performed over the decades. When paired with musical guests from across his career, the album starts to feel like an autobiographical retrospective of his life, and we are only too eager to listen in.
The title track is the perfect, accessible way to start the album, boasting a funky blues groove that would be at home on an Andy Summers solo album. Here we have the legendary Manu Katche on drums, Levin’s bandmate from the Peter Gabriel tours, whose always-fascinating approach to percussion balances out Levin’s active hammer-on technique. Dominic Miller, from Sting’s band, lays down some stinging guitar lines, but it’s Alex Foster on saxes who really lends the song its melodic sensibilities. Even when the song seems to finish, the band tacks on a final fresh section for a little more Foster soloing. Why stop there? We could go on for a whole album side with a band like this. Fortunately, later on, “Espressoville” hits some of the same style, only now with one of Levin’s oldest friends on drums, the venerated Steve Gadd, and Joe Caro on guitar.
More Gabriel Band alumni show up on “Me And My Axe”, including Steve “the Deacon” Hunter on guitar, alongside Larry Fast on keys and Jerry Marotta on drums. Levin introduces the melody initially, a sentimental line which is then handed off to Hunter on guitar for an even deeper exploration. The two continue to trade off the lead melody, sometimes even harmonizing with one another, as Levin ingenuously switches back and forth from being the lead player to being the rhythm section support. As one of the most soulful and melodic pieces on the album, it may appear a little too soon in the track order for maximum impact but nonetheless is a welcome highlight.
Things get dirtier as we hit the road with the “Road Dogs” and experience the daily grind of trucking, bussing, rigging, trussing, fixing, tuning, mixing & crooning while on tour. Levin’s intentionally processed road-weary voice comes in towards the end of the piece while Jeremy Stacey propels the rhythm forward. “Boston Rocks” takes it up to the level of thrash (save an ambient Chapman Stick middle section with Levin on spoken and sung vocals), Mike Portnoy now reining supreme on the drum kit and the unexpected Earl Slick on heavy punk’ish guitar, for this truly original homage to the city of Boston.
A standout track is the drum/bass duet of Vinnie Colaiuta and Levin for a short but impactful “Uncle Funkster”. More, please. Levin’s brother Pete plays keys on several tracks, too, including the humorous “Give The Cello Some” in which Tony gives Pete a shoutout in between jamming on his NS electric cello. For these kinds of songs, you need to have the mindset of enjoying Levin’s spoken word musings. It’s nothing new for Stick Men fans, but can be a surprise if you’re expecting a purely instrumental approach.
For old-school music fans (of which Levin clearly is one), flipping an album over to Side B is a long-cherished ritual. Here Levin gives more than a nod to this tradition by creating an entire song celebrating the occasion. Tracing back to his barbershop roots, Levin stacks his vocals creatively so that – even though he doesn’t consider himself a lead vocalist – his voice leaves a rich, sumptuous impression. A fretless bass solo in the middle fits right in, making this a charming interlude. Levin takes his vocal arranging even further later on for “On The Drums”, his tribute to many of the drummers he has performed with. It’s a remarkable a-cappella overview of some of the best percussionists of all time, unequivocally a must-hear track which ultimately reveals the unintended star of the song being *Tony Levin* himself, as the bassist who has played with all of these legends.
Side B boasts several other moody pleasures like the enigmatic “Beyond The Bass Clef” which finds violin maestro L. Shankar working his magic alongside Levin’s bass, Stick, and cello for one of the most magical pieces on the album. The ambient approach is embraced even more fully on “Floating In Dark Waters” which melds Robert Fripp’s signature soundscapes with Levin’s bass musings. Finally, the closing “Coda” is a gorgeous piece with Linnea Olsson’s cello casting a spell underneath Levin’s plucked bass lines.
There’s still some fire around on the second side, too. David Torn’s guitar work is absolutely scorching on “Bungie Bass”, his performance with drummer Pat Mastelotto making this one of the album’s most rewarding pieces along with Levin’s bouncy bass groove. And then there’s “Fire Cross The Sky”, a solo piece for Stick and Levin’s poetic lines written in cafes around the globe.
Although it’s taken its own sweet time to come to completion, “Bringing It Down To The Bass” carries the essence of Levin’s fingerprints spread across hundreds of recordings over the past fifty years. While not a fully comprehensive picture of all that Levin has to offer, it’s a coherent collection that sits well together and ultimately comes off as a career-celebrating retrospective, even while offering fresh, original material. Quite simply, it’s a must for all fans of *Tony Levin*, which should include just about every lover of rock music over the past half a century.
Released By: Flatiron Recordings
Release Date: September 13th, 2024
Genre: Rock, Fusion, Prog Rock
Musicians: Tony Levin / Bass, cello (3,7,9,10), stick (3,4,5,9,11), vox (3,5,7,8,11,13), piano (14) * Manu Katche / Drums (1) * Dominic Miller / Guitar solo (1) * Pete Levin / Keyboard (1-3,6), Organ (7) * Chris Pasin / Trumpet (1) * Alex Foster / Alto sax solo (1) * Jay Collins / Baritone sax (1) * Jerry Marotta / Drums (2,7), Percussion (12) * Steve Hunter / Guitar (2) * Larry Fast / Keyboards (2) * Jeremy Stacey / Drums (3) * Markus Reuter / Bridge rhythm touch guitar (3) * Vinnie Colaiuta / Drums (4) * Mike Portnoy / Drums (5) * Earl Slick / Guitar (5) * Gary Husband / Keyboard (5,9) * Steve Gadd / Drums (6) * Joe Caro / Guitar (6) * Josh Shpak / Trumpet (6) * Chris Pasin / Trumpet (6) * Don Mikkelsen / Trombone (6) * L. Shankar (Shenkar) / Violin (9) * Colin Gatwood / Oboe, English horn (9) * Pat Mastelotto / Drums (10) * David Torn / Guitar (10) * Robert Fripp / Soundscape (12) * Linnea Olsson / Cello (14) * Bess Brydolf* / Cello (14)
“**Bringing It Down To The Bass**” Track List:1. Bringing it Down to the Bass
2. Me and My Axe
3. Road Dogs
4. Uncle Funkster
5. Boston Rocks
6. Espressoville
7. Give the Cello Some
8. Turn It Over
9. Beyond the Bass Clef
10. Bungie Bass
11. Fire Cross the Sky
12. Floating in Dark Waters
13. On the Drums
14. Coda
Order “Bringing It Down To The Bass” HERE****
The post TONY LEVIN – Bringing It Down To The Bass (Album Review) appeared first on Sonic Perspectives.
There is no doubt that Leprous is one of the most formidable powerhouses at the forefront of the modern progressive music scene. From their explosive 2009 debut “Tall Poppy Syndrome” to 2021’s bombastic art-pop driven “Aphelion,” Leprous have spent more than a decade and a half carving themselves a place in the annals of progressive music history. Their notoriety comes in part from their marked growth over the years, particularly as they have challenged the boundaries of what it means to be a truly progressive act in the modern scene, growing and evolving their sound with each passing year. This hunger and ambition have resulted in a discography like no other, a catalog of triumphs that is now to be joined by the masterfully melancholic “Melodies of Atonement.”
“Melodies of Atonement” is a gut punch that bleeds into delight. This is undoubtedly Leprous in top form, the image of a band that is using all of its resources and skill to push the limits of its sound and elevate the listening experience through increasingly accomplished songwriting and production. This is an album that proves Leprous refuses to stagnate. Darkness saturates otherwise bright melodies as Leprous dives headfirst into an opus that is filled to the brim with the band’s unique brand of progressive despairing. And while it might not satisfy the fans who are still clamoring for the reprise of “Tall Poppy Syndrome” – a dream which has long been laid to rest by Leprous’ own admission and the clear departure from their earliest sound – this album is a satisfying and complete piece of art that is certain to entertain existing fans while drawing in new ones.
Plunge deep beneath the waves with the opening track “Silently Walking Alone,” a powerful song that sweeps the listener off their feet with crushing vocals and melodies that swell in fervent abandon. This undercurrent of intensity is characteristic of the sound that defines “Melodies of Atonement,” a vocal-forward album that is laden with emotion from Einar Solberg’s distinctive voice. Similarly balanced between beauty and melancholy is “Faceless,” again channeling a sense of despair that ebbs and flows between Baard Kolstad’s thunderous drums.
“Melodies Of Atonement” Album ArtworkThe oft-minimalist soundscapes elevate the technical mastery of both Tor Oddmund Suhrke and Robin Ogdenal on guitar. “Atonement” takes its ominous sheen from Suhrke’s practiced hand, each note driving home the thematic darkness that permeates across the track and the album as a whole. Songs that begin with a brooding, even somber atmosphere then build and grow into dramatic, sky-shattering epics that are teeming with the progressive groove that Leprous achieves with exemplary skill. One such track is “My Specter,” which aptly begins with a haunting, monochromatic meandering. As Solberg and Kolstad dig in their heels, this track makes its ascent toward a soulful, vibrant, and enduringly heavy climax.
The haunting, somber pallor cast over “Melodies of Atonement,” that artful composition that makes it feel like the world is cast in a wash of pouring rain, is the chilling synth that sinks its teeth into every song. At some times, such as in “I Hear the Sirens” and “Starlight,” it is the synth that drives the all-encompassing nightfall. It is cinematic yet subdued, relying on motifs and repetition, and prioritizing intention rather than excess. While it does feel like the forays into minimalism stumble on a touch too long, such as in “Limbo,” each track and passage serves a distinct purpose in the story that unfolds as the album progresses. There are moments where listening feels like standing on a beach at midnight, the bass like a sliver of moon in the black sky above, and every new wave of synth-soaked sincerity crashing like a wave of cold water. As for the album’s warmth, is hard-fought with obvious passion and carefully constructed melodies. “Unfree My Soul” is a paragon of this euphoric experience.
Leprous excited fans when they promised that this album would be the heaviest that the band has released in a long time, and it certainly does not disappoint in that regard. This heaviness is exemplified by the massive “Like A Sunken Ship.” Solberg’s roars are chilling and raw, and each verse is tied to the next with a heavy rhythm section that pushes back against the vocals in an artistic battle for power. These harsh vocals are a welcome surprise and give an immense sense of flavor and variety to an album that is steeped in a sense of doom-tinged familiarity. It also shows that while Solberg has made a name for himself with soaring, nigh-angelic crescendos, his talents range far and wide. And it is Solberg’s dramatic, emotional, and frequently anguished voice that gives Leprous such a biting edge. “Like a Sunken Ship” is a highlight of the album and a true exemplar of skill from all of Leprous’stalented musicians.
“Melodies of Atonement” is a delightful, stripped-back, and distinctly emotional step in Leprous’ career. It may not reach the cinematic heights achieved in “Aphelion,” but it dials up the brooding shadows that began to grow in “Pitfalls.” The entrenched bass lines and heartbeat of Kolstad’s drums add heaviness that was definitive of the band’s heaviest albums, including moments reminiscent of “Bilateral.” While it is true that this album is more minimalist and with lots of open space for subtle repeating themes, this is what helps this album feel more intimate and personal than Leprous has ever sounded before. Unsettling and comforting, light and dark, enthralling and sobering, “Melodies of Atonement” is a superb artistic journey that solidifies Leprous’s place at the top.
Released By: Inside Out Music
Release Date: August 30th, 2024
Genre: Progressive Rock
Musicians: Einar Solberg / Vocals and keys * Tor Oddmund Suhrke / Guitars * Robin Ognedal / Guitars * Simen Børven / Bass * Baard Kolstad* / Drums
“**Melodies Of Atonement**” Track List:1. Silently Walking Alone (04:05) 2. Atonement (04:49) 3. My Specter (03:55) 4. I Hear The Sirens (04:31) 5. Like A Sunken Ship (04:04) 6. Limbo (05:56) 7. Faceless (06:25) 8. Starlight (06:09) 9. Self-Satisfied Lullaby (06:21) 10. Unfree My Soul (05:21)
Order “Melodies Of Atonement” HERE****
The post LEPROUS – Melodies Of Atonement (Album Review) appeared first on Sonic Perspectives.
To the metal-faring world at large, vocalist Simone Simons is largely synonymous with Epica. Likewise, the symphonic metal band Epica is inextricably intertwined with the persona of its frontwoman Simone Simons. Imagining them separately is like imagining AC/DC without Angus. In fairness, Angus is arguably more adorable, with the hat and shorts.
That being said, it is a marked departure from much of the last twenty years of the metal world when Ms. Simons announced she was working on a solo offering. Although she is obviously a key stakeholder in the symphony known as Epica, she still felt a yearning to do something outside the usual Epica paradigm, and something more purely a personal expression. While this already might have been worth tracking on the radar, what really elevated the DEFCON level was the announcement that prog/metal concept album juggernaut Arjen Lucassen (Ayreon, Star One, and much more) would be principal composer and songwriting partner to Simone. Now people were paying attention. So is it some kind of Epica Ayreon hybrid album? Let’s see.
The album opens with a synth montage and guitar riffage with the almost Indian phrasings found in Anneke and Arjen’s “Shores of India.” The song is entitled “Aeterna,” and after some initial verse structure from Simone, huge layered choral parts come in to already make it feel symphonic and huge. About two to three minutes in, Simone dials back the action a little for some more reserved delivery, while layers of Arjen synth do things like we were used to in his “Human Equation” album. Strangely, around 3:30, things shift to more of a funky clubbing EDM beat before getting right back into the arpeggiated delayed Arjen grooves, albeit with some huge symphonic chorus bits and percussive foundations. Simone spends the last minute delivering her signature vocals in show-ready form, expressing much of her range in a short time. As a track, it does not do anything, especially outside the box like guitar solos or expeditions into prog town, but it is a very strong track exhibiting groovy fun songwriting with some neat tricks. As album openers go, this is a strong one.
“In Love We Rust” is a low-tempo brewing storm that begins with a ponderous synth kick drum and bass guitar approximations while Simone presents slow expressive vocals with a tale of love lost. The titular chorus with its post-effect delay on “Rust” set to the song tempo, presents something akin to older Ayreon songs about tragedy and loss, and yet, it’s something a bit new unto itself. There’s sort of a Floyd-meets-Gabriel thing happening here too. Thankfully, around 3 minutes in, we are treated to an unmistakable Arjen guitar solo with his fingerprint vibrato and tremolo technique, which is a really nice trip back to some of our favorite “Electric Castle” and “Universal Migrator” moments. Simone emerges from the solo ready to match it in intensity, and she belts it out very well.
The third track, “Cradle to Grave,” is industrially heavy, ready to put attitude on display, but we knew it was Arch Enemy’s Alissa White-Gluz at the first growl. Wow, what a counter-balance. Of course, Alissa is more than able to complement Simone on the “pretty” parts, but when it’s time for the beast to come out, Alissa comes off the leash with fangs bared. The song is cool, if extremely straightforward. It is a vehicle for the contrasting Simone–Alissa duet, heavy as hell, and it does its job well.
“Vermillion” Album ArtworkThis is followed by “Fight or Flight,” which aside from some signature Arjen guitar bits, is something of a departure from the rest of the album, without much of the DNA of either artist’s own bands. It opens with very low-gain guitar, plucking out a chord similar to the opening of Metallica’s “One,” albeit tweaked enough to not be overly derivative. As this drones on, with other synth elements swirling about, and occasional percussive elements, Simone leads with some non-lyrical vocalizing, before entering into verse about fear, confrontation, confession, and acceptance. Musically, this is a song very much crafted to showcase Simone’s talents without excessive distraction, although about 3 minutes in there is a nice instrumental bridging section that hearkens to Star One material. There are also a few nice violin pieces that somehow walk the line between folk fiddle and classical strings. The layers of stacking vocal harmonies at the end are almost like some of the character interactions in Arjen’s “Human Equation” album when breakthroughs of consciousness occur in the story.
“The Weight of My World” comes in feeling like an unused B-side from Rob Zombie Studios, until Simone comes out of nowhere sounding like Tarja. There’s a cool brief guitar solo in the middle, followed by some weird megaphone spoken word in… Deutsch? Netherlands? It would be interesting to know. Sounds like someone is being called Schweinhund, which is not generally complimentary. At this point, Tarja-mode is re-engaged before Standard-Simone returns to wrap up this somewhat genre-bending little rocker.
The title track, “Vermillion Dreams,” opens up with some very angry cello-chugging amidst some other cluttering noise to make it all feel a bit dystopian. Suddenly things ease back a little bit, and it’s time for Rhodes keyboards and some “No Quarter” vibes. After some nice vibey noodling, Simone takes a moment to fill the silence with some quasi-operatic delivery, paired with occasional ominous whispers. When drums and guitars return, it’s step one in merging Simone’s vocal themes with the emerging melody. When the snare becomes percussive, in time with the staccato distortion chords, it’s stage two in building the song up. After one more somewhat reserved verse section, the last 45 seconds are a roaring crescendo of drums, guitars, keys, and layers upon layers of vocals until a bombastic finish.
To get things back to a more typical metal format, “The Core” is chunky on the riffs from beginning to end, starting immediately with Mark Jansen’s signature growls from the Epica side of things. In fact, it’s this pairing that makes the chorus “We’ve gotta get back to the Core,” a layering of Mark’s growls with Simone’s operatic highs, a centerpiece of this little romp. While “Dystopia” is a fine track on its own, it may be one of the less eventful pieces of the album. Perhaps appropriately, the song is a bit like Arjen’s “2084,” also an alright song on its own, but on the “Universal Migrator” album it was just meant to be a stepping stone in telling the story of humanity and the protagonist on Mars. That being said, the last minute of the song does boil to an apocalyptic finish, so it remains a worthwhile component of the album.
The penultimate track, “R.E.D.” is an industrial grind, deriving its power from synth percussion and other groovy keyboard elements, but the real juice comes from Mark’s returning growls and the massive chorus pieces from numerous singers. Of course, it does not hurt that Simone likes to push her vocal cords on this one and really go for the rafters. Red Equals Danger indeed.
Clearly, Ms. Simons wanted to get all the heaviness out of her system on the previous track, because “Dark Night of the Soul” is a bittersweet little slice, and if it was her intention to end this album with something timeless that can forever be taken seriously, this was a formidable composition to that end. The ear is treated to a string quartet and grand piano from beginning to end, and Simone uses her voice to create a truly haunting presentation.
While there was obvious evidence of Ayreon throughout this album, and to a lesser extent some Epica influence, it is clear that the answer is “no.” This album is not an Epica–Ayreon hybrid. It is something new and unique, and one might reasonably assume that was Simone’s goal all along. Comparing this to Epica is like comparing Floor Jansen’s ReVamp to Nightwish. Same singer, absolutely a different animal altogether. From the Arjen side of things, compositionally there are moments it could be argued this might be more like his 2005’s Stream of Passion than actual Ayreon, and considering his formerly teal HM-Strat wielding gal-pal Lori Linstruth (former HM Strat, still gal-pal) from Stream of Passion was involved in this new Simone Simons album, it sort of checks out.
This leaves us with a bit of a quandary. Like the age-old metaphor of the fish riding a bicycle, yes, it’s nifty and all, but now what? If this was really an Epica–Ayreon hybrid, the metrics would be simple enough. Did the album capture the best of both worlds to resounding success, or did it fail to do so and end up less than the sum of its parts? Well, in this case, it is not quite so simple. Arjen and one of his favorite old Ayreon collaborators Simone Simons have done something unique. It would be easy to say “It’s up to your personal tastes whether you like it,” but you would say “no shit” and be 100% right.
If you like Simone at all, this is some of her better work, and it is recommended you check it out. If you are die-hard into progressive music, it might not quite satisfy your particular itch. The writing is a bit more grounded. The songs are typically 4 minutes long and do not go overboard with Michael Romeo or John Petrucci arrangement. While there is a good variety of styles to be found here, what the songs generally have in common is that they get in, they showcase Simone doing some nice singing, and they get out.
That being said, this makes the album very accessible. Fans of the genre, especially the female-fronted scene in particular, should check it out because even if it doesn’t usually have the Tuomas Holopainen stylings of Nightwish, the songs are highly listenable. Production and mix are great without being overdone, and the singing and overall musicianship are commendable. While it is a bit of a platypus, there’s something here most people would appreciate, and should give this one an appropriate listen.
Released By: Nuclear Blast Records
Release Date: August 23rd, 2024
Genre: Progressive Metal
Musicians: Simone Simons / Vocals * Arjen Lucassen / Guitars, Keys * Koen Herfst / Drums * Rob van der Loo / Bass * Mark Jansen / Growls on “The Core” and “R.E.D.” * Alissa White-Gluz / Vocals on “Cradle to the Grave” * Joost van den Broek / Piano on “Dark Night of the Soul” * Perttu Kivilaakso / Cello on “Dark Night of the Soul” * John Jaycee Cuijpers / Backing vocals on “Aeterna” * Ben Mathot / Violin on “Aeterna” and “Fight or Flight” * Jurriaan Westerveld* / Cello on “In Love We Rust”, “Cradle to the Grave”, and “Vermillion Dreams”
“**Vermillion**” Track List:1. Aeterna 2. In Love We Rust 3. Cradle To The Grave (feat. Alissa White-Gluz) 4. Fight or Flight 5. Weight of My World 6. Vermillion Dreams 7. The Core 8. Dystopia 9. R.E.D. 10. Dark Night Of The Soul
Order “Vermillion” HERE****
The post SIMONE SIMONS – Vermillion (Album Review) appeared first on Sonic Perspectives.
Yes fans rejoice. For those waiting for high vibrations to go on from Jon Anderson – imbued with the spirit of Yes in their arrangements – “True” is the answer you’ve been waiting for. Let’s cut to the chase right in this first paragraph: this new album is easily the most accomplished Yes-inspired release that Anderson has released in 20 years (since “Magnification” and “The Ladder”), and perhaps the best album he has appeared on not being attributed directly to Yes.
“True” is to Jon Anderson what “Rio” is to Trevor Rabin. “Olias of Sunhillow” notwithstanding, there are only a couple of albums in his solo catalog that approach the degree of maturity, performance, and sheer delight that “True” holds. There likely won’t be an Anderson fan out there who won’t adore this album.
With that said, let’s dive into the history and details of this new album. Most will already be aware that in 2023 Anderson called up The Band Geeks and asked them to go out on the road with him for a short tour. After a triumphant run, playing some of Yes’ most challenging material, fans were elated. Although the obvious reality was that Anderson was gigging with a literal cover band, no one seemed to mind. Rather, there was relief and even celebration that he was aligning with musicians who could play this material on the same level as 70s-era Yes.
Look, no one can truly replace Steve Howe or Rick Wakeman, and given my preference I’d rather hear Anderson playing and creating new music with those guys, amongst others. But since that’s not in the cards, Anderson is finally moving on and making the “Yes album” he has been wanting to make with Howe for the past decade. In The Band Geeks – particularly Richie Castellano, Andy Ascolese & Christopher Clark – Anderson has discovered extremely talented and creative musicians with whom he can not only play classic Yes material live but write exciting new music with that Yes DNA. “True” is the triumphant result.
After 2023’s summer tour was complete, Anderson surprised band leader Castellano with the request to collaborate on new music for an album. Although Anderson writes music every day, he seems to have a penchant for not completing his creations into a fully realized album for general public consumption. His garage must have dozens of albums awaiting completion, the material for “1000 Hands” being one prime example (which was only completed thanks to the tenacious efforts of producer Michael Franklin).
Photo by Michael KravetskyFortunately, he seems to have picked a worthy collaborator in Castellano, who not only dove right in to create & arrange songs with Anderson, but actually finished and released a full hour of music within a year’s time. What’s truly remarkable is just how good the songs herein have turned out. One would expect this kind of writing, arranging, recording, and production to take multiple years, making the speed of this release all the more impressive.
Musically speaking, “True” is most aligned with the album “The Ladder”, though influences from the Rabin years and classic 70s Yes shine through on every track, along with vibes of Anderson’s solo career. Most people reading this will already have heard the first two singles. “Shine On” is a sunny rocker, a pop hit-in-waiting, calling to mind “Talk”-era Rabin material. Filled with positive lyrics, multi-layered vocals, and flashy instrumentation, it likely surprised many with its energy and enthusiasm. “True Messenger” takes the listener deeper into the Yes lineage, with bulked-up musical muscle and Anderson’s spiritually-infused lyrics sailing strongly out of his mouth, this is Yes music for the 2020s, just like “90125” was for the 80s, and “Keys” and “The Ladder” were for the 90s. An unexpected dirty guitar solo at the end underneath Anderson’s incantation prayers seals the deal. Those two songs alone would make this new album worthy of celebration. But they are not the best material on “True”, not by a long shot.
“Counties and Countries” has been floating in Anderson’s head (and sometimes on stage with an acoustic guitar) for a while but on “True” it finally receives a fully fleshed-out version. Orchestral flourishes, Hammond organ and synth solos, soaring slide guitar, propelling bass, and – most importantly – strong melodies from Anderson, make this piece a wonder to take in. At nearly 10 minutes, “Counties” is a mini-epic in the tradition of “Starship Trooper”, and certainly one of several highlights on the album, getting better and better with each listening. The arrangement includes powerful changes in dynamics, with the orchestration calling to mind the earliest days of the band when they would cover “Something’s Coming” or “America”. Wow, it’s becoming apparent that something special is going on here.
“Still A Friend” and “Make It Right” are shorter than “Counties” but no less powerful. Castellano’s bass is a powerhouse throughout the album, always bringing to mind Chris Squire in spirit but still serving the flow of each song. “Still A Friend” is propelled by the bass during the first half of the song, keyboard runs reminiscent of “Homeworld”, backing vocals adding layered texture to increase the energy, up until a transcendent break at the 3-minute mark where slide guitar (sounding nearly like Howe’s pedal steel) sweeps in: “We are the dream that happens time and again, you are the sky that sings that song to me, you are the love that happens time and again, you are the ocean that I see every day…” Classic Anderson at his best.
“Make It Right” opens with classical guitar, including tremolo picking, a beautiful contrast to the more symphonic moments on the album. In a lilting 3/4 time, the first half is reminiscent of Anderson’s song “Boundaries”. As flavors of accordion and ultimately organ join in, Anderson builds to a wonderful chorus that even has a choir of voices joining in for a moment. The piece ends seamlessly segueing into “Realization – Part Two” (how prog is that? No one has any idea where “Part One” is) which is a beautiful shorter acoustic piece. Featuring bouncy fretless bass, excellent support vocals, and a couple of classic Jon “Woo!”’s, it’s as joyous as some of the acoustic material on “Song Of Seven”.
As good as all of these songs have been, the 16-minute-plus “Once Upon A Dream” still awaits. Here Anderson and The Band Geeks pull out all the stops, aiming for an epic that approaches “Awaken”’s grandeur and scope. They just might have succeeded, too. Building on a one-note vocal lyrical sequence – a nod to “Revealing Science of God” – the band patiently builds the tension with symphonic touches and the drumming of Andy Ascolese. The epic boasts numerous sections, during most of which Anderson is singing, meaning that there are not a lot of extended instrumental passages. But fear not, unlike some of his solo recordings (and some of his work with Roine Stolt), the emphasis here is on strong melodies. From the ethereal “Awaken”-like atmospheres in the middle to the roaring “CTTE”-ish church organ solo with accompanying rowdy bass, the song is familiar yet fresh. A triumphant centerpiece for the album.
There are a couple of gentler songs as well: “Thank God” is a love song for wife Jane where Anderson recounts how he literally saw her in his dreams before meeting her. While a song dedicated to his wife seems inevitable on every Anderson release, this one is done quite well and features a potent chorus. Even better is “Build Me An Ocean”. With an initial foundation of piano and acoustic guitar, this song once again demonstrates how skillfully The Band Geeks can accompany and flesh out Anderson’s vision into something truly moving.
It has to be said that on these two songs, Anderson’s voice sounds a little weaker and a wee bit frail, more similar to the years after his health crisis when he recorded “Survival & Other Stories” and “Open”. His voice still retains his beloved tone, there simply is a little less force there than even five years ago on “1000 Hands”. This likely is just one of the few places that Anderson shows his 80 years, though his live concerts continue to impress and belie his age. In addition, the more upbeat pieces on the album find him sounding in as strong a voice as ever, sometimes thanks to multi-tracked layered arrangements.
“True” is extremely well produced, balancing the wide range of instruments and dynamics, while importantly keeping Anderson’s vocals at the fore. Castellano knows how to bring out the best from Anderson in the recording studio so that he sounds vital, relevant, and inspired. There was much controversy over the whimsical album cover design, but please don’t let that impact your experience in any way. Simply put, “True” is a wonder to behold and a late-entry highlight in Anderson’s storied career.
Released By: Frontiers Music SLR
Release Date: August 23rd, 2024
Genre: Progressive Rock
Musicians: Jon Anderson / Vocals * Richie Castellano / Bass, guitar * Andy Graziano / Guitar, bass * Rob Kipp / Guitar, keyboards * Andy Ascolese / Drums * Chris Clark* / Keyboards
“**True**” Track List:1. True Messenger
2. Shine On
3. Counties and Countries
4. Build Me an Ocean
5. Still a Friend
6. Make it Right
7. Realization Part Two
8. Once Upon a Dream
9. Thank God
Order “True” HERE****
The post JON ANDERSON & THE BAND GEEKS – True (Album Review) appeared first on Sonic Perspectives.
The apocalypse turns melancholy.Though which pioneering act of the Gothenburg melodic death metal movement of the 90s is an open question, few will argue that Dark Tranquillity was anything other than the most stylistically and qualitatively consistent adherent of the original Big 3.
In fact, the most enduring criticism of their output has been that they’ve stuck so close to their roots that they’ve all but become the melo-death equivalent of AC/DC, at least insofar as their output since 2007’s “Fiction” is concerned. The reality naturally proves this sentiment to be hyperbolic, as each album since the mid-2000s has come with a number of lineup changes and controlled fits of evolution that have resulted in a unique final product, albeit one that rests comfortably within the hard-hitting, yet melancholy blend of atmospheric, old school heavy metal and occasional post-rock influences. This quintet’s latest offering “Endtime Signals” proves no exception in this regard, and provides an expansive view into the cold and grey world of Dark Tranquillity’s signature sound.
Continual shifts in this outfit’s membership play a fairly sizable role in how this excursion into the fatalistic differs from its immediate predecessor, namely 2020’s “Moment.” The switching out of the previous rhythm section in favor of Grand Cadaver bassist Christian Jansson and ex-In Mourning drummer Joakim Strandberg-Nilsson is particularly noteworthy as the general dimension of the arrangement has become fairly heavier and darker despite the same production crew being in place.
Likewise, the exodus of former Arch Enemy guitarist Christopher Amott has left Johan Reinholdz, originally billed as the rhythm guitarist when originally entering the lineup with Amott in 2020, to handle all guitar duties. This proves to be of little consequence in terms of the amount of solo content as Reinholdz has long been a competent lead player via his prior and ongoing work with Andromeda and Skyfire, but his stylistic approach does feel a tad more linear and idiomatic than Amott’s.
But barring an upgrade in the impact department and a few variations in how the peripheral ornamentation of each song emerges, the core sound that has dominated Dark Tranquillity’s work for the better part of two decades remains essentially the same. One can’t help but hear a near-instant commonality with the dreamy character of “Moment” when the fuzz-steeped guitar intro of the opening entry “Shivers And Voids” gives way to a mid-paced roar with a dense, melancholic atmosphere.
“Endtime Signals” Album ArtworkSome of the more expansive tracks on the album, like “Our Disconnect,” and the moderately paced yet ethereal pieces such as “One Of Us Is Gone” and “False Reflection,” where Mikael Stanne swaps his iconic growl for a deep, Gothic baritone, share a similar mood. In truth, Stanne emerges as one of the most compelling aspects of an otherwise introspective and melancholic experience. His gravelly roars not only signal the direction of each song but also enhance the rich, layered atmosphere crafted by longtime keyboardist Martin Brandström‘s haunting orchestrations.
Though generally a consistent restatement of a familiar sound, this is an album that ratchets the aggression factor up considerably to a level that hasn’t been heard since 2007’s “Fiction.” Mad thrashing cruisers like “Unforgivable” and “Enforced Perspective” slam the pavement with the same degree of intensity that one would have expected from the seminal days of At The Gates and The Crown, recalling the style’s old-school death metal roots between frenzied drum work and neck-ruining riff work, with Reinholdz’s lead work shredding up the fret-board something fierce.
“Drowned Out Voices” and “A Bleaker Sun” lay down the guitar-driven carnage in no less aggressive a fashion, though taking more breaks in the mid-paced territory to allow the keyboards and guitar melodies to sing sorrowfully. But where this album truly shines and breaks away from the last few to come out of the Dark Tranquillity arsenal are “Neuronial Fire” and “Wayward Eyes”, which brilliantly merge this album’s swifter tendencies with a solid array of infectious hooks, reaching further back into this veteran act’s past to the days of “Haven” and “Damage Done,” albeit draped in slightly more keyboard-driven ambience.
Those fortunate enough to get their hands on the special edition release of this album will be treated to two additional banger entries in “Zero Sum” and “In Failure” that further bolster this album’s contingent of moderately up-tempo and well-rounded anthems cloaked in dense keyboards and featuring occasional technical gymnastics between the drums and Reinholdz’s six-string work.
Apocalyptic undertones aside, “Endtime Signals” is the sort of album that provides a brighter and more animated shade of grey to go with any mournful metalhead’s listening diet, covering all the obligatory bases that the melo-death rank and file have come to expect. The title might be focused on the end of all things, but hopefully, this won’t be the final word of this longstanding Gothenburg’s metal institution.
Released By: Century Media Records
Release Date: August 16th, 2024
Genre: Melodic Death Metal
Musicians: Mikael Stanne / Vocals * Johan ReinholDz / Guitar * Martin Brändström / Keyboards * Christian Jansson / Bass * Joakim Strandberg Nilsson* / Drums
“**Endtime Signals**” Track List:1. Shivers And Voids 2. Unforgivable 3. Neuronal Fire 4. Not Nothing 5. Drowned Out Voices 6. One Of Us Is Gone 7. The Last Imagination 8. Enforced Perspective 9. Our Disconnect 10. Wayward Eyes 11. A Bleaker Sun 12. False Reflection 13. Zero Sum 14. In Failure
Order “Endtime Signals**” HERE
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The way of the warrior is no laughing matter.In this day of shifting allegiances, the fragmenting of an iconic metal staple is often the precursor to another potential one being born. The specific case of one of Germany’s most celebrating 2000s folk metal titans Equilibrium falls neatly into this eventuality, as a sudden and rather jarring stylistic shift into metalcore territory on 2019 opus “Renegades” had many fans scratching their heads.
The subsequent departure of then-lead vocalist Robert-Martin Dahn, whom had been credited under the pseudonym Robse, would lead to what one might dub a return to form under the banner of a newly minted project bearing said vocal helmsman’s aforementioned stage name. Now with a comparably competent and massive flock of instrumentalists to that of his former band, Robse has unleashed an album that both stylistically and in terms of scope embodies what many likely hoped “Renegades” would have been in “Harlekin Und Krieger.”
Though this band shares many expected parallels to Dahn’s 12-year run with Equilibrium, it should be noted that it is not a carbon copy thereof. The riffing of guitarists Oliver Hay and Dennis “Blaze” Baron, and even the generally heavier tone of the entire arrangement points to a greater affinity with the old Gothenburg style and the early works of subsequent Swedish melodeath trailblazers Arch Enemy and Amon Amarth.
Likewise, Dahn’s generally deeper and traditionally grounded guttural bark lands a little closer to what Johan Hegg might have brought to this project had he been tapped for it. Throw in the keyboard and occasional lead vocal input of Alina Lesnik and some Celtic-like melodic hooks into the arrangement, and what emerges is something that’s a tad more technically intricate musically speaking, though perhaps a tad less cinematic and pompous as prior Equilbrium‘s masterworks like “Rekreatur” and “Erdentempel” and perhaps a little closer to what Suidakra has been up to of late.
For an album that leans a little closer to the traditional side of the melodic death metal coin, things begin untraditionally and occasionally veer into some unexpected places. The album’s cinematic and synthesizer-heavy prelude “Sonata Arlecchino” seems to draw the most from the inspirational well of Hans Zimmer’s modern film score work, but has a somewhat whimsical and carnival-like character that plays to the album’s title.
“Kleine WeiBe Friedenstaube” lands hard with a pummeling riff set, but the vocal input of comedic metal act Knorator’s frontman Stumpen recaps the previously noted carnival aesthetic and almost feels avant-garde in demeanor. Likewise, the serene balladry and dense symphonic air of “Lied Der Nacht” sees Lesnik dominating the vocal fray and turning things towards a hybrid of old-school Nightwish-brand melancholy and an occasional 90s Gothic/doom shtick when Dahn’s dark growls enter the fray.
Yet barring the aforementioned exceptions and a somewhat more densely orchestrated atmosphere via semi-frequent keyboard employment, this is an album born of a straightforward formula. Sometimes the flavor of things veers a little closer to Dahn’s earlier tenure with Equilibrium like on the grandiose and high-octane “Flamme Der Revolution” and the folksy mid-paced crusher “Von Der Schenke Zur Taverne”, which prove to be two of the more distinct offerings of the bunch.
But for the most part, whether it’s streamlined riff machines with a melodic bent like the title entry “Harlekin Und Krieger” and the somewhat darker, mystical, and more war-like “Amenthes”, or overt throwbacks to the 90s Swedish melodeath craze in “Hey Sturm”, it’s pretty clear that Robse is playing in similar territory to the one that was occupied by At The Gates and In Flames circa 1995. That being said, this album truly hits its qualitative stride when merging this more traditional approach with the previously noted symphonic character of Dahn’s past work with Equilibrium, which comes to a head on the riveting and epic final hurrah “Viva La Caida”.
For a band that takes its name from its lead vocalist’s past with another group, Robse has done an impressive job of forging a distinctive identity. Fans of melodic death metal will recognize the familiar tones, but they’ll also find something refreshingly bold and adventurous here. The band deftly sidesteps the pitfall of becoming too experimental, avoiding the risk of alienating its core audience—a mistake that contributed to the mixed reception of Equilibrium‘s previous album.
Yet, what truly sets this band apart is its dynamic blend of somber and humorous elements, creating a listening experience that’s as thrilling as a rollercoaster ride. While the sound may still need some fine-tuning in future releases to reach its full potential, it already showcases a level of skill and confidence typically found in more seasoned acts. The theme of war, historically a serious subject that has nonetheless provided endless fodder for comedians, is cleverly transformed by this group into a compelling musical journey.
Released By: Reaper Entertainment
Release Date: August 16th, 2024
Genre: Melodic Death Metal
Musicians: Robert-Martin Dahn / Vocals * Oliver Hay / Guitars * Dennis “Blaze” Baron / Guitars * Alina Lesnik / Keyboards, Vocals * Marius Berendsen / Drums * Marco Paulzen* / Bass
“**Harlekin Und Krieger**” Track List:1. Sonata Arlecchino 2. Harlekin und Krieger 3. Hey Sturm 4. Amenthes 5. Aus dem Gleichgewicht 6. Von der Schenke zur Taverne 7. Kleine weiße Friedenstaube 8. Lied der Nacht 9. Nostalgia 10. Flamme der Revolution 11. Viva la Caida
Order “Harlekin Und Krieger**” HERE
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Their vengeance is assured.Classics age like fine wine and that goes doubly so for the bands that forge them in the face of open resistance and adversity. Such has been the journey of traditional metal stalwarts and often lauded forbearers of the 2nd wave of power metal and NWOTHM waves HammerFall.
Having been conceived in the mid-90s when the genre was at its nadir in the public’s eye and blazing an impressive trail to their own worldwide success and that of many others, their adopted theme of crusading knights marching to victory is nothing else if not a fitting one. But even more impressive than their initial ascent to the glorious summit of metal heroism has been their staying power in light of a stylistic approach that has seen very few evolutionary strides over their more than 30 years in the business. The arrival of their latest and 13th studio album “Avenge The Fallen” is thus an expected exercise in business as usual, though in the best sense when considering the quality of work contained within.
To those not initiated in the ways of these veteran proponents of the templar way, accessible songwriting under the stylistic influence of noted titans of the 80s such as Judas Priest, Accept, Saxon, Iron Maiden and Manowar, combined with an added emphasis on melodic fanfare is the order of the day. The riff work laid down by founder and rhythm guitarist Oscar Dronjak (formerly of Swedish melodic death metal pioneering act Ceremonial Oath) tends towards the rustic yet hits with the same impact as when the original axe-slingers of yesteryear first introduced the art to the masses, while longtime lead guitarist Pontus Norgren is far from shy about tearing up the fretboard in a tastefully concise yet technically impressive manner.
The combined battery of veteran bassist Fredrik Larsson and relative newcomer and ex-Stormwind drummer David Wallin is similar to the point but exudes a level of force that few could hope to rival. Yet when all is said and done, the highly distinctive and borderline squeaky clean tenor of frontman Joacim Cans is what routinely steals the show, bringing the band’s lofty shtick of olden tales to life via a veritable bard’s voice.
Arguably the most impactful and unmistakable part of this band’s formula is the mighty gang choruses that often accompany Cans’ voice, and this album exploits this stylistic feature to the fullest. Case and point, the towering mid-paced banger of a title entry and lead-off song “Avenge The Fallen”, which kicks off with a thunderous horn call that is immediately chased by a massive choral chant in response that might as well be a competing brass section. Though among the shorter and more straightforward entries out of HammerFall’s arsenal, it’s definitely one for the ages and could stand toe toe-to-toe with several similarly slower and heavier entries during Manowar’s 80s heyday.
Other entries that trudge a comparably moderate-paced and heavy-as-hell path include the album’s leadoff single “Hail To The King” and the haunting and measured gallop of “Capture The Dream”, which trade simplicity in the riff department with colossal chorus sections that are primed for the many arenas that this quintet is sure to be frequenting in the coming weeks.
“Avenge The Fallen” Album ArtworkNaturally one does not live by radio-oriented bangers alone, and there is a healthy variety of metal expressions to be found among these anthems within this outfit’s stylized format. Those speed hounds that crave the high-octane goodness that typified “Glory To The Brave” and “Legacy Of Kings” are sure to be satiated by the swift and majestic air of “The End Justifies” and “Hero To All”, the former raging the fastest yet featuring a brilliantly placed atmospheric interlude with Cans’ voice bordering on an ethereal croon, while the latter sees Norgren’s lead work flirting with Malmsteen territory.
“Burn It Down” also keeps the tempo raging while going a tad darker and heavier, with Dronjak and Norgren’s riff work occasionally flirting with melo-death territory, while the swift and ultra-catchy cruiser “Rise Of Evil” lays on the hooks like the de facto sequel to 2000’s “Renegade”. The epic blend of keyboards and occasional flirtations with power balladry featured on closer “Time Immemorial” are also noteworthy, as is the folksy yet heavy stomp of “Freedom” and the poignant blend of melodic and mystique of token ballad “Hope Springs Eternal”.
Much like HammerFall’s 2019 fit of majesty “Dominion” and their classic lineup’s 2006 final hurrah “Threshold,” “Avenge The Fallen” is an album that hearkens about as close to their glorious first trifecta of albums as possible without becoming one of them. It comes with a slightly more cinematic feel courtesy of several prominent keyboard-driven segments, and it’s definitely the most massive in terms of production relative to what has preceded it.
Yet when all things are properly considered, this is largely a recap of the same formula that this band has brought to the table since the 90s, distilled into something a bit more in line with present-day studio practices, but otherwise a pure stylistic throwback to what metal was when it had conquered the world in the 1980s. Some tales bear repeating, and with the level of enthusiasm and fervor that HammerFall has continued to bring, it’s a sure bet that.
Released By: Nuclear Blast Records
Release Date: August 9th, 2024
Genre: Heavy Metal
Musicians: Joacim Cans / Vocals * Oscar Dronjak / Guitars * Pontus Norgren / Guitars * Fredrik Larsson / Bass * David Wallin* / Drums
“**Avenge The Fallen**” Track List:1. Avenge The Fallen 2. Burn It Down 3. Capture The Dream 4. Hail To The King 5. Hero To All 6. Hope Springs Eternal 7. Rise Of Evil 8. The End Justifies 9. Time Immemorial
Order “Avenge The Fallen” HERE
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Every album has a backstory—and the debut release of *Harpazo has an unusual one. It began about 15 years ago when Shadow Gallery vet Gary Wehrkamp was giving guitar lessons to Marc Centanni. At some point, Centanni mentioned some ideas he had for a concept album — one with apocalyptic visions of a dystopian future. Wehrkamp* was intrigued. The duo decided to pool their resources and see what happened.
What happened? “The Crucible”, a Christian Metal/Rock Opera with a big punch — both lyrically and musically.
Yeah, it took them 15 years to get it finished. Both Wehrkamp and Centanni have real-world jobs, so maybe it’s not surprising it took so long. That, and it’s a complicated process, putting together such an album that features so many guest artists. But the result is worth the work and wait.
First off, the storyline. As Centanni puts it, “In a post-apocalyptic world, catastrophic events prompt people to turn to charismatic CEO Jude Solomon for salvation. He deploys robotic technology to stop the destruction and manufactures a revolution to become the president of the newly formed United Federation of Nations. Jude’s government mandates Ichor‘s nanoid serum, merging humans with machines and giving humankind a powerful artificial intelligence program. A resistance in America discovers Ichor’s true motives – replacing people’s faith with devotion to Jude. Jude unleashes his army, leading to war with the resistance. Jude‘s team activates Michael, a cybernetically augmented assassin, to eliminate top resistance leaders. What Michael witnesses on this mission will transform him and lead him to ancient truths that will turn him into an unlikely hero of the resistance.”
Now all of this happens in the year 2142, so don’t go running for your bomb shelters quite yet…
The proceedings get started with “Ichor.”In Greek mythology, that was the fluid that flowed through the veins of the gods. In this setting, it is a serum that includes cybernetics. It can bring eternal life to the recipient—but it also allows the anti-Christ figure/pharmaceutical czar Jude Solomon to control everyone. This is a wonderful rocker, featuring dueling vocals between Gary Wehrkamp (Jude)and D.C. Cooper (Michael,the archangel/enforcer for Jude).This portends well for the rest of the album.
“Legion Program”, a brief instrumental in a Floydian vein, carries things forward before roaring into “I am God.” This leaves no room for confusion; Jude claims to be the Big Guy, all-powerful in every evil sense one can conceive of. Wehrkamp’svocals are almost manic, showing a figure who is half nuts — but brilliant at the same time. It’s good to hear him taking a lead singer turn; Gary’sgot a great voice, especially in a beast of a song like this one.
An acoustic guitar/orchestral flourish introduces “Golden Crown.”Here we’re introduced to Princess Relena Umberto (sung by Lee Lemperle), exiled heir to the Italian crown that was relinquished with WWII. Michael has come to seduce her — physically and emotionally, for himself, and spiritually and royally for Jude’searthly kingdom. This is a power ballad, with acoustic guitars and keyboards supplemented by searing electric guitars. Cooper’svocals portray a being who has an official mission — but is overcome by his own needs and longing. And in the end, Relena relents to both urges one for power, the other for love. This cut — one of four on the album — is powered by the drumming of Mark Zonder (Fates Warning and several other bands of note). His musicality and muscle are, as always, huge contributions.
“The Crucible” Album ArtworkThe title cut is next. “The Crucible” takes off like a Shadow Gallery effort—but one driven by drummer Zonder. The earthly battle between the forces of Ichor and the Catholic Church rages. Wehrkamp and Cooper again star — the former with guitars, the latter with his singing. This is the centerpiece of the album, literally and figuratively, and it creates the environment for all that is to follow.
“Two Witnesses”is the longest track on the album, clocking in at just over 10 minutes. The title refers to the Jewish law that requires two witnesses in any judicial proceeding — and, in this case, they testify about the truth of Christ. It’s a wonderful Prog epic anthem that puts a premium on the Cooper vocals, as well as the singing of guests Jennifer Eckhart as Ellie and Rey Para as Moses.
After the testimony of the two, and the subsequent rise to heaven of the faithful, Michael has a “Change of Heart, P.1.” He sees the error of his ways, repents of all that he has done, and expresses his belief in Jesus. The song starts slow, and quiet, with musical, and lyrical introspection giving way to an explosion of guitars as Michael acknowledges his newfound faith. He tries to convince Relena that she should join him…but she’s not ready. The shifting currents of the music mirror those in the lyrics.
“Ultimatum”is what Jude throws at Michael — come back to following the faith of Ichor or face death. Michael stands strong in his newfound beliefs. This is a power ballad, with Wehrkamp and Cooper in top form (they should do more things together).
“We are Weak”starts off with the familiar children’s hymn “Jesus Loves Me” — recorded off a toy rabbit (who would think of doing that?). An orchestral section builds and then breaks into a rock anthem version of the song, as our hero Michael prepares to meet his Maker.
Michael’s crucifixion follows in “Small Price to Pay,”a brutal metal rocker driven home by Wehrkamp’spounding guitar. There’s more than a bit of Gary’sformer band, Shadow Gallery, in this one—and that’s a good thing.
That segues into “Change of Heart, Pt. 2” — which is what happens to Relena as she realizes that she and everybody have been led astray by the Antichrist. Starting as a gentle rocker, this one builds into a metal epic with soaring vocals, wailing guitar, and driving drums. About 2/3 of the way through, this melts into a quasi-chamber music approach — with a metal outcome. The variety in this song is a bit Prog (as is the 9+ minute length).
The story wraps up with “The Book of Life.”Relena joins 144-thousand others — representatives of the 12 Tribes of Israel according to the Book of Revelation — as ones who proclaim the coming of Christand the final victory over evil. The acoustic guitar/keyboards/female vocal start bespeaks of Renaissance and Lemperle sounds more than a bit like Annie Haslam. Maestro Wehrkamp tosses in a soaring guitar solo before the song builds into a powerful coda (that also features some brief vocal gymnastics a la Spock’s Beard / Neal Morse).
At that point, one must assume, that the Kingdom of Heaven is present for all believers; others are vanquished and sent to their appropriate destinies.
The Crucible doesn’t exactly follow the Bible, but the Christian themes are present and out front. For some folks, that’s enough to avoid this one like the plague. For some others, the story will just add to the experience. Musically, Harpazo cuts across the secular-religious lines. The performances are strong and compelling. There are plenty of hooks if you’re into that sort of thing (as I am). And each song could stand alone, if need be. Overall, that makes for a strong album—especially a debut that involves a professional and a novice. There is rapture to be found in *Harpazo*;that’s what the word translates to, by the way (and I finally found a way to mention that). Even if, ironically, the story doesn’t include The Rapture.
This year is turning out to be stellar for new Proggroups. First came Emerald City Council,and soon to come is Echoverse. *Harpazo is a worthy part of that trinity, providing an album that punches the mind spirit, and gut with full force. “The Crucible” has been forged in the fires of the creativity of Gary Wehrkamp and Marc Centanni,* and the result is sharp and pointed. This one is a worthy addition to your library.
Released By: Rockshots Records
Release Date: June 28th, 2024
Genre: Christian / Progressive Metal / Rock Opera
Musicians: Gary Wehrkamp / Multi-instruments, vocals. * Marc Centanni / Guitars, keyboards, vocals. * DC Cooper / Vocals. * Mark Zonder / Drums. * Les Carlsen / Vocals. * Rey Parra / Vocals * Jennifer Eckhart / Vocals. * Christian Liljegren / Vocals. * Michael Drive / Vocals. * Niklas Kahl / Drums. * Lee Lemperle / Vocals. * Bruce Sa / Keyboards. * Enzo and the Glory Ensemble* / Vocals.
“**The Crucible**” Track List:1. Ichor 2. Legion Program 3. I Am God 4. Golden Crown 5. The Crucible 6. Two Witnesses 7. Change of Heart P t.1 8. Ultimatum 9. We Are Weak 10. Small Price to Pay 11. Change of Heart Pt. 2 12. The Book of Life
Order “The Crucible” from HERE (USA) or HERE (Rest Of The World).
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Theatricality begets another Swedish offspring.Not all nightmares are born solely of ugliness, nor are all things modern necessarily averse to occasionally treading in more traditional waters. These are among the many observations that could be made of a band after the mold of Mister Misery, a self-described purveyor of horror metal that dabbles in just about every modern metallic motif under the sun, yet manages to blend it all into an easily digestible mode of anthem-based songwriting that lends itself quite easily to the arena.
At first glance, this Swedish quartet might be mistaken for a less carnival-like answer to fellow countrymen Avatar with a dash of Black Veil Brides-like fashion sensibilities, but lead vocalist/guitarist Harley Vendetta and his flock of fellow glam meets Goth cohorts have something a tad different going on if their latest and eponymous 3rd studio album has anything to say on the matter.
For the uninitiated, this is a band that has all of the visual trimmings of a collective tied stylistically to the NWOAHM. Still, their auditory assault brings in a highly charged element of Scandinavian metal accouterments that taps into both the 90s Gothenburg and 2000s melodic groove metal well of ideas. One can’t help but take note of the impressive technical chops of lead guitarist Alex Nine, who brings a concise yet flashy array of lead riffs and soaring guitar solos that could trade blows with what the Amott brothers took to Arch Enemy during their middle era.
Likewise, the heavy level of electronic and symphonic elements brought into the equation blurs the lines between where In Flames’ post “Clayman” era ends and the dark melodrama of Cradle Of Filth begins. Bolstered by a rock-solid foundation provided by bassist Alex Alister and drummer Rizzy Misery, the end result is an array of songs that resides quite comfortably between all the aforementioned influences and a modern alternative/metalcore template, with Vendetta at the fore embodying the voice of every noted style.
Though an album that definitely possesses an inner sense of stylistic harmony and synchronicity, there are times when it feels as though one has reached into a sonic grab-bag of songs more along the lines of a Various Artists compilation. The most dominant flavor amid all the variation is a decidedly metalcore one, spearheaded by driving riff machines like the opening foray “Root Of All Evil”, “Hand Of Death” and “Sinner Of Saint” that trade rapid-fire thrash or thudding grooves with ultra-melodic chorus segments that amount to a slightly more electronic take on Trivium.
Then again, the old-school Gothenburg vibes run a fairly close second with rapid-fire melodeath-tinged fairs like “Eye Of The Storm”, “Survival Of The Sickest” and “Haters” that channel old school *In Flames and Children Of Bodom to a near fault while Harley trades up harsh shouts and primal shrieks for an ultra-clean chorus wail that’s a near dead-ringer for Chester Bennington*.
“Mister Misery” ArtworkAlongside the raging metallic cruisers that dance between the late 90s melodic death and 2000s metalcore paradigms are some equally impressive, albeit more nuanced entries that land closer to the present equivalent of rock radio. The mid-paced “Erzsbet (The Countess)” and the diabolical carnival vibes of “Crooked Man” land a bit closer to nu-metal territory, albeit the far more riff-happy and technically charged vibe put forth by Avatar and blended in with some Dani Filth-like vocal high-jinks.
The band’s lyrical nod to the Resident Evil franchise “Until The End” mixes the same whimsical yet sick nu-metal vibes with a power metal-like sense of drive and release, while the haunting electronic landscape of “The Doomsday Clock” presents a more elaborate and hard-hitting answer to the Linkin Park question. Yet as irony would have it, the songs that truly sum up this album’s highly eclectic character with the most compelling results are the last two “The Ripper” and “Dark Legacy”, which see the band covering every stylistic base in their arsenal while the riff and vocal assault out of Harley and Alex outdo themselves at every turn.
Mister Misery’s self-titled album embodies the true definition of an alternative by throwing something that is otherwise familiar to most ears yet in a way that has never been done before. It’s a veritable spider’s web where each thread is a telegraphed rock or metal trope that has been heard within the past 30 years, but the whole thing sounds as fresh and original as anything that one might hear in 2024.
While it maintains a somewhat predictable structure, only occasionally diverging from traditional songwriting conventions, this quartet of black-clad musical performers has crafted an identity that resonates with enthusiasts of the metalcore and melodic groove metal scenes on both sides of the Atlantic. For those who relish the blend of theatricality and heavy riffs, getting acquainted with Mister Misery‘s latest work is a must.
Released By: AFM Records
Release Date: August 2nd, 2024
Genre: Modern Metal
Musicians: Harley Vendetta / Vocals, guitar * Alex Nine / Lead guitar, backup vocals * Rizzy / Drums, backup vocals * Alex Alister* / Bass, backup vocals
“**Mister Misery**” Track List: 1 – Root of All Evil
2 – Erzsébet (The Countess)
3 – Eye Of The Storm
4 – Hand of Death
5 – The Doomsday Clock
6 – Crooked Man
7 – Survival of the Sickest
8 – Until The End
9 – Haters
10 – Sinner Or Saint
11 – Ripper
12 – Dark Legacy
Order “Mister Misery” HERE
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New decade, the same old tricks.For those who remember the glory days of heavy metal’s European rebirth in the early to mid-2000s, the name Dream Evil is undoubtedly a familiar one. Though most likely associated with the famed fourth Dio LP of the same name and otherwise remembered as the project of ultra-prolific studio producer/engineer Fredrik Nordstrom, for much of the 2000s they were arguably one of the more significant traditionally-geared bands to emerge from Sweden after the initial trail that was blazed by the likes of HammerFall and Wolf, two bands that have also employed Nordstrom’s production talents at various points.
The subsequent decades have seen a decreased level of studio output courtesy of this outfit, with their previous LP in 2017’s “Six” being proceeded by 7 years of silence and subsequently followed by a comparable period, but 2024 may well see this former metallic titan of an outfit reclaiming their former glory if “Metal Gods,” their seventh and latest LP has any say in the matter.
The formula at play has changed fairly little, channeling the same mixture of gritty, early 80s heavy metal stylings after the mold of Manowar and Accept, alongside a more modernized, power metal sense of pizzazz and kinetic energy that dovetails with the band’s early connection with the likes of Firewind and Mystic Prophecy through original and long departed guitar icon Gus G.
Alongside Nordstrom’s signature songwriting and rhythmic riff work, G’s replacement Mark Black puts on a wild virtuosic display that rivals his predecessor after the same mold as his contribution to 2006’s “United,” and the combined battery of longtime bassist Peter Stalfors and semi-newly recruited kit man Soren Fardvik further bolsters this album’s parallels with the aforementioned opus. But the dominant personality on display continues to be lead vocalist Niklas Isfeldt, whose high soaring pipes channel the distinctive qualities of HammerFall’s Joacim Cans and iconic Scorpions frontman Klaus Meine in a more biting and aggressive light.
“Metal Gods” Album ArtworkWhile devotion to tradition has remained a hallmark of this outfit, this go-around the energy has been amped up considerably in contrast to the two previous studio outings. There isn’t a new trick or gimmick to speak of that makes the difference, but rather a renewed sense of drive and potency that sees more memorable songs emerging from the same basic formula.
Right out of the gates, opener and title anthem “Metal Gods” lands with the crash of a cosmic anvil, pummeling the airwaves with a low-end, mid-pace groove that allows for Fardvik’s drum work to get notably bombastic while Black’s lead guitar work goes wild, to speak nothing for the resounding gang refrain that trades blows with Isfeldt’s gritty howls in lyrical celebration of metal culture. Other entries that stomp the proverbial ground with a comparable level of raw power at a middle pace with hooks galore include the Scorpions-like banger “Masters Of Arms” and the mercilessly infectious “Insane”.
Though this is an album that is built primarily from the metal building blocks that typified the days when the genre was a radio staple and things were kept mostly compact, some adventurous moments also dovetail with this outfit’s power metal 2000s contemporaries. The more epic mid-paced excursion “Chosen Force” dabbles in similarly bombastic and symphonic territory to that of Bloodbound, while the fast-pulsing speed/thrashing fury of “Fight In The Night” could easily trade blows with the classic era of Primal Fear and even sees Isfeldt’s vocals taking on a similarly Halford-like tinge to that of Ralf Scheepers.
The flash and splendor of the fantasy-steeped fair of Nocturnal Rites circa the turn of the millennium get a pair of exemplary showings in “The Tyrant Dies At Dawn” and “Born In Hell”, while the riff-happy thrashing of “Night Stalker” scores some heavy aggression points while channeling modern Judas Priest. But the song that ultimately steals the show with a blend of haunting balladry and menacing early 80s Black Sabbath influences is the album’s concluding chapter “Y”, arguably the most distinctive thing to come from this outfit in over 20 years.
This album distinguishes itself from recent releases in the New Wave of Traditional Heavy Metal (NWOTHM) that strive to replicate every detail of early heavy metal. Instead, it channels the same passion and essence of that era, masterfully balancing honoring the past without becoming stuck in it, while staying contemporary with a collection of 10 meticulously crafted songs that pack as much punch as today’s leading metal acts.
“Metal Gods” starkly contrasts the use of traditional metal themes between the early 2000s and the 2010s onward, likely resonating more with those well-versed in the genre’s most influential artists. Yet, anyone with a taste for metal who respects the pioneers of the early 80s and appreciates a blend of concise songwriting and technical prowess will find this record appealing. Fans of the band will discover an album that not only surpasses its recent predecessors but also harkens back to the band’s roots, capturing the spirit of their formative years.
Released By: Century Media Records
Release Date: July 26th, 2024
Genre: Power Metal
Musicians: Niklas Isfeldt / Lead vocals * Fredrik Nordström / Rhythm guitar * Peter Stålfors / Bass * Markus Fristedt / Lead guitar * Sören Fardvik* / Drums
“**Metal Gods**” Track List:1. Metal Gods (03:30)
2. Chosen Force (05:07)
3. The Tyrant Dies At Dawn (03:54)
4. Lightning Strikes (04:22)
5. Fight In The Night (03:47)
6. Masters Of Arms (03:34)
7. Born In Hell (03:51)
8. Insane (04:28)
9. Night Stalker (04:37)
10. Y.A.N.A. (04:09)
Order “Metal Gods” HERE
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Deep Purple fans, rejoice: the band has a new album up for release today (July 19th), the scantily titled “=1”. A special edition will also be available, containing the “Access All Areas” documentary. Filmed in 2023, it starts addressing Steve Morse’s departure due to personal circumstances, life on the road, and the joy and boost brought by *Steve’s replacement Simon McBride, and serves also as a tribute to their road crew, which works hard for a show as complex as Purple*’s to occur without major hiccups every night.
I’ll be honest: when the cover and name of this album were revealed, that did not excite the long-time Purple fan that I am in the slightest. Granted, they’ve had mixed results in the visuals department: “Whoosh!”, “Abandon” and “Infinite” had great covers, while “Now What !?”, “Bananas” and “Purpendicular” were attempts at being artsy that didn’t quite work. The concept of “=1”, from the cover to the name, seems to cater to the thumbnail generation – fans that ignore CDs and albums and go straight to streaming platforms. A sign of the times I guess, but in an age where bands are fighting for attention, that doesn’t scream “listen to me” like it maybe should.
Before we get into the sonic aspects of “=1”, here’s an update of what happened with Deep Purple since the release of their last studio album of original material, 2020’s “Whoosh!”: during the pandemic the band recorded a collection of cover songs from their own homes, creating an eclectic and celebratory history of their roots in music, in the shape of “Turning To Crime”. As mentioned before, 2022 brought the sad news of *Steve Morse’s departure due to personal circumstances, but Deep Purple sought out the masterful skills of guitarist Simon McBride and carried on without missing a beat. And here we are in 2024 with the impending release of “=1”,* an album that represents yet another reset for a band that is no stranger to lineup changes.
Bob Ezrin continues to take the production helm, and much like he did since the beginning of his involvement with the band in 2013’s “Now What?!”, the jolt of energy he managed to add to the group is palpable. That can be felt right off the bat, with the first song “Show Me” kicking in and immediately covering new ground. Gillan’s voice on the verses takes almost a rap form, before veering into a more traditional territory on the chorus. For the solo section, the keyboard and guitar unison gives comfort that Simon is the right man to take *Morse*’s job.
“= 1” Album ArtworkThe tight riffs and solos of “A Bit On the Side” and “Sharp Shooter” showcase the chemistry between Roger Glover, Ian Paice, Simon McBride, and Don Airey, as the instrumentalists in the band sound incredibly connected and interlocked. The change from *Morse’s Ernie Ball Music Man to Simon*’s PRS seems to have stimulated the veterans in the group to change things up a bit.
Next on the album is the first single, “Portable Door”, which is a cross between their classic “Pictures of Home” and “Time for Bedlam”, from “Infinite”. Short, sweet, and straight to the point, this is Purple honoring their roots while looking ahead. “Old Fangled Thing” is the typical storytelling type of song, in which Gillan revels and shines.
I’d be remiss if I didn’t say there are some rough spots on this album. “If I Were You”, the first of two ballads in this release, might be honest and well-played but doesn’t add much to their pantheon of songs. Similarly, “I’m Saying Nothin’” stays true to its name and seems to simply fill up space.
On a more positive note, “Pictures of You” speeds things up, with a rocking vibe, a pop feel, and echoes of the ambiance of “Whoosh” towards the end. “Lazy Sod”, the third single, is a modern-day “Strange Kind of Woman”, mixed with a distant cousin of the main riff of Fastway’s “Say What You Will”. “Now You’re Talkin’” is another uplifting song with echoes of prog and an incredible solo section where Simon showcases all his influences: it starts with a Chuck Berry twang, moves on to Eddie Van Halen-like licks and ends on a Satriani vibe. “No Money to Burn” is more cadenced, with funky riffs sprinkled throughout and that gorgeous Hammond organ sound brought by Don Airey alternating with spacious sounds like the one we heard on “Vincent Price” from “Now What !?”.
The album ends on two of its high points, with the soulful “I’ll Catch You” and the ultimate curveball – “Bleeding Obvious”, where Purple takes the heavy route, even sounding like Iron Maiden in a few spots. It’s hard to say how much Simon influenced the result of “=1” without knowing how the writing sessions went. But one thing is for sure: he did the perfect landing in the band with this album. His style has elements of Richie Blackmore, Tommy Bolin, and *Steve Morse*, and his music vocabulary is certainly vast.
Deep Purple remains one of the hardest-working bands in the business and will continue to employ this remarkable work ethic until they finally decide to hang in the towel. If this is the lineup they chose to end their lustrous career with, their legacy is in very good hands.
Released By: earMusic
Release Date: July 19th, 2024
Genre: Hard Rock
Musicians: Ian Gillan / Vocals * Roger Glover / Bass * Simon McBride / Guitars * Ian Paice / Drums * Don Airey* / Keyboards
“**=1**” Track List: 1. Show Me
2. A Bit On The Side
3. Sharp Shooter
4. Portable Door
5. Old-Fangled Thing
6. If I Were You
7. Pictures Of You
8. I’m Saying Nothin’
9. Lazy Sod
10. Now You’re Talkin’
11. No Money To Burn
12. I’ll Catch You
13. Bleeding Obvious
Order “=1” HERE****
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Three years ago an album reached our ears by an unknown band from Norway made quite an impression. The band was Meer and their album “Playing House” became a favorite as word quickly spread. Boasting eight members including two lead vocalists, a viola, and a violin player, Meer’s arty prog-pop approach was familiar and stunningly original at the same time. Impressively, the new album “Wheels Within Wheels” proves that the band is still evolving as they deliver a collection of songs that maintains or exceeds the quality of “Playing House”.
While bringing to mind bands like The Dear Hunter, Bent Knee, and Leprous, Meer carves out a more earthy, acoustic identity, using their vocal and symphonic arrangements to create dynamic swells of intensity. They have an imaginative and sensitive mixer/producer in Lars Gärtner Fremmerlid, who makes the most of Meer’s brimming talent. As an example, the opener “Chain of Changes” plays like a strong pop single but the arrangement of opening spacious strings, piano, and lush orchestration makes it so much more interesting than anything on the radio today. Offering a bittersweet ode to the innocence of youth, the song makes the listener feel chained yet free at the same time. Oh, world of wonder – this theme will be revisited later in the album.
Knut Kippersund Nesdal takes the lead on the verses of “Behave” until sister Johanne-Margrethe Kippersund Nesdal joins during the chorus: “I’m banging my cage, you’re setting the stage, why don’t you behave. Am I sinful or saved, I’m lost either way, why don’t you behave.” It’s an effective, compact tune in the vein of “Beehive” from their previous album, right down to the wordplay of the title. Why can’t every band write multi-layered, engrossing yet immediate pop singles such as this? Apparently, because every band isn’t Meer. Knut continues with “Take Me To The River”, this album’s version of “Across The Ocean” and almost as anthemic. Wistfully wallowing in nostalgic memories of youth, this dreamy piece is one of many album highlights, amidst acrobatic guitar figures and orchestrated fervor… “Come back to, come back to me.”
Going from one strength to another, “Come To Light” casually enwraps the listener with its piano motif and Johanne’s relaxed vocals at the start, as the song’s lyrics build us up: “Pick your battles, choose to forgive, one step at a time look for beauty, there’s a road ahead, the stars align.” By the latter half, a sense of urgency picks up, and with it, the emotions of the ensemble’s vocals. When you have an 8-member band where everyone sings, the vocal results are impressive! “To What End” ensures that Johanne belting out “…do we bleed?” will be the line that stays with you at the album’s end. The original yet accessible arrangement of this piece makes for another of the album’s choicest moments. The pace of the album’s relentless quality starts to get overwhelming at this point.
“Wheels Within Wheels” ArtworkFinally, we think we have an emotional breather with the ballad “Today, Tonight, Tomorrow.” Wrong. Knut’s centerpiece turns out to be the peak highlight of the entire album and an intense one at that. This beautifully orchestrated piece is a little hard to follow at first, the placement of the chorus being deceptive with its single-note repeated section of “Dream is all I ever do and all I ever dare.” But once the whole band kicks in the chills and goosebumps will be running down the listener’s arms. Without running out of air, Knut leaves the rest of us gasping as Eivind Strømstad launches into his best guitar solo of the album, surrounded by symphonic strings of glory. This is sonic art, truly remarkable in today’s world. A subsequent mostly-instrumental interlude (much much too short) “World of Wonder” gives us a moment to pause and collect ourselves again, though in truth this brief piece would have made for a better prelude to “Today, Tonight, Tomorrow” than at its end.
“Mother” is yet one more entrancing piece (can this album contain any more highlights?), sung together by the siblings with truly gorgeous melody lines. The orchestrated lines in the latter half are once again spine-tingling. Tell another story…
We’re ready for a final wallop of a closer to the album but instead of one, the band delivers two. “Something In The Water” again basks in Johanne’s deliciously edgy vocals, complimented by intricate backing vocal arrangements. It would be a powerful finale but no, they have one more 9-minute piece up their sleeves, the intense “This Is The End” which delivers the final masterstroke of “Wheels Within Wheels.” Once again, Johanne takes the lead and leaves no survivors with her swooning vocal delivery, obliterating all that has come before. Hope you enjoyed the calm before because a storm is coming and it now truly is the end.
Hats off to Åsa Ree on violin, Ingvild Nordstoga Sandvik on viola, and Ole Gjøstøl on piano and keys of all kinds whose orchestrations make Meer extra special. The rhythm section of Morten Strypet on bass and drummer Mats Fjeld Lillehaug offer just the right balance of support and dexterity for the band’s compositions to breathe and shine, while Strømstad’s guitar hits when it needs to but is careful not to overshadow the other instruments. This is a rare band that can weave together so many textures without overplaying on top of each other. That all songwriting is credited to Meer as a whole is telling.
Get your wheels moving as fast as possible to pick up a copy of this new masterwork when it is released in August. Until then, if you don’t have “Playing House” yet, well, then that’ll pass the time fittingly. Bands like Meer just don’t come along often enough.
Released By: Karisma Records
Release Date: August 23rd, 2024
Genre: Progressive Rock
Musicians: Johanne-Margrethe Kippersund Nesdal / Lead vocals and backing vocals * Knut Kippersund Nesdal / Lead vocals, backing vocals and keyboards * Eivind Strømstad / Electric and acoustic guitars, electric baritone guitar, additional keyboards, programming and backing vocals * Åsa Ree / Violin and backing vocals * Ingvild Nordstoga Sandvik / Viola and backing vocals * Ole Gjøstøl / Acoustic grand piano, keyboards, programming, electric organ, church organ and backing vocals * Morten Strypet / Electric bass and backing vocals * Mats Fjeld Lillehaug* / Drums, percussion and backing vocals
“**Wheels Within Wheels**” Track List:1. Chains of Changes 2. Behave 3. Take Me To The River 4. Come To Light 5. Golden Circle 6. To What End 7. Today Tonight Tomorrow 8. World Of Wonder 9. Mother 10. Something In The Water 11. This Is The End
Order “Wheels Within Wheels” HERE* or *HERE.
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The anatomy of a throwback.Living in the shadow of the heavy metal colossus that is Iron Maiden is far from an enviable disposition, but Paul Di’Anno has been making the most of his situation and continually making music that expands upon his monumental accomplishments with his former band. Even a recent bout of health setbacks that has seen him performing from a wheelchair has done extremely little to dampen the energy and attitude that has become synonymous with this NWOBHM stalwart.
While passing trends did see his musical style occasionally incorporate elements of thrash and modern groove metal, Di’Anno has been a name that has generally remained synonymous with metal in its most traditional form. Case and point is his latest musical venture dubbed Warhorse and its eponymous debut, which finds this founding father of British heavy metal reaching back far into the primordial era of his career to remind all with open ears of the power that lay in their favorite genre’s formative period.
The mechanics behind this concise dose of old-school metal magic are largely the product of the Croatian guitar duo of Anti “Pupi” Pupacic and Hrvoje Madiraca, both known in their locale for their work with the Split-Dalmatia-based thrash project Rapid Strike. Handling not only the songwriting duties on this undertaking but also emulating the classic dueling shredder formula pioneered by Judas Priest’s Glenn Tipton and K.K. Downing, then taken in an even more iconic direction by Iron Maiden’s Adrian Smith and Dave Murray; one might suggest that they are the true masterminds of Warhorse.
But one would be remiss not to note that Di’Anno brings far more to this project than just his name, as the decades of punishment he’s brought upon his voice both on the road and living the rock ‘n’ roll lifestyle scarcely shows between his signature guttural punk growl and still clean and competent croon. The session contributions by internet personality and Mercyful Fate bassist Becky Baldwin and the kit work of local drummer Petar Santic also play a pivotal role in shaping the lion’s share of these songs, alongside numerous other guest players.
It should be noted that while this is an album that is sonically in line with present-day production practices, one can’t help but be bowled over by the sheer amount of 80s traditionalism oozing from each of these songs. The principal influence is definitely that of Di’Anno’s own 4-year stint between 1978-1981 with Iron Maiden, combining the raw vitality of “The Soundhouse Tapes” demo with the rustic metallic edge with an occasional progressive bent that typified the 1980 self-titled debut and 1981’s “Killers.”
“Warhorse” Album ArtworkThe opening foray and title entry “Warhorse” proves a highly engaging blend of Judas Priest-inspired drive and dive-bombing lead guitar gymnastics (often sounding a horse’s neigh and trading blows with a sample of one) and Maiden‘s signature melodic guitar riffing, tempered by a more every man grit out of Di’Anno’s vocal onslaught and concise song structure that just misses the 4-minute mark despite sounding epic enough to go on for 6 or 7. Similar auditory excursions that blend this same sense of speedy metallic drive with a melodic edge fit for the arena include the fist-raising protest song “Stop The War”, the hard rocking romp “Get Get Ready”, the quasi-thrashing crusher “Go” and the swinging closer and potential “Running Free” sequel “Going Home”, all exercises in accessible catchiness with a technical edge.
Along with the explosive array of metallic thunder are some rather jarring yet effective asides into lighter territory that also reminisce upon Paul’s iconic tenure with the most successful act of the NWOBHM. Though more of a heavy-hitting entry, “The Doubt Within” makes a few rather haunting asides into more atmospheric territory via sudden acoustic guitar passages before the chorus section and even some slightly symphonic keyboard additives, and Di’Anno’s performance sees a more nuanced mixture of clean and dirty that helps to bridge the sonic divide quite effectively.
Promotional single “Here Comes The Night” treads a fairly similar path, though comes off closer to the keyboard-drenched character of several recent projects under the Frontiers Records moniker. “Forever Bound” really plays up the acoustic angle and almost listens like the long-awaited successor of “Strange World”, though it ends up landing on a triumphant gallop more indicative of where Maiden went afterward with Dickinson and sees Paul actually put on a more operatic presentation.
That being said, there are a couple of questionable entries that come along with an otherwise rock-solid package in the quasi-industrial misfire “Precious” and the slapstick metal reinterpretation of Chuck Rio’s classic hit “Tequila”. The latter does come with a very self-aware sense of comedy on the part Paul and his flock, but it just feels woefully out of place amid a bunch of more serious and well-crafted entries, while the former doesn’t quite seal the deal in the hook department and just seems to meander on a mid-paced groove for 4 minutes.
These two blemishes aside, Warhorse is an album and a project that definitely has legs, and will hopefully be running at full horsepower in the coming years. For a guy who has been written off many times, Di’Anno has absolutely come out with a solid slab of metal here that fans of where the genre was between 1979 and 1983 should find easy to enjoy, ditto the throngs of younger traditional fans still in the throes of the NWOTHM craze.
Released By: Bravewords Records
Release Date: July 19th, 2024
Genre: Heavy Metal
Musicians: Paul Di’Anno / Vocals * Anti “Pupi” Pupacic / Guitars * Hrvoje Madiraca / Guitars * Becky Baldwin / Bass * Petar Santic* / Drums
“**Warhorse**” Track List:1. Warhorse 2. Get Get Ready 3. Go 4. top The Wa 5. The Doubt Within 6. Here Comes The Night 7. Tequila 8. Forever Bound 9. Precious 10. Going Home
Order “Warhorse” HERE
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American groove metal gets a technical upgrade.It’s nearly impossible to have a discussion about American metal over the past couple of decades without the name Five Finger Death Punch coming up. The name has become all but synonymous with the stylistic blend of groove-obsessed heaviness, melodic hardcore sensibilities, occasional industrial and progressive rock quirks, and a general attitude that walks a fine line between rugged aggression and a confession-based approach to storytelling that betrays a fair level of vulnerability.
Concordantly, they were more often associated with Canadian guitarist Jason Hook, given he was the longest-serving axe-man under their employment and has appeared on the lion’s share of their iconic anthems. For the band’s massive fan base, Hook‘s exodus was undoubtedly impactful enough to register on the Richter scale, but shifting lineups have often been the precursor to a scene’s expansion, and one was almost immediately in the works in the form of Flat Black, Hook’s newly minted project.
One might dub it inevitable that this band’s debut studio outing “Dark Side Of The Brain” would share many stylistic similarities with Hook’s extended tenure with 5FDP, and at a fundamental level, it could be chalked up to a reworked summary of his career with said band. However, almost immediately it becomes apparent that Hook has crafted a series of songs that showcase his chops as a soloist and riff creator more so than previous works, and also features a more ambitious songwriting approach that is still safely within the accepted parameters of radio-oriented rock.
Likewise, Dallas-born lead vocalist Wrex Horton proves a more varied quantity, seamlessly moving through an expansive array of modern metal vocalizations with his nimble range that channels such divergent influences as Ronnie Radke, Phil Anselmo, and Ben Burnley. Along for the proverbial ride and no less consequential in their contributions are Los Angeles-based bassist Nick Diltz and Nashville son and drummer Rob Pierce, both of whom construct a massive foundation beneath Hook’s riffs that rivals the one featured on “F8,” 5FDP‘s last album with Hook.
An air of theatricality and social angst kicks off this 14-chapter collection of sonic stories with the opener “It’s Ok To Be Angry”, beginning with an ambitious yet light guitar and ambient keyboard intro with a cinematic voiceover and exploding into a thrashing ball of metal. It’s among the more overt callbacks to Hook’s 5FDP days, but it leans into the aggression factor with a bit more intrigue between Horton’s nimbler vocal attack and a brilliant post-hardcore chorus hook, to speak nothing for the shred-happy solo that tears across the latter part of things.
“Dark Side Of The Brain” ArtworkThe metallic fury doesn’t let up, as the aforementioned introductory kill shot is chased with an even more metallic beast in “Justice Will Be Done”, which flirts pretty heavily with territory hit by Machine Head during their more thrash-oriented early 2010s era. Other entries that go heavy with maybe a bit more of a mainline grooving character such as “Sideways”, “It’s Your Lack Of Respect” and title entry “Dark Side Of The Brain” prove even more engaging between Horton’s dramatic and varied vocal assault and Hook’s highly expressive and generally concise yet showy guitar display.
Naturally, it isn’t all about throwing hands and piercing shouts with this fold, as James is just as ready to recall the lighter and more nuanced side of where he’s been since the late 2000s. On the more infectious side of the coin is the mercilessly catchy and melancholy post-grunge power ballad “A Bit Of Lightning”, which has hit single all over it despite not being among the five songs to hit streaming media before this album’s premier.
The darker, groove punch with an industrial edge of “Halo”, which did enjoy an advanced release about 6 months ago, is no less catchy but proves a bit shorter and more dynamic in its delivery. The somber yet thudding power ballad “Villain” also checks all the boxes in terms of modern stylistic tropes and catchy hooks, sounding something along the lines of how a Breaking Benjamin and Nickelback collaboration would come out. Pile in a rather intriguing guitar instrumental bit in “Youth N Eyes” that showcases Hook thinking a bit outside the box and then segueing into another melancholy, downtempo rocker in “Tidal Wave”, and just about every NWOAHM base has been covered before this album roars to a triumphant conclusion on the up-tempo power anthem “Let It Go”.
In some respects, Flat Black is a band that expands upon the existing framework of American metal, particularly insofar as the guitar work is concerned. Yet at the end of the day, “Dark Side Of The Brain” is an album that most will find more familiar than anything else, as it mostly sticks close to home. There are some extreme flashes of brilliance in Hook’s soloing that make it seem as though he wants to play in the same league as such noted heroes as John 5 and thrash shredders like Alex Skolnick and Phil Demmel, but from a songwriting perspective he is continually married to shorter form and predictable structures.
It’s the sort of formula that is sure to spawn many charting hits, but it rings a tad predictable despite Hook taking a more amped-up approach to his instrument and tapping a vocalist who brings a more versatile presentation than Ivan Moody. This is sure to be a band to watch in the coming years for those who like their metal catchy and groovy, and hopefully, future efforts will see this band falling back less on existing practices and taking more risks.
Released By: Fearless Records
Release Date: July 19th, 2024
Genre: Groove Metal
Musicians: Wrex Horton / Vocals * Jason Hook / Guitars * Nick Diltz / Bass * Rob Pierce* / Drums
“**Dark Side Of The Brain*” Track List:*1. It’s Ok To Be Angry 2. Justice Will Be Done 3. Sideways 4. A Bit Of Lightning 5. Unwanted 6. Home 7. Halo 8. It’s Your Lack Of Respect 9. Nothing To Some (Featuring Corey Taylor**) 10. Dark Side Of The Brain 11. Villain 12. Youth ‘N Eyes 13. Tidal Wave 14. Let It Go
Order “Dark Side Of The Brain**” HERE or HERE.
The post FLAT BLACK – Dark Side Of The Brain (Album Review) appeared first on Sonic Perspectives.
Old-school decimation strikes backBeing ahead of the curve is an honor observed by very few, especially when one is situated in an area where a given craft is scarce. Such is the unique disposition of Bangalore, India’s premier heavy metal band Kryptos, a band that has been sloughing away as far back as the mid-1990s under the moniker of 8 On The Richter, and has gone on to become a consequential player in the New Wave of Traditional Heavy Metal.
Sporting an atypical blend of NWOBHM and early German heavy and thrash metal influences that run the gamut from Iron Maiden and Accept to Kreator and Destruction, this quartet has been nothing else if not a consistent proponent of a sound that is appropriate to the 2020s, yet also might have been heard as far back as the mid-1980s in both central and western Europe. Now 7 full-length albums deep into their career, 4 of them under the banner of AFM Records no less, these heavy thrashing mainstays have unleashed yet another rock-solid slab of old-school goodness in 2024’s “Decimator” that lives up to its name.
Precise and concise songwriting is the primary selling point of this 9-part, 31-minute-long duration of classic metallic fervor, with no expense being spared in the energy department. Sticking to his raspy, static growl that bears an uncanny resemblance to Schmier’s and Petrozza’s signature snarl from the olden days and pounding out old-school riff work like it’s going out of style, frontman and lone founding member Nolan Lewis leads a sonic assault that rests comfortably between where heavy metal left off and thrash would begin in its primordial state.
The result is a compelling time capsule that might have some of the older guard among the metal masses checking their calendars to be sure that they aren’t caught in a time paradox. Flanked by a lead guitar display out of Rohit Chaturvedi that rings pretty close to what Brian Tatler or Dave Murray might have brought to the table, not to mention an impressive, Steve Harris-like bass performance out of the newly recruited Vasu Chandran and a driving roar from Vijit Singh from behind the drum kit, the Kryptos brand has been maintained in full form on this latest studio excursion.
Pointing to any one song out of the bunch as the highlight of the whole experience bottled up in this opus proves difficult given the consistent quality of each. The opening thrasher “Sirens Of Steel” and the double-kick happy speeder “Fall To The Specter’s Gaze” are mercilessly catchy, yet also hit at a kinetic pace that seamlessly connects the edge of early Metallica with the more vintage metallic fervor of Judas Priest.
“Decimator” Album ArtworkMeanwhile, the raging storm that is the title entry “Decimator” crosses over into “Painkiller” territory between the mighty forces of Singh’s double kick work and the rapid fire of Rohit and Lewis’ riffs. It isn’t all about raw speed for this outfit though, as the slower-paced, fist-pumping anthems “Turn Up The Heat” and closing *Accept-inspired rocker “We Are The Night” prove just as intense and memorable. A gloriously haunting atmosphere is struck on the short acoustic interlude “Solaris”, reminiscing beautifully on those signature acoustic segments that Metallica was fond of employing in the mid-80s. But the song that truly brings it all to a head and truly embodies what was great about the old days of heavy metal is the driving cruiser “In The Shadow Of The Blade”*; just an all-out beautiful display of heavy metal-inspired melodic sensibility with a thrash riff assault on top.
In the grand scheme of not only Kryptos’ more than 20 years in the business but also the broader NWOTHM craze that was kicked off by the likes of Wolf and HammerFall in the mid-90s, “Decimator” is an album that stands tall amid the competition. It wears its influences on its steel-clad shirtsleeve and makes zero apologies for what it is, which is an affirmation and slight expansion upon the titanic accomplishments that came to pass roughly 40 years prior.
It will undoubtedly play well to those inclined towards the speedier side of the heavy metal coin, yet it carries an equally strong affinity for the earliest strides of thrash made circa 1984-86 when Germany rose as the premier European response to the Bay Area sound. It might play things a little safer than some of Kryptos’ prior offerings, but it is by no means a downgrade and should play just as well to fans of the old ways.
Released By: AFM Records
Release Date: July 5th, 2024
Genre: Heavy Metal
Musicians: Nolan Lewis / Vocals, rhythm guitar * Rohit Chaturvedi / Lead guitar * Ganesh K / Bass * Vijit Sing* / Drums
“**Decimator**” Track List:1. Sirens of Steel 2. Fall to the Spectre’s Gaze 3. Turn Up the Heat 4. Electrify 5. Solaris 6. Decimator 7. In the Shadow of the Blade 8. Pathfinder 9. We Are the Night
Order “Decimator” HERE****
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Mr. Big are currently on their proverbial victory lap with “The Big Finish” tour, which began in 2023. Having already toured Asia, and North and South America, they are now poised to hit Europe for the second time. This tour’s setlist features a selection of their greatest hits along with their most successful release, 1991’s “Lean Into It,” played in its entirety. Before wrapping up their career, they are set to release a new studio album titled “Ten,” produced by Jay Ruston and the band themselves.
“Ten” offers a chance to close an illustrious career on a high note. This album marks their first without any input from their late drummer, Pat Torpey, and is a significant step up from 2017’s “Defying Gravity,” which the band admitted was rushed. In tribute to Pat, Eric Martin (vocals), Paul Gilbert (guitars), and *Billy Sheehan (bass) have enlisted the exceptional drumming talents of Nick D’Virgilio from Big Big Train, who has been also manning the drum throne for the “The Big Finish”* tour.
The album kicks off with the blues rock “Good Luck Trying”, inspired by Hendrix’s “Manic Depression.” Echoes of The Allman Brothers Band can also be heard on the song, the perfect way to kick off the album and a good choice of first single. *Gilbert explains the meaning behind the lyrics: “Overall, it’s about being overwhelmed with life, and realizing that you won’t win many of the battles, but still fighting to the end. And keeping a sense of humor about it by saying to anyone nearby, ‘Wish me good luck trying!'”*
Next up is the uplifting “I Am You,” where *Gilbert doubles the main riff on electric and acoustic guitar. Martin shines on this track, particularly during the chorus, while Paul*’s solo is simple yet effective, serving the song rather than descending into aimless shredding.
In stark contrast, “Right Outta Here” has an enigmatic beginning and features one of the most complex arrangements on the album. *Martin’s melodic lines are duplicated by Paul’s guitar, while the rhythm section holds the fort and elevates the track. Coming after is “Sunday Morning Kinda Girl”, a song that wouldn’t be displaced in one of Gilbert’s solo albums – think of the early days of his solo output when he released “King of Clubs” and “Flying Dog” – which carries an undeniable The Beatles* influence.
No *Mr. Big album is complete without a ballad, and on “Ten”, that box is ticked by the soulful “Who We Are”. Think of a cross between What If’s “Stranger In My Life” and Hey Man’s “The Chain”. Much like on the rest of the album, *Sheehan* and *D’Virgilio* show restraint and service the song, while Martin and Gilbert take the forefront. Sonically speaking, this track is probably the one where the improvement in the mix stands out the most when compared to *“Defying Gravity”.
“Ten” Album ArtworkSong number six, “As Good as It Gets”, sounds as if The Who wrote a Queen song. *Gilbert plays the main riff with a clean tone, and Brian May-esque overdubs are scattered throughout, while the whole band shines: yet another uplifting track that would become a great live setlist entry, should they choose to include it. The claps toward the end of the song, when **Sheehan*** does his signature bass run, highlight the positive atmosphere surrounding the writing and recording of the album.
“What Were You Thinking” is a bluesy and quick one with a pull-off riff, which harkens back to the early days of rock and roll, almost as if Chuck Berry pressed F5 in one of his songs. *Paul’s slide guitar solo is absolutely gorgeous, meanwhile, **Sheehan* and *D’Virgilio play as if they’re telepathically connected. “Courageous”* is also firmly planted in the garden of rock and roll, with a terrific drum intro from *D’Virgilio*** and an infectious chorus section.
The second single, “Up On You”, is arena rock in its pure form, and yet another fantastic showcase of the record as a whole, simply because they are firing on all cylinders. Melodic and heavy, this song manages to condense all that *Mr. Big* stands for in just under five minutes.
The rock waltz of “The Frame”, which reminded me of Hey Man’s “Dancing Right Into the Flame”, brings things to an end, if we’re sticking to the standard edition. Special editions of the album contain one more song, “8 Days on the Road”, which is sung by *Paul*, and once again shows his ability to conjure pop elements and seamlessly blend them onto a rock tune.
Overall, “Ten” is as strong an album as these seasoned musicians can write at this stage in their careers. Granted, there are no high-octane numbers on the album like “Colorado Bulldog” or “Addicted to that Rush” – songs that the band could easily conjure in previous albums. But there are some great pop songs from the first right to the bonus track, and the material is appropriate for the mature musicians they became.
**D’Virgilio*’s drums sound very similar to *Pat Torpey’s in the mix, *Billy* shows restraint for the most part on the record, and *Paul and Martin, who wrote the majority of the album, really take the bulk of the spotlight here. As Martin summed it up: “This new album doesn’t copy anything from the 9 previous studio records. It’s all new stuff from scratch. This is raw, unadulterated riff rock and blues with all the *Mr. Big trimmings.”
*Mr. Big has been quite vocal about the fact that they don’t intend to tour to promote “Ten” – Eric*, in particular, doesn’t want to do long tours anymore. That’s quite a shame because many songs here would go down really well in a live setting. Who knows, maybe they’ll change their minds and do tours on a smaller scale. Whichever way this story goes, this is a fitting end to a victorious career and a great send-off for the devoted fans.
Released By: Frontiers Music SLR
Release Date: July 10th, 2024
Genre: Melodic Hard Rock
Musicians: Eric Martin / Vocals * Billy Sheehan / Bass, vocals * Paul Gilbert / Guitars, vocals * Nick D’Virgilio* / Drums, vocals
“**Ten**” Track List:1. Good Luck Trying 2. I Am You 3. Right Outta Here 4. Sunday Morning Kinda Girl 5. Who We Are 6. As Good As It Gets 7. What Were You Thinking 8. Courageous 9. Up On You 10. The Frame 11. 8 Days On The Road (Bonus Track)
Order “Ten” HERE.
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They rock with lips of fire!In a time dominated by EDM and synthesizer-steeped rap, the concept of rocking the house with the traditional guitars, bass, and drums seems a lost art from a bygone age, at least insofar as the musical mainstream is concerned. Then again, the raucous titans of yesteryear were always on the fringes when compared to their lighter contemporaries, and it was more the exception than the rule that an Aerosmith or a Skid Row makes it to number 1 on the charts.
Among the current crop of rockers looking to crack that coveted top-selling slot in Europe is a German outfit known as Kissin’ Dynamite, an apt title given the over-the-top character of their sound and also inspired by the AC/DC song by the same name. Now eight LPs deep into a career reaching back a little over 15 years and their 7th studio entry “Not The End Of The Road” managing to reach number 2 on the German charts, their latest album “Back With A Bang” is practically poised to hit the top.
Alongside the obvious influences by said rock icons from Down Under, Mötley Crüe and Bon Jovi stand among the stylistic influences that have shaped this quintet’s sound over the years, and it could not be more blatant on this latest studio outing. Everything at play here has been amped up to 11, including the presentation of the highly flamboyant frontman Hannes Braun, whose larger-than-live retro 80s image betrays a highly bombastic and powerful vocal presence that wouldn’t have been out of place during the heyday of the Sunset Strip.
Supported by a rock solid rhythm section in drummer Sebastian Berg and Steffen Haile, who unapologetically get the lead out like Tommy Lee and Nikki Sixx in their prime, and the twin guitar assault of brother Andre Braun and Jim Muller; Hannes’ leads a veritable carnival of sonic wonders that essentially run the gamut of every relevant stylistic expression of hard rock from the late 70s up until the newer arena fodder spearheaded by the likes of Buckcherry and Alter Bridge.
Variety is the name of the game being played on this album, occasionally proving both its greatest strength and weakness. The opening volley of riff happy rock and title anthem “Back With A Bang” pulls no punches in going loud and proud, cruising at a swift tempo and sporting all the punch and swagger of “Kickstart My Heart”. Among the other entries that land with a mighty crash is the mid-paced metallic machine “My Monster”, featuring one of the most infectious chorus hooks to grace 2024 and is among a couple of tracks to include that signature talkbox sound popularized by Richie Sambora.
“Back With A Bang” Album ArtworkThings take on a decidedly modern rocking tone on the upbeat “Raise Your Glass” and almost feels 2000s pop/punk informed, while the overt throwback “Queen Of The Night” could almost be mistaken for a mid-80s offering out of Dio or even Dokken were the production dialed back about 40 years. Among the other interesting stylistic twists that still manage to be utterly infectious is the attitude-steeped rocker “The Devil Is A Woman”, the modern power ballad “I Do It My Way” and the unapologetic nod to modern Bon Jovi‘s “More Is More”. But ironically the most impactful entry in this album’s arsenal proves to be the acoustic ballad that closes everything out “Not A Wise Man”, channeling the blues/rock craze of the early 90s as heard on Warrant’s “Uncle Tom’s Cabin” and Tesla’s “What You Give”.
This is the sort of album that plays well to both the older guard who were there when the L.A. sleaze sound was at its peak, as well as the various younger audiences that have grown to appreciate the style since its first revival at the turn of the millennium. It carries with it the same sort of modern arena vibes that one might expect from the likes of Nickelback, but the presentation definitely tilts towards the flamboyance and largess that one would expect from Steel Panther or The Darkness. But behind the glam image is a serious group of musicians who know how to put the right amount of flash into an otherwise compact and straightforward package, with the wild guitar work put forth here being a cut above some of the original purveyors of the style.
This is an album that makes zero apologies for where it goes for inspiration, and between the expert craftsmanship and enthusiasm behind it; it’s an album that deserves its day at the top and will hopefully reverberate in the North American market where rock of this explosive caliber is in short supply.
Released By: Napalm Records
Release Date: July 5th, 2024
Genre: Hard Rock
Musicians: Hannes Braun / Vocals * Sebastian Berg / Drums * Steffen Haile / Bass * Andre Braun / Guitars * Jim Muller* / Guitars
“**Back With A Bang**” Track List:1. Back With A Bang
2. My Monster
3. Raise Your Glass
4. Queen Of The Night
5. The Devil Is A Woman
6. The Best Is Yet To Come
7. I Do It My Way
8. More Is More
9. Iconic
10. Learn To Fly
11. When The Lights Go Out
12. Not A Wise Man
Order “Back With A Bang” HERE****
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Avast, Ye Metal Mateys!Symphonic metal has made its fair share of evolutionary leaps since it first came raging out of Europe in the late 1990s courtesy of trailblazers like Nightwish and Rhapsody Of Fire, to the point where it could be further divided into multiple camps. Yet with all the innovative strides made by the likes of Seven Spires and Wilderun, there is an enduring charm to those bands that have progressed into the 2020s while maintaining a continual affinity with the 2nd wave power metal roots of the sub-genre.
Though by no means averse to change, longstanding Austrian power metal veterans Visions Of Atlantis have continually cleaved to a stylistic expression more in line with where symphonic metal was circa 2004, while also sticking mostly to the theme of grand nautical adventures and mythology. Their 2022 conceptual LP “Pirates” stands as one of the more consistent expressions of lofty tales on the high seas set to a musical template, and roughly two years to the day their sequel entry dubbed “Pirates II: Armada” builds upon that same mixture of operatic splendor and metallic bombast.
From the opening resound of a low tone flute that kicks off this musical journey’s overture “To Those Who Choose To Fight”, the colliding worlds of a high-grade cinematic homage to Pirates Of The Caribbean and olden sea shanties result in a vividly drawn realm of wonder, with some sort of a folksy character to the melodic scheme set in the foreground.
Clementine Delauney, known by many for her brief stint with Austrian fellow travelers Serenity, delivers a powerful yet measured vocal display reminiscent of Sharon Den Adel’s lofty soprano, while Temperance helmsman Michele Guatoli reprises his grittier yet still highly dramatic sailorman’s tenor. This contrasting duet is a bit less flamboyant than the one originally presented by Tarja Turunen and Marko Hietala, but establishes a similar degree of tension that melds beautifully with the dense orchestral atmosphere and punchy guitar riffs, while a further contrast with Nightwish is drawn by guitarist Christian Douscha’s more technically active approach to riffing and frequent guitar soloing.
“Pirates II – Armada” Album ArtworkThough the instrumental arrangement leans heavily on the grandiose and the elaborate, the songwriting proves highly accessible and more in line with more symmetrical and traditional offerings. Quick-paced bangers like the opening foray “The Land Of The Free” and the similarly hard-hitting and catchy anthem “Hellfire” reminisce upon the power metal trappings of the early 2000s with a mighty symphonic edge, while the thrasher of a title entry “Armada” listens like the modernized and seaworthy successor of vintage Nightwish cooker “The Devil And The Deep Dark Ocean”.
More mid-paced crushers like “Monsters” and “Collide” are no less explosive despite pulling back on the speed, the latter featuring one of Douscha’s most mesmerizing lead guitar displays to date. A folksy, night at the tavern with the metal band tone crop up on the utterly infectious “Magic Of The Night” and its dance hall cousin “Tonight I’m Alive”. Yet this album shines its brightest on the twin epic sloughs “The Dead Of The Sea” and album closer “Where The Sky And Ocean Blend”, showcasing a brilliant blend of orchestrated balladry and metallic bluster while Delauney and Guatoli turn in riveting performances.
As a band that has often been overshadowed by the commercial prowess of some of their successful peers, Visions Of Atlantis has done much to distinguish themselves since the late 2010s. They’ve largely erred on the side of keeping the presentation straightforward and accessible, contrasting with the often wildly elongated and elaborate orchestral compositions that have become commonplace in Nightwish’s latest works, as well as the structurally ambiguous character that has typified Epica.
This latest tale of seafaring brigands struggling for their way of life ranks among the more polished and methodical entries in Visions Of Atlantis’ catalog, falling just a tad short of the initial magic that they happened upon in their formative years, but standing tall among the rest that followed. Like most that have been dabbling in this popular style, they don’t set out to reinvent the wheel here, but the one that they end up crafting has enough ornamentation and luster to captivate the ears like a siren’s song.
Released By: Napalm Records
Release Date: July 5th, 2024
Genre: Symphonic / Power / Pirate Metal
Musicians: Thomas Caser / Drums * Clémentine Delauney / Female vocals * Christian Douscha / Guitars * Herbert Glos / Bass * Michele Guaitoli* / Male vocals
“**Pirates II: Armada**” Track List: 1. To Those Who Choose To Fight
2. The Land Of The Free
3. Monsters
4. Tonight I’m Alive
5. Armada
6. The Dead Of The Sea
7. Ashes To The Sea
8. Hellfire
9. Collide
10. Magic Of The Night
11. Underwater
12. Where The Sky And Ocean Blend
Order “Pirates II: Armada” HERE****
The post VISION OF ATLANTIS – Pirates II: Armada (Album Review) appeared first on Sonic Perspectives.
A new odyssey for the ages is born.With a seemingly endless supply of imitators looking to either ride the coattails of Nightwish and Epica or otherwise take nearly all their cues from what they’ve already accomplished, a few have opted to take impressive foundations established thereof and erect some highly unique palaces all their own.
Arguably the most auspicious fold to turn convention into innovation is an outfit that hails not from continental Europe where the style was born, but from the opposite side of the Atlantic in the northeastern corner of the United States, Bostonian symphonic metal quartet Seven Spires. They have established themselves as one of the most stylistically multifaceted and virtuosic outfits to come about in the past decade, with a series of highly developed albums under the banner of Frontiers Records, largely by the handiwork of compositional genius, vocal impresario, and Berklee College of Music graduate Adrienne Cowan.
Now, four studio LPs deep into their career, the only question dogging this band as far as their latest opus “A Fortress Called Home” is concerned is how they build upon a legacy that is already impressive enough to rival bands that have been around twice as long; yet it is also a question that this fold had zero difficulty answering.
To the uninitiated, what this flock of mostly East Coast Americans deals in is primarily of a European stylistic pedigree, though also heavily informed by the darker side of the U.S. progressive metal scene. In contrast to the largely ethereal and serene symphonic musings of *Nightwish and even the more harrowing quasi-melodeath ones that permeate the seminal work of Epica and After Forever before them, Seven Spires takes a healthy amount of influence from the dark and brooding sonic tapestries of Nevermore and the more neo-classically charged progressive variant thereof put forth by Symphony X*.
To be clear, the power metal-based and folksy accessibility and charm of Kamelot is also a key factor in their modus operandi, as is the blackened symphonic musings of Dimmu Borgir when accounting for Cowan’s unique ability to shriek with the ferocity of a 2nd wave Norwegian screamer as well as cover a wide range of feminine vocalizations from the metallic to the operatic. All of this and more is painted over the nearly 65 minutes of music that evolves within the borders of this album, often jumping between differing styles from one song to the next, all serving to tell a highly original and vivid story of trial and tribulation with impressive instrumental performances to boot.
“A Fortress Called Home” Album ArtworkTrue to the cinematic character that tends to go with a symphonic metal opus, each chapter of this drama-steeped story set to music bobs and weaves through varying degrees of intrigue to set the scene for each pivotal plot point. The harrowing overture and title entry “A Fortress Called Home” just oozes epic imagery at every corner, often resembling the famed “Dragonborn” theme from Skyrim, and setting the stage brilliantly for what is to follow.
The first metallic foray “Songs Upon Wine-Stained Tongues” wastes no time in putting the pedal to the metal, wheeling through elaborate riffs on top of a mercilessly infectious set of melodic hooks, often seesawing between a power and black metal aesthetic while the feel of a grandiose film score event hangs above it all. Other points of intrigue that showcase this band’s amazing stylistic range include the dark and forbidding mid-paced stomp with an extreme edge “Impossible Tower”, the frenetic and heavily blackened explosion of rage “Architect Of Creation”, and the dark progressive maze of fits and starts with a symphonic overlay “Where Sorrows Bear My Name”.
The flashy skills of guitarist Jack Kosto and bassist Peter Albert de Reyna meld nicely into more streamlined banger entries like “Almosttown” and “No Place For Us”, taking on something akin to what Within Temptation would sound like with Michael Romeo and Mike LePond in the lineup.
Continuing the trend set by their previous releases, *Seven Spires‘ “A Fortress Called Home”* offers a complex listening experience. This album is likely to push the boundaries for those who typically enjoy a more conventional mix of metal and grandiose orchestration, encouraging them to reconsider their preconceptions about the genre’s limitations. It highlights the work of a highly talented and formally trained ensemble that consistently refines its artistry and broadens its musical scope. This latest offering stands as potentially their most impressive achievement to date, demonstrating genuine growth without a trace of affectation.
The only real flaw in the presentation is that the band opted to put the longest and also greatest song right smack at the beginning of the album, as “Songs Upon Wine-Stained Tongues” is the sort of riveting classic that is more often found towards the end of an album, functioning as its apex point. That being said, the tech-steeped finale and fanfare-like epic “The Old Hurt Of Being Left Behind” does provide a functional climax and denouement to the album’s question and is also a highlight moment.
Perhaps that is the ultimate problem with this album, just about every song found on here is a grand experience, and it’s the sort of problem that results in an album that is definitely in the Top 10 metal entries of 2024 symphonic metal material.
Released By: Frontiers Music SLR
Release Date: June 21st, 2024
Genre: Symphonic Power / Heavy Metal
Musicians: Adrienne*Cowan / Vocals * Jack Kosto / Guitars * Peter Albert de Reyna / Bass * Chris Dovas / Drums
“**A Fortress Called Home**” Track List:1. A Fortress Called Home 2. Songs Upon Wine-Stained Tongues 3. Almosttown 4. Impossible Tower 5. Love’s Souvenir 6. Architect of Creation 7. Portrait of Us 8. Emerald Necklace 9. Where Sorrows Bear My Name 10. No Place for Us 11. House of Lies 12. The Old Hurt of Being Left Behind
Order “A Fortress Called Home” HERE****
The post SEVEN SPIRES – A Fortress Called Home (Album Review) appeared first on Sonic Perspectives.
The sacramental cup runs over.Imitation may well be the greatest form of variety, but it can also be a sure way for an idea to run its course prematurely. Without some degree of stylistic innovation, heavy metal would wither and die, yet there is a fine line between taking things a step further and wandering clear off the map. This is particularly a delicate issue in the case of keeping the theatricality and vintage metallic darkness associated with Danish metal icons Mercyful Fate and their frontman King Diamond’s solo project alive in the face of more than 15 years of studio silence.
Curiously enough, many would-be disciple projects have sprung up within the same frame that the latter had put out his, to date, final studio LP “Give Me Your Soul…Please,” with such acts as Germany’s Attic, the U.S.’s Them, and Sweden’s now defunct In Solitude providing interesting continuations of the style in question, spanning numerous albums of high caliber. Yet the peculiar case of another Swedish outfit dubbed Portrait stands apart from the crowd, functioning less as a tribute-based continuation and more of a logical evolutionary step forward within a NWOTHM context, especially when considering their most recent studio LP “The Host.”
Perhaps the most distinctive aspect of this outfit’s take on continuing the magic originally captured by the aforementioned kings of Danish metal is a stronger lyrical and aesthetic affinity for the occult-obsessed early output of Mercyful Fate, while still maintaining a noticeable element of the more elaborate musical presentation that developed through King Diamond’s first five albums. Right from the visual of the heads of Jesus and Baphomet just barely above a sea of blood on the album’s cover art, this album’s affinity with the dark side couldn’t be any more office, and the massive musical display that lies in store could be likened to a seamless amalgam of “Don’t Break The Oath” and “Abigail.”
Yet while the atmospheric quality of the instrumentation listens along the lines of what a late 80s heavy album would sound like with the advances of a 2024 recording studio, lead vocalist Per Lengstedt’s voice would never be mistaken for that of King Diamond’s. It’s a voice that perfectly emulates the haunting, ghostly character that goes with the style, but his timbre comes closer to what Bruce Dickinson sounded like circa 1983, especially when his forceful non-falsetto high range comes into the picture.
“The Host” Album ArtworkAs the sixth studio LP in this band’s career thus far, as well as the first to feature new second guitarist Karl Gustafsson, “The Host” stands as the longest and most involved effort to date, yet also sees the refinement and improvement of the longer form opus that was 2021’s “At One With None.” Each song functions as an epic slough through numerous twists and turns, often blurring the lines between an old-school, rock-based heavy metal swagger, and a jarringly fast and furious blend of power, speed, and thrash metal elements.
Drummer Anders Persson really outdoes himself at numerous points; with high octane, double-kick happy cruisers like the neck-destroying thrasher “The Blood Covenant”, the driving power anthem “Dweller Of The Threshold”, and the speed-infused thrill ride “Sound The Horn” occasionally flirting with the extreme territory. For their part, the duo of Christian Lindell and the aforementioned Gustafsson cut heads with the same level of intrigue as LaRocque and Denner back in the “Fatal Portrait” days every time a solo section emerges, while the signature riff work of involved journeys through metallic darkness like “Oneiric Visions” and the almost blackened crusher “Treachery” manages to throw every possible stylistic permutation between Judas Priest to Venom at the listener without sacrificing even an iota of coherence.
Insofar as albums residing within the New Wave of Traditional Heavy Metal, “The Host” is among the most technically and formally ambitious offerings to come to light. Though there are definitely isolated entries like the previously mentioned “Dweller Of The Threshold” and the similarly infectious but more mid-paced heavy metal romp “Die In My Heart” that could function as radio singles, the lion’s share of this album is an exercise in complexity that may prove challenging for even the most rabid of progressive metal fanboys to fully grasp in a single listen.
This is underscored by the massive 11-minute epic “The Passions Of Sophia”, the longest song in this band’s career thus far, not to mention an absolutely master class in how to splice melancholy balladry and varying levels of metallic fervor into a single song and have it all make sense. Conceptual works are often noteworthy for their ability to paint vivid pictures and set them in motion, but this LP takes the idea to its logical conclusion, from the creepy ambient synthesizer and piano-steeped introduction “Hoc Est Corpus Meum” to the mad-thrashing mayhem of “Sword Of Reason”.
“The Host” is an album that takes time to fully grasp, but for those with hours to spare, it’s sure to pay massive dividends in the years to come and codify Portrait as one of the major players in Europe’s booming traditional metal scene.
Released By: Metal Blade Records
Release Date: June 21st, 2024
Genre: Heavy Metal
Musicians: Per Lengstedt / Vocals * Christian Lindell / Guitar * Karl Gustafsson / Guitar * Fredrik Petersson / Bass * Anders Persson* / Drums
“**The Host**” Track List:1. Hoc Est Corpus Meum (Intro) 2. The Blood Covenant 3. The Sacrament 4. Oneiric Visions 5. One Last Kiss 6. Treachery 7. Sound the Horn 8. Dweller of the Threshold 9. Die in My Heart 10. Voice of the Outsider 11. From the Urn 12. The Men of Renown 13. Sword of Reason (The Steel of Revenge) 14. The Passions of Sophia
Order “The Host” HERE****
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There are few things in this life – short enough as it is – that are worth waiting five years for. Perhaps it would be worth waiting five years for the love of your life. Perhaps it would be worth waiting five years for a career opportunity you have dreamed of since you were a child. Is there a piece of music worth waiting so long for? Five years filled with yearning, five years filled with hope, a desperate plea that a beloved band would not just return from hiatus, but return with something so spectacular as to delight and entertain the senses?
The answer to this hypothetical is a resounding yes: Rendezvous Point was absolutely worth waiting for. This quintet’s latest album, “Dream Chaser,” follows five years after their acclaimed outing “Universal Chaos” in 2019, which itself came four years after their bombastic debut “Solar Storm” in 2015. The amount of maturity and hunger for excellence that has developed across each of these extended hiatuses is a wonder to behold. And it is that same hunger for excellence, and that same dedication to honing their sound with greater concentration than ever before, that has made “Dream Chaser” one of the most excellent albums in progressive rock and metal of all 2024.
“Dream Chaser” is an engrossing journey of sonic virtuosity from start to finish. Each track calls on the listener to sink into its polished splendor, and the star shine of its melodies glimmers with hope as the guitars open and give way to complex drum patterns. Songs like “Oslo Syndrome” are brimming with a dense and inviting groove, its hook instantaneous and compelling, before opening up to an explosive chorus. This track is both delicate and aggressive in a way that packs in a heavy-hitting rhythm from the bass without compromising the overall brightness of the band’s signature sound.
On the side of the sonic spectrum, “Fireflies” is an emotional masterpiece that grows in a lively fervor as vocalist Geirmund Hansen dances between verses with his impeccable charisma. He has a voice that is absolutely meant for this type of music, with not just a range that is well suited to high-flying emotional prog, but with force and power that cement him as a paragon of talent in this space. Surpassing his performance on “Universal Chaos” seemed an impossible feat, yet songs like “Utopia” and “Don’t Look Up” cement him as the burning star at the center of Rendezvous Point’s universe as he conquers new vocal heights.
“Dream Chaser” Album ArtworkAnd although “Dream Chaser” carries with it a largely wistful and dreamy shine, it has more than enough darkened heaviness to satisfy listeners of all predispositions. “The Tormented” is a beautiful dive beneath the turbulent waters of agony, thick bass lines pushing against punishing drums, each transition like another wave pounding against battered cliffs. And after an incredible journey through the heights of untempered hope and boundless despair, the final song “Still Waters” arrives like a tempest.
There is no better display of Rendezvous Point’s creative strength than this closing track, which is undoubtedly the most accomplished song of their discography, and a crowning jewel on “Dream Chasers” crown. It is magnanimous, its climax mounting with a crescendo of symphonic elements that could split the skies, and it cries out with the might of countless dreams and aspirations. “Still Waters” is breathtaking, immersive, and a testament to just how much Rendezvous Point has evolved to embrace a sound that is uniquely their own. And although it might be tempting to compare this band’s sound to other modern greats, Rendezvous Point deserves to stand on its own merits: this is an act that has clearly fought tooth and nail to make something that they are proud of, and that exceptional artistic desire shows through each note of “Dream Chaser.”
Perhaps there is irony in such enthusiastic lauding “Dream Chaser”, however, as deserved this praise might be, the album itself is about how perfection will always remain out of reach. The band has stated that “Dream Chaser” is about artists like themselves and their compulsion to chase perfection, although recognizing that true “perfection” does not exist, and how that desire leads to a lifetime of doggedly pursuing something that is ultimately unattainable. “Dream Chaser” feels like a cathartic exploration of this struggle while still running after that same impossible dream. The band’s stunning growth from “Universal Chaos” is evident, and it is something to revel in. Each musician’s skills have developed, and this band’s chemistry has created a synergistic harmony like no other. They have joined forces to make a piece of art that is all but untouchable in its exceptionalism.
Rendezvous Point is also packed with a stunning lineup of musicians, featuring talents from drummer Baard Kolstad, best known for his role as percussionist for Leprous, as well as keyboard player Nicolay Tangen of Ihsahn’s band. There is no need to look to credentials, however: each musician in Rendezvous Point stands on their own merits, and “Dream Chaser” is more than enough proof of that. Their talents mesh and meld with a delightful harmony, highlighting each other’s talents with deliberation and intent. The lineup has also remained stable across the band’s tenure, and the artist growth across and between them contributes to the consistency in sound across the album.
“Dream Chaser” is a feat of excellence worth reveling in, and despite the darker themes that color its tense moments, there is a hopeful catharsis within that is sure to inspire and delight.
Released By: Long Branch Records
Release Date: June 21st, 2024
Genre: Progressive Metal
Musicians: Baard Kolstad / Drums * Nicolay Tangen Svennæs/ Keyboards * Geirmund Hansen / Vocals * Petter Hallaråker / Guitar * Gunn Hilde Erstad* / Drums
“*Dream Chaser*” Track List:1. Don’t Look Up 2. Oslo Syndrome 3. Utopia 4. Fireflies 5. Presence 6. Wildflower 7. The Tormented 8. Still Water
Order “Dream Chaser” HERE****
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The blackened fires shall burn.Though perhaps not the most notorious purveyor of black metal in the 1990s; Sweden arguably birthed the scene that could boast the most intricate take on the Northern European brand of auditory coldness. Sticking closer to the death metal practices that had immediately preceded it and being less prone towards the rustic minimalism that had become the trademarks of Norwegian icons like Mayhem, Burzum, and Darkthrone, it was a more common occurrence for the visual of Norse conquerors to march into battle to be accompanied by a more virtuosic sense of musicianship from guitarist and drummer alike.
One-man project Kvaen, an effort born almost three decades after the blackened arts had supplanted the physically moribund ones as the extreme fringe of metal expression, has been one of the more impressive examples of this art being delivered in a modern, higher fidelity package; and it’s 3rd and latest studio venture “The Formless Fires” ups the raw intensity and technical prowess ante even further.
Multi-instrumentalist and mastermind Jacob Bjornfot reprises his role as the one-man army in the studio by handling vocal, guitar, bass, and keyboard duties to masterful effect, yet his prowess alone does not see the culmination of this mighty opus. Arguably of equal consequence is the presence of ex-Amon Amarth drummer Fredrik Andersson behind the kit, putting on a master class of how to blast and machinegun kick with the fury of a thousand storms without showing even the slightest hint of imprecision, and also taking some noteworthy occasions to slow things down without losing an iota of power.
Bjornfot matches this wild technical display at every possible opportunity with a stream of well-placed guitar solos that could rival the likes of Alexi Laiho (R.I.P.) and Jari Maenpaa, yet even more auspicious is the inclusion of two celebrated Swedish black metal shredders in Necrophobic’s own Sebastian Ramstedt and Dark Funeral’s Chaq Mol respectively, injecting further gravitas into an album already filled to the brim with it.
The stylistic modus operandi of this album, as with its predecessors, is an amalgam of the classic 2nd wave Swedish melodic black metal rage of Dissection, Unanimated, and Naglfar with the aforementioned technical flair of *Necrophobic and Dark Funeral, as well as a healthy Viking metal element after the spirit of Mithotyn and Enslaved*. It isn’t the sort of black metal that is content to drone on and simply provide a hypnotic backdrop for the lyrical delivery of a wailing berserker, yet it is calculating in how it moves from one idea to the next and takes plenty of time to develop one before moving to the next.
“The Formless Fires” Album ArtworkWhether it be mad thrashing storms of rage like the opener and title anthem “The Formless Fires” and “Basilisk”, more mid-paced and folksy atmospheric entries like “Tornets Sang”, or extended journeys through the endless now that mix varying degrees of orderly marches and roaring chaos after the spirit of latter-day Immortal like “Ancient Gods” and “The Perpetual Darkness”; there is a continual spirit of lofty storytelling and well-organized songwriting that works on every level. Bjornfot takes it to yet another level of the riveting “De Dodas Sang” by throwing in a brilliant acoustic guitar display with a mild classical touch to usher in what might well be the best entry on the album if not one of the best black metal anthems of 2024.
This is prime cut metal that will cut across the entire spectrum of black metal adherents, capturing the archaic building blocks first realized by Bathory all the way through the higher fidelity production practices and naturalistic elements that have typified the sub-genre of late, leaving no stone unturned despite clocking in at under 40 minutes. Despite its strong affinity with the older adherents to the style, this is an album that 3rd wave fans who discovered the art through the likes of Wolves In The Throne Room and Agalloch could equally appreciate.
It perfectly balances the underground character that comes with the style with a concise and highly accessible approach to songwriting that should offer a wide appeal to even those who are more inclined to mainline melodic death metal after the mold of early In Flames and *Amon Amarth, leaving little mystery as to why this project was picked up by Metal Blade Records* for this album. Prepare thyself to be whisked away to a world where Norse conquerors lay waste to all in their way, then shout praises to the old gods by the campfire with mead in hand and the wind chilling their beards, only the fires will burn without form as they pierce the endless black.
Released By: Metal Blade Records
Release Date: June 21st, 2024
Genre: Melodic Black Metal
Musicians: Jacob Björnfot / Vocals, guitar * Kristian Gustavsson / Guitar * Rasmus Rova / Guitar * Per Lindström / Bass * Fredrik Andersson* / Drums
“**The Formless Fires**” Track List:1. The Formless Fires 2. Traverse the Nether 3. Tornets Sång 4. The Ancient Gods 5. Basilisk 6. De Dödas Sång 7. The Perpetual Darkness 8. The Wings of Death
Order “The Formless Fires” HERE****
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Last year, the Cavalera brothers (formerly known as Cavalera Conspiracy) surprised the metal world with their re-recording of Sepultura‘s debut album, “Morbid Visions,” 38 years after its release. And they didn’t surprise everyone by the mere fact of doing it, but because they managed to do what is often considered unthinkable: a band making a re-recording that the fans didn’t hate (I’m looking at you Pestilence) where they also recapture the energy and essence of the original album.
Even if one could criticize small aspects, it is undeniable that the response from the metal community was unanimous regarding the quality of the work. One may be more of a fan of the raw and gritty style of the original ’86 album but there is no denying the exceptionality, in many ways, of last year’s recording.
Earlier this year we got additional surprising news, with the announcement that the band was going to release a re-recording of Sepultura‘s second album, “Schizophrenia.” I found myself in a conundrum as, in recent years, this has become my favorite *Sepultura album. I understand that many may prefer “Beneath the Remains,” “Arise” or “Chaos A.D,” but “Schizophrenia” was this album that struck the perfect balance between thrash and death metal. It is also important to understand how important it was for the evolution of the band, only one year separates the release of the debut from this album and yet, the leap in quality was of uncountable magnitude. With “Schizophrenia,” Sepultura* went from being a cavernous, amateurish band to a project of immense musical quality. The compositions became more complex, the style cleaner and more defined, the musical skills were perfected, and they went from being practically a garage band to a professional studio act.
That’s why the idea of them also re-recording this album came as a surprise, simply because with “Morbid Visions” it was understandable that they had the thorn in their side of wanting to make a better quality recording of those songs. Although it is undeniable that the production of “Schizophrenia” is already showing its age, it still feels much more current due to the aforementioned progress in quality.
The main problem with the 2024 version of “Schizophrenia” is that it bears very little difference from the original album. It’s undeniable that Max and Igor still channel as much of that same brutal energy, despite the passing of the years, as they did in their early days; and most of the minor changes and tweaks to the production and effects brought by the more modern re-recording techniques are also palpable. Still, it doesn’t feel like it in any way improves the original material, as they did with “Morbid Visions”, it just makes it slightly different, as a sort of alternative mix. In fact, I prefer the lo-fi touch that the original had, for instance, the sound effects in the intro of “Inquisition Symphony”, which gave it a darker, more mystical, and mysterious touch, one this version doesn’t have.
Cavalera‘s “Schizophrenia” ArtworkOn “Schizophrenia” 2024, one of the most noticeable things that have changed is the drumming, all the years of experience that Igor has accumulated behind the instrument are noticeable, and that is something that greatly benefits the more ambitious and grandiloquent songwriting, it feels more austere and vigorous, but the truth is that all the members of the band give the most energetic performance. The Cavalera brothers certainly found the right way to approach this kind of re-recording, providing them with a genuine metal essence, and managing at times to make us forget that this is more a revamped product than anything else.
I don’t think I should comment much on the songs, the whole album is a classic, and if you are not familiar with it, I don’t know why you are waiting to listen to it! However, the album’s closing track “Nightmares of Delirium”, deserves writing about, as it is the only truly new track on the album, replacing “The Troops Of Doom” as the bonus track from the 1990’s re-issue. I don’t know if this song is a leftover that never saw the light of day during the recording sessions of the original album, or a track that wasn’t finished, but if it was a new song written exclusively for this release then I’m elated, simply because it blends perfectly as a composition within the style and sound of “Schizophrenia”. That would prove that the Cavalera brothers are still capable of crafting death/thrash of the highest quality on par with their original 80’s work, and honestly, that reason alone is enough to keep me on my toes for their future projects.
Released By: Nuclear Blast Records
Release Date: June 21st, 2024
Genre: Thrash/Death Metal
Musicians: Max Cavalera / Vocals, guitars * Igor Cavalera / Drums * Daniel Gonzalez / Lead guitar * Igor Amadeus Cavalera* / Bass
“*Schizophrenia*” Track List:1. Intro 2. From the Past Comes the Storms 3. To the Wall 4. Escape to the Void 5. Inquisition Symphony (instrumental) 6. Screams Behind the Shadows 7. Septic Schizo 8. The Abyss (instrumental) 9. R.I.P. (Rest in Pain) 10. Nightmares of Delirium (New track, previously unreleased)
Order “Schizophrenia” HERE****
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The old ways are timeless.When considering the task of keeping the magic of Dio’s musical legacy alive, there seems no shortage of would-be disciples up to undertaking it, each with their own respective twist on the original. Yet when it comes to accentuating the uniqueness factor and putting the emphasis on emulation over outright imitation, there is something to be said for the quartet hailing from the somewhat unlikely city of Seattle, Washington known as Rivetskull.
Originally cutting their teeth in the Pacific Northwest in 2009 under the moniker of Rising as a tribute band to the aforementioned land, the passage of five years and a healthy number of gigs to boot would find the adoption of a new name and a corresponding mission to create as well as celebrate. With the 2020 release of their debut LP “Trail of Souls: Samsara“ and a 2022 rerelease with an additional song and modified title, the sky seemed the limit for this fold, and their 2024 sophomore follow-up “Absence Of Time” sees them even closer to punching a hole through the proverbial stratosphere.
At first glance, what this second studio outing seems keen to dish out is heavily similar to the gritty and raw character of Dio’s seminal debut “Holy Diver,” but closer inspection reveals a band that covers a good bit more ground and also coming into their own as a creative force. Chad McMurray’s dual function as lead vocalist and keyboardist in the fold mirrors the ambitious character of what Ronnie James took to his 1983 debut, but the timbre of his voice bears a greater similarity to the smoother sound of Blue Oyster Cult’s Eric Bloom and the semi-operatic theatricality of ex-Uriah Heep front man David Byron.
Even when at his most aggressive, McMurray sounds well removed from an outright Dio imitation, yet that same spirit of raging splendor adorns his harsher moments. Mark Plog’s guitar input is where the picture becomes extremely varied, as his riffs do often resemble the manic quality of Vivian Campbell’s early handiwork, while his soloing style and a few of his darker grooves channel Craig Goldy and Tracy G’s latter-day work with Dio. The combined rhythm section of drummer Michael Robson and bassist Mark Hopkins proves a bit more conventional, with the latter maintaining a steady and deep groove while the former often resembles Vinnie Appice’s loose and fill-happy kit work.
“Absence Of Time” Album ArtworkWhen combined with a songwriting approach that manages to be both concise and formally adventurous, the type of song that emerges from this conjunction of talents proves to be anything but typical. The pummeling fury of opener “Hellbound” hit with the force of a modern speed metal anthem out of Germany, though beneath the amped-up guitars and thunderous drums is a song that functions as a logical continuation of what began with numbers like “Neon Knights” and “Turn Up The Night” from Dio’s original run with Black Sabbath.
The heavy-ended gallop of “Isolation” proves no less formidable, with an infectious chorus hook that is sure to become a live staple. “The King Is Dead” brings a mystical, Mid-Eastern musical twist on the same generally up-tempo galloping approach, almost like a darker and heavier nod to “Gates Of Babylon” in half the time. Throw in some thick, chugging groove machines with a dark coat of sonic paint like “Eyes Of A Fallen Angel” and “Swimming In Mortality”, to speak nothing for the dreary, military march-like ballad turned punchy epic closer “The Unwinnable War” and what results is an album that touches just about every base in the old school rock and metal spectrum.
Though time appropriate for being associated with the New Wave of Traditional Heavy Metal, Rivetskull is a band that only shares a partial musical affinity with said movement, as underscored by the dual nature of this album. It is, by any respect, a grouping of songs heavily informed by a tradition that is as old as the metal genre itself.
Yet it does not conform to the retro-80s production practices typical to most of the NWOTHM’s adherents, opting for a sonic quality that is more readily associated with the period of Dio’s career in the 2000s when their 80s sound had cross-pollinated with the dank, doom-like quality of said icon’s 90s era. It ultimately endeavors to function as a continuation of where Ronnie had left things in the early 2010s when he departed this Earth and comes off equally as up to the task as the projects that Craig Goldy has co-founded in the years since.
Alongside those who especially enjoyed such classic albums as “Holy Diver,” “Strange Highways,” “Killing The Dragon,” and “Master Of The Moon,” this album’s target audience extends to just about every old and young fan of heavy metal craft, to whom it will ring familiar while still bringing something new to the table.
Released By: Self-Released
Release Date: June 14th, 2024
Genre: Heavy Metal
Musicians: Mark Plog / Guitar * Chad McMurray / Vocals * Michael Robson / Drums * Mark Hopkins* / Bass
“**Absence Of Time**” Track List:1. Hellbound 2. Isolation 3. Not Gonna Run 4. My Darkest Hour 5. Eyes of a Fallen Angel 6. The King is Dead 7. Swimming in Mortality 8. Time Will Tell 9. The Unwinnable War
Order “Absence Of Time” HERE****
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A musical supernova is codified.There is a fine art to taking the insular and arguably inaccessible world of progressive metal and presenting it to a wider audience in an accessible package. Many artists that dabble in said sub-genre have attracted sizable crowds with their technical feats and style-defying compositions that often go well past the 10-minute mark. But the world of progressive power metal is one where the improbability of said approach is brought a little closer to Earth, resulting in music that remains technically impressive but is easier for fans of simpler styles to enjoy and understand.
In the same grand tradition as the likes of Conception, Symphony X, Dream Theater, Nevermore, and a few others, Greek quartet and Inner Wound Recordings affiliate Sunburst would stand as one of the few to effectively strike this enigmatic balance on their 2016 debut “Fragments Of Creation.” Despite 8 years of subsequent studio silence, lightning has now struck twice with the unleashing of this dark horse act’s riveting follow-up LP “Manifesto.”
The impressive conjunction of elements that makes up this band’s membership results in a signature sound that proves as familiar as it is unique. The blend of steady grooves, off-kilter rhythms, and elaborate fills that flow from drummer Kostas Milonas’ kit speaks to a level of ambitiousness and love for Neil Peart’s ground-breaking accomplishments as that of Mike Portnoy. In a similar spirit, bassist Nick Grey’s contributions don’t shy away from extravagance, often mirroring the insanely swift and jarring fills that fly from the drums and guitars, but of the quartet, he leans the most towards maintaining a congruous foundation.
Axe-slinger Gus Drax is arguably the most auspicious player in the fold, slamming down on the heavy-ended and frenetic riff work with the darkness and intensity of Jeff Loomis and Michael Romeo, though his soloing segments tend more towards the methodical nature of John Petrucci. Studio keyboardist Bob Katsionis might as well be the fifth member of the fold, though his contributions are more atmospheric and understated compared to the rest. But at the center of it all, and arguably the most gripping part of this whole is vocalist Vasilis Georgiou; who’s mostly smooth as silk high baritone croon is almost a dead-ringer for Roy Khan, though he occasionally explores rougher territory and also embodies the exaggerated melodrama of Warrel Dane at times.
“Manifesto” Album ArtworkIn comparison to their much-lauded debut, the songwriting that emerges here is of a similar caliber and bent, though instead of one outright towering epic number upon which the rest tend to orbit, these 8 chapters function as equally yoked mini-epics unto themselves. That being said, there is a general structure and flow to how this album unfolds that sees certain songs in this collection possessing a greater degree of bombast and largess.
Bookending it all are two highly bombastic and heavily orchestrated journeys in “The Flood” and “Nocturne” that see the greatest amount of musical drama and largess, perhaps being best likened to epic numbers from mid-2000s era Kamelot with a *Dream Theater twist, particularly in Gus’ solo work, which is far too technical to be mistaken for Thomas Youngblood*‘s.
Likewise, the thrashing speeder “Hollow Lies” could almost be likened to a faster entry off “The Black Halo,” though Drax’s riff work and the more ornamented assault of the rhythm section bring in **Nevermore* elements from the same period. Other entries like “Perpetual Descent” and “From The Cradle To The Grave”* come the closest to an orthodox emulation of the progressive metal style as codified by Dream Theater** during the 90s.
It’s a foregone conclusion that anyone with a taste for the elaborate and the melodically consonant will be drawn to what Sunburst is serving up here, though “Manifesto” takes things a step further compared to its distant predecessor by covering even more stylistic ground. The old cliché about a band’s sound maturing, though annoying given its obvious and inevitable application to every band in the business, bears mentioning here as this fold’s execution of their craft has definitely been ratcheted up something fierce.
The result is an album that can be best described as a near-perfect amalgam of nearly every unique progressive metal expression that has occurred in Europe and North America from 1992 through the 2000s, accentuating the strengths of each while minimizing some of their downsides.
Those who want *Nevermore with a cleaner vocal delivery, Dream Theater without the excessive time lengths, and Symphony X* with a more measured level of virtuosic lead guitar work will find the ideal album here, while everyone looking for an excellent album in the progressive style need look no further.
Released By: Inner Wound Recordings
Release Date: June 14th, 2024
Genre: Progressive Metal
Musicians: Vasilis Georgiou / Vocals * Gus Drax / Guitars * Kostas Milonas / Drums * Nick Grey* / Bass
“**Manifesto**” Track List:1. The Flood 2. Hollow Lies 3. Samaritan 4. Perpetual Descent 5. Inimicus Intus 6. From the Cradle to the Grave 7. Manifesto 8. Nocturne
Order “Manifesto” HERE****
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A new symbol adorns a familiar palace.For 35 years the name Axel Rudi Pell has become all but synonymous with consistency and tradition. Originally cutting his teeth in the mid-80s as a virtuoso guitarist under the banner of the German melodic heavy metal outfit Steeler, ironically enough the same namesake as shred icon Yngwie Malmsteen’s first major project, this Teutonic mainstay has since carved out a highly methodical yet prolific niche for himself as a solo artist that has remained intact ever since.
Though sporting a similarly complex and flamboyant approach to the instrument as the aforementioned Swedish neo-classical guru, Pell has continually opted to stick closer to the blues base and rock-oriented approach first spearheaded by the likes of Ritchie Blackmore and Uli Jon Roth. Now 20 studio albums deep into his career (22 if counting the two “Diamonds Unlocked” cover albums), his latest studio foray “Risen Symbol” proves yet another brilliant exercise in sticking to what works and employing evolutionary twists sparingly.
To the uninitiated, experiencing Axel at his sonic craft bears a strong resemblance to a liturgical affair, marked by a keen sense of traditionalism and reliance upon the familiar. Taken as a whole, his discography almost seems a repetitive affair that could be likened to the career of AC/DC, though with an aura of 80s mystique and atmospheric charm that comes off as otherworldly.
Since the acquisition of keyboardist Ferdy Doernberg and Hardline vocalist Johnny Gioeli in 1998 and the subsequent classic LP “Oceans Of Time,” the codified hybrid of archaic heavy metal tropes and 90s power metal flash has endured, spearheaded by the Dio-like rasp and grandeur of Gioeli’s highly distinctive roar. The kinetic character that Jorg Michael initially brought to the equation in the 90s has since given way to a heavier and less speed-obsessed input from the rhythm section, as well as a looser jam-like feel with the introduction of former ex-Quiet Riot and ex-Warlock drummer Bobby Rondinelli, but to most ears, the change in Axel Rudi Pell’s craftsmanship has been barely noticeable since the turn of the millennium.
Relative to the past couple of studio LPs put out by this fold, “Risen Symbol” is an album that presents a band more focused on building banger anthems and employing more exotic and drawn-out formulas sparingly. Nowhere is this more the case than in Pell’s guitar work, which errs on the side of driving riffs, compact and moderately indulgent solo work, and a stylistic bent that often resembles the olden character of Deep Purple and Uriah Heep.
“Risen Symbol” Album ArtworkThe opening prelude “The Resurrection” recalls the Eastern musical fancies exhibited by Blackmore all but to a fault, sounding like a lost variant of the intro of “Gates Of Babylon” and painting an elaborate picture not all that dissimilar to the great flaming pyramid adorning the album cover. What follows in “Forever Strong” can be best described as a maddeningly heavy speed metal anthem rivaling the most blistering displays from Axel’s 90s period, complete with a biting guitar tone and a matching vocal display out of Gioeli. Much of what follows leans a bit more into the 80s mid-paced rocker anthem mold, but crunchy entries like “Guardian Angel” and “Darkest Hour” spare no expense in the infectious hook department, while quicker odes like “Hell’s On Fire” and “Right On Track” feature swift riffs and pummeling drum fills that flirt with the apex achieved on “Forever Strong” while not quite going as off the hook.
Not one to be boxed into a one-dimensional mode of metallic expression, Axel does take ample opportunities to mix things up a bit, though in a far more measured fashion than what has often come to pass in his lengthy back catalog. The lone ballad “Crying In Pain” presents one of the most somber entries in his arsenal, not quite to the point of the ultra-poignant “The Clown Is Dead”, but coming pretty close between Ferdy’s droning piano work and Gioeli’s melancholy semi-roar.
The Eastern mystique factor is amped up another notch via the towering 10-minute epic “Ankhaia”, which runs along similar lines to several past forays into elongated homage works to Rainbow’s “Stargazer”, but also seems to channel elements of Hans Zimmer’s film score work on the recent Dune films. On the other side of the epic coin is the more conventional 7-and-a-half-minute opus “Taken By Storm”, which starts on a serene, quasi-bluesy ballad note before launching into a down-tempo, Black Sabbath-inspired march.
Yet ironically enough, the coup de grace of this album that truly draws things together and stands as one of Axel’s most captivating accomplishments is the cover of Led Zeppelin’s “Immigrant Song”. It just brilliantly walks a fine line between the song’s original 70s rock context and this band’s heavier metallic sound, with a more atmospheric presentation to accent the song’s exotic character and an utterly spellbinding vocal interpretation out of Gioeli to boot.
Though this album faces some truly stiff competition from prior entries in Axel Rudi Pell’s catalog and obviously comes in a little behind undeniable classics like “Between The Walls,” “Black Moon Pyramid,” “Oceans Of Time” and “Mystica;” “Risen Symbol” holds its own and will undoubtedly prove a welcome addition to the collection of any long time fan of this outfit. It could also function well as an introduction to newcomers who might already be predisposed to enjoying the rock and metal titans of the 70s and 80s that influenced Pell’s signature sound, given its generally compact and straightforward presentation.
For an artist who has stuck to his guns with zero compromises through the fads of grunge, nu-metal, and various crazes that have come and gone in the years since Axel continues to stand as a tall oak in a forest that continues to be populated with younger maples. Whether one prefers vintage spirits straight from the mid-80s or the NWOTHM of the present day, this is an album that could fit in with just about any fully stocked traditional metal bar.
Released By: Steamhammer/SPV
Release Date: June 14th, 2024
Genre: Heavy Metal
Musicians: Axel Rudi Pell / Guitar * Johnny Gioeli / Vocals * Volker Krawczak / Bass * Ferdy Doernberg / Keyboards * Bobby Rondinelli* / Drums
“**Risen Symbol**” Track List:1. The Resurrection (Intro) 2. Forever Strong 3. Guardian Angel 4. Immigrant Song (Led Zeppelin‘s cover) 5. Darkest Hour 6. Ankhaia 7. Hell`s On Fire 8. Crying In Pain 9. Right On Track 10. Taken By Storm
Order “Risen Symbol” HERE****
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The anticipated wait for a new Airbag album nearly always pays off: fans know exactly what to expect and the band delivers. The only ones who may walk away disappointed are any who were hoping for a new progression in the Airbag sound. As expected, sonic meditations slowly develop over time, heavy on atmosphere and tension yet devoid of flashy heroics or complex interplay. Six albums in and the obvious reality appears to be confirmed: the *Airbag* blueprint is here to stay. No more, no less.
While *Airbag’s first three albums reached a level that has yet to be matched, the good news is that “The Century of the Self” is a satisfyingly cohesive outing that plays to the band’s strengths, and probably their best since “The Greatest Show On Earth”. Opening song “Dysphoria” delivers ten minutes of Airbag’s classic approach with its plodding but hypnotic rhythm transfixing the listener as new doorways open to reveal swirls of guitar amidst ambient keyboard patches. Asle Tostrup’s vocals fit the dour mood with lyrics like, “You’re canceled now, they’ll cancel everything, they’ll make us suffer and they’ll make us bleed”* – themes that will be revisited throughout the album. Despite the political and social commentary, the music keeps us entranced and even on the edge of elation. A fine opener.
“The Century of the Self” Album Artwork“Tyrants and Kings” is one of *Airbag’s most convincing up-tempo songs yet. This streamlined piece makes its biting lyrical impact at a driving pace, careening towards the Bjørn Riis guitar solo which will inevitably bring the song to a close. Two for two so far. The unexpected and lovely “Awakening” harkens back to early ballads like “Colours”, finding Tostrup getting a tinge of emotion in his voice while Kristian Hultgren adds simple but impactful bass lines. “Wake up now…and feel…again.”*
“Erase” explores cancel culture more deeply but despite touches of angst and grit, musically it feels a bit too *Airbag-by-the-numbers to make much of a unique mark. More interesting is the closing 15-minute “Tear It Down” which traverses a diverse terrain. Opening with spacious vibes on the keys courtesy of Simen Valldal Johannessen, we eventually are treated to several Riis guitar moments and a solid groove from Hultgren’s punchy bass and Henrik Bergan Fossum’s well-mixed drum kit. The whole affair is skillfully produced by Vegard Kleftås Sleipnes*, making for ideal headphone tripping.
Having proven their staying power with their previous album “A Day At The Beach”, this new release raises the bar a hair higher, feeling like a more consistent statement. *Airbag* once again demonstrate their obvious qualification to be one of ambient prog’s top artists.
Released By: Karisma Records
Release Date: June 14th, 2024
Genre: Progressive Rock
Musicians: Asle Tostrup / Vocals, keyboards and programming * Henrik Bergan Fossum / Drums * Bjørn Riis* / Guitars, bass, keyboards and backing vocals
“**The Century Of The Self**” Track List:1. Dysphoria 2. Tyrants and Kings 3. Awakening 4. Erase 5. Tear it Down
Order “The Century Of The Self” HERE****
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Cadaverous Condition is a truly unique band, indeed this is an adjective that is used lightly but I assure you that it is fully justified here. This band has, for many years, flown below my radar and that of many other people, and perhaps this is due to the very nature of the band, experimental and artistic for the most part, leading them to be seen as something merely anecdotal due to their particularities rather than as a way of hooking someone into their music. For the sake of understanding the point, Cadaverous Condition is an Austrian band that has been around since 1990, so they can be categorized as old-school death metal (OSDM), however, to label them as such alone would hardly be doing them justice, as their music is riddled with different musical influences, such as gothic rock, dark ambient and especially neo-folk.
“Never Arrive, Never Return” is the band’s first album in thirteen years, the longest period between releases. I’d be lying if I denied having done a previous revision of their discography to know what this comeback could offer. Yet, this work has come to surprise me, even if it wasn’t for the expected reasons. If you look back on their career, you will see a band that was very open to putting different elements in their music, even if they didn’t even fit at first, I think that always gave a shabby and over-the-top touch to their music, one can notice the artistic value of their neofolk with guttural death metal vocals songs, but I also understand why people would feel them as something bit ridiculous. Luckily Cadaverous Condition eventually gained skills and redefined their style in order to find a good balance between genres and know better how to combine the discordant elements that each style has.
“Never Arrive, Never Return” Album ArtworkThat’s why “Never Arrive, Never Return” is so surprising, because this is the most straightforward album of their entire career, the experimentation section is the most subtle and discreet they have ever done, but that doesn’t mean that there is no room for such features, as, the black metal inspired guitar lead on ‘They Came from the Hills’, the spoken word section at the end of ‘The Plow’ or the acoustic and post rockish elements on ‘From the Other Side’. Still, the majority of the time it’s still predominantly by that deep-rooted old-school death metal sound, with some standard riffage (to the point where I suspect tracks like ‘Hidden Things’ are an exaggeratedly clear tribute to the early Swedish scene) accompanied by intense, shattering blast beats and a vocal delivery very reminiscent of those classic gutturals that established themselves as the trademark of the genre in the 90s.
All this blend makes the songwriting more focused on creating truly satisfying and memorable moments, the kind of ones that make you bang your head like a maniac to the rhythm of sick and powerful groove riffs, moments that uncompromisingly emphasize power and strength, and it’s peculiar that this comes from a band that is usually much mellower, melancholic and precious, almost as if they wanted to show us with this comeback that this kind of feelings also have their wild side and, above all, that although many years have passed they are still able to turn the amps to the maximum and blow the head of any misguided listener, after all, this is still pure and unfiltered death metal.
Released By: The Circle Music
Release Date: June 14th, 2024
Genre: Old School Death Metal
Musicians: Wolfgang Weiss / Vocals * René Kramer / Guitars * Peter Droneberger / Bass, guitars * Paul Droneberger* / Drums
“*Never Arrive, Never Return*” Track List:1. They Came From The Hills 2. The Plow 3. The Eternal Burial 4. All The Wrong Turns 5. A Blizzard Of Lies 6. From The Other Side 7. Hidden Things 8. The Darkness Is In My Bloodstream Now 9. A Thousand Midnights In The Silent War 10. To Be
Order “Never Arrive, Never Return” HERE****
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The 80s rebel returns.Bands attempting to recapture the magic of the 1980s seem a dime a dozen of late, with a wide spectrum of stylistic expressions under the rock and metal umbrella either taking inspiration from or outright copying the formula of 40 years past. Swedish AOR trustees Nestor stand among the few who were there when said decade had yet behind the horizon of time, having formed in the twilight of 1989, then proceeding to go into a state of hibernation for about 30 years.
By all standards, this quintet greeted the 2020s as a freshly minted band with their breakout 2021 debut “Kids In A Ghost Town;” garnering comparison to the likes of Bon Jovi, Aerosmith, Journey, and Foreigner, and also attracting the attention of Napalm Records in the process. Following a massive stadium tour in 2022 that saw sharing the stage with the likes of Def Leppard, Europe, and even KISS, the proverbial lightning has struck twice for these 5 with the unleashing of their mighty sophomore follow-up “Teenage Rebel.”
True to their past affinity for progressive rock at the turn of the decade that birthed them, *Nestor boasts a lineup of highly skilled musicians that weave an intricate web of sound throughout this 10-song extravaganza. Leading the pack is vocalist and co-founder Tobias Gustavsson, boasting a massive and soaring tenor that bears an uncanny resemblance to ex-Survivor vocalist Jimi Jamison, with a nice side order of Joe Lynn Turner-like grittiness. Not far behind is the mighty wail of co-founder Jonny Wemmenstedt’s guitar, laying down hard-hitting riffs and wildly technical solos that blur the lines between the shred-happy metallic flair of Randy Rhoads and the equally extravagant but more rocking Bruce Kulick*.
Keyboardist Martin Johansson lays a thick and smooth assortment of piano, organ, and synthesizer elements into the equation that truly underscores this band’s arena rock tendencies, while the rhythm section put together by bassist Marcus Ablad and drummer Matthias Carlsson is an exemplary blend of solid precision and occasional flair.
Perhaps the only thing that can rival the competency of all the parts of this highly impressive sum is the gamut of 80s tropes that they successfully run to forge this array of ultra-catchy odes. Kicking things off with a nostalgic hodgepodge of sampled sounds that ooze 80s culture at every turn, not the least being a bit from one of former U.S. president Ronald Reagan’s speeches, and an inspirational narration of rebellion by Danish voice actress Freya Miller, “The Law of Jante” sets the stage for a rocking journey with the best of them. The segue into up tempo cruiser “We Come Alive” is nothing short of seamless, as the preceding prelude seems to function as part of the song in question, and finds itself in a riveting anthem that splits the difference stylistically between Rainbow’s “Bent Out Of Shape” and Ozzy Osbourne’s “Bark At The Moon.” Other brilliantly conceived anthems that often blur the lines between ultra-smooth AOR and biting 80s metal thunder include the punchy title number “Teenage Rebel”, the speed-infused and shred happy “21” and the Dokken-like down tempo rocker with a heavy order of keyboards “Unchain My Heart”.
“Teenage Rebel” Album ArtworkThough there is a heavy degree of impact and largess going on here that might lead one to conflate this album with a metal affair, the lion’s share of what is heard on here errs more on the side of *Journey, 80s Kiss, and late 80s Def Leppard than anything else. One need look no further than the 1987 radio fodder that is “Last To Know”, which comes dangerously close to sounding like an answer to Def Leppard’s “Hysteria” and Saxon’s “I Can’t Wait Anymore”. Even riff-happy and solo-rich guitar entries like “Caroline” and “Victorious” sound far closer to something that might have been on KISS’ “Crazy Nights,” and at times Gustavsson’s more measured performance seems to resemble Paul Stanley*’s voice during the said era.
Throw in the ultra-sugary power balladry of “The One That Got Away” that could almost be mistaken for something from The Karate Kid soundtrack, and the even softer and sweeter refrain of “Daughter”, and what emerges is a band that veers pretty heavily towards the sound that made the likes of Starship and Survivor arena draws circa 1985, despite Jonny’s ultra-flamboyant guitar soloing being more bombastic than what normally came along with said icons.
This is the sort of album that has been heard before, yet it has not if that makes any sense. It presents a group of songs that by virtually all standards could have been released during the late 80s, by a band that formed during that very same period. One might almost go so far as to say that this album carries with it a world, where grunge never dominated the charts, and the early 90s saw a more gradual evolution where the AOR hit machines of the mid-80s cross-pollinated to a greater degree with the more tech-oriented side of the glam rock scene.
It’s made to order for 80s nostalgia hounds, yet it also packs a bit more of a punch than what comes with a revival act like The Night Flight Orchestra and has a greater level of organic drive than power metal acts like Beast In Black and much of the Frontiers Records lineup that dabble in the same era’s style. When played loud and proud, it’s the album that transports one to where hope and optimism abound.
Released By: Napalm Records
Release Date: May 31st, 2024
Genre: Melodic Hard Rock
Musicians: Tobias Gustavsson / Vocals * Jonny Wemmenstedt / Guitar * Mattias Carlsson / Drums * Marcus Åblad / Bass * Martin Frejinger* / Keyboards
“*Teenage Rebel*” Track List:1. The Law Of Jante (featuring Freya Miller) 2. We Come Alive 3. Teenage Rebel 4. Last To Know 5. Victorious 6. Caroline 7. The One That Got Away 8. Addicted To Your Love 9. 21 10. Unchain My Heart 11. Daughter
Order “Teenage Rebel” HERE****
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Evergrey is a band that needs no introduction. Formed in 1995 by vocalist and guitarist Tom Englund (Redemption, Silent Skies), *Evergrey’s unique brand of virtuosic melancholy has long been a staple of the progressive metal scene. Their story may have begun with the haunting release of “The Dark Discovery” in 1998, but after more than twenty-five years of ceaseless excellence, the band shows no signs of slowing down. In fact, Evergrey’s modern popularity exploded following 2014’s success with “Hymns for the Broken,” and this recognition has only continued to soar as the band pressed on with a series of notable releases. For the wayward, for the souls yearning for music that truly hears their hearts, and for those seeking the comforts of delicate melodies tangled with heavy riffs, Evergrey* has always delivered.
Thus *Evergrey has grown in its craft, from gritty demos filled with keening laments and abrasive spoken word to songs where audiences lift each other up through swelling choral hymns and sky-splitting riffage. This enduring commitment to creative ingenuity amidst Evergrey’s hallmark melancholy comes alive in their latest release, “Theories of Emptiness.” This marks the band’s fourteenth studio album, as well as the last album to feature the talents of the band’s long-time drummer, Jonas Ekdahl. While Ekdahl will henceforth be replaced by the skillful and energetic Simen Sandnes (TEMIC), “Theories of Emptiness” is a delightful parting gift from the drummer who has been the backbone of Evergrey for nine of the band’s albums. Although his departure is bittersweet, and although Sandnes has received an undoubtedly warm welcome, it is easy to revel in the chemistry that had been nurtured over the last decade and the most stable lineup in Evergrey’s history. This chemistry and seemingly innate understanding of each musician’s strengths is one of the elements that makes “Theories of Emptiness”* such a cohesive work of art.
“Theories of Emptiness” takes the inconceivable vastness of the universe and distills it into a delightfully warm, soul-stirring experience. It faces the breadth of the human experience head-on and still speaks in a way the heart can understand. Englund’s voice expertly guides listeners through dynamic highs and sorrowful lows, aided by fan-led choruses and guest vocals from both Jonas Renkse and *Evergrey’s daughter. This music has the ability to take its audience from comforting nostalgia in the keyboard melodies to sharp attention at Henrik Danhage’s talented solos. This is an album that is unafraid to reach for the stars, but takes care to bring us back to earth with a sense of personal understanding in songs like “Ghost of My Hero.”*
There is little doubt that this is *Evergrey at the peak of both talent and passion. “Theories of Emptiness” is neither a return to form nor an explicit evolution from their modern sound: it is a love letter to the soul that makes their music so timeless. It’s a beating heart exposed, that same heart that has made the enduring “In Search of Truth,” the moving “The Inner Circle,” the triumphant “Hymns for the Broken.” Longtime Evergrey fans undoubtedly have much to love here, while new fans have incredible joy to discover. Songs like “To Become Someone Else” and “Our Way Through Silence” are instant classics in the Evergrey* discography.
“Theories of Emptiness” Album Artwork“Cold Dreams” is a track that deserves its own callout. Clearly intended to be a centerpiece – a goal that has certainly succeeded – “Cold Dreams” features vocal contributions from Katatonia’s Jonas Renkse. Not only does Renkse lend his vocal talents to this wintry blend of metallic serenading, but he offers up a rare treat: some of his first harsh vocals in many years. Aided by Englund’s daughter, Salina Englund, the three vocalists push *Evergrey’s sound to its limits in this hauntingly beautiful song. Similarly exciting and worthy of mention is the anthemic “One Heart*.” This track is limited to an exclusive physical release of the album, and similarly gives a sense of exciting exclusivity as it weaves its melodies.
“Hymns for the Broken” undoubtedly ushered in a new era for the modern *Evergrey, an era that focused on songs that would come to life vibrantly on the live stage, songs that would be primed for audiences to sing along and carry the chorus to the rafters of the venue. This was true on Evergrey’s last album, “A Heartless Portrait,” and it is true on “Theories of Emptiness.” There is that same rock-ready sound that dominates songs such as “Falling From Sun,” and the choral vocals that fill out the depths of “Misfortune*.”
Most of all, “Theories of Emptiness” is a refreshing breath of air after a veritable onslaught of *Evergrey material. The band released three albums in quick succession, with “Escape of the Phoenix” in 2021, and both studio album “A Heartless Portrait (The Orphean Testament)” and live album “Live: Before the Aftermath” in 2022, with an additional compilation album “From Dark Discoveries to Heartless Portraits” in 2023. For even the most ardent of fans, that’s a lot of Evergrey to try and digest. In a way, it felt like the band was chasing their early-aughts heyday, with classics like “In Search of Truth,” “Recreation Day,” and “The Inner Circle” giving way to memorable live album “A Night to Remember*” in just as condensed a time frame.
Something that “Theories of Emptiness” has gained is a renewed sense of seriousness. The dark songs are unforgivingly so, even when they hunt for hope or redemption. “To Become Someone Else” opens with Englund’s voice stark over Rikard Zander’s delicate keys, and as it gives way to unrelenting shredding it seems to heave a sigh of anguish. Such an intensely pensive flavor is aided by a newfound prominence of bass and keys at the forefront of the album, even to the point they fight for dominance with Englund on tracks like “We Are the North.” As for “The Night Within,” it speaks its truth with determination, unwavering, a sense of importance that encourages rapt attention. The addition of harsh vocals and a death-tinted sound is not as aggressive as it is demandingly dynamic.
And still, *Evergrey shows a sense of hunger for something new, something ambitious. They don’t need to chase the glory days of the 2000s: they are older, more experienced, and more creative than ever. “We Are the North” errs on the more experimental side of the album, playing with both soaring moments and more intense grit in the guitars. At its heart, “Theories of Emptiness” is a very heavy album, including the emotionally charged “To Become Someone Else.” This album is begging to connect with its audience, be it through the delightful melodies of “Say” or through the lingering mystery of the piano-led spoken-word closing track “A Theory of Emptiness.” There is Evergrey* at its very core: charismatic darkness that still begs the listener to hunt for hope amidst endless midnight.
*Evergrey has breathed new life into its long-beloved sonic proposition. It has captured the warmth and progressive charm of the band’s early sound and blended it seamlessly with the fan-forward adoration of its later career. Perhaps most importantly of all, each musician contributing has continued to push themselves to add even greater talent to the fold. Exciting, engaging, and as fresh as ever, Evergrey reaffirm their place as one of progressive metal’s most beloved and relevant acts. “Theories of Emptiness” is a love letter to what makes Evergrey* so enduring, and it is an ode to the aching hearts that have long turned to their music to find meaning.
Released By: Napalm Records
Release Date: June 7th, 2024
Genre: Progressive Metal
Musicians: Tom S. Englund / Vocals, guitar * Henrik Danhage / Guitar * Rikard Zander / Keyboard * Jonas Ekdahl / Drums * Johan Nieman*n / Bass
“*Theories Of Emptiness” Track List:*1. Falling From the Sun 2. Misfortune 3. To Become Someone Else 4. Say 5. Ghost of My Hero 6. We Are the North 7. One Heart 8. The Night Within 9. Cold Dreams (Featuring Katatonia‘s Jonas Renske and Salina Englund**) 10. Our Way Through Silence 11. A Theory of Emptiness
Order “Theories Of Emptiness” HERE
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New horizons face the mighty windLegends may never die, but they often are afforded an update every now and then; and even when subject to inevitable embellishment and revision depending on who is telling the tale, the best stories will continue to carry the same theme. Such is the example of Italian symphonic power metal trailblazers Rhapsody Of Fire, a band now more than 30 years into their career and spanning more than a dozen neo-classically charged LPs of high octane glory, blurring the lines between 80s metal and baroque opera to masterful results.
As with any hero embarking on a mighty quest, the road has come with its fair share of detours and setbacks, arguably the most consequential being the loss of co-founder, songwriter, and virtuoso guitarist Luca Turilli and the subsequent exodus of their highly distinctive original helmsman Fabio Lione. But following what might be dubbed the last hurrah of the original band in 2016’s “Into The Legend”, keyboardist and mastermind Alex Staropoli forged a new musical fellowship and embarked upon a new conceptual series dubbed The Nephilim’s Empire Saga, of which the newly minted 15th studio album “Challenge The Wind” is the third installment.
As with any entry involving this virtuosic quintet, the formula at play here will ring familiar for anyone that has been roped into the Rhapsody Of Fire mythos since 1997’s “Legendary Tales” helped usher in the 2nd wave of European power metal. Flanked by the same flock of musicians that made their previous LP “Glory For Salvation” a riveting ride, Staropoli offers up his usual blend of lofty Manowar-inspired heroism with a heavy edge, along with the frenetic speed metal stylings of Hellöween and the explosive technical wizardry of Malmsteen.
Alongside the colossal wall of symphonic bluster resounding from Alex’s keyboards, the musical master class put on by guitarist Roberto De Micheli, perfectly emulates the same magic that Luca Turilli brought to this project over its formative years with Limb Music Productions. The combined battery of bassist Alessandro Sala and relative newcomer/drummer Paolo Marchesich is no less palpable, blending seamlessly with the storm of sound that rains down at every point. And at the center of it all is current lead vocalist Giacomo Voli, who proves no less nimble and triumphant in his vocal delivery than his predecessor Lione, but brings a very different persona to the table, landing closer to a heroic everyman rather than an operatic impresario.
Though the prevailing musical formula remains intact, “Challenge The Wind” takes things in a decidedly more intense direction than the previous two studio entries. In what can be dubbed a rather strong shift towards the darker and more chaotic side of the symphonic coin, with an assortment of forbidding odes delivered at lightning speed that largely reminisce upon the towering final chapter of the Emerald Sword Saga, namely 2002’s “Power Of The Dragonflame.”
Hints of a blatant return to the glory days with Limb Music are all over the singles “Kreel’s Magic Staff” and title anthem “Challenge The Wind”, the former channeling the mid-paced folksy vibes of “March Of The Swordmaster” with more of a guitar-centric focus that sees Micheli lighting up the fretboard something fierce, while the latter kicks this album off on an ultra-catchy, afterburners blazing thrill ride that reminisces upon the title track of the aforementioned 2002 opus.
Similarly powerful yet compact offerings like “Whispers Of Doom” and “Diamond Claws” speed away with the best of them and dial the epic flavor back a bit further to a “Symphony Of Enchanted Lands” vibe, with Micheli once again lighting up the sky with his guitar while Voli’s gravity-defying performance and dense choral harmonies prove no less formidable.
“Challenge The Wind” ArtworkIt generally follows that the darker Rhapsody Of Fire, goes, the more intricate their musical display becomes, and there is an impressive array of chapters in this particular tale set to metal that see this fold outdoing themselves. Otherwise a conventional speed anthem with plenty of orchestral pomp and flashy detailing, “Black Wizard” ups the aggression ante quite noticeably between the game of notes being played among the instrumentalists and the blackened shrieks and growls that often accompany Voli’s soaring tenor.
The quick-paced “The Bloody Pariah” tamps down a bit on the vocal aggression, but leans into the sonic darkness amid the accompanying instrumentation, with Marchesich’s drumming often flirting with the sound barrier and Micheli’s riff work showing some impressive progressive flourishes alongside the obligatory neo-classical shredding, ditto the more drawn out and tonally adventurous “Holy Downfall”, which might be the closest that this outfit has flirted with morphing into a prog band yet between the Jeff Loomis-inspired riffing segments and quirky employment of bagpipes.
But the coup de grace of stylistic experimentation on here, and also arguably the most gargantuan epic to be shelled out by this band since “Gargoyles, Angels Of Darkness” comes in the form of the 16-minute slough “Vanquished By Shadows”. Suffice it to say, the name betrays the dark and forbidding nature of this extended episode, and it throws virtually every trick in this band’s arsenal at the listener with zero apologies.
Arguably the only thing that could hold back an album of this caliber is the fact that it faces such stiff competition from the lion’s share of Rhapsody Of Fire,’s extensive back catalog. It is nothing short of presumptive to call this a superior album in relation to most of the majesty that this band poured upon the metal masses both during the Emerald Sword Saga, and at several points in what immediately followed up until this point, yet there is a sense of explosive revitalization and rebirth at play here that makes this album a veritable force unto itself.
Perhaps it is best to simply say that this band remains undaunted and unshaken by the winds of change that have blown upon them since the early 2010s. One might go so far as to say they took it as yet another challenge (pun intended), and have come out victorious on the other side. That’s been the basic theme for this band, a continual quest in search of a victory that seems to come about at every point a new album is unleashed.
For those who are particularly geared towards those occasional instances where this fold takes the darker road, “Challenge The Wind” will be the album to hear, not to mention an easy contender for the symphonic power metal album of 2024.
Released By: AFM Records
Release Date: May 31st, 2024
Genre: Symphonic Power Metal
Musicians: Alex Staropoli / Keyboards, Piano, Harpsichord, Orchestrations, Vocals (choirs) * Roberto De Micheli / Guitars * Alessandro Sala / Bass * Giacomo Voli / Vocals * Paolo Marchesich* / Drums
“*Challenge The Wind*” Track List: 1. Challenge the Wind
2. Whispers of Doom
3. The Bloody Pariah
4. Vanquished by Shadows
5. Kreel’s Magic Staff
6. Diamond Claws
7. Black Wizard
8. A Brave New Hope
9. Holy Downfall
10. Mastered by the Dark
Order “Challenge The Wind” HERE
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Black/thrash metal is arguably the metal movement that is most proud of its roots and enjoys paying tribute to the sound that bands like Venom and Bathory influenced in the 80s. There is a search for that original wild and boundless purity that these core bands had and that is what makes releases like this one so special. Of course, there is room for evolution and out-of-the-box ideas, Hellripper showed that side of the genre in all its magnificence on their fantastic album last year. That’s why when a band takes the more direct stylistic route the first thing that comes to my mind is to appreciate their bravery because I consider that one of the hardest things to do is to take a direction with little room for variation that has been done so many times before and still manage to stand out with it.
Well, Hellbutcher really exceeds in this, not in vain although it is a debut album the musicians of the band are true veterans of the Swedish extreme scene. Led by the eponymous Hellbutcher, vocalist of the now-extinct classic band Nifelheim, one of the bands that best embodied a sound inherited from the early Bathory albums while maintaining a style of their own. Adding great musicians like Martin Axenrot (Bloodbath, ex-Opeth) or Eld (Gaahls Wyrd) this band picks up the torch from Nifelheim to continue assaulting and carrying the black/thrash sound of Northern Europe in a year where we have already had pearls of the genre like the debut of Demonslaught 666 or the return of the legends Sabbat (Japan).
*Hellbutcher* do with their sound and it was no accident, this debut album really feels like a perpetual sonic assault, every song feels like a war anthem, furious, straightforward, never looking back. There are riffs for days and they are all mercilessly displayed, the formula is one, and, indeed, they don’t go outside of it, but one of the things that amazes me the most when I listen to it is how they manage to make each of the songs feel special, they manage to capture utter energy from the very first notes that can grab anyone. An energy so powerful that it manages to recreate a very rare aspect of a studio album, and at times the band’s energy is so strong as to convey the same as it would have a live act, you would feel yourself banging your head as you feel the delivery of each note form on your face.
“Hellbutcher” Album ArtworkAnd speaking of the delivery, Hellbutcher‘s as a vocalist is fantastic, all the charisma and power he gives off in each of his moments is totally unmatched, being one of those pillars of the “live” energy that I mentioned before. All along the long play, you can appreciate a mastery in each of the sections, in the aforementioned energy, in the songwriting, in the production, and on the performances. One could say that you can detect a feeling of professionalism in the work that Metal Blade Records offers us, but I think it’s not so much that but rather that you can really appreciate how the musicians have a passion for the music they are making. It’s a hard thing to explain because it’s more something you feel when you listen to it rather than something tangible, but still one can see that everything surrounding the music on this album shows an absolute commitment to what they do.
Thinking of songs that I can highlight I am faced with the problem that I find all the tracks to be outstanding, I can’t emphasize enough how much this album gains when listened to from start to finish (which is simply done in 30 minutes) and how the fact that you get caught up in one track will make you love the rest. And even if you’re someone not really into extreme metal I think this is an accessible album thanks to its clear crystal production, maybe some purists will be put off by the lack of rawness (it’s the only thing I could criticize the album for) but that sound works very well with the Dissection-esque melodic leads, producing a melodicism that far from making everything sound prettier what it does is reinforce a sense of evil in the guitar strings. It seems at times that witchcraft and evil forces are the only explanations for why this album sounds so good from start to finish.
Released By: Metal Blade Records
Release Date: May 31st, 2024
Genre: Blackened Heavy Metal
Musicians: Hellbutcher / Vocals * Necrophiliac / Guitar * Iron Beast / Guitar * Eld / Bass * Devastator* / Drums
“*Hellbutcher*” Track List:1. The Sword of Wrath 2. Perdition 3. Violent Destruction 4. Hordes of the Horned God 5. Death’s Rider 6. Possessed by the Devil’s Flames 7. Satan’s Power 8. Inferno’s Rage
Order “Hellbutcher” HERE.
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They say that time can heal old wounds and improve the taste of wine. In the case of Black Country Communion, time appears to have done wonders for the band as evidenced by their new, rocking release, somewhat lazily entitled “V.”
The album artwork is a break from the graphical pattern previously established featuring a blackbird. Instead, we get a futuristic sci-fi-looking cover of what appears to be a stealth bomber with running lights flying through dark space with the Earth in the distance. I’m guessing the bomber is meant to be a “V,” representing the album title. Still, in this writer’s opinion, the artwork to the previous record (“BCCIV”) that featured a bird resembling a phoenix rising up from the ashes seems a better fit for this record, because this is a fresher, more swaggering Black Country Communion, than we’ve heard in a while.
We haven’t heard anything from Black Country Communion in a while, since their fourth record was released 7 years ago. That record was a misfire for me, and upon its release there seemed to be some tension between guitar player Joe Bonamassa and bass player and vocalist Glenn Hughes. I seem to recall that *Glenn was more eager to focus on Black Country Communion playing out live more, whereas Bonamassa was committed to his more lucrative solo career. In fairness, one must recognize that Bonamassa has achieved the greatest degree of success in recent times than the other members of Black Country Communion, so making Black Country Communion a traveling unit is probably less attractive to him than fellow members Glenn Hughes, Derek Sherinian, and Jason Bonham*. The internal conflict may have had some impact on the final product. For me, the songs just weren’t that memorable on that record, with the hooks lacking something that sticks with you after hearing the tunes a few times.
Fortunately for those who appreciate old-school, Zeppelin-ish riff rock, this concern has been remedied on “V.” We’ve got hooks, big choruses, and a cohesive rock record that I’d be comfortable recommending as a starting place for anyone unaware the band’s past output. *Bonamassa‘s playing here is solid and sludgy — more rock than blues. Glenn Hughes* continues to defy the ravages of time and sounds as strong as ever. It’s almost inconceivable that he’s 72 years old and still sings and plays a raucous bass with so much fire. I’d like to have some of whatever he’s taking to ward off Father Time.
“V” Album ArtworkJason Bonham’s drums have a fat and loud presence that is reminiscent of his father John’s signature sound, and he delivers a steady performance that is heavy on the pocket but perhaps light on flashy fills. The most understated performance on this record comes from an unlikely source. keyboardist Derek Sherinian, who never met a spotlight he didn’t like, plays a supportive role that offers few opportunities to shine but helps hold the sounds together. I’m guessing Derek would have preferred to be louder in the mix, and while this record comes off as primarily a showcase for Joe and Glenn, it all works out quite well.
Rather than provide a song-by-song breakdown, it’s better stated that this record as a whole has a consistent sound throughout, with songs that in an earlier decade would likely have become staples for kids woodshedding in their garages attempting to jam. There are some Led Zeppelinisms, in particular the “Kashmir”-like keys of “You’re Not Alone,” and or the “Babe I’m Gonna Leave You” vibe of “Restless,” but that’s not really a bad thing, as this band surely would admit the influences in the Black Country Communion sound, especially with a Bonham on the skins.
The songs are catchy, the performances are strong, and the production is pretty much what you would want from a record with its sites on doing something rooted in the past well, as opposed to breaking new musical ground. It’s been a long wait for new music from Black Country Communion, but this vintage has aged well and it’s one I’ll be happy to pour another glass of on a regular basis. Cheers to *Bonamassa, Hughes, Sherinian, and Bonham*! They’ve released some new music that is both familiar and satisfying. I hope it won’t take another 7 years to get another serving or have a chance to see them live in a venue near me. It would be a must-see!
Released By: Mascot Label Group
Release Date: June 14th, 2024
Genre: Hard Rock
Musicians: Glenn Hughes / Vocals, bass * Joe Bonamassa / Guitars * Derek Sherinian / Keyboards * Jason Bonham* / Drums
“*V*” Track List:1. Enlighten
2. Stay Free
3. Red Sun
4. Restless
5. Letting Go
6. Skyway
7. You’re Not Alone
8. Love And Faith
9. Too Far Gone
10. The Open Road
Order “V” HERE.
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A spectacular fall from on high set to music…Arguably the most consequential progressive metal outfit to hail from the nation and continent of Australia, Teramaze has held the unique distinction of a project in flux in virtually all respects. Originally cutting their teeth in the earlier 90s as more of a thrash/groove-based progressive metal outfit under the moniker of Terrormaze, they would subsequently adopt a Christian-based message and a more correspondingly light and traditional progressive style in keeping with that of the earlier progressive rock outfits of the 70s, thus adjusting their band’s name accordingly.
Almost 30 years and about as many lineup changes later; guitarist, mastermind, and lone founding member Dean Wells has weathered his fair share of metaphorical storms in keeping the flow of new music steady, especially following a lengthy hiatus through most of the 2000s. Their latest offering, a bold conceptual endeavor dubbed “Eli – A Wonderful Fall From Grace,” underscores not only this fold’s tenacity and independence but the organic old-school character that they’ve stuck to over the years.
Arguably the most substantial change that has transpired this time around is the return of long-term, on-and-off-again lead vocalist Nathan Peachey, freeing Wells from the unenviable task of being the lone vocalist while also juggling guitar and keyboard duties. To be clear, the latter still provides a fair share of lead vocal slots throughout the album, presenting a similarly clean cut and consonant presentation to that of Peachey and often being difficult for one to distinguish between the two of them.
The vocal interplay and rich harmonies that come to the fore remind of the seemingly bygone days when Yes and King Crimson were ruling the roost, while the accompanying music hits a bit harder, reminiscing upon the high period of Dream Theater’s early run with Kevin Moore on keyboards and occasionally a darker shade still, perhaps along the lines of Anubis Gate and Symphony X. It’s a bit less kinetic than the latter example, but between some of the wild guitar and keyboard solo moments and the chunky foundation laid down by Wells’ and Chris Zoupa’s down-tuned guitar riffs, it isn’t too much of a stretch.
The theatricality factor is pretty blatant as this album moves from a lullaby-turned Hans Zimmer-inspired orchestral prelude to a free-flowing extravaganza of infectious hooks and oddball twists and turns. Perhaps the greatest hint of this album’s storybook character is the strategic use of fleeting instrumentals like the just-described intro “A Place Called Halo” and the dreary interlude “I Mantissa” amid what is otherwise a collection of drawn-out epics.
“Eli: A Wonderful Fall From Grace” Album ArtworkVarious characters are introduced via subtle ambient sounds and brief voiceover parts. Yet, the primary focus remains on the usual blend of craftsmanship and virtuoso displays that goes with a band that ventures outside conventional songwriting. At first glance, this involves a comparatively mellow blend of softer rock and ballad moments alongside a punchy, mid-paced stride that mixes a sense of subtle rhythmic and atmospheric nuance with a dominant narration coming from Wells’ and Peachey’s vocals. Nevertheless, between the extended lyrical sections are plenty of impressive guitar displays that dance between a wild John Petrucci-like shred-fest and the measured and melodic quality of early prog rock guitarists.
As noted earlier, while this band and this particular studio endeavor does lean a bit harder into the older progressive rock paradigm than many of their contemporaries in Europe and North America, they make plenty of time for the heavier fare. Arguably the most bottom-heavy offering to come out of this fold in recent memory is the deep chugging groove of “Madam Roma”, which hits hard enough to almost be mistaken for something off one of Michael Romeo’s recent solo offerings, though the vocal presentation retains its clean and smooth demeanor.
On the opposite side of the coin, “Hands Are Tied” presents this band in more of a sorrowful state of piano-driven balladry, contrasted with a long explosion of guitars during the solo section. The closer and title anthem “A Wonderful Fall From Grace” presents a heavier feel overall, albeit in more of a free-wheeling jam session that spans a gargantuan 14 and a half minutes, and is chock full of wild guitar and keyboard solo sections, alongside a ripping saxophone section. Yet ironically enough, this album’s lone promotional single “Standing Ovation” towers above all else, both due to an especially animated and hard-hitting riff set and a more streamlined and catchy structure that culminates in something that might prove this band’s metallic answer to Yes’ “Owner Of A Lonely Heart” in terms of staying power.
Though a career as extensive as Teramaze’s leaves the question of where an album like this stands in the grand scheme of their expansive back catalog, in terms of what they’ve laid out in the past 5 or 6 years, this is arguably the most ambitious and compelling of the bunch.
Perhaps it doesn’t quite possess the same degree of edge and intrigue as their 2 album run with Nightmare Records upon reforming in 2010, especially in the case of 2014’s “Esoteric Symbolism,” nor does it quite outdo the charm of their earlier run in the 90s, but it showcases a band that is still at the top of their game and equipped with plenty of fresh ideas.
The greater amount of time that was taken here relative to the last several albums shows how it tactfully lingers upon each idea and seamlessly leads the listener down a maze of intrigue before bringing it all to a familiar conclusion. Those who enjoy the high-grade progressive metal served up by the likes of Threshold and Redemption, among many others who came roaring out of the original way of the 90s and early 2000s, will find themselves right at home with this record.
Released By: Wells Music
Release Date: May 24th, 2024
Genre: Progressive Metal
Musicians: Dean Wells / Guitars, Vocals * Nathan Peachey / Lead Vocals * Andrew Cameron / Bass * Nick Ross / Drums * Chris Zoupa* / Guitars
“*Eli – A Wonderful Fall From Grace*” Track List:1. A Place Called Halo 2. The Will of Eli 3. Step Right Up 4. I Mantissa 5. Madam Roma 6. Standing Ovation 7. Hands Are Tied 8. A Wonderful Fall From Grace
Order “Eli – A Wonderful Fall From Grace” HERE
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A Slayer, by any other name…All good things may come to an end, but the seeming end of Slayer’s 38-year crusade of sonic darkness came way too soon for everyone. The legions of committed fans attached to said thrash metal institution were in it for more, and it seems that unholy axe-slinger Kerry King held the same viewpoint.
The unenviable task of carrying on the banner without bandmate and fellow songwriter Jeff Hanneman seemed to weigh on him a bit at first given the underwhelming results that were 2015’s “Repentless”, but seems to have since lit a massive pyre of hellfire under King’s backside as he would waste little time assembling a solo project that could be likened to a supergroup and combining some leftover ideas for the next Slayer album that never materialized alongside newer ones to keep the mayhem going.
The eventual culmination of this chain of events immediately following Slayer’s supposed demise (more like a 5-year hiatus) stands in “From Hell I Rise,” a manifesto of old-school, diabolical thrash metal with a few modern twists.
The parts that make up this impressive whole come with a level of experience and gravitas that would be the envy of any Bay Area supergroup. Alongside King’s signature frenzied riffing and chaotic, noise-driven soloing approach is the steady hand and technical flair of Phil Demmel, fresh off his recent stint with Vio-Lence and striking an even greater contrast than either Hanneman or Gary Holt; resulting in a dueling guitar assault that still largely resembles classic Slayer, but occasionally also some of the latter day entries of the San Francisco thrash scene of yesteryear.
Longtime Slayer drummer and former Forbidden kit man Paul Bostaph wields his sticks like a raging beast while being a marvel of precision, while Hellyeah bassist and brother of Mastodon’s famed bassist/frontman Troy Sanders, namely Kyle Sanders; functions well in an old-school thrash disposition despite his obvious modern metal proclivities, which do show at times. Death Angel vocalist and fury machine Mark Osegueda is arguably the most abrasive aspect of this album, as his signature snarl has taken on more of a Tom Araya meets Phil Anselmo demeanor, likely at King’s direction given his initial wish to have the latter at the microphone for this project.
True to his nature as a bringer of sonic carnage with a discontented flair, King offers up a smorgasbord of old and new here that consistently has the aggression pedal to the metal. The flames of perdition roar at full force right from this album’s inception, as an instantly familiar riff set for any with even a casual familiarity of Slayer‘s 80s material dubbed “Diablo” functions as an abridged prelude at a moderate, looming pace for the eventual explosion of speed and fury in “Where I Reign”; a blistering anthem that brings the frenzied feel of “Reign In Blood” into a towering, 2024 production context with a brutally raw vocal performance to boot.
“From Hell I Rise” Album ArtworkArguably the most intricate element at play is the solo interplay, which tamps down on the noise and constant dive-bombs for something more akin to the coherent shred work adorning “Show No Mercy.” Cut from the same stylistic grain, punchy speed anthems like “Idle Hands” and “Rage” follow a nearly identical modus operandi of blurring speed and methodical craftsmanship that keeps the aggression factor to a maximum, while the crossover-infused “Everything I Hate About You” accomplishes the same in about half the time and the chunky closer of a title anthem “From Hell I Rise” goes deeper and heavier while still keeping the afterburners roaring.
For the most part, the songs on here are kept on the simple side and favor the faster end of the spectrum, but it proves far from being one-dimensional. Immediately from the tribal-like drum intro of “Residue” it becomes clear that King isn’t shying away from the groovier side of Slayer‘s past, and the upper mid-paced stomp is accompanied by the haunting melodic guitar work reminiscent of the most memorable parts of “South Of Heaven” and “Seasons In The Abyss.” Both “Trophies Of The Tyrant” and “Shrapnel” could all but be holdovers from the former aforementioned album and 1988 classic, trading occasional bursts of aggression for moments of atmospheric horror, often giving way to some truly brilliant and expressive lead guitar workout of Demmel.
The creepy shorter entry “Tension” lays into the dreary side of “Seasons In The Abyss” while remaining exclusively at a slow crawl. At the same time, the rapid-fire “Toxic” meshes the lyrical rant and overall feel along the lines of “Dittohead” (off of “Divine Intervention”) with a riff set that sounds like a paraphrase of “At Dawn They Sleep”. But things jump clear out of the box and land along the lines of a punk-infused nod to Slayer‘s “Undisputed Attitude” album with “Two Fists”, arguably the most atypical off an album that largely follows the Slayer‘s playbook, but also one that plays the best of Mark’s ultra-aggressive shouts.
It usually goes without saying that when one member of a classic outfit strikes out alone and creates something similar to the original, it pales in comparison to the heights that were originally achieved. That being considered, “From Hell I Rise” marks the most potent and riveting thrash metal manifesto to be put forth in Slayer‘s stead since “God Hates Us All”. It essentially appropriates all of the best elements of Kerry King’s past contributions to the Slayer‘s classic 1983-1990 catalog, as well as some of the bright spots off of some of the subsequent material in the 90s, and injects them with all the modern bells and whistles that a 2024 recording studio can offer.
Longtime fans of Slayer that been there since the beginning will note a heightened degree of groove metal elements between Osegueda’s vocal approach and some of the material on here, but everyone can rest assured that this is the closest to classic Slayer that has been achieved in the past 30 years, both in terms of style and quality.
With Slayer now reformed for at least 3 festival appearances, we hope King’s newly minted solo project will remain the primary outlet for his songwriting, as this is a band with a lot more to say.
Released By: Reigning Phoenix Music
Release Date: May 17th, 2024
Genre: Thrash Metal
Musicians: Kerry King / Guitars * Mark Osegueda / Vocals * Phil Demmel / Guitars * Kyle Sanders / Bass * Paul Bostaph* / Drums
“From Hell I Rise” Track List: 1. Diablo
2. Where I Reign
3. Residue
4. Idle Hands
5. Trophies Of The Tyrant
6. Crucifixation
7. Tension
8. Everything I Hate About You
9. Toxic
10. Two Fists
11. Rage
12. Shrapnel
13. From Hell I Rise
Order “From Hell I Rise” HERE
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Vintage traditionalism meets the biomechanical age.Technology seems to be an ever-encroaching influence on music, spanning every genre from the likely targets of EDM to a greater extent while also becoming a key fixture of even the most rustic of crafts like country and folk styles. Naturally, some degree of technology has always been a factor in music wherein more than the human voice is involved and recording equipment is present, but the notion of tempering its expansion with an eye to traditional forms seems a fleeting prospect.
Enter Accept, one of the longest-running heavy metal bands still plugging away, albeit with a lengthy stream of lineup shifts that have left guitarist Wolf Hoffmann as the sole founding member. Theirs has always been an approach of sticking to what works and dealing out evolutionary change in small, measured doses, and their 17th and latest studio venture “Humanoid” presents the theme of technological advancement run amok in a very familiar sonic package.
With a very different flock of fellow musicians than the one that first propelled the Accept name into public awareness in the 1980s, Hoffmann has managed to craft a sound highly reminiscent of the old days since this fold’s 2009 rebirth, and as the 6th entry in said latter day succession of albums, this stacks up quite well. It goes without saying that the gravely shrieks and Brian Johnson-like swagger of TT Quick vocalist and now 15-year veteran of the fold Mark Tornillo bolster the signature character of things seamlessly, no small feat for a man who is now pushing 70.
But one would definitely be remiss to gloss over the continued flash and flair that ex-Grave Digger guitarist Uwe Lulis brings to the equation alongside Hoffmann since the 2014 departure of Herman Frank, continuing the fancy and often neo-classical charm of this outfit’s obligatory solo segments. Combined with the rock-solid rhythmic backdrop provided by drummer Christopher Williams, newer bassist Martin Motnik, and 3rd guitarist Philip Shouse, the arrangement gracing this studio entry is nothing short of massive.
“Humanoid” Album ArtworkAs has generally been the case with Accept‘s studio approach since 2010’s “Blood Of The Nations”, a well-rounded blend of grandiose anthems, fast-paced speeders and hard rock-tinged old school metal odes have been set to a crisp, modern production that is highly appropriate to the current year and with no shortage of bite. Yet in contrast to much of this outfit’s extensive catalog, “Humanoid” makes itself distinct via a heavy dose of Eastern elements, giving an ever so slight progressive flavor to things.
Right from the mystical clean guitar opening of the first sonic chapter “Diving Into Sin”, a sort of Egyptian flavor of melodic motive permeates things, bearing a fair resemblance to a streamlined and swifter take on Metallica’s “Wherever I May Roam”. This mid-eastern tinge continues to manifest at points on the punchy, thrashing beast of a title entry “Humanoid”, along with the mid-paced riff machine “The Reckoning” and the bouncy galloping romp “Mind Games”. It all comes together as an oddly fitting combination of sounds to depict the rise of a technological dystopia, weaving a layer of spiritual mystique into something that one normally associates with a soulless tyranny of logical equations.
But apart from the aforementioned flirtation with exotic melodic fair, this is an album that conforms itself to the modus operandi of a traditional metal opus. Standout moments of classic Accept with an eye to heaviness and occasional twists amid a simple formula include the ode to old school horror “Frankenstein”, the NWOBHM-like riff happy punch of “Unbreakable” and the bluesy swagger like an outtake from the glory days of 70s AC/DC with a mid-80s sense of metallic aggression “Straight Up Jack”.
Amid all these rustic yet contrasting approaches to rocking the house stands the stoic influence of Mark’s piercing shout, channeling the same nastiness that Udo always brought to the table. In fact, the only deviation from Tornillo’s role as an all-aggression, all-the-time force within the arrangement is the somber power ballad “Ravages Of Time”, where he showcases his superior ability to switch to a subdued croon where appropriate. At the same time, the dueling guitar majesty of Wolfmann and Lulis keeps Mark from totally stealing the show, especially during the high-octane blowout of a finale in “Southside Of Hell”, arguably the most raucous thing to come out of Accept since 2012’s “Stalingrad.”
Walking the line between a controlled and effective evolution that keeps all engaged while simultaneously keeping the core audience from feeling that too much has changed is a difficult art form, but Accept has proven yet again to be a band well up to the task. It’s hard to imagine anyone apart from the most rabid of 80s nostalgia hounds and hopeless contrarians to find fault with this album, and it’s more than a safe bet that those who have enjoyed what has been dished out since Tornillo assumed the microphone will go for this album.
Though at first glance it might seem as though Wolfmann and company have contradicted the message of their 2017 anthem of old school steadfastness “Analog Man”, “Humanoid” is an album that presents the dark side of technology progressing out of control in such an effective manner that the opposite proves to be true. It may be a theme as old as the classic Sci-Fi books that influenced James Cameron’s Terminator saga, but much like Accept’s signature blend of traditional musical influences, it gets the job done.
Released By: Napalm Records
Release Date: April 26th, 2024
Genre: Heavy Metal
Musicians: Wolf Hoffmann / Guitars * Mark Tornillo / Vocals * Uwe Lulis / Guitar * Christopher Williams / Drums * Martin Motnik* / Bass
“Humanoid” Track List:1. Diving Into Sin 2. Humanoid 3. Frankenstein 4. Man Up 5. The Reckoning 6. Nobody Gets Out Alive 7. Ravages Of Time 8. Unbreakable 9. Mind Games 10. Straight Up Jack 11. Southside Of Hell
Order “Humanoid” HERE
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Arkansas-based doom metal ensemble Pallbearerhave long been masters of their craft and major players in their field. Mixing intoxicatingly gruff dirges with serene contemplations, it’s not difficult to hear why, and many fans would agree that their last studio LP (2020’s “Forgotten Days”) represented their peak. At the same time, they’ve been reducing their destructiveness with each release, so follow-up “Mind Burns Alive” is expectedly their softest and most welcoming compilation to date.
Full of dreamily exquisite arrangements and earnest outcries – as well as a fair amount of aggression, don’t get me wrong – it’s sure to please listeners who prefer the lighter side of their spectrum. Even fans looking for *Pallbearer’s trademark multilayered hostilities will find a lot to like, though, and regardless of personal preferences, it’s impossible to deny that “Mind Burns Alive*” is a refreshing but recognizable and indispensable entry into the group’s already prestigious catalog.
A “heartfelt mediation on isolation, trauma, and mental breakdown, framed by the possibility of redemption and the quiet, aching beauty of escape” – the official press release explains – “Mind Burns Alive” succeeds at stirring up contrasting emotions. Vocalist/guitarist Brett Campbell adds: “These songs are a deeper exploration of dynamics and sonic color than anything we have done up to this point. . . . [They] are vignettes which tell stories of people who deal with myriad sicknesses of the spirit.”Indeed, it’s a dark yet beautifully poignant journey, especially during its gentler observations.
“Where the Light Fades” is perhaps the best showcase of that not only on the album, but in *Pallbearer*’s whole career. Kicking off with gloomy synth chords beneath cascading guitar lines, it’s a mesmerizingly melancholic but invigorating way to begin, and Campbell’s crestfallen verses (“We are frozen here / Picking at wounds we will not let heal / Cannot face mistakes / Too many fears of what might be real”) are equally gut-wrenching. Naturally, the instrumentation becomes fiercer and fuller as the track develops, but it never loses that superbly crestfallen core.
“Mind Burns Alive” Album Artwork“Signals” and “Daybreak” are even sparser and slower – at least during their first halves – making it easy to get lost between their spaces and sucked into their echoes. The former tune is particularly airy, whereas the latter is consistently filled with the sort of affective black metal droning that made Agalloch’s “The Mantle” and “Ashes Against the Grain” so subtly soul-destroying.
Elsewhere, “Mind Burns Alive” prioritizes the belligerence fans have come to love from the quartet.
The title track is a steadily commendable (if relatively unremarkable) example of that, yet its second single “Endless Place” that truly impresses. Defiant and dense all the way through, it’s an inherently captivating movement that’s bolstered by a tranquil saxophone solo from Amasa Hines’ Norman Williamson near the end. Fittingly, closer “With Disease” is among the band’s bleakest and heaviest compositions, and captivates from beginning to end.
No matter how devotees feel about *Pallbearer’s bigger emphasis on delicate tapestries, it’s impossible to refute that “Mind Burns Alive” is a logical and wholly satisfying successor to “Forgotten Days.” They’ve always excelled at crafting resonant passages that are simple and soft, so the fact that they’re doubling down on that approach here is wonderful. Plus, they’re as consummate as ever at handling the forceful stuff, too. Sure, some of it sounds too similar, but that’s par for the course with the style, and beyond all else, “Mind Burns Alive” allows Pallbearer* to progress without losing their identity.
Release Date: May 17th, 2024Record Label: Nuclear BlastGenre: Doom Metal
Musicians: Brett Campbell / Vocals, guitar * David Holt / Guitar, vocals * Joseph D Rowland / Bass, synth, vocals * Mark Lierly / Drums, percussion * Norman Williamson* / Saxophone (on “Endless Place”)
“Mind Burns Alive” Track-list:1 Where the Light Fades
2. Mind Burns Alive
3. Signals
4. Endless Place
5. Daybreak
6. With Disease
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*The rocking universe gets funky*.
Standing out from the pack might seem like a fool’s gamble with seemingly every nook and cranny of the rock and metal genres explored in the past 50 years. Then again, some artists can’t help but have a different take on things by virtue of simply doing their thing, and a few noteworthy members of this bunch have now attached themselves to a new project dubbed Sonic Universe.
Led by the dual personalities of virtuoso axe-shredder and former mastermind behind the now sadly defunct Adrenaline Mob, Mike Orlando, and highly charismatic front man of funk metal icons Living Colour, namely Corey Glover; it goes without saying that the auditory blend this fold has in store is far from a typical one. Add in a formidable rhythm section consisting of bassist extraordinaire Booker King, who has backed up the likes of Paul Simon and Santana on the road, and Sworn Enemy drummer Taykwuan Jackson, and one wouldn’t be far off in predicting that this fold’s debut outing “It Is What It Is” presents a sound bursting with character and pizzazz.
Pinning down what specific genre emerges in this 10 part presentation of eclecticism is a difficult prospect, lending arguably the most credence to the idea of the label alternative metal being a catch-all meant to refer to anything outside of the usual progressive approach since Faith No More’s “The Real Thing.” Indeed, between Orlando’s numerous references to funk, jazz, rock and metal stylings and the busy blend of free-flowing jams and tight yet busy grooves of King and Jackson, the sonic template that emerges is a bit elaborate and adventurous to really fit into an early 90s retro funk metal box.
Further complicating any efforts at pigeon-holing this opus is a far more flamboyant and gymnastic display out of Glover, who often abandons his signature soulful wail for high-pitched shrieks and nasally snarls that would make the likes of Roger Daltrey proud, though a more apt comparison would be the more captivating performances that might be heard from Mike Patton.
At every point, this album seems bent on hitting the listener with something new, often stopping just shy of trailing off into avant-garde randomness. Even when focusing upon the generally compact and formally straightforward material represented in the two leading singles “I Am” and “Higher”, one can’t help but notice the vast array of moving parts accompanying the infectious melodic hooks tossed out like candy by Glover’s verse and chorus lines, the former feeling like chaotic take on a modern blues rock ode while the latter could almost sound like a driving, metallic take on a Lenny Kravitz tune were said retro rocker packing a backup band capable of trading technical blows with Symphony X.
“It Is What It Is” Album ArtworkThe 3rd single and more drawn out foray of a title anthem “It Is What It Is” lays on the funky vibes with a vengeance, and often exhibits the sonic darkness and effects-driven guitar fodder one might associate with Rage Against The Machine or A Perfect Circle, but lands close to a King’s X vibe when Glover’s soulful vocal delivery and rich harmonies enter the equation.
With such an impressive tip of the iceberg already established between the trifecta of entries to precede the main course, it thus logically follows that the remaining lion’s share of this album ups the uniqueness ante even further. Among the more accessible fair to, nevertheless, take even greater risks in blending styles is the flashy display of instrumental virtuosity caught in an ultra-catchy bottle “Turn A Blind Eye”, which contains one of the sickest yet shortest solos out of Orlando’s massive arsenal and a correspondingly insane drum display out of Jackson.
On the other side of the coin is the extended jazzy jam with a lighter touch “Whisper To A Scream”, which sees one noodling guitar line after the next matched by an equally busy bass display out of King, whom has otherwise proved to be the most measured and calculating cog in this 4-piece engine. But when it comes to just plain old rocking hard and heavy while also throwing everything but the kitchen sink at the listener, the closing cruiser “Beautiful Disunity” takes the proverbial cake.
The question that naturally arises, who would be the target audience of this stew of sonic excess: fans of *Living Colour, Sworn Enemy, Adrenaline Mob*, or any of the aforementioned bands that exhibited similarly unconventional styles in the past? The answers is basically all of them, though perhaps some in the older alternative metal camp might be taken aback by the sheer technical craziness that accompanies every sing-along moment, which would then open the door to those who like their rock and metal to shred mercilessly.
That might just be this project’s greatest appeal, the fact that every player in this fold is a bona fide musician’s musician. It’s the sort of music that takes a few listens before it is fully grasped, so the initial impact might be blunted for some by all the peripheral elements painting over the otherwise symmetrical songwriting approach. But if nothing else, “It Is What It Is” stands as the sort of album that would never be mistaken for anything else.
Released By: earMusic
Release Date: May, 10th 2024
Genre: Funk Hard Rock
Musicians: Mike Orlando / Guitars * Corey Glover / Vocals * Booker King / Bass * Taykwuan Jackson* / Drums
“It Is What It Is” Track List:1. I Am 2. It Is What It Is 3. Turn A Blind Eye 4. My Desire 5. Whisper To A Scream 6. Higher 7. Life 8. Come What May 9. I Want It All 10. Beautiful Disunity
Order “It Is What It Is” HERE
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If one were to ask Marty Friedman’s thoughts on technique, depending upon his mood, one might receive a polite scoff, or an understanding and thoughtful nod, but it would almost certainly be accompanied by some sage cautionary advice about how while it is an important prerequisite tool, it does not equal greatness, in and of itself. When one considers great writers, whether classical literary giants like Tolstoy, Dickens, and Twain, or modern crafters of the genre such as Tolkien, King, and Rowling, it is readily evident that a certain degree of master wordsmithing is necessary to secure such fame and tenure. However, one cannot just be a glorified thesaurus with a typewriter in order to produce the next great novel. One might argue that contemporary advances with artificial intelligence, paired with aforementioned thesaurus could equal an entertaining book, history proves that what sells great literary work is the heart and the human story inextricably interwoven with the words on the page.
Likewise, while Marty Friedman is, without any doubt, one of the most technically gifted virtuoso lead guitar players alive, it is not his technical chops to which he owes his fame, and one may reasonably assume that he would have it no other way. Rather, he has spent the last forty years making his guitar not just do something, but say something. Albums like “Scenes” and “Introduction” really pushed this direction, functioning not as a showcase for technical ability, but using technical ability as a vehicle to deliver stirring melodies and arrangements. Today, Marty’s new album “Drama” may just be his most ambitious attempt to use his masterful talents to craft something meaningful, to stand at least equal to his previous work, and perhaps even surpass it in some ways.
Considering Marty’s fame in the music world, not only in heavy metal, we need not dwell on his bonafide, but from his lifelong personal and working relationship with equally prolific Jason Becker, to his time as a pillar of Megadeth in the band’s golden age, to all of his solo work, it is understandable why he is one of the top names. It is probably safe to assume Marty was not named an ambassador of Japanese culture and heritage without earning the position through his laudable endeavors.
In the last few years, Marty-san has been largely focused on his reimagined Japanese covers with his Tokyo Jukebox series, with only 2014’s “Inferno” and 2017’s “Wall Of Sound” as the more typical releases. However, these were largely aggressive thrash albums. “Drama” marks a spiritual return to the more introspective direction of albums like “Scenes.” The new album was recorded in Italy with top-tier Japanese session musicians, with the sole exception being Gregg Bissonette on drums, famous for being in the original David Lee Roth band with Vai and Sheehan, along with his time with Satriani, and most recently as a “Starr” attraction in Ringo’s All-Starr Band.
The album opens with neither gentle clean melodies (“Scenes”) nor with crashing bombastic speed-metal rhythms (“Wall Of Sound”) but actually in blues-tinged low-gain lead parts over piano, in textbook Marty phrasing. After a few adagietto bars like this, a new Marty lead track is punched in, this time with slightly higher-than-medium gain, but still slow and graceful, full of dynamics, before returning to the first lower gain style. When the percussion joins in, still maintaining the same slightly faster-than-adagio pacing, higher-than-medium gain takes the wheel again, starting to really tear it up, crafting a textured scene rich in melody and feeling. Violin and piano join to paint a picture almost reminiscent of Tak Matsumoto’s 2002 “Hana” record. If this track, “Illumination,” sets the stage for the record, with its vision and feeling, it stands to be an interesting ride.
The second track, “Song for an Eternal Child,” paints from very much the same palette as the first, yet captures an altogether different atmosphere. It has such a Japanese pop and almost anime soundtrack feeling to it, that it could easily be on loan from Marty’s “Tokyo Jukebox” collection. Often the phrasing draws upon the same vibes that make Sithu Aye’s music like “Senpai III” so stimulating, and yet, there is something more serious in the writing that keeps this one grounded. It has a nice arc of building energy, climax, and release to tell a story without saying a single word.
As much as we Friedman fans generally hold his “Scenes” album in special regard, it is an unfortunate reality that much of the best music of the late 80s to almost about 2000 suffers from synth sounds which did their job at the moment but aged exceptionally poorly. Perhaps imagine Knopfler’s cinematic Synclavier doodling on the “Princess Bride” score for some idea. Another such example is the final track on “Scenes,” which may have been named “Triumph,” and in fact had a beautiful melody, and yet suffered from the technical and budgetary limitations of the moment. Marty sought to rectify this on the new record, with “Triumph, the Official Version,” but in a classy move, he did not just record the same parts with today’s far-improved synth technology. Rather, he did what he probably wished he’d been able to do in the first place; he hired top-shelf pianists, violinists, and other actual warm-blooded performers to give the somewhat rearranged classic a more timeless quality. Marty’s dynamics and technique pair well with increases and decreases in gain and tone throughout the track to truly succeed in making the track better. Unlike other examples, such as Mustaine wrecking “Rust in Peace” in his remaster of the album (“Look how they massacred my boy”) where the original artist has a head-scratching moment where they try to “fix” a masterpiece, Marty really did elevate “Triumph” so it lives up to its name.
Don’t get too comfortable thinking this album is just “Scenes II: A Metropolis of Gentle Eastern Melodies,” because the next track, “Thrill City” comes in swinging both fists, chugging and thrashing away to make room for what’s actually a fun and versatile little rocker. It might be best compared to the feeling of the “Music for Speeding” album, which while heavy, and sometimes thrashy, was more focused on finding a fun and accessible middle-ground for instrumental guitar metal. The track sort of coughs and dies at the end, like some Manfred Mannian calliope crashing to the ground, before abruptly we do, in fact, find ourselves knee-deep in the middle of a peaceful meadow called “Deep End.” This one casts about in a feeling of confusion and trepidation, nothing but grand piano for the first minute or so, before percussion and lead guitar join in to craft a sadly anxious atmosphere. It isn’t necessarily mournful, but it definitely has some personal issues to unpack. Offhand, it almost sounds like Marty is dabbling with a Sustainiac or an E-Bow in the first lead parts, which adds to the feeling of trepidation, with long drawn-out notes and less emphasis on the attack of notes. Eventually with some acoustic strums and a big vibrato lead crescendo, the song fades into a sort of cold, windy, rainy ambience.
“Dead of Winter” is one of the rare vocal tracks of the album. If Jason Becker can dabble in lyrics, so can Marty. While the song title might draw one to conclude it’s something from a band like Savatage or Primal Fear, it’s actually very much a product of pop-rock writing. The chorus is pure radio writing 101, and the instrumentation is medium gain, with nothing overly technical. There is a majestic guitar solo, yet it is tastefully accessible like the rest of the track, which employs piano, strings sections, little modern keyboard embellishments, and all the production hallmarks of a rock anthem for every man. The vocals are a bit like if Jame(z) Hetfield were in an alternative band, and some might argue he is, but this is not that article. Even if this isn’t specifically the cup of tea the average Friedman fan is seeking, it’s still very listenable and a refreshing palate-cleansing seventh-inning stretch for this point in the album.
Speaking of what the old faithful loyalist fan might be craving, the next track, “Mirage” is getting closer to the heart. Yeah. Opening with meandering semi-dirty guitar passages, with Marty’s distinctive mini vibrato bends, the entire phrase is repeated with more gain and gusto, and with snare and piano to add some punchy backing, before the entire drum kit and bass guitar jump into further up the ante. As a whole, the lead guitar parts throughout the track are fairly bluesy, and one could almost start thinking it was more like Kenny Wayne or Eric Johnson, at least until the telltale legato playing gives the whole thing away. The last half may seem like a casual tambourine-banging jamboree, except it is clear Marty and Gregg are both taking turns pushing the energy of the track to a more bombastic finish.
“A Prayer” is a textbook example of Marty taking the time to craft something that chooses the notes carefully to maximum effect. Like Vai will tell you, sometimes the most important notes are the ones you never play. This track opens with clean, very low-gain electric guitar singing, or perhaps weeping gently. After a minute of this quiet contemplation, drums set the rhythm, and Marty steps on his medium-well amp channel, and, like with the last track, delivers Marty’s version of blues playing, but it is apparent from the memorable melodies and repeating themes that this was all planned out carefully, in no way an improvisational jam made of blues licks and pentatonics. Eventually, the song leaves the way it came in, clean and sad, and with an almost dissonant chord of finality.
“Drama” Album ArtworkPerhaps this is paving the way for “Acapella,” the one-minute-and-change guitar solo, played fairly clean, with very little gain, sounding like a tweed Fender combo with a hint of chorus. This one is like a good circus performer, making difficult things seem easy. While “Acapella” is light on pizzazz, many of the fingerings occurring would be a handful for any seasoned player. Yet it somehow just works.
Of course, “Acapella” might have just been an appetizer for “Tearful Confession,” which opens with the same tweed combo vibes, and just Marty delivering somber phrasing without any backing, until eventually some synth keyboards provide some atmosphere for the respective chords. A couple of minutes in, Marty hits the high-gain channel and continues the original melody in a heavy, yet sad, slow-handed display of lead mastery, while drums and the rhythm section pound away at a deliberate tempo. There are places where he backs into a cleaner feel, before crashing back in with high gain again, before he doubles down around three minutes fifty, building to what may be the most majestic crescendo of the entire record. In the short time left in the track following this blitz, the song is a handful of sad and lonely broken-sounding notes and chords, eventually ending on an unresolved note, in good ole Wagnerian “Tristan and Isolde” tradition.
The core of traditional Marty content concludes with “Icicles,” another interesting little mini-symphony, starting with a fusion of jazz and blues influence, clean electric guitar over the top of sparse piano notes, before strumming steel-string acoustic sets the stage for the song to start building in complexity and drive. Just when it feels like it’s going somewhere, we have nothing but a couple of isolated Marty leads with hints of Latin percussion in the background, before the real drum kit comes in, he kicks the overdrive into gear, and the real song can get started. The song almost seems predictable when it turns out it isn’t. Some gnarly “Phantom of the Opera” chords come jarring into the middle section before there is a tonal shift, and Marty takes the lead parts in yet another direction. With a couple of minutes left, he goes for broke and delivers some beautiful leads, with arpeggios, little bends, just all the fire and gusto one could want, yet without ever being excessive to the point of becoming gauche. For most purposes, this is the end, although the album ends with “Dos Rebeldes,” an alternative Spanish language recording of “Dead of Winter.” Which one you prefer will come down to personal preference, but they are effectively, the same track.
There it is. If Marty Friedman’s goal was to create one of his most important pieces of work in thirty years, mission accomplished. This album walks the line between thoughtfully tender albums like “Scenes” and “Introduction,” and his heavy over-the-top playing from “Dragon’s Kiss” to Megadeth and on to his later heavy albums. Yet, this new album, “Drama,” manages to create something new. It is not just a handful of lighter songs with Eastern underpinnings, juxtaposed against a handful of heavy shred songs. That would have been easy. This is a carefully crafted arrangement of music, which, as a whole, dabbles in the entire musical consciousness of Marty Friedman, stepping fairly seamlessly from one of his moods or personalities to the other, taking us on a musical journey, rather than just writing a few mismatched songs to satisfy a label contract. If, as we suspect, Marty’s goal is to not just be a writer with a broad vocabulary, but a writer with something to say and a deeper purpose, it is our opinion that he has done exactly that. In a world where players may often speculate upon the value of playing like Gilmour, or like Gilbert, Marty resolves it decisively by playing like both, and we are thankful for it.
The new album is well-produced, sounds superbly, and is accessible to almost any guitar player, metalhead, rock enthusiast, or just about anyone who can appreciate talented writing and musicianship because that’s exactly what this album is. It hits the stores on May 17, definitely don’t miss this one.
Released By: Frontiers Music SLR
Release Date: May 17th, 2023
Genre: Rock
*“Drama“* track listing:1. Illumination 2. Song for an Eternal Child 3. Triumph (official version) 4. Thrill city 5. Deep end 6. Dead of Winter (English vocal) 7. Mirage 8. A prayer 9. Acapella (Guitar solo) 10. Tearful confession 11. Icicles 12. 2 Rebeldes (Spanish vocal)
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In 2021, Anglo-Finnish band Wheel unveiled “Resident Human,” an exceptional album delving into the figurative deconstruction of the human condition. They scrutinized this theme against the backdrop of significant contemporary events, including the tragic murder of George Floyd and the profound societal impacts wrought by the pandemic. While these events have since passed, their resonance lingers, prompting the enduring question: has humanity gleaned any meaningful lessons from them?
With their latest release, “Charismatic Leaders,” Wheel offers a resounding answer to that question: a definitive NO. Three years on from “Resident Human,” the global landscape remains far from reassuring. This time, chaos isn’t sown by a virus but by a cadre of charismatic figures who’ve ascended to power, steering their followers toward precariousness and helplessness, even into senseless conflicts. These charismatic leaders seem to be driving nations backward rather than forward, a disheartening regression depicted vividly in Wheel’s latest musical endeavor.
The album’s opening track, “Empire,” makes an immediate impact with its relentless assault of aggressive riffs and urgent grooves. It’s Wheel at their most ferocious yet, with surprising moments of intricacy and unpredictability woven throughout, such as a violent breakdown followed by an outro that sees James unleashing his pent-up fury. In stark contrast, the second cut “Porcelain”, unfolds withmore subdued elegance, its tranquil soundscape laden with emotional depth and an eerie atmosphere that envelops the listener.
Clocking in at almost 11 minutes, “Submission” takes listeners on a sonic odyssey, oscillating between relaxing, atmospheric passages and thunderous crescendos. Despite its length, the track maintains a gripping intensity, propelled by intricate time signatures and polyrhythms. Here, Wheel excels, blending stirring musicianship with a profound exploration of society’s indifference towards charismatic authority.
“Charismatic Leaders” Album ArtworkIn “Saboteur,” the album reaches its heaviest point, with a brooding, furious intensity that underscores the urgency of the lyrics’ call to action. The track culminates in a defiant roar, reflecting a profound mistrust in authority figures’ ability to effect positive change. Next up, “Disciple” juxtaposes delicate classical elements with explosive breakdowns, mirroring the song’s thematic exploration of opposing viewpoints driven by mutual disdain.
As the album progresses, the potent energy subsides, paving the way for the delicate acoustic melodies of “Caught in the Afterglow.” This sets the stage for the epic finale, “The Freeze,” which delivers a sonic tour de force, alternating between moments of calm reflection and frenetic intensity. The tension builds palpably throughout, culminating in a cathartic release of emotion through ferocious riffs and intricate instrumentation.
“Charismatic Leaders” boasts impeccable production values, allowing every note to shine with pristine clarity. The interplay between guitarists, the graceful bass lines, and the dynamic drum patterns are all showcased to their full extent. Listening to this album with headphones is a must for any discerning audiophile.
In summary, “Charismatic Leaders” firmly establishes Wheel as a formidable presence in the prog-metal scene. Their ability to weave profound themes into a tapestry of intricate musicality is on full display here. The album serves as both a thematic and musical exploration of the fury and anguish embedded within its lyrics, offering a cathartic experience for those grappling with the consequences of charismatic leadership.
Released By: Inside Out Music
Release Date: May 3rd, 2023
Genre: Progressive Metal
Musicians: James Lascelles / vocals, guitar * Jussi Turunen / lead guitar * Santeri Saksala* / drums
*“Charismatic Leaders“* track listing:1. Empire 2. Porcelain 3. Submission 4. Saboteur 5. Disciple 6. Caught in the Afterglow 7. The Freeze
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Hailing from Atlanta, GA, progressive death metal troupe *Dååthwere a force to be reckoned with during the 2000s. That said, their 13-year hiatus following 2010’s self-titled fourth album meant that the genre largely moved on without them. As “The Deceivers” proves, however, *Dååth**** are ready to reclaim their crown. Bolstered by a mostly fresh lineup and a newfound drive to dominate the style, the sextet has returned with all the hunger and talent needed to make their comeback as impactful as possible.
Aside from founding guitarist Eyal Levi and brutal vocalist Sean Zatorsky, **Dååth* is an entirely new band. Specifically, *Levi and Zatorsky are now accompanied by bassist David Marvuglio, guitarist Rafael Trujillo, drummer Kerim “Krimh” Lechner (ex-Decapitated), and guitarist/orchestrator Jesse Zuretti (Marvel/Riot Games). “The Deceivers” also sees the band employing the talents of several guests, including Per Nilsson (Scar Symmetry), Dan Sugarman (Ice Nine Kills), Mark Holcomb (Periphery), and Jeff Loomis (Nevermore/Arch Enemy).
According to Levi, the group is now “more orchestrated [and]more over the top,” with “more melodies . . . [that]are beautiful.” He adds: “We’re doing all those things I felt were missing in the past. Knowing that vision upfront, it made it very easy to choose new band members who were already doing that sort of thing.”
Thematically, “The Deceivers” continues where 2007’s “The Hinderers” and 2009’s “The Concealers” left off. “Those titles are about the outside world,” Levi clarifies, “They’re not about us. While they touch on the self-destruction and self-deception we all occasionally fall victim to, this album is a scathing critique and exploration of certain societal elements. The deceivers and obstructers in life.”
Without a doubt, the LP wastes no time showcasing why this incarnation of **Dååth* is the best one yet. Opener “No Rest No End”* explodes with feisty six-string outbursts, belligerent percussion, symphonic tapestries, and of course, blood-curdling growls that demonstrate why Zatorsky remains on par with just about any other death metal singer. Lyrically, it’s just as much a statement of purpose both personally and culturally, with Zatorsky proclaiming: “From depths, ascend / Conquer the demons within / Claim the power despite all adversity.”* Throw in some movingly subdued guitar counterpoints near the end and you have all you need to know that Dååth*** are still masters of their craft.
“The Deceivers” Album ArtworkNaturally, several of the subsequent eight tunes are equally satisfying symbols of the band’s reinvigoration. For instance, lead single “Hex Unending” – a song designed to mix “all of the many eras of metal music at its peak,” reflects Zuretti – is a thunderously malevolent journey peppers with carnivalistic strings, bells and riffs. Afterward, the marching drums and soaring guitar leads within the intentionally Danny Elfman-esque “Ascension” help it stand out, just as the eerily gothic chants, foreboding classical touches, and/or programmed beats of “The Silent Foray” and “Deserving of the Grave” will surely send chills down your spine.
Admittedly, some of the album can sound too similar musically, vocally, and even lyrically – especially during the latter half – but each piece nonetheless packs enough passion and density to make it worthwhile. On that note, and when taken as a whole, “The Deceivers” is a fully immersive experience that often represents the best of what modern progressive death metal can be. That’d be quite an accomplishment for any group that’s been around for nearly 25 years (including **Dååth*’s time as *Dirt Nap), let alone one who’s been away for over a decade. Given that context, “The Deceivers” is an especially noteworthy accomplishment that promises even more great things from the new (and improved) ensemble.
Release Date: May 3rd, 2024Record Label: Metal Blade RecordsGenre: Progressive Death Metal
Musicians: Sean Zatorsky / Vocals * Eyal Levi / Guitar * Rafael Trujillo / Lead guitar * Kerim “Krimh” Lechner / Drums * Jesse Zuretti / Orchestration, synth, guitar * David Marvuglio* / Bass
“The Deceivers” Track-list:1. No Rest No End
2. Hex Unending
3. Ascension
4. With Ill Desire
5. The Silent Foray
6. Unwelcome Return
7. Purified by Vengeance
8. Deserving the Grave
9. Into Forgotten Dirt
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Hellenic act Burial Hordes explores on their recent album “Ruins” the introspective nature of the black metal psyche through resonant chord plucks, and then delivers scruffy tremolo-picked riffs to inject the sheer pace and brute force of death metal into the whole. The black metal spirit, traditionally the roots of the band, is most prevalent on a track like “Perish”: dissonant open-string picking juxtaposed with feral power chord sections, and that big trad black metal part in the middle is reminiscent of the most iconic nineties bands, but still utterly at home here.
The sour vocals convey scorn in a fashion lending its low-to-mid register with a high energy. They’re occasionally aided by a reverberating presence at their back for sheer size and subtle ambiance, as on the determined “A Wandering Stream of Wind”. The tracks do well navigating between an Ulcerate, the aforementioned black metal classic sound of a Satyricon, the death/black 7-string gruff of Behemoth, and among other influences, still make the crucial effort of forging real melodies framed inside strongly cast progressions interspersed with clear-cut riffs.
There’s a real sense of fluidity listening to the album as the tracks go by, and although some occasional moments definitely aren’t wrought with the most original raw material, there’s definitely enough from song to song to not feel cheated and keep going. They’re also not afraid to combine the more complex chord work with simpler patterns and emotions: that repeating riff at the end of “Isotropic Eradication” is a testament to the band refusing to go all-out technical, preferring to lead a balanced attack with an utmost importance given to those more sticky themes, generally laden with dissonance and the discernible disturbance depicted in each of them.
“Ruins” Album ArtworkThose dissonant themes can sometimes be too close to past classics: the first part on the final track “…to the Threshold of Silence” cannot avoid reminding one of Deathspell Omega‘s early work. It’s still somehow incorporated into an ensemble of a track that makes it an interesting listen, despite sounding so very close to previous works.
The emphasis on crafting actual songs rather than technically impressive bits of discordant fury as seems a general trend in the industry is highly appreciable in this day and age. This mixes the contortions of death metal riffing well with the dissonant approach of 21st-century black metal, and does it with fluency.
Released By: Transcending Obscurity Records
Release Date: June 9th, 2023
Genre: Blackened Death Metal
“Ruin” Track List:1. In the Midst of a Vast Solitude 2. Insubstantial 3. Perish view 4. A Wandering Stream of Wind 5. Infinite Sea of Nothingness 6. Isotropic Eradication 7. Purgation 8. …To the Threshold of Silence
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Melodies set adrift amid the stars.
Originality is a difficult feat to accomplish, let alone maintain, in the long-running and ever-expanding art of melodic death metal, particularly for those that stick closer to where the sub-genre arguably peaked in the early 2000s. The accomplishments of the original Gothenburg three in At The Gates, Dark Tranquillity, and In Flames respectively present an exhaustive array of potential stylistic avenues explored that have since been widely imitated, but rarely built upon.
Perhaps the most prominent scene to take things a step further was the one that subsequently arose at the turn of the millennium in Finland, with noteworthy acts such as Omnium Gatherum and Insomnium carving out a particularly accessible yet somewhat different take on the atmospheric and infectious road explored by *Dark Tranquillity.Though hailing from France, coming to the scene a fair bit later, and dabbling in somewhat more progressive territory, late 2000s Paris upstarts Fractal Gates* have continued to explore this niche with a somewhat more nuanced flavor.
With their fourth studio LP “One With Dawn,” this quintet presents their most refined and memorable entry thus far, continuing their penchant for simplicity and brevity in a more dynamic fashion. Though still retaining the generally misty and empyrean sonic quality associated with their Australian contemporaries Be’lakor, they’ve moved further into the highly accessible and streamlined approach to songwriting that has been the staple of Dark Tranquillity since the release of 2007’s “Fiction” (arguably coinciding with when this outfit was founded).
Minimalistic lead guitar lines that move from an orthodox Gothenburg sound to a post-rock vibe litter a heavy-ended succession of mid-length bangers, spearheaded by the keyboard work and low-tone bark of helmsman Sebastien Pierre, culminating in a highly methodical and cohesive opus. One might go so far as dubbing this the fourth chapter of a continuum of contemplative compositions, adorned with a recurring set of ambient instrumentals known as the “Visions” series, which now exists in 15 parts.
As previously noted, Fractal Gates has their own unique take on the art of melodeath, and relative to the bands to which they resemble the most, it largely manifests in terms of pacing rather than atmosphere. One can’t help but notice the comparatively swift quality of otherwise melancholic entries like the opening cruiser “Shining Fall”, as well as pummeling bangers like “Earthbound”, to speak nothing for the overt thrashing tendencies of “Hyperstate” and “Severance”.
“One With Dawn” Album ArtworkAnd even when things take on a more measured quality, this album’s version of mid-paced as embodied in such super catchy offerings as “Seamless Days”, “Half Alive” and “Serenity” often goes hard on the double kick-happy fury and otherwise rests firmly in an up-tempo stride commonly associated with upbeat gothic metal/rock songs. Some rather auspicious clean vocal slots provided by guest singers Deibys Artigas (Venezuelan vocalist also recently of Project Arcadia) and Egan O’Rourke (of Daylight Dies) further push this album’s slight gothic tendencies, while Enshine guitarist Jari Lindholm brings some added technical flair to the equation with a couple of well-executed guest guitar solos.
It might seem a little counterintuitive, but Fractal Gates’ handiwork is a basic case of what you see is what you get, and it goes double so in the case of this latest entry. Even when things die down to either an ambient reflection as on the recurring “Visions” interludes, or on the ballad segments that occur during the intros of “When The Distance Paints Us” and “Half Alive” or the full-on acoustic balladry that surrounds the more drawn out conclusion of this opus “Echoing Motions”, there is a sense of urgency and drive that makes this a more kinetic affair than that of Insomnium and recent entries out of Omnium Gatherum.
Yet it can’t really be chalked up as an orthodox homage to *Dark Tranquillity either given its elaborate nature. It rests in a sort of interesting middle ground between these two stylistic expressions, and certain versions of this album also come with two re-recordings of songs from their 2009 debut “Altered State Of Consciousness”* as bonus tracks that accentuate that this is a band that has stuck to their stylistic guns since day one. If melodic death metal is the desired prize, it’s tough to go wrong here.
Released By: Independent
Release Date: April 14th, 2024
Genre: Melodic Death Metal
Musicians: Stéphane Peudupin / Lead & rhythm guitar, synths * Sébastien Pierre / Vocals, synths * Jérémy Briquet / Drums * Antoine Verdier / Bass guitar * Arnaud Hoarau* / Rhythm guitar
“One With Dawn” Track List:1. Visions XIII 2. Shining Falls 3. Seamless Days 4. Into the Unknown 5. When the Distance Paints Us 6. Earthbound 7. Half Alive 8. Visions XIV 9. One with Dawn 10. Hyperstate 11. Serenity 12. Severance 13. Echoing Motions 14. Visions XV
Order “One With Dawn” HERE
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Veteran minds mirror an obscure past.
In recent years there has been a healthy fixation among American power metal bands with the divergent take on the sub-genre common to their European cousins, but the flipside of the coin is a less common eventuality. Nevertheless, in the metal underground virtually everything is not only possible but usually tends to happen; as can be gathered by the Mind’s Mirrors, a project conceived in Hungary, but adopting the stylistic template of the opposite side of the Atlantic and including several heavy-hitters of the American scene.
The brainchild of guitarist Daniel Szabo and Pal Purnhauser, whom had previously worked together in the short-lived stoner metal project Charmadynia and a couple other subsequent projects, it all began as a series of stylistically eclectic songs approximating the U.S. power metal sound of decades past, but with no proper band upon which they could be fielded.
With the recruitment of American underground hero and vocal veteran Alan Tecchio (ex-Watchtower and longtime Mike LePond’s Silent Assassins helmsman) and numerous virtuoso instrumentalists to fill out the arrangement, the lofty vision of “Forever Is Not Nearly Long Enough,” this project’s studio debut, would full materialize. Firmly affixing itself in the wild west setting of 90s power/prog, such noteworthy names as Nevermore, Iced Earth, Vicious Rumors, and particularly the brief yet highly consequential Chuck Schuldiner outfit Control Denied are among the most obvious points of comparison, though even more aggressive fair like Testament, Death, and even Morbid Angel could be counted influences.
Much of the extreme element that further enriches this fold’s sonic template owes to the additional harsh vocals provided by friend and frequent Tecchio collaborator Dave Lescinsky, which have become a treasured posthumous keepsake given his tragic passing just over a year ago.
“Forever Is Not Nearly Long Enough” Album ArtworkClocking in at just below 40 minutes, this is the sort of album that seems a fair bit longer due to all of the elaborate twists and turns bursting at its proverbial seams, but not in a way that could be considered a detriment. Though firmly rooted in the trappings of USPM and the darker side of the 90s progressive metal coin, frequent references to the kinetic character of Bay Area thrash and the loose, jazz/fusion and off-kilter moments of high era Dream Theater further complicate the picture, to speak nothing for a few unsubtle forays into tech death territory.
Whether it be somewhat standard mid-paced anthems like “Mechumanity” and the similarly styled yet more tech-happy and jazzy metallic romp “Counting On Me”, or the slow-burning crescendo from dreary balladry to virtuosic fury “Eternal Spring Shine”, the number of jolting asides into contrasting material and the chops of all involved is kept at the fore, with a brilliant solo display out of six-string surgeon Christian Munzner (best known for past stints with Necrophagist and Paradox).
As is often the case, the longer these songs tend to go, the deeper into the progressive weeds they tend to tread. The moderate-length banger “Deadline” presents one of the most overt dives into riff-happy west coast thrash to ever come out of a progressive project, topped off with a riveting display of gravely aggression out of Tecchio and a raging solo out of his former *Watchtower compatriot Ron Jarzombek, coming dangerously close to reprising the magic both originally brought to 1989’s “Control And Resistance.”*
The concise slayer “Maenad” lays down the drama factor something fierce, channeling some strong **Nevermore* vibes, though arguably closer to the recent exploits of *Witherfall given Tecchio’s more soaring vocal presentation. But those that want a multifaceted stylistic journey through sound need look no further than the towering cacophony of dark progressive chaos and album closer “The Blur”, which lives up to its name as it not throws everything at the listener but the kitchen sink, but includes a correspondingly blurring and dueling shred display out of ex-*Nevermore and Forbidden shredder Steve Smyth opposite Symphony X’s own Michael Romeo*.
Suffice it to say, “Forever Is Not Nearly Long Enough” is the sort of album that those who want a bit of everything that metal has to offer in a fairly small package will cleave to with lover-like intensity. It functions less as a tribute to what U.S. power metal, if not the entirety of the American metal underground, was during the 90s and more of a raucous celebration thereof.
Every single musician involved in this two-man idea turned de facto super group brings their A-game to the table, including and particularly the late Dave Lescinsky, who effortlessly challenges the dark, guttural rage that made Cannibal Corpse and Morbid Angel major players in the American death metal scene and also briefly objects of mainstream curiosity.
It is a bittersweet cherry on top of an impressive sonic sundae that this will prove his posthumous swansong to the metal faithful, but as Tecchio himself noted a year ago when announcing his longtime friend’s passing, we ought to mark the occasion by appreciating all that we have and spreading love where we can, and this album could be seen as the musical fulfillment of that very dictum.
Released By: Independent
Release Date: March 29th, 2024
Genre: Melodic Progressive Metal
Musicians: Daniel Szabo / Guitars * *Pal Purnhauser* / Bass * Alan Tecchio / Clean vocals * *Dave Lescinsky / Harsh vocals * Adam Marko / Drums
“Forever Is Not Nearly Long Enough” Track List:1. Glacial Extinction (instrumental – Featuring Christian Münzner) 2. Mechumanity(Featuring Christian Münzner) 3. Counting On Me 4. Deadline(Featuring Ron Jarzombek) 5. Eternal Spring Shrine 6. In Your Room(Depeche Mode cover) 7. Maenad 8. The Blur(Featuring Michael J. Romeo and Steve Smyth) 9. Mortal Eyes 10. Lost Dreams 11. Lean Into It 12. No More
Order “Forever Is Not Nearly Long Enough” HERE
Forever Is Not Nearly Long Enough by Mind's MirrorsThe post MIND’S MIRRORS – Forever Is Not Nearly Long Enough (Album Review) appeared first on Sonic Perspectives.
Johnny owns these here streets.
The name *Riot is all but synonymous with that of power metal, if not American heavy metal as a whole. Born out of the streets of New York in the mid-70s, at roughly the same time that the earliest incarnation of Iron Maiden came into being, they stood alongside the likes of Rainbow, Judas Priest, and Motörhead in taking the early strides of Deep Purple and Black Sabbath* into a faster and more dangerous direction.
Early metallic cruisers such as “Warrior” and the title anthem off their second studio LP “Narita” stood among early, late 1970s examples of speed metal that would jumpstart the entire genre with the onset of the 80s, to speak nothing for the masterful employment and further expansion of the dueling guitar arrangement started by Thin Lizzy and Judas Priest.
Yet with the passage of time and an ever-changing lineup, this was a beast most readily associated with the vision and continued presence of co-founder and guitarist Mark Reale, who saw Riot evolve into a more ferocious creature as the 80s progressed and resisted the temptation of compromising its core sound with the uncertainty of the 90s.
With his untimely passing in 2012, mere months after this outfit had reclaimed its former late 80s glory with the colossal 2011 offering “Immortal Soul,” the continued presence of this prime mover was left in doubt. Following the blessing of the late Reale’s father and a rebranding of the project as Riot V, the legacy of high-octane speed and vintage heavy metal majesty was rekindled with a new incarnation of the band.
In keeping with the formula that has been employed since 2014’s “Unleash The Fire,” Riot V has reprised the old-school swagger of its vintage early 80s entries alongside the impact-based aggression of 1988 smash entry “Thundersteel” and the consistent blend of flash and musicality that would define their sound throughout the 90s.
In more basic terms, their latest and 2024 studio outing “Mean Streets” is a near-perfect amalgam of every positive musical moment in this band’s nearly 50-year history and stands as the most astounding tribute to Mark Reale’s legacy since 2012. The continued presence of longtime bassist Don Van Stavern and guitarist Mike Flyntz anchor the resulting sound in 80s heavy metal nostalgia, while the thunderous battery of newer member and drummer Frank Gilchriest and the technical edge of shredder Nick Lee give things a more modern edge in keeping with where metal has been the past 10 years.
“Mean Streets” Album ArtworkBut at the center of Riot V’s present incarnation are the soaring pipes of ex-Jack Starr’s Burning Star and ex-Reverence vocalist Todd Michael Hall. His approach could be likened to a slightly edgier and more expansive take on prior and longtime vocalist Mike DiMeo’s sound meshed with a less raucous take on Tony Moore’s Halford-like wail, but when the rubber hits the road, he brings a presence all his own to the table.
The versatility and adaptability that he showcases as this album wheels from mid-paced, almost hard-rocking nods to the 80s exploits of Accept and Dio like “Feel The Fire” and “Open Road” to speedier and more agitated fair is on another level, and the unforgettable hooks and blending of harmonized voices that often emerge during the chorus sections make for an almost symphonic level of pizzazz in spite of the stripped down, straightforward character of the instrumentation surrounding it all.
Though the aforementioned duo of down-tempo bangers, alongside the 80s sleaze-infused rocker “Lean Into It” and the mid-paced metallic crusher with a haunting edge “Love Beyond The Grave”, are exemplars of this band all but passing for rock radio, this is an album built primarily out of uncompromising speed and fury.
Following a creeping intro of shimmering clean guitars, the opening foray “Hail To The Warriors” hits with the level of pummeling fervor that flirts with thrash territory, while the six-guns slinging speeder “High Noon” and the technical freewheeling riff extravaganza “Higher” deliver the riffs and lead guitar high-jinks with reckless abandon while still maintaining melodic coherence and charm. Yet the two coup-de-grace moments to come racing out of this riveting opus are the shuffle-happy cruiser and title entry “Mean Streets” and the infectious yet swift closer “No More”, each trading blows with the most pivotal entries in this outfit’s expansive back catalog.
In every respect, this is an album that builds upon what has come before, refining an already winning formula that has been paying dividends since the 80s into something that the current generation can experience with the same degree of intensity as those who were the target audience of *Riot*’s seminal classics.
Between the highly compatible stylistic templates of traditional heavy, speed, and power metal, a unique middle ground is established that continues to keep things distinct from the revivalist crazes that have cropped up in recent years, yet also appealing to the same crowds that have adopted them. And while some of the old guard might rightly remark that this isn’t quite the same band that it was before 2012, everything that followed has been as close to a logical progression of what this band would have otherwise been, and “Mean Streets” presents the zenith point of what has been a brilliant resurgence.
Released By: Reigning Phoenix Music
Release Date: April 12th, 2024
Genre: Heavy Metal
Musicians: Todd Michael Hall / Vocals * *Don Van Stavern* / Bass * Mike Flyntz / Guitars * *Nick Lee / Guitars * Frank Gilchriest / Drums
“Mean Streets” Track List:1. Hail To The Warriors 2. Feel The Fire 3. Love Beyond The Grave 4. High Noon 5. Before This Time 6. Higher 7. Mean Streets 8. Open Road 9. Mortal Eyes 10. Lost Dreams 11. Lean Into It 12. No More
Order “Mean Streets” HERE
The post RIOT V – Mean Streets (Album Review) appeared first on Sonic Perspectives.
Twice the splendor, twice the fury.
The Teutonic metal scene has crafted many legends in the past four decades, but few can claim the expansive and highly eclectic body of work amassed by Herne-born speed metal trailblazers Rage. Originally cutting their teeth in the mid-1980s under the name Avenger, they would come to occupy a unique middle ground between the biting fury of Grave Digger and the grandiosity of Helloween upon further evolving their sound in the closing years of said decade.
In like fashion to both of their aforementioned contemporaries they’ve been a marvel of tenacity, navigating the changing tides of musical trends throughout the 90s and onward with the tenacity and adaptability of a master captain of the seven seas. Now marking more than 40 years of sticking to their guns and also assimilating some noteworthy stylistic innovations from the symphonic and modern heavy metal realms, bassist/vocalist Peter “Peavy” Wagner and his present fold have unleashed a titan of a double feature dubbed “Afterlifelines.”
Though a band that has often vacillated between being a quartet and a trio over the years (landing on the latter eventuality this time around), Rage continues their consistent blend of massive power and pizzazz unabated through this album’s grueling, 86-minute duration.
Guitarist Jean Bormann reprises his role as lead instrumentalist in the arrangement, though with the absence of second axe-man Stefan Weber, has to pull double duty in order to achieve what can be best described as a sound similar in scope to this album’s 2021 predecessor “Resurrection Day,” yet also about as technically impressive as what often occurred during the Victor Smolski era of the band.
Drummer and longtime associate of the band Vassilios Maniatopoulos makes a mighty racket at the kit, matching the speed and bombast of this fold’s extensive array of percussion alumni, and also bringing a strong level of precision and consistency to the table. But when all is said and done, Wagner’s gritty and highly versatile vocal display gives this album its personality, and he essentially runs the gamut of every aggressive permutation of the metal voice, occasionally veering into extreme territory, but always sparing nothing in the decibel department.
Essentially one album is split into two separate chapters, the first collection of songs is titled “Afterlife” which presents a streamlined and stripped-down modern metallic incarnation of the band. Following a cinematic prelude dubbed “In The Beginning” that sees guest keyboardist and orchestral arranger Marco Grasshoff taking a few cues from Hans Zimmer, a 38-minute barrage of compact, uncompromising speed and heavy metal with a penchant for infectious hooks descends in rapid succession.
Flashy entries like “End Of Illusions” and “Under A Black Crown” present a technically-charged take on high-speed steel that meshes the vintage riffing of Judas Priest with the intricate melodic contours of late 80s Helloween. Crushing machines like “Dead Man’s Eyes” and “Waterwar” blur the band’s signature speed metal style with some blatant thrash trappings, while mid-paced fair like the title entry “Afterlife” sneaks in some subtle metalcore and Gothenburg elements into the equation and the chunky “Mortal” mixes in some modern groove trappings after the spirit of Lamb Of God, all complementing an otherwise consistent expression of vintage speed and melodic flair.
The second chapter sees this fold accomplish what one might chalk up to a stylistic 180, culminating in the grandiose symphonic opus that is “Lifelines.” Though by no means a downgrade in the aggression department, the pomp and bluster brought to bear on the final 46 minutes of this album by Grasshoff’s orchestrations and melancholic piano interludes makes for something that is far more cinematic, often rivaling the dense layers of sound accompanying the works of Epica and Nightwish.
“Afterlifelines“ Album ArtworkThe opening foray “Cold Desire” manages to marry this sound to something approximating the gritty speed metal feel of Rage’s typical handiwork, ditto heavy-ended beasts like “Curse The Night” and “It’s All Too Much”. Then again, the uplifting sense of triumph that the dense symphonic contours and nimble guitar lines of “Root Of Our Evil” and “One World” certainly highlight Peavy’s grimier vocal delivery. Yet the two musical moments where this half of the experience truly rivet the senses are the somber power ballad “Dying To Live”, which marks one of the few instances where Wagner turns in his forbidding snarl for some occasional and masterful clean moments and the nearly 10-minute epic extravaganza “Lifelines” which cycles through segments of sorrowful balladry and symphonic metallic discontent in a manner that somehow seems to fly by in half the time.
There is a very real temptation to label this the finest work in Rage’s now 26-album back catalog, as it touches just about every base in their entire history and merges it with all the production advantages of the present day. From the rustic speed metal beginning of this outfit’s run in the 80s through the spectrum of stylistic innovations that would crop up in the years since, it’s all represented at some point in this dystopian conceptual double feature.
But in the end, this falls more along the lines of the upper echelon of this outfit’s works following the turn of the millennium, which is still a sizable cut above most of the rest. It hits like the peak of a crescendo that has been building since the somewhat middling late 2000s era of the band gave way to the highly impressive “Strings To A Web,” and is sure to play especially well to fans of the band that came in at any point during the Smolski era.
This is a band that has definitely entered its golden years, and the music that has come along with it shimmers with a correspondingly bright, metallic luster.
Released By: *Steamhammer
Release Date: March 29th, 2024
Genre: Heavy Metal*
Musicians: Peter “Peavy” Wagner / Vocals, Bass * Jean Bormann / Guitars * Vassilios Maniatopoulos* / Drums
“Afterlifelines” Track List:Album 1:
- In The Beginning 1:31
- End Of Illusions 3:48
- Under A Black Crown 4:00
- Afterlife 3:45
- Dead Man’s Eyes 3:24
- Mortal 4:04
- Toxic Waves 3:36
- Waterwar 3:42
- Justice Will be Mine 4:35
- Shadow World 3:22
- Life Among The Ruins 4:06
Album 2:
- Cold Desire 3.59
- Root Of Our Evil 4:02
- Curse The Night 3:34
- One World 4:24
- It’s All Too Much 5:11
- Dying To Live 4:51
- The Flood 3:56
- Lifelines 9:54
- Interlude 2:43
- In The End 3:23
“Afterlifelines” can be ordered in the following configurations:
- 2CD DigiPak
- Limited Box Set
- 2LP Gatefold, 140 g, black vinyl, printed inner sleeves
- Download / Streaming
- Exclusive CD/LP Bundles with a shirt only at the Steamhammer shop
- 2LP Gatefold exclusive colored edition only at the Napalm Records shop
The post RAGE – Afterlifelines (Album Review) appeared first on Sonic Perspectives.
A dirge of existential fatalism.
The glory days of 90s European death/doom and its more commercially accessible gothic offshoots might seem like a bygone era amid the 2020s, but recently a resurgence of sorts has been brewing of late both within and beyond the continent of its birth.
Like a woeful nostalgia for a time when slow-droning metallic riffs, lazy beats, and ethereal keyboards surrounded a clash of harsh and serene vocalizations, pioneering acts that include the likes of My Dying Bride, Paradise Lost, Swallow The Sun and Moonspell would all make respectable studio splashes at the dawn of the current decade, and with them came a long-running yet lesser known Israeli act dubbed Tomorrow’s Rain.
Cut from a similar stylistic grain, though bringing their own unique blends of 80s gothic additives and intricate instrumental displays to the table as well, they would leave a deep impression with their 2020 debut LP “Hollow.” Just shy of 4 years after the fact, the same sextet would up the creative ante with their second studio excursion dubbed “Ovdan” (Hebrew for “Loss.”)
Barring the 2021 exodus of keyboardist Shiraz Weiss, the cast of musicians remains unaltered, and the expected cohesion in sound has been thusly maintained. Replacement keyboardist Alex Karlinsky,perhaps best known for his 5-year stint with the international black/folk metal outfit Arafel, proves to be no less up to the task of painting a bleak and sorrowful atmosphere with an array of haunting timbres. In fact, the resulting tapestries of lingering strings, synthesized voices, and piano segments are an integral part of what gives this album a slight boost relative to its predecessor, though one would be remiss to gloss over the reprised caliber of the rest of the arrangement.
Lead vocalist Yishai Sweartz turns in another varied display of dark guttural groans and somber chanting clean vocals to masterful effect, flanked by the melodically charged and intricate guitar work of Raffael Mor and Yoni Biton. Even the slow and steady kit work of Nir Nakav frequently steps out of the traditional funeral crawl to throw in a few flashy and even jazzy twists for good measure.
This album’s innovative character becomes apparent fairly early on, as the expected down-tempo anthems with a penchant for existential woe come with a few unique touches. The opening epic dirge simply dubbed “Roads” lands in a slow-paced fit of acoustic balladry that points to a typical elegy-like feel but is accompanied by a haunting saxophone melody at intermitted points and Karlinsky’s mixture of droning strings and spacey organ ambiences providing the dense sense of dreariness to complement Yishai’s dark chants and groans. Though this ranks among the most serene and gothic of this album’s entries, it comes to a brutal conclusion during its final 90 seconds.
Subsequent sonic chapters to this newly minted anthology like “Sunrise” and “Room 124” present a more well-rounded blend of ballad-like smoothness and a blistering metal edge, placing a greater emphasis on driving beats, heavier guitars, and nastier vocals, though the melodic and dreary side of the equation is by no means neglected. The more chaotic and mixed-up “Muaka” arguably lands in the most extreme place, bolstered by a sinister guest vocal slot courtesy of Mayhem’s own Attila Csihar, and also stands as one of the more technically charged entries of the lot.
“Ovdan” Album ArtworkThe middle and latter half of this album proves to be no less interesting, though the appearance of guest players in the arrangement becomes a bit more frequent. The tranquil atmospheric and highly gothic interlude “I Skuggornas Grav” gets dangerously close to a doom-like take on lounge jazz, with Yaggel Cohen’s gravely slow walking bass line and Karlinsky’s minimalist piano accompaniment standing out the most behind a dueling vocal display out of Unanimated’s own Micke Jansson and German singer Anja Huwe, while the somewhat more driving “Burning Times” finds Depressive Age singer Jan Lubitzki trading lines with Yishai above a constant yet riveting instrumental display, topped off by a particularly impressive drum performance by Nakav.
The tone turns heavily towards the gothic rock side of the coin with the upbeat splash of metallic melancholy “Turn Around”, which comes with a particularly flashy lead guitar outro provided by Michael Denner of King Diamond and Mercyful Fate fame. Things end with a respectable roar with another epic number in “Convalescence”, which opts for a greater degree of aggression relative to softer moments, but also opts to fade into the ether with a somber piano outro, which in turn segues into a pair of denouement epilogue songs, the first a dreamy clean guitar solo dubbed “Rainbow”, the other a narrated ambient conclusion named “Intensive Care Unit” to leave things on a testimonial note.
For an album that presents itself in a style that has been relatively commonplace in its approach for 30 years running, it takes a few interesting turns that make for an experience that is hard to mistake for any of the comparatively elder acts that pioneered it during the 90s. Yet an air of familiarity hangs over it that is sure to appeal to fans of the likes of Swallow The Sun, Draconian, and other bands that set the standard years earlier in Northern Europe. It falls just a bit shy of matching the infectious and iconic character of the most seminal offerings of My Dying Bride and Katatonia, but it is sure to find a welcome audience in the same general circle and provides an interesting, almost progressive foil to those bands.
This will definitely be a band to watch as the decade progresses, and insofar as death/doom in 2024, this will undoubtedly prove an album ready to trade blows with whatever the year still has left up its sleeve.
Released By: *AOP Records
Release Date: April 19th, 2024
Genre: Doom / Gothic Metal*
Musicians: Yishai Sweartz / Vocals * Raffael Mor / Guitars * Yoni Biton / Guitars * Yaggel Cohen / Bass * Nir Nakav / Drums * Alex Karlinsky* / Keyboards
*“*Ovdan“* Track-List:1. Roads (Featuring *Andreas Vingback of Dark Funeral and Tony Wakeford of Sol Invictus) 2. Sunrise 3. Muaka (Featuring Attila Csihar of Mayhem) 4. Room 124 5. I Skuggornas Grav (Featuring Mickael Broberg of Unanimated and Anja Huwe of Xmal Deutschland) 6. Burning Times (Featuring Jan Lubitzki of Depressive Age) 7. Turn Around (Featuring Michael Denner of Mercyful Fate/King Diamond) 8. Convalescence 9. Intensive Care Unit 10. Turn Around – Gothic Rock Version (Featuring Michael Denner of Mercyful Fate / King Diamond and Ben Christo of The Sisters Of Mercy)
Order “Ovdan” HERE
The post TOMORROW’S RAIN – Ovdan (Album Review) appeared first on Sonic Perspectives.
Enter the self-imposed perdition.Sticking to what works doesn’t necessarily entail staying in the same place, and with nearly 20 years of experience now in the rearview, South Yorkshire natives and metalcore veterans While She Sleeps have brought a new meaning to the concept of sticking to one’s proverbial guns.
Originally cutting their teeth in the midst of the metalcore explosion of the mid-2000s with a fairly conventional approach, the subsequent exploits of this outfit would find them developing a meatier, groove-based sound by the mid-2010s when much of the scene had gone back underground, all the while still maintaining their blend of melodic hardcore, Gothenburg, and NWOAHM influences.
The onset of the 2020s and the release of their 5th studio LP “Sleeps Society” would see the incorporation of keyboards and industrial stylistic trappings, further augmenting an already varied approach, and with the creation of their sixth and latest studio effort “Self Hell,” the melancholic blend of electronics and metallic fervor has been amped up considerably.
In most respects, the sound that this quintet brings to the table maintains its familiar character, sparing no expense in the melodic hooks and heaviness departments respectively. Vocal helmsman Lawrence “Loz” Taylor explores a wide array of harsh and clean personas, often blurring the lines between the harshest Gothenburg vocalizations and the smoothest pop/rock ones to a fault, and even occasionally dabbling in some hip-hop moments. The pummeling display of the rhythm section via drummer Adam Savage and bassist Aaran McKenzie is a marvel of precision, whether in a mid-paced stomp or a raucous up-tempo stride, with the former taking a few moments to get tastefully fancy.
The deep chugging grooves and moderately busy riff work of rhythm guitarist Mat Welsh generally takes a similarly simple yet effective approach, with his keyboard contributions being a bit less conventional. But what truly sets this album, and ultimately this fold from the bunch is the highly intricate lead guitar work of guitarist and co-producer Sean Long, who is responsible for nearly all the sugary sweetness sprinkled atop this impressive auditory cake, often rivaling the technical wonder normally heard out of Trivium.
As a total package, this album presents itself as a sort of continuous play with a fairly theatrical character. Instrumental interludes and extended breaks between vocal sections are a regular occurrence, while the progression from verse to chorus is often an asymmetrical one, though that cadence point where it all comes together is impossible to miss. Sometimes the outcome is something resembling a rock radio banger with a much nastier coat of auditory paint, such as the leadoff single and title track “Self Hell” and streamlined banger “Down” (featuring some guest vocal work by Malevolence vocalist Alex Taylor), each going hard enough on the electronic end to make Linkin’ Park blush.
“Self Hell” ArtworkOther fast-paced cruisers like “Wildfire” and “Rainbows” hearken back a little closer to this outfit’s traditional metalcore roots, but still come with plenty of industrial detailing at the periphery, while the closer “Radical Hatred Radical Love” manages to bring the stereotypical metalcore ballad into a denser and more electronically-based paradigm. Plenty of other interesting moments filter in and out of this 45-minute slough, including some quirky atmospherics on the EDM-like interlude “Out Of The Blue” and the ambient instrumental “No Feeling Is Final,” culminating in an album that is, if nothing else, distinctive.
While She Sleeps were definitely thinking outside of the box on this one, and while the results are something that is in keeping with the marriage of metalcore and industrial that have been explored by younger adherents to the scene of late, this band marks experimentation with a good dose of familiarity that should keep their existing fan base in tow.
At times it gets pretty thick into the experimental weeds and someone looking for something along the lines of where this band was before 2019 might be compelled to skip around here and there, but Sean Long and his mates have done a decent job of avoiding the pitfall of getting lost in the woods while trying to expand their sonic pallet.
It may prove just a tad harder for traditional metalcore fans to process than “Sleeps Society,” and it doesn’t go as heavy on the riffs as “Brainwashed” and “You Are All We Need,” but between the continued adherence to metallic principles and the introduction of greater electronic elements, a synchronicity emerges that definitely keeps things very interesting.
Released By: Spinefarm Records
Release Date: March 29th, 2024
Genre: Modern Metal / Metalcore
Musicians: Sean Long / Guitars * Lawrence ‘Loz’ Taylor / Vocals * Mat Welsh / Guitar * Aaran Mckenzie / Bass * Adam Savage* / Drums
*“Self Hell“* Track-List:1. Peace Of Mind 2. Leave Me Alone 3. Rainbows 4. Self Hell 5. Wildfire 6. No Feelings Is Final 7. Dopesick 8. Down 9. To The Flowers 10. Out Of The Blue 11. Enemy Mentality 12. Radical Hatred / Radical Love
Order “Self Hell” HERE
The post WHILE SHE SLEEPS – Self Hell (Album Review) appeared first on Sonic Perspectives.
Few things can make an impression like a consistent and uncompromising work ethic, and one thing that Hastings native Kid Kapichi can’t be accused of is slacking off at the job. Now putting forth their third studio offering in as many years, this institution in 90s alternative rock, Brit-pop, and punk repackaged for a 2020s audience has definitely been keeping busy, and the result is a sound that is continually being refined into something that would pass for terrestrial radio were it still the preferred medium of the current generation.
Their latest musical excursion, aptly titled “There Goes The Neighbourhood,” is an album that tackles weighty subjects in a largely light-hearted and accessible manner; often blurring the sonic lines between the disparate 90s scenes of Seattle’s grunge craze and the concurrent musings of Blur and Oasis via their native Britain, though taking extra care to avoid the overt moroseness of the former in favor of the latter’s more fun-loving yet grounded lyrical approach.
The synchronicity that is established between the blending of styles at play is immediately apparent, as a fuzzy, distorted guitar tone that could almost trade blows with the rawness of vintage Sonic Youth interplays with a sleek rhythm section that flirts with an industrial rock character. For their parts, frontmen, and guitarists Jack Wilson and Ben Beetham generally play it close to the hip with a streamlined riffing approach that is somewhat reminiscent of The White Stripes, though a good bit denser and with a few more moving parts, while the thick accented vocals that are brought to the table play at a middle ground between the attitude of the original 70s punk rock craze and the more measured feel of 80s new wave.
The fairly frequent employment of keyboards to complement the arrangement often flirts with a Killing Joke vibe, while the largely mid-paced and steady grooves of drummer George MacDonald and the glassy undertow of Eddie Lewis’ bass work might well compel one to hit the dance floor as much as the rest beckons one to rock out.
“There Goes The Neighbourhood” ArtworkThough not quite an overt grab bag of contrasting songs, “There Goes The Neighbourhood” comes pretty close to running the gamut of just about everything that was a staple of the 90s, all the while maintaining a generally consistent flow. The low-end, gritty industrial rocking opener “Artillery” lands with a respectable thud and sets a tone of discontent that is mirrored on the fast-paced pop punk anti-Brexit anthem “Can EU Hear Me” and the heavy-hitting hardcore-adjacent romp “999”. Then again, the angst is tempered with a healthy dose of optimism on such upbeat rockers as the ode to working-class dreamers “Let’s Get To Work” and the catchy meets dynamic flair with a sarcastic edge of “Get Down”.
Things get into more of a dancing swing with the keyboard-driven vibes of “Tamagotchi”, as well as the overt new wave session of a comedic secret romance with an Asian princess “Subaru” and the fun yet almost slasher-movie themed “Zombie Nation”. This quirky blend of electronics and gritty rock hits an arguable apex point on the comedic anthem of love gone wrong “Angeline”, seesawing into a dark hip hop meets punchy rock shtick with “Oliver Twist”.
But it all comes to a head at the album’s conclusion with the brilliantly played “Jimi”; a song title that had my unserious mind waiting for a quip about needing to think with your dipstick, but in actuality, proved to be a very heartfelt acoustic ode to a past friend that musically bridges the divide between Radiohead and The White Stripes seamlessly.
Those looking for something a bit different that still checks all of the hard rock boxes will find a solid listen with “There Goes The Neighbourhood,” if maybe a bit all over the place at times. While individually, each song stands reasonably strong and comes with a decent hook and enough twists and turns to keep things interesting, as a whole package it can feel like a rambling affair.
Wilson and Beetham prove more than apt at carrying an infectious tune with a notable degree of charisma, and though the songwriting’s overt pop tendencies result in something that is paradoxically predictable in spite of the wide array of stylistic influences, the eclectic character of what is brought to the table keeps things popping for the full 37 minutes. This is a band with a clearly defined target audience, and those who could go for a blend of 90s heavy rocking crunch and overtly British quirkiness are clearly in the thick of it.
Released By: Spinefarm Records
Release Date: March 15th, 2024
Genre: Punk / Alternative Rock
Musicians: Jack Wilson / Vocals, Guitars * Eddie Lewis / Bass * Ben Beetham / Guitars * George MacDonald* / Drums
*“There Goes The Neighborhood“* Track-List:1. Artillery 2. Let’s Get To Work 3. Tamagotchi 4. Can EU Hear Me? 5. Get Down 6. 999 7. Subaru 8. Zombie Nation 9. Angeline 10. Oliver Twist 11. imi
Order “There Goes The Neighborhood” HERE
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We need to get something established upfront. Sonic Perspectives is blessed with an insightful and well-informed readership. Yes, that means you, the best and the brightest of the music scene. As such, you are already aware of prog-metal supergroup Sons of Apollo.
Active 2017 to 2023, they had two studio albums and did quite a bit of international touring. Made up of Mike Portnoy on drums (Dream Theater and a dozen others), Billy Sheehan on bass (Mr. Big and all-around hired gun to the stars), Derek Sherinian on keys (ex-Dream Theater, Black Country Communion and also a top-shelf hired gun), Jeff Scott Soto on vocals (Yngwie, Talisman, WET, and a ton of others) and last but certainly not least Ron “Bumblefoot” Thal on guitars (ex-Guns N’ Roses, Lita Ford, solo work).
Upon the conclusion of Sons of Apollo (one probable reason being Portnoy’s return to Dream Theater with great fanfare) Sherinian and Bumblefoot wasted no time in activating the Failsafe Plan, a little something they’d been slow-cooking for a couple of years, a sequel supergroup which would come to be called Whom Gods Destroy. Given the very direct lineage in play, even if it was possible to perform a deep analysis of the new band and their new album without mention of Sons of Apollo, it would be tone-deaf, irresponsible, and frankly a bit silly to ignore the obvious heritage.
So, here we are. The Sons of Apollo are dead (Long Live the Sons) and Whom Gods Destroy would seem to be heir apparent in this rather specialized game of Musical Thrones. The first obvious question would be who is in the band? Well, the core remains somewhat unchanged, with Derek and Ron doing the heavy lifting in keys and guitars, respectively. The biggest news would be Dino Jelusick on vocals. Dino, a solo multi-instrumentalist also recently employed by Michael Romeo, is also a former touring mate of *Soto with the Trans-Siberian Orchestra. Dino may be one of the top rising stars in rock and metal vocals, and one of the few who could fill the role arguably held by Soto. Bruno Valverde of Angra is more than capable of drumming at a world-class level, and Japanese guitarist-bassist Yas Nomura* has been a virtuosic mercenary since going pro about ten years ago, seeming to make him an ideal fit for bass duties on this record.
“This record,” of course, would be this week’s release of the debut album “Insanium.” Clearly the album title is tied to the titular finale track, but it would also seem to dovetail with the album’s interwoven thematic elements dealing with strife, confusion, rage, and grief. The album opens with the first track to receive music video treatment, “In the Name of War.” Upon hitting “play,” (or putting down the needle if that’s your waxy jam) the song begins with Derek banging out a dark, minor, syncopated jazzy bit on a grand piano. The root chords move up and down a couple of times before the piano is joined by hi-hat setting time for the band. This is immediately followed by the entire band ensemble exploding into life with all instruments cranked to 11. Derek continues the same piano part from the beginning, but in his signature lead distortion tone with which we’re all familiar as a calling card. The keys dip out to let the band chug along for a couple of bars before Dino steps to the mic and lays waste to everything in sight. It’s a good thing he has vocal fry down to a fine science or he would wreck his voice with what sounds like throat-rending delivery. You probably know Dino’s other work, but if you haven’t heard him, it’s like Ronnie James but with the power of Jorn Lande and Russell Allen. One noteworthy thing with this track is that even aside from the pointed lyrics about the futility of human lives being fed to statism through the mindless maw of war, the track has some of the best chorus hooks of the album. Also, halfway in, we are treated to some quality fretless guitar noodling from Ron while the band dials things back a little bit. He even seems to dial back his gain to medium-well, which makes his technique all the more impressive without reliance on searing distortion for every lick. In the later parts of the track, Derek also gets his licks in, with some quality keyboard parts. The track ends the way it began, with Derek bringing back the original riff on the grand piano.
“Insanium” Album ArtworkThe second track “Over Again” opens with the gritty heavy version of the Hammond organ we know from everything from Deep Purple to Ayreon to Dream Theater “Awake” (think “Erotomania.”) Instrumentally, the band launches straight into a heavy jam of the chorus, before shifting over into a grunting, angry, miserable wreckage of a verse structure before bringing back the chorus, but this time with Dino sounding legitimately pissed off about being forsaken, lied to, and betrayed in some capacity. It’s a shorter track (as prog metal goes) but it lets Bumblefoot flex some dropped tunings and trade some sick solos with Sherinian. While the middle section is a fun little jaunt to Planet X, the chorus section is so full of piss and vinegar, it is what makes this a memorable track from the album, albeit after a few listens.
“The Decision” launches straight into some ridiculous staccato bass riffage, for which we do not envy *Nomura-san at all. After a moment, the heaviness dials back a bit, which is a refreshing change so Dino can sing in Coverdale Junior mode (this is meant as the highest compliment) and give everyone a breather from the onslaught of Yngwie-sized fire and fury. We get some more masterclass in technique from Sherinian and Ron in this one (some cool pick tapping on the upper frets in this one) but as a whole the track is noteworthy for its rhythm section and variability in terms of heaviness and power. When Dino soars (“I think I’m gonna stay”*) he really soars to new heights.
The fourth track, “Crawl,” might make you think your car stereo or your phone’s data plan is glitching out, but this weirdly alien-sounding arpeggio is just Sherinian finding new ways to sound weird and different, but hey, if he’s trying to get attention it worked this time. Revisiting some of the lyrical themes found in “Over Again,” the narrative voice bemoans a situation of being made to suffer, grovel, and “crawl.” Of course, the narrator seems to come to terms that a certain element of crawling through the pain and suffering is an inescapable part of life. Derek’s computerized alien riffs come back a few times just to drive the feeling of discomfort home before Ron delivers some equally alien leads which would cause some head-scratching at a Berklee guitar theory class.
Speaking of Coverdale, “Find My Way Back” is absolutely drenched in the vibes of Coverdale-era Purple, and some of the early-to-middle era Whitesnake. We’ll definitely need to ask the boys in Whom Gods Destroy which tracks are most attributed to which members, but at first listen, this one seems to have Dino’s fingerprints all over it. We know he covered “Judgment Day” with Animal Drive, and just got off the Coverdale farewell tour, but wow, if he had any Whitesnake blues ballad juice left in the tank, he used it all on this one. Lyrically, it is actually about trying to return home and finding home is not home anymore. A poignant sentiment for Dino, as well as the other world-touring veterans in the band. In short summary, everyone involved did an A+ job delivering an homage to a half-of-fame element of rock and roll history with this one.
Right back down to business, “Crucifier” is a heavy, gnarly juggernaut. With references to Judas, divinity, and thrones, it’s unclear if the lyrical references to a “Crucifier” are literally direct in the New Testament sense, or some other metaphor, but this track is an unapologetic prog metal banger with tons of grunt and growl. It’s kind of cool that it almost sounds like the track ends with the same keyboard riff used in “New Millennium.” This is followed by “Keeper of the Gate,” which opens with a guitar riff that’s already sludgy enough, except it sounds like Bumblefoot goes through some kind of octave pedal or post effect to make it even more basement of doom-dwelling. Another nifty technique here is picking notes while bent and then letting them drop down to a less-bent pitch so it sounds like they are melting. A bit like what Vai dabbles with on “Gravity Storm.” This track also exists in that weird Eastern sort of zone like Ritchie Blackmore’s “Gates of Babylon” or just about anything from Myrath’s earlier catalog. Speaking of the 70s, Sherinian busts out the Hammond tone again to good effect, before Bumblefoot delivers a tastefully traditional lead section.
For those of us musical types who go to live shows and like to stand over near some pillar with our arms crossed studying every single note and drum fill, looking bored while simultaneously being overjoyed on the inside, we have the instrumental track “Hypernova 158.” A three-and-a-half minute demonstration of musical chops, we have Bruno blasting us though some of the most complex beats and rhythms of the album, while Nomura is probably sweating like a murder suspect while trying to keep up with the frantic pace, all the while with Sherinian and Bumblefoot trading absurd solo bits back and forth. It does not reinvent the wheel, but it gives us a vigorous palate-cleanser before the three-part title track and brings us to the bombastic ending.
“Insanium” is a heavy hitter with a nice chorus feel. Lyrically, it seems to be either about being checked in for mental healthcare, or resigning to insanity. As the first part, “Home for All,” segues into the second part, “Abandoned,” the unplugged guitars swirly eerily around in a minor key like something from Iced Earth’s “Night of the Stormrider” album allow for Dino to come back with a more melancholy approach than the fire of the first section. This part of the trilogy allows a canvas for Sherinian to paint a solo that really emulates lead guitar vibes very well. As the third part the reprise comes in, Bumblefoot throws out some searing leads before Dino resumes his parts with the fire once again fully in the belly. Once the final verse is complete, the sludgy core riff repeats into a fade. In theory, this is the end of the album as intended, but we have a bonus track literally entitled “Requiem,” which does some cool tricks to change up the vibe we find in most of the album. Aside from some dark gothic underpinnings, it occasionally has operatic uplifting Freddie Mercury feel, which really gives the album a better ending than with the title track.
This is the part in the program where we talk about Sons of Apollo. Insofar as Whom Gods Destroy is a successor, whether truly or spiritually, the question is whether it is the same, or better, or worse. Well, it would be hard to call it better, and there’s no shame in that. Bumblefoot and Sherinian and all the guys in Sons of Apollo set a high bar. When you deliver high-quality products, you can become your own enemy. It is tough to repeat that. Arguably, the second and final Sons of Apollo album lacked some of the imagination and ingenuity found in the first album. Thankfully, maybe if only via a blood transfusion of new warm bodies, the product seems to be somewhat refreshed since SoA’s “MMXX” album. Bruno and Yas are rock-solid as a rhythm section, and Dino is one of the most promising things to happen to metal in the last five years. *Soto* would probably not disagree.
So while we obviously miss seeing Billy and Portnoy in any project, the SoA lineage seems to still be in good hands. While it may not surpass the first Sons of Apollo album, it is easily equal to the second, and that in itself is an accomplishment. If there were to be any constructive criticism when this album is done playing, it’s that there could be less focus on the technical and more focus on the songwriting itself. If there were more tracks with melodic hooks and a compelling chorus, it could do more to aid this album with its ability to remain relevant and memorable. Think less “Peace Sells” and more “Youthanasia.” Another open question is how much Dino was utilized for his songwriting and musicianship. We just reviewed his solo album here, and it was a pretty big hit. Furthermore, where Sherinian is an A+ keyboard man, and Dino is probably more like an A- keyboard player by comparison, it’s a shame to not utilize him at all through the record, just for the sake of variety if nothing else. Apologies if he has any guest spots we did not identify, but it never hurts to get some different flavors going.
But do not let the constructive critique turn you off of this record. If you are a fan of Sons of Apollo, or Dream Theater, or Symphony X, or pretty much anything in the prog-metal sphere, you should at least check this album out. It’s strong, and full of great musicianship. It drops tomorrow (March 15), be sure to look for it.
Released By: Inside Out Music
Release Date: March 8th, 2023
Genre: Progressive Metal
Band Members: Dino Jelusick / Vocals * Ron ‘Bumblefoot” Thal / Guitars * Derek Sherinian/ Keyboards * Yas Nomura/ Bass * Bruno Valverde* / Drums
“Insanium” tracklist: 1. In The Name Of War 2. Over Again 3. The Decision 4. Crawl 5. Find My Way Back 6. Crucifier 7. Keeper Of The Gate 8. Hypernova 9. Insanium 10. Requiem (Bonus Track)
Order the album HERE
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The fact that Myrath have modified their logo should tell you everything you need to know about “Karma”. This is, after all, a move metal bands historically have made when they shift musical gears. The Big Four all did it. Dream Theater did it. In Flames did it. And they have nearly universally signaled a serious downgrade in quality. Fortunately, “Karma” is not the betrayal “Risk” was. But it is a very clear turn away from the progressive Arabian power metal they’ve been dishing out since they realized they could do better than ape Symphony X. “Karma” sees *Myrath* toning down the Maghrebi flair that has been such a huge part of their identity, and bolstering their arena rock vibes in its stead. The Orphaned Lite sound has been supplanted by a vaguely Middle Eastern-sounding flavor of pop metal, and while it is certainly a puzzling turn for prog and folk metal diehards, it isn’t a bad move in and of itself. But some of the strategies behind the move do raise some questions.
We notice right off the bat that “Karma” offers no string-laden, frame drum-propelled folk intro in the vein of “Asl” or “Jasmin.” Instead, “To the Stars” opens with Malek Ben Arbia chugging a quite simple, overdriven two-chord riff that fairly soon gives way to the Arab strings we’ve come to expect from this Tunisian quintet. Clocking in at under four minutes, it is a catchy and frenetic tune that will surely have me driving at unwise rates of speed, its unnecessary outro notwithstanding. “Into the Light” follows in all the splendor befitting *Myrath‘s legacy, complete with its cinematic interlude, dramatic piano flourishes by the band’s now sole keyboardist Kevin Codfert, and frontman extraordinaire Zaher Zorgati‘s singing really bringing the house down. This song is an instant classic in the Myrath repertoire, and metalheads who were lucky enough to catch this band on the Eurofest circuit or at Progpower USA last year have personal knowledge that this song fucking kills* in the live setting.
“Candles Cry” and “Let It Go” relive cheesy 80s hard rock glory while wisely keeping both the production and the hairstyles rooted in the present day, and “Words Are Failing” sees the band honoring their identity while toying with contemporary pop melodies and production pizazz, most noticeably in the leadup to the refrains where the auto-tune on Zorgati‘s voice is most obvious. No one should let themselves be fooled here: the autotune is there purely for lustre and in no way detracts from Zorgati‘s very obvious ability to hit those notes on his own. My concern has more to do with *Myrath potentially falling into traps they themselves set by chasing the bandwagon. Regardless of how successful these flirtations with mainstream trappings are, they’re pretty blatant, right down to the at times fake-sounding orchestrations and that uncomfortably AI-looking cover art. How much does a very real band get to use fake sounds, fake singing, and fake paintings before it affects their legitimacy? Are these things actually fake at all? Is Myrath* deliberately fucking with its audience by actually performing these things and making them sound and look synthesized? These are not questions I am prepared to address, but the implications do trouble me.
What doesn’t trouble me is “The Wheel of Time,” where we hear Mr. Ben Arbia sling some sick bluesy flavor and Mr. Zorgati sings some of the most memorable hooks on “Karma.” This cut also includes some of the ballsiest lyrics I’ve heard escape Zorgati‘s lips, where he sings of praying to “other gods.” By all accounts, Tunisia is pretty lax for a nation that bears the Islamic crescent on its flag, but such a bold line could sadly land him in some serious shit in other parts of the Muslim world, even if it is just a freaking rock song. I hope that none of that comes his, or anyone’s, way.
“Karma” ArtworkSome fake-sounding strings resurface on “Child of Prophecy,” most prominently at the intro. The song is masterfully written and performed and features some furious hand drumming throughout as well as one of the album’s greatest refrains. But as much as I hate admitting this, the are-they-or-aren’t-they-real nature of the strings bothers me almost enough to keep me from enjoying this cut for its songwriting merits, which is ultimately the most important thing in music. Fortunately, the comparatively stripped “Heroes” swoops in later to remind us that for all of *Myrath‘s Mediterranean panache, they’re at heart a fucking metal band with plenty of furious riffing, soaring singing, and endorphin-rushing rage in them, even with Codfert* gracefully tinkling those ivories.
“Karma” wraps up with “Carry On,” a dramatic burner that often sounds like it could have been on “Return to Heaven Denied” even while Zorgati offers some of his only distinctly Arab singing on the album. The strings sound especially organic in much of this cut compared to the rest of the record, and this frankly fantabulous song suffers very little from *Myrath‘s self-imposed pop restraints – it opens and ends with unaccompanied vocals, a common trope in popular music but rare in metal. But that abrupt ending does lend a feeling of incompleteness to “Karma.”*
It’s a killer tune right up until then, but just stopping the way it does offers absolutely no feeling of resolution. It took me several repeated listens to finally figure out where the album ended, and that only happened because I happened to glance at my device as the song “concluded.” Rather than offer bold punctuation to declare that this is *Myrath*‘s New Sound, the song merely ends with a disappointing whimper, a question mark rather than a period. “So, uh,” it asks. “Did it work?”
And that’s the crux of “Karma.” At their core, the songs are strong, and the performances from all the musicians involved honor that strength. However, the arrangements are sure to ignite more than a few arguments. Does stripping a song down to its bare essentials do a greater service to that song? Or does the song deserve all the flourish the songwriters believe will take the listener on a memorable journey? Informed listeners will disagree on this point, and none of them will be wrong. But this is the path *Myrath* have taken on the first record of the post-Elyes Bouchoucha era, and I hope that these Berberians remain vigilant and cautious as they explore poppier territories.
Released By: earMusic
Release Date: March 8th, 2023
Genre: Heavy Metal
Band Members: Malek Ben Arbia / Guitar * Anis Jouini / Bass * Zaher Zorgati / Vocals * Morgan Berthet / Drums * Kevin Codfert* / Keyboards
*“*Karma“ track-listing:1. To the Stars 2. Into the Light 3. Candles Cry 4. Let It Go 5. Words Are Failing 6. The Wheel of Time 7. Temple Walls 8. Child of Prophecy 9. The Empire 10. Heroes 11. Carry On
Order the album HERE
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We’re still in March, and the list of “best albums of the year” keeps getting new entries at a jarring pace. One of such entries is the highly anticipated Judas Priest record, “Invincible Shield”. As a summary before we even lay out the details of some of the tracks, here, we can say it delivers what it promised, and then some.
After the somewhat unexpected hit of 2018’s “Firepower”, fans were curious to find out if that was a one-off late career high, or if they would maintain the same inspired trajectory. Since Rob Halford’s return to the band in 2003, they put out “Angel of Retribution” (2005), the controversial “Nostradamus” (2008), and hinted at retirement with the Epitaph tour in 2010-2011. Hailed as a return to form, 2014’s “Redeemer of Souls” continued to employ similar production values as the previous efforts. In reality, *“Firepower” was a game changer for the group, and it’s no coincidence that it counted on one of the hottest metal producer in metal today, Andy Sneap*.
Speculation about what a new *Judas Priest effort would sound like came up as far back as 2019, when we interviewed with Ian Hill (check it out here*). On October 7th, 2023 the name of the album and its cover were finally announced, with the intro of the first single being teased.
By now everyone has heard the album’s opening salvo, “Panic Attack”, and we are no longer surprised by the brief keyboard intro, but I must admit that it gave me a mini heart attack when I first heard it. Luckily it veers into more familiar territory, sounding like a not-so-distant cousin of “Firepower” and “Painkiller.” Lyrically, this is a critique of the state of society, focusing on themes of chaos, corruption, and the manipulation of power, including social media. *Priest has always brought some cheese to their lyrics here and there (“I’m your turbo lover/ Tell me there’s no other” – remember that phase?). On this track, this is brought by the line “Cybertronic schemes/ Fibre optic, mass hypnotic/Wild neurotic memes”. Nonetheless, this is as great an opening tune for a Judas Priest* album as it comes
“The Serpent and the King” is the latest single to be revealed, and much like Saxon’s “Hell, Fire and Damnation”, it discusses power struggles and the fight between good and evil for mankind. It’s followed by the fast-paced, title song, which is beyond every fan’s dream for a group this late in their career, with a bridge that harkens back to the 80’s. “Devil in Disguise” slows the pace just a little, delivering a groove and feel that became famous on songs like “Metal Gods”, from their classical album “British Steel”. Scott Travis wisely holds back and delivers exactly what the song needs –more subtlety and funk, less double bass.
A guitar intro, courtesy of Richie Faulkner, brings in “Crown of Horns”, another composition that was already revealed, exploring the band’s more commercial side, and its infectious chorus will resonate in your head for days. Continuing on the commercial side and consolidating the band’s obsession with gates in the last few years (we had “Traitor’s Gate” on *“Firepower”), we have “Gates of Hell”*. Does the world still need another song named that way in 2024? Probably not. But this one sounds great, and expansive, and again finds its biggest strength in the chorus.
“As God is My Witness” brings things to a more familiar territory, with excellent riffage and Rob’s voice sounding as menacing as ever. “Trial By Fire”, depicting themes of injustice and betrayal, is a typical latter-day Priest, with a mid-tempo riff and a great scream from Rob towards the end.
“Invincible Shield” ArtworkComing up next are the two back-to-back numbers penned by long-serving guitarist Glenn Tipton. The spacious “Escape from Reality” is a perfect vehicle for Ian Hill’s thunderous bass lines to be more prominent, and the guitar solos really complement each other. The syncopated chorus is the cherry on the cake of this ominous tune. On “Sons of Thunder” the band goes into biker gang territory, with echoes of 1981’s “Point of Entry” and lyrics such as “let’s ride/all night/sons of thunder”. Simple, direct, and heavy – what else could you ask for at this point?
The plodding “Giants in the Sky” comes next, with quite a curveball: a classic guitar interlude, providing some breathing space. The song resumes the heaviness and concludes with yet another great scream from Rob, with his voice naturally cracking at the end, providing even more evidence that they gave all they got on the making of the album. A fitting end to the standard edition of “Invincible Shield”, but we all know you won’t be content with only getting the standard issue. Luckily, the bonus tracks here are more than worth your money.
The additional material is quite varied here. The band gets closer to Guns N’ Roses territory on the funky hard rock of “Fight for Your Life”, and Rob’s delivery is even similar to Axl’s growls. “Vicious Circle” is typical Priest, and “The Lodger” is perhaps the album’s biggest surprise. Written by longtime collaborator Bob Halligan Jr., who has written other songs for the band, most notably “Some Heads Are Gonna Roll”, and also collaborated with Kiss and Blue Oyster Cult, the song is a dramatic, haunting number, not unlike “Touch of Evil”.
Overall, this album is yet another great addition to the band’s long catalog, and perhaps the most inspired they have sounded since “Painkiller”. I know, we all said that about **“Firepower”*, but this is a step above. *“Invincible Shield” is better on all fronts: a little more efficient, streamlined, and varied than its predecessor, although just as long.
With this being the band’s 50th anniversary, intentionally or not, a lot of the tracks have the building blocks of each part of their career. Impressively, Priest have found a way to incorporate the elements of their classical sound into the new songs, avoiding to sound derivative or a parody of themselves. This is the best they could be sounding after more than 50 years of career, and it certainly maintains their status as a main driving force in traditional heavy metal.
Released By: Sony Music
Release Date: March 8th, 2024
Genre: Heavy Metal
Band Members: Rob Halford / Vocals * Richie Faulkner / Guitars * Ian Hill / Bass * Glenn Tipton / Guitars * Scott Travis* / Drums
*“Invincible Shield”* track listing:1. Panic Attack 2. The Serpent and the King 3. Invincible Shield 4. Devil in Disguise 5. Gates of Hell 6. Crown of Horns 7. As God Is My Witness 8. Trial by Fire 9. Escape from Reality 10. Sons of Thunder 11. Giants in the Sky
Deluxe edition / 7″ bonus tracks:
- Fight of Your Life
- Vicious Circle
- The Lodger
Pre-order “Invincible Shield” HERE.
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In cold blackness, a new flower blooms.
Sometimes innovation doesn’t necessarily take on the form of a new sub-genre being born or something that seems unrecognizable to the existing musical paradigm, but rather involves breaking new grounds of emotional expression.
In the past decade, particularly in extreme metal circles, much of this has been accomplished via the coupling of black metal and post-rock, two styles that are not necessarily disparate but have nonetheless only been explored to a limited extent until fairly recently. Of particular note in popular circles has been the unique blend of this hybrid with a folksy vibe and a dueling combination of harsh and angelic vocals spearheaded by Danish/American solo artist Myrkur.
However, towards the end of the 2010s, she would find a formidable competitor in Australian solo artist Emily Highfield’s project Suldusk, which spawned an auspiciously similar albeit more heavily post-rock-informed 2019 debut album dubbed “Lunar Falls.” Roughly five years to the day, this new force from Down Under finds itself among the ranks of Napalm Records as a fully codified band and a more developed and stylistic distinct sophomore LP dubbed “Anthesis” in tow.
The album’s name, per the band, means to bloom and functions as an elaborate and highly dynamic exploration of grief and acceptance, often shifting styles when one emotion gives way to the other. In contrast to the aforementioned Danish artist sporting a similar stylistic niche, how this opus unfolds is more formally progressive, often mixing in a greater variety of external influences and presenting them in a more expressionistic fashion. Ambience and surrealism also play a more prominent role, as can be gleaned right from the album’s opening prelude entry “Astraeus”, which progresses from a harrowing ensemble of exhales into a static wave of droning keyboards and a mystic, eastern-tinged vocal melody draped on top like an eastern European answer to Enya.
“Anthesis” Album ArtworkThough this exposition is itself a mostly uniform expression of somber serenity, it proves the perfect setup for the blackened storm of metallic fury that immediately follows via “Verdalet”, a riveting display of melody and harsh emotional stress that finds band leader Emily Highfield brilliantly splitting her vocal performance between frosty shrieks and angelic croons as if she were two vocalists featured in a duet of extreme contrast.
As the album progresses, the deeper into the stylistic weeds it goes, striking up a peculiar balance of consonant tranquility and disjointed rage, with the former prevailing to a slight degree. The naturalistic vibes and general sonic beauty that prevail upon the lion’s share of “Crown Of Esper” stick almost exclusively to folk-driven acoustic balladry, with the only real contrast being occasional crescendos from the accompanying keyboards in a symphonic-like fashion.
On the other end of the spectrum, the spacey ambience that kicks off “Crystalline” leads into a crushing storm of black metal rage with a serene melody on top that proceeds to trade blows with more fleeting segments of acoustic respite, culminating in one of the more dynamic expressions of extreme atmospheric metal heard in recent years. A similar, albeit more asymmetrical and jarring assortment of softer and harsher moments typify that album’s title song “Anthesis”, arguably functioning as the de facto climax point of a highly nuanced and varied experience set to 46 minutes of music.
The mixture of balladry and metallic fervor takes on a more doom-like crawl on the woefully sad “Leven”, while the extended musical yin and yang that is this LP’s epic closer “A Luminous End” comes off as the most structurally progressive and technically intricate of the lot.
Objectively speaking, there are no real weak points in this 9-song cycle of deep emotional exploration that can be pointed to, leaving the only arguable flaw of this album’s highly elaborate character possibly present an accessibility problem for many mainline consumers of folk rock, post-rock, and black metal. Though not billed as a progressive rock project, Suldusk embodies the same basic approach and character of one, and the result is a musical experience that is a lot to take in.
One could even argue that Highfield and company dispelled just about every possible notion that this project was a mere homage to Myrkur’s mid-2010s music exploits in the most extreme manner possible, presenting a take on the black/folk sound that is less in line with the Scandinavian roots of the sub-genre’s 90s resurgence and more so with the broader worldwide character that has come to embody the subsequent 3rd wave.
It’s definitely an album that challenges the listener to explore what it has to offer intently, and a highly unique offering to the quickly expanding pool of metallic intrigue to grace 2024.
Released By: Napalm Records
Release Date: March 1st, 2024
Genre: Dark Folk / Blackgaze
Musicians: Emily Highfield / Vocals, Guitars * Shane Mulholland / Vocals Guitars * Daniel Green / Bass * Josh Taylor / Guitars * Hayley Anderson / Violin * Frankie Demuru* / Drums
*“Anthesis“ Track-List:1. Astraeus 2. Verdalet 3. Crowns Of Esper 4. Crystalline 5. Sphaera 6. Anthesis 7. Mythical Creatures 8. Leven 9. A Luminous End (Featuring Raphael Weinroth-Browne*)
Pre-order “Anthesis” HERE
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1984 is generally regarded as the greatest year in metal. The release of Iron Maiden’s “Powerslave,” Dio’s “The Last In Line,” Judas Priest’s “Defenders of The Faith,” Saxon‘s “Crusader” are only a few examples of how great it was. Just a few months later, in January 1985, the Rock in Rio festival would open the doors of South America to heavy music, creating an everlasting bond between the bands that played there and the audience.
Fast forward to 2024, and the metalheads that enjoyed the establishment of metal as a force to be reckoned with in the music industry are now older, and wiser, but with many of the bands that enriched that scene in the 80’s still delivering high-quality albums. Saxon‘s “Hell, Fire and Damnation” and Judas Priest’s upcoming “Invincible Shield” are only a few examples to prove the point that metal is alive and well. When it comes to Iron Maiden, they’re still doing the “Future Past Tour”, playing songs from “Somewhere in Time” and their latest release, 2021’s “Senjutsu.” In addition to that, a few Maiden-related releases will see the light of day this year: Blaze Bayley’s “Circle of Stone” (which we discussed with Blaze himself) and Bruce Dickinson’s “The Mandrake Project.”
While metal is alive and well – whether or not the old school fans acknowledge it, Ghost, Sleep Token, Spiritbox, and others are carrying the torch of heavy music into the new age – it takes a new album from an industry titan to REALLY shake the metal world. Take last year as an example – a year with incredible releases from many bands, but Metallica’s “72 Seasons” dominated most of the conversation in the headbanger roundtables. When it comes to this year, it’s almost guaranteed that Bruce’s “The Mandrake Project” will cause a stir in the industry, and we’re here to tell you why.
Bruce’s last solo album, “Tyranny of Souls” was released almost twenty years ago, and that only adds to the anticipation for “The Mandrake Project”. Teasers about “Mandrake” were made as far back as 2015, when the song “If Eternity Should Fail”, included in Maiden’s “The Book of Souls” was revealed to be meant for a solo effort. It took a few years, multiple tours, a pandemic, and several accomplishments by Bruce in non-music related fields (and sadly, a cancer diagnosis which he managed to beat), but finally the stars are aligned and we’ll now be able to witness this come to fruition.
“The Mandrake Project” Album ArtworkIn true Bruce fashion, “The Mandrake Project” is not just an album, but a multimedia experience. In parallel with the album, the singer worked on a comic series of the same name, with acclaimed British writer Tony Lee and illustrator Staz Johnson. Together, they wrote a sci-fi occult adventure-turned-tragic cosmic whodunit, of which the first volume has already been revealed. The album itself was recorded at LA’s “Doom Room”, with long-time collaborator Roy Z pulling double duty as producer and guitarist/ bassist, and returning “Tyranny of Souls” personnel: keyboard maestro Mistheria and drummer (& part-engineer in what is his own studio set up) Dave Moreno.
The “Air Raid Siren”, as he came to be known in Maiden circles, has covered a lot of ground in his solo career: from the pure hard rock feel of “Tattooed Millionaire”, to the more experimental side of metal on “Balls to Picasso”, through the grunge on “Skunkworks” and a welcome return to pure metal on “Accident of Birth” and “Chemical Wedding”. “Tyranny of Souls” also contained several of his musical interests, and in that sense, “Mandrake” is no different. The album was done over the course of several years, but picks up exactly where “Tyranny” ended.
From a promotion standpoint, Bruce kicked things off by showcasing to us the first song on the album, “Afterglow of Ragnarok”. An ominous and slow guitar gives way to a plodding riff which is pure bliss for metal fans. The man’s vocal prowess is showcased on the bridge and on the chorus, which will stay in your head for days on end. This one is followed by “Many Doors to Hell”, with a hard rock vibe that would fit in like a glove on “Tattooed Millionnaire”. The keyboards here remind us of Deep Purple, and there’s something on the bridge that is reminiscent of Maiden’s “Brighter Than a Thousand Suns”.
Coming up next is the second single, “Rain on the Graves”. Detuned and sludgy guitars accompany Bruce, who raps on the verses and uses his operatic delivery on the chorus. Influenced by the words of William Blake (just like most of the lyrics on “Chemical Wedding”), this is one of the most theatrical songs the man has ever done in his career, and living proof of that is the video for the song, which you can check out here. Note that on the video we can already get a taste of the live shows of his upcoming tour because the touring lineup is shown in costume.
“Resurrection Men” starts with acoustic guitars painting a desolate landscape, and evolves into an alt-rock track that would fit in well in a Wim Wenders movie, before reaching the metal realms on the chorus. This one goes into different heavy riffs in the mid-section, and returns to the acoustic beginning, ending on the strong chorus. It’s followed by the piano-driven “Fingers in the Wounds”, with Middle Eastern scales appearing halfway through and a captivating chorus.
In 2015 Bruce had doubts if eternity would fail, as proclaimed in the song of the same name. Now, having stared death in the face after beating cancer and going through the woes of getting older, he’s sure that “Eternity HAS Failed”. Going through a debate over which version is better – Bruce’s or Maiden’s – is fruitless, and there are a lot of fresh ideas for fans to enjoy on this one, with Roy Z and Mistheria absolutely shining. “Mistress of Mercy” is a fast-paced track, which could easily be on a Maiden album – one can definitely hear Adrian Smith doing the guitar part on the chorus. Another high point of the album which will sound great in a live setting.
“Face in the Mirror” is a contemplative ballad, in the same vein as 2005’s “Navigate the Seas of the Sun”. It’s followed by another slow-paced track, “Shadows of the Gods”, which halfway through brings in some nasty riffing and a menacing and raspy delivery from Bruce, as he sings “this is my world / world of the dead / this is my life / world of the dead”.
“Sonata (Immortal Beloved)”, the song that ends the proceedings, will be quite divisive in the fanbase. It starts slow and involves the listener in a maze with a hypnotic guitar part on a minor scale. The lyrics talk about lost love and the search for salvation in the arms of a queen who will make the protagonist whole again. Or will she? It’s hard to say, because towards the end it states that “love has brought you here and love will tell you apart”. A beautiful and dramatic song, but it could maybe be replaced by something more up-tempo to end the album.
Overall, it’s incredible to see Bruce taking stylistic risks on “The Mandrake Project”, in contrast with taking safer routes in Maiden. He might not get it right in every track and in every moment throughout this release, but this is a breath of fresh air in a sea of bands that only replicate what they did before and refuse to take risks. This album covers a lot of musical ground and directs the listener through a sonic rollercoaster. The bottom line is that the man still has it, and he’ll be on the road in 2024, at the age of 65, to show a new generation how it’s done
Released By: BGM
Release Date: March 1st, 2024
Genre: Hard Rock / Metal
Band Members: Bruce Dickinson / Vocals * Roy Z / Guitars * Dave Moreno / Drums * *Mistheria** / Keyboards
*“The Mandrake Project”* track listing:1. Afterglow Of Ragnarok (05.45) 2. Many Doors To Hell (04.48) 3. Rain On The Graves (05.05) 4. Resurrection Men (06.24) 5. Fingers In The Wounds (03.39) 6. Eternity Has Failed (06.59) 7. Mistress Of Mercy (05.08) 8. Face In The Mirror (04.08) 9. Shadow Of The Gods (07.02) 10. Sonata (Immortal Beloved) (09.51)
Pre-order “The Mandrake Project” HERE.
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Somewhere in between Steven Wilson and Suzanne Vega resides a hidden gem of the rock world: Jane Getter. A little bit jazz, a little prog, a little shred, a lot of rock, and increasingly a good dose of singer-songwriter, the Jane Getter Premonition confidently occupies a niche that will feel familiar to many listeners, yet is unique in its fusion.
Following up from the brilliant “Anomalia”, Getter heads even more into songwriting territory but the instrumentation remains top-notch. Let’s celebrate her band first off: keyboardist Adam Holzman is a legend in his own right and is a delight to hear in this rock context, Paul Frazier’s bass brings incredible tone as his technique holds the material in firm hands, drummer Gene Lake makes these songs take flight time after time, and celebrated guitarist Alex Skolnick adds in edgy flourishes as needed. Past albums have featured scores of special guests but on “Division World” this core band brings the goods, augmented only by Randy McStine on a couple of tracks.
The only element better than the band itself is the engineering and production which makes each instrument gel so seamlessly with the others. Jane Getter Premonition albums are a supreme pleasure to listen to just for their sonic beauty. Combine these production values with a band as skilled as this and the stage is already set for a most rewarding listen.
The title track opens the album, its lyrical content hitting home with every line: “The words are getting darker, the message more severe, the beliefs are further apart, the ideas are getting broader…” *Holzman takes the first solo on the keys before the guitar comes in to launch us out of this division world, orchestration getting thicker underneath and other Holzman* effects driving the point deeper.
“Division World” Artwork“Dissipate”’s metal mindset amps up the claustrophobia, especially courtesy of its phased vocals, illustrating the lyrics that teeter on the edge of collapse. “The darkness is where it lingers, I can’t find what will deliver.” Here we get solos from both guitarists while the incessant rhythm section pounds relentlessly until sweeping vocal breaks offer momentary pause. “The Spark” continues the withdrawn lyrical songwriting (and a little too-similar cymbal hits from Lake, which becomes ubiquitous throughout the album) but now there is a glimmer of hope too, with Holzman’s breezy piano solo lifting us out of the dark.
The only instrumental of the album this time around is “Compass”. Sporting a nasty main riff, Frazier’s beefy bass shines as Lake provides all the drum hits to support whatever the guitars and keys want to lay on top. We get more than a little head-banging out of it before returning to the songwriter stance with “End The Blame”, one of the album’s best moments. Getter’s voice sails through the mix on the bed of tasteful production, acoustic and clean guitars mixing with a little crunch and piano once again sailing forth. This could be the voice of rock’s future.
The second half of the album suffers a bit from the repetitive nature of the signature sound, it almost plays like a repeat of the first half. Still, there’s solid songwriting here, especially in “Rewind Regain”, not to mention fiery Holzman’s sounds flying around in “Mixed Up”. McStine lends his distinctive voice for two songs, including the orchestrated “Waiting For The Light” which finally brings much-needed new colors into the mix. In retrospect, maybe the bevy of guests featured on previous albums was indeed a better approach, as it added more diversity to the overall album.
The Jane Getter Premonition once again lays down an ideal template for how rock albums SHOULD sound. It’s a high bar, apparently. And once again, Lasse Hoile designs an enigmatic album cover and booklet to splash some color into the proceedings. Don’t miss a chance to bask in some sonic goodness in this “Division World.”
Released By: Cherry Red Records
Release Date: March 1st, 2024
Genre: Rock / Fusion / Singer-Songwriter
Musicians: Jane Getter / Vocals, Guitars * Adam Holzman / Keyboards * Alex Skolnick / Guitars * Paul Frazier / Bass * Gene Lake* / Drums
“Division World” track-listing:1. Division World 2. Dissipate 3. The Spark 4. Compass 5. End The Blame 6. Layers 7. Devolution 8. Another Way 9. Mixed Up 10. Rewind Regain 11. Waiting For The Light
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A new blackened epic is unveiled.
Expectations are often the sworn enemy of any union of known quantities, or super groups to use the common term. This goes doubly so in the eventuality of such titans as ex-Morbid Angel front-man David Vincent, ex-Mayhem and current Aura Noir axe-slinger Rune “Blasphemer” Ericksen and Cryptospy drummer Flo Mounier being involved in the same project, which came about in the mid-2010s and resulted in the studio power trio Vltimas and their 2019 debut album “Something Wicked Marches In.”
Said album would make some waves in extreme metal circles and was noteworthy for its unique blend of black and death metal elements into a compact yet soaring Wagnerian metal niche, though subsequent touring would be hampered by the Covid lockdowns. But with the turmoil of the early 2020s now safely in the rearview, the time has arrived for this new beast to enjoy a needed resurgence, and the result is nothing short of “Epic,” hence the name.
At every point, this freshly minted slab of dark metallic fury presents a level of largess and theatricality that hearkens back to the original spirit of death and black metal, yet packages it in a modern sound that exudes a sense of smoothness more in keeping with the present day. The combination of Flo’s chaotic yet rhythmically precise kit work and Rune’s glistening blend of melodic and heavy-hitting riff work forms a tower of sound, bolstered by a glassy and neatly crafted bass foundation provided by live player-turned full-time member of the fold Ype Terwisscha van Scheltinga.
But the element that turns this unique mixture of sonic elements into a spectacle befitting the colossal visuals normally associated with the high period of Romantic Era opera and symphony is the highly versatile vocal presentation put forth by David Vincent, who more often eschews his formerly guttural approach from the Morbid Angel days for a middle mixture of rawness and tonal clarity, often resembling the bellow of a classical baritone taking on a thrash metal aesthetic and throwing in some deeper and cleaner bass choir asides to fatten the arrangement.
“Epic” Album ArtworkThough the sum of this opus barely crosses the 37-minute mark; the nine chapters that round out its duration present a comprehensive and highly dynamic display of genre-bending brilliance that can’t be mistaken for anything that has already graced the metal world. Entering the stage on a bleakly dissonant note, the creepy atmospheric overture dubbed “Violens Discordant” channels a similar feel to the intro of the previous album’s opening title anthem, but is doubly as harrowing in character and presents a far cleaner break when transitioning into the subsequent title anthem “Epic”, which is itself a well-rounded display of measured aggression at a mid-paced tempo that is as mercilessly heavy as it is infectious.
Though one of the least overtly explosive entries on this album, it presents every characteristic element of this album from Vincent’s booming bass choirs and ranting growl to Flo’s flashy kit work, to speak nothing for the brilliant blend of dense blackened riffs with conventional thrashing elements and a brilliant, shred-happy guitar solo to top it all off.
As the rest of this anthology of aggression unfolds, the ante is continually upped in terms of kinetic fury, as well as atmospheric nuance. On the faster and more thrashing side of the coin stand such unrelenting entries as “Miserere” and the blast-happy hyper-paced monster of an anthem “Scorcher”, with the equally compact yet somewhat more measured thrasher “Nature’s Fangs” and the more mixed up and technical “Exercitus Irae” also proving to be no slouches while sounding a bit less like something that could have occurred during the early ascent of death metal circa 1991.
By contrast, extended musical chapters like “Invictus” and the closing number “Spoils Of War” take more moments to explore territory more in line with the progressive strides that black metal began to make in the mid-90s, hitting climax points that are comparable to the previously noted faster songs, but contrasting them with more nuanced and sonically dense moments that give both Rune’s unique manner of layering riffs and Vincent’s multiple vocal personalities a decent amount of time in the diabolical moonlight.
Anyone approaching this album expecting something along the lines of classic Morbid Angel, Cryptospy or Mayhem will come away puzzled, yet when taken as its own creature, as the artists involved in crafting it have themselves stated, it can appeal equally to each of said bands’ target audiences. From start to finish, it presents a perfectly balanced composite picture of all the classic moments in each member’s past accomplishments, thus becoming its unique sonic chimera.
It packs an immediate punch that lands it firmly within the general death metal template, yet all of the detailing that comes along with it, from the uniquely cleaner and operatic vocal approach to the dense layering of blackened, thrash, and post-rock guitar elements. All of the above results in an album that is so varied that it could be heard a dozen times yet not be completely comprehended. For one of the earlier entries of 2024, it is sure to stand as one of the most original studio outings of the year.
Released By: Season Of Mist
Release Date: March 15th, 2024
Genre: Blackened Death Metal
Musicians: David Vincent / Vocals * Rune “Blasphemer” Ericksen / Guitars * Ype Terwisscha van Scheltinga / Bass * Flo Mounier* / Drums
*“Epic“* Track-List:1. Volens Discordant (1:02)
2. EPIC (4:35)
3. Miserere (3:51)
4. Exercitus Irae (4:01)
5. Mephisto Manifesto (05:05)
6. Scorcher (03:21)
7. Invictus (5:30)
8. Nature’s Fangs (3:52)
9. Spoils of War (5:54)
Pre-order “Epic” HERE
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There are long-awaited albums, and then there are long-time-coming albums. Jimmy Keegan’s first solo album qualifies on both accounts. Teased for years, including a crowdfunding campaign during the last decade, one of the first shockers of 2024 has been the unexpected announcement: it is finished! It is here! Color me pleasantly surprised.
Most who are reading this review probably know *Keegan from his current band Pattern-Seeking Animals, or its precursor Spock’s Beard. Although he’s credited as drummer and backing vocalist with those bands, Keegan had also taken to helping with arrangements, which has helped focus his vision on this new solo album. His arrival at the lead vocal mic has also been long-anticipated ever since he got a crack at it on Spock’s song “Bennett Built A Time Machine”* which garnered a good amount of adoration.
Considering the fact that the release is self-titled and sports a drawing of *Keegan’s mug on the cover in a classic quizzical pose, the impression might be that this album is all-Keegan all-the-time. But in fact this is more of a group effort, especially in terms of songwriting and guest musicians. The Keegan* factor lies in his skilled performance on drums and lead vocals, along with playing keys on many songs and the overall production of the album.
Regarding material, it’s a bit surprising to find out that nearly all of the songs are “covers”, though most listeners will only have heard a couple of them before. Aside from one co-writing credit, *Keegan is not listed as a songwriter. Rather than being original material, most of these are little-known songs that Keegan* loves and wants to cover himself, often written by his friends over the past several decades. The resulting styles are diverse and varied but overall it’s safe to say that this is a rock album, and a strong one at that.
The album kicks off with a perfect opener in “The Fisherman 3”. *Keegan’s whispers of “Where are you going? What do you wish?” are immediately captivating, followed by a hypnotic rhythm groove. His multi-tracked vocals make a strong impression in the verse but once the chorus kicks in, it’s game over. Winner winner, fishy dinner. Steve Fekete’s guitar keeps up the energy with lines that are inventive and entrancing. This is a Mark Spiro song and if you listen to the original version it’s a similar arrangement but lacking the urgency and drive of Keegan*’s rendition. Great track, great way to start an album.
“Where Settlers Go” is another strong, compact song where *Keegan’s heavy drum hits are matched by his vocal performance. But here it’s the fretless bass of Derek Jones that stands out – what a player! Two songs in and this album is really checking off all the boxes. “Kiss You Slow” follows, a beautiful ballad by Andy Grammer that sports a captivating arrangement featuring huge Phil Collins-style drumming that Keegan does so well. Unlike the first two songs (and most of the album), however, this is one piece that I’m not convinced is ideal for Keegan*‘s vocal range. The lead vocal track just doesn’t sit as well in the mix, though the backing vocals and instrumentation are superb.
“Jimmy Keegan” ArtworkThe vibe takes a sudden funky turn with one of the highlights of the album. “7:00 A.M.” totally rages, and *Keegan is back on his vocal game in full force. With musical support from Eric Dover, Ted Leonard, and Alex Evans, this is a mammoth track that won’t let the listener sit still. We even get a bit of a drum spotlight further in. Co-written by Keegan and his friends Greg Lastrapes, David Judy, and Alex Evans*, they should just release this one as a single and watch it go up the charts.
Here’s one song you’ll know: “Crosseyed and Painless” from the Talking Heads. Nice cover but it speaks well of the rest of **Keegan*’s songwriting friends that this is more of a passing curiosity and not the main highlight of the album. Speaking of which, *Steve Bonino – a notable artist in his own right – authors two of the songs herein, including the great jam “Chaos In The U.S.A.” which features the sublime bass of Dave Meros, and a change of pace in “Minor Seconds” boasting a string section and Jennifer Jo Oberle’s fretless bass. Nice diversity in the material.
The aforementioned Greg Lastrapes plays a big role on this album, especially in songwriting, as he co-authors four of the tracks. His “Comfort Girl” depicts the story of a soldier in an Asian war who seeks brief comforts of the flesh with an enigmatic call girl. Although the lyrics hint at shades of sympathy, they ultimately relegate back to a transactional relationship with chauvinist overtones: “I wonder what your thoughts are, I nearly ask your name…but I don’t care all the same.”
While there’s not much that would be considered “prog” on the album, the closing track “Six Months In A Leaky Boat” does carry the feel of a mini-epic. Using the Split Enz tune as its centerpiece, *Keegan bookends the track with two elaborate piano sections. Ryo Okumoto takes on the opening, a sumptuous display on the keys with thunder rolling in the background, while Otmaro Ruiz offers the closing piano outro accompanied by Keegan’s impassioned drumming and Pascale Elia’s vocals. The Split Enz* song proper – with its jaunty upbeat singsong delirium – is intentionally juxtaposed with the transcendent piano pieces, a daring but successful approach. Both of the piano sections are absolutely spine-tingling, and the outro section could literally go on for hours and not grow old. The perfect ending to an album.
While the album is credited to “Jimmy Keegan” on its cover, it’s clearly much more than that. Maybe “The Friends of Mr. Keegan” would have been a more apropos album title. Nevertheless, it’s *Keegan*’s enthusiasm and vitality that pervade the recording, coming through via his singing, his playing, and his community. He also does a good job in the engineering and production departments; it sounds good sonically while traversing a wide range of styles. Although prog fans may have wished for more extended jams, for those who enjoy a well-written rock song, this must be the place.
Released By: Independent
Release Date: March 1st, 2024
Genre: Rock
Musicians: Jimmy Keegan / Drums, Vocals, Keys, Percussion on all tracks * Jennifer Jo Oberle / Bass on 1, 3, 10, Fretless Bass on 8 * Steve Fekete / Guitars on 1, 2, Acoustic Guitars on 9, 10 * Derek Jones / Fretless Bass on 2 * Greg Lastrapes / Piano on 2, Keys & Background Vocals on 6, Keys on 8 * Pascale Elias / Background Vocals on 7 * Alex Evans / Bass on 4 * Ted Leonard / Guitars on 4, 7 * Eric Dover / Guitars on 4, 6, Keys & Programming on 4 * Bill Lanham / Bass on 5 * Randy Jacobs / Guitars on 5 * Mike Glendenning / Guitars on 5 * Shane Soloski / Bass on 6 * Walter Ino / Guitars on 6 * Dave Meros / Bass on 7, 9 * Steve Bonino / Guitars & Keys on 7, Guitars on 8 Background Vocals * Kaitlin Wolfberg / Violin 1 on 8 * Eliza James / Violin 2 on 8 * Corrine Olsen / Viola on 8 * Emily Elkin / Cello on 8 * Jonathan Gilcrest / Accordion, Penny Whistle on 10 * Mariano Gonzalez Ramirez / Paraguayan Harp on 10 * Ryo Okumoto / Piano intro on 10 * Otmaro Ruiz* / Piano outro on 10
“Jimmy Keegan” track-listing:1. The Fishermen 3 2. Where Settlers Go 3. Kiss You Slow 4. 7:00 A.M. 5. Crosseyed and Painless 6. Platinum 7. Chaos In The U.S.A. 8. Minor Seconds 9. Comfort Girl 10. Six Months In A Leaky Boat
Pre-order “Jimmy Keegan” HERE
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Call them black metal, call them progressive metal, call them whatever you want. But under no pretenses may you call the long-running Norwegian quintet known as Borknagar anything other than excellent. Now firmly re-established after a slew of personnel changes that plagued them for over a decade, the band I affectionately refer to as “Borky” hit back after the triumphant one-two punch of “Winter Thrice” and “True North” with another ode to the majesty of the natural world in “Fall.”
It hasn’t just been *Borknagar‘slongstanding commitment to excellence that sets them apart. Borknagar are one of the very few bands who are instantly recognizable even as they adhere to black metal hallmarks like blast beats, tremolo picking, and shrieked vocals: the smoothness of their light & shade structures, the positively lush textures that adorn chord progressions as intricate as nature itself, and the commanding voices of literally every singer who’s ever had the daunting distinction of fronting this remarkable band all blend together so uniquely and divinely so as to create a singular sonic identity. Other bands may bear a Borky mark, but no other band out there sounds like them. There is only one Borknagar, and the sound that Borknagar* makes is as expansive as it is dense, as varied and mercurial, and as bold and serene as the nature that inspires it.
And such the record begins. Not only do we know within seconds of the needle dropping who we’re hearing, it takes scarcely any time at all for the overpowering splendor of the *Borknagar sound to envelope us. “Summits” is the Borknagar sound’s very quintessence – the devastating brutality, the regal resplendence – with the added grace and maturity that over two dozen cycles around the sun would bestow. “Summits”not only reminds us with its first half who it is we’re dealing with here, it it scales its namesake into stratospheres not yet reached even in Borknagar‘sstoried past: if your spine doesn’t tingle the momentboss Øystein Brun paints his sonic landscapes over which Jostein Thomassen‘s guitar delicately sings, and if the hair on the back of your neck isn’t standing at end by the time this song concludes, I’d suggest you check your pulse, because it is unbecoming of any living human being to experience the apex of this band’s artistic vision without feeling some serious chills. Borknagar promises summits, and Odindammit Borknagar* fucking delivers.
“Nordic Anthem” sees keyboardist/ singer Lars Nedlund fully embrace the role of the frontman. An eerie folk-laden tribute to the band’s Viking roots that I have to suspect was inspired by the success of Heilung, Nedlund’s affirmation that they’ll never bend their knees cements his value in *Borknagar‘screative core and definitively establishes him as a singer of force. We’ve heard him sing lead previously, on “Winter Thrice” and “Voices.” But here on “Nordic Anthem,” Nedlund proves himself to be a vocalist capable of contributing more than just the occasional verse or closer. The dude is good, and could easily stand alongside Garm and Vintersorg in the echelon of Borknagar*‘sfamously fantastic frontmen.
“Fall” ArtworkWhich is not at all a slight against Simen “ICS Vortex” Hestnæs. Vortex remains among the most charismatic, distinctive, and all-around excellent singers in black metal, his demonic screech bested only by his actual singing. The man possesses the most easily recognized baritone in the genre, and he wisely does everything he can with it. His croons soothe, his bellows alert, and his delivery never wavers. I am nearly forced to believe he was only dismissed from Dimmu Borgir because he took too much of the spotlight, but that unwise move on their part allowed him to return to a band that better deserves and utilizes his talents.
“Fall” continues with more blackened prog with roughly equal amounts of clean singing and screeches, with great care taken to not let one overpower the other. As ever, the transitions from clean to brutal – both musically and vocally – are without seam or fault, and Brun‘s songwriting and arrangements retain their forward-moving quality. “Moon” is another unapologetically progressive journey that also takes cues from psychedelic rock in the intro and even NWOBHM in the lead guitar breaks, all the while maintaining its identity. Meanwhile, “Stars Ablaze” expertly segments its progressive moments, its blackened moments, and its folk breaks only to mash them all together again after a silent moment to gaze at the celestial bodies dancing above. Emperor may have written about the majesty of the night sky, but *Borknagar are over here depicting it as if to exemplify my greatest demand of music: it is not enough for you to tell me you’re sad. You must make me feel that sadness.*
“Fall” also sees the band toying with styles damn near alien to the black metal world, albeit briefly. “Unraveling” features an almost poppy chorus that has me referring to arena rock bands I admittedly don’t know very well, while some of Thomassen‘ssoloing in “The Wild Lingers” borders on jazzy and even bluesy. This latter track also features one of the most infectious refrains on the album, with Thomassen‘sdownward slide as essential to its character as Simen‘ssinging. The album closes with a nearly ten-minute tour de force called “Northward” that sees Norway’s finest doing what they do best: taking their listeners on not just a ride but a freaking adventure across the arctic vistas that move these gents to do the thing they do. It brings to mind the popular conception of black metal as being needlessly angry, almost entirely unintelligible, and completely brutish. And yet here we see a bunch of earth-conscious outdoorsmen creating thoughtful anthems to the natural grandeur that has inspired the greatest poetic minds to create timeless works of art. *Borknagar is The Nature Conservancy in corpsepaint. Or to the layman, Bob Ross, but fucking loud*.
It’s safe to say that *Borknagar are at the top of their game a good three decades after their inception, and that their first album created from beginning to end with their current roster honors the path laid out with its exceptional predecessors, “Winter Thrice” and “True North.” I often look askance when albums released so early in the year are regarded as AOTY material, but in the case of “Fall,”* we have a legitimately serious contender. Just wow, y’all. Wow
Released By: Century Media Records
Release Date: February 23rd, 2023
Genre: Progressive Black Metal
Band Members: Øystein G. Brun / Guitar * Simen “ICS Vortex” Hestnæs / Bass, vocals * Lars “Lazare” Nedland / Keys, vocals * Bjørn Dugstad Rønnow / Drums * Jostein Thomassen* / Guitar
*“*Fall“ track-listing:1. Summits 2. Nordic Anthem 3. Afar 4. Moon 5. Stars Ablaze 6. Unraveling 7. The Wild Lingers 8. Northward
Pre-order the album HERE
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For those new to *Syncatto, it is the solo project of guitar wunderkind, Charlie Robbins. Charlie is a YouTube sensation and a guitarist in the equally compelling band, Artificial Language. Charlie offers a fresh take on the concept of instrumental guitar music. His songwriting craft varies and, if music could be described in colors, would be a rainbow of bold sparks of creativity. Syncatto* varies from the norm with its typical lack of traditional guitar shred. Instead, his style blends flamenco with slapping, sliding, sweeping, selective picking, you name it. Just an absolute breath of fresh air in the guitar instrumental space.
Just as astounding as the technique on display is the macro evolutional jump in songwriting abilities from Charlie. One only has to listen back to his impressive debut in 2015, “A Place to Hide” and chart the progress through to his latest release, “Fiction”. Along the way, there were other spikes such as the sublime release from 2021, “A Place to Breathe” (read my review here). If you have missed the *Syncatto train to date, his newest release, “Fiction”, is the perfect opportunity to climb aboard. It contains all the usual bag of tricks that Charlie employs on the guitar along with some subtle mutations to the Syncatto* sound.
The album kicks off with the title track, “Fiction” which is a great summation to date of the *Syncatto brand. It leads off with some intricate flamenco playing on the nylon guitar followed by a starburst of Charlie-isms such as his signature manic slide phrasing and intricate melodic lines. Charlie stands out from other players due to his very non-linear approach to the instrument. By that I mean his playing is not typically filled with lightning-fast scalar runs ala John Petrucci. Instead, the approach is very chordal and tightly coupled to the imaginative rhythms underneath. It certainly earns the prog guitar mantle with the ever-shifting time signatures. One can never get too comfortable with the direction within a Syncatto* song. They constantly shift and turn from section to section.
A perfect example of his growth as a rhythm player is illustrated on “Nightfall.” Again, he interlaces some slithering nylon guitar with some selective picking that is otherworldly. Creativity reaches eleven and we are just on the second track.
“Just Breathe” is an appropriate song title in that the music begins to open up and breathe a little more. It includes a hooky melodic line that is reminiscent of Plini and Intervals all rolled into the signature *Syncatto* flow.
“Prestige” continues the trend of less is more. More space within the lines. It even has a slightly jazzier feel baked into the track’s DNA. This is certainly a track to listen to on headphones. The music floats and swims in different directions commanding the listener’s full and undivided attention. It’s then capped off with some nice shred from the Arch Echo gang. A real highlight of the album.
“Afterglow” is another highlight and may be the most melodic of the bunch. Again, the growth from a rhythmic standpoint is immense and truly impressive.
“Fiction” Artwork“Dethrone” follows a similar construct Charlie has used in the past by taking a prior melody (“Nostalgia” from the “Lost Inside” EP) and producing a variation on the theme. It’s almost like the melody in a different multiverse. For those tracking his evolution, just listen to both tracks back to back. He really expands on the “Nostalgia” theme by taking it in a different direction and adding complexity without burying the simple melody in overproduction.
It should also be mentioned that *Syncatto is not just ‘guitar music’. The music is rich with synths and other stringed instruments such as the violin which is prominently featured on the exquisite Black Velvet with the accompaniment provided by violinist Coen Strouken*. The groove is strong with this one and is counterbalanced by the tradeoffs from nylon to violin to electric. Just an absolute aural treat for the listener with some heavy thumping driving the rhythm and accentuating the groove.
“Sword” brings the thumping to the forefront and brings to mind the great Tosin Abasi who is the master of this technique. One could almost see this brief track on an Animals as Leaders record.
We swing back into Plini territory with the chill “Look to the Sky”. Plenty of space and room to breathe. As great as the more manic tracks that burst with ideas and melody are, it’s nice to just simplify at times.
“Midnight Mass” continues in this vein and features some nice piano accompaniment from the great Jordan Rudess. It can’t be overstated Charlie’s growth in the rhythm department. By far his strongest release to date. “Midnight Mass” closes out with some face-melting runs that, as is typical, seemingly defy the laws of physics.
The album closes with a collaboration with AJ Minette from The Human Abstract. It feels like a great summation of the album as a whole. Upbeat and refreshing. Though, the nice heavy doom riffing at the end just seals “Fiction” with a kiss.
There is an immense wasteland of guitar music available on the various streaming platforms that cover all sorts of heavy djenting and light-speed shredding. Syncatto stands out from the pack by focusing on the song and using the guitar to paint a vibrant, multicolor canvas with seemingly boundless creative strokes that come fast and furious on this latest release, “Fiction.”
Released By: Independent
Release Date: February 16th, 2023
Genre: Progressive Rock / Progressive Metal
*“*Fiction“ track listing:1. Fiction 2. Nightfall 3. Just Breathe 4. Prestige 5. Afterglow 6. Dethrone 7. Black Velvet 8. Sword 9. Look To The Sky 10. Midnight Mass 11. Now Sink
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The bad news is that Fates Warning is indefinitely dormant, if not dead entirely. The good news is that this has allowed the group’s key members to create some pretty great music that falls far outside even Fates’ broad scope: fans might not necessarily revolt were the prog-metal titans to drop an AOR record or start including “Amarillo by Morning” in their sets, but the rift this would cause would absolutely dwarf the one, say, “A Pleasant Shade of Gray” created.
A collaboration between *Fates mega-boss Jim Matheos and longtime singer Ray Alder, North Sea Echoes is an entity that has only that in common with the partnership that begat it. Dreamy, melancholic, and only occasionally intense, the pair’s debut often feels like all the metal got sucked out of the late Zonder era, which found *Fates* toying with ambiance and electronics to paint sonic landscapes. A more informed listener might instead point to *Tuesday the Sky, *Jim‘s mostly instrumental ambient brainchild. Regardless of the reference point, “Really Good Terrible Things”* is a force of nature in its own right, and is worthy of repeated listens from metalheads and non-metalheads alike.
“Open Book” sets the tone with a hypnotic natural harmonic sequence and a chord sequence played in a familiar clean tone that can be traced back to the “Parallels” era. *Ray*‘s all too natural melody similarly warns us that while we may be in for a ride, it’ll be of the more pensive and effusive variety, one that reflects life’s cyclical nature. Propelled by unashamedly electronic drums and other programming, the sounds and songwriting evoke clear and deliberate forward movement, but the destination onward is delightfully unclear. A future undefined, as it were.
Perhaps the most surprising aspect of “Really Good Terrible Things” is that Ray and *Jim have draped much of it with a synthpop veneer that evokes the mellower moments of Cause & Effect’s damn near forgotten brilliant second album “Trip.” “Flowers in Decay” and “The Mission” particularly carry a notable synthpop vibe with their reliance on electronics, distorted but subdued guitars, and bass lines that would certainly have had booties shaking on 80s goth dance floors. Cuts like “Unmoved” and “Touch the Sky,” however, recall the acoustic covers Fates Warning included on the bonus CD to “Theories of Flight,” which saw the pair interpreting songs by Joaquin Rodrigo and Toad the Wet Sprocket* as if at an open mic at a cozy coffee house.
“Really Good Terrible Things” Album ArtworkThis isn’t to say that “Really Good Terrible Things” never heavies up. But don’t go in expecting a sequel to “Theories of Flight,” because *North Sea Echoes channels its intensity electronically – the nearly trip-hop fervor on songs like “Empty” and “Where I’m From” may remind fans of The Gathering of that Dutch ensemble’s excellent 2003 album “Souvenirs,”* for instance.
*Ray*, for his part, pulls a few new and seldom-used tricks out of his bag on “Unmoved” and “Move Around the Sun,” where he toys with whispered choirs and even a gentle falsetto, examples of which I’m hard-pressed to recall anywhere in his expansive discography. The closing cut, “No Maps,” has *Ray sweetly and breathily crooning about that same uncertain future; whether he refers to his career path or to life itself is as nebulous as North Sea Echoes* and its sonic identity. And I mean that in a good way.
Like many *Fates diehards, I’ve been salivating at the thought of what Jim and Ray have been cooking up ever since it was announced they’d been creating new music together. The moodiness and introspection that has defined Ray‘s lyrical output ever since Jim forced him at pickpoint to start writing lyrics nearly a quarter century ago continues to pair perfectly with Jim*‘s despondent, desolate compositions. The interpretations are distinct, but both the message and the salience with which that message is delivered on this deeply personal record are an unambiguous consecution of a decades-old creative partnership that clearly has much life left in it.
Released By: Metal Blade Records
Release Date: February 23rd, 2023
Genre: Prog Rock / Post Rock
Band Members: Ray Alder / Vocals * Jim Matheos / Guitars * Gunnar Olsen* / Drums
*“*North Sea Echoes“ track listing:1. Open Book 2. Flowers in Decay 3. Unmoved 4. Throwing Stones 5. Empty 6. The Mission 7. Where I’m From 8. We Move Around the Sun 9. Touch the Sky 10. No Maps
Pre-order the album HERE
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For more than three decades, Ihsahn has made himself known as black metal’s indomitable maverick, a creative force so powerful that he has single-handedly reshaped the genre as we know it more than once. From the bombastic, epic black metal heights of Emperor’s legendary discography, to the saxophone-drenched avant-garde exploits of his solo project, *Ihsahn has challenged the boundaries of extreme metal time and again. At this point in his storied career, the name “Ihsahn” itself has become a promise. It’s a seal of quality, an assurance of excellence, and a commitment to the highest caliber of sonic achievement. Ihsahn does not merely set the standard for brilliance in metal: he is* the unequivocal standard.
With that outstanding reputation in mind, it’s even more fitting that his latest release, a momentous orchestral double-album, is simply titled “Ihsahn.” Almost twenty years as a solo artist have passed before *Ihsahn found it fitting to adorn his work solely with his name. And while this would be a bold statement for any artist preparing to release their eighth album, Ihsahn has proven once again that he is unmatched in this field, and that “Ihsahn*” is instantly worthy to join the annals of metal history alongside his other timeless accomplishments. This is a summation of his career as an artist, and it is also a love letter to everything that makes extreme metal so enduring, and so incessantly riveting.
One would be remiss to say that this album exceeds expectations. There can never truly be any expectations when diving into Ihsahn’s rich catalog, much less predicting what his creative genius will offer the world next. “Ihsahn” has been more than five years coming, with the last full-length album, “Amr,” released in 2018. In the interim *Ihsahn has released three spectacular EPs, each with a unique musical proposition. First came “Telemark,” a black metal EP featuring Ihsahn’s classic blackened desolation alongside Norwegian lyrics, a delightful homage to his home. “Pharos” followed shortly thereafter, a pop-rock driven EP that stretched the famed metaller deep into uncharted waters with the delightfully delicate “Spectre at the Feast” and spellbinding Portishead cover, “Roads.” 2023 was again graced by Ihsahn’s presence, this time in a bite-sized three-song EP to accompany Jens Bogren’s URM Academy course, “How It’s Done.*” And while these EPs were all stupendous in their own right, particularly when witnessing the complimentary duo contrast against one another on the live stage, they also left dedicated listeners craving something more robust.
“Ihsahn” more than satisfies that craving with over 90 minutes of new material, a story artistically cleaved across two complimentary albums. The premise here is as unique as it is exciting. First, *Ihsahn presents a metal album that is rich with orchestral elements and fiery rage, following a classic hero’s journey in an almost nightmarish sheen of metallic extremity. The second album offers a strictly instrumental epic, opening an abyss of orchestral arrangements that form the score to an unseen horror film, all while telling a tale that runs parallel to that of the first album. It is a fully-developed tale rife with motif and symbolism that reaches not just across and between the two halves of the record, but is imbued within the album’s artwork, music videos, and other material. “Ihsahn” is a challenge to the modern era of music consumption, a challenge to short attention spans and the endless demand that questions are answered upfront. Instead, the album requires the listener to sit with the music, surrender themselves to the storyline, and voraciously dive into the unyielding depths of aural wonder. Within minutes of opening track “Cervus Venator*,” the listener themselves becomes a character in this chilling story.
“Ihsahn” Album ArtworkAs with much of his work, *Ihsahn has again challenged the boundaries of extreme metal with this exquisite work of art. Not only has he challenged the genre: but he has once more challenged himself as an artist, and he elevated his craft beyond the wildest imagination. The clean vocal technique that was so beautifully developed on “Pharos” has again appeared and added an irrevocable finesse to “Ihsahn,” their lustre shining brightly on the enticing chorus of “The Promethean Spark.” While his well-beloved harshes allow him to continue his reign as one of metal’s most distinguished vocalists, they have also gained a sense of refinement, particularly apparent on the crushing first single “Pilgrimage to Oblivion.” There are few harsh vocalists that achieve such a delightful and unique enunciation as Ihsahn has. This is an achievement to relish in, and one that continues through the threnody of “At the Heart of All Things Broken*.”
As for the orchestral side of the album, it is a haunting complement to its metallic counterpart. The rich symphonic elements that elevated *Emperor’s discography have been reshaped and matured into their own cinematic score. While the metal disc was blissfully familiar alongside its more adventurous elements, this orchestral version demonstrates Ihsahn’s commitment to create a cinematic score beyond compare. The arrangements are hauntingly familiar, as though one is viewing the first album through a shattered mirror. This delightful mastery of the craft can be observed at the beginning of “Pilgrimage to Oblivion,” which on the metal version opens with crushingly loud instrumentation, but with soft and gradual build of strings on the orchestral version. There is also the hidden powerhouse buried within “A Taste of the Ambrosia.” Orchestrally, “A Taste of the Ambrosia” is a Grimm fairytale brought to life beneath a midnight sky, and it gives the listener the sensation of wandering directionless through a shadowed and unfamiliar woodland. Yet when paired with oppressive percussion and gritty vocals, this same song evolves into a tangible yearning that morphs into a visceral sense of desperation. They are intertwined, indisseverable, but unique all the same. This sentiment rings true for each track that makes “Ihsan*” such a fortress of adept creation.
The atmosphere crafted on “Ihsahn” is unparalleled. There is no missing the horror cinema inspiration, as merely listening to this album causes discomfort to crawl beneath the skin alongside aural pleasure, as though it wants the listener to succumb to unease. Songs such as “The Distance Between Us” disturb feelings of safety and security as their higher notes linger at an unsettling pitch. Along with its orchestral version, “The Distance Between Us” is the abstraction of a recurring nightmare that one can never fully remember. This same vision is captured perfectly in the accompanying music video, a haunted fever dream that leaves the viewer wondering if their own senses are to be trusted. The thoughtfulness that went into every component of this release is breathtakingly sincere.
While the chilling atmosphere may remain constant throughout, “Ihsahn” is also a display of masterful dynamics. “Blood Trails to Love” has light, flitting moments that brighten the soundscape, while “Twice Born” acts as a suffocating force of total darkness with its furious pace. There are also traditional instrumental interludes, including opening and closing tracks, something that Ihsahn has not before explored in his work. These three brief instrumental pieces – solely instrumental on the metal version as well – truly shape “Ihsahn” as a wholly-developed story that is well worth sinking into. From its musicianship to its songwriting piques, the album is incredibly dense, thick with decadent layering, and numerous instrumental elements to explore. This density is not overwhelming, aside from when it is intentionally so, and “Ihsahn” has plenty of room to breathe amongst its struggle for survival. But between the story itself, the motifs, the sonic themes, and the virtuosic songwriting skills, this is an album worth sitting with and absorbing in full. This means no distractions. Just the listener, the music, and the transcendence that awaits.
There is also nostalgia replete within “Ihsahn” and its welcome embrace. This is most readily apparent on “Hubris and Blue Devils,” a track which features lyrical callbacks to *Ihsahn’s debut album “The Adversary” as well as the iconic chorus on “The Paranoid,” among others. These easter eggs – both lyrical and musical – make listening to “Ihsahn” an utter delight for longtime fans. Such carefully constructed elements make this album worth listening to again, and again, and again, and again. Hunting for Ihsahn*’s personal influence while also deciphering the underlying story is a satisfying endeavor that gives the album an increasingly personal connection to each listener.
Perhaps most enticing of all is how intimately this music speaks to its audience. There’s an air of personal sensibility to it, a familiarity that feels like an old friend greeting the listener, their smile just ever-so-slightly contorted into a grimace. It is a musically rejuvenated concept that comes with the comfort of *Ihsahn*‘s well-known artistic signature. As overwhelming and awe-struck as one may be on their first listen, they are also greeted with the solace of a homecoming. The story and its characters are painted in the music and the lyrics, but the journey the listener takes is one of solitude, a dutiful peregrine they must make on their own.
“Ihsahn” is a genuinely masterful work of art that wholeheartedly transcends both metal as a genre and cinema score as a mere inspiration. The songwriting and compositional skill are bar none, and the ambition that drove this album’s vision has paid off in full. These two albums are nothing less than absolutely beautiful, enticing, and enchanting. No words can do justice to the artistry, to the rich world *Ihsahn has created for listeners to explore. The growth and maturity Ihsahn shows as both a songwriter and musician are boundless, and “Ihsahn*” cements him as a paragon of excellence not just in metal, but in music and storytelling. It is simply impossible to imagine what this maestro of our time might concoct next.
Released By: Candlelight Records
Release Date: February 16th, 2023
Genre: Blackened Progressive Metal
Band Members: Ihsahn / Vocals, Guitars * Tobias Ørnes Andersen / Drums * Tobias Øymo Solbakk* / Percussion
*“Ihsahn”* track listing:1. Cervus Venator
2. The Promethean Spark
3. Pilgrimage to Oblivion
4. Twice Born
5. A Taste of the Ambrosia
6. Anima Extraneae
7. Blood Trails to Love
8. Hubris and Blue Devils
9. The Distance Between Us
10. At the Heart of All Things Broken
11. Sonata Profana
“Ihsahn (Orchestral Version)” track listing:
- Cervus Venator (Orchestral Version)
- The Promethean Spark (Orchestral Version)
- Pilgrimage to Oblivion (Orchestral Version)
- Twice Born (Orchestral Version)
- A Taste of the Ambrosia (Orchestral Version)
- Anima Extraneae (Orchestral Version)
- Blood Trails to Love (Orchestral Version)
- Hubris and Blue Devils (Orchestral Version)
- The Distance Between Us (Orchestral Version)
- At the Heart of All Things Broken (Orchestral Version)
- Sonata Profana (Orchestral Version)
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Big Big Train has made many stops along its journey over the past decade, with musicians coming and going more often than a band like Yes (though largely under much more agreeable circumstances). Still, the changes made after David Longdon’s tragic death a few years ago have likely been some of the most impactful of the band’s career. What was left as a core trio (Greg Spawton, Nick D’Virgilio, and Rikard Sjöblom) has now blossomed into a 7-member band, including new lead singer Alberto Bravin. To say the resulting debut album of this new incarnation would be pivotal is an understatement.
Happily, Big Big Train rose to the challenge, delivering an album brimming with inspiration, masterful compositions, and performances. It’s hard to imagine “The Likes Of Us” not appealing to most every fan of the band, from the die-hard “passengers” to relative newcomers who may make this album their starting point. Quite simply, it’s some of the best music the band has produced in their 25-year career. At the same time, it can be hard to make comparisons to previous albums, as there clearly is a new tone in the band’s music, even as they retain key elements that are the DNA of Big Big Train.
Bravin makes his first appearance immediately, singing-in the opening track “Light Left In The Day” with a 12-string guitar as the sole accompaniment. His melodious voice is entrancing, but it’s only a 30-second vocal section before the more-familiar brass band opens up a 5-minute instrumental ride – an overture to the album, of sorts. Ironically, this new lead singer penned the extended instrumental section of the song, while *Spawton wrote the vocal line. As it turns out, Bravin* isn’t just the band’s new lead singer, he is a skilled multi-instrumentalist who ended up co-authoring much of the album’s material. The band chose quite well, apparently.
“Light Left In The Day” is a glorious opener to the album – at times truly breathtaking – especially as the full arrangement culminates with rousing lines from new keyboardist Oskar Holldorff, doubled by violinist Clare Lindley. The piece then segues seamlessly into the first single “Oblivion”, written by drummer Nick D’Virgilio and guitarist Dave Foster. Boasting gigantic harmony support from the band’s 5 singers, this is a perfect hard-driving song that shows off Bravin’s vocal strength and the band’s dynamic range.
“The Likes Of Us” Album ArtworkWe then launch into a 17+ minute epic ride “Beneath the Masts” which is largely based on *Spawton’s reflections of the ending of childhood pasts as family members pass away. Overall this is a much more personal album than most in the Big Big Train* catalog, which proves to be a welcome approach as the band continues to experience more vulnerability in its evolution. Twelve-string guitar is also extremely present throughout the album and guides much of this epic’s structure, apart from a wonderful middle instrumental section that rocks out.
There’s another lengthy piece on the album, the 10-minute “Miramare”, written about the castle not far from Bravin’s home. This is the one piece on the album that tells a historical story but even here, the connection of the castle to Bravin’s heart is apparent. The song also is an album highlight, bringing more of the other band’s singers to the fore as well as truly impassioned lead violin playing from Lindley and *Spawton*’s marvelous bass playing. Sumptuous.
The shorter songs easily equal – if not surpass – the epics. “Love Is The Light” is a gorgeous anthemic ballad from Bravin, featuring some of the most inspired guitar solos on the album as the brass supports in the background. Hairs stand up on your arm as Bravin crescendos for the closing “liiiiiight” while the band chants a refrain of “Ohhh’s”. “Skates On” transforms a potentially melancholic subject matter into a carpe-diem refrain, as layered backing vocals draw their inspiration from the Beach Boys or even Jellyfish. “Bookmarks” runs the risk of being entangled in the ripples of one-too-many 12-string Genesis-inspired songs, but ultimately it’s a strong enough song on its own to belong in this collection.
Finally, “Last Eleven” closes the album on a strong note, amidst a flurry of bass notes and D’Virgilio’s precise percussive hits. Speaking of D’Virgilio, his voice gets into the mix here with Bravin, which seems fitting since they inhabit a similar range. An impassioned closing number, it’s yet one more highlight (of many) on the album, which finds Bravin and the band taking a *Spawton* composition to new heights once again.
What’s not to love? On an album that truly counts, Big Big Train brings it into the station right on time. Long-standing Big Big Train engineer Rob Aubrey once again ensures that the recording sounds brilliant, impressive given the number of singers and wide range of instruments including the brass band and guest cellist Brian Mullan. The newer and older musicians blend seamlessly together. Big Big Train has been reborn yet again, with more lives than a cat, and is sounding all the more impressive for it. Bravo!
Released By: Inside Out Music
Release Date: March 1st, 2024
Genre: Progressive Rock
Musicians: Gregory Spawton / Bass * Nick D’Virgilio / Drums and vocals * Rikard Sjöblom / Guitars, keyboards * Alberto Bravin / Vocals * Dave Foster / Guitars * Clare Lindley / Violin * Oskar Holldorff* / Keyboards
“The Likes Of Us” track-listing:1. Light Left In The Day 6:10 2. Oblivion 5:27 3. Beneath The Masts 17:26 4. Skates On 4:28 5. Miramare 10:17 6. Love Is The Light 6:11 7. Bookmarks 6:23 8. Last Eleven 7:55
Pre-order “The Likes Of Us”: UK, Europe, Rest of the World HERE, North America HERE, and digitally HERE.
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Are you sitting comfortably? Then let’s embark on a tale of smoke, big tops, and sea creatures. Steve Hackett’s been on an incredible roll over the past decade-plus, releasing a new studio album (or more) every two years, while relentlessly touring nearly all of Genesis’ 70s back catalog with accompanying live recordings to document his band’s prowess. Along with side projects like Djabe collaborations and other world travels, Hackett’s vitality seems to vastly exceed the rest of his old bandmates who recently completed their farewell tour. Don’t expect to see this guitarist packing it in any time soon, as his creativity, passion, and exuberance just don’t slow down.
Still, it must be said, that this run of albums has fallen into a very similar glossy sonic terrain. During this time he’s been co-writing with his beloved partner Jo, but I suspect the real pivotal influence in the shadows is Roger King. For those who don’t know, King is Hackett’s master keyboardist, orchestrator, producer, and arranger, as well as the third member of their co-writing team. Increasingly, the recent catalog has carried a certain sameness to it, so much so that “Wolflight”, “The Night Siren”, “At the Edge of Light”, and “Surrender Of Silence” all sound pretty much like the same album. For many, this won’t be a problem, since the material, and especially musicianship has maintained a high level throughout. But for those who have grown weary of the current shiny, heavily-produced style, a more organic approach would be nice for a change.
The new album “The Circus And The Nightwhale” doesn’t stray far from those that preceded it, sonically speaking. What does set it apart – and perhaps why some are calling it Hackett’s best album in a long while – is that it boasts a consistently strong run of songwriting without many tangents. The lush arrangements and production style are still there but there’s very little of the world music influence that Hackett has been exploring on recent past albums (for better and for worse). This is more of a classic rock/prog album, an approach that will appeal to many of his longtime fans.
There’s also an autobiographical slant to this “concept album”, which is kind of fun. Listen to recent interviews with Hackett to get more into the specifics but, suffice to say, you can either trace his life through the metaphors of each song, or you can just enjoy it as good music. The circus goes round and around and around.
Opener “People Of The Smoke” is an apt illustration of what’s been discussed above: it’s a good song that features Hackett’s flashy guitar runs, driving rhythm, and solid vocals. But the characteristic orchestration, vocal layering, and engineering of the drum kit (in this case, that of Nick D’Virgilio) makes it sound very similar to songs on the past four or five albums.
Happily, as the album progresses, so does the engagement of the material. “These Passing Clouds” is a swooning neo-classical electric guitar instrumental, “Taking You Down” delights in a nasty vibe with Nad Sylvan cameoing on the mic and Rob Townsend on the sax, “Found And Lost” combines classical guitar with a smokey blues vamp, and “Enter The Ring” entrances the listener with its cascading piano, harpsichord and acoustic guitar runs as Amanda Lehmann sings and John Hackett’s flute chimes high above. This run of songs culminates in the impassioned “Get Me Out” which sees Jonas Reingold’s bass finally coming more to the fore. Throughout it all, Steve Hackett’s guitar solos land with precision and grace amidst their flurry of notes, with “Get Me Out” being a highlight of taste and abandon.
“The Circus And The Nightwhale” ArtworkWe take a pause (enough to turn the album over) before the beautiful “Ghost Moon and Living Love” comes swooping in, an upbeat love song that again features Hackett’s extended melodic soloing. Malik Mansurov’s tar (a long-necked stringed lute) introduces the Arabic-flavored stylings of “Circo Inferno”, the only piece on the album with a tinge of world flair, which appropriately rages.
Eventually, we make our way across the seas and into the belly of the nightwhale, the chaos of the circus being transformed through the alchemical magic of this enigmatic creature. “Wherever You Are” then heralds the culmination of the journey, through seeking and inevitably finding love amidst the bombast of Craig Blundell’s drum kit. “White Dove” offers a final sendoff, a nylon string solo featuring the classical tremolo technique at which Hackett excels.
Overall, “The Circus and the Nightwhale” offers plenty of exhilarating writing, performances, and, most of all, Hackett‘s six-string magic. That it also traces Hackett’s life story is an added bonus. Considering that Hackett’s band features some of prog’s finest drummers and bassists, it’s a little sad that these instruments aren’t mixed to maximize their impact: Reingold’s bass could definitely benefit from more presence, while the digital effects on the drums seem to overwhelm a sense of nuance that the players possess. But that’s the production approach that Hackett/King have taken for some time now and doesn’t seem to hold much chance of changing. Nonetheless, Hackett’s talents are undeniable as he continues to carry the flame of prog royalty into the future.
Released By: Inside Out Music
Release Date: February 16th, 2024
Genre: Progressive Rock
Musicians: Steve Hackett / Guitars * Roger King / Keyboards, programming, and orchestral arrangements * Rob Townsend / Sax * Jonas Reingold / Bass * Nad Sylvan / Vocals * Craig Blundell / Drums * Amanda Lehmann / Vocals * Nick D’Virgilio / Drums * Hugo Degenhardt / Drums * Benedict Fenner / Keyboards * Malik Mansurov / Tar * John Hackett* / Flute
“The Circus and the Nightwhale” track-listing:1. People Of The Smoke
2. These Passing Clouds
3. Taking You Down
4. Found And Lost
5. Enter The Ring
6. Get Me Out!
7. Ghost Moon and Living Love
8. Circo Inferno
9. Breakout
10. All At Sea
11. Into The Nightwhale
12. Wherever You Are
13. White Dove
Order “The Circus And The Nightwhale” HERE.
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It’s been about 8 years since Gavin Harrison manned the drum stool for The Pineapple Thief and helped Bruce Soord’s band reach a new high-water mark of creative cohesion with 2016’s “Your Wilderness.” That masterpiece of melancholy served as the soundtrack to my divorce and established the band as a building force in the genre. It was an addictive, sorrow-soaked journey that balanced fragility with intricacy.
The inclusion of Gavin Harrison brought not only his brilliant resume of exceptional recordings and tours with Steven Wilson’s Porcupine Tree to the table but also brought something more. It brought a vibe. And The Pineapple Thief have been all the better for it since.
The subsequent release, “Dissolution,” was a solid step toward a more raucous sound, with “White Mist” in particular being a standing-out track. For me, 2020’s “Versions of the Truth,” was a mixed bag, with the search for some new sounds yielding inconsistent results. Then 2022’s “Give It Back” emerged, which featured songs from the pre-Harrison catalog re-recorded, giving Gavin an opportunity to add his magic. And while the record was interesting, the songwriting reflected Soord’s past more than his present or future.
In 2023, Soord released a wonderful solo record, “Luminescence,” which demonstrated his blooming songwriting and production skills. And so, like a building crescendo for Soord and company, it has in fact all lead to this—a new studio record with a very clear identity that showcases the strengths of Soord’s evolution and his synergistic interaction with Harrison.
Much like with Porcupine Tree, Gavin Harrison is an essential contributor who plays a meticulously recorded drum set with a vast array of tasty nuances, fill, splashes, and a pocket so deep you will lose your marbles in it. In the spirit of legendary players like Jeff Porcaro, Neil Peart, and Mike Portnoy, one can listen to an entire record focused on the drums and be mesmerized.
That’s not to say he’s the only key contributor here. Just a particularly remarkable one. Bruce Soord must be recognized for his capacity to build up and tear down with a broad range of dynamics. At times delicate, and other times destructive, “It Leads to This” features outstanding production that showcases a dimensionality in volume and timbre that makes it the kind of CD I’d take to my local audiophile store to test speakers on.
Steve Kitch’s keyboards are Floydian and tasteful, creating mood and effect that serve the song more than the spotlight. The same can be said for Jon Sykes’ solid bass playing. The sound all gels well together, creating a Pineapple Thief “sound” that is consistent on the record without losing track-to-track distinction.
Bruce Soord’s distinct vocals might be viewed as a strength or weakness, depending on your tastes, with his vulnerability and falsetto harmony lines being someone reminiscent of Steven Wilson. This is not a criticism, but rather a reference point. I witnessed Soord opening for Wilson’s “Hand Cannot Erase” tour as a solo act, and the vibe was in perfect keeping with Wilson’s moody presentation.
Both bands’ initials are PT. Both are fueled by Gavin’s signature drums. Both are led by an emotional frontman, seemingly comfortable with expressing a depressed mindset in a beautiful way that turns pain into art. Both display flourishes of fantastic musicianship where odd time signatures are presented in a way that doesn’t compromise listenability. Fans of Porcupine Tree/Steven Wilson will find much to like here.
“It Leads to This” is a grower, that reveals more nuance and strong melodies with multiple listens. “Put It Right” begins the record with a slinking, reserved opening that builds and floats slowly, drawing the listener into layers of keyboards that are rudely interrupted by Soord‘s brash electrical guitar chords. There is a definite “Deadwing” tone to this record, with certain moments almost feeling like a nod of respect, but not derivative.
“Rubicon” is the most angular, jagged series of verses on this record, creating a tension that releases beautifully with an easy-to-grasp chorus that is difficult not to move to. This track evokes a bit of a discomforting King Crimson feel with its odd-time signature stabs that are washed away by Soord‘s harmonies that circle back around.
“It Leads to This” is another work of dynamics that has a mesmerizing build and fall, with ominous keys sustaining the dark mood, while the drums and guitars dance around, expand and then seize, only to return again. There’s some good ear candy that a good set of headphones can reveal here.
“It Leads To This” Artwork“The Frost,” which was the first single released, is a very strong track that provides a good cross section for this record, with its dynamic range, punchy production, and showcasing of what each band member contributes to The Pineapple Thief sound. The center section breaks down into a really tasteful instrumental passage where floating keys take the space where one might expect a guitar solo, and its reserve is tastefully executed. I thought the video was a good watch, as well, telling a bit of a story, rather than just showing random visuals.
“All That’s Left” has a familiarity to it. It would have been at home on “Your Wilderness.” Much like the rest of the record, it features some sonic slickery that pays dividends for focused listening. Gavin’s drum tones sound fantastic, and the audio mix of guitar, keys, bass, and drums come together very, very well.
“Now It’s Yours” is a brooding, lamenting track that features some repetitive lyrics and deft playing that is heavy on feel and shimmers like heat off a desert road until a sludgy lick traipses around in the center section while some sonic blasts in the distance explode. And then suddenly, the band is back to its delicate touch again.
“Every Trace of Us” is another exercise in pushing and pulling, with a bit heavier chorus and a busy workscape for Harrison. John Sykes’ bass playing rises above the pocket to demand being heard and the band builds up to a bit of a frenzy in the center section that will surely suit a live setting well.
Wrapping up the record is “To Forget,” which also feels like it could have been on “Your Wilderness.” Taking its time to breathe, the band masterfully morphs into a raging machine in the center section, with another passage that is reminiscent of Porcupine Tree, but all to this listener’s delight.
This brings me to my main complaint with the new release from The Pineapple Thief. It’s just too damn short! The band struck a vein of gold in songwriting, sound, and structure, and with it clocking in at 41 minutes, I feel like the band decided to adopt the old showbiz adage of “always leave them wanting more.”
They have done just that, and I wish there were three more tracks still to come that fit the mold made here because it’s a good one. Give it a couple of spins and let it fully sink inside your brain.
Released By: Kscope
Release Date: February 9th, 2024
Genre: Progressive Rock
Band Members: Bruce Soord / Vocals, guitars * Gavin Harrison / Drums * Jon Sykes / Bass * Steve Kitch* / Keyboards
*“It Leads To This”* track listing:1. Put It Right 2. Rubicon 3. It Leads to This 4. The Frost 5. All That’s Left 6. Now It’s Yours 7. Every Trace of Us 8. To Forget
“It Leads To This” will be available in a multitude of formats that are as follows:
- Limited Edition Deluxe 4 Disc set featuring:
- DISC 1: CD Album
- DISC 2: Bonus CD “Y Aqui Estamos” – Alternate Versions
- DISC 3: Blu-ray – “It Leads To This” and bonus album “Y Aqui Estamos” (reworkings of album session recordings): Dolby Atmos-DTS-HD MA 5.1-24/48 PCM Stereo mixes created by Bruce Soord
- DISC 4: DVD -: DTS 5.1-24/48 PCM Stereo
- 52-page book
- Limited edition brick red vinyl LP (exclusive to The Pineapple Thief and Kscope stores)
- Limited edition green vinyl LP (exclusive to worldwide independent record shops)
- Limited edition cream vinyl LP (exclusive to Germany & Austria)
- Blu Ray – Includes “It Leads To This” and bonus album “Y Aqui Estamos”. All in Hi-Res Dolby Atmos, DTS-HD 5.1, and stereo created by Bruce Soord
- CD
- LP
- Digital & Dolby Atmos
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Sometimes you need to dig deep to find unexpected gems. For fans of classic rock stemming from the heyday of the 70s (think Zep, Blue Öyster Cult, Rush), The Michael Dunn Project has unearthed a very enjoyable collection of nuggets. As the project’s namesake, Dunn has spent a good chunk of time in the music industry but hadn’t gotten around to releasing his own material. Until now. These kinds of albums can really pay off, benefitting from a musician’s lifetime of experiences which have been coalescing over decades until they finally release a salvo of well-curated inspiration. Whether “Bridge Across the Years” is a one-time bucket list project that Dunn finally got around to, or the start of a new recording career, the material herein makes for great listening, especially for the classic rock aficionado.
As the album cover makes clear, Dunn’s instrument of choice is the six-string Les Paul but this is no guitar hero shredding fest solo affair. Rather, Dunn goes for the ensemble approach where he is one member of the band and the focus is on solid rock songs. He’s enlisted talented musicians and singers to pull off his vision but a particular strength lies in the production and mix which ensures that every song sounds great. The source inspiration may be decades old but the engineering benefits from a modern yet organic sheen.
“I Draw The Line” is a strong opener, a solid rocker propelled forward by David Anania’s drum kit and Ginger Pimentel on the bass. Lead vocals for most of the album are satisfyingly delivered by Diego Viramontes who embodies the spirit of this genre. Dunn’s guitar sounds great, especially on his unhurried but effective lead playing which dominates the latter portion of the song. “Turn Of the Cards” follows with a stimulating use of strings to accentuate the chords in this tale of the role of lady luck plays in determining who gets the big breaks in the music biz. Featuring a great guitar solo break section, Dunn once again ends up building the energy toward the second half of the song to great effect.
“Bridge Across The Years” ArtworkThe album takes a detour with “Let Me Be”, which turns out to be a mixed blessing. On one hand, it’s one of the most satisfying songs on the album, but it’s also the only track to feature George T. Montebruno’s excellent lead vocals, in addition to being drenched in Andy Tillison’s Hammond organ playing. Both of those elements stand out positively, but they are so distinct from the rest of the material that it feels like this song belongs on a different album. Maybe if Dunn had done a full album with Viramontes at the mic and then featured Montebruno as his singer on a follow-up album, these two worlds could have coexisted more solidly in their own right. No matter, it’s a winning track, with the pulsing rhythm section holding down the groove like a seasoned jam band.
“Tomorrow Is Today” benefits from the fluid violin playing of Joe Deninzon, who ultimately turns out a scorching solo that fits in perfectly with this rock context. It speaks to Dunn’s dedication to the ensemble approach, allowing others to shine instead of making this a guitar-heavy recording. Still, he does let the strings fly on “Another Day In The Modern World” amidst the surrounding drum hits of Eliot Doyle.
The centerpiece of the album unquestionably is the 11-minute closing title track, broken into three sections, which edges more towards progressive rock territory. There’s more than a little of “The Battle of Evermore” in the opening section “The Child”, its chiming acoustic guitar ringing out an epic vibe as Viramontes sings over top and eventually Amanda Lehmann brings in her complimentary vocals. “Metamorphosis” is generously spacious as we hang out in the acoustic vibe, the alchemy of this transformation requiring time to take hold. Finally, the metamorphosis is complete and we rock out for the final stretch into a carpe diem-styled anthem with Tillison getting to bring a little more Hammond to the proceedings.
In summary, “Bridge Across The Years” is a rewarding collection of songs that proves Dunn can ably succeed in this terrain. If he’s got more songs up his sleeve which have been gestating over the decades, look for a burgeoning new career to come forth.
Released By: Independent
Release Date: May 26th, 2023
Genre: Classic Rock / Prog Rock
Musicians: Michael Dunn / Guitars on all tracks * Joe Alvaro / Bass on 3, 4, 5, 6 * David Anania / Drums on 1, 2 * Joe Deninzon / Violin on 4 * Eliot Doyle / Drums on 3, 4, 5, 6 * Marc Gladstone / Keyboards on 1, 2, 6 * Doug Gorkoff / Cello on 2 * Amanda Lehman / Backing vocals on 4, 6 * Finn Manniche / Cello on 2 * George T. Montebruno / Vocals on 3 * Ginger Pimentel / Bass on 1 * Ken ‘Spider’ Sinnaeve / Bass on 2 * Catherine St. Germain / Vocals on 6 * Andy Tillison / Hammond Organ on 3, 6 * Diego Viramontes / Vocals on 2, 4, 5, 6 * Cameron Wilson / Violin on 2 * Michael Kraushaar* / Timpani on 6
“Bridge Across The Years” track-listing:1. Draw The Line 2. Turn Of The Cards 3. Let Me Be 4. Tomorrow Is Today 5. Another Day In The Modern World 6. Bridge Across The Years * The Child * Metamorphosis (Instrumental) * Can’t Stop Me Now (The Rising)
Order “Bridge Across The Years” HERE.
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Caligula’s Horse have spent the last decade determinedly climbing their way to the apex of the progressive music scene, and there are few acts whose ascendency has been so well-deserved. Their signature sound is soaked in the heavy dregs of djent while simultaneously uplifted by the mesmerizing aura of front man Jim Grey. The progressive hooks and thematic threads of hope that reach defiantly through anguish are unmistakable, and have drawn in droves of listeners from around the globe. It’s no exaggeration to describe *Caligula’s Horse as one of the premiere representations of this versatile genre. The long-awaited album “Charcoal Grace” arrives with a dramatic delivery of the familiar sound fans have been craving while simultaneously departing from the expectations “Rise Radiant” had once set. Yet as certainly as Caligula’s Horse* steps forward into their respective future, they have done so with an intentional pensiveness, and thus have crafted catharsis that meanders away from what once made their work so memorable.
This modest Australian metal outfit proceeds with a profound sonic history behind them. Their debut arrived in 2011, titled “Moments From Ephemeral City,” and its abrasive kiss was but a small taste of the talent that would blossom in following years. The pop-infused heights of “Bloom” brought additional dynamics and soaring choruses that were easy to love and latch on to. 2017 saw the arrival of “In Contact,” a rich conceptual album that spanned from spoken word to ballads to fiery metallic numbers, all before closing with the fan-favorite epic track, “Graves.” When “Rise Radiant” opened 2020 with its delicate melancholy and bare emotional fervor placed front-and-center, it was hard to imagine where *Caligula’s Horse* would venture next.
“Charcoal Grace” Artwork Now standing as a quartet after Adrian Goleby’s departure from the band in 2021, *Caligula’s Horse answers four years of speculation and clamoring with more than an hour of new music, an opus they have titled “Charcoal Grace.*”
With even a short glance at the tracklist, it’s clear that “Charcoal Grace” offers something new. Not only does it begin and end with two mammoth tracks – “The World Breathes With Me” and “Golem” at ten and twelve minutes, respectively – but its centerpiece is the titular four-part suite, “Charcoal Grace.” These songs offer the band opportunities it had last reserved for itself in “The Ascent:” an expansive playground to weave progressive melodies, a near-boundless canvas on which to paint their vision, and the time to build an atmosphere that listeners can fully surrender their imagination to.
But there’s something amiss with “Charcoal Grace.” Years of thoughtful reflection and creativity have left *Caligula’s Horse like architects building an opulent temple, taking care to engrave intricate designs across the parapets, gild its frames, and lay elaborate mosaics across its floor. There is immaculate attention to detail that comes from artists of the highest caliber. Yet, when walking through the temple halls, it’s as though there was no god in mind upon its design, no deity to adore within these stained-glass walls. The act of building this house of worship was a hollow exercise, lacking the spirit necessary to bring it to life. Undoubtedly, Caligula’s Horse have done something impressive – they’ve created another excellent Caligula’s Horse* album worthy of technical praise. They haven’t done much more.
If Grey and his merry band of metallers have succeeded at anything in their career, it has been infatuating the masses with sensual bliss and irresistible charisma. Their music has been renowned as emotionally charged, passionate, and driven. They’ve been a force of nature that is impossible to look away from. Upon listening to “Charcoal Grace,” however, it begs the question: without the artist’s preexisting reputation, would this album ever be more than a blip on the radar?
“Charcoal Grace” is an opus chasing a specter of the band’s prior acclaims – or perhaps it is the specter itself, a restless ghost that takes on the shape of a *Caligula’s Horse album without its beating heart. The pieces are there, and the formula is sound. “The Stormchaser” is a massive endeavor with bombastic leads and an ominous atmosphere. “Charcoal Grace IV: Give Me Hell” is blisteringly heavy without losing that tempered soulfulness that mimics dappled sunlight. As for “Mute,” it is a delectably resonant and compelling piece that lingers as its last notes fade. Some critics have said that this is the most mature album the band has made yet, but in maturing, Caligula’s Horse* seem to have lost the spark of ambition that once made their work so magnetic.
None of this is to say that “Charcoal Grace” is anything less than magnificent. Grey’s voice has reached new heights as his emotive qualities expand (although the album’s mixing does him no favors), while Josh Griffin’s percussive abilities continue to evolve and compliment the fleet-fingered work of bassist Dale Prinsse. As for remaining guitarist Sam Vallen, he is as talented as ever, but the dual-guitar hooks that once made *Caligula’s Horse so recognizable are notably absent in this latest release, a gaping hole where Goleby once stood. This more minimalist approach has given the instrumentation more room to breathe, and Grey more room to fill the empty space with his powerful voice, but these opportunities are often overshadowed by album production that buries these musician’s strengths. “Golem*” is one track that stands apart from the rest in truly highlighting the talents each member brings to the table.
Long awaited and likely to be well-received by fans, “Charcoal Grace” is exactly what it says on the tin: it’s a new *Caligula’s Horse album, and it’s a new album without the talents of Adrian Goleby to back it up. It has additional years of songwriting maturity and experience, and there are notable areas where the band continues to push their skills to new heights, but “Charcoal Grace” has distilled magic into a formula or mere recitation. As delightful and adept as “Charcoal Grace” may be, some listeners will likely be left pining for the sonic soul that once lifted their spirits. The lightning in a bottle has faded, and the soot that remains is what paints this poetically sober “Charcoal Grace.*”
Released By: InsideOut Music
Release Date: January 26th, 2023
Genre: Progressive Metal / Djent
Band Members: Jim Grey / Vocals * Sam Vallen / Guitars * Josh Griffin / Drums * Dale Prinsse* / Bass
*“Charcoal Grace”* track listing: 1. The World Breathes With Me
2. Golem
3. Charcoal Grace I: Prey
4. Charcoal Grace II: A World Without
5. Charcoal Grace III: Vigil
6. Charcoal Grace IV: Give Me Hell
7. Sails
8. The Stormchaser
9. Mute
The post CALIGULA’S HORSE – Charcoal Grace (Album Review) appeared first on Sonic Perspectives.
Saxon‘s latest offering, “Hell, Fire and Damnation” marks the legendary band’s 24th studio album and a powerful return to their roots in British Heavy Metal. Scheduled for release on January 19th, 2024, the album is a testament to the band’s unwavering commitment to their signature sound, with a lineup change that has injected fresh energy into their music.
The band has been quite active in recent years, with the release of efforts “Thunderbolt” (2018) and “Carpe Diem” (2022), and even two cover albums: the creative “Inspirations” (2021) and the somewhat redundant “More Inspirations” (2023). There was even time for band leader Biff Byford’s debut solo album, 2020’s “School of Hard Knocks”. Known for not veering too far off from their core elements, *Saxon makes a surefire bet on “Hell, Fire and Damnation”*, a record that caters to their faithful fanbase.
Co-produced by *Biff and the acclaimed Andy Sneap (now a member of Judas Priest), the album maintains a balance between modern elements and a nostalgic nod to the New Wave of British Heavy Metal, a movement that Saxon helped forge. Diamond Head’s Brian Tatler seamlessly replaces long-time member Paul Quinn*, contributing to the album’s overall freshness and vitality. It’s like the band didn’t even skip a beat!
*Saxon‘s recent studio efforts with new material, “Thunderbolt” and “Carpe Diem”, had set high expectations, and “Hell, Fire and Damnation” not only meets but exceeds them. The band’s decision to stick to their uncompromising metal roots, eschewing the long-gone attempts at pandering to the American market, results in a collection of tracks that are quintessentially Saxon* – fists in the air and crushing riffs. Gone are the days when they needed a reality show to “rebrand” them and to give them the attention they deserved, and they have now entered into an interesting cadence, where every new album doesn’t stray away from their previous output but presents enough changes to keep things interesting.
The album’s title track and lead single, “Hell, Fire And Damnation,” exemplifies *Saxon at the height of their powers, featuring razor-sharp guitars and an ominous chorus. Biff had this to say about the title: “I’ve had that saying in my head since I was a small boy because my dad used to say it when he was upset. He used to say, ‘Hell, fire, and damnation, what’s tha’ been doing now?!’ when I was ‘messing up his cabbage patch’ or carving things into the kitchen table. It was a very ‘Yorkshire’ saying back in the day.”*
Nibbs Carter’s pulsating bass announces “Madame Guillotine”, a song that harkens back to the days of “Innocence is No Excuse” and “Destiny,” showcasing the band’s ability to blend hard rock heaven with their classic sound. The twin guitars work really well here, and the soulful breakdown is the cherry on the cake of this standout track. It’s worth mentioning that the cover art of the new album, depicting an aerial battle between angels and demons, is miles better than those of *“Thunderbolt” and “Carpe Diem”*.
The album’s diversity is evident in the themes they chose to explore. The foreboding “There’s Something In Roswell” obviously talks about the Roswell mystery and the possible alien discovery, and brings quasi-thrash riffs and a chorus where *Biff showcases his vocal prowess. “Kubla Khan And The Merchant Of Venice” is a fast-paced number delving into the role of Marco Polo in the Mongol Empire. *Saxon* pays homage to historical events in “1066”, addressing the Battle of Hastings with a heavy riff that is definitely fitting for one of the bloodiest battles in history. “Fire and Steel”* is a Motörhead-infused number, announced by the thunderous double bass drums of Nigel Glockler**.
“Hell, Fire And Damnation” Artwork“Witches Of Salem” stands out with its heavy blues undertones and metal edge, recounting one of the tragic sides of the Inquisition times. The album concludes on a high note with “Super Charger,” a fast-paced number that leaves a lasting impression. With an environment as competitive as the music business these days, one misstep could cause a substantial financial loss, so it does make sense for a band like *Saxon to not deviate too much from their standard sound. If one was challenged to define this album in one sentence, one valid response would be “more of the same with a few twists, for people who want more of the same”.*
*Biff Byford‘s unique vocal delivery remains a driving force, supported by the rhythmic prowess of Nigel Glockler and Nibbs Carter. How does Biff* manage to sing so consistently at 72 years of age and after some potentially fatal heart issues? If you know the answer, please let me know…
Even more impressively, the dual guitars of Doug Scarratt and Brian Tatler provide a vibrant and fiery dynamic, capturing the essence of *Saxon‘s timeless sound. When Paul Quinn decided to step away from the band, they were quick to say that they would go for someone who was a contemporary of the band, and not some new kid who learned what metal is about yesterday. Honestly, I could not think of a better choice than Brian for that role. Changes in the lineup can either screw the dynamic of a band or reenergize them, and Saxon*’s case exemplifies the latter in spades.
*Saxon will be rather busy in 2024, with a spring tour with contemporaries Judas Priest and Uriah Heep* already announced, and many festival appearances booked. With 24 albums under their collective belts it becomes increasingly difficult to represent the newest efforts in their setlists, but at least half of the new album is worth being played in upcoming tours.
In summary, “Hell, Fire and Damnation” is a rock-hard British Heavy Metal album, solidifying *Saxon‘s status as one of the genre’s enduring titans. The album successfully blends new elements with the signature riffs, vocals, and beats that made them famous, making it a must-listen for both longtime fans and newcomers to the genre. Saxon* has once again proven that they are experts of their craft, delivering a record that stands tall in their illustrious discography.
Released By: Silver Lining Music
Release Date: January 19th, 2024
Genre: Hard Rock / Metal
Band Members: Biff Byford / Vocals * Doug Scarratt / Guitars * Brian Tatler / Guitars * Nigel Glockler / Drums * Nibbs Carter* / Bass
*“Hell, Fire And Damnation”* track listing: 1. The Prophecy
2. Hell, Fire And Damnation
3. Madame Guillotine
4. Fire And Steel
5. There’s Something In Roswell
6. Kubla Khan And The Merchant Of Venice
7. Pirates Of The Airwaves
8. 1066
9. Witches Of Salem
10. Super Charger
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“Spectra and Obsession” is the greatest album you’ve never heard of. It’s buried deep in the underground – although recently unearthed by a Discord server of music enthusiasts – and it’s perhaps one of this year’s best-kept secrets. Now, Amun will be a secret no longer. This is a gem that deserves to be shared with the world rather than tucked away in the shadows of a private collection. It also wholeheartedly deserves the accolades as one of this year’s most spectacular, mind-blowing, and expectation-exceeding opus.
There are many words that could describe “Spectra and Obsession.” Some are found in the dictionary, others only in the heart, never meant to be spoken. Some can be drawn from Amun’s Bandcamp bio – describing themselves as electro-organic death metal – or from the genre tags on Rate Your Music. Yet these all seem to pale when faced with the magnanimity of the music itself – how can you describe gazing upon the face of god?
This album is a seamless blend of electronic chaos tempered against raw blackened bite. The unyielding blade of harsh vocals is married against a dark synth’s delicate kiss. It is agonizing, full of inexplicable pain, but this beautiful metamorphosis grows to cosmic proportions across its tracks. These short paragraphs are not enough to capture the true spirit of “Spectra and Obsession.” Perhaps a novella – no, a novel – would not be enough. At nearly two hours long, and packed with motifs and sonic spectacle galore, Amun have made a work of art worth listening to for a lifetime. The layering of elements, the technical skill, the visionary musicianship, it’s all at a level that the scene’s largest names could only dream of. It is beautiful, it is terrifying, it is captivating. It begs listeners to surrender to its embrace.
“Spectra And Obsession” ArtworkEach track on “Spectra and Obsession” features a unique appeal that separates it from the others while still fitting tastefully into the overall flow of the album. Opening track “The Father’s Foundation” enjoys a tremendous build, beginning in silence before it gradually mounts to a barrage of blast beats and howls, soon backed by orchestration that drives it comfortably into the epic black metal vein. This introductory track is deliciously deceptive because as the listeners are finally lulled into the familiar tones of the genre, their expectations are shattered by vicious glitching effects that cut riffs short. It also introduces the most familiar motif of the album, a phrase that is repeated almost ad nauseam, as though a meditation: “I can see the sun beneath the sun between the sky and sea.”
Some tracks are more straightforward black metal – “The Father’s Foundation” among them – while others lean heavily into the thorny dark synth, namely “Watch for Ghosts.” The front-loaded aggression is tempered by the atmospheric “The Mother’s Mark,” a juxtaposition to the ferocity of “The Father’s Foundation,” and a final respite before the mammoth closer track “A Sickly Fruit Born of Tragic Love.” This closing number, at thirty-five minutes long, is an epic in its own right. From its thrilling climax that ties together the themes and sonic threads of the album to its unique composition, “A Sickly Fruit Born of Tragic Love” is a track worth coming back to again and again. To say more of this final song would be to spoil the most thrilling chapter in this tome of pure sonic magic. “Spectra and Obsession” steps delicately in a deadly dance that joins unlikely companions in a perfect and tragic union. There is no love without pain, and it seems that the album has honed in on expressing the most exquisite pain of all with the adept grace of maestros.
And for all its exultation for the sun, there is also darkness in its history: Amun broke up before the album’s release. Despite releasing what might be one of the most noteworthy albums of the decade, Amun’s existence was destined to be ephemeral, which makes “Spectra and Obsession” that much sweeter. For those seeking more of this delectable, genre-defining, boundary-pushing metal, check out Vulning, the subsequent byproduct of three of Amun’s band members.
“Spectra and Obsession” may be the most genuine innovation that the black and death metal scenes have enjoyed in the past decade. Amun have dared to evolve black metal in a way that is boldly original while building on the foundational tenets of the genre with masterful skill. In just under two hours of mind-melting extremity, Amun tell stories of grandiose proportions, music, and words meeting to create a work of art that is transcendent, and an atmosphere that is drenched in fervent devotion. To soak in the reverie of “Spectra and Obsession” is to watch a ravenous fire ravage a forest, enthralled by its absolute power and majesty, but similarly awed by its destructive force. It is beautiful, it is terrifying, it is captivating. Amun have concocted a novelty that matches virtuosity with passion for a creative vision like no other.
And a final warning to those that venture forth into “Spectra and Obsession:” Once you emerge from the other side, you will never be the same. But I can promise, this will be for the better.
Release Date: September 1st, 2023
Record Label: Independent
Genre: Experimental Black/Folk Metal
Amun were: Joe Snodgrass / Bass guitar, vocals, acoustic guitar, bağlama, ukulele, didgeridoo, melodica, tongue drum, percussion * Aidan Robinson / Electric guitar, acoustic guitar, vocals * Johnathon Nunn / Electric guitar, acoustic guitar, vocals * CJ Yacoub / Drums, percussion, vocals * Simon James* / Synth, keyboard, electronics, pipe
Additional musicians: Backing vocals on “The Father’s Foundation”, “Watch for Ghosts”, and “A Sickly Fruit Born of Tragic Love” performed by David Kehl * Backing vocals on “The Father’s Foundation” performed by Braden Schwarzwalder * Backing vocals on “Forevermore and Always” performed by Josh Yacoub * Backing vocals on “The Mother’s Mark” performed by JustJessASMR * Saxophone by Wes Miller * Violin and viola by Gavin Adams * Hammered dulcimer by Val Cortoni * Harp by AliceHarp*
“Spectra and Obsession” Track-list:1. The Father’s Foundation 20:39 2. Forevermore and Always 11:27 3. Watch For Ghosts 9:14 4. Spectra And Obsession 20:49 5. The Mother’s Mark 11:45 6. A Sickly Fruit Born of Tragic Love 34:21
Purchase “Spectra and Obsession” HERE.
Spectra And Obsession by AmunThe post AMUN – Spectra and Obsession (Album Review) appeared first on Sonic Perspectives.
Less than half a year after “The Dreamer: Joseph Part One” was released, Neal Morse is unveiling the concluding Part Two, titled “The Restoration”. *Morse is starting to create a niche of Biblical proportions for himself on Frontiers Music, what with this opus following 2018’s “Jesus Christ The Exorcist” (JCTE) double album. Given Mike Portnoy’s upcoming return to Dream Theater, which will likely decrease his availability for Neal Morse Band recordings in the immediate future, one could imagine Morse spending even more time turning Bible stories into prog rock operas over the next few years, especially if Frontiers* asks for more follow-ups.
At this point it should be clear what the listener is getting into with “The Restoration,” as “The Dreamer” has already laid the groundwork: part Broadway musical, part prog rock concept album, with a story that is inherently Christian but could also be enjoyed by non-Christians as just the plot line to accompany the top-notch music. This is essentially Part Two of a double album, so Part One should certainly be digested before taking this one on. If you need a recap, check out our overview of Part One to set the stage.
Unquestionably, Part Two veers more towards a theater production approach than Part One did, taking it more in the direction of JCTE than its predecessor. There is much more storytelling and much more vocal support from guest singers, which slows down the flow of a rock album because the lyrics are often in narrative form (e.g. “We have only come here for food”), half-sung/half-spoken. *Morse* delivers it well but still it’s unavoidable that the plot line is more central here, and thus the musical flow is impacted. As always, there are plenty of melodic strengths to keep the listener engaged, but the density of the storyline – the detailing of the Pharaoh’s dreams, the brothers’ cluelessness, Joseph’s internal dilemmas and convoluted schemes – can become tiresome if the listener isn’t up for this kind of approach.
Still, for those who DID enjoy the JCTE album, Part Two is a goldmine of *Morse’s talents, featuring reoccurring themes, strong musical performances, plenty of drama, and plot twists. From the humor of swatting that pesky buzzing fly at the outset, to numerous musical nods to other artists (though “My Dream”’s similarity to Journey’s “Anytime” is a little over the top), to inspired vocal and musical guests, this is one more in a long line of Morse* achievements.
Jerry Guidroz finds a great mix on the album as drums are ably covered by Gabe Klein and Eric Gillette, occasional other guitarists and bassists sit in, and horns, string, and choir sections add to the sonic fullness. But by and large, **Morse**** covers the majority of instrumentation himself, which is never a bad thing.
“The Restoration – Joseph Part Two”Part Two features both innovation and retreads. On the negative side, one of the central melodic themes – alternatively played on warbling bass, sustained guitar lines, and orchestration – is annoyingly similar to “Testimony 2”’s main theme. The second half of the album starts feeling excessively long over the course of several songs as the brothers travel back and forth while Joseph struggles with his love/hate feelings towards them. And occasionally **Morse* misses a grand opportunity: one of the most dramatic moments is the building of tension as *Ted Leonard and **Morse** trade vocal lines at the end of “The Brothers Repent”, reaching a fantastic climactic moment that could have exploded into a stinging guitar solo, but unfortunately, we only get a tame ensemble orchestration.
On the good side, **Morse* branches out a bit into unexpected territory, the most successful of which is the celebratory “Everlasting”,* complete with cuíca, a roaring Bill Hubauer guest keyboard solo, and trading guitar licks between brothers Alan and Neal. It’s unlike anything *Morse has previously delivered while carrying the joy of a song like “Reunion”. Then, on the final track “Dawning Of A New Day”,* *Morse takes a new turn lyrically by addressing the audience directly, “So how ‘bout you?”, offering the opportunity to personalize the lesson of this tale as he continues with a characteristic closing which again draws similarities to *“Testimony 2”’, this time from “Crossing Over”. It’s a grand finale, made even better by an additional line from Rick Altizer, “God gives us everything for good”.
Overall, Part One flows better as a rock album. **Morse’s ever-changing musical dynamics become a bit manic here during songs like “The Brothers Repent” and “Restoration” where stylistic changes occur every minute. And unfortunately, there’s a few killer standout tracks on this album, whereas Part One boasted several like, “Ultraviolet Dreams”, “Wait On You”, “Slave Boy” or “Gold Dust City”. The focus is clearly more on the story here in Part Two, even while being accompanied by good music and great musicians.
The bottom line is that if you enjoyed “The Dreamer”, you’re likely to find this to be a satisfying conclusion. But if Part One (and JCTE) were not your cup of **Morse* tea, this ain’t gonna set things right…better to hope Morse decides to travel in other directions for his next project. Nonetheless, there’s no denying Morse***’s enthusiasm for the material. He’s clearly thrown himself fully into this endeavor, creating more stirring prog music than any Christian Dreamer could hope for.
Released By: Frontiers Music SRL
Release Date: January 12th, 2023
Genre: Progressive Rock
Musicians:Cast of singers:
- Joseph – Neal Morse
- Judah – Ted Leonard
- Reuben – Matt Smith
- The Butler – Ross Jennings
- The Baker – Nick D’Virgilio
- Simeon – Wil Morse
- Jacob – Mark Pogue
- Woman – Talon David
Instrumentalists: Nick D’Virgilio / Lead Vocals on 2 * Eric Gillette / Drums on 5, 6, 7, 8 * Gabe Klein / Drums on 2, 3, 4, 9, 10, 11, 12, 13, 14, 15; Keyboards on 3, 4 * Neal Morse / Drums on 1, Bass, Guitars, Keyboards, Percussion, Vocals * Sam Hunter / Guitar on 3, 4 * Gideon Klein / Bass on 3, Guitar on 3, 4 * Alan Morse / Guitar solo on 14 * Bill Hubauer / Kayboard solo on 14 * Wil Morse / Additional vocals on 1 * Chris West, Josh Scalf, Tyler Jaeger / Horns on 1, 6, 8, 9, 12, 13, 14, 15 * Harmonie Hall, Devonne Fowlkes, April Zachary, Kim Mont, Julie Harrison, Amy Pippin, Debbie Bressee / Background vocals * Josee Klein, Hannah Tyler, Carl Larson and Gideon Klein* / String quartet on 5, 8, 9, 10, 11, 12, 13, 14, 15
“The Restoration – Joseph: Part Two” track-listing:1. Cosmic Mess 2. My Dream 3. Dreamer in the Jailhouse 4. All Hail 5. The Argument 6. Make Like a Breeze 7. Overture Reprise 8. I Hate My Brothers 9. Guilty as Charged 10. Reckoning 11. Bring Ben 12. Freedom Road 13. The Brothers Repent / Joseph Revealed 14. The Restoration 15. Everlasting 16. Dawning of a New Day (God Uses Everything for Good)
Order “The Restoration: Joseph, Part Two” HERE.
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Onward to towers afar.Though legends tend to emerge from a lofty landscape on the wings of a bard’s melody, it is more the exception than the rule that the bard himself become the object of awe. So too is it with power metal’s many impressive storytellers, as the songs they weave seem so larger than life that one is wont to forget the prowess of the virtuoso fold behind them.
But the peculiar case of Hellenic power metal rising star outfit Sacred Outcry is one of intrigue unto itself, owing in no small part due to a rather unique redemption arc that saw the band fold in the midst of the second wave of power metal after crafting only a couple demos, only to come raging back with a completed LP mostly composed 20 years prior in 2020’s “Damned For All Time.”
The impressive blend of heavy-hitting US power metal influences and high-octane European flair set this Greek outfit apart from the pack and arguably culminated in the best album of its year, and with 3 years now having past, this mythic powerhouse has returned to up the ante even further with a riveting follow up dubbed “Towers Of Gold.”
Ironically enough, for most of the membership of this obscure dark horse from the early 2000s the 2020 album that many have come to see as a game-changer was a one-off project to finish what had been started so far back, as now only bassist George Apalodimas remains from the original lineup. But much like his most obvious forerunner Joey DeMaio, he has managed to keep the original fire roaring and brought in a whole new collective of highly competent musicians, among them guitarist Steve Lado (who had a guest performance on the debut) and kit-destroying drumming virtuoso Defkalion Dimos, forming a core instrumental arrangement to rival that of Manowar.
However, the most pivotal recruit of the fold is that of glass-shattering vocal impresario and former Lost Horizon helmsman Daniel Heiman, arguably the most iconic singer to rise from the European power metal scene since Michael Kiske. To say that the sonic potential of this union of craftsmen would be formidable would itself be the understatement of the decade, and at every possible point said potential is fully realized.
At every possible turn, this is an album that takes every existing sword and sorcery trope common to power metal and amplifies them by a factor of 10, bridging the divide between the campiness of the 2nd wave stylings of Blind Guardian and Rhapsody Of Fire with the older, grimier trappings of Omen and Cirith Ungol. Densely orchestrated backdrops adorn melancholy acoustic guitar passages like a small band of adventurers sharing folk tales by the campfire amid an approaching storm, contrasted by a pummeling battery of metallic riffs, beats, and an over-the-top vocal performance that would be the envy of every superhuman singer of metal’s past, from Crimson Glory’s Midnight to Manowar’s Eric Adams.
“Towers Of Gold” ArtworkTo be sure, Daniel Heiman had gone on to front many bands of considerable talent following his exodus from Lost Horizon, but this is the closest he has come to matching his former glory with said band in the years since. It’s just one epic moment after the next, with the time measured in between rounded out by instances of somber balladry that proves no less substantial.
The colossal character of the songwriting on display here is matched only by the sheer vividness of the story being told, as each song possesses multiple titles to further flesh out the otherworldly deeds being chronicled. Following a mournful expositional introduction dubbed “Through Lands Forgotten”, the opening foray at full speed that is “The Flame Rekindled” fires both tubes and underscores the spirit of triumph and rebirth at this album’s heart, and stands as but one of the many high octane power metal anthems with an infectious edge and a thundering attack to adorn this record.
One would be remiss not to note the heavy level of Hellenic musical devices at play amid the gallop-happy riffs and wailing vocals, almost as if channeling the old Greek pantheon while also paying homage to the works of Michael Moorcock. The similarly driving metal odes “The Voyage” and “Into The Storm” recap the same mixture of soaring melodies and power-driven metallic flair, as Heiman’s immortal pipes continually bounce between the earth and sky in rapid succession.
Though already having established itself as a veritable force of nature, this album just continues to build and ascend as it progresses. The slower and more balladic “Symphony Of The Night” proves no less riveting than its faster predecessors, though it accomplishes its impact through a gradual increase in intensity and a series of sweet melodic and technical passages courtesy of Lado’s masterful guitar work, often matching Heiman’s impressive vocal feats in terms of auspiciousness.
George’s prowess at the bass is given a chance to shine in Manowar-like fashion on the haunting epic number “The Sweet Wine Of Betrayal”, and in fact, the entire song stands as one of the more brilliant partial nods to the longer classic fair of said metal icons, with the guitar work also channeling classic Ross The Boss idioms. “The City Of Stone” treads a similarly mid-paced epic path, though the emphasis largely goes to Heiman’s inhuman vocal gymnastics and Lado’s highly expressive guitar work. Yet it all comes to a head with the gargantuan, 15-minute behemoth of a title anthem “Towers Of Gold”, which sees the entire quartet morph into the four horsemen of the apocalypse and turn in arguably the most astounding performance since Helloween’s “Halloween” more than 30 years prior.
The hype that has chased this album since its release back in May of 2023 has been palpable, yet also only scratches the surface of just what has been accomplished here. In much the same way as Lost Horizon’s much-heralded two albums set a standard in the early 2000s that the European power metal scene couldn’t hope to match, this album has raised the bar back to that same height. It’s only fitting that a nearly unanimous consensus has emerged in the online metal media circuit that this is not only the greatest power metal album to come out of 2023, but arguably one of the best metal albums to grace the scene as a whole in some time.
It isn’t an album that sets out to reinvent the wheel but rather fashions a set of wheels using existing schematics that are so perfectly realized that the chariot they adorn could not help but prevail in every battle that it sees. If there is one power metal album to hear from the prior year, it is this one, and despite the increasingly mercenary character of Daniel Heiman’s career of late, here is to hoping that this is a band that he sticks with for the foreseeable future
Released By: No Remorse Records
Release Date: May 19th, 2023
Genre: Power Metal
Musicians: George Apalodimas / Bass * Steve Lado / Guitars * Daniel Heiman / Vocals * Defkalion Dimos* / Drums
*“Towers Of Gold“* Track-List:1. Through Lands Forgotten (At the Crossroads of Fate) 2. The Flame Rekindled (Lurid Lights and Drunken Revelry) 3. The Voyage (Towards Immortality) 4. Into the Storm (Beyond the Lost Horizon) 5. Symphony of the Night (The Curse of the Blind) 6. A Midnight Reverie (Whispers in the Wind) 7. The Sweet Wine of Betrayal (The Perennial Sin) 8. The City of Stone (The Burden of the Crownless Kings) 9. Towers of Gold (Tempus Edax Rerum) 10. Where Crimson Shadows Dwell (And Ouroboros Dreamt)
Order “Towers Of Gold” HERE.
Towers of Gold by Sacred OutcryThe post SACRED OUTCRY – Towers Of Gold (Album Review) appeared first on Sonic Perspectives.
An Artillery-esque riff kicks off “Martyr”, the third full-length of Luxembourg’s Scarlet Anger. After a hiatus of six years, they return with seven songs. That’s not an impressive number, but the album clocks in at 35 minutes, and therefore everything is fine in terms of quantity. But, as always, the crucial thing is called quality. Their first two albums were good, but the second one did not reach the debut’s level of aggression and velocity. Such signs of effeminacy always make me disgruntled and in my nightmares, the early nineties appear, when all the old heroes ran away from thrash as if the genre suddenly had bad breath. But all-clear: Scarlet Anger don’t switch back and forth between thrash and less massive styles, but rather pay homage to the classic, pure orientation of their genre. This is always most evident when the gentlemen push straight ahead and fire off jagged riffs. It was precisely such eruptions that once established thrash as the neck-breaking alternative to conventional heavy metal. They once gave thrash that special flavor – and the traditional metal had already tasted good.
However, Scarlet Anger do not act one-dimensionally. It therefore comes as no surprise that mid-tempo parts play an important role as well, catchy lines every now and then are not forbidden and it is a fact that the musicians are not allergic to one or the other melody. The sinister title track even houses an “ohoho” sing-along section – and it is not an embarrassing one. The guitar work of the song spreads a lot of expressive, slightly menacing vibes, and the dynamic mid-part also leaves its mark impressively. In addition, of course, there are the powerful vocals of Joe Black. And so the quintet convinces with a coherent overall appearance. Moreover, the songs form a very homogeneous album. With respect to their desired sound, Scarlet Anger have a clear vision and therefore they see no reason for “original” experiments. I appreciate this very much – it speaks for the band’s authenticity and integrity.
“Martyr” ArtworkWith the somewhat feeble “Divided” the dudes run out of breath, but it remains the only downer here. “Martyr” is a strong work with a clearly defined production, no masterpiece but definitely worth discovering. I cannot say that it shows any signs of innovation and therefore I cannot give a high rating when it comes to originality. But that’s no problem for an old-school thrash maniac like me. I enjoy the highlight “No Time” with its cleverly interspersed calm sequences and almost any other track.
The only thing I really do not like is this statement that the band will sell strictly limited physical copies at the gigs exclusively. I do not see any reason for this approach. Why do I have to go to one of their shows when I just want to buy their CD? Anyway, those of you who like albums like Artillery’s “By Inheritance”, Mortal Sin’s “Face of Despair” or Heathen’s “Breaking the Silence” should lend an ear to “Martyr”.
Released By: Independent
Released On: January 20th, 2024
Genre: Thrash Metal
Musicians: Fred Molitor / Guitars * Rod Sovilla / Drums * Joe “Mutz” Block / Vocals * Vince Niclou / Bass * Jeff Buchette* / Guitars
“Martyr” tracklist:1. The Destroyer 2. No Time 3. Martyr 4. Akrasia 5. Hunger 6. Divided 7. Behind The Mask
The post SCARLET ANGER – Martyr (Album Review) appeared first on Sonic Perspectives.
What does this stuff mean?
Plunged deep into the nightmare now, the ‘Disharmonium’ series continues to haunt with this second offering. There’s still the fascinating dimension to this sound that it is considered black metal while displaying characteristics of the genre only in subtle touches. Blast beats are indeed present but feature in the background for accentuated turns of pace rather than their usual banging obstinacy, and the guitars spell profound dissonance but more as texture with a blunted attack than sharp stringy notes, blending with the prevailing torturous choirs in the background.
This is like ambient in black metal clothing, and there’s no one instrument that ever takes the liberty to rise above the others in the mixing space, even on the lead guitar bouts. It’s a gestalt of unified textural components, adopting the rounded contour of the perceived dreamworld. There are few spikes in the transient area, in spite of the occurring spectacle of aural violence throughout. It makes it a point to stylistically emulate the atmospheric and subterranean soundlessness of the dream; deep in the subconscious. Powerful dynamics control the various degrees of intensity but the production favors a more velvety smoothness granted to each instrument, so as to entrench the ears and minds down into the abyssal void. It’s like the music takes place in a space parallel to the listener’s conscious mind and it seems to be putting the audience into a trance, inescapably.
The vocals, even, subscribe to that ideology that all instruments should be utilized as textures. Their goal isn’t to deliver lyrics as a real human presence as would be the case in any other black metal. Their monstrous voracity only further alienates the listener and adds to the ongoing troubling confusion: it acts as an agent for the activated subconscious mind. There are no words to hang onto. It’s the triumph of abstract over concrete, so to speak. The songs are really instrumental and only have titles (no lyrics) as the single intelligible indication on where we might stand. So it’s purely the music that gives meaning; through strongly crafted themes and strange motifs with their highly evocative implications; as there are no words. Instead, these are metaphors using the language of musical composition over syntactic verbiage: an unburdening of sorts from the limiting prism of words.
“Disharmonium Nahab” ArtworkSo what does it mean – this amorphous ambient art like odd notes roaming in a seemingly free soundscape outside of time? It’s the expression of dread. And just like a dream, it doesn’t just tell you clearly in black and white what it’s communicating. Here are a few possible reading interpretations: the wailing lead guitar in the background – that’s conscience warning, just like a call back to reality during a fever dream amidst the engulfing terror of discordant chaos. The main theme on ‘Mental Paralysis’; a repeating sequence of mind-numbing dissonance; depicts the paralyzing effect of fear, that feeling of being involuntarily motionless and stuck in a bad place. Certain parts, like the endings of ‘The Endless Multitude’ and ‘The Black Vortex’, are like fragments of a shattered entity trying to put itself back together, hence their obviously painful endeavor. They sound broken; almost fathomable, but not quite; and animated by some unnatural will to exist. The more melodic ‘Nameless Rites’ seeps out a bit of sorrow in that trademark Blut Aus Nord drama that always feels like an invitation to profound introspection
Released By: Debemur Morti Productions
Released On: August 25, 2023
Genre: Atmospheric Black Metal / Avant-garde / Experimental
“Disharmonium Nahab” track list:1. Hideous Dream Opus #1 2. Mental Paralysis 3. The Endless Multitude 4. Hideous Dream Opus #2 5. The Crowning Horror 6. Queen of the Dead Dimension 7. The Black Vortex 8. Nameless Rites 9. Hideous Dream Opus #3 10. The Ultimate Void of Chaos 11. Forgotten Aeon
Pre-order “Disharmonium Nahab“ HERE.
Disharmonium – Nahab by Blut Aus NordThe post BLUT AUS NORD – Disharmonium Nahab (Album Review) appeared first on Sonic Perspectives.
The criminally overlooked Andorran tech-death outfit Persefone has had a bad stroke of luck since they unveiled their fantastic “Metanoia” album in 2022. This culminated in them being forced to withdraw from a North American trek in support of Ne Obliviscaris and Beyond Creation this past fall, just weeks before the opening date. Longtime frontman Marc Martins announced his amicable departure from the band shortly after the cancellation, leaving diehards such as myself miffed, wondering if this ridiculously accomplished sextet could bounce back without Martins, who happens to be one of the most engaging frontmen in death metal.
This isn’t the first time *Persefone has faced such setbacks. Drummer Marc Mas Marti left the band on the heels of their masterful 2013 opus “Spiritual Migration,” for which he penned lyrics thoughtful and insightful enough to make even the most hardened death metaller give practices like meditation a second thought. His words established the already intense band as one that could offer decidedly uplifting content wrapped in scathing brutality, a death metal band for hippies. Undaunted, they roared back with “Aathma,” a work worthy of not one but two appearances by none other than Cynic honcho Paul Masvidal. As crucial as Marti* was to the band’s evolution, it was clear that he was merely a conduit.
After a brief intro, *Persefone‘s first endeavor without the incomparable Martins hits us with all the mathematical furor we’ve come to expect from them, with new guy Daniel Rodrigues Flys and his frightful growls channeling all the rage, self-contempt, and desire to transcend that lyrics like “I embrace the state of thoughtlessness so I become one with the whole” demand. Flys also offers keyboardist Miguel Espinosa a break in the clean vocals department, his husky bellows bringing both life and desperation to lines like “I’ve been dreaming of the one word that can’t be named,” and profound yearning to “there is a bond between us” just moments later. The dreamy outro track “Abyssal Communication”even boasts Flys channeling his inner Einar Solberg such that I briefly believed that the towering Viking had made yet another appearance on a Persefone record. Clearly, Mr Martins might not be the only guy who was born to front Persefone*.
“Lingua Ignota: Part I” ArtworkEspinosa has by no means abdicated his secondary post within the band (good thing too – I fucking love the sound of that guy’s voice), but having a second clean singer in the band is sure to open some dazzling opportunities for the band’s famously precise live performance. If hearing the refrain and closing sequence of this gut-punch of an EP’s title track doesn’t make you salivate at the thought of hearing Flys harmonize with Espinosa on stage, may I recommend you get your ears checked?
While “Lingua Ignota: Part I” isn’t quite the dizzying technical foray that previous albums have been, *Persefone has benefited from shifting their focus to composing engaging and memorable songs. “The Equable”is a case point in this regard. This cut relies more on melody and gut-wrenching delivery than it does on algebraic weirdness to get its point across, and the opening motif even recalls Killswitch Engage (another band whose generally uplifting lyrical content belies their heaviness), but at no point does the song altogether abandon the technical greatness that has defined the Persefone* sound.
This has certainly never been an outfit to favor flash over substance, but scaling back the lunacy has made both for a meatier entree and an appropriate welcome for a frontman who might just have what it takes to open this incredible band to the wider death and progressive metal scenes. We’ve been offered only a titillating taste of what rejuvenation has done to this, one of the most exciting bands on the scene, and already I’m legitimately excited by what the future could hold for *Persefone*.
Released By: Napalm Records
Released On: February 2nd, 2024
Genre: Extreme Progressive Metal
Musicians: Toni Mestre Coy / Bass * Carlos Lozano Quintanilla / Guitar * Miguel Espinosa / Keyboards, vocals * Sergi Verdeguer / Drums * Filipe Baldaia / Guitar * Daniel Rordigues Flys* / Vocals
“Lingua Ignota: Part I” track-list:1. Sounds and Vessels 2. One Word 3. Lingua Ignota 4. The Equable 5. Abyssal Communication
Pre-order “Lingua Ignota: Part I“ HERE.
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A harrowing eclipse darkens the sea of blood.Success is as sure of a way to test a band’s mettle than any level of adversity, and following what might be dubbed the triumph that was Massachusetts deathcore trustees Worm Shepherd‘s 2022 sophomore LP “Ritual Hymns”, it would seem that the test had been failed given that most of the lineup would subsequently implode and leave this group as a de facto two-person studio project. Nevertheless, the remnant membership of vocalist Devin Duarte and guitarist Tre Purdue, both co-founders of this symphonic take on breaking things down, have remained undaunted in their quest to create a sound that is as unrelentingly brutal as it is densely orchestrated and strangely beautiful in its quest for the ultimate degree of sonic ugliness.
To the uninitiated, the stylistic playground that this fold dabbles in is fairly similar to the blackened aesthetic that has been the principle expression of Carnfex and Lorna Shore for the past decade or so. The result is a sound that is about as heavily informed by the mystique of Cradle Of Filth and Dimmu Borgir as it is the auditory barbarism of Hatebreed, and it is a sound that endures to the same qualitative result on this mini-LP in an EP format dubbed “The Sleeping Sun”.
The menacing way that the slow-trudging and bottom-heavy guitars intermingle with the droning, airy character of the surrounding orchestral samples ranges from hazily hypnotic to utterly unsettling. The drum work of session kit man Alex Nourse gels perfectly at all points, providing an organic yet precision-based foundation that is unshaken by the down-tuned guitars.
The songs that round out this elongated EP are about as ambitious as they come in this style, eschewing the very concept of a standard verse/chorus format, yet weaving in enough consonant hooks via the surrounding keyboards to be reasonably catchy in spite of it all. It’s a consistent blend of pummeling grooves and a shimmering atmosphere laid on top, occasionally adorned with a brilliantly placed guitar melody as on the standout track ‘The Dying Heavens’, which dwells the most upon this band’s blackened tendencies. This isn’t to say that more slam-like entries like ‘The Broken Earth’ or the slow-progressing epic opener ‘The Frozen Lake, Pt. II (The Ruined)’ are any less enthralling, but the way that the aforementioned ‘The Dying Heavens’ tastefully showcases Purdue‘s talents as a lead guitarist present a strength that is sadly not exploited to its full potential.
It’s all but a foregone conclusion that anyone that goes in symphonic deathcore directions will like what this EP has to offer. It’s not quite the entire package that the previous LP was, and it begs the question of just what this band will do in the future about a permanent lineup given that this particularly subset of deathcore requires a full band to pull off live, but for a studio effort with only two heads being put together it comes off as solidly inventive and worthy of what this fold has already accomplished.
It touches just about every base in the brutality department from blackened death metal to slam-based brutality, all the while keeping the metallic side of the coin on a slightly superior footing to its obvious hardcore influences. It’s a haunting ride, and a nasty fit of bestial rage bottled into just over 30 minutes of earth-shaking heaviness, so light a candle and prepare to swim in a sea of lamb’s blood.
Released By: Unique Leader Records
Release Date: August 18th, 2023
Genre: Symphonic Deathcore
*“The Sleeping Sun“* Track-List:1. The Frozen Lake, Pt. II (The Ruined) 2. The Broken Earth 3. The Tortured Path 4. The Dying Heavens 5. The Parting Sea
Order “The Sleeping Sun” HERE.
The Sleeping Sun by Worm ShepherdThe post WORM SHEPHERD – The Sleeping Sun (Album Review) appeared first on Sonic Perspectives.
There’s a hole in society’s tortured heart.Few bands can boast the long-term cohesion that has been enjoyed by Italian power/prog extraordinaire outfit Eldritch, both in terms of their studio output and the core membership that has driven the name since the early 90s, and a few years before under the different moniker of Zeus.
Of course, as with most bands there has been some fluctuations in their lineup that has seen a number of drummers and bassists come and go, and original keyboardist Oleg Smirnoff would take an extended hiatus for about 20 years for a stint with Vision Divine, Death SS and a couple other projects before finding his way back to the fold a few years ago. Be this as it may, the band’s core sound has always relied on the constant presence of co-founder and vocalist Terrence Holler and the steady compositional hand of original guitarist Eugene Simone, and that remained constant from this outfit’s inception, until about a year ago when Holler opted for retirement, seemingly throwing some major sand into the gears of this well-oiled machine following a stellar showing in 2021 LP “Eos”.
Thankfully the Italian power metal scene has been and continues to be a rich well of vocal talent, and a suitable replacement has been tapped in former Shinning Fury and current Silver P. singer Alex Jarusso. In comparison to his predecessor, Jarusso‘s approach is tad bit more top heavy, resembling the soaring tenor range that is fairly typical of helmsman of such noted power/prog outfits like Labyrinth and Vision Divine, with maybe a tad more grit that reminisces a bit more towards what Fabio Lione has brought to Angra for the past decade, minus some of the operatic excesses.
Suffice it to say, he gels perfectly into the ultra-melodic and technically-charged stylistic template that Eldritch works in, resulting in a sound that still sees the band maintaining a similar sense of kinetic yet cerebral metallic flair that compares heavily to the mode exhibited by Conception and Elegy. The resulting latest LP “Innervoid”, in additional to recapping the riveting character of this band’s signature sound, sees this new voice proving equal apt at conveying this band’s corresponding themes of social commentary and introspection.
Kicking things off with what can be best described as a synth-pop meets industrial metal prelude with a heavy keyboard overlay that also bears the album’s title, what unfolds with each song is a cacophony of notes and grooves that converges to paint a picture of society in a state of utter woe. Seemingly just as things get going with the first full on song ‘Handful Of Sand (Right Or Wrong)’ this album hits an early apex point, as the longest and most dynamic offering of the lot, it functions well as an exposition but almost seems to upstage everything that follows it. Analogies could naturally be made to noted early Dream Theater, ‘Pull Me Under’, though the pacing and impact factor on this song might be a bit more analogous to something heard on Vision Divine‘s self-titled debut meshed with a Dream Theater sense of progression. Nevertheless, this is an album that continues to convey greatness, with more mid-paced and infectious odes like ‘Elegy Of Lust’ and ‘From The Scars’ trading blows with more punchy riff monsters like ‘To The End’ and the hectic thrill ride ‘Born On Cold Ash’, all the while the stream of virtuoso brilliance flowing from Smirnoff‘s keys and Simone‘s guitars is utterly undeterred.
What might well have been the end of this band has instead proven to be the end of an era that has been followed by a new one that may have the same level of staying power. Jarusso practically marries himself to this band’s core sound without anything resembling a courting period, resulting in an album that can match up to almost everything in this band’s extensive discography, and everyone else involved pulls their weight in the most exemplary way imaginable.
It’s the sort of album that has a strong initial impact, but is so chock full of ideas delivered in such a rapid succession that it’ll likely require at least half a dozen listens to full comprehend; a sort of grower that is also a shower, so to speak. In the absence of any studio output by Elegy over the past 20 years and other outfits of a similar persuasion like Lanfear and Artension either going defunct of being similarly unproductive in the studio of late, Eldritch and fellow Italians DGM appear poised to be the standard-bearers of European power/prog, and Eldritch may well have just gotten the edge if this incarnation of the band has staying power.
Released By: Scarlet Records
Release Date: November 17th, 2023
Genre: Progressive / Power Metal
*“Innervoid“* Track-List:1. Innervoid 2. Handful of Sand (Right or Wrong) 3. Born on Cold Ash 4. Elegy of Lust 5. To the End 6. Wings of Emptiness 7. From the Scars 8. Lost Days of Winter 9. Black Bedlam 10. Forgotten Disciple
Order “Innervoid” HERE.
Innervoid by EldritchThe post ELDRITCH – Innervoid (Album Review) appeared first on Sonic Perspectives.
A somber nod to the old Stockholm sound.Vengeance is said to be a dish best served cold, but an equal case could be made that the same condition should dictate how Swedish death metal is served up. One of the recent bands to hit the scene that agrees with this sentiment is Stockholm-born trio Xorsist, which sports an approach to the old-school sound indicative of what was common in their locale about 30 years prior. In a somewhat similar fashion to earlier revivalist outfit Bloodbath, their adopted style takes on an all-encompassing amalgam of all the prime movers of the early Swedish scene, leaving no proverbial stone unturned while keeping things simple and to the point.
Nipping on the heels of a respectable debut just a year prior in 2022, this outfit’s second go in the studio dubbed “At The Somber Steps To Serenity” sees this fold in a slightly different circumstance. Where previously their number was adorned with a dedicated lead guitarist in Ragnar Larsson whom also handled bass duties, his subsequent exodus has found vocalist/guitarist Gustav Ryderfelt taking on lead duties while newly acquired bassist Birk Castenmalm brings a grimier bottom-end into the equation that ups this outfit’s affinity with the early Entombed sound. Nevertheless, an equally prominent degree of vintage Dismember, Unleashed and Grave influences also adorn this album, as well as maybe some slight hints of the earlier efforts of At The Gates.
Perhaps this album’s most distinctive feature, and arguably its greatest flaw, is the fuzzy and crackling guitar tone that has been selected to go along with an otherwise dank and deep production of the rhythm section. The result, when combined with a vocal performance out of Ryderfelt that favors a higher-pitched, sepulchral shriek with a slightly lesser degree of more guttural barks, is something that almost comes off as blackened in the same manner as something out of Dissection.
“At The Somber Steps Of Serenity” Album ArtworkTo be clear, when dealing with the actual tonal structure of these songs, the style of the riffing and the frequent guitar solo chime-ins, this is purely a death metal album, yet ultimately comes off as frosty and melancholy rather than overtly brutal, a fact which is further bolstered by the woeful piano intro ‘A Life In Vain’ and the utterly somber acoustic interlude ‘Darkened Wings’ and similar passages adorning segments of the massive 8-minute title song that closes the album out.
Aside from the previously noted guitar tone being a bit on the lo-fi side of things and taking away somewhat from the more brutal moments of this album, this is a solid entry for those who prefer the old-fashioned stylings of the Stockholm death metal scene.
Elements of *Dismember‘s thrash happy debut “Like An Everflowing Stream”, Entombed’s two seminal early 90s offerings, and even smatterings of the pioneering death ‘n’ roll sound of Wolverine Blues, as well as key elements from classic Grave and Unleashed are the key ingredients in this tasty stew of frozen entrails and spiritual woe. It might not exude the same sense of professionalism as Bloodbath*, which probably owes to these musicians being a bit younger, but the fire and the moribund passion is definitely there.
Released By: Noise / BMG
Release Date: October 6th, 2023
Genre: Thrash / Speed Metal / Black Metal
*“At The Somber Steps Of Serenity”* Track-List:1. A Life in Vain 2. Carve It Out 3. Blessed By the Divine 4. Imitation 5. Coterie of the Depraved 6. Banished To Obscurity 7. Distorted Shapes 8. Grace 9. Darkened Wings 10. At the Somber Steps To Serenity
Xorsist are: Gustav Ryderfelt / Lead Vocals, Rhythm and Lead Guitars, Backing Vocals * Birk Castenmalm / Bass, Backing Vocals * Alphonse Bouquelon* / Drums, Backing Vocals
Order “At The Somber Steps Of Serenity“ HERE.
AT THE SOMBER STEPS TO SERENITY by XorsistThe post XORSIST – At The Somber Steps Of Serenity (Album Review) appeared first on Sonic Perspectives.
By sonic ritual, the original ghoulish rebirth is codified.Death metal is a force within the broader metal universe that’s existence is often taken for granted, but roughly 40 years ago it was something that the world had yet to experience. Though one might point to the strides made by NWOBHM outliers Venom’s earliest studio offerings as pioneering efforts that would be pivotal in shaping this sonically dangerous craft, circa 1982 it was still an undefined impression that still laid beyond the horizon when a trio of unlikely misfit musicians from Switzerland identified as Hellhammer would bring its image into view.
Drawing from innovators from the 70s such as Black Sabbath and Motörhead, alongside the previously noted Venom, they would spend the next two years forging a sound that was not really understood beyond a small audience within their own country, but would become the template referred to by every prominent extreme thrash and death metal band from Europe to North and South America, culminating in 3 demos, an EP and an auspicious slot alongside Helloween and Running Wild on the famed Noise Records 1984 “Death Metal” split album before their 1984 dissolution.
For a band that has since become regarded as one of the prime movers of extreme metal, the lack of a proper LP coming into being under the Hellhammer name seems a glaring omission of fate, though one that arguably has been remedied recently with the release of Thomas Fischer’s tribute band “Triumph Of Death”’s debut live album “Resurrection Of The Flesh”.
Tapping Punish guitarist/vocalist/cofounder Andre Mathieu, along with bassist Jamie Lee Cussigh and drummer Tim Iso Wey, Fischer has forged a fold that aptly recreates the typical arrangement that defined the early works of Hellhammer, all the while showcasing a degree of musical professionalism that mirrors his own technical advancement in the decades since, arguably cutting against the amateur nature of the group of young Swiss outcasts that originally penned these songs. Nevertheless, the raw power and intensity that was no doubt jarring to the ears of a typical 80s metal listener has been faithfully recreated, hearkening back to a time where the lines that separates death, black, thrash and speed metal were not so clearly drawn and a more archaic approach to contemplating the moribund than even the earliest strides of Cannibal Corpse and Morbid Angel would subsequently explore.
Despite being a live recording that draws from three different performances at Houston, Texas’ Hells Heroes Festival, the Dark Easter Metal Meeting concert in Munich, Germany and the SWR Barroselas Metal Fest in Portugal respectively, this album functions in the same manner that a full length studio release with all the benefits of post-production work would, minus intermitted bits of crowd noise and the Warrior reciprocating in a concise yet enthused fashion.
The 12 individual pieces of early death metal history that round out this collection have been ordered in a manner befitting a well-paced LP, while the sonic dimensions of the whole accomplished by the subsequent mixing job is a sheer marvel of morbid consistency. One can’t help but immediately notice the parallels between each one of these old school metallic anthems of inevitability in their newly refined form and the finalized studio handiwork that Death, Obituary, Entombed and Sarcofago would bring to the table to help kick-start their respective scenes, all the while the older influences imported from Black Sabbath and Motörhead remain more pronounced, particularly in Fischer’s blues-like lead guitar work and gravely, mid-ranged growl.
Though not every song in Hellhammer’s humble discography was afforded a slot on this endeavor, the represented body of work present here amounts to one of the more comprehensive ones every to be unleashed. Compact, speed-based crushers like the opening slaughter fest ‘The Third Of The Storms (Evoked Damnation)’ and a substantial volley of similarly styled middle-grounds between thrash and death metal such as ‘Decapitator’, ‘Horus Aggressor’ and ‘Crucifixion’ show no mercy in bringing the high octane factor to bear, bridging the divide between the speed metal strides of 70s Judas Priest and the extreme thrashing fury of early entries by Kreator and Sodom. Meanwhile, the slow creep that accompanies bass-heavy, doom-infused monsters like ‘Reaper’, ‘Blood Insanity’ and especially the gargantuan, 13-minute rendition of ‘Triumph Of Death’ showcases a band that was years ahead of the curve when it came to approximating the death/doom aesthetic. But regardless of how fast the riffs blaze away or how long each sonic entry endures, a consistent sense of triumph befitting the band’s name hangs over every moment.
In nearly every respect, the music that “Triumph Of Death” has resurrected in the likeness of a ravenous zombie is a far cry from what death metal has come to mean. In a world where blast beats and blurring tremolo riffs played at inhuman speeds and in exclusively atonal relations and the voices accompanying them seem less human still, these songs remind of a time where all of metal was united under a single banner, and ultimately the time where most of the important innovations in the genre would occur. To the ears of the post-Cannibal Corpse death metal trustee, let alone those whom have glommed onto the various subsets of the sub-genre that have emerged since the mid-90s, what is found on here might bear a closer relation to the stripped down, working class demeanor that goes with something black metal groups like Darkthrone or Aura Noir would create in opposition to the modern incarnation of death metal. But in the end, this is death metal in its more primordial form, and thusly its purest form, and those with any level of affinity for the type of music that brought new meaning to the concept of memento mori would do well to lend it their ears.
Released By: Noise / BMG
Release Date: November 10th, 2023
Genre: Thrash / Speed Metal / Black Metal
*“Resurrection Of The Flesh”* Track-List:1. The Third Of The Storms (Evoked Damnation) 2. Massacra 3. Maniac 4. Blood Insanity 5. Decapitator 6. Crucifixion 7. Reaper 8. Horus/Aggressor 9. Revelations Of Doom 10. Messiah 11. Visions Of Mortality 12. Triumph Of Death
Triumph Of Death are:
Tom Gabriel Warrior / Vocals and Guitar
André Mathieu / Guitar and Vocals
Jamie Lee Cussigh / Bass
Tim Iso Wey / Drums
Order “Resurrection Of The Flesh“ HERE.
The post TRIUMPH OF DEATH – Resurrection Of The Flesh (Album Review) appeared first on Sonic Perspectives.
It’s been over a decade since New Jersey-based progressive rock quintet The Twenty Committeereleased their highly impressive debut LP, “A Lifeblood Psalm.” Although influences such as Porcupine Tree, Chick Corea, and Neal Morse were apparent, the collection nonetheless established the group as a rewardingly original and motivated new addition to the genre.
Fast-forward to 2023 and the band has just returned with a brand new record—“The Cycle Undone”—and a slightly revised lineup (lead guitarist Jeff Bishop replaced Steve Kostas). With help from prog rock royalty such as Renaissance vocalist Annie Haslam and Echolyn guitarist/singer Brett Kull, The Twenty Committee ensure that “The Cycle Undone” continues where its predecessor left off while offering some significantly fresh and adventurous new qualities. In particular, it seems more cosmically coated and stylistically experimental than “A Lifeblood Psalm,” thereby taking its creators and their audience to gratifyingly new places amidst proving that their superb first outing wasn’t a one-time fluke.
Right away, opener “Recodified” illustrates those distinctions, as its spacey keyboard and guitar prelude eventually erupts into an ever-changingly playful but intense jam reminiscent of The Flower Kings, Beardfish, Frank Zappa, and Mahavishnu Orchestra. Each movement is commendably varied in terms of its textures and attitude, and the sections flow into each other quite well. Plus, lead vocalist/keyboardist Geoffrey Langley’s softly sung verses (complemented by others’ harmonies) and accompanying pianowork shakes things up even more, allowing “Recodified” to single-handedly demonstrate The Twenty Committee’s growth and worth as both quality songwriters and astute musicians.
“The Cycle Undone” – ArtworkNaturally, pieces such as “Sparks in the Mind,” “The Cycle Undone,” and “Embers” generally adhere to that DNA while also doing enough individually to stand out. The multifaceted title track is especially epic and striving, with Haslam’s signature timbre blanketing the latter half and the funky yet ominous midpoint jazz fusion freakout evoking moments from Steven Wilson’s “The Raven That Refused to Sing” and “Hand. Cannot. Erase.” Elsewhere, the LP taps into lighter and sparser territory. For example, the mostly calm and soaring “A Star in the Eye” – featuring harpist Laura Langley – provides humble reflections, delicate musicianship, and angelic harmonies prior to its Steely Dan-esque rugged electric guitar dualities. Afterward, “Forevermore” and “Robot Death” add a ton of colorful and lively instrumentation alongside charming interlocking voices, whereas wordless epilogue “Dust Returned” is a short yet impactful fusion of atmospheres and piano chords.
Even the album’s lyrics warrant acclaim, as they’re often quite poetic and vivid. Take, for instance, “How to breath, so surreal / The persistence of heart / That fades to memory” (from “Forevermore”) and “Commit your mind, and sensors to / The glories of / A city bathed in gold / Utopia has now been found / Here on this Earth” (from “Embers”). Such inspired sentiments illustrate why Langley and guitarist Justin Carlton’s songwriting partnership is among the group’s greatest assets.
It may’ve taken over 10 years for The Twenty Committee to come back, but the wait was certainly worth it. Not only does “The Cycle Undone” surpass its predecessor in terms of scope, diversity, and ambition, but it easily measures up to virtually all of 2023’s other progressive rock releases. On that note, the record exemplifies why relatively up-and-coming acts often outshine their most iconic brethren, and it’s sure to satisfy any, and all genre enthusiasts.
Release Date: December 12, 2023Record Label: Self-Released (Bandcamp)Genre: Progressive Rock
Musicians: Geoffrey Langley / Lead vocals, keyboards, synthesizers, organ * Joe Henderson / Backing vocals, drums, percussion * Justin Carlton / Background vocals, acoustic guitars, electric guitars, additional keyboards * Jeff Bishop / Lead guitar, additional background vocals * Richmond Carlton* / Bass, harp, additional background vocals
*“The Cycle Undone” Track-list:*1. Recodified
2. Sparks in the Mind
3. Embers
4. A Star in the Eye
5. Forevermore
6. The Cycle Undone
7. Robot Death
8. Dust Returned
Order “The Cycle Undone” HERE
The post THE TWENTY COMMITTEE – The Cycle Undone (Album Review) appeared first on Sonic Perspectives.
Non Est Deus’ fourth album, “Legacy,” delivers modern black metal that is geared toward mainstream audiences. As such, it proves a fairly accessible offering to those willing to give the genre a chance. Founded in 2017, Non Est Deus is the one-man project of Noise, who hails from Bavaria. Noise has had success with Kanonenfieber. Listeners might also know him from Leiþa. “Legacy” proves a solid offering. It exudes power, rebellion, and aggression. Yet, this record is also a very mixed bag.
“Legacy” hooks listeners with its gripping melodies. Beauty and brutality are both accorded their proper place. Killer riffs persist throughout the album. The drums, which were provided by Hans Kanonenfieber, are equally strong. Noise succeeds in crafting attractive atmospheres. The intense harsh vocals demonstrate Noise’s skill as a performer. Yet, his phrasing could be improved. It often feels simplistic. In addition, the anguish expressed does not feel genuine. The English-language lyrics, which reimagine the Old Testament, could be described as lacking. Yes, Non Est Deus is known to be purposely silly, but “Legacy” misses its mark. Black metal can be highly amusing, but a certain amount of cleverness and heart are required. “Legacy” comes across as bland, as opposed to dangerous, high-stakes, and engaging.
That said, “Legacy” quickly catches your attention with the confident and fiery ‘Hiob.’ Although this song provides a fun experience, it sets the tone of utter hopelessness. The musical repetition present on this song may strike some listeners as annoying. The bleak ‘Written on Tombstones’ begins with shouted words of despair and serves as a bit of a change with its different kind of grimness. ‘Amos the Prophet’ is an especially pleasing upbeat number with a lot of character. This just might be a song that listeners can dance to. ‘The Canon of Nil,’ a tank of a track, charms and bulldozes audiences. ‘Babylon,’ the penultimate number, may be viewed as an album highlight. The finale, ‘The Last Act,’ begins on a gentle note with some spoken vocals before exploding with a display of ferocity. The soaring melodies threaten to transport listeners to another realm.
Indeed, all of “Legacy”’s tracks boast a certain amount of charisma. Nevertheless, the nine compositions sound much better in isolation than as a whole. Despite its wicked energy, “Legacy” ultimately turns out to be a tedious, generic, and predictable experience. “Legacy” was recorded, produced, mixed, and mastered by Noise. The production lends a professional sound. Granted, it might not be raw enough for some black metal ears that crave organic feeling.
Overall, “Legacy” is bound to be perceived as a spellbinding triumph by many listeners. Yet, the degree to which audiences enjoy this record will partially depend on their familiarity with black metal. If you are just a casual visitor to the wonderful and hellish world of black metal, you will probably adore “Legacy.” However, if you are a well-studied black metal freak, your opinion of “Legacy” will most likely be on the low end. Although words like “true,” “truth,” “elitist,” and “pure,” can be misused in black metal circles, in this case, no one will misunderstand me if I say that “Legacy” is not true to the spirit of the movement. If you want to hear what black metallic authenticity sounds like in 2023, check out Høstsol’s “Länge Leve Döden” and Manii’s “Innerst i Mørket.” “Legacy,” however, feels like a modern studio product, unoriginal and not very inspired.
Released By: Noisebringer Records
Release Date: May 12
Genre: Black metal
“Legacy” Track-List:1. Hiob 2. Written on Tombstones 3. Amos the Prophet 4. The Canon of Nil 5. Redemption I 6. Redemption II 7. Thousand Years of Sand 8. Babylon 9. The Last Act
Musicians:Noise / Everything
Guests:Hans Kanonenfieber / Drums
Order “Legacy” HERE.
The post NON EST DEUS — Legacy (Album Review) appeared first on Sonic Perspectives.
Tongues’ sophomore album, “Formløse Stjerner,” or “Formless Stars,” officially dropped this summer. Founded in 2012, Tongues hail from Aarhus, Denmark. Their style includes elements of death, black, and doom metal. The quirky and progressive “Formløse Stjerner” is certainly laced with glorious rock-and-roll vibes as well. “Formløse Stjerner” stands as a thoroughly enjoyable offering that should appeal to most metalheads.
“Formløse Stjerner” consists of four compositions — ‘Elder Fire,’ ‘Awake in the Macrochasm,’ ‘Mouth of the Deep,’ and ‘Formløse Stjerner.’ As their titles imply, the first three songs are in English and the final track is in Danish. The well-balanced numbers flow seamlessly into one another, yet they are sufficiently different to keep listeners engaged. They feature pleasing nuances and a fair amount of shifts, which sometimes catch us by surprise and can have a trippy charm.
The songs are often intended to engulf the readers in the maw of the void. Yet, on “Formløse Stjerner,” Tongues incorporate a broad palette of colors. Cold and heat intertwine. The album begins with an eerie ambient intro before the aggression confidently kicks in. From there, “Formløse Stjerner” holds listeners in a headlock. It quickly becomes apparent that “Formløse Stjerner” is dissonant and nightmarish. Tongues create disturbing atmospheres and effective melodies. There are even some nice grooves, as on ‘Formløse Stjerner.’
All of the musicians display competence. The bass provides a stable anchor. When they arise, the beautiful guitar solos elicit admiration. The end of ‘Elder Fire’ is one such moment. The entrancing opening of ‘Formløse Stjerner’ is another. Granted, the riffs could be more memorable. The drums are good, though not especially hard-hitting. “Formløse Stjerner” does include nicely used synths. No, the various elements do not always dazzle as one might hope. The production seems to serve the aims of the musicians. The sound isn’t over-polished, yet it still comes across as professional.
For the most part, the vocals are powerful and fiery. The poetic and cerebral lyrics, which were penned by drummer C. Qvortrup, are well-crafted. It’s clear that Tongues strove to make a profound and meaningful record: “From the mouth of the deep, The strange calm beckons, A silent world void of dissent.” Nevertheless, the lines that are being uttered can seem a bit at odds with their harsh delivery. Or rather, the performances are not always that convincing. There are moments on ‘Awake in the Macrochasm,’ for example, that lose me.
“Formløse Stjerner” ArtworkThis track, which, yes, boasts some entrancing guitar work, has an avant-garde flavor. Avant-garde impulses can be found elsewhere on the album as well. However, it could be said that the team doesn’t lean into them enough to fully embrace them and push the limits. At times, frontman A. Lovmand tests his abilities with shrieks, gasps, and other types of sounds. Yet, his attempts fall flat when you compare them to those of truly versatile experimental masters, such as Dødsengel’s Kark and Dødheimsgard’s Vicotnik. Indeed, in places, “Formløse Stjerner” is a bit reminiscent of Dødheimsgard, though there is simply no comparison. ‘Formløse Stjerner,’ nonetheless, provides some redemption, ending the album on a solid note. It is an epic monster that lasts for over fifteen and a half minutes. This composition works its black magic at a generally slow pace and even includes a bit of chanting. The opus fades away slowly, lending a, dare I say, spiritual quality.
“Formløse Stjerner” feels fresh and modern while retaining nostalgic elements. Many listeners will love the aforementioned mix of styles present on the record. However, “Formløse Stjerner” might be viewed by some as a watered-down, albeit successful, blend of ingredients, as opposed to something that bears an especially unique and strong voice. Again, it seems that Tongues could have achieved something greater had they been more daring. It feels like they held back a bit in their submission to darkness, for instance. As a partial result of this, “Formløse Stjerner”’s potential to impact listeners emotionally is about average. Shining’s “Shining,” on the other hand, is an example of a new extreme metal masterpiece that explores authentic darkness while also incorporating much truly painful beauty. It sets the gold standard in that respect and others. That said, based on “Formløse Stjerner,” it seems that Tongues should have a bright future, even though they have remained under the radar.
Released By: I, Voidhanger Records
Release Date: July 28
Genre: Black / Death / Doom metal
“Formløse Stjerner” Track-Listing:1. Elder Fire 2. Awake in the Macrochasm 3. Mouth of the Deep 4. Formløse Stjerner
Musicians: A. Lovmand / Vocals * C. Qvortrup / Drums * T. Lovmand* / Bass, guitars, keys
Guests: * E. Nyboe / Additional guitars * Nohr / Bass (tracks 1 and 3)
Order “Formløse Stjerner” HERE.
The post TONGUES – Formløse Stjerner (Album Review) appeared first on Sonic Perspectives.
Thirty years later, Paradise Lost’s “Icon” has more than proved that it is indeed a timeless masterpiece. Thus, Paradise Lost chose to celebrate and reclaim this classic record. Because Paradise Lost never owned the rights to Icon’s music and artwork, they had to re-record the album and have a new cover created in order to reissue it. “Icon 30” is a gorgeous triumph that every metalhead should check out. This spellbinding offering is defined by its rare magic, infectious energy, unreal momentum, and veteran confidence.
On “Icon 30,” one of the first things that listeners will notice is the Herculean strength of Nick Holmes’ vocals. He delivers an absolutely magnificent performance. His raw passion and enviable control are cause for wonder. The whole team exudes extraordinary charisma. Their chemistry is remarkable. Paradise Lost seems to embody unity and clarity of vision. After all, each member is original, except drummer Guido Zima Montanarini. On the one hand, “Icon 30” stands as proof that Paradise Lost has the secret to everlasting youth, which is apparent in their beastly power. On the other, Paradise Lost’s work continues to speak to evolved and worldweary souls.
The album’s sound is still massive, and yet, as in the past, it, fortunately, has an intimate appeal. The new production allows the awe-inspiring guitar work to truly pop and shine. This is one of “Icon 30”’s greatest assets. Overall, experiencing Icon 30 can be compared to suddenly seeing a movie in IMAX. The music has a crystalline quality in places. Yet, a beneficial amount of dirtiness persists. This helps give the record a live feel. The album was recorded at the studio of Paradise Lost’s producer Jaime Gomez Arellano as well as at Greg Mackintosh’s Black Planet Studios. We must, however, note that there is a murky charm and character to “Icon”’s dustier production that makes it no less worthy than the more polished updated version. We should also mention that “Icon” was actually recorded and mastered in great places that were used by a long list of top talents. Yes, it is important to remember that the highly accomplished producer Simon Efemey and the others involved did a superb job the first time around.
“Icon 30” ArtworkThankfully, “Icon 30” remains true to the spirit of the original. At the same time, it sounds subtly different enough to give listeners the glorious impression of hearing the tracks for the first time.
There shouldn’t be anything on this record that would give die-hard fans cause for anger. On the contrary, because the essential ingredients remain intact, we hear on the album in question why Icon has proved so influential over the decades. Indeed, it seems impossible to overstate the impact of Paradise Lost. We constantly observe elements of what they pioneered in countless bands. Due to their fearless artistic exploration, Paradise Lost has made various types of breakthroughs, but Icon specifically marked their departure from death-doom.
Nick Holmes’ lyrics and Greg Mackintosh’s compositions remain what they were — brilliant. These masters of chiaroscuro know how to perfectly blend beauty and brutality, grace and muscle, sophistication and aggression, ear candy and meaning. Every track is an expertly crafted gem. The embellishments, such as the symphonic opening on “Embers Fire,” truly arrest us. The female vocals on “Christendom” and the piano on “Deus Misereatur” are every bit as pleasing as they were on the original recording. Despite its nostalgic nature, “Icon 30” feels wholly fresh and even, yes, fashionable in all of its dark gothic allure. The album, of course, treats us to killer riffs, dazzling guitar solos, potent rhythms, wicked grooves, intoxicating melodies, etc. Although “Icon 30” is unbearably heavy both in terms of sound and content, the songs are often extremely catchy. The record most definitely has its upbeat moments. It partially seems like the work of brooding curmudgeons, but it begs you to imagine the music filling stadiums.
Although re-recordings often fall flat, it seems fair to call “Icon 30” an epic achievement. The creators behind it have had a fantastic year in general. Fans loved Greg Mackintosh and Nick Holmes debut album under the Host banner, “IX,” which dropped on February 24.
Mackintosh and Guido Zima’s latest EP by with Strigoi, “Bathed in a Black Sun”, represents yet another victory. We now eagerly await Paradise Lost’s follow-up to “Obsidian” (2020).
Released By: Independent
Release Date: December 1st, 2023
Genre: Gothic Metal / Doom Metal
“Icon 30” Track-List:1. Embers Fire 2. Remembrance 3. Forging Sympathy 4. Joys of the Emptiness 5. Dying Freedom 6. Widow 7. Colossal Rains 8. Weeping Words 9. Poison 10. True Belief 11. Shallow Seasons 12. Christendom 13. Deus Misereatur
Musicians:Nick Holmes / Vocals
Greg Mackintosh / Guitars (lead), keyboards
Aaron Aedy / Guitar (rhythm)
Steve Edmondson / Bass
Guido Zima Montanarini / Drums
Guests:Heather Thompson Mackintosh / Additional vocals (track 12)
Milton Evans / Piano (track 13)
Order “Icon 30“ HERE.
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New horizons abound.Coloring outside the lines has been something of a regular practice for drummer and Montour Falls, New York native Jeff Plate, having cut his teeth in the metal scene with the likes of Savatage and The Trans-Siberian Orchestra during the 90s, alongside a couple of noteworthy stints with Metal Church from the mid-2000s up until 2017, culminating in four studio albums.
This highly eclectic career has no doubt endeared him towards a less conventional mode of musical expression, hence the recent rise of a new project spearheaded by his involvement along with fellow Trans-Siberian Orchestra alumni and keyboardist Jane Mangini in Alta Reign. To call this collaborative effort with a quartet of younger musicians a progressive affair would be an understatement, as their 2021 debut “Mother’s Day” covered just about every base from the technical flair of the 70s prog rock movement through the heavier metallic expression of the genre spearheaded by Dream Theater and a few others in the 90s, and their sophomore follow up “Upon The Horizon” raises the bar even further in every respect.
In similar fashion to its predecessor, this album walks a tight-rope between hard rock and heavy metal that often catches itself veering a bit in one direction or the other at various points, but is overall a balanced blend of accessible songwriting and off-the-cuff musical twists that border on genre-bending. The technical chops on display by all involved is comparable to the flashier adherents of the progressive metal craze of 30 years prior, with several entries coming dangerously close to sounding like unsubtle nods to the likes of Royal Hunt and Vanden Plas. The rock solid foundation provided by Jeff’s precision based drumming, which rivals Mike Portnoy at every turn, is one of this album’s chief fixtures, particularly on heavier numbers like the riff happy ‘No Madness’ and the extended journey of a title song ‘Upon The Horizon’ where this outfit really leans in on the 90s progressive metal approach. For their part, guitarists Tommy Cook and Collin Holloway are equal to the task of keeping things hard-hitting and extravagant, the former letting his virtuoso shredder vibe fly at every possible opportunity while both prove quite apt in a lead vocal capacity.
But when it really gets down to what makes these songs so sugary sweet, one can’t help but dwell upon the brilliant interludes into stylistically distant territory, which occasionally entails walking clear of the metal map. Even on more conventional progressive numbers like the aforementioned ‘No Madness’, Mangini’s jazzy piano runs put an interesting twist on things in the absence of spacey synthesizer leads. In fact, Jane’s approach is more indicative of a Jon Lord influence, as she tends to favor traditional piano and rock organ sounds, with the latter raging away in masterful form on the heavier entry ‘Defy’ and the off-kilter metallic stomper ‘Tip Of My Tongue’.
Even at the album’s earliest beginnings via the extended opening instrumental ‘Reverent’, the noodling piano balladry that unfolds reveals a degree of virtuosic flair that is so pronounced that it ends up upstaging the concurrent lead guitar gymnastics, which proves no small feat given that Tommy Cook often rivals Jon Petrucci’s signature shred-happy style. Things get taken for a truly jarring loop with ‘Have No Fear’, a slow-coasting ballad that vacillates between a standard rocking number and a banjo and slide-guitar driven bluegrass romp.
Anyone who is in the mood for something different, which is generally every stripe of progressive rock fan, will definitely find a smorgasbord of tasty auditory treats in this slickly produced bundle. It can best be described as a slightly less esoteric and more concise version of what would have been considered the more adventurous end of Dream Theater’s early career with James LaBrie at the helm, though the vocal work put forth here courtesy of Cook and Holloway is a bit closer to the older, straight rock vocal sound that a 70s act would have put forth. It wants for nothing in terms of rock-ribbed metallic bona fides, though its principle focus is capturing the tornado of progressive music’s penchant for genre-hoping in a bottle and packaging it for greater accessibility, and on that front it succeeds beautifully.
It wouldn’t be much of a stretch to see old guard fans of The Alan Parsons Project and Yes taking to an album like this, along with those that have followed Jeff’s career behind the kit with Savatage, and those fortunate enough to procure the CD edition of this album will find a banger entry of a bonus track in ‘Beneath The Rose’ featuring the six-string work of Al Pitrelli and Chris Caffery to boot.
Released By: Rat Pak Records
Release Date: November 24th, 2023
Genre: Melodic Progressive Metal / Rock
“Upon The Horizon” Track-List:1. Reverent 2. No Madness 3. Defy 4. Between the Eyes 5. 3’s 6. Upon the Horizon 7. Tip of My Tongue 8. Have No Fear 9. Animation 10. Beneath the Rose
Order “Upon The Horizon“ HERE.
The post ALTA REIGN – Upon The Horizon (Album Review) appeared first on Sonic Perspectives.
Winter has come again.Following in the grand symphonic tradition laid out by Rhapsody Of Fire, Dark Moor, Fairyland and several other prime movers of the European 2nd wave of power metal, Genoa-based Winterage have come something of a rising star of the scene with their own unique take on the style.
Though the high period of Alex Staropoli and Luca Turilli’s compositional collaboration has been this outfit’s go-to place of inspiration, they’ve cut out a unique niche for themselves by taking a few cues from Italian folk metal trustees Elvenking by making the solo violin one of the focal points of their arrangement, all the while sticking more closely to the Neo-classical operatic approach to things. Though their studio output has been somewhat sparse since their 2008 inception, culminating couple of respectable studio LPs and an EP, their recent output has seen their ambitions grow considerably, culminating in a newly minted metallic monster of a 3rd studio album dubbed “Nekyia”.
In contrast to their last album “The Inheritance Of Beauty”, what is presented here is a more compact and driving approach to power metal that resembles the glory days of the late 90s and early 2000s where the likes of Symphony Of Enchanted Lands and The Hall Of The Olden Dreams were setting the original standard.
Fast-paced, double kick happy speed anthems that employ blazing yet concise amounts of virtuosic flair dominate the lion’s share of the track list, while balladry and extended epic forays beyond the 6-minute mark are employed sparingly. It’s still the same basic formula from a stylistic standpoint, featuring an equal level of prominence between multi-instrumentalist and arranger Gabriele Boschi’s expressive violin work and guitarist Gianmarco Bambini’s sweep-happy guitar solos and rapid fire riffs, while vocalist Daniele Barbarossa’s high flying tenor shifts between full on operatic bluster and a somewhat grittier wail.
Starting off in typical programmatic fashion, the album is ushered in with a dynamic overture dubbed ‘Apertio ad Profundum’ with the orchestra and choirs blazing away in true cinematic fashion to build up tension for the inevitable explosion. And surely enough, this album does explode something fierce with a trifecta of certified power metal crushers in ‘Simurgh The Firebird’, ‘The Cult Of Hecate’ and ‘Numen’ respectively, cycling through a blistering assortment of galloping riffs and driving speed metal segments as Boschi’s violin provides a smooth melodic contrast.
Through it all, the comical campiness that one often associated with the 3rd wave symphonic stylings of Twilight Force and Gloryhammer are absent in favor of something more dramatic and serious. Subsequent anthems that follow a similar scheme of driving speed and dramatic displays ‘Dark Enchantment’ and ‘White Leviathan’ take on a darker and more aggressive tone, the former becoming agitated to the point of sheer chaos while the latter goes pretty heavy on the melodic hooks with a folksy edge.
In keeping with the Rhapsody Of Fire template that has always been heavily relied on by this fold, this album isn’t exclusively built off of speeding and Neo-classical wizardry, though that is most of what occurs. The slow-paced and serene balladry of ‘La Fonte d’Essenza’ highlights this group’s prowess in toning down the pomp and bluster for something more subdued, channeling several of the token ballads from noted symphonic power classic LPs from two decades past. Meanwhile, the somewhat longer compositional endeavors on here, namely the title song ‘Nekyia’ and the near 7-minute epic slough ‘Metamorphosis: A Macabre Ritual’ opt for something that’s a bit less reliant on speed in favor of a progressive take on the style, the former wheeling through some intricate transitions in rhythm and feel that really showcases drummer Luca Ghiglione’s prowess behind the kit, while the latter throws in some extreme metal elements and also sees Boschi’s violin and orchestration chops go on full blast.
For those that have been sticking with the ongoing career of noted symphonic power metal mainstays from the 2000s yet are nostalgic for the way things were back when the style was in its youth, Winterage have thrown together yet another ringer of an opus that plays perfectly to the aforementioned sentiment. It’s a boon for those whom want their metal chock full of technical high-jinks and Neo-classical clichés, so it goes without saying that shred fans of Malmsteen and Impellitteri alike will go for this provided that don’t mind a bit of Nightwish-styled operatic drama going on at the fringes.
If the relatively close proximity that this album has to this outfit’s 2021 sophomore album is any indication with regard to their sparser output back in the 2010s, it is hopeful that Winterage will be a more prolific force in the near future, which would be a welcome eventuality given the more sporadic showings that have been occurring in this style by the old guard of late.
Released By: Scarlet Records
Release Date: July 7th, 2023
Genre: Symphonic Power Metal
“Nekyia” Track-List:1. Apertio ad Profundum 2. Simurgh the Firebird 3. The Cult of Hecate 4. Numen 5. Nekyia 6. La fonte d’essenza 7. Dark Enchantment 8. White Leviathan 9. Metamorphosis, a Macabre Ritual 10. Resurrectio ad Mundum
Order “Nekyia“ HERE.
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Let the spirit take you higher.For about as long as the revival of traditional heavy metal has been raging, there have been a select few who’ve endeavored to bring back that signature mid-80s AOR sound in all its saccharine-steeped, utterly infectious glory for a new generation. Curiously enough, some of the more consistent projects seeking to resurrect this once maligned and then lost art have been prominent members of more aggressive and modern expressions of metal.
In much the same way that Bjorn Strid and Sharlee D’Angelo’s collaborative effort The Night Flight Orchestra has been making waves for over a decade playing the Swedish take on radio-oriented rock from a bygone era, multi-instrumentalist and renowned member of such noted acts as Pharaoh and Dawnbringer Chris Black has been keeping the Chicago end up with a similarly geared one-man project dubbed High Spirits. Though his take on the hard rock-leaning heavy metal style of yesteryear is a bit harder edged and lacks the heavy use of keyboards, it has run for about as long and yielded similarly exceptional results.
Standing as the 5th studio LP in 14 years of making the old new again, 2023’s latest addition “Safe On The Other Side” marks a level of cohesive, hook-driven and highly addictive songwriting that is quite formidable. Such noted acts of rock and metal antiquity such as Thin Lizzy, Scorpions, Demon and Judas Priest prior to “Screaming For Vengeance” are counted among the principle influences in shaping these ten well-polished anthems, each one an exercise in professionalism that seamlessly pulls off the illusion of a full band performing.
No instrument is neglected, though the presentation remains streamlined and to the point, with Black’s drum work opting for the most restrained and support-based approach of the instrumentation to allow his crisp, mid-ranged tenor voice and Gary Moore-inspired guitar work to lead the arrangement. Occasional flourishes of Iron Maiden’s dueling harmonies and melodic lead guitar lines adorn several of these songs, though the actual solo work proves a bit less flashy than what Murray and Smith would bring to the table, with a late-70s manifestation of K.K. Downing occasionally cropping up whenever things wander outside of the blues rock box.
As a total package, this is an album that is almost completely equally yoked, with no individual song qualifying as filler. Nevertheless, certain entries can’t help but stand a bit above the rest of the pack, with opening foray ‘In The Moonlight’ and riff happy banger ‘Anything You Need’ hitting the hardest both in terms of kinetic energy and the bite of the riff work, which reminisces upon the more aggressive rocking entries of the early 80s. Then again, the mid-paced flair and infectious odes of ‘Lonely Nights’ and ‘Loving You’ feature those signature sing-along choruses right out of the Scorpions playbook circa 1982 that just stick in one’s memory and refuses to leave.
Those seeking a harder, metallic edge with a reasonable amount of technical flair will definitely take to ‘(There Will Be) Magic Tonight’, which also sees Chris whipping out some Geezer Butler-inspired bass licks to spice things up, though his guitar work naturally ends up stealing the show. Likewise, the more stripped down and cutting rendition of early Europe song ‘Memories’ is masterfully realized, with Black’s vocal work being maybe a tad less boisterous than Joey Tempest’s original performance, but no less adequate.
Those seeking a project that tries to reinvent the wheel are advised to go elsewhere for their musical fix, as what Chris Black’s High Spirits brings to the table here, as always, is an unapologetic fit of retro-rock traditionalism that’s been done many times before, and will likely be done again by many more. Particularly those who are disposed towards the days when hard rock and heavy metal were difficult to distinguish from one another, as well as those whom fondly remember the early days of the NWOBHM where the influence of Ritchie Blackmore and Jimmy Page had not yet fully given way to heavier precedents, will want to hear this about ten or twenty times before the end of the year. For what it may lack in modern studio gimmickry or over-the-top instrumental high-jinks, this is the sort of vintage metal that falls under the moniker of a new classic, and definitely in the running for the best traditional metal offering of the year. Lift your spirit up to the sky, and then try to soar a little higher and you’ll begin to grasp the core concept.
Released By: High Roller Records
Release Date: November 24th, 2023
Genre: Hard Rock / Heavy Metal
“Safe On The Other Side” Track-List:1. In the Moonlight 2. Til the End of Time 3. Lonely Nights 4. One Day Closer 5. Anything You Need 6. (There Will Be) Magic Tonight 7. Loving You 8. Please Don’t Leave Me Behind 9. Memories (Europe cover) 10. Good Night
Order “Safe On The Other Side” HERE.
Safe on the Other Side by High SpiritsThe post HIGH SPIRITS – Safe On The Other Side (Album Review) appeared first on Sonic Perspectives.
Of all the nascent metal scenes to crop up in recent years in nations with historically sparse representation, the one that has been brewing in Cyprus of late is of particular note for its unique blend of traditionalism with modern flourishes.
No more is this apparent than those projects running adjacent to the recent NWOTHM craze, spearheaded by the earlier strides of outfits like Solitary Sabred and Astronomikon, which has inspired a new crop of traditional metal bands that have proven quite formidable. Alongside the recent lightning bolt of a debut put forth by epic metal upstarts Receiver, the field has now grown to include a more ferocious and modern twist on the early 80s represented in such seminal offerings as Manowar’s “Into Glory Ride” and Manilla Road’s “Crystal Logic” in March To Die. Though a very recently conceived project, in contrast to Receiver they boast a veteran lineup that includes Solitary Sabred guitarist Nikolas Moutafis and former Electric Wizard bassist Tas Danazoglou, culminating in a massive debut undertaking dubbed “Tears Of The Gorgon”.
In contrast to many other bands flying the epic metal flag of late, this quartet has opted to emulate the classic early 80s style by largely avoiding the practice of trying to outright time travel back to said era.
The production work of Nikolas Moutafis could best be likened to the pounding aggression of a dense hammer striking metal typified in Manowar’s 90s and 2000s albums, showcasing a guitar tone that cuts with about the same force as a modern thrash sound, while Tas’ bass work enjoys a heavy amount of prominence in the mix comparable to the grinding, distorted character of Joey Demaio’s recent handiwork, albeit minus the overt shredding approach.
The general tone and tempo of the songs and their overall progression leans into a heavy-ended, slow to middle pace approach that resembles Cirith Ungol’s mid-80s work, keeping things mostly streamlined musically while not shying away from going a bit longer as Manowar was wont to do when exploring similar territory. Though the element that truly sets this band and album apart is the gritty, barbaric roar of vocalist/guitarist Alex Danazoglou, coming off like a Greek answer to Grave Digger’s Chris Boltendahl with a side helping of Eric Adams-styled operatic tendencies.
In keeping with the lofty and elaborate subject of Hellenic mythology being explored via lyrical content, “Tears Of The Gorgon” is an album that doesn’t shy away from adding a theatrical element to their otherwise barebones approach. Like the military beat of the mighty armies of Greece marching towards the city of Troy, a recurring employment of timpani, low-tone horns and synthesized choral voices paints over much of this album, though in a tasteful fashion that serves to augment the atmosphere rather than fight the rest of the arrangement for prominence.
The slow-trudging majesty of this album’s musical exposition ‘The Eternal Oath’ presents a perfect balance of cinematic pomp and metallic thunder that could easily rival Manowar’s grand arrangements featured on “Kings Of Metal” and “The Triumph Of Steel”. Similar recurring moments of bluster and largess paint over the doom-like stomp of ‘Son Of The Old Gods’ and ‘Stand And Be Counted’, the latter sounding starting off like something that could have occurred on Manowar’s infamous ‘Achilles: Agony & Ecstasy in 8 Parts’ epic before laying down the heavy riffs like it’s going out of style.
Naturally this album isn’t a uniform exercise in quasi-symphonic pomp and circumstance, with several entries sticking closer to the basics of heavy metal and fitting in comfortably with the standard retro-feel of the New Wave of Traditional Heavy Metal sound. Though largely sticking to a middle of the road pace, the infectious banger of a song bearing the band’s moniker ‘March To Die’ relies exclusively on the basic guitar, bass and drums arrangement and listens like a slightly heavier and modernized take on what a standard British metal entry circa 1981 might sound like, complete with recurring melodic lead work and a shuffling tempo change with a bluesy rocking feel that almost sounds like a lost section from a Diamond Head song.
Other straightforward chapters in this anthology of Hellenic might such as ‘Hail To Thee’ and the up tempo sonic aggressor ‘Decapitation’ also feature more stripped down arrangements, the former going the catchy fist-pumping route, while the latter goes a bit crazy between the riff work and whammy-happy guitar soloing and almost veers into thrash metal territory.
This will definitely be a band to watch for those that miss the days when Manowar was putting out ambitious masterworks every other year, as well as those who want a band flying the traditionalist flag without draping it over a production that sounds as thin and dated as was typical during the era that birthed it.
This is metal that puts a much needed emphasis on the heaviness factor, all the while avoiding the trap of sacrificing accessibility in the name of aggression and presenting a well-rounded collection of individual songs. It mixes just the right amount of eastern mystique in relation to the western-leaning tonality that goes along with an old school metal approach to reflect the unique vernacular flavor that is typical to its place of birth, thus giving a more authentic take on the myth of the Gorgon and other various tales of the region in contrast to the picture presented by Hollywood, underscored by the archaic 17th century visual depiction of Medusa adorning the cover. The name of this band’s game is authenticity, and they play it quite well for their first go around.
Released By: No Remorse Records
Release Date: November 24th, 2023
Genre: Epic Heavy Metal
“Tears Of The Gorgon” Track-List:1. The Eternal Oath 2. One Eyed King 3. Hail to Thee 4. Son of the Old Gods 5. Helmetsmasher 6. March to Die 7. Stand and Be Counted 8. Decapitation 9. Tears of the Gorgon
Order “Tears of the Gorgon” HERE.
The post MARCH TO DIE – Tears Of The Gorgon (Album Review) appeared first on Sonic Perspectives.
By controversy, mystique arises.
Black metal’s highly ideological underpinnings have, for right or wrong, made it one of the most parochial scenes within the metal umbrella. As such, even the slightest deviations from the 2nd wave orthodoxy that was set during the early 90s in years since has been treated with contention, ironically or maybe fittingly so since separatism between national scenes during that same time period was rampant.
The entry of Danish-American model turned musician Amalie Bruun, better known by her stage name Myrkur, into the post-3rd wave context of the mid-2010s naturally courted a great deal of controversy among 2nd wave purists, and in the 10 years since little has changed in spite of, or maybe because of her now extensive body of work. The arrival of her fourth studio LP Spine will likely sway few that hold black metal to only be true by its commitment to the grim and frostbitten ways of old, but on its own merits it presents a musically compelling picture of an artist who has definitely added something worthwhile to the metal paradigm.
To those yet initiated into the world of Myrkur, the stylistic presentation she works within places greater emphasis upon folk music and atmosphere building, with the metallic side of her creative pallet functioning in more of a secondary capacity. Shrieked vocals are rarely employed in favor of a dreamy, angelic vocal display that bears some similarity to occasional clean female vocal performances from 90s black and death/doom metal outfits, particularly that of Siebenburgen and Theater Of Tragedy. Likewise, the atmospheric flavor and occasional Gothic stylings intermingle with what comes off as a lighter and smoother take on 3rd wave approach, comparing particularly to the likes of Agalloch, Fen and especially Alcest. The melodies resting above the generally warm and controlled fray are notably consonant and infectious in nature, resulting in something that sounds partly like the tonal musings of a woodland bard and the serene refrains of a lullaby. In fact, one might be tempted to label this as extreme metal tailored for those who otherwise don’t frequent the extreme fringes of the metal spectrum.
In every respect, “Spine” lives up to its implied nature as a stabilizing part of a skeleton, manifesting itself as a comprehensive and well-rounded display of what Myrkur has been known for over the past decade.
“Spine” ArtworkThe slow-droning folksy flavor of the opening prelude ‘Balfaerd’ kicks the album off on a cinematic note, reminding a fair bit of Enya’s musical contribution to Peter Jackson’s The Fellowship Of The Ring, and providing a perfect segue into a series of beautiful crafted odes. On the Gothic side of the coin are a series of largely compact yet free moving anthems such as ‘Like Humans’ and ‘Blazing Sky’ that feature reasonably prominent distorted guitars superimposed on an ethereal arrangement of chanting vocals and keyboards, the former being particularly hook-driven yet also featuring a reasonably prominent blast section.
The synth-drenched ‘Mothlike’ gets a bit closer to a blackened aesthetic and even becomes harsh for a fleeting moment, but largely falls back on more of an Ulver-like industrial vibe, while the blast-happy sea of choirs ‘Valkyriernes Sang’ could almost pass for a shorter work from Wolves In The Throne Room were Myrkur to favor a harsher vocal display for more than just a fleeting interlude.
On the other hand, given the diverse array of influences that Myrkur has employed from the very beginning of her musical career, this 33 minute excursion into the world of Nordic dreams comes with a fair number of contrasting entries. The piano-driven ballad ‘My Blood Is Gold’ takes on a somber yet surreal tone, almost like a lovelorn take on ‘Gollum’s Song’ from Peter Jackson’s The Two Towers, while the subdued atmosphere and folksy croon of the title song ‘Spine’ takes on a surprisingly jarring metallic twist at a few key points, complete with a brilliantly placed blackened tremolo riff passage to bring it all home.
The collision of an Enya-like blend of entrancing folk tunes and a dense keyboard atmosphere with some jarring metallic twists reaches a fever pitch with ‘Devil In The Detail’, before passing into a tranquil denouement with the short ballad and outro ‘Menneskebarn’, which recaps the lullaby-like tendencies of Myrkur’s style in a very blatant way.
Though this is not something that plays directly to the black metal scene, and ultimately only shares a tangential relation to it as one of its most light and accessible expressions, as a general work of art this is an album that casts a wide net and can be enjoyed by a correspondingly large audience. That may well be at the heart of why Myrkur is generally regarded dismissively by trustees of extreme metal, as for her it functions less as an adoptive style and more as a means of contrast with her core blend of folk and industrial influences. It underscores the distant and tenuous relationship that a subsequent wave within a given sub-genre shares with previous ones, particularly black metal’s present 4th wave with the dark and ugly primordial expression the style embodied prior to the turn of the millennium. But for those who want to drift off to the meditative compositions of a gifted siren and multi-instrumentalist, there is plenty here to enjoy.
Released By: Relapse Records
Release Date: October 20th, 2023
Genre: Atmospheric Black Metal / Folk
“Spine” Track-List:1. Bålfærd 2. Like Humans 3. Mothlike 4. My Blood Is Gold 5. Spine 6. Valkyriernes Sang 7. Blazing Sky 8. Devil in the Detail 9. Menneskebarn
Order “Spine“ HERE.
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Cliche or not, the phrase “Necessity is the mother of invention” is inevitable when describing Randy McStine’s new EP “Unintentional”. The original material herein was written just a couple of months ago for a specific live festival gig that McStine was booked to play. Fresh off the latest Porcupine Tree live dates (perhaps the final Closure? TBD), inspiration was pouring through his veins and so he dedicated himself to writing enough brand new material to fill his upcoming live set.
The festival happened to carry a blues focus, a form that McStine has been steeped in since a young age (yeah, he’s still young, but we’re talking 12 years old). So, he crafted over half a dozen tunes, demo’d them at home, got together with a bassist and drummer and played the gig. Although his solo career hasn’t really focused much on the blues idiom, McStine found so much affinity with this style that after the show was over he realized he wanted the new material to be preserved. So he took his own guitar and bass recordings, laid some new vocals over half the tunes, and sent them to none other than Marco Minnemann who recorded drums on everything in two takes.
The resulting six tracks are now presented in their completed form – raw yet sincere, immediate yet intricate. McStine was determined to stick to the uncluttered power-trio form of one guitar, one bass, drums and, at times, one vocal. No keyboards, harmony vocals or backing guitar tracks. This homage to Jeff Beck, Robin Trower, Peter Green, Billy Gibbons and more was very intentional in its design. Thus, we have brand new music from Randy McStine – BLUES, no less – and can enjoy while he gets on with the other projects he had originally been planning to focus on before this unintentional detour took over.
Ironically, although this is labeled as an EP, it’s only a few minutes shorter than McStine & Minnemann’s debut “album”. At that time the duo had been following the approach of many 70s bands, such as Van Halen, who recorded powerful classic albums that were under 35 minutes long, bursting with so much talent that no one even thought of calling them an EP.
“Unintentional” Album ArtworkThe six tracks on “Unintentional” trade back and forth between instrumentals and vocal songs, a good balance that ultimately leaves the listener wanting more. The three instrumentals follow a slinky theme of a day in the life of “the Mink”, starting with ‘The Mink Is Born’, going to a day ‘In the City’ and finally ‘Goes Home’. Reportedly there’s an in-joke between McStine and Steven Wilson about this character of the Mink, and McStine has mentioned that the titles are a nod towards Camel’s ‘The Snow Goose’.
For guitar fans, these three instrumental tracks are gold. Rarely do we get to hear McStine’s six strings so unencumbered by lyrics or other instruments, the chiming distorted blues figures ringing out in satisfying ecstasy. ‘The Mink Is Born’ and ‘The Mink Goes Home’ are laid back affairs but also album highlights to these ears, capturing such sensitive and emotive guitar playing from McStine, truly blissful. Minnemann is relatively restrained, fitting the mood perfectly with a loose approach, while McStine’s bass impressively supports underneath with just the right touch. ‘The Mink In The City’ gets more funky as our mysterious character swaggers down the sidewalks, perhaps visiting some dive bars on his way. It’s a delight not have any additional instruments in the mix, as there’s plenty for these three instruments to explore.
The vocal tracks brush closer to McStine’s previous output, though with a decidedly more bluesy feel, especially the powerful ‘You Can’t Change The Truth’. When it’s time to hit the guitar solo, what a treat for only bass and drums to back it up so that we can take in each riff. The stinging guitar is matched by the biting lyrics, “When we decide to look away, we owe a debt that we can never pay in our souls, and we can’t be forgiven if we don’t care to know.”
‘Building A Monster’ is the heaviest track on the album, which feels the most like it could fit on a McStine & Minnemann album, that is until its blues jam in the middle. Taking on the out-of-control monster that is AI, McStine isn’t lightening up on the lyrics on this EP, which continues with the closing ‘Mother Nature’ which pounds us into submission. “Mother Nature knows what she has to do to get rid of you. Mother Nature shows when she wants to take back her love.” Damn.
Overall, “Unintentional” is a treat front to back. Sometimes it’s best not to overthink creativity and McStine has stayed true to his vision to keep this raw and direct. If he can churn out such a rewarding album…ehem, EP…this quickly, he might do well to take this approach more often. It should be mentioned that although the approach is very off-the-cuff, the venerable Rich Mouser was brought in to produce the material, which means that it doesn’t come off as a garage band but as an expertly mixed polished trio. And while there might not be as much that’s “original” here given the classic sources of his inspiration, this is an original realm to McStine’s catalog, and a most welcome one at that.
Released By: Independent
Release Date: December 1st, 2023
Genre: Blues Rock
Musicians: Randy McStine / Vocals, Guitar, and Bass * Marco Minnemann* / Drums
“Unintentional” Track List:1. The Mink Is Born 2. You Can’t Change The Truth 3. The Mink In The City 4. Building A Monster 5. The Mink Goes Home 6. Mother Nature
Order “Unintentional“ HERE.
UNINTENTIONAL by Randy McStineThe post RANDY McSTINE – Unintentional (Album Review) appeared first on Sonic Perspectives.
Hailing from Sweden, *Moon Safari have been wowing audiences for nearly 20 years, yet still feels like one of prog’s best-kept secrets. That’s partly due to the 10 years that have passed since their last album, one of the longest pauses between a two-part concept album ever. In some ways, it’s misleading to see “Vol. 2” on their new release, lest that suggest this is merely a continuation of Vol. 1 in the same mold. To the contrary, “Himlabacken Vol. 2”* reeks of a tour de force comeback album, establishing its own unique identity and putting the band back on the map as one of the most exciting young(ish) prog bands out there.
For those not already familiar, what sets Moon Safari apart is their incredible vocal harmony arrangements. With three members of the band being brothers and having grown up with a musical father who was heavily influenced by Gene Puerling (The Hi-Lo’s) – who also influenced Brian Wilson – the resulting harmonies are unlike nearly anything else in the progressive rock world. With four members singing lead vocals, and the other two members also adding backing vox, this is a vocal group like few others can match. Add to that a wealth of impressive musicianship that can handle clever pop to complex jazzy prog, these guys can do anything. And on their new release, they do exactly that.
Nostalgia runs rampant on these two concept albums, which accounts for the lyrical and sometimes musical references to their youth. Still, it’s a bit jarring to hear the opening track “198X” sound pretty much like Van Halen’s “Jump” right out of the gate, along with other 80s motifs. It’s all in good fun and serves as a brief welcome before we get into the more substantial compositions like “Between The Devil And Me”. The band had charmed a lot of fans who swooned over their third release “Lover’s End” but I had always been partial to their more prog-heavy second album “Blomljud”. Fortunately, the prog is back as this album combines the best of all worlds, of which this “Devil” track is a great representation. You can tell it’s something special just from the opening sensitive piano intro from Simon Åkesson, which then evolves into a full-on prog mini-epic, inspired by Simon’s dilemma about whether or not to leave the band years ago. Supremely arranged over its 10-plus minute running time with beautiful vocal and engaging instrumental sections, this is one of Moon Safari’s best.
As if to prove they can pivot on a dime, the band follows it up with the pop ditty “Emma, Come On”. It invites a singalong vibe, but even following where to come in on the “Ohhhhho!” ending of each verse line is tricky when the verses are in 9/8. One thing Moon Safari knows how to do is deliver a satisfying ending, bringing the song to a climactic finish. “Emma” is a prime example but even more impressive is the following “A Lifetime to Learn How To Love” which has such a dramatic ending that it’s hard to believe the album doesn’t end along with it. Sounding like an emotional pop ballad on its surface but stretched out to 8 and a half minutes, “Lifetime” finds the lead vocalists giving it their all, complete with church organ, choir samples, and a guitar-hero-worthy solo from Pontus Åkesson.
“Himlabacken Vol. 2” ArtworkLet’s take a moment to focus on two of the key factors in putting the “rock” into this album: Pontus Åkesson and Mikael Israelsson. Pontus’ guitar playing is truly world-class, as evidenced by the many standout solos on the album. He came into the band with impressive playing even at a young age, but he’s really taken off. Throughout the album, he gives a bit of bite to his tone to ensure that this stays a rock band. Behind the drum kit is a new addition, the impressive Mikael Israelsson whose old band Black Bonzo you are highly encouraged to check out (one of the best live performances I’ve ever seen, powered by Israelsson’s Bonzo playing on the drums). His presence helps drive the band towards an even stronger presence, as does Rich Mouser who mixes and masters “Vol. 2” to maximum effect.
Okay, back to the album, and a spine-tingling track that ironically barely features Pontus’ guitar or Israelsson’s drums: “Beyond The Blue” is an entrancing mostly a-cappella gem right in the middle of the album which then leads into “Blood Moon”, another cleverly arranged radio-friendly tune at a digestible 5 minutes. Trevor Rabin fans should enjoy some of his influence on this band, among many others.
This leads us to the true epic of the album, the sprawling 21-minute “Teen Angel Meets The Apocalypse”, one of the many highlights of the band’s career. Opening with a symphonic prelude, the members then trade off singing lead vocal lines before going into a catchy, almost solstice-inspired chorus of “Ring your bells for every child beneath the sun”. There’s plenty of instrumental frenzy to come, vocal choir sections that rival Queen, and a blistering solo from Pontus. A triumphant closing finale with keyboards galore wraps up with a final play on “London Bridge is falling down”.
There’s a very fitting close to the album in “Epilog”, sung in their native tongue and accompanied by church organ, just perfect. However, it’s preceded by another 10-minute track “Forever, For You”, featuring lots of acoustic guitars, a Jamison Smeltz cameo sax solo, and classic Moon Safari arrangements. It’s a fine song but for me, after the 21-minute epic, it was just more than I needed and I would have been fine with going right into the sweet closing “Epilog” instead. Keeping the album under an hour long and holding that “Forever” song for a future release would have been a better choice in my book, but that’s about the only thing resembling a critique that I can make about the album.
If it’s not clear by now, Moon Safari have returned in spectacular fashion, stronger than ever. Hopefully, this will be the album to catapult them to greater attention which they surely deserve. Do yourself a favor and savor these delights from Heaven Hill, there surely is more to come.
Released By: *Blomljud Records Inc.
Release Date: December 6th, 2023
Genre: Progressive Rock*
“Himlabacken Vol. 2” track-listing:1. 198X (Heaven Hill) (3:55) 2. Between the Devil and Me (10:38) 3. Emma, Come On (3:19) 4. A Lifetime to Learn How to Love (8:28) 5. Beyond the Blue (2:12) 6. Blood Moon (5:44) 7. Teen Angel Meets the Apocalypse (21:03) 8. Forever, For You (10:08) 9. Epilog (3:22)
Moon Safari is: Petter Sandström / Lead and Backing Vocals, Acoustic Guitar * Simon Åkesson / Lead and Backing Vocals, Piano, Organ, Moog * Pontus Åkesson / Lead and Backing Vocals, Electric and Acoustic Guitar * Sebastian Åkesson / Backing Vocals, Assorted Keys, Percussion * Mikael Israelsson / Backing Vocals, Drums, Percussion, Keyboards, Piano * Johan Westerlund* / Lead and Backing Vocals, Bass Guitar
With a special guest performance by Jamison Smeltz (Saxophone) on ‘Forever, For You’
Order “Himlabacken Vol. 2“ HERE.
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Call them Magenta of a slightly different hue. Cyan is Rob Reed’s earliest band, tracing back to his school days as he came of age into the role of prog musician. Originally releasing three albums under the Cyan name, Reed set the stage for much bigger triumphs ahead. As if he didn’t already have enough projects at hand, a few years ago Reed decided to go back to his original band’s material and give it a reboot. Enlisting the remarkable Luke Machin on guitars and Peter Jones on vocals, along with Dan Nelson on bass, Cyan 2.0 was suddenly approaching the term “supergroup” and stacking the deck in its favor.
Cyan’s first redux attempt in 2021, “For King And Country”, was a strong launch for the new ensemble. Not only did the new cast of musicians raise the bar of performance but Reed also took time to rearrange the material to benefit from the maturity of intervening decades. On this second foray into Reed’s past, the band again succeeds with a delightfully engaging album, filled with satisfying performances and skilled production.
“Broken Man” opens the album and immediately Jones makes his presence known with an emotive performance. Each time he sings “Feel the snow, feel the rain”, one could only wish prog always sounded this good vocally. As if that weren’t enough, female vocalist Angharad Brinn is featured throughout the album, a wonderful counterpoint to Jones’ vocal. You can almost hear the same approach to vocal lines that Reed authored for Magenta’s Christina Booth with Brinn’s delivery. The song is an impressive 11-minute opener, Machin’s guitar blazing with tasty solos throughout, the band sounding tight and inspired.
“Pictures From The Other Side” ArtworkThe title track gives Jones a chance to blow on the saxophone, though the song does have more of an 80s feel to it, especially with some of the keyboard choices. More soulful is “Solitary Angel” which really gives Jones, Brinn, and Machin many opportunities to belt it out in a beautiful emotive display. “Follow The Flow” is the most gorgeous moment on the album, a piano and vocal ballad that offers a welcome respite from the prog attack of the rest of the album. *Jones’ and Brinn*’s duet is a high point.
“Tomorrow’s Here Today” stands out immediately with its intriguing guitar progression. Once again, Brinn’s presence poignantly elevates the arrangement and Jones gives a Peter Gabriel-worthy performance. Reed’s synths and Machin’s guitar blaze away later on as the song picks up speed, and Nelson is always driving the rhythm forward with his deft bass playing. The 18-minute “Nosferatu” closes the album, again offering *Jones a chance to really go for it as he expresses the thrills and agony of the vampire life. This one is a little uneven – there are plenty of thrilling musical sections but it also comes off a bit campy lyrically, wearing its heart on its cape sleeve a bit much. Such is the nature of a young Reed* project, though, and it’s all good fun.
Overall, Cyan is a fantastic old shoe made new & shiny thanks to the exceptional musicians involved. Reed gives his main project Magenta a run for their money in terms of satisfying classic prog-rock, and gives Jones one more ideal platform for him to shine on. It’s always a thrill to hear Machin on the guitar, and the addition of Brinn is over the top. Combined with a rock-solid rhythm section, Cyan brings all the retro prog feels.
Released By: Tiger Moth Records
Release Date: November 17th, 2023
Genre: Progressive Rock
“Pictures From The Other Side” track-listing:1- Broken Man
2- Pictures From The Other Side
3- Solitary Angel
4- Follow The Flow
5- Tomorrow’s Here Today
6- Nosferatu
Musicians: Robert Reed / Keyboards, backing vocals * Peter Jones / Vocals, saxophone, whistles * Angharad Brinn / Vocals * Dan Nelson / Bass * Luke Machin* / Guitars
Order “Pictures From The Other Side“ HERE.
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For those fortunate enough to bear witness to Mike Portnoy’s Shattered Fortress band live, as they performed Dream Theater’s “Twelve-Step Suite” live, it was evident that there was more than a little bit of lightning in a bottle captured from the chemistry onstage. The elements in question were *Portnoy on drums, along with his Neal Morse bandmate Eric Gillette, and most of the Haken lineup. In fact, during the Twelve-Step tours, Gillette and Haken keyboard wizard Diego Tejeida* were very much of a single mind that when the chance presented itself, new music would need to be created.
As it turns out, that chance presented itself in 2023, with the genesis of TEMIC, a progressive powerhouse comprised of *Eric on guitars, Diego on keys, along with Fredrik Klemp on vocals, and Simen Sandnes on drums. The band name actually is a product of Aztec Nahuatl language, meaning “Dream.” The idea originated with Diego, not only because of personal affinity with Aztec history and culture but also because the formation of this prog-metal undertaking is a bit of a dream, not only for him but for the entire band. It also bears mention that impressive bass guitar grooves are provided by Jacob Umansky of Intervals* fame, albeit on a guest basis.
Before we dive into the details of the album, here’s the “Too Long; Didn’t Read” take on the band’s sound. It is contemporary, progressive, and heavy, although not stiflingly heavy all over. It is very much in the **Haken*/*Leprous wheelhouse, as one may expect from the pedigree, and certainly a student of Dream Theater, like much of the current prog metal scene. One could draw comparisons to Seventh Wonder, but DGM might be a closer resemblance, especially from a technical standpoint. For better or worse, the album’s structure is song-based, and bite-sized, as the prog scene goes. Think more like “Awake” and less like “Octavarium.” All in all, for a debut offering, this would seem to be the safe and sensible approach for getting singles out into the intended scene and generating some buzz, rather than trying to record “The Wall” on the first go around.
On that subject, while the album opens with a semi-titular track ‘TMT,’ it is not an overture as much as it is more of an ominous foreshadowing. Only a couple of minutes long, but acoustic piano in a minor key sets the stage for Diego to blow up the speakers with his usual bombastic experimentation. It’s a keyboard synth onslaught of slow, heavy, lumbering chords, with a sort of “self-destruct” alarm feel to it, mixed with Mongolian throat singing, of all things. It sounds confusing, but whatever mood Diego is trying to set, it seems like it is doing the job.
As the song ends, the sound merges seamlessly into the first real track of the album, ‘Through the Sands of Time’. It’s all hands on deck as the entire band slams out some high-tempo high-energy modern prog metal riffing for about 30 seconds before Fredrik’s vocals emerge softly into silence while Diego continues to arpeggiate gently in a swirling atmosphere. Eventually, the drums and guitars crash some big, slow, heavy, percussive sections over the vocals to lend the track some inertia before picking up speed and charging forward, to ultimately be guided by a great guitar lead back into the original rhythm structure of the track. Fredrik’s vocals create an interesting vibe. Thankfully he is not Ross Jennings-esque, since that might have been a bit too on-the-nose for the Haken world; instead, he mostly stays in the midrange and refrains from any excessive screams or soaring highs. His controlled and often breathy vocals actually serve as a vehicle for the creative lyrics without distracting needlessly from the musicality of this technical band.
Cover artwork: Hicham HamziGetting back to the track itself, about halfway in, Diego goes for broke with the crazy staggered breakdowns, sound effects, bass drops, and anything else short of the kitchen sink, before *Eric* drops in with absolutely gorgeous tone and reverb to execute a guitar solo that is 10/10 for this track. As the solo fades out, the rhythm pauses again for a moment as the vocals merge softly and delicately with the misty fog of keyboard tones, before the song picks up its energy again for a strong finish.
‘Falling Away’ unfolds like textbook Euro prog metal, moody, mysterious, and almost angry at times, while always dipping back and forth between the pensive and the incredibly technical. It’s almost tailor-made for a drive on a lonely moonlit highway after midnight, where the mind likes to marinade in such vibes. ‘Count Your Losses’ almost sounds like some sort of industrial electronica, especially in the opening, but a minute in, when the drums and guitars come in to do a staccato slam, one can almost imagine a crowded venue jumping in unison to the addictive beat. The lyrical content seems to center around the subject of the song, a person who has sold out all morality and integrity in pursuit of base desires, only to be left with waste and ruin. It can be satisfying when the key changes, tempo, and polyrhythms of a song create a vibe to dovetail with the lyrical message or story.
‘Skeletons’ seems to lyrically explore similar themes of damnation and ruin leading to complete oblivion. The track oscillates well between the introspective and the energetic. It even has *Eric and Diego doing what can only be called ‘Castlevania Scales’, in the first minute and it’s a fun addition to be sure. There are even percussive sections that bear more than a bit of resemblance to writing one might find in “Scenes from a Memory,” which is no mean feat to accomplish without seeming derivative. While it’s still a balanced song, there is no doubt the vocals take a bit of a backseat to all the instrumental flexing in this track. Every listener’s mileage may vary, but it’s great when you put on an Extreme record and here and there you get to hear Nuno* just go absolutely nuts, before the songs go back to the usual level of merely semi-ridiculous. This is one of those tracks.
Speaking of semi-ridiculous, *TEMIC turns down the adrenaline dial just a bit for the first parts of ‘Acts of Violence,’ a somber track with themes of paying a steep price for life filled with choices of deceit and violence. Perhaps it is a metaphor for the cost of wronging others, or perhaps it is a literal allusion to living and dying by the same sword. The second part of the song has a dark sort of energy to it, but special mention must be made for *Eric*’s usual flawless lead playing, with that glassy smooth *Petrucci sort of tone. Diego’s tone, on the other hand, is a bit more difficult to predict.
On the next track, ‘Friendly Fire,’ he calls upon his inner Arjen Lucassen for an absolutely over-the-top keyboard lead. There’s probably a name for the tone, probably some shape on a graphing calculator, but we are not Bob Moog and we will not try to explain it. It’s just cool and you should hear it. We all know Diego is a Vince DiCola fan, but this just sort of locks it in. The phenomenon earlier, where Nuno just goes for broke? This is the track where **TEMIC**** really goes for broke. Instrumental, big, brash, with lots of changes, cool solos, and more demonstrations of technical tricks than a NAMM show. While some of the other tracks of the album might get clicks on Youtube, this will be the one that secures the band’s place as a sweetheart of ultra-technical musician types all over the world.
‘Paradigm,’ truly to its name, returns the album to its prior idiom. Ironically, the track is about getting lost in one’s own paradigm, in some sort of twisted Walden, thinking it’s a good state of being, but all the while wondering if the comfort is just the result of sanity slipping away. The music operates at a medium tempo, riffing steadily so Fredrik can paint vocals upon the canvas, before *Eric* joins in with more of those beautiful and tasteful lead parts. The vocals, usually reserved on much of the album, really shine on this one. ‘Once More,’ the next track, is an interesting example of how the lyrics of the album are not beholden to rhyming schemes. Rhyme exists on the album, but in the verses where it seems to happen naturally, but the band is not shy about choosing words for feel and reason first and foremost, and not forcing the writing. The track is more upbeat and major-key in the first half, but Diego gets weird again in the middle the keyboard sounds like Peter Frampton’s talk box is getting its stomach pumped, but it is a cool effect after hearing it a couple of times.
The album closes with ‘Mothallah,’ named for an Arabic constellation in the sky, which coincides with lyrics about coming away, far from here, in the darkest night, finding our morning star. The song has a cool structure, mostly true to the band’s sound across the album, although some key changes are downright Heavy Devvy, and there are some nice instrumental parts throughout. Diego gets gnarly in a Sherinian sort of tone about halfway into the track and later *Eric* gets to fuse together blistering scales with some majestic slow vibrato unraveling in waves from his left hand. The chorus builds through the final part of the track, with layers upon layers of vocals, really making it feel like the big finish it is, before we spend at least half a minute basking in a star-watching ambiance of insects and “space sounds.”
We had fairly high hopes for this album, and we were not disappointed. If anything, it exceeds expectations. If there is one thing the supergroup phenomenon has taught us, it is that one can throw some incredible talent together in the same room and just get a strange bland gruel, as is sometimes the case with too many cooks without a shared vision. In this case, it is clear that there is a guiding vision and a mission, and all five musicians involved understood the assignment. The band’s sound is technical without being a suffocating Berklee seminar of jargon, while still having the correct amount of seasoning to make this album good for several listens without getting stale.
The lyrics are accessible, the vocal delivery is skilled without being polarizing. For anyone already invested in the genre, there is nothing here to not like. One can argue that it does not have enough of Ingredient X or Z, but no one can point to any part of the album and say “This part is not good.” For a refreshing new take on prog metal, check out *TEMIC*, available November 17th.
Released By: Season of Mist
Release Date: November 17th, 2023
Genre: Progressive Metal
“Terror Management Theory” Track-Listing:1. TMT 2. Through the Sands of Time 3. Falling Away 4. Count Your Losses 5. Skeletons 6. Acts of Violence 7. Friendly Fire 8. Paradigm 9. Once More 10. Mothallah
Musicians: Fredrik Bergersen / Vocals * Eric Gillette / Guitars and Backing Vocals * Simen Sandnes / Drums and Percussion * Diego Tejeida* / Keyboards and Sound Design
Order “Terror Management Theory“ HERE.
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Singer and multi-instrumentalist Gabriel Agudo releases his second solo album, the enigmatically titled “Tales & Thunders”. After his expansive and uplifting debut “New Life” a few years back, this new outing takes a much darker turn. From painful breakups to reflections on the pandemic to vampires, these tales rumble deeply into the darker depths of the soul. Taken as a whole, including the corresponding album design, this new recording feels like the shadow side of “New Life”.
Unlike Agudo’s previous album which had one primary co-writer and musician collaborator at the helm alongside him, as well as many guests, “Tales & Thunders” is largely a true solo album. Aside from a few cameo appearances, Agudo covers all of the instruments and vocals himself. It’s an ambitious creative leap to make, especially given the wide range of musical avenues explored, so a nod of respect is in order.
“Voyager” is a convincing opener and perhaps the most rewarding song on the album. Well-paced and executed, Agudo’s searing vocals dance over the tribal rhythm and distorted guitar power chords. “I wanna be the shadow light, I wanna be the riddle of the Hierophant.” An extremely satisfying track that gets us off on the right foot. “Nosferatu” approaches the same sonic territory, Agudo’s rumbling bass, aggressive drumming, and crunching guitars setting the tone for its shadowy protagonist, complete with a fitting solo from Derek Sherinian on keys. “I’ll be waiting before the dawn” he repeats endlessly under a sky of eerie keyboard patches and pounding rhythms as the piece closes. The approach is markedly different from the “Nosferatu” on Cyan’s new album (which also just released, hence the mention), but perhaps this version benefits more from its direct approach.
“Tales & Thunders” Album Artwork“The Way of Shaman”, dedicated to the Sioux Lakota Nation, provides a brief spiritual injection to the proceedings. *Gabriel performed several songs from this album live on Cruise to the Edge with a stellar band last year, and this was one of the highlights of that concert. Along with admiration of the Sioux’s culture runs a darker sadness, conveyed in the closing lines, “With the force of a bear that fights against the nightmare that breathes inside you, That bleeds inside you …That breathes inside you … Then you’ve got what you’ve got. I’ve seen your eyes, I’ve seen the fire, I’ve seen the trap.”*
Gabriel calls in a smoky nightclub vibe, complete with trumpet, on the swinging “Endless Night”, kind of an unexpected Portishead moment that genuinely works. He gets even more experimental on the instrumental “Dark Father” but it’s on the extended jam of “Even to the Edge of Doom” that vocals are met by the transcendent guitar of Steve Rothery, the album’s most distinguished guest. Who can argue with that kind of closure to the album?
While there’s respect for the DIY approach of creating a solo album where nearly everything is done by one man, there’s no denying that these tales would sound even more thunderous with an outside producer at the mixing board. The song “A Last Chance” is a good example: its acoustic guitar and synths have the makings for a powerful ballad concerning the pandemic, but the song is distracted by strange production choices halfway through. Agudo has the goods but for that very reason, it would ultimately be rewarding to hear them delivered in the best possible sonic setting. His vision is wide and deep, there’s much yet to be said from this artist.
Released By: Independent
Release Date: September 13th, 2023
Genre: Neo-Progressive Rock
“Tales & Thunders” track-listing:1. Voyager
2. A Last Chance
3. Nosferatu
4. The Way of Shaman
5. Endless Night
6. Dark Father
7. Area 51
8. Even to the Edge of Doom
Musicians: Gabriel Agudo / vocals, all instruments, except: + Dave Foster / Guitar solo (1) + Derek Sherinian / Keyboard solo (3) + Steve Rothery* / Guitars (8)
Order “Tales & Thunders“ HERE.
TALES & THUNDERS (HD 24/96) by Gabriel AgudoThe post GABRIEL AGUDO – Tales & Thunders (Album Review) appeared first on Sonic Perspectives.
Red Reign, a band steeped in 80s rock influences, unleashes a high-energy musical journey with their latest album, “Don’t Look Back.” Bursting with infectious tunes and hard-hitting rock anthems adorned with killer guitar solos, this album is a testament to the band’s live prowess and is poised to resonate with audiences nationwide.
The album kicks off with a bang on “No Peace No Love,” setting the tone for the rest to come. The repetitive chanting of the titular phrase, as additional rock instruments get layered in, captivates the listener, almost hypnotizing them into a desire to explore the entirety of the album. The choice of an opening track is pivotal, and “No Peace No Love” masterfully sets the stage for the rest of the musical journey.
Two standout elements define this album: the exceptional musicianship and the top-notch production. The clarity of each shredding guitar solo, exemplified in tracks like “Yesterday” and “Don’t Look Back,” – the latter supercharged by the solo pyrotechnics of ex-Dokken‘s legend George Lynch – showcases the band’s instrumental prowess. Additionally, the production skillfully balances individual instrument voices while maintaining a cohesive band sound. Notably, tracks like “Here I Am,” “Open Spaces,” and “No Peace No Love” feature exquisite and ethereal backup vocals, adding a layer of complexity that enhances the overall listening experience.
The album takes a stylistic detour with “Darkness of Pain,” opening with an acoustic guitar and evoking a 70s-inspired, lower-energy vibe. Bubba shines in this segment, effortlessly hitting clean and ethereal notes. “Darkness of Pain” and “Open Spaces” is where Bubba shines the most. Sadly, on other tracks, there are moments where his vocals seem to get lost, giving the impression of lacking the desired strength and vocal range often seen with some of other great rock singers. Maybe a mixing flaw?
“Don’t Look Back” Artwork“Don’t Look Back” achieves a commendable equilibrium between Shred‘s electrifying guitar solos, Lee‘s dynamic drumming, and Moore‘s pulsating bass, with occasional embellishments from additional instruments. The album’s energy is infectious, offering a thrilling rock experience that invites listeners to envision themselves in a live setting, swaying to the music and witnessing Stevie shred on an electric guitar.
Red Reign has crafted an enjoyable rock album that may not redefine your musical landscape but undoubtedly complements it. From the exhilarating energy of “Follow Your Heart” to the more classic rock vibes of “Open Spaces,” the album caters to a broad spectrum of rock enthusiasts. Released last October 27th, this album is worth exploring, and the band, with their vivacious energy, is definitely worth experiencing live. If the album packs this much energy, witnessing it live might just transport you to another plane of existence.
Released By: *Dekko Entertaintment
Release Date: October 27th, 2023
Genre: Hard Rock / Melodic Metal*
Musicians: Carlton “Bubba” McMichael / Vocals, guitars * Stevie Shred / Guitars * Larry Moore / Bass * Sammy Lee* / Drums
“Don’t Look Back” Track-Listing:1. No Peace No Love 2. Don’t Look Back 3. Here I Am 4. Follow Your Heart 5. The Truth 6. Bury Me Up To My Eyes 7. Darkness Of Pain 8. Yesterday 9. Changes 10. Open Spaces
Order “Don’t Look Back” HERE.
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The wayward sage has come home.
Some legends refuse to die, they just opt to become more reflective with age and find themselves sticking closer to what works, or at least that’s the way things have seemed to work out for 80s rock icon and Sunset Strip original Don Dokken. As the de facto brains behind the operation bearing his surname as well as its vocal helmsman, his career has been a brilliant and uncanny exercise in blending the grittier, more metallic side of the Southern California sound with a uniquely soulful and smooth voice that has always stood apart from the rest of what L.A. had to offer during the Reagan years. Yet like all artists that have persevered in an every-changing scene, his career has seen its share of peaks and valleys, culminating in a discography that has seen a fair share of stylistic shifts and ephemeral band lineups, and along with it all the usual gripes from certain quarters about not being able to step on the same river twice with the same pair of boots.
After a little over a decade of studio silence and about 7 years to the day that a one-off live performance/album with the classic lineup of George Lynch, Jeff Pilson and Mick Brown had the masses speculating that a return to form in LP form with said members in congress was in the cards. Suffice it to say, anyone making such predictions would be proven half right with the advent of “Heaven Comes Down”, Dokken’s 13 th and latest full length album, as all the sonic ingredients for a modern throwback to the glory days of the 80s were in place, though none of the aforementioned support musicians. In their place, the long-term services of former Warlock/Doro axe-slinger John Levin have been retained, and a new rhythm section consisting of veteran bassist Chris McCarvill and one-time past live drummer for both this band and Yngwie Malmsteen‘s B.J. Zampa. The sonic results prove something well worthy of the legacy built by the original lineup, with Levin’s highly expressive lead guitar lines often approximating the signature sound Lynch sported in the mid-80s, though erring on the side of tasteful fills and solos over epic shred fests.
In like fashion to previous ventures such as 1999’s “Erase The Slate” and 2008’s “Lightning Strikes Again”, this latest suite of compact and riff-happy bangers comes dangerously close to reliving the past while being sonically affixed in its respective present. One can’t help but note the overtly 2023 flavor exhibited by the modern punch of Zampa’s drum work and McCarvill’s solid and precise bass lines, yet a few production tweaks and Dokken’s high register being limited due to decades of wear and tear are all that really stand in the way of this album being something that might have been heard in 1985. It presents itself as a heavier and generally moderate-paced composite of everything that Dokken fielded before the dawn of the 90s, though it tends to mostly resemble the nuanced and melodically driven trappings of “Under Lock & Key”, taking a few asides to venture into post-80s territory to remind the listener that this album functions not so much as an elder statesman reliving the past, but instead remembering it fondly and without apology.
“Heaven Comes Down” ArtworkThough not as overtly kinetic as select entries off “Tooth And Nail” and “Breaking The Chains”, there is plenty of punch being packed in these newly minted anthems. Banger entries like the opener ‘Fugitive’ and similarly mid-paced grooves of ‘Saving Grace’ possess a sort of mystical edge that recalls some of the more exotic entries of Led Zeppelin, but also hold the 80s line between the bombast of the guitar work and the utterly infectious choral refrains put forth by Don Dokken, whom sounds weathered yet holds his own within a more limited dynamic range. Upbeat cruiser ‘Gypsy’ ventures the closest to the band’s speedier moments of the past, while the punchy yet catchy edge of ‘Just Like A Rose’ all but comes off as a long-awaited sequel to ‘Just Got Lucky’ and the guitar-drenched glory of ‘Lost In You’ keeps the metal end up by exploring early 80s Black Sabbath territory. The bluesy edge of ‘Is It Me Or You’ screams classic Sunset Strip in all its Motley Crue-like glory with zero apologies, while the grittier ‘Over The Mountain’ takes the same concept and mixes in a bit of the 70s hard rock vibes heard on this outfit’s unsung 1995 dark horse entry Dysfunctional.
Over the years Don Dokken has played many roles, and this latest entry could be best summed up as him donning the mask of the reminiscing traveler. It’s arguably the most expected route for an artist that is approaching the end of his career to take, but the manner in which he accepts his entry into his golden years while still displaying that youthful defiance of his formative days has a certain potency to it that can only be described as utterly riveting. This is underscored in the one stylistic deviation to be found at this album’s tail-end, namely the acoustic ballad ‘Santa Fe’, a sort of nostalgic and stoic folksy romp that manages to be both poignant and fun as Don’s weary voice churns out a humble yet spellbinding swansong. There is a bittersweet charm to the closing chapter of all great stories, and while this one doesn’t possess the pizzazz and magnificence of Dokken’s 80s entries, nor does it surpass that of “Erase The Slate”, it’s a solid representation of the sound that this band’s multigenerational fan base has come to love, and a fine conclusion to a long-running career by one of the titans of the 80s, should it prove to be his final word on things.
Released By: Silver Lining Music
Release Date: October 27th, 2023
Genre: Hard Rock / Glam Metal
Musicians: Don Dokken / Vocals * Jon Levin / Guitar * Chris McCarvill / Bass * BJ Zampa* / Drums
“Heaven Comes Down” track-listing:1. Track Listing: 2. Fugitive 3. Gypsy 4. Is It Me Or You? 5. Just Like A Rose 6. I’ll Never Give Up 7. Saving Grace 8. Over The Mountain 9. I Remember 10. Lost In You 11. Santa Fe
Order “Heaven Comes Down” HERE.
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After eight years, cinematic prog metallers Earthside are releasing their sophomore effort, “Let The Truth Speak.” Their groundbreaking debut, “A Dream in Static” garnered attention due to their unique approach to the genre: the band does not have a lead vocalist. Instead, they approach their art form from a cinematic perspective with a combination of soundtrack inspired tracks along with guest singers brought in for a series of vocal based tracks. The results lead a widely diverse mix of music with the atmospheric instrumentals combined with a wide variety of different vocalists.
“Let The Truth Speak” continues in the tradition of the debut. The album is bookended by two instrumentals along with one in the middle of the album to divide up the vocal tracks. Each song is a different musical soundscape that follows a different path. As a result, it requires much from the listener to engage and allow themselves to become immersed in their world building. Lush, ever changing, there is much to explore here in this almost 80 minute foray into prog metal, soul, jazz, ambient and soundtrack inspired songwriting.
The album kicks off with the instrumental, “But What If We’re Wrong” featuring guest work from Sandbox Percussion out of Brooklyn. As mentioned, guest artists, both vocalists and instrumentalists, are a common theme with Earthside. These artists typically compliment the core Earthside sound by adding new colors to the palette. The debut primarily featured notable vocalists and instrumentalists such as Lajon Witherspoon of Sevendust, Daniel Tompkins of Tesseract and the Moscow Studio Symphony Orchestra. With this release, the band primarily features lesser known artists, especially in prog metal circles, one of these being Sandbox Percussion out of Brooklyn. They are featured on the opener and, as their name implies, they enhance the music by employing various bells, chimes and other percussive elements to the track. The melody of the track is driving by the chimes along with some wonderful drum work by band member Ben Shanbrom and some soaring guitar work from primary songwriter, Jamie Van Dyck. The song is reminiscent of “Entering The Light” from the debut, in its intricacies.
The next track, “We Who Lament It,” features the vocals of female singer Keturah. She is a perfect fit to the *Earthside sound, bringign power and emotion to the opening vocal track. In typical Earthside* fashion the song wanders and weaves through various passages often swirling and dancing through various motifs and melodies that rarely, if ever, get repetitive.
“Tyranny” briefly puts aside the cinematic elements and begins with a lurching guitar riff. Our guest vocalist for this track is Pritam Adhikary. The heaviness factor is amplified here, with Adhikarys gravelly delivery working well with the heavier material, however he also adeptly navigates the softer more hypnotic passages as well. The track contains some nice arpeggiated sections that lull the listener into a trance before returning to the primary motif / riff introduced at the beginning. There is so much going on musically beneath the surface, headphones are highly recommended to pick out all the subtleties and nuances of the music.
Three tracks in so far, all very different in their construction. This pattern continues with “Pattern of Rebirth” that includes the almost reggae influence from guest singer AJ Channer from Fire From The Gods. This song may be the heaviest on the album and is a solid banger. In a first for Earthside, the vocalist, AJ, penned the lyrics in remembrance of his father, and them being very personal add another dimension to the music, as he explores life’s regrets as viewed from the mindset of his father. You can just feel the angst and regret in the words and vocal. It’s great to hear the band continue to stretch the cinematic boundaries first established on their debut.
“Let The Truth Speak” ArtworkThe momentum stalls a bit as the pace slows with the somber instrumental, “Watching the Earth Sink.” The song begins with some solo, jazzy guitar in a minor key. As it progresses, it brings to mind some of Porcupine Tree’s more spacey, ambient instrumental sections, with a very introspective and patient build up. The track eventually picks up the pace to arrive at a driving rhythm, certainly a climb the mountain type of composition, that builds up to a summit and then winds it way back down to the valley below.
Next up is the real curve ball from the release, “The Lesser Evil.” Talk about an odd combination that just works really well. The track features Larry Braggs who has sung for The Temptations and Tower Of Power, and It shows the true fearlessness of the band, finding them willing to take chances and try something very different on this release. This song has it all. It starts as a soulful ballad that fully utilizes the talent and range of Braggs but then explodes into something entirely with horns and eight string guitars. Upon first listen, it reminded me of Mr. Bungle, with the wild juxtapositions in the changing sections. The song also features multi instrumentalist, Sam Gendel who really cuts loose on the saxophone, turning it into a real melting pot of metal, soul and jazz. A true example of progressive music, I’d love to hear them explore this direction even more in future releases.
The signature Earthside sound returns on “Denial’s Aria” which once again features Keturah and is joined by Latvian singer / songwriter, VikKe and the dual harp attack of New York based, Duo Scorpio. The guest performances for this release are truly an international affair. The song is just a gorgeous, hypnotic performance and probably contains one of the catchiest melodies on the album during the chorus.
Next up is “Vespers”, which serves as a prelude to the title track. It also features female vocalist VikKe and is our first introduction to Russian singer Gennady Tkachenko-Papizh, who is known for his ambient vocalizations that eerily float around the atmospheric groundwork of the music. Here (and on “Let The Truth Speak”) he provides an exoticism and mystical element to the soundscape.
The monster title track, “Let The Truth Speak”, features Daniel Tompkins from Tesseract. Dan is already on a roll this year with the spectacular “War of Being” album by his own band, and he also guests on the title track on the Earthside‘s debut. Once again he delivers a stunning performance that is evenly matched by the musicality of the Earthside core. This song is a textbook definition of progressive metal. Epic in length, swift changing movements, exotic melodies and filled with emotional highs and lows, it deserves repeated listens to fully grasp. Similar to the new Tesseract, Dan covers various emotions from falsetto highs to ferocious pitched screams. This is Earthside truly realizing their full potential in songwriting and song production creating, arguably, their best work to date. The vocal effects from Tkachenko–Papizh just add more depth to the musical journey as the track constantly shifts directions. It’s a testament to the band to see the levels they go to add the necessary spices to the musical soup. Would the song have worked without Tkachenko–Papizh’s contribution? Sure. But, it’s so much richer with his contributions included. Kudos to Earthside for going the extra mile and adding the rich layers to the music.
Many listeners are likely already familiar with the final track, the haunting “All We Knew and Ever Loved.” The cinematic instrumental that features some manic drumming from Leprous drummer, Baard Kolstad in the climax of the track. The accompanying video provides a great visual companion to the dramatic album closer that agains highlights the Earthside shifts from cinematic instrumentals to emotionally charged progressive metal firepower. Earthside are just so adept at conveying emotion in these sonic landscapes they paint without any words. The weight and gravity of the track are perfectly communicated with the musical score.
“Let The Truth Speak” certainly requires some attention from the listener and patience as some of the melodies are delivered like a budding flower: slow, elequent and gradual. It’s fair to approach each track as a musical vignette that pairs different performers to deliver a diverse collection of tracks.
This is not an album to sleep on. It is a very complex, thoughtful collection of music that challenges the listener and constantly pushes the bounds of music as an art form. In the wrong hands, this collection could seem sprawling and lacking identity. Earthside, however, have established such a unique personality that it is stamped on all the tracks from the soaring instrumentals to the crushing vocal centric pieces. I would love to see the band focus their efforts on a conceptual release in the future since they style of music is so good at conveying a story. Until then, “Let The Truth Speak” is well worth your attention.
Released By: **Music Theories Recordings / Mascot Label Group*
Release Date: *November 17th, 2023
Genre: Cinematic Progressive Metal
Band Members: Jamie van Dyck / Guitars, backing vocals, programming, keyboards * Ben Shanbrom / Drums, backing vocals * Frank Sacramone / Keyboards, synthesizers, programming, percussion, guitar * Ryan Griffin* / Bass, backing vocals
“Let The Truth Speak” track-list: 1. But What If We’re Wrong (Featuring Sandbox Percussion)
2. We Who Lament (Featuring Keturah)
3. Tyranny (Featuring Pritam Adhikary of Aarlon)
4. Pattern Of Rebirth (Featuring AJ Channer of Fire From The Gods)
5. Watching The Earth Sink
6. The Lesser Evil (Featuring Larry Braggs & Sam Gendel)
7. Denial’s Aria (Featuring Keturah, VikKe & Duo Scorpio)
8. Vespers (Featuring Gennady Tkachenko-Papizh & VikKe)
9. Let The Truth Speak (Featuring Daniel Tompkins of TesseracT & Gennady Tkachenko-Papizh)
10. All We Knew And Ever Loved (Featuring Baard Kolstad of Leprous)
Pre order “Let The Truth Speak“ HERE
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By his scythe, all shall bow.
For every giant that emerges to set a new standard in the metal world, there are often several similar creatures lurking in the shadows, and sometimes these would be stylistic disciples don’t full come into their own until years or even decades after their time. Such is the case with one of Sweden’s until recently better kept secrets, namely late 80s epic doom upstarts turned 2010s titans Sorcerer, a band that seemed poised to rival Candlemass at the height of the Messiah Marcolin era yet ultimately folded a few short years later.
But the past 15 years has been nothing if not a time for second chances, and by the end of the previous decade this seemingly forgotten adherent of metallic dirges set in fantastical realms had unleashed a triple play of large scaled studio releases that seemed to all but one-up the impressive LP trifecta that Robert Lowe had just fielded with the aforementioned Candlemass. In like fashion, their most recently composed opus “Reign Of The Reaper” proves a riveting affair that masterfully walks the same line between tradition and modernity in a slightly more compact fashion.
In contrast to Ozzy–obsessed Sabbath emulation put forth by Count Raven and the more Dio-like musings one would expect from Solitude Aeturnus, Sorcerer’s stomping ground more closely approximates the often overlooked Tony Martin era of the original progenitors of doom. Much of this owes to vocalist Anders Engberg, a longtime veteran at the microphone with such noted acts as Lion’s Share and 220 Volt in his resume, who’s forceful yet soaring tenor bears an almost uncanny resemblance to the latter-day Black Sabbath front man. That being said, there is also a generally melodic, pomp-driven and often mystical nature to the surrounding instrumentation that also points to strong affinities to “The Eternal Idol”, “The Headless Cross” and Tyr respectively. The chief contrast, and ultimately the strongest selling point of this band’s sound, is in the much darker and heavier presentation, which when combined with an utterly vicious dueling lead guitar display out of axe-wielders Kristian Neimann and Peter Hallgren that rivals the likes of Malmsteen and Lynch, makes this band and especially this album a creature all its own.
In total, the duration of “Reign Of The Reaper” is notably shorter than the gargantuan 70 minute affair that was “Lamenting Of The Innocent” and the barely sub-60 minute ones on the two albums prior to it, but the impact factor achieved is no less palpable. Be it the past-paced, double bass drum and epic choir happy, almost power metal-like opening foray with an utterly infectious refrain ‘Morning Star’, or darker and more forbidding numbers that still spare no expense in delivering the memorable melodic flair like ‘Unveiling Blasphemy’ and closer ‘Break of Dawn’, there is a perfect balance struck between tasteful/accessible songwriting and the drawn out sense of slowness and repetition that keeps the style within the doom paradigm.
“Reing Of The Reaper” Album ArtworkThen again, this sense of balance between dark, moribund themes and the lofty imagery of a fantastical world in which these bleak moments occur hits a total apex on the sometimes swift, sometimes slow-trudging beast of a title anthem ‘Reign Of The Reaper’, a song that could almost be an outtake from Tyr were it to have occurred in 1990 instead of 2023.
Indeed, the level of contrast between the rustic and traditionally-rooted riff work with the wildly technical guitar soloing and dense atmosphere achieves a near flawless synchronicity that even makes shorter and swifter doom thrashers like ‘The Underworld’ and ‘Thy Kingdom Will Come’ equally as massive in presentation as their longer counterparts, though true pay dirt on the faster end of the spectrum is ultimately struck when things take a more mystical tone on the eastern-tinged crusher ‘Curse Of Medusa’. Yet when all is said and done, the song that somehow manages to punch through all of the pomp and bluster, making the deepest impression in the process, is the dreary power ballad ‘Eternal Sleep’. It stands as one of the more traditional offerings of the bunch, keeping to a dirge-like pace apart from the jarring tempo jump when the guitars enter the stratosphere of shred, but the utterly fatalistic atmosphere that is struck and that signature, lamenting acoustic guitar line that dominates the quieter moments just steal the show.
It would be a mistake to simply pass this album off as more of the same given the potency that it packs within every single second of its duration, yet in light of what Sorcerer has become known for since their 2010 reformation, “Reign Of The Reaper” proves to be just that in a stylistic sense. Those that are among this outfit’s already established audience will find few surprises apart from the fact that this album clocks in at around the normal time length for one of Candlemass’ formative LPs, while those that may not be familiar with the band but are generally acquainted with the epic doom style will find a largely orthodox affair with a heightened sense of technical intrigue at key points.
This is an album that doesn’t so much set out to reinvent the wheel, but rather fashion the most visually impressive version of it to adorn a mighty chariot for battle, and those seeking to seal their fate on the field of battle in the throes of the otherworldly need look no further.
Released By: Metal Blade Records
Release Date: October 27th, 2023
Genre: Doom Metal
Musicians: Anders Engberg / Vocals * Kristian Niemann / Guitars * Peter Hallgren / Guitars * Justin Biggs / Bass * Richard Evensand* / Drums
“Reign Of The Reaper” track-listing:1. Morning Star 2. Reign of the Reaper 3. Thy Kingdom Will Come 4. Eternal Sleep 5. Curse of Medusa 6. Unveiling Blasphemy 7. The Underworld 8. Break of Dawn
Order “Reign Of The Reaper” HERE.
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No Sophomore slump here. Unplug the guitars, lose the fancy effects, and get back to the basics. That was the approach of ’21’s “Troika” and for the most part, DMJ has made another joyful listening journey from the same mold. Nick D’Virgilio, Neal Morse and Ross Jennings return with another set of singer-songwriter material as their acoustic project continues.
For anyone who happens to have missed their debut collaboration a couple of years ago, this is not a prog supergroup. Rather, it’s a vehicle for these three to get to collaborate with some of the folkier sides of their personalities and musical influences. *D’Virgilio and Morse had already been playing the likes of CSNY and Beatles tunes for years in their Spock’s Beard days, jamming to tunes they loved late at night after the concerts were over. To write an album in this style of music was nothing new for them, especially considering Morse had already released several singer songwriter solo albums over the past decade. What was a new twist was bringing Jennings into the mix. He was largely an unknown quantity for this style and Morse* didn’t even know how their three voices sounded together until he received the initial mixes back from their overdubbed recordings. Fortunately, the sound was spot-on. But that’s the thing about this project – it’s all been recorded separately and the three have only gotten together in person when they recorded a couple of music videos for this new album. Not that you would know that from the way their voices and songs interweave with one another.
“Sophomore” very much follows the same path as its predecessor. There’s upbeat feel-good tunes that bring to mind those CSN moments. There’s more introspective pieces that embrace the ideology of what folk music is all about. And there’s a couple of tracks where they actually do plug some instruments in and rock out a little. The quality of songwriting is on par with the debut album, there’s no discernible drop off or elevation, nor is there a radical change in direction. Indeed, had the two albums been put together as a double album initially, no one would have batted an eye as they go hand in hand as much as “The Similitude of a Dream” and “The Great Adventure” do, in terms of the sequel matching the style of the original.
*Morse bookends the album with two uplifting songs in that classic CSN style, like he did with “Everything I Am” on the debut. We start off with “Hard To Be Easy”, happy in its music but finding more strife in the lyrics. Despite the relationship turmoil described, you’ll be tapping your feet and grooving to this opening tune. Following the lead of Stephen Stills, Morse plays a wide variety of instruments including the bouncy bass lines and slide guitar leads. However, it’s his B3 organ that really drives the tune, in addition to D’Virgilio’s tasty percussion. Later on the album closes with his “Anywhere The Wind Blows”, the first single off the album, which beckons the listener to take a ride with the top down. It’s a similar instrumentation from Morse* as the opening song, and one of the most rewarding on the album despite its simple structure.
“Sophomore” Album Artwork*D’Virgilio scores one of his best songs yet in “Linger At The Edge of My Memory”, a beautiful ballad sung gorgeously by D’Virgilio and making the most of his singing partners on the chorus. The acoustic guitar on this one is all D’Virgilio with the ringing out of sensitive chords in the introduction, while Morse provides subtle but supportive electric piano. Further on D’Virgilio delivers the most rocking song on the album in “Mama”, kind of like Morse’s “Second Hand Sons” did on the first album. However on “Mama” they decide to unleash Morse’s talk box guitar while D’Virgilio plays bass and gets some electric guitar in of his own. He follows up with the playful “I’m Not Afraid”, D’Virgilio* covering most of the instrumentation this time including featured ukulele.
Not to be forgotten, *Jennings offers three excellent songs of his own. The catchy “Tiny Little Fires” stands out through the unexpected xylophone appearance, which initially inspired the song while Jennings was playing with his son. As with several of the other songs, Morse’s B3 organ plays an important role in supporting whole vibe and joy of the tune. “Weighs Me Down” revolves around a chord similar to his “Julia” from the previous album. This is a hypnotizing piece, augmented by additional vocals from their families, Yulia Jennings and Sophia D’Virgilio, a nice touch. Finally, “Walking On Water”’s opening chord progression suggests Jennings might start singing, “There must some kind of way out of here, said the Joker to the Thief.” Instead, it turns into a high spirited outing with an excellent chorus of its own. Jennings* plays bass, keys and electric guitar on all of his three contributions, giving a different feel from the other two guys.
There’s two additional songs by *Morse on this collection but honestly these feel like they’d be more appropriate on one of his solo folk albums, lacking the group identity of most of the rest of the album. Perhaps one of them would have been okay, but both together take the momentum of the album down a good chunk. Ironically, both songs are also offered as bonus tracks with “alternate versions”, and these actually are slight improvements over the regular album version: the alternate “Right Where You Should Be” loses the too-twangy pedal steel guitar on the original and lets Jennings take the lead vocal instead of Morse which makes it feel more like a group effort; and “The Weary One” drops Gideon Klein’s string accompaniment, which actually brings more immediacy to Morse*’s vocals and the supporting harmonies.
*D’Virgilio has been beating the drum to get this trio to do some live dates. Hopefully that will happen in 2024 and there’s no reason to believe this configuration won’t come up with additional gems in the next few years. While “Sophomore”* doesn’t blaze any new trails from its predecessor, the material is consistently strong as they celebrate the trails laid by their musical forefathers. Once again, it’s a welcome detour from their prog day jobs.
Released By: Inside Out Music
Release Date: November 3rd, 2023
Genre: Folk / Pop Rock
“Sophomore” track-listing:1. Hard To Be Easy
2. Linger At The Edge Of My Memory
3. Tiny Little Fires
4. Right Where You Should Be
5. The Weary One
6. Mama
7. I’m Not Afraid
8. Weighs Me Down
9. Walking On Water
10. Anywhere The Wind Blows
11. Right Where You Should be (Alternative Version) – CD Bonus Track
12. The Weary One (Alternative Version) – CD Bonus Track
Musicians: Nick D’Virgilio / Vocals, drums, percussion, acoustic guitar, ukelele, electric guitar, bass * Neal Morse / Vocals, acoustic guitar, slide guitar, B3 organ, bass, electric piano, talk box * Ross Jennings / Vocals, acoustic guitars, electric guitars, bass, keyboards, xylophone, ebow * Gideon Klein / Pedal steel on 4, strings on 5 * Yulia Jennings / Additional vocals on 8 * Sophia D’Virgilio* / Additional vocals on 8
Pre-order “Sophomore” HERE.
The post D’VIRGILIO, MORSE & JENNINGS – Sophomore (Album Review) appeared first on Sonic Perspectives.
In their latest album, “Can’t Find the Breaks,” Dirty Honey offers an exhilarating journey back to the golden era of classic rock, rekindling the spirits of rock legends. Their music exudes raw power, capable of reviving the soul of this timeless genre. With spine-tingling guitar solos, infectious high-energy tracks, and emotionally charged lyrics, this album is a comprehensive sonic experience that encompasses the essence of classic rock.
“Can’t Find the Breaks” skillfully curates a collection of anthems that effortlessly whisk listeners away to the ambiance of a 1970s bedroom, where the excitement of placing the vinyl on the turntable for the very first time fills the air. Skillfully, Dirty Honey channels the essence of legendary artists like Guns N’ Roses, Led Zeppelin, Aerosmith, and more.
What sets *Dirty Honey apart is their ability to infuse this timeless sound with a contemporary twist. This twist becomes readily apparent in tracks like ‘Don’t You Put Out the Fire’ and ‘Can’t Find the Breaks.’ In these cuts, classic rock guitar solos seamlessly intermingle with captivating and crystal-clear harmonious vocals, a production feat that’s not easily achieved. Furthermore, the band weaves together intricate bass, drum, and guitar progressions in a way that’s seldom seen within a single track, underscoring the exceptional talent of Dirty Honey*.
The album shines in terms of production quality. ‘Won’t Take Me Alive’ is another high-energy rock track, where Marc‘s vocals blend with the energetic music, enhanced by a touch of reverb. Each song here is meticulously balanced, allowing you to feel the thump of the bass drum, visualize the scorching guitar solos, and savor the crisp and clear vocals. The studio work on this album truly paid off.
One of Dirty Honey‘s feats is their ability to balance high-octane rock anthems with poignant emotional ballads. Tracks like ‘Dirty Mind’ and ‘Coming Home’ exemplify this duality. ‘Dirty Mind’ immediately grabs you with its energy, leaving a lasting imprint that keeps you humming along. In contrast, ‘Coming Home’ stands out for its beauty, an acoustic ballad dripping with emotion. Few artists can successfully strike such a balance within one album, but Dirty Honey certainly accomplishes this in ‘Can’t Find the Breaks’.
“Can’t Find the Breaks” ArtworkThe standout feature of this album is undoubtedly the vocals. Marc‘s powerful vocal delivery is as invigorating as Steven Tyler‘s, showcasing an impressive range that’s a sheer delight to listen to. While Marc takes the lead, the backup vocals in tracks like ‘Get a Little High’ and ‘Satisfied’ add an extra layer of complexity to an already multifaceted album. These harmonies exemplify the deep passion and synergy between the band members.
One of the album’s highlights is the track ‘Roam’, a poetic composition that seamlessly incorporates various elements to craft a beautiful, contemplative ballad. The song takes a more introspective turn, both lyrically and instrumentally, with the steady drumwork providing a foundation to the song that also mimics the lyrics “waves crashing on the shore.” A sense of responsibility and longing is conveyed in this track. Leaving the listener introspective, and wondering where they, themselves are roaming.
In a nutshell, “Can’t Find the Breaks” is a modern-day rock ‘n’ roll gem. It’s an album that features a diverse array of sing-along anthems, emotional depth, and a rich instrumental tapestry that puts the band’s exceptional talents on full display. Dirty Honey has not only resurrected classic rock but has infused it with a modern edge, making it feel fresh and invigorating. This album is a must-listen for anyone yearning for the unadulterated spirit of rock ‘n’ roll.
Released By: *Dirt Records
Release Date: November 3rd, 2023
Genre: Hard Rock, Blues Rock*
Musicians: Marc LaBelle / Vocals * John Notto / Electric Guitar, Acoustic Guitar * Justin Smolian / Bass, Acoustic Guitar * Jaydon Bean* / Drums, Percussion
“Can’t Find The Brakes” Track-Listing:1. Don’t Put Out the Fire 2. Won’t Take Me Alive 3. Dirty Mind 4. Roam 5. Get A Little High 6. Coming Home (Ballad of The Shire) 7. Can’t Find The Brakes 8. Satisfied 9. Ride On 10. You Make It All Right 11. Rebel Son
Order “Can’t Find The Brakes” HERE.
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Explosive, forward-thinking thrash arrives at ground zero.Being at the forefront of Spain’s now expansive thrash metal scene, and dating back far enough to stake a similar claim regarding the worldwide thrash revival that reared its head in the 2000s, Angelus Apatrida is arguably the closest that one might get to designating a non-80s thrash act with veteran status. Drawing heavily from the most kinetic and uncompromisingly aggressive quarters of the initial Bay Area scene and merging a fair bit of extreme Teutonic edge into the equation, their sound could best be described as an atomic explosion of pure auditory violence.
Nevertheless, this quartet has also never been one to stand still in their stylistic delivery and has shown a strong propensity for incorporating new ideas whenever they happen to make the rounds in the broader metal scene. With their 8th studio endeavor in roughly 23 years of destroying ears and necks across Europe, this outfit has upped the ante further still by throwing in a few progressive twists and some outside talent, resulting in a truly fresh and formidable undertaking simply dubbed “Aftermath.”
Perhaps the most impressive thing about this outfit has been its near constant lineup, which has seen no changes since 2001 and underscores the sense of unity and cohesion that permeates each song rounding out this audio novella in 10 chapters. Leading the fray is guitarist and vocal impresario Guillermo Izquierdo, whose juggernaut-like mixture of raw gruff and occasional growls rests somewhere between the forceful sound of present day Chuck Billy and the even nastier one of Max Cavalera. At several key points he manages something resembling an infectious melodic take on the same aforementioned vocal approach, resulting in numerous chorus sections that seem to flirt with metalcore territory without fully leaving the old school thrash paradigm.
The contributions of the instrumentalists rounding out the rest of the fold are no less consequential, with the shred-happy, virtuosic solo work courtesy of David Alvarez rival every legendary name in the style from Skolnick to Holt, while the incessant battery of speed-infused beats oozing from Victor Valera’s drum kit and the steady bottom-end provided by Guillermo’s older brother Jose round out the sonic colossus that emerges.
“Aftermath” Album ArtworkIn masterful fashion, the manner by which this quartet approaches their craft mixes a healthy amount of familiar tricks of the trade with just the right amount of innovation to keep both the core fan base and occasional consumers of the art satiated. Pummeling thrashers with an emphasis on speed and old-timey Bay Area riff-happy madness like the monster of an opener “Scavenger” and similarly concise and catastrophically cutting odes like “Rats” and “Gernika” go straight for the jugular in the same fashion as the mid-to-late 2000s early offerings of this fold, emulating such noted San Francisco-born classics as “Pleasures Of The Flesh” and “Forbidden Evil”.
The similarly swift yet darker entry “Cold” takes a few pages out of the Slayer book and throws in an even more frenetic and dissonant presentation, though like the aforementioned “Gernika”, also features a chorus section that is hook-driven enough to inspire a sing-along moment as it would a mosh pit. The fast-paced bruiser “I Am Hatred” also brings the old school fury something excellent, though leaning slightly further back into the history of the thrash riff and often crossing paths with early Metallica and Overkill territory.
Yet when considered in its entirety, this album proves to be at its best when it takes a step back from the pure blood and guts approach alluded to earlier for territory of a more multifaceted type. Though by no means a departure from the frenetic character of the previous songs, one can’t help but note more of a crossover meets metalcore flavor emerging from “Snob”, owing in no small part to the vocal contributions of Hatebreed vocalist Jamey Jasta and that groovy and utterly infectious chorus section.
By contrast, the mixture of atmospheric contrast and wild technical flair of WarCry guitarist Pablo Garcia turns an otherwise standard speed thrashing affair in “Fire Eyes” into something far more intricate. But where things go from mildly curious to truly progressive territory are on what can be dubbed the album’s two ballads, namely the extended, nearly 9 minute slough dubbed “To Whom It May Concern” and the shorter yet equally engrossing closer “Vultures And Butterflies”, the former finding Guillermo showcasing his rarely utilized clean voice amid a succession of wild transitions in tempo and feel, while the latter stays in slower territory and often channels elements of Dream Theater as Queensrÿche vocalist Todd La Torre trades artful shouts and wails with the aforementioned front man.
Though it would be a bit of a stretch to dub this the greatest thing that has come out under the Angelus Apatrida name, it most definitely stands tall amid an expansive and highly consistent discography. It’s not quite as memorable and as intense as the previous eponymous 2021 outing, nor does it quite match the classic flair of 2007’s “Give ‘Em War” (ironically enough, live performances of songs from both albums come with this one as bonus tracks), but it’s in the same general qualitative territory and definitely showcases a level of stylistic development that is a cut above much of the 2023 pack both inside and outside the thrash sub-genre.
Whether one tends towards the recent outings of old school thrash acts that original set the standard back in the mid-80s or the emulations that have abounded since the mid-2000s in Europe, North and South America, this is the sort of album that any self-respecting most pit fiend can sink their teeth into without any hint of shame.
Released By: *Century Media Records
Release Date: October 20th, 2023
Genre: Thrash Metal*
Musicians: Guillermo Izquierdo / Vocals, Lead Guitar * Davish G. Álvarez / Lead Guitar * José J. Izquierdo / Bass * Víctor Valera* / Drums
“Aftermath” Track-Listing:1. Scavenger 2. Cold 3. Snob (feat. Jamey Jasta) 4. Fire Eyes (feat. Pablo García) 5. Rats 6. To Whom It May Concern 7. Gernika 8. I Am Hatred 9. What Kills Us All (Featuring Sho-Hai) 10. Vultures And Butterflies (Featuring Todd La Torre)
Order “Aftermath” HERE.
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One of the very best prog releases of 2022 was Lalu’s unexpected and remarkable “Paint The Sky”. More than likely, not nearly enough people are aware of its existence and if you happen to be one of them, go check it out right now and listen as you continue to read. Here’s our review to give you a synopsis and a background of the band. It’s more than worth your time, especially given that you’re already here and interested in *Lalu*’s latest.
A year and a half onward, *Lalu are back with their followup, the enigmatically titled “The Fish Who Wanted To Be King”. The core band is the same as on the previous release but the numerous guests who appeared on “Paint The Sky” are no longer present. Which works out just as well because this band needs no guest artists to embellish their sound further, they’ve got plenty of chops and ingenuity to do just fine on their own. Jelly Cardarelli continues to shine as one of the most exciting modern drummers on the scene, his strong attack and nuanced technique fills every track with vibrance. Joop Wolters is absolutely stunning on guitar styles of every color, flawlessly executed and composed, but he is equally strong in the role of the band’s bassist, playing many a mighty prog bass line that propels the songs forward. Band leader and namesake Vivien Lalu lays down a wide range of keyboard textures that ensure the arrangements are well supported. And singer Damian Wilson* does what he does best – provide some of the mightiest vocals in modern prog possible. What a juggernaut of a band! Still, they do add a fifth member to the group this time around: Matt Daniel who adds more keyboards, hammond organ and piano as needed, to create an even richer soundscape than before.
The album launches immediately with Wilson’s powerful voice on “Forever Digital”, proclaiming “In the moment you became as a light that is the fires of your face.” It’s a gripping opening. As the high tech story continues – “From the second you were saved, in the blockchain you were made” – the band traverses multiple instrumental sections, including a ripping acoustic guitar solo followed by a more classic electric approach, and finally ending with a bluesy slide coda. Is there anything that Wolters can’t do?
We then jump right into the lengthy title track, its wild story exploring “universal need”, told compellingly by Wilson. The extensive musical sections are rooted in Wolters’ punchy prog bass tone that would make Chris Squire happy, while his guitar playing at time suggests more than a little similarity to that of Steve Howe. Still, *Lalu does not come off as retro in any way, this is unquestionably contemporary prog, meticulously performed and arranged with a very modern edge. Lalu’s keyboard patches and composed sections sound like a modern sci-fi soundtrack, giving the band their true identity. Wolter*’s shining moment comes later in the piece with a soaring, slow burner electric solo. The structure of the song is a bit curious, it almost feels like one (fantastic) section is attached to another without much reason to it, but perhaps the goal was not to conform to traditional songwriting patterns.
*Wilson is front and center – as well as panned left and right – on “Deoxyribonucleic Acid” as his vocals surround the listener in beautifully arranged dynamics. Fortunately, the skilled production of the album ensures that multiple stacked Wilsons don’t sound muddy, but rather shine in their brilliance. “Is That A London Number”* provides another platform for his operatic vocals to shine, proving that he could read out of the phonebook and it would still sound heavenly.
“The Fish Who Wanted To Be King” Artwork“Amnesia 1916” is the longest piece on the album, running 14 minutes. Opening with a deliciously ambient mood with organ runs, it almost seems a shame to move into a driving pace for a couple of minutes before it returns to a spacious speed, dripping with beauty in its voice, keyboards and guitar. Then Cardarelli comes to the fore as the rhythm picks up slightly, completely surrounding the stage with his creative playing, it is clear that we are in good hands with Cardarelli at the kit. Wolters waits until the end to reveal his most stunning guitar solo section, beautifully supported by the rest of the band. As with the title track, there isn’t much of a pattern to the song writing; we travel from one section to another, never to return to a previous chorus or melodic structure. But again, the contents within are too engaging to mind the lack of repeating sections, it just requires more repeat listenings to fully absorb.
“A Reversal of Fortune” picks right up where “Amnesia 1916” leaves off and if you’re not watching the change of the track listing, it’ll sound like a continuation of the previous epic. For a change of pace this is an instrumental and turns out to be one of the most satisfying pieces on the album. Which is almost a shame to say, considering how good *Wilson’s voice is, but it’s a testament to the strength of the band. Bringing some delicious jazz jamming into the mix, we get soloing from everyone here. It’s pure class throughout, including Cardarelli’s fantastic performance. “The Wondering Kind” is the last offering in our 54 minute journey, bringing some level of conclusion to Wilson*’s lyrical explorations as he literally has the last word, the vibrato of his powerhouse pipes ringing out through the final second.
Whew. *Lalu* are one of the brightest hidden gems of the modern progressive rock world right now. These last two albums are monumental. If you like classic prog sensibilities in a shimmering modern context with an edge, this is a band for you. Highly recommended.
Released By: Frontiers Music SLR
Release Date: October 20th, 2023
Genre: Progressive Rock
“The Fish Who Wanted To Be King” track-listing:1. Forever Digital 2. The Fish Who Wanted To Be King 3. Deoxyribonucleic Acid 4. Is That A London Number? 5. Amnesia 1916 6. A Reversal Of Fortune 7. The Wondering Kind
Musicians: Damian Wilson / Vocals * Joop Wolters / Guitars, bass * Vivien Lalu / Keyboards * Jelly Cardarelli / Drums * Matt Daniel* / Keyboards, Hammond organ, piano
Pre-order “The Fish Who Wanted to Be King” HERE.
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When does a road trip become a soundtrack to one’s life? Usually when it’s driven by a musician. Though the events chronicled in “Heart Land Mines” occurred nearly 30 years ago, and Dave Kerzner started writing songs about his experiences at that time, he hadn’t fully coalesced the material into a full-length album until now. But some of the original tracks were recorded on ADATs 25-30 years ago, just waiting for when the time was ripe to fully flesh them out into a finished product. This being his fourth solo album after last year’s excellent “The Traveler” (in addition to albums from In Continuum, Sound of Contact, and other side projects over the years), Kerzner takes a detour from his sci-fi concept albums to share an autobiographical tale that starts in L.A.
No, this isn’t Kerzner’s answer to Kevin Gilbert’s “The Shaming of the True” or Neal Morse’s “The Great Nothing”. Rather than being an account of trying to make it in the vicious L.A. music business, this is a tale of heartbreak. But it does include a little snippet of that Hollywood scene in “Dreaming In LA”.
First things first though, we start off with a brief acoustic prologue “True Story Pt. 1” to set the stage, kind of a “Pigs On The Wing” moment that bookends the whole album. “Eye Of The Storm” then opens as the first single, an overarching representation of the story. This is a driving song in both senses of the word, propelled by Kerzner’s trusty core band of Derek Cintron on drums, Joe Deninzon on violin, Matt Dorsey offering electric guitar and of course Fernando Perdomo killing it on both guitar and bass. This is a great track, *Deninzon’s strings adding tension effectively as the piece builds towards its climax. We even have a special guest on horns, a young Daniel Kerzner*. Welcome, it’s a family affair.
He might not have been “leaving Las Vegas” quite yet, but *Kerzner’s “Dreaming In LA” does seem to intentionally rub elbows with Sheryl Crow’s anthem of that name (there’s that Kevin Gilbert connection, too) as we hear the desperate tale of two wannabe stars-in-waiting who never quite make it. Presumably this was the crowd that Kerzner* was hanging around with while he was trying to get his own break in the biz, but ultimately realized that there were other roads to true happiness and artistic satisfaction which he would soon be traveling.
Enter: the girl. “Genevieve” opens with a “Tango In The Night” Fleetwood Mac vibe thanks to Gene Siegel’s bazouki playing as we meet the one who would break *Kerzner’s heart, ultimately burying many of those heart land mines which fuel the album. The legendary Lyle Workman is featured on electric guitar and Durga McBroom sings supportive backing vocals. “The door was open for you, Genevieve. You lost your chance to make me believe.” The relationship is consummated and ends all within one song, meaning that the rest of the album is more or less detailing Kerzner dealing with the emotional fallout. While that seems a little lopsided as far as storytelling goes, Steven Wilson* and many others have commented that the best songs always seem to be the saddest ones so that’s what we get, though truth be told much of the ensuing music stays fairly upbeat.
“Heart Land Mines Vol. 1” ArtworkIt’s Steely Dan territory next on “Back To One”, the rhythm and electric sitar guitar conjuring up the addictive “Do It Again” (with a touch of “Rikki” during the opening bass octaves) which is only fitting considering our guest guitarist is Elliott Randall. However, in a diabolical twist, it’s actually *Perdomo on the very Denny Dias-like sitar solo, with Randall coming in towards the end of the song on a fantastic fuzz octave guitar solo. Good groove. We then jump into the quick little ditty of “Pushed Me Out” which sounds like Kerzner’s take on Jon Anderson’s “We Have Heaven”* with its vocal stacking and other incidentals. Great little tune, though kind of sad it didn’t linger longer.
“When The Heart Sinks Like A Stone” gives co-writing credit to *Kevin Gilbert, in whose band Kerzner played while he was in LA. This one has more of a Floyd feel to it, especially with the McBroom sisters and Emily Lynn on backing vocals, right down to closing echo repeat of “stone…stone…stone…” *Perdomo* also throws in lots of guitar odds and ends which make the song extra colorful. We get a beautiful heart wrenching ballad in “Worlds Apart”, the female backing vocals are in full force on “Dirty Girl”,* and Deninzon’s violin and Cintron’s drum attack really elevate “Too Far Gone”. “Manic Calm” opens with a nod to David Gilmour’s calm “On An Island”* (as does the album cover font) but quickly shifts into the manic part of the song with dual guitar attack from Perdomo and *Mark McCrite. One of the album’s best.
Strangely, the album doesn’t burn out but rather kind of fades away. After an “Eye” reprise, there’s a short instrumental “Siren’s Song” and a shorter “True Story Pt 2”, all of which kind of leaves us hanging. This may be because the title of “Heart Land Mines Vol. I” suggests that there is more to come in the story. If so, we’ll await to see what’s next. *Kerzner* always seems to have several projects going at once, so there may be other releases before “Vol. II” surfaces, but we’ll see.
Despite the caustic title, there’s not much that’s really flashy on this album but that appears to be by design. Rather than dreaming up crazy sci-fi worlds and the dramatic music to accompany it, this collection finds *Kerzner in more of a singer songwriter mode. It probably could have been purely an acoustic album but because he surrounds himself with such electric musicians, they always fill out the arrangements, making it a full band experience to great effect. After all of the sci-fi, it’s good to be grounded back on earth for once, as we await to see what roads Kerzner* travels next.
Released By: Independent
Release Date: October 18th, 2023
Genre: Progressive Rock
“Heart Land Mines Vol. 1” track-listing:1. True Story (Part One) 2. Eye of the Storm 3. Dreaming in LA 4. Genevieve 5. Back to One 6. Pushed Me Out 7. When The Heart Sinks Like a Stone (Another Miss Broadway) 8. Worlds Apart 9. Dirty Girl 10. Manic Calm 11. Too Far Gone 12. To The Eye (Reprise) 13. Sirens Song 14. True Story (Part Two)
Musicians: Dave “Squids” Kerzner / Lead Vocal, Acoustic Guitar, Keys, Percussion * Fernando Perdomo / Electric Guitar, Acoustic Guitar, Electric Sitar, Bass, Drums * Matt Dorsey / Electric Guitar, Bass, Percussion * Derek Cintron / Drums * Joe Deninzon / Violins, Violas, Chin Cello * Daniel Kerzner / Horns * Mark McCrite / Electric Guitar, Acoustic Guitar, Background Vocals * Gene Siegel / Bazouki, Electric Guitar, Acoustic Guitar * Lyle Workman / Electric Guitar (solo on “Genevieve”) * Elliott Randall / Electric Guitar (solo on “Back to One”) * Devin Powers / Electric Guitar (solo on “When The Heart…”) * Randy McStine / Electric Guitar (Gtr FX on “Dirty Girl”) * Durga McBroom / Backing Vocals * Lorelei McBroom / Backing Vocals * Emily Lynn / Backing Vocals * Robin Schell / Backing Vocals * Pat Meyers / Backing Vocals on “Too Far Gone”*
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To state that Amorphis is one of metal’s finest acts is to state the obvious, and apart from a few rather tepid moments late in former singer Pasi Koskinen’s otherwise stellar tenure with the band, the *Amorphis discography commands the kind of respect we reserve for the Dark Tranquillity‘sand Emperor‘sof the world. It came as no surprise when the forerunners of the folk metal movement commemorated their winning streak with the excellent 2021 release “Live at Helsinki Ice Hall,” recorded in late 2019, shortly before the world started shutting down. Almost as surprising is their upcoming “Queen of Time: Live at Tavastia 2021,” which paradoxically cements Amorphis* as one of metal’s most consistently excellent live bands while offering precious little of value to all but the most dedicated completionists.
The very title “Queen of Time: Live at Tavastia 2021” is a misnomer because of what “live albums” have come to mean. This set was indeed recorded at Helsinki’s legendary Tavastia, and it does indeed consist of the entirety of perhaps their grandest record. And while I’m in absolute agreement that live recordings of yore (think The Beatles) would have benefited from less crowd noise, you’ll quickly note that “Queen of Time: Live at Tavastia 2021” has no crowd noise at all. That’s because there was no crowd in the first place, as Finland’s Covid restrictions didn’t allow for public concerts at the time. Remember those remote/ streamed concerts of the lockdown days? Yeah, this was one of those.
The absence of the crowds (and by extension, crowd interactions) forces us to focus on the performance, and to be completely honest, *Amorphis never disappoint live. Every note, every breath, and every detail that can be replicated on stage is replicated faithfully, with only Esa Holopainen’s oud solo in “The Golden Elk”* rearranged for guitar being the only serious departure from the text.
“Queen of Time: Live at Tavastia 2021” ArtworkAll those extra bells and whistles on the original album – the choirs, strings, Albert Kuvezin’s throat singing, Ihsahn/*Emperor sideman Jørgen Munkeby’s sax, and Eluveitie honcho Chrigel Glanzmann’s actual whistles – are all piped in. Which is fine, my personal distaste for backing tracks notwithstanding. But where this common practice becomes damnright sinful is on “Amongst Stars,”a cut that is easily one of my favorites in the storied Amorphis catalog, and where they dare pipe in Anneke van Giersbergen‘s angelic voice. Sorry guys, but for a band of Amorphis*‘ stature to do this is just criminal. Can’t get Annie into the country because Covid? Fine. There’s no shortage of talented Finnish women who would have jumped at the opportunity to step into those shoes for a night. But playing back the exact same tracks she recorded years prior feels like **Amorphis* is cheating its fans. I’d expect and maybe even accept this from a lesser band. I won’t mention what the video editors did on this song, other than to ask sweet Quetzalcoatl in Mictlán.Why??!!
*“Queen of Time: Live at Tavastia 2021” is the first live album I’ve heard in thirty years that lacked an actual audience. The last was volume 1 of the Intense Records “Recorded Live” series, which featured a rehearsal tape of Jesus metal thrashers Deliverance. It was a loose, fun, and crushing set, replete with the goofiness and crunch that made nerdy teenage Catholic me love that band as much as I did. “Queen of Time: Live at Tavastia 2021” ain’t loose or fun. “Queen of Time: Live at Tavastia 2021” is solemn and serious about its crushing mass, and I won’t pretend to know how Holopainen, Koivusaari, Joutsen, and crew felt finally performing on a real stage, even if to a virtual audience, after going into hiding for a year plus. But I cannot get over that however exacting and precise *Amorphis are in this performance, this live album simply rings hollow. Perhaps in releasing it, Amorphis are symbolically driving a final nail into the covid shutdown coffin, but the fact remains that “Queen of Time: Live at Tavastia 2021” feels like little more than a playthrough and a shameless money grab. By no means does this performance suck. But Amorphis* without question has it in them to have made something really unique, something really special in that somber, desperate moment. And they didn’t.
Released By: Atomic Fire Records
Released On: October 13th 2023
Genre: Progressive Metal
Musicians: Tomi Joutsen / Vocals * Esa Holopainen / Guitar * Tomi Koivusaari / Guitar * Santeri Kallio / Keyboards * Olli-Pekka Laine / Bass * Jan Rechberger* / Drums
“Queen Of Time: Live At Tavastia 2021” track-list:1. The Bee 2. Message in the Amber 3. Daughter of Hate 4. The Golden Elk 5. Wrong Direction 6. Heart of the Giant 7. We Accursed 8. Grain of Sand 9. Amongst Stars 10. Pyres on the Coast
Pre-order “Queen of Time: Live at Tavastia 2021” HERE.
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Progressive rock has existed for over half a century, making it increasingly difficult for new artists to stand out with a unique and worthwhile sound. Yet, with their first two LPs (2011’s “Immured” and 2015’s “Stagehound”), American troupe Advent Horizon certainly did. The latter work, in particular, was a stunning showcase for their knack for balancing superb songwriting with distinctively welcoming yet complex instrumentation. As such, they had quite the task in front of them in trying to equal—if not surpass—that achievement (especially since it’s been nearly a decade since “Stagehound” arrived).
Miraculously, they’ve done it with “A Cell to Call Home.” Beyond being worth the eight-year wait, Advent Horizon’s third full-length sequence ups the ante in just about every way (due in no small part to contributions from outstanding musicians such as Jordan Rudess, Dave Meros, Jared Roswell Hill, and Randy McStine in addition to other guest contributors). Full of excellent songwriting, singing, and arrangements, it’s easily the band’s crowning achievement and one of 2023’s greatest progressive rock records.
Conceptually, the album dives into “the interplay between love, dependency, and loss – told in first person through the eyes of a protagonist who is battling through the struggles of overcoming addiction.” Ultimately, it “urges the listener to examine their own weaknesses before criticizing those they love.” Produced and mixed by *Advent Horizon, “A Cell to Call Home” earns even more credibility for being mastered by Jens Bogren (Opeth, Haken, Between the Buried and Me)and for having its artwork designed by Travis Smith (Opeth, Devin Townsend, Riverside*).
Opener “Water”—which introduces the protagonist “as he attempts to find his way back from the ‘point of no return’”—is remarkably dynamic and alluring. Mixing some of the groups’ heaviest riffs and rhythms with gentle piano chords; catchy melodies; sleek synths; and hypnotic harmonies and intersecting vocal lines, it’s an exceptional example of how *Advent Horizon* use intricate musicianship to complement (rather than overshadow) top-notch songwriting.
“A Cell to Call Home” Album ArtworkThe same holds true for several ensuing gems. For instance, and in their own distinctive ways, “Calling It Off,” “Truth,” “Cell to Call Home,” and “How Did It Get So Good?” juxtapose soothing passages and touches of Spock’s Beard/Neal Morse playfulness with progressive metal-esque aggressive guitarwork and keyboard theatrics. Along the way, “Rain on Open Water” harnesses radio-friendly appeal without losing originality or sophistication, whereas finale “Hold Me” is mostly a serene ode with fiercer trimmings that brings robust and affective closure to the collection.
On that note, a few other tracks fully reveal the ensemble’s softer side. Specifically, instrumental interlude “Snow Child” capitalizes on Hill’s talent for crafting classy piano introspections, just as gorgeous acoustic duet “Your Flaws” is highlighted by the angelically meditative singing of Kristen McDonald. Later, “Control”finds digital tones and a thrilling saxophone solo (courtesy of Hayden Payne) benefiting an already powerful statement reminiscent of Devin Townsend’s full-bodied ballads. As for heavenly reflection “Maybe,” well, it’s among the group’s most breathtakingly impactful pieces to date.
At the risk of sounding hyperbolic, “A Cell to Call Home” is an incredible journey in every way. From its immensely polished, diverse, virtuosic, and fitting arrangements to its heartfelt songwriting and captivating vocals, each component enhances the others perfectly, yielding a spotless and wholly enchanting experience. No matter how long it took to get here (or why), there’s no doubt that *Advent Horizon* poured everything they could into it, resulting in a clear labor of love that’s both the band’s masterpiece (thus far) and arguably 2023’s greatest progressive rock record.
Release Date: October 6th, 2023Record Label: Self-Released (Bandcamp)Genre: Progressive Rock / Metal
Musicians: Rylee McDonald / Guitars, vocals * Mike Lofgreen / Drums * Cason Wood / Keys * Grant Matheson / Guitars, vocals, keys * Kris Hartman* / Bass
“A Cell to Call Home” Track-list:1. Water
2. Snow Child
3. How Did It Get So Good?
4. Rain On Open Water
5. Your Flaws
6. Truth
7. Calling It Off
8. Control
9. Maybe
10. Cell to Call Home
11. Hold Me
Order “A Cell to Call Home” HERE
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Tiger Moth Tales is a vehicle for Peter Jones’ musical output, usually melodic progressive rock with a focus on telling a good tale. While other guests may occasionally show up on the studio albums (and a live band is assembled for occasional gigs), Jones is front and center most of the time as he is on this album, playing guitars, keyboards, drums, percussion, melodica, whistles, saxophone and zither. But it’s his voice which goes down smoothest – one of the most wonderful in this genre – with more than a little Gabriel in it. Simply put, Peter Jones is a treasure and this new album is a gem not to be missed.
“The Turning of the World” is not a prog rock album by any stretch but after last year’s excellent and proggy “A Song Of Spring”, it’s quite nice to have a more acoustic album of relatively straight-forward singer songwriter compositions to balance it all out. Although considered to be a companion to 2020’s brooding but beautiful “The Whispering of the World” which featured piano and string accompaniment, “Turning” turns more towards the acoustic guitar and a brighter look on life. Wrapped in nostalgia and innocent joy, this new album is an absolutely lovely collection of songs rich in melody and sentiment. If your autumn needs a little cheering up and inspiration, Tiger Moth Tales offers a kaleidoscope of colors to brighten your mood.
The title track opens up the proceedings with saxophone, acoustic guitars and melodica. Feeling like a laid-back protest song – if that’s not an oxymoron – it earnestly encourages us each to stand up with our own voice and be heard. It eventually gears up to an enveloping chorus, turning and turning its refrain in our ears at an addictive driving tempo. Honestly, this chorus could have arrived a bit earlier in the tune, strong as it is. The hypnotic “Try” is another marvelous faster-paced track, urging the listener to put foot forward and giving it a go, “Try and try then try again, God loves a tryer in the end.” An earnestly delivered motivational song, simple in its acoustic accompaniment but unquestionably potent as the saxophone sings out. “Make A Good Sound” offers the brightest chorus of the lot and unapologetically beckons the listener to move their body, “And if you can’t dance to this, then work on your technique…”
“The Turning Of The World” ArtworkMany of the songs are nostalgic reflections from Jones’ past, such as “So Wonderful To Be Alive” and “The Snail, The Horse And The River”, but which can be universally relatable in their choruses and messages. Most importantly, the melodies are cunningly catchy and well-performed.
The beloved David Longdon, singer of Big Big Train, is memorialized is the touching “We’ll Remember” as Jones sings, “Life is pain but life is magic, too. It’s out there somewhere, and I believe we all keep a little piece of the magic that came from you.” There’s a sweet chorus at the end, with Rob Reed and Christina Booth joining in on backing vocals. What a much-needed tribute to his passing two years ago: “We’ll tell the bees, and the ladybirds.” 😢😢
Storytelling is always part of the Moth releases and “The Lock Keeper” makes for a jaunty yet sad tale, ably played on the acoustic. “Soon a computer will take the job that I do.” The album closes appropriately with “All I Need Today”, a love song to Jones’ wife, tying together the title track with the line, “For the world will keep turning until it’s all through, and that’s alright if I’m turning with you.” Bravo, well done, mate.
As the world keeps turning it feels like occasionally we need a simple album like this, sincere in sentiment yet seamlessly arranged and delivered. Undoubtedly Jones will bring the prog back with a vengeance on future albums but for now, this little treasure more than satisfies to while away the autumn days.
Released By: Independent
Release Date: October 6th, 2023
Genre: Progressive Rock
“The Turning of the World” track-listing: 1. The Getaway (1:00)
2. The Turning of the World (6:29)
3. So Wonderful to be Alive (5:43)
4. The Snail, The Horse and the River (8:43)
5. Try (4:51)
6. We’ll Remember (7:31)
7. Pass it On (5:21)
8. The Beautiful People of Munchwald (3:28)
9. You Reached for My Hand (2:29)
10. The Lock Keeper (3:10)
11. Make a Good Sound (3:45)
12. All I Need Today (4:13)
Musicians: Peter Jones / Vocals, Guitars, Keyboards, Drums, Percussion, Melodica, Whistles, Saxophone, Zither * Robert Reed / Backing Vocals (track 6) * Christina Booth* / Backing Vocals (track 6)
Order “The Turning of the World” HERE.
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When placed alongside the juggernauts of rock and metal, multi-instrumentalist singer Dino Jelusick remains the new kid on the block. While he may have yet to sell out stadiums, or play a million-and-one gigs like Billy Sheehan, or have his favorite outfit hanging on a mannequin inside everyone’s favorite fickle Cleveland hall of fame, his rise in these last few years has been nothing short of meteoric, and he seems to have the talent to back it up. When he hasn’t been working on projects with George Lynch, Derek Sherinian, Magnus Karlsson, Michael Romeo, or touring as a member of Whitesnake and Trans-Siberian Orchestra, Dino is trying to build his own brand, whether with his own Animal Drive project, or now under his own name entirely.
Although he is a keyboard wizard and a respectable multi-instrumentalist, Dino Jelusick had the foresight to assemble a functioning studio and live band for his eponymous solo project. Guitars are handled by Ivan Keller, bass is covered by Luka Broderick, and Mario Lepoglavec is behind the drum kit. Although *Dino* is almost certainly a stakeholder in virtually every element of the composition and creative process of the band, his own personal musicianship is mostly limited to vocals and keys.
Here we find ourselves, with the fruit of this labor, with 2023’s release of Jelusick’s “Follow the Blind Man” album. The eleven tracks provide surprising variety, but let’s start at the beginning. The opener, “Reign of Vultures,” dives in with *Dino’s preferred Jens-meets-Derek keyboard blend of howling arpeggios, before drums, bass, and guitar come crashing in to set the stage for the dominant guitar riff, aggressive and chugging away. The guitars are full of texture and pinch harmonics, and the drumming is tight, making great usage of the ride in true “J-Mac” style. Following a brief spoken drama sequence, the song shift gears into a somewhat slower, and only slightly lower-gain doom breakdown sort of section before rushing full-tilt back into the main riff, and allowing for some great solo tradeoffs between guitar and keyboard before allowing *Dino****’s vocals to hammer the final nail into the song’s coffin.
The big heaviness parade continues into the second track, “Died,” although the pace is mostly more relaxed with this one. This track is a good one for *Dino to stretch out his deceptively big vocal cords, working all those timbres in that Dio/Russell Allen/Jorn Lande zone where he does his best work. The middle section (“I only know what I been told”) goes down a Myrathian detour in that Phrygian sort of mode that turns any guitarist into a Pharoah instantly, before the song returns to its original structure, except Dino* really pushes the vocal parts for a big finish.
“Follow The Blind Man” Album ArtworkThe third track, “Animal Inside,” (Animal Drive?) has a great clean guitar intro that walks in some uncanny valley between “Diary of a Madman” and “Tristram from Diablo.” The heavy riff and verse structure is pretty standard, but it seems like the chorus rises into a major key to give the song a bit more of an anthemic earworm quality. Speaking of earworms, It’s almost impossible to unhear the *Sherinian influence in Dino’s keyboard parts. Make no mistake, there’s love for shred-heads too, because the lead guitar parts are pretty impressive, probably most similar to Jake E. Lee*.
This brings us to the title track, “Follow the Blind Man.” The track actually opens with clean piano and *Dino’s soft vocals, before medium-high gain lead guitar comes in with an intensity right around the first “November Rain” solo. The track never really rises above this sort of medium heavy that mostly hovers in that Cinderella “Don’t Know What You Got” balladic zone, which is welcome to keep the overall album from being an unrelenting cinderblock from beginning to end. However, with that said, it’s a good journey. You can really feel the Coverdale in the vocals, and yet, you can almost feel some Paul O’Neill in the overall composition, with its Savatage* “Streets” sort of vibes. All in all, pretty cool.
Two of the tracks in the middle, “What I Want” and “Acid Rain” are both solid, and normally could just be discounted as well-rounded metal tracks to carry us along to “Healer,” a real highlight of the album, but it is worth noting that “Acid Rain” Is extra heavy, with a lot of technical tricks throughout, and *Dino even gets to flex some serious growls and screams in the middle sections. Aside from some of the riffing borrowing a bit of essence from Dime and Scott Ian, the lead parts are blisteringly real and definitely worth mention. With that out of the way, “Healer” has been one of the tracks *Dino* has been pushing on social media, and with good reason. It’s like *Lynch Mob and King’s X had a groovy little baby with the Euro prog metal scene. The riffs are tight and gnarly, but the chorus sections open up the dynamics enough to let this one breathe nicely once out of the bottle.
“The Great Divide” has been getting some good internet play in the first couple days, so let’s check it out. The track opens up with some shy, tentative little guitar notes emerging, like something from Vai’s “Alive in an Ultra World” album, before acoustic guitar strums along to some dialed back drumming and *Dino delivering soulful vocals. Once the chorus comes to the fore, the track can only be compared to ballads from Whitesnake’s middle period, like “The Deeper The Love,” or perhaps a hint of “Sailing Ships,” which is just fine, because even modern AOR never quite captures those old vibes as well as this track does. Now, for a track which seems to be gaining even more traction online than this one, we have “Fly High Again,” which has no relation to Ozzy and Randy*, aside from kicking ass. Detuned guitars, punchy bass guitar, vibrato harmonics, and low-down mean and nasty modern metal riffs and grooves all set the stage for this bruiser. There are a couple nice changes, and a well-executed no-frills guitar solo, but this track is very much WYSIWYG (What you see is what you get). It’s a straightforward rocker with zero guile. It gets the job done, and well.
This brings us to the grand finale, “Chaos Master” parts 1 and 2. Interestingly, they are not as complementary as one may think. It’s a bit like if “Learning to Live” came before “Waiting for Sleep” in the track-listing of “Images & Words”. “Chaos Master” is a metal track with a few facets including grooves, funky bass parts, and even a satisfying F-bomb. The second part, “Chaos Master Pt 2, The Bitter End,” is a tender piano solo piece to showcase another side to *Dino*’s vocal ability. We get to enjoy the whole palette, lower octaves, some higher parts, various textures, breath control and vibrato. Looking at the album cover, one wonders if we are following the blind man to the bitter end.
Stepping back and looking at this body of work, the ending might not be so bitter. *Dino and the boys sharpened their pencils and turned in some quality work here. Now, keep in mind this does not do any sort of mind-melting prog metal action, nor is it dumbed down into a sort of heavy metal safety-soup accessible to the everyman. This is a thoughtful metal album which accomplishes a few things. It is largely heavy. It is occasionally not, in a few strategic places. It has some noteworthy grooves and riffs. It showcases musicianship from all involved, most especially Dino Jelusick himself. While it remains to be seen whether this is album of the year material for any specific area of interest, we can safely say that this is a solid and well-rounded metal record which does meet and exceed what it purports to do. Dino himself may be the last authentic rocker of this generation, like Stephen King’s titular gunslinger, walking the wasteland in a world which has “moved on.” We wish Dino* the best in his quest for his tower.
Check out “Follow the Blind Man,” it is available in streaming services and on CD and limited-edition vinyl. Order your copy now and get a limited-edition bundle while supplies last.
Release Date: September 29th, 2023
Record Label: Deko Entertaiment
Genre: Prog Metal / Hard Rock / Heavy Metal
“Follow The Blind Man” track listing:1. Reign of Vultures 2. Died 3. Animal Inside 4. Follow The Blind Man 5. What I Want 6. Acid Rain 7. Healer 8. The Great Divide 9. Fly High Again 10. Chaos Master 11. The Bitter End (Chaos Master Pt.2)
Jelusick – The Great DivideJelusick – Fly High AgainThe post JELUSICK – Follow The Blind Man (Album Review) appeared first on Sonic Perspectives.
In the realm of instrumental music, where storytelling relies solely on the language of instruments, *Michael Abdow‘s latest effort, a seven-track album, takes us on an epic journey through the timeless battle between good and evil. Aptly titled “Séance in Black,” *Abdow****‘s musical tour de force serves as a gripping narrative, seamlessly weaving emotion, technical mastery, and an evident sense of conflict into every note.
From the very first moments of the record, it becomes clear that the instruments themselves are the lyrics of this epic tale. **Abdow****‘s guitar work takes center stage, conveying a wealth of emotion that leaves no room for vocals. The high-note guitar riffs are like piercing screams, each note a battle cry that resonates with intensity. The give and take between the percussion and bass create a rhythmic foundation that underpins the entire album, providing the heartbeat of the story. Meanwhile, the harmonies, delicate and ethereal, serve as the guiding light through the darkness of this sonic battlefield.
The album begins its odyssey with “From the Silence,” a track that instantly grabs your attention. *Abdow‘s genius lies in his ability to deceive the listener initially, starting with a single guitar softly picking notes. It’s a brief moment of calm before the storm. Just when you start to question whether you’ve put on the right artist, the song explodes into a frenzy of insanely heavy metal drums and even more powerful guitar riffs. It’s as if *Abdow**** has summoned a thunderstorm to rain down upon your senses. His guitar screams like a warrior in the heat of battle, unleashing a torrent of emotion that grips you by the heartstrings.
As “From the Silence” unfolds, **Abdow**** guides the listener through an ever-shifting landscape of tests and turns. It’s a musical journey that keeps you hooked from start to finish, mirroring the unpredictability of a battle between forces of light and darkness. The listener is transported on a celestial journey, carried by harmonic angels to the next chapter of this epic story.
“Séance In Black” Artwork“Eternity” follows, opening on a somewhat slower note. Here, **Abdow*‘s guitar work takes on an almost mystical quality, guiding you through a darker segment of the narrative. The complex scales and riffs feel like navigating treacherous terrain, and Abdow‘s ability to make the guitar seem like it’s shooting lasers adds an otherworldly dimension to the track. “Eternity”* is a testament to *Abdow***‘s virtuosity, showcasing his command over both the technical and emotional aspects of his instrument.
“Welcome Desolation” serves as the album’s midpoint, offering a momentary respite from the intense emotions generated by the preceding battles. It’s a calm in the eye of the storm, a period of peace that allows both the listener and the hero to regroup. **Abdow**** layers instrument upon instrument at the beginning of this track, creating a rich and immersive sonic landscape. As the song progresses, it feels as if a divine light shines down upon the hero, infusing them with the strength to carry on, knowing that the battle is far from over.
Immediately after “Welcome Desolation,” follows “The Turning.” Thrusting us right back into the midst of the conflict. It’s as if the respite was brief, and the darkness has returned with a vengeance. However, the title of the track hints at a shift in the tide of battle. **Abdow****‘s musical storytelling takes a turn, reflecting the evolving dynamics of the epic struggle.
The guitar work in “The Turning” is nothing short of mesmerizing. It’s a sonic battleground where the hero faces new challenges and adversaries, but this time, there’s a sense that the tide has indeed turned. The guitar riffs, like flashes of steel, cut through the darkness with a newfound determination. **Abdow****‘s ability to convey emotion through his instrument is nothing short of remarkable. It’s as if the guitar itself is a character in the story, expressing anger, resilience, and hope with every note.
The album reaches its climax with “Evidence of Angels.” Here, the emotional weight of everything that has transpired throughout the battle becomes palpable. The guitar, now a weary but determined soldier, cries out for the fallen comrades who surround you. The heaviness of the music mirrors the gravity of the situation, and you can almost feel the weight of the fallen soldiers on your shoulders.
As “Evidence of Angels” nears its conclusion, something remarkable happens. Amidst the fading echoes of the guitar, you can hear faint, hallowed voices. It’s as if ethereal beings are singing to you, offering solace and guidance as the album draws to a close. It’s a haunting and poignant moment, a reminder that even in the darkest of battles, there is still hope and the possibility of transcendence.
In the end, “Séance in Black,” is a sonic journey that demands to be experienced from start to finish. It’s a story told without words, where the instruments themselves become the characters, the setting, and the emotions. **Michael Abdow****‘s technical mastery and his ability to convey profound emotion through his guitar work are nothing short of awe-inspiring.
With this album, he has created a musical epic that speaks to the very essence of the human experience—our struggles, our triumphs, and our enduring hope. It showcases the power of instrumental music to transcend language and touch the deepest recesses of the soul. “Séance in Black” is more than an album; it’s an immersive journey into the heart of the human experience, a battle of emotions fought and won through the power of music.
Released By: **Couch Cat Records*
Release Date: *October 6th, 2023
Genre: Instrumental Guitar
Musicians: Michael Abdow / Guitars, bass, keys, programmed beats, guitar synths * Shawn Deneault* / Acoustic drums
“Séance in Black” Track-Listing: 1. From The Silence 2. Oracle 3. Eternity 4. Welcome Desolation 5. The Turning 6. Séance In Black (Part I) 7. Evidence Of Angels
Order “Séance in Black” **HERE**.
The post MICHAEL ABDOW – Séance in Black (Album Review) appeared first on Sonic Perspectives.
A brutal nod is given to the old school.For most that have been paying attention to what has been going on in metal and rock circles in Europe since the turn of the millennium, the name Michael Poulsen has no doubt become synonymous with the highly acclaimed Danish heavy/groove metal outfit Volbeat, which he has been fronting for more than 20 years now.
What is perhaps more privileged information exclusive to those with some knowledge of Northern Europe’s rich history as a purveyor of death metal throughout the 90s is that Poulsen originally cut his teeth as the helmsman of a prominent old school death outfit in Dominus that represented a substantial part of the Danish wing of said movement, running in similar circles with the likes of Carcass, Entombed, Grave, among others; and much like Swedish counterparts Unleashed, were an early purveyor of marrying the style to Viking themes before it was popularized by Amon Amarth.
“Impii Hora” ArtworkIndeed, the band *Volbeat’s very name was taken from Dominous*’ stylistically transitional 1997 studio album, leading one to wonder if maybe this more mainline metal personality was harboring a desire to turn back the clock to a darker and simpler time.
Asinhell, a project born out of Poulsen’s songwriting efforts for *Volbeat’s 2021 LP “Servant Of The Mind”, could be likened to a newly formed continuation of what Dominus was during its more stylistically conservative run in the early to mid-1990s. Having drawn pretty blatantly from the same well of ideas that formed the bulk of the brutal yet more simplified side of the Swedish and Florida death metal scenes via the earliest and most thrashing offerings of Death, Entombed, Obituary and Unleashed; the resulting debut opus dubbed “Impii Hora*” (Latin for “Ungodly Hour”) has all the makings of a compelling and utterly ferocious throwback.
Having tapped the engineering and session bass handiwork of fellow Danish old school extreme metal icon turned producer Jacob Hansen, every crevice of this album is oozing with early 90s dankness and fury. Likewise, the thunderous kit work of Blood Eagle drummer Morten Toft Hansen and the occasional shred-happy solos provided by guest guitarist Flemming Lund of The Arcane Order meld seamlessly with Poulsen’s gritty and highly infectious riffs. Codifying this fiendish reminiscence of the old ways of sonic death and decay is former Morgoth vocalist Marc Grewe, who still brings that signature low-end grunt with a forceful edge like his 1991 incarnation had been brought 32 years forward in time.
As a well-rounded book of brutality told in 10 harrowing chapters, this is an album that relies on adherence to tradition and a consistent barrage of distinctive riffs to seal the deal. There is a latent sense of melodic consonance that lingers among several entries here that undoubtedly speaks to a strong blend of death ‘n’ roll sensibilities and late 80s thrash influences, with entries like the fast-thrashing opener “Fall Of The Loyal Warrior” and the swampy speeder “Desert Of Doom” that occasionally resembling a missing link between **Entombed*’s *“Clandestine” and “Wolverine Blues”, though also drawing pretty heavily from *Grave*’s more dissonant early entries.
Other entries like “Island Of Dead Men” cut things a little closer to the ultra-heavy, down-tuned brand of brutality one might expect from Cannibal Corpse, while the riff happy extravagance of “Pyromantic Scryer” and the flashy “The Ultimate Sin” flirt a bit with the transitional early 90s stylings of Death, with Lund’s rich harmonic solo contribution to the latter sounding about as gripping as those found on “Spiritual Healing” and “Human”. But what truly brings home the old school glory like it’s back in style is the closing barrage of the title anthem “Impii Hora”, which covers just about every base on the old school playing field, and is even chased by a less than subtle nod to Napalm Death with a closing 5-second addendum “Foj For Helvede”.
When it comes to modern nods to the good old days, while bands like Rude, Skeletal Remains and Gruesome have definitely been apt to the task of reminding us why the old guard’s approach was so captivating, there is something about the crop that was originally there rediscovering the old art that just comes with an added level of gravitas.
Particularly when it comes to recapturing the multifaceted blend of melodic melancholy, dank nastiness, and rustic thrash-inspired riffing that came to typify most of the early proponents of the Swedish sound, Michael Poulsen and his impressive roster of collaborators have definitely brought one of the most compelling entries into the fray within recent years. Though Asinhell is a project that was basically born out of a spontaneous fit of songwriting while penning a very different album for an established and highly in-demand band, it’s definitely one that will have a lot of staying power if the mastermind behind it continues to feel thusly inspired.
“Impii Hora” is the sort of compact and well-constructed albums that just about any death metal fan can sink their teeth into, though those with a limited tolerance for all the parasites and dark spiritual forces that come with a diet of rotting flesh and occult-themes are encouraged to listen with care.
Released By: *Metal Blade Records
Release Date: September 29th, 2023
Genre: Old-School Death Metal*
Musicians: Marc Grewe / Lead vocals * Michael Poulsen / Guitars, Bass * *Flemming Lund* / Guitar * *Morten Toft Hansen / Drums
“Impii Hora” Track-Listing: 1. Fall Of The Loyal Warrior
2. Inner Sancticide
3. Island Of Dead Men
4. Trophies
5. The Ultimate Sin
6. Wolfpack Laws
7. Desert Of Doom
8. Pyromantic Scryer
9. Impii Hora
10. Foj For Helvede
Order “Impii Hora” *HERE*.
The album is available in the following formats:
- Jewel case CD
- 180g Black Vinyl (Europe excl.)
- Crimson Red Marbled Vinyl (Europe excl.)
- White Vinyl (Europe excl., ltd. 1000)
- Gold/Black Dust (EMP excl., ltd.300)
- Clear w/ Red/White Splatter Vinyl (Europe Band store excl., ltd. 500)
- Silver Vinyl (US excl.)
- Silver w/ Red Splatter Vinyl (US. excl.)
- Black & White Melt Vinyl (US excl.)
- Red/Black Splatter Vinyl (US Band store excl., ltd. 500)
The post ASINHELL – Impii Hora (Album Review) appeared first on Sonic Perspectives.
Yes, the rumors are true: Trevor Rabin has returned in 2023 with a full-on rock album for the first time in nearly 30 years. Primarily known for revitalizing the band Yes in 1983 (though he had wished that project to have kept its original name of “Cinema”), Rabin was already a young superstar in his native country of South Africa thanks to his band Rabbit. After bringing the prog rock titans into the 80s with hook-laden chart-topping hits, he ventured into the world of scoring film soundtracks, and by 1995 he had left the rock world behind as he worked with some of the biggest names in Hollywood. It was meant to be a temporary detour, but nearly 50 soundtracks later it appeared to have taken over his professional career.
Not until he rejoined Rick Wakeman and Jon Anderson in 2016 for a series of live dates did Rabin start to remember his love of rock performance and recording. There had been a brief flirtation in 2012 with an instrumental album “Jacaranda”, but it took getting on stage over the course of 200 gigs for him to truly get his chops back – especially vocally. His passion reignited, Rabin hung a “Gone Fishin” sign on his Hollywood door for two years while he crafted a new vocal rock album, feeling as if he was recording for the very first time.
Of course, this wasn’t his first time. With a vast wealth of experience and talent at his side, Rabin has unleashed an astonishingly strong and diverse collection of songs. In some ways, it feels like he hasn’t skipped a beat since his last solo rock album “Can’t Look Away”, and the two albums do share much in common. However, *Rabin sounds even stronger now on the fretboard and microphone than he did in 1989. Incredibly, he found that his vocal range had increased after the ARW* tour, and he dazzles on all guitars, basses and keyboards throughout this album, along with playing drums and percussion on several tracks. The stage was set for a blazing collection of songs and that’s exactly what Rabin has delivered.
To call this a vocal rock album is a massive understatement. It’s a vocal playground, each song layered with dozens of backing harmony vocals. Often that occurs in Rabin’s classic trademark choruses, like on “Big Mistakes” but he goes much further in “Paradise” and “Egoli” with layered jaunty vocal sections and unexpected passing vocal riffs which pay off with repeated listenings. “Tumbleweed” takes things to the next harmonic level, however, with a cappella intro, unlike anything we’ve heard from Rabin before (though fans of Moon Safari will be able to relate).
Rio Album ArtworkMusically, “Rio” is deliciously all over the map. There’s a heavy jazz element just waiting to break out whenever the listener is getting lulled with AOR-friendly choruses, like at the end of “Paradise” or towards the end of the smooth ballad “Tumbleweed”. Country & western is firmly represented by “Goodbye”, taking Led Zeppelin’s “Hotdog” oddity and one-upping it as *Rabin shows off his chicken picking licks that he mastered at a much younger age. The success of “Rio” lies in how various styles are merged, so “Goodbye” effortlessly shifts from a foot-stomping hoedown to one of the album’s best rock choruses, and then back again. “Toxic” offers Rabin*’s guitar a chance to blaze away over a bluesy shuffle, a style we rarely get to hear from him but in which he yet again completely dominates.
Societal and political issues are at the forefront of the lyrics, though you often wouldn’t know it from the sunny, inspirational music underneath. “Thandi” opens to rhino calls and the Indian form of vocal rhythm, Konnokol, which is promptly replicated on the guitar. The terror of Ivory tusk poachers is the main theme, laid out by the scorching guitar work and enveloping chorus. “Oklahoma” takes a completely different approach, easily the most cinematic song on the album which is used to explore the Capitol’s 1995 bombing tragedy. Acoustic and electric guitars weave a spirited web throughout the song, as Rabin’s vocals approach a Bruce Cockburn melodic treatment. Its orchestration rings fresh for a rock album but is clearly in familiar territory for Rabin thanks to his soundtrack work. “Push” is a protest song of sorts, too, decrying the injustices done through corruption and political deception, even as Vinnie Colouita drives a 12/8 time signature through his drum kit and tabla (which were played in 5/8).
Rabin’s top-tier production masterfully supports the thick arrangements, which is crucial given the level of musicality on display. This may not be prog music on one hand, but its mix of rock, world, jazz, country, blues, pop and symphonic certainly deems it to be progressive music at its best. While ARW fans may be disappointed that no studio recording resulted from that outing, Rabin proves that when given the freedom to create on his own terms, the inspiration is ever-flowing. Fortunately, he promises that much more will follow, whether it’s live touring, additional rock albums, or perhaps even a duet album with Wakeman. Hollywood’s loss is our gain but to be fair, they’ve had him for 30 years and now it’s our turn again.
Released By: Inside Out Music
Release Date: October 6th, 2023
Genre: Progressive Rock
“Rio” track-listing: 1. Big Mistakes
2. Push
3. Oklahoma
4. Paradise
5. Thandi
6. Goodbye
7. Tumbleweed
8. These Tears
9. Egoli
10. Toxic
Line-up / Musicians: Trevor Rabin / Guitar, lead vocals, bass, keyboards on all tracks, drums and percussion on tracks 3,6,7 & 8, mandolin on tracks 2,4,6, banjo & dobro on tracks 4 & 6, backing vocals on all tracks except 3 * Lou Molino / Drums and percussion on tracks 1,4,5 & 9. Backing vocals on track 4 * Vinnie Colaiuta / Drums and percussion on track 2 * Charlie Bisharat / Violin on track 2 * Dante Marchi / Backing vocals on track 1 & 4 * Liz Constantine* / Backing vocals on tracks 1 & 4
Pre-order “Rio” HERE.
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The old ways are strong again.In the metal realm, it is quite common for the fracturing of old allegiances to forge new ones, though the notion of one of the founding father outfits of the genre having one of its members construct a colossal tower to rival the current exploits of said metal institution is rare.
This is the eventuality that former Judas Priest guitarist K.K. Downing brought to the table four years ago when he formed his own spinoff project dubbed KK’s Priest with ex-Priest cohorts Tim “Ripper” Owens and Les Binks in tow, though sadly the latter would have to leave prior to recording any material due to health concerns.
The eventual 2021 debut “Sermons Of The Sinner” proved a boon for all suffering under the isolation and drabness of the Covid-19 lockdowns, and also saw K.K. and company rekindling the classic *Judas Priest sound in a somewhat more conservative fashion compared to said band’s latest and 2018 powerhouse entry “Firepower”, by presenting a sort of road not taken scenario where Owen’s vocals met with a sonic template more akin to the one that typified the early to mid-80s approach of “Screaming For Vengeance” and “Defenders Of The Faith”.*
True to form, this quintet’s second studio stint dubbed “The Sinner Rides Again,” an apt tribute to one of *Priest’s seminal opuses to be sure, further tightens the few loose ends that dogged the debut and presents a truly formidable collection of old school heavy metal thunder with a modern coat of paint. The dueling guitar assault laid down by K.K. and fellow shred extraordinaire A.J. Mills rivals the frenetic character that often came with the more explosive entries of “Painkiller”*, while the riff work encompassed both the harmonically rich components of the early 80s and the biting, almost thrash-like quality of the tail-end of said decade.
Combined with a furious battery out of drummer Sean Elg and a steady yet harrowing bass presence courtesy of Tony Newton, the wall of sound that is erected is unmistakably modern and could stand as any one of a number of recent outings with Owens’ vocals at the helm, though becoming something far more distinctive when blended with that classic, old school *Priest approach to songwriting. Likewise, Owen’s vocals come packed full of that same level of grit, edge and kinetic fire that he’s been bringing to the table ever since his early days with Winter’s Bane*, to the point where one has to question if the man every truly ages.
Those who have been craving more of that high octane, all speed and no compromises approach to heavy metal that was on full display via “Firepower“ and don’t want to wait a few more years for an eventual sequel will find plenty to satiate their hunger here. Fast paced thrill rides like the opening foray “Sons Of The Sentinel” and “Reap The Whirlwind” push the pedal to the metal with reckless abandon, all the while sporting a classic, late 70s to early 80s inspired riffing assault that has been injected with a nastily distorted gloss that makes every note hit as hard for a 2023 audience as “Sin After Sin” did back in 1977.
“The Sinner Rides Again” ArtworkThe guitar soloing is notably cleaner and more precise relative to what graced much of “Sermons Of The Sinner“, but often leans towards the more chaotic side of classic heavy metal shred, chock full of rapid fire licks and frequent whammy bar noise. Darker speed anthems like the notably concise crusher “Strike Of The Viper” and the more elaborate banger “Pledge Your Souls” go a bit heavier and see Ripper’s pipes get a bit dirtier, becoming a bit more reminiscent of the modern nods to the *Priest formula normally heard out of the likes of Primal Fear*, though are not still mindful to throw in the obligatory hooks and melodic guitar glory that gives this style its triumphant air.
Though there is no shortage of high impact mayhem to be found here, what truly sells this album and puts it in territory that is a cut above the rest is the masterful songwriting and execution of ideas that permeates nearly every moment of it. The promotional single and ultra-catchy entry “One More Shot At Glory” has all the makings of a modern heavy metal classic, mixing an infectious to the point of iconic chorus hook with a series of telegraphed twists and turns the marries *Priest’s swifter elements with those occasionally epic moments, complete with an auspicious bass intro and generally animated overall performance out of Newton* and a tasteful blend of keyboards to further augment an already massive sound.
By contrast, the grim atmosphere established on the semi-ballad entry “Keeper Of The Graves” all but transports the listener back to the haunting realm of 80s heavy metal atmosphere building meshed with punchy metallic power. One would also be remiss not to take note of the harrowing journey from a serene clean guitar intro to a biting, mid-paced thrasher of a beast that is the title entry “The Sinner Rides Again”. There are just no real weak links to be found in this newly formed metallic chain at any point of its 40 minute run.
This doesn’t quite get to the point of outclassing the pummeling brilliance that was *Judas Priest’s “Firepower”, but it can definitely stand toe to toe with it, and also arguably presents the first truly great showing by an arguable incarnation of Judas Priest with Owens* at the helm. While it is fairly short in duration and opts to keep things more on the compact side in terms of songwriting, there are a lot of layers to the album that will make it a compelling listen even after the early euphoria it is sure to bring the first few times through wears off.
Much like the rest of the original membership that made *Judas Priest the name that it has been and helped to pioneer the heavy metal style, K.K. is an artist that has no shortage of staying power, and with further refinement his version of the *Priest* sound could potentially surpass the outfit still holding the original moniker. Those who originally fell in love with the sonic barrage of *“Defenders Of The Faith” and newer trustees of the traditional heavy metal art form alike, will not want to miss this one.
Released By: *Napalm Records
Release Date: September 29th, 2023
Genre: Heavy Metal*
Musicians: Tim “Ripper” Owens / Lead vocals * K.K. Downing / Guitars * A.J. Mills / Guitar * ITony Newton / Bass * Sean Elg*** / Drums
“The Sinner Rides Again” Track-Listing:1. Sons Of The Sentinel 2. Strike Of The Viper 3. Reap The Whirlwind 4. One More Shot At Glory 5. Hymn 66 6. The Sinner Rides Again 7. Keeper Of The Graves 8. Pledge Your Souls 9. Wash Away Your Sins
Order “The Sinner Rides Again” *HERE*.
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As we approach the autumn of 2023, amazingly the phenomenon of “lockdown albums” still continues. Our newest case-in-point: “The Harmony Codex”, Steven Wilson’s 7th solo release. With his previous album “The Future Bites” completed in 2021 and the Porcupine Tree reformation not yet upon him, *Wilson immediately began writing for his next project, especially once the possibility of touring TFB was scrapped due to the impact of the pandemic. As is the case with lockdown albums, Wilson was unable to work up any new material live in the studio with his regular band. Instead, he file-shared the songs to a variety of musicians and waited to see how they would respond to his invitation. In some cases, what came back didn’t fit Wilson*‘s “vision” and so was either scrapped or included on the bonus disc of alternate mixes. But enough did materialize which surprised and pleased him, ultimately resulting in an album of unexpected twists and turns. More to the point: it’s his most diverse solo album yet.
Wilson comes to “The Harmony Codex” a happy, content man. Having gone to great lengths to establish himself as an artist who should be expected to change directions with the each subsequent album, he now has the freedom to create as he chooses without worrying about how it will be received. (Though let’s not kid ourselves, he’s always wanting to reach a larger audience) He’s comfortable alienating some of his most fervent fans in exchange for gaining multifold new ones. And perhaps a few of the old ones will eventually come around, too. He’s also been happily married for 4 years with step-kids and dogs in tow. So, life’s a bit different now, with less to prove and more to savor.
So, what impact does all this have on the music? In short, it means Wilson does what Wilson wants and when he wants. Given his wildly diverse tastes in music, there’s a hell of a lot of influences here on these 10 new songs. But despite declarations of “he’s never done anything like this before”, I’d argue that there’s plenty of precedent in his catalog regarding this album’s approach, namely his first two solo albums – especially “Grace For Drowning” – where there were a wide range of artistic directions explored, from pop to rock to cinematic to folk to jazz to prog to shoegaze to avant garde. “The Harmony Codex” adds in many more electronics than those albums did, but the eclectic approach is similar.
“The Hamony Codex” ArtworkStill, considering the buzz around this album, there’s some expectations going in. We know that as a meticulous and esteemed sound designer, Wilson has poured over every note, shade and sound, including where and how they’re mixed & treated. There’s every reason to expect the unexpected, and to hope for brilliance. Opening track “Inclination” is determined to meet that first expectation, confounding any sense of familiarity, as Peter Gabriel did countless times in his career. Trumpet, synths, blasting percussion, effects, exotic scales, breathy vocal loops. Yes, this is what was promised. As if that weren’t enough, our orientation is toyed with as the music completely fades out at the 3-minute mark for a full 8 seconds before Wilson’s unaccompanied voice leisurely enters, “Come see the fool…” as the musical tapestry resumes for 4 more minutes. An admirable beginning.
You want more? The pre-released “Impossible Tightrope” fully delivers, a nearly 11-minute prog/jazz/electronica romp which will likely be an album favorite for many of the faithful, as it veers closest to the “Luminol” sensibilities of his “Raven” era. Nate Wood’s incredible drumming meets Wilson’s own insistent bass patterns. Ben Coleman’s violin and added choir vocals send the vibes into the heavens. Goosebumps from Theo Travis’ saxophone are unavoidable, not to mention Adam Holzman’s Wurlitzer electric piano solos. And that falsetto vocal – incredibly those vocal notes were all derived from electronic manipulation. Yes, keep it coming.
“Beautiful Scarecrow” continues the experimental vein and, like “Inclination”, it’s Jack Danger’s drum programming that carries the most obvious impact to the sonic tapestry. Theo Travis jumps in on duduk, and Nick Beggs grabs the guitar this time around but we are wholly in Wilson’s world. Still, it’s not until the title track of “The Harmony Codex” that we truly experience *Wilson’s courage to go further than he has dared before with a 9+ minute ambient piece, smack in the middle of the album. It confidently works, with its repetitive shimmering electronic orchestration, though its placement in the track listing continues to be questionable. Fun fact: Wilson’s wifey, Rotem Wilson*, offers the mystic narration, sealing the deal.
A late-entry highlight of the album is “Actual Brutal Facts”, a nasty track made edgier by Jack Dangers’ programming, David Kollar’s guitar, bass which must have come from Nick Beggs (though not credited in the sleeve notes) and – most of all – *Wilson’s sinister spoken word monologue which has been modulated lower beyond recognition. Although its aggressiveness could easily have made it a contender for PT’s “Closure/Continuation”, its production approach brings a twist from other darker pieces in Wilson*‘s catalog, resulting in an addictive listening that stays lodged in the cranium.
The five pieces mentioned above are arguably the most innovative, novel sounds on the album and do indeed push further than Wilson has up to now. Yet, most of them can trace their DNA back to earlier Wilson pieces. So, again, it’s not as if “The Harmony Codex” is truly traveling into entirely unexplored territory, it’s just doing it damn well.
What remains are five songs that fall more inline with what we’ve heard from Wilson before, albeit with heavier electronics and production sheen. Three of them are, unsurprisingly, included in the initial singles/videos released. “What Life Brings” is his most “Blackfield” contribution, an excellent prog rock single supported by Guy Pratt’s bass foundation and Craig Blundell’s drumming. Even a too-long-absent Wilson guitar solo is included!
“Rock Bottom” is Wilson’s “Don’t Give Up” moment, even though the song is actually written by co-singer Ninet Tayeb. Perhaps more than on any previous Wilson album, Tayeb’s vocals realize their full potential with her breathtaking performance, matched by Niko Tsonev’s Floydian guitar solo section. Good news – Wilson recently mentioned that a full collaborative album with Tayeb may be in the cards for a future project. We should be so lucky. “Time Is Running Out” and “Economies of Scale” are essentially piano-based *Wilson solo pieces – save for another emotive Tsonev* solo on the former – his harmony vocals sounding impressively layered as always. Even here, the synths provide some unexpected turns which make each song travel a slightly altered route.
What remains is “Staircase”, a sprawling 9 1/2 minute closure to the album. Aside from the synth programming this is a fairly familiar Wilson-structured composition, but a very good one at that. We even get a return visit from the tuned-down voice in “King Ghost” and “Walk The Plank” once again: fittingly, “And you come back for more.” Another luscious guitar solo from Tsonev graces this track, along with fretboard work from Beggsy, before Rotem’s voice is reprised to tie the theme together as the album closes over celestial keyboard runs out through the clouds.
Thematically, as many are aware, the album’s title is based on the short fictional story written by Wilson and included in his autobiography “Limited Edition of One” last year. While a few of the songs’ lyrics can be tied directly to the story of Harmony on a never-ending staircase, the larger concept of the album is one of searching for meaning in a finite life. Surprisingly for Wilson, a credo of “love it all and hold it in your hands” seems to crop up repeatedly. As we mentioned, he’s a happy man these days. But the packaging remains dark and foreboding, there’s not a lot of cheeriness in this recording. It’s largely a challenging listen, requiring focused attention from the listener and repeated visits for it to become a grower.
We can summarize that *Wilson has certainly met his ambitions to offer his most diverse album yet, while still retaining much that is familiar. Still, the actual quality of the songs compared to his previous catalog doesn’t necessarily guarantee that this is his best album ever. Not even close, if we’re being honest. Each song is successful in its own right but does it all tie together in a meaningful way, or does it feel a bit disparate and unconnected? After over two dozen listens I still can’t draw a conclusion to that question. Nevertheless, there’s no denying that “The Harmony Codex”* is a brave and respectable next step in this artist’s career.
Released By: Virgin Music
Release Date: September 29th, 2023
Genre: Progressive Rock
“The Harmony Codex” track-listing:1. Inclination (7.15)
2. What Life Brings (3.40)
3. Economies of Scale (4.17)
4. Impossible Tightrope (10.42)
5. Rock Bottom (4.25)
6. Beautiful Scarecrow (5.21)
7. The Harmony Codex (9.50)
8. Time is Running Out (3.57)
9. Actual Brutal Facts (5.05)
10. Staircase (9.26)
Line-up / Musicians: Steven Wilson / vocals, guitars, keyboards, sampler, bass, percussion, programming * Ninet Tayeb / lead & backing vocals * Craig Blundell / drums * Sam Fogarino / drums * Adam Holzman / keyboards * Jack Dangers* / keyboards
Pre-order the album, for a September 29th release HERE.
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September is quite a month, featuring solo releases from The Pineapple Thief’s & Porcupine Tree’s front men within a week of each other. The careers and artistic approaches of Bruce Soord and Steven Wilson overlap in many curious ways, well beyond the release dates of these two new albums. We’ll get to “The Harmony Codex” in short order but for now, let’s dive into the shimmering “Luminescence”, as told by *Soord*.
When not at his day job recording and touring with Gavin Harrison, or mixing and remixing albums by other artists (see the aforementioned similarities with Wilson?), Soord occasionally embarks on a solo project to bring a more intimate look into his world. 2019’s beautiful “All This Will Be Yours” is an apt reference point for where “Luminescence” will take us. So much material was recorded over the past couple of years that a bonus album “Our Ship Sails At Dusk” will also be included with the limited edition hardback book version. Still, our focus will be on the main album, an elegantly crafted 41 minute collection of dreamy songs which will enchant most fans of this lead pineapple thief.
Acoustic guitar is at the forefront of this album, so it is fitting that the opening notes ring out from the steel strings on “Dear Life”. However, the most impactful element on “Luminescence” is Soord’s masterful production technique. Layers of vocals, strings, keyboards and other effects all radiate in the glow of Soord’s ethereal production and mixing. The playing is sparse, economical and impactful. A five-note guitar figure on “Lie Flat” is used sparingly but stays with the listener long after the song is done, as if an extended reverb effect continues to echo in our soul.
“Luminescence” ArtworkA hypnotic effect takes over as one 3 minute song flows into another, floating down a river of reverie, poignantly melancholic in nature as Soord compositions tend to be. The impact of Andrew Skeet’s string arrangements comes to light on “Olomouc” as Soord sings, “I guess I was scared when you weren’t there for me.” But it’s in “Never Ending Light” that the marriage of strings, guitar, voice and vibe comes to full fruition, “Cause in my dreams you’re holding on to me, just like we used to be.” The inclusion of Skeet’s strings on the majority of the album is not to be underestimated, executed with subtlety and taste.
Sirens recorded by Soord in Chicago open “Nestle In”, which is a bit unfortunate because they will break the spell of your headphone quietude, or if you’re driving you will be looking for the police in the rearview mirror. Nonetheless, it’s one of the most energized songs of the bunch as “the storm is approaching”, and an excellent choice for the second single. Soord takes the field recording approach a little further during the instrumental “Rushing” which, despite its title, still feels like the most zen interpretation of being in a hurry that I’ve experienced. Meanwhile, “Read To Me” is an ambient piece for bed time if you fancy.
There’s not much on “Luminescence” that will surprise Soord’s fans. The approach to music, lyrics and arrangement is extremely similar to what we’ve heard before from both his solo albums and The Pineapple Thief. However, it’s the quality and consistency which makes this album rise above and stand out. Haunting melodies, subtle but impactful string arrangements, textured production – these are present on nearly every song, forming an addictive collection which keeps us coming back for more. You may not “find any answers”, as the song “Find Peace” explores, but you just may find bliss.
Released By: Kscope Records
Release Date: September 22nd, 2023
Genre: Progressive Rock / Indie / Acoustic
“Luminescence” track-listing:1. Dear Life 3:27 2. Lie Flat 3:51 3. Olomouc 3:55 4. So Simple 2:05 5. Never Ending Light 4:11 6. Day of All Days 3:19 7. Nestle In 3:13 8. Instant Flash of Light 3:37 9. Rushing 3:03 10. Stranded Here 3:41 11. Read To Me 2:08 12. Find Peace 3:46
“Luminescence” will be released as a limited edition deluxe 3 disc hardback book (Luminescence + exclusive bonus album + 48 page book + DVD) / CD / LP / Limited Edition Blue LP / Digital and in Dolby Atmos. You can pre-order it *HERE*.
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Multi-instrumentalists are blessed when it comes to solo albums – they have so much to work with. In Randy George’s case this is even more true, as he is not just proficient on bass/guitar/keyboards but rather clearly excels on them. Having fronted several bands in his past – most notably Ajalon – George is best known as the bassist in the Neal Morse Band. Indeed, he’s been with Morse for nearly the entire time since the split from Spock’s Beard. Considering that Morse’s other bassist bandmates have been Trewavas, Meros and LaRue, George is clearly in good company. But unlike many others, labeling George as a bassist does a disservice to his capacities as a well-rounded musician. “Beyond Words” remedies that, revealing George’s impressive range not only in performance but also in taste and influences. The album is wildly diverse with no single track sounding like another, making for an engaging listen. NMB fans may be surprised at how far George can go beyond his customary bass spot on stage, even if they’ve witnessed the famous instrument exchange during live shows.
Despite its title, “Beyond Words” is not completely an instrumental album. “Make Me Real” is an inviting first single, being the only vocal performance offered via guest singer Simon Godfrey. It’s a catchy hard rock song which shows that George can lay down hooks with the best of them. However, with a fairly straight-forward arrangement and a guitar solo from guest slinger Eric Gillette, the casual listener may not realize George’s full scope if they don’t dig deeper than this one song.
Pick a style and George has you covered. Steely Dan seems an expansive influence to draw upon and the title track takes you right there to “Countdown To Ecstasy” era, from George’s guitar figures to the accompanying piano to the 70s groove, ably supported by Dan Lile on drums. “Three Sides To Every Story” is a breezy jazz piece with piano as the centerpiece along with its infectious bass line. “The Good World” goes even further down the smooth jazz road, complete with tasteful acoustic and electric guitar and synth leads from George and alto sax from Jimmy McElroy. It feels like George could write a full album in this genre which would go down quite easy & satisfying. But wait, there’s much more.
“Beyond Words” ArtworkThe rockers make several appearances, whether it’s towards a fusion direction like on “Cappuccino With Max” and “Foam Rubber Monsters” (with fun unexpected bassoon solos from Paul Hansen), or a riff montage in “Technical Difficulties” with guest Neal Morse on keys. A favorite is “Pool Toad Redemption” which brings in Steve Morse colors from George’s guitar before Gillette takes over for a little shred on the range.
Not to be ignored, George’s fretless bass does make an extended appearance on the experimental track “Soul Geometry”, supported by a range of synths and programming. It successfully walks the line of being adventurous while still accessible, compelling listening aside from the sudden fade at the end.
Fans of George’s previous solo album “Action Reaction”, released over a decade ago, will be familiar with the approach taken on “Beyond Words”, and delighted to find what this multi-instrumentalist has come up with this time around. Along with his songwriter side projects with his wife Pamela, it’s encouraging to see what George can do in his “spare time” away from the NMB career. For the uninitiated, the album may come as something of a revelation. Let’s hope George keeps dipping into these musical journeys beyond words.
Released By: Independent
Release Date: September 1st, 2023
Genre: Progressive Rock
“Beyond Words” Track-list: 1. Cappuccino With Max
2. Technical Difficulties
3. Beyond Words
4. Make Me Real
5. Pool Toad Redemption
6. Soul Geometry
7. Foam Rubber Monsters
8. Three Sides To Every Story
9. The Good World
10. My Technicolor World
Order your copy HERE
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By his own count, Marek Arnold has contributed to more than 60 albums, either as a member or hired hand, providing indelible sax and keyboard work to groups like *Southern Empire, Flaming Row, Damanek*, etc. And while he’s been a key part of many of those releases, he had yet to deliver something that he could stamp as his.
Until now. Five years in the making, Marek Arnold’s Artrock Project is his chance to stand front and center. Yes, it’s prog-rock. It’s art-rock. Or in a word, it is excellent.
The mainstay of the album, the real anchor, is “Stay”. It may be the second cut, but it takes a backseat to none of the other songs. First composed and recorded five years ago for the ArtRock Festival Reichenbach, it was the seed for the idea of a solo record. And what a seed! Melodic, Prog, some Rock, and all of it featuring the inimitable voice of Melanie Mau. Her partner Martin Schnella provides some of the guitars and helped with the arrangement. There are four different guitar soloists! And violinist Steve Unruh adds some of his trademark work. It’s not an epic, per se – it’s only nine minutes long – but it has an epic feel to it. Oh, and the video for “Stay” is a must, as people and places and things morph from one image to another. It’s warm and lovely and a great interpretation of the song. Check it out below.
The actual lead piece is “A Story of Separation and Loss”, a three-part, 16-minute effort that has its roots in the 2000 Toxic Smile’s song “Arirang” (another Marek production). This is prog, with interesting rhythms, intricate keyboards and a blast of guitars throughout. To these ears, the last section, “Review”, might have been trimmed a little bit. Still, it’s an impressive start to a great album.
“A Time of Mystery“ is up next, and it’s a showcase for Arnold’s many and varied talents. Utilizing his reed and keyboard work, this is a gentle, almost chamber music effort (featuring some fine vocals by Manuel Schmid).
“Papillon” (What is it with butterflies? – Southern Empire has a song with that title on its new album) starts as a peaceful collaboration between Arnold’s keyboards and the always-impressive voice of Arno Menses (Subsignal). It begins to build a couple of minutes in with the addition of electric guitars and percussion. The fragile butterfly bursts forth from the cocoon, roaring along with new intensity and dynamics. Towards the end, Arnold blisters things with a great sax solo (followed by his work on keyboards). It closes with a return to the beginning theme.
Croatian progger Zeynah sings “Come Away With Me”, a ballad that is lovely and compelling. The invite is easily accepted, with a warm melody and impressive musicianship.
Arnold’s Toxic Smile days are remembered again on “Cold Run”, which was first produced in 2006. It sounds timeless, with a series of guitar riffs that keep the energy up. One could say that “Cold Run” is a palate cleanser, something that prepares us for the tour de force.
“Berlin 2049” is a dystopian tale of a world where technology has moved ahead faster than the human ability to harness it. Most of the world’s great cities are closed to artificial intelligence beings – except for Berlin, which is doing what it can to stay open. The story and lyrics come from the mind of George Andrade, a science fiction writer who also provides the dialogue on the first part, “Berlin”. Now this is an epic—six parts, 26-minutes long.
“Marek Arnold’s Artrock Project” ArtworkThere’s a sense of mystery in the first two sections (the second is “Rain Will Fall 1”). Yakiv Tsvietinsky provides a jazzy trumpet solo. And the great Peter Jones of Tiger Moth Tales takes on the lead vocals, showing the wide range that has brought him to the forefront of prog-rock.
“Leave Well Enough Alone” picks things up with Martin Fankhanel (of Arnold’s band Seven Steps to the Green Door) providing blazing guitar. Derek Sherinian offers an impressive synthesizer solo, and Kiri Marie Geile, the original lead singer of *Martin Schnella’s Flaming Row*, sings a wide range of emotions.
“Rain Will Fall 2”, which alludes back to “Rain Will Follow 1”, allows Arnold more space to toss in a cool jazz sax solo. And Seven Steps to the Green Door singer Anne Trautman provides some gentle vocals. This isn’t a rainstorm—perhaps a drizzle.
“Riding the Line” is a quick instrumental featuring the various members of Seven Steps to the Green Door. Arnold’s synth provides the bottom line, one of intensity and urgency, while guitarist Martin Fankhanel lets loose with a blast of guitar before all suddenly drops out and into “Reason to Lie.” It’s a spacey yet melodic piece. The protagonist – an AI being? – is tired and burnt out and allows technicians to download his thoughts and memories. And then it is finished.
But, hopefully, Marek Arnold is just getting started. No, I’m not suggesting that he give up the many bands in which he’s a member. I’m certainly not saying that he should give up all those “gun for hire” gigs. But with the Artrock Project, Arnold has shown that he can run the show, and do so very well. This album took five years to complete. Hopefully, the next one will come out a bit sooner. This one, however, was worth the wait.
Released By: Tempus Fugit
Release Date: July 13th, 2023
Genre: Progressive Rock
“Marek Arnold’s Artrock Project” Track-list:1. A Story of Separation and Loss
2. Stay
3. A Time of Mystery
4. Papillon
5. Come Away with Me
6. Cold Run
7. Berlin 2049 – Berlin
8. Berlin 2049 – Rain Will Fall 1
9. Berlin 2049 – Leave Well Enough Alone
10. Berlin 2049 – Rain Will Fall 2
11. Berlin 2049 – Riding the Line
12. Berlin 2049 – Reason to Lie
Order your copy HERE
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In 2011, Tesseract exploded onto the metal scene with their debut release, “One.” The darlings of the djent underground blended the brutality of Meshuggah with ambient and even melodic textures not typically found in the genre. Their next release “Altered States” found the band evolving their sound into a more progressive direction. From there they ventured into more melodic space with the sublime “Polaris” release and the sci-fi theme of “Sonder.” While picking up new fans along the way, this left some of their initial fans and some in the metal community confused about their musical journey.
During the Covid-19 era, the band planned and executed a massive undertaking called “Portals.” It was a collection of their best material put together and filmed in one setting along with dramatic elements interspersed in the music. Cinematic in scope, and epic in the undertaking, the band nicely summed up their career to date with the release.
The band, perhaps influenced by the scale of “Portals,” continued this approach in constructing their next release, “War of Being.” The album is conceptual in nature based primarily on a story by bassist Amos Williams who is also developing it into a novel. The release is also accompanied by an immersive video game co-developed by vocalist Dan Tompkins.
But none of this would matter if they fell short in producing great music. In the summer, the band released the epic, eleven-minute single, the title track, “War of Being”. The song and accompanying video immediately got the attention of metal fans who had lost touch with the band in their last few releases. The brutality of Dan’s vocals, the crushing polyrhythmic riffs, and the many changing dynamics made it clear to the metal community that *Tesseract* was back.
So, the question many may be asking is whether the initial single is just a teaser. Is it a true indicator of the rest of the album? Does it ignore all the subsequent releases after “One”? The answer is yes and no.
The album kicks off with ‘Natural Disaster’ and within a few seconds, the listener is shot out of a cannon into the fires of the Strangeland, the mythical setting of the album’s concept. Make no mistake, *Tesseract is back, and they are back for blood. There are striking similarities to ‘Concealing Fate Part I’ with the warlike screams from Tompkins. Like the title track, there are constant pivots between melody and aggression. It’s a perfect marriage of old and new school Tesseract. Production-wise, the band has never sounded better. The guitars are heavier and on a different sonic level from prior releases. Guitarist Acle has outdone himself and has certainly spent the five years between “Sonder” and “War of Being” on evolving the Tesseract* sound.
“War of Being” ArtworkThe album is broken into nine tracks but flows like one complete piece of music. The next track ‘Echoes’ offers a brief respite from the war and would have fit nicely on “Sonder” but with a slightly heavier edge with some aggressive vocals from Tompkins who certainly spends more time on this release employing screamed vocals.
Each song segues into the next as if the listener travels across the Strangeland to the next scene in the story. The pace picks back up with ‘The Grey’ which hearkens back to ‘Sunrise’ from “One.” A tight, syncopated djent riff echoed by Tompkins screams leading into a groovy, bass-driven riff more reminiscent of “Altered States.” A unique aspect of *Tesseract* is that they rarely rely on the typical tropes of verse/chorus/verse/chorus/solo, etc. However, ‘The Grey’ certainly contains repeated themes and motifs that make the song a solid choice for the second single.
‘Legion’ continues the attack and features one of many outstanding performances from Dan Tompkins. He switches gears constantly from savageness to serene. His growth as a vocalist over the years is truly astounding.
‘Tender’ drops the pace just a bit in preparation for the intensity of the epic title track that is to follow. The track recalls past classics such as ‘Tourniquet’ from “Polaris” but, like ‘Echoes,’ with a slight edge.
It feels like the entire first half of the album builds up to a climax with the title track, “War Of Being.” The band fills the entire eleven minutes with all the elements that make them unique. It plays like an epic summer action movie flowing from one explosive scene to another. It’s pure, intense adrenaline. The song is rightfully the center piece of the album.
After climbing the mountain for the onslaught of “War Of Being,” the album needed the lighter shade of ‘Sirens.’ A beautiful song that is reminiscent of White Moth Black Butterfly, the more atmospheric side project of Dan Tompkins. Just one more example of the light and shade employed on the album.
On ‘Burden,’ bassist Amos Williams really shines with a seductive groove that propels the track. The song adds an extra dimension to the album and once again flexes the band’s deep bag of tricks. The band brings back the manic pace on the back end of the track before segueing into the final track, ‘Sacrifice,’ whichis a perfect ending to the sonic battle that has ensued up to this point. All the drama and intensity of the title track delivered in a less jolting fashion but still delivering the emotional goods to complete our journey into the Strangeland.
What makes *Tesseract* truly special is their ability to take the concept of metal and to expand it into something more cerebral, more visceral. They balance the crushing, off-kilter riffs with lighter, ambient shades that are no less intense. This is a band that has really come into their own sound and keep getting better.
While *Tesseract was born into the genre of djent, they have since transcended it. Like fellow UK band Sleep Token*, they use metal elements within their music as a dark paint color on their palette when constructing the music. The songs are not metal in the purest sense, but they contain elements of metal to help paint the entire picture.
So, is the album like “One” or is it more akin to “Polaris” or even “Altered States”? The answer is yes, all of the above. It certainly contains the heavier elements of “One” but stays on path with the more melodic approach of recent albums. *Tesseract blends the best of the past to create something truly magical in “War Of Being.”*
Released By: *Kscope
Release Date: September 15th, 2023
Genre: Progressive Metal / Djent*
Band Members: Acle Kahney / Lead guitar, rhythm guitar, * Jay Postones / Drums, percussion * James ‘Metal’ Monteith / rhythm guitar * Amos Williams / Bass, growls, backing vocals * Daniel Tompkins* / Lead vocals
“War Of Being” track-list:1. Natural Disaster 2. Echoes 3. The Grey 4. Legion 5. Tender 6. War Of Being 7. Sirens 8. Burden 9. Sacrifice
Pre order “War Of Being” HERE and check out the itinerary for the band’s massive tour HERE.
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Grammy-award nominated Baroness are back with a new album, “Stone”. Their sixth record overall and third released via Abraxan Hymns, “Stone”finds the Philadelphia-based quartet of John Baizley (guitars/vocals/illustration), Gina Gleason (guitars), Nick Jost (bass), and Sebastian Thomson (drums) using a more direct approach than its critically-acclaimed predecessor “Gold & Grey” (2019). This is still very much *Baroness* – just streamlined for efficiency and rethought, maybe in a search for stability in a world plagued by COVID-19, when the album was written.
The fact that the writing, production, and engineering are credited to the whole band is a testament to the sense of unity that *Baroness has achieved. Having gone through several iterations, there is a palpable perception that the lineup is stable and cohesive like never before in the history of the group. This is confirmed by Gina, the most recent member to join: “When I joined in 2017, I was just trying to find my place,” Gleason says. “This time, I felt like I could express a little more. I had a history with everybody in the band, so I was less scared of imposing. I incorporated more of my guitar playing, which, in a way, was like coming full circle to what I’ve done in the past. I think we were able to strip everything away on this record. We were unified in that, I think. So, we just jumped in and did our best. That felt really good. It was a really cool, empowering, creative experience.”*
Before we jump into the sonic details of this release, there are a few considerations to be made. “Gold & Grey” was intended as the last *Baroness album named after colors, and the sense of departure can be felt not only in that detail. Some might argue that “Stone” is also a paint color that can be found in your nearest Home Depot, but here it surely means something else – probably the monolithic quality of the material on the record. Or maybe it symbolizes tombstones and the sense of loss that they bring. It’s also worth mentioning the album cover, designed by John Baizley, which shows three women imprisoned – one by dreadlocks that look like chains, another by snakes compressing her arms, and the third one with wires. Fire, birds, bells and frogs complete the chilling illustration, with a color scheme that seems more opaque and less vivid than the previous Baroness* covers. Here, the ladies don’t look seductive, contemplative or daring – they simply avoid any possibility of eye contact with the listener.
“Stone” kicks off with a one-minute acoustic piece called “Embers”, where Baizley and Gina sing together. The lyrics here allude to the cover: “I lost my senses/ I lost my way/ I can’t remember why/ Build me a home of ember and chain/ Leave me a simple life”. This segues directly into the riff-laden “Last Word”, which is as “traditional *Baroness” as can be, with a few twists: Gina’s voice once again harmonizes with Baizley’s, but seems more in the forefront now than it ever was. And the compression and saturation of “Gold & Grey” are gone, which means we can listen to Nick*’s bass driving the chorus and beautifully complementing the solos throughout the song.
The origins of “Stone” go back to 2020. The band insists that it’s not a pandemic record, but the core of it was written during its darkest days. Anxiety, relief, and resolve are stitched deeply throughout. Turning stems of music into full-fledged songs might have felt insurmountable when the foursome was isolated, but *Baroness* toiled as the world roiled. Creativity fully flourished only when they escaped to an Airbnb in Barryville, a quaint hamlet on the New York/Pennsylvania border.
“Stone” ArtworkThe rollercoaster entitled “Beneath the Rose” is already know by the fans, since it was the second single to be released. A quasi-thrash metal riff gives way to a melodic chorus, and twin-guitar harmonies on the solo. Baizley alternates a delicate delivery with harsher vocals here and there. The following track, “Choir”, begins with an extension of a riff from “Beneath the Rose”. On yet another example of the clarity of sound now benefitting the enjoyment of the album, we can now hear Sebastian’s exquisite hi-hat work on this song, which would surely make Stewart Copeland proud. One can’t help but think that “Choir” is the result of an extensive jam session. John’s vocals here range from soft to, at times, barked and the lines become increasingly more modulated and sinister, until towards the end, where his voice almost becomes devilish. The song is as theatrical as it is musical and is definitely the most unique – and strangest – tunes on the album.
After two high-octane, dizzying tracks, the softness provided by “The Dirge” gives the listener a bit of a rest. This short acoustic ballad is reminiscent of a religious chant. The vocals begin fuzzy and distant, become clean and centered in the second verse, until Gina and John’s voices are harmonized in a glorious ending. There’s not much time to breathe though, as this is followed by a return to heaviness, with the plodding riff of “Anodyne”. The guitar work here wouldn’t sound out of place in a Monster Magnet or Orange Goblin song, but there’s some melodic relief, in the shape of a beautiful yet brief twin guitar harmony.
“Shine” is yet another album highlight, and arguably the one where *Baroness stays closer to their DNA. A really trippy, swirling guitar and synth begins the track before a lush acoustic picking enters the song and the two weave together blissfully, soothingly. A drum roll takes the song to a heavy and uptempo level. Delicate choral sections clash against Maiden-style guitars, while Sebastian once again shines with tasteful drum fills throughout the song. This is Baroness at its catchiest and most effective. In contrast, as soon as “Magnolia” kicks in you just know that you need to prepare for quite the ride. It delicately begins as a slow burn type of track, and morphs into a Mastodon-esque plodding riff. Clocking in at 7:49 minutes, it represents all sides of Baroness*, and the most attentive listener will catch glimpses of past albums here and there.
Breakdown on “Stone” vinyl colorways“Under The Wheel” is another song that seems to have been developed on a lengthy jam. Creepy and sinister, it grabs the listener and doesn’t let go until the end of this sludgy and trippy journey. The proceedings end with “Bloom”, an obvious callback to the first song: “Build me a home of hammers and rain; leave me a simple life; home, where we go; to bury the blood and stone.” A fitting epilogue that appropriately conveys a sense of conclusion, change, acceptance and peace at last.
After the seventeen tracks of *“Gold & Grey”, it’s refreshing to see Baroness return to a more concise and direct approach on “Stone”.* Obsessed with not repeating themselves, the band wrote an album that is as close to their sound as possible, while coming to terms with tragedy, uncertainty, loss and doubt. Somehow they made sense of it all in the difficult period humanity was going through, and exorcized their demons with a back to basics approach. While this album will not change the perception of naysayers, it will definitely please the most demanding fan out there.
Released By: *Abraxan Hymns
Release Date: September 15th, 2023
Genre: Stoner / Sludge / Progressive Rock*
Band Members: John Baizley / Guitars, vocals, illustration * Gina Gleason / Guitars, vocals * Nick Jost / Bass * Sebastian Thomson* / Drums
“Stone” track listing: 1. Embers
2. Last Word
3. Beneath The Rose
4. Choir
5. The Dirge
6. Anodyne
7. Shine
8. Magnolia
9. Under The Wheel
10. Bloom
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There was a time when getting a new album from The Flower Kings every year or two wasn’t a sure thing. But that time is not now. Roine Stolt seems determined to get as much music as possible out of his inner psyche and into the ears of fans everywhere. Thus, double album after double album from *The Flower Kings has inundated the market in recent years, amidst his many other extra-curricular projects. And while “Look At You Now” actually fits onto a single disc, its 68-minute run time is by no means compact. What is clear – if it was ever in question – is that Roine Stolt IS The Flower King and that his band continues to be a rotating cast of extended (and sometimes immediate) family who are welcome for their input but who do not define the band. Only Stolt* does that.
This time around relatively new kid Zach Kamins is gone from the keyboard chair, which is kind of a shame given the creativity he brought to the past couple of releases. However, Stolt reminds us that he actually has played a surprising amount of keys on past albums, and so shall it continue on this new release with none of us being the wiser. As is evident from his rich layering of keys, he’s an excellent keyboardist in addition to guitarist. So, with the addition of keyboard whiz Lalle Larsson sitting in on a couple of tracks, there are few complaints to be made. Mirko DeMaio thankfully remains on drums and percussion – an engaging drummer who has steadfastly supported the band as of late and sounds especially energized here – occasionally supported by Hasse Bruniusson’s percussion. Michael Stolt has fully stepped into the bass position while Jonas Reingold continues to Hackett to bits around the world. Although Reingold may be one of the very best in the business, Stolt’s bass more than delivers on these tracks, he’s a strong asset to the band. Of course, Hasse Froberg shares lead vocals alongside of Stolt, so we do have that sense of TFK continuity. Now that we know who’s in and who’s out, what of the material itself?
On first blush, the sound of “Look At You Now” is that of classic Flower Kings at their warmest and flowery best. You can almost sense a paisley kaleidoscope casting its colors around your room as you listen. The band’s signature identity is unmistakably front and center; this is a sound design that only the *The Flower Kings can conjure. To purists this might be a reason to celebrate, but for all the (literal) bells and whistles, the music is less diverse than on recent albums, particularly the more adventurous “Islands”. The downside of this fact is that a “samey” feel creeps in where it’s hard to say this hasn’t all been done before and – in many cases – done better. The songs are good but not particularly remarkable, given the band’s celebrated history. Put it this way: if this were the first The Flower Kings* album to reach your ears, you might find tears of joy running down your face in discovering that prog is alive and well in 2023. But after 15 albums of this level of quality, this 16th release does feel pretty much like you would expect. Whether that is a compliment or a complaint is up to the listener.
“Look At You Now” ArtworkOriginally known for lengthy prog explorations, the band has been honing their skills at much shorter material as of late and this album is no exception, with most songs being well under 6 minutes. The opening track and single “Beginners Eyes” encapsulates the whole album – if you enjoy this classic The Flower Kings approach and hunger for more – “Look At You Now” is going to land well. The duet of Froberg and Stolt, a driving bass line, keyboard runs galore, percussive bliss, electric guitar leads, it’s all here. And so it continues for much of the album, some songs being weaker and some stronger (“Stronghold” particularly, by happy coincidence), full of flowery power.
A few songs stand out due to their guests: “The Queen” receives a royal, baroque reception thanks to Jorgen Salde’s lovely nylon string guitar playing; “Day For Peace” brings in Marjana Semkina (iamthemorning) for a beautiful duet; and “Mother Earth” finds Michael Stolt taking the lead vocal spot, his voice having some of the same inflections as his brother, only in a lower range. These pieces bring in a bit of much-needed diversity to the recording, though their brevity means they serve almost as pauses between the rest of the material.
“Season End” boasts gorgeous vocals as Stolt and Froberg trade lines, “The Light In Your Eyes” has a soaring chorus with Jannica Lund supporting on backing vocals, even as Froberg’s hits the edge of his range. Meanwhile, “Dr. Ribedeaux” dispenses with the vocals for a fun instrumental romp but it’s on “Stronghold” where Stolt really lets it fly on his guitar. The album closes with one longer song, the title track, which has all the makings of a The Flower Kings classic, from its lead guitar lines to sweeping choruses to majestic band arrangement.
In summary, the band sounds really good throughout the album, and Stolt’s mix is some of the best he’s delivered yet. DeMaio gets my pick as MVP due to his bevy of fills and inspired playing, plus fortunately he’s back up in the mix so we can enjoy it fully. While not revolutionary, “Look At You Now” is a solid release from the band, another chapter back in the world of Stolt adventures.
Released By: Inside Out Music
Release Date: September 8th, 2023
Genre: Progressive Rock
The Flower Kings are: Roine Stolt / Vocals, Guitars, Keyboards, Percussion * Hasse Fröberg / Vocals, Guitar, Percussion * Michael Stolt / Bass, Vocals, Guitar * Mirko Demaio* / Drums, Percussions
Additional musicians:
- Hasse Bruniusson / Percussion
- Lalle Larsson / Synthesizers
- Jannica Lund / Backing Vocal
- Marjana Semkina / Vocal
- Jörgen Sälde / Nylon Guitar
“Look At You Now” track-listing: 1. Beginner’s Eyes
2. The Dream
3. Hollow Man
4. Dr. Ribedeaux
5. Mother Earth
6. The Queen
7. The Light in Your Eyes
8. Seasons End
9. Scars
10. Stronghold
11. Father Sky
12. Day For Peace
13. Look At You Now
You can pre-order “Look at You Now” *HERE*.
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Part of the joy of being around during the current wave of prog metal bands has been discovering new acts. Prior to this album review, I had never heard of New York based prog metal act Fall of the Albatross (abbreviated as FotA for the rest of this review), but their latest album “Rite” has been a joy to listen to.
The band describes themselves as “Progressive Technical Jazz Mathcore”, I suppose that’s a pretty accurate summation of what you’ll experience during the roughly 32 minutes that this 8 song album encompasses. A track like “Seance” bounces back and forth between quiet melodic moments and frenetic blast beats with one of the best bass parts I’ve heard in a long time. The brutal “Glucose Guardians” is a frantic song, with lots of typical metal core riffs that attack the listener before delving into a “21st Century Schizoid Man” style interlude that completely changes the song’s pace.
“Not the Bees” I’d say is where the album really showcases the variety of styles that the band offers. There’s certainly a good bit of blast beats here, but there’s a nice a mix of old school metal riffs and some nice jazz moments throughout. “Tanya” even manages to incorporate a bit of rockabilly into the melodic melting pot. “Midnight Society” shifts over into a much heavier jazz influenced realm, showcasing the band’s more nuanced technical abilities. “Tiny Jar” dips the bands foot into a more post-rock sound, before shocking the listener with some more metal core interludes. “Communion” brings a bit more of a Gojira style metal edge interspersed with some more post-rock style ambience. The album closes with “Labrakadabrador”, one of the heaviest tracks on the entire album that again fuses more metal core style rhythm guitars with droning post-rock style lead guitars.
“Rite” Album ArtworkThe production on this album is superb. Everything sounds crisp and clear, and given the wide variety of styles and tones on this album, that can be a real challenge to successfully pull off. As mentioned earlier, the album clocks in at a brisk 32 minutes. While on the short side, I do feel this was an added benefit. There’s no filler on this album at all. Every song is its own unique entity, and is only as long as absolutely necessary. Often times you’ll find bands attempting to stretch their songs to the 7 or 8 minute mark by extending and repeating certain sections. The conciseness of the songs never left me bored, or wondering when something interesting would happen. With the longest song being just shy of 5 minutes, this album is a lean piece of meat that doesn’t require added fat to make it tender and juicy.
Progressive rock bands have never been shy about wearing their influences on their sleeve. Often times though, this approach backfires and gives the listener the impression that the artist is trying too hard to imitate a specific artist or genre. Listening to this album, you can clearly get an idea what the artists enjoy listening to, but they never dwell on a particular influence long enough to make it feel derivative. FotA does a magnificent job of taking disparate bands running the gamut from Mahavishnu Orchestra to Dream Theater, to Allan Holdsworth to Between the Buried and Me and blending them into a unique presentation that keeps the listener on their toes throughout the entire experience.
Released By: Independent
Release Date: August 18th, 2023Genre: Progressive Technical Jazz Mathcore
Musicians: Harold McCummings / Guitars, keys * Bryan Garcia / Bass * Colin Ruhwedel / Guitars * Mack Rourke* / Drums
“Rite” Track-listing: 1. Seance 2. Glucose Guardian 3. Not the Bees 4. Tanya 5. Midnight Society 6. Tiny Jar 7. Communion 8. Labrakadabrador
Order “Rite” HERE.
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Swedish prog metal band Soen has been extremely busy in the last years, creating diverse and fantastic sonic experiences that have taken the band to tour extensively across the world, as well as presenting to selected audiences a re-imagination of some of their pieces in a semi-acoustic format that can be appreciated by everyone in their album “Atlantis”. Plunged into this brilliant and prolific streak, *Soen is back once again to bring us “Memorial”*, their sixth studio album —and fourth release in just over four years— that promises to dazzle old and new fans alike.
Although “Memorial” is an outstanding record, one cannot fail to notice that there are evident similarities with the music in the band’s previous works. If some albums ago some voices stated that *Soen had some sound resemblance with acts like Opeth or Tool*, now it is clear they sounds too much like, precisely,themselves.
With such similarities, “Memorial” confirms that the band has found a very particular sound with which they feel comfortable creating music and on which they have based their last three albums. However, this does not mean that there is nothing new to find. With each listen, each song discovers its own secrets and shows us the multiple nuances that enrich the experience of listening to this album.
With no time to waste, the initial song “Sincere” quickly plunges us into the world of *Soen, in which we find ourselves with the measured and powerful drum patterns of drummer Martin López, over which the mesmerizing and smooth voice of frontman Joel Ekelöf* reminds us of the importance of staying honest and appreciating ourselves for who we are, in a world that will not stop trying to put us down.
As the record unfolds, *Soen*‘s unparalleled ability to create anthems that will find a new home in the throats of thousands worldwide who will gather to sing these hymns along with the band becomes clear. The structure of the songs is aimed at making the listener internalize and make the songs their own based on haunting melodies that move through a broad spectrum between softness and heaviness.
SoenThe music evolves in such a way that it seeks to enhance the moment the choir enters for the second time. For this, the choir’s appearance is preceded by a measured calm in which the melodic and subtle aspect of *Soen* comes to light to prepare the path in which the choir will appear once again, but this time, it will explode with all its splendor and raw emotion.
As an example of the above, “Unbreakable” has this structure, and by following, it allows the band to create one of the best choirs they have composed, not only for this album but within their entire discography. However, reducing the song only to the results of its chorus is unfair. If the chorus and the moment built by the band succeed, it is mainly due to the atmosphere in the rest of the piece. In the case of “Unbreakable”, the explosive chorus is preceded by a solo performed by guitarist Cody Ford, who once again manages to mix technique with feeling to deliver a brilliant solo that stirs the soul and is accompanied by the subtle and elegant atmosphere created by Lars Enok Åhlund when he stands in front of the keyboards, paving the way for the booming chorus.
Soen excels in their ability to blend the aggressive with the subtle, the frantic with the contained, and the devastating with the pleasing. On the new album, “Violence” stands as a highlight that reflects such approach, where the sonic amalgamation that *Soen* has perfected unfolds through the furry passages that converge with a melodic and affable atmosphere.
However, there is also room for other type of approaches. With “Fortress”, the listener enters a terrain where heaviness predominates, being assaulted by a duel of guitars in which ferocious riffs interact in an intricate way and in which choruses explode without the need to attenuate the atmosphere with more subtle passages. On the contrary, the pulsations are kept to the maximum throughout the song, delivering an energetic and fierce piece masterfully guided by López‘s precise drum attacks.
“Memorial” Album ArtworkJoel‘s smooth and tasteful voice is joined by Elisa‘s beautiful voice for a calm duet full of soulfulness and lament on “Hollowed”. The piece reaches an ethereal atmosphere sweetened by the crossing of both singers’ melodic and fabulous voices, while Cody once again shines with a solo full of feelings.
“Memorial” takes the listener away from the self-absorption of the previous duet with its marching drum patterns and its powerful riffs that exalt the voice of Joel, who sings with a sense of urgency and belligerence. Once again, *Soen* displays raw and realistic themes that take us into the horrors that war causes in its countless victims, who are forced to live with the consequences of absurd decisions of people abstracted in themselves, incapable of considering the other as an equal.
“Incendiary” chooses to use the structure mentioned above, delivering a song that develops between ferocious riffs and calm passages enriched by a marching groove pattern that Martin had presented in the previous track, preparing the way for the choir to reappear in a powerful and unbridled manner.
The band slows down and presents “Tragedian”, a slow tempo characteristic of *Soen in which the atmospheres created by Lars imbue with beauty the nostalgic voice displayed by Joel*, where the reflective and contemplative message resonates within the listener.
The revolutions pick up, and the band delivers another banger with “Icon”, where *Soen*‘s ability to create spectacular choruses is once again manifested, being one of the most powerful and memorable on the album that promises to have a magnificent reception by the public at future concerts.
“Vital” has the function to wrap the album, and it does so with a sublime and heartfelt song that overflows with emotion through all its notes, in which Joel‘s soulful voice demonstrates its wide range through contained passages and others in which he unleashes all its feelings. Joel‘s voice is a gift to every music enthusiast and an essential element to *Soen*‘s sound, so ending the album this way creates a dreamlike atmosphere full of feeling and warmth, which leads the listener to continue reflecting on the social concepts shown by the band, in which the human spirit and the resistance that must be delivered to endure and overcome adversity are sought to prevail.
Thematically, the band continues with their crusade to exalt the human spirit, motivate the listeners to resist and overcome adversity, and seek to freely enjoy our freedoms, elevating above all the respect for the inherent characteristics that make us human beings. In *Soen*, the human condition finds an ally who has dedicated their career to singing poignant and soulful anthems that seek to resonate in people’s hearts to bring change to the world.
Released by: Silver Lining Music
Released Date: September 1st, 2023
Genre: Progressive Metal
Musicians: Martin López / Drums, percussion * Joel Ekelöf / Vocals * Lars Enok Åhlund / Keyboards and Guitar * Oleksii “Zlatoyar” Kobel / Bass * Cody Ford* / Lead guitar
“Memorial” Track-listing:1. Sincere 2. Unbreakable 3. Violence 4. Fortress 5. Hollowed (feat. Elisa) 6. Memorial 7. Incendiary 8. Tragedian 9. Icon 10. Vitals
Order “Memorial” HERE.
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Winter is alive.
Its landscapes may appear desolate, and its boundless silence may put on the façade of death, but there is the undeniable thrum of life beneath those grey skies. “Dormant” reveals this spirit that persists through the cold, and Silent Skies has returned to shine its light on those that dare to hope in the face of darkness. With their third album in as many years, Tom Englund (Evergrey, Redemption) and Vikram Shankar (Redemption, Lux Terminus) again embrace ambient, piano-driven art rock, and do so across an hour of heart-wrenching beauty.
The duo’s cinematic horizons have captivated listeners since 2020’s debut “Satellites,” followed by the well-received sophomore effort “Nectar.” As “Dormant” proves, this previous string of successes is no fluke: these artists are absolute masters of their craft, and this latest outing is yet another addition to their endlessly impressive list of sonic accomplishments. “Dormant” initially follows in much the same pattern as *Silent Skies*’ earlier albums with its ten original tracks. Rounding out the album, however, are three cover songs shaped by the band’s melancholic signature.
“Dormant” begins with an atmosphere akin to slipping below cold water, listeners tenderly submerged beneath the idyllic waves of opening track “Construct.” These first four tracks proceed with a delicate touch, one that has always defined *Silent Skies’ sound, and this precision is particularly highlighted on “Just Above the Clouds.” Cello features from Raphael Weinroth-Browne (also heard on “Nectar”) further accentuate the technical musicianship of this project’s leaders. Touches of pop sensibilities are scattered throughout the album, notably on title track “Dormant,” and its preceding track “Light Up the Dark.” A careful balance of musical elements, spanning from cello to keyboard to keening vocals, bind “Dormant*” together with seamless emotive grace.
*Silent Skies has always been a more seasonal endeavor than Englund’s initial proving grounds. As *Evergrey*’s name illuminates, *Englund has pored over the many sorrows of the soul for two and a half decades, and has done so with glimmers of light few and far between. Shankar has traversed numerous projects, each with their own identity, but none quite as definitively joyous as *Silent Skies. The latter half of “Dormant” contains the sparkling starlight that has no home in either Evergrey or Redemption. There is sadness, and there is hesitance, but it is the brilliant refraction of promise and prospect that makes “Dormant*” so bright. There is an undeniable beauty to be found where both Englund and Shankar embrace an atmosphere of hope.
“Reset” could stir even the coldest of hearts, its crescendos and soaring passages like the first breath of air in new lungs. Contrast against the gentle embrace of Englund’s timbre is Shankar’s energetic piano melody. This heavenly union is one showcased throughout “Dormant,” particularly as Shankar shifts effortlessly between solemn mourning and hopeful yearning. His dexterity on the keys brings lush vibrance to every corner of “Dormant” in a celebration of visionary musicianship. Both “Reset” and “The Real Me” tangle elegantly with themes of self and identity, at times feeling like a self-portrait of the artists behind the work, and at other times feeling like a mirror for the listener. It is a brilliant display of vulnerability and poetic vision. This rich emotional decadence, overflowing with creative fervor, is the premise that makes *Silent Skies* so immediately mesmeric.
Even at the darkest moments of “Dormant,” such as the haunting halls of “The Last On Earth,” there is undeniable passion imbued in the music. Englund’s voice in “Churches” carries with it the resonance of long-scarred heart. And where Shankar plays on “Dormant,” there is willful staggering, a lilt that speaks as loud as words ever could.
“Dormant” ArtworkDiscussion of this soulful album would be incomplete without addressing the three covers that serve as the bookend to “Dormant.” First comes a piano-led rendition of Iron Maiden’s classic hit “The Trooper,” followed by Bruce Springsteen’s “Dancing in the Dark.” There is no shortage of kudos owed to Silent Skies for such a cinematic project taking on a high-charged track like “The Trooper.” It’s perhaps one of the most unique takes on the song since its release, and the cover transforms this familiar work into something else entirely. There are strains of the familiar, but they are entwined with the innovative twist Silent Skies has introduced, adding greater depth and ambience to well-worn melodies.
The album ends with a cover of Linkin Park’s “Numb.” As with “The Trooper,” this is a cover like never heard before. It’s not as though Silent Skies merely interpreted the song through their own eyes: this is “Numb” in an entirely new light. “Dormant” takes a song already rich with emotion, aching in the absence of its original creator, and drenches it with melancholic moonlight. There is an echo of intent that resounds through each subsequent verse. And while most of “Dormant” is led by bright electronic elements and dancing piano, “Numb” takes shape with Englund firmly at the forefront. These creative and stylistic choices highlight the care put into making each cover its own poignant statement, and places “Numb” as the most spectacular standout of the trio.
*Silent Skies have once again created an immutable masterpiece. “Dormant” is not as immediate as “Nectar,” nor is it as accessible as “Satellites,” but it is a breathtaking glance at the potential Englund and Shankar have unlocked through their creative union. This is an album that is meant to be savored, contemplated, enjoyed time and again. This is an album meant for all seasons, both the dark nights and the dazzling days, both the howling winters and the sweltering summers. It has a soul that can speak to anyone in need, so long as they take the time to truly listen. With perhaps the most heartrending album of the year, Silent Skies once again showcases the untouchable musical talents of both Englund and Shankar*, and gifts the world another timeless piece of art.
Release Date: September 1st, 2023
Record Label: Napalm Records
Genre: Art Rock
Musicians: Tom Englund / Vocals * Vikram Shankar / Piano, Keyboards * Raphael Weinroth-Browne* / Cello
“Dormant” Track-list:1. Construct 2. New Life 3. Churches 4. Just Above the Clouds 5. Reset 6. Tides 7. The Real Me 8. Light Up the Dark 9. Dormant 10. The Last On Earth 11. The Trooper (Iron Maiden cover) 12. Dancing in the Dark (Bruce Springsteen cover) 13. Numb (Linkin Park cover)
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Side project, spinoff group, extracurricular association. There’s many ways to view a musician’s primary musical vehicle versus what else they do on the side. While DBA may have started as a fun project in which Geoff Downes and Chris Braide could indulge when not focused on their main bread-and-butter gigs, this Association has turned into something quite extraordinary in its own right. Solidifying their sound with the consistent support of Dave Bainbridge on guitars, Ash Soan on drums and Andy Hodge on bass, DBA has crafted a unique sound all their own, melding the worlds of pop, prog and rock like few others are able to do. Even their visual identity has been established in the past three albums, thanks to the legendary Roger Dean.
Key to the band’s success is catchy songwriting, a talent in which both Braide and Downes excel. Braide has recently won a BMI Pop Award in Los Angeles for co-writing Sia’s “Unstoppable”, becoming the biggest selling single in the USA. Downes has written numerous top hits with Asia, The Buggles and more. Fortunately, the two have been developing DBA to feature their more ambitious visions, extending their hooks and catchy choruses into lengthy, elaborate pieces of artistry. After 2021’s wildly satisfying “Halcyon Hymns” (see our review HERE and extensive interview with both musicians HERE), what new delights will 5th album “Celestial Songs” hold? Let’s find out.
Once again the band serves up a lush, orchestrated collection of songs which are often uplifting and full of encouragement. To that end, the added occasional narration from Barney Ashton Bullock is nearly worth the price of admission in and of itself. The jovial characteristic tones of his voice have the power to wake you from your reverie and realize what’s truly important in life. Add to that Dave Bainbridge’s presence, as he goes all-out with one celestial solo after another, which we’ll detail below. Again, worth the price of admission. With all of this talent going for it, DBA can hardly miss the mark.
Numerous upbeat singles-in-waiting are featured, first among them being “Clear Light”. The importance of Bainbridge’s guitar is quickly established, with his signature riff supporting the catchy chorus which Downes composed, alongside of Braide’s verses and lyrics. “Will To Power” is even better, the driving synth bass propelling the piece further as Braide’s lyrics inspire, “Can’t give in to nihilism, can’t synch up to pessimism, need to find the will to power.” Perhaps the catchiest of the lot is “On The Run” boasting a percolating rhythm which Braide likens to Talk Talk. At five minutes in length, this is made for massive radio airplay, were there still a radio format that cared about this kind of music.
The duo teams up with collaborators on a couple of tracks this time around, and they’re two of the album’s best. Francis Dunnery lends his songwriting and arpeggiated guitar to the nostalgic “Keep On Moving” which reflects on long-ago loves. This uplifting song goes to the next level during its lengthy keyboard solo which is surprisingly performed by Bainbridge before he switches to an emotive extended guitar solo. Apparently Downes prefers to play the role of layered architect at the keys but is happy to leave the solo flourishes to others. “Goodbye To You (Sister Shame)” gets a little help from friend Andy Partridge on the lyrics. Perhaps as no coincidence, this is the psychedelic “Beatles/Wings” track of the album, from its flanged drums and guitar to its keyboard progressions and backing vocals. Delightful.
“Celestial Songs” ArtworkA few ballads are included in the mix, starting with the opener “Look What You Do” to which Braide gives a soulful reading. “Heart Shaped Hole” is one of the longest tracks on the album, opening with an atmospheric entrance on warbling bass from Hodge and inspired Bainbridge guitar. The lyrics skillfully reflect the vapid hole that egoic pursuits ultimately reap, particularly when chasing fame. As Bainbridge’s multi-tracked guitars pick up the pace in the latter half, we almost approach classic rock anthem territory before coming back to a DBA closing vocal waltz. The album closes with the swooningly mystical “Beyond The Stars”, an absolute treasure. Downes explores a touch of ambient textures but primarily leans into his orchestrations, buoyed by Bainbridge’s flying guitars. For a moment towards the end, he even appears to be influenced by Patrick Moraz’s unusual chord progressions at the end of Yes’s “Gates of Delirium”. However, it’s Braide’s vulnerable delivery which seals the deal, “Beyond the stars, beyond the sun, Elysion.” Bullock has the last word, however, with a few phrases that split the heart open as the music gently washes our emotions over us.
Despite all of these strengths, there’s still something about the album that doesn’t flow quite as evenly as its predecessor. It may be partly due to the album’s running order: starting with a ballad doesn’t seem to do justice the overall impact of the other songs yet to come and it would have landed better later on. In addition, there are three songs which don’t fit into the previous categories and their inclusion seems to disrupt the album’s progression. “Darker Side of Fame” tells a fascinating tale of the pitfalls of stardom, but honestly this message is much more poetically conveyed in “Heart Shaped Hole”, and the almost-triumphant accompanying music seems quite at odds with the song’s message. “Hey Kid” feels like an unwelcome brief political interlude, whose sarcastic lyrics betray Braide’s more nuanced and poetic style. “Dear Petra” fairs much better, its sincere anti-war message finding an appropriate vehicle with which to bring the listener in, rather than to divide as “Hey Kid” does. Still, the album as a whole would have felt more cohesive without these three songs included, at least to this reviewer’s ears.
Above all, bravo to DBA for creating uplifting and engaging music in the 21st century. In many ways, it feels like this is the ideal vehicle for both musicians and that THIS deserves to be their day job, with other bands like Yes and songwriting obligations being on the side. Perhaps in their own minds and hearts, it is. The music is certainly worthy of it.
Released By: Cherry Red Records
Release Date: September 8th, 2023
Genre: Progressive Rock
Musicians: Chris Braide / Lead vocals * Geoff Downes / Keyboards, vocals * Dave Bainbridge / Guitars * Ash Soan / Drums * Andy Hodge* / Bass
“Celestial Songs” track-listing: 1. Look What You Do (6.17)
2. Clear Light (5.00)
3. Keep On Moving (6.36)
4. Darker Side Of Fame (3.56)
5. Hey Kid (3.28)
6. Will To Power (6.23)
7. Heart Shaped Hole (9.06)
8. Dear Petra (3.56)
9. On The Run (5.09)
10. Goodbye To You (Sister Shame) (7.30)
11. Beyond The Stars (10.19)
You can pre-order “Celestial Songs” in the following formats: CD version | 2LP version | Box set version
The post DOWNES BRAIDE ASSOCIATION – Celestial Songs (Album Review) appeared first on Sonic Perspectives.
30 years to come full circle.In the days when grunge ruled the airwaves and all roads led to Seattle, the latter-day adherent to the craze known as Candlebox was definitely among the more enigmatic figures to grace the scene. Occasionally dismissed as posers by purists of the day due to their association with Madonna’s Maverick Records (which subsequently became the springboard of artists like Alanis Morissette, Deftones and The Prodigy) and their initially more conservative blend of blues/rock influences relative to the sludgy moroseness of many of the scene’s progenitors, their grunge bona fides were actually well beyond question when considering their Seattle roots and proximity to one of the scene’s founding fathers Andrew Wood of Mother Love Bone fame, to whose memory one of their most iconic anthems “Far Behind” was dedicated. Yet the stylistic evolution that they would undergo following their smash hit of a debut album via sophomore outing “Lucy” would also arguably lay the groundwork for the subsequent post-grunge and broader alternative rock wave that would dominate most of the mid to late 90s. If nothing else, their contribution to the history of contemporary and alternative rock have been highly consequential, and have stuck with them for more than 30 years of career highs and lows.
Though continually dogged by shifting lineups that has found lead vocalist Kevin Martin as the sole original member of the fold, the *Candlebox brand has endured into the present day and provided a more open and varied side to the generally insular and rustic character of the Seattle rock scene. As such, the bittersweet eventuality of this particular hard rock trail coming to an end is no less noteworthy, and the musical contents rounding out the duration of this band’s 8th and final studio effort “The Long Goodbye” no less intricate. Joined by longtime bassist Adam Kury and the somewhat more recently acquired guitarists Brian Quinn and Island Styles, alongside drummer BJ Kerwin, Martin has opted to close things out on a decidedly eclectic note that straddles the divide between Candlebox’s past contributions to the grunge and post-grunge scenes alike. The songwriting and overall stylistic flavor that shapes these 12 newly minted anthems largely straddles the divide between the blues/rock driven swagger of the 1993 debut and the varied mixture of influences that followed on 1995’s “Lucy”, with Kevin’s vocal approach coming off as correspondingly forceful yet nuanced, whereas the production work of Don Miggs* brings in a decidedly rich and modern approach that takes into account the band’s subsequent past following their 2006 reformation up until now.
“The Long Goodbye” ArtworkWhen all is said and done, what truly sells this album, regardless of which unique stylistic quirks are employed, is that all involved rock out as loud and proud as possible at every turn. Cranking up the decibels and recalling the punchy simplicity of the old Seattle sound, unapologetic banger and album single “Punks” sets the album on a raucous course, all the while confining the usual themes of rebellion and angst into a highly catchy rock template. The other leadoff single and infectious ode “What Do You Need?” treads a similarly hook-driven path, albeit more indicative of the down tempo bluesy swagger of this outfit’s formative years and with a decidedly soulful guest vocal slot courtesy of Mona front man Nick Brown to complement Kevin Martin’s attitude-laced pipes. Straightforward rock odes like “Elegante” and “Ugly” walk a rather intricate tightrope between their classic and newer sound, the former occasionally mimicking the dynamic range of ’93 hit single “You” while largely sticking to a brighter post-grunge sound, while the latter takes their olden proclivities towards discontent into a modern, upbeat musical place. Even more whimsical sounding modern rockers like “Cellphone Jesus” and the almost emo-driven cruiser “Foxy” hit hard and true, though the most artistically profound moments are reserved for the melancholy balladry of “Maze” and the Beatles-inspired rock mini-epic “Hourglass”.
Nostalgia will likely be the final word in Candlebox’s career given the enormity of their initial rise to success 3 decades ago, but for those who have sloughed it out with this veteran fold in the years since will undoubtedly note that “The Long Goodbye” is less a retread of the past and far more a final hurrah that exists as much in 2023 as it does in any point in the band’s past. One might argue that alongside its immediate predecessor “Wolves” and 2016’s “Disappearing In Airports” that it has far more of an affinity for the current wave of pop rock, but a closer examination reveals a very present musical acknowledgement of where this outfit originally came from, even if Kevin Martin remains the sole person to have been there. In like fashion, it tends to check all of the boxes of what fans new and old are looking for, but it will function more as a solid entry than an astounding musical affair along the lines of the riveting debut or the experimental and potent sophomore release. It’s a fitting final chapter to close out a long and expansive career, but like all endings, comes along with the sad reality that all good things eventually come to an end. Then again, music isn’t something that anyone can just retire from, and if the nearly 30 years of KISS being on their farewell tour is any indication, who knows what the future will actually hold.
Released By: *Round Hill Records
Release Date: August 25th, 2023
Genre: Alternative Rock*
Musicians: Kevin Martin / Lead vocals * Adam Kury / Bass * Brian Quinn / Guitar * Island Styles / Guitar * BJ Kerwin* / Drums
“The Log Goodbye” Track-Listing:1. What Do You Need 2. Who You Are 3. Punks 4. Elegante 5. Hourglass 6. Maze 7. Ugly 8. Foxy 9. Running with the Stars 10. Nails On a Chalkboard 11. Cellphone Jesus 12. I Should Be Happy
Order “The Long Goodbye” *HERE*.
The post CANDLEBOX – The Long Goodbye (Album Review) appeared first on Sonic Perspectives.
It’s been five long years since Southern Empire’s second album “Civilisation” hit the streets, an album which eventually brought them to great acclaim as fans discovered a new favorite band. Melding some of the best elements from the contemporary prog-rock scene, Southern Empire were clearly a force to be reckoned with and the hope was that they would soon release a massive followup. Four years on found fans growing impatient as the new album neared completion but, as it turned out, they would have to wait a while longer. During the final mixing stages, killer lead vocalist Danny Lopresto had a change of heart and decided to leave the band for reasons which are frustratingly vague. More than perhaps any other band member’s role, the lead vocal chair is a hard one to replace as it impacts a band’s very identity, and Lopresto excelled at his craft. What a position to find themselves in.
Fortunately, *Southern Empire kept a good attitude and their fortunes have prevailed. Not only was the split amicable, with Lopresto’s songwriting, guitar, and backing vocal credits still intact, but the band discovered an impressive new singer and completed what will surely prove to be one of the best albums of the year. “Another World”* finds the Australian quintet in a new frame of mind (if not quite another world, as the title would suggest), perhaps a little bit heavier but still drawing from a wide range of sources that produced a ridiculously gifted collection of songs.
Reportedly new lead singer Shaun Holton used the song “Face The Dawn” as his audition and this mini-epic proves to be a quick way to win over any skeptics. Frankly, such a lavish 4-part suite would be the centerpiece of virtually any other band’s album, but here it’s just one slice of “Another World”. With a few nods to harder-hitting bands like Haken, Southern Empire pulls out all the stops for a thrilling ride into the Dawn. Every player is top-tier, from mastermind Sean Timm’s fluid keyboard diversity to Cam Blokland’s fiery fretboard mastery to Jez Martin’s fretless and fretted bass work. Drummer Brody Green is all over the mix, both on his kit and his “ridiculously high backing vocals”. Indeed, although they have a new lead vocalist, the band’s secret weapon has always been their dynamic vocal range which is featured in multiple sections of this piece to great effect. Add in some well-placed violin playing from Steve Unruh and you have a mini-masterpiece. The only misstep is a spoken-word excerpt – likely from an uncredited vintage film – followed by a smooth jazz break which halts the overall flow but is quickly salvaged by Blokland’s Holdsworth guitar moment and subsequent solos.
“Moving Through Tomorrow” proves to be equally strong with a hypnotic chorus, a swooning middle section, and instrumental prowess from all members as the piece progresses. The band deftly toggles back and forth between being emotionally vulnerable and satisfyingly crunching.
“Another World” ArtworkNot to be outdone, “White Shadows” takes the epic modality even higher with nearly 20 minutes of symphonic brilliance. Opening with a lengthy Timms centerpiece on various keyboards and orchestrations, this piece serves up a satisfying balance of instrumental indulgences and catchy choruses. This time the Spock’s Beard-influenced jazz break works spectacularly well as Martin goes to town on his bass runs. We get additional soprano sax from Marek Arnold, Amanda Timms’ flute, and ultimately Holton’s most powerful vocal moments at the climax. Again, this would be the complete five-course meal on any other album but wait, there’s more…
*Southern Empire excel at their shorter songs just as much as their lengthy epics. “When You Return” shifts our gaze to the stars amidst a narrated voice-over from Lisa Wetton, while the groove roots us firmly on the earth with Green adding hand percussion to compliment Martin’s funk on the low end. The dreamy middle section of Blokland and Timms is pure bliss as the multi-part vocal harmonies layer in. The scorching chorus is second-to-none, a standout track. However, the lead-off single “Reaching Out” isn’t quite as successful…while it wastes no time in launching head-banging-worthy jagged-edged riffs and vocal layers, its chorus just doesn’t land convincingly, perhaps due to its arrangement or production. The flowery Beatles* interlude is a nice touch, though, a brief passing moment of fun. If that initial single from the new album didn’t overly impress you, fear not for the rest of the album far surpasses it.
Cam Blokland excels not only on the six-string, but on songwriting and lead vocals, too. While the rest of the album is co-written by all members (save Holton, as he came in after the material was already completed), two songs are credited solely to Blokland as he takes the lead mic. Both are given the full Southern Empire treatment but – perhaps because of the changing lead vocals and the fact that they’re the only ballads on the album – they stand out as being unique although still maintain the excellence of the album overall. Still, alternatively, they could have been saved for a successful Blokland solo album had the band chosen to go that direction and create an identity with one main lead vocalist. No matter, they’re more than welcome here and it’s a treat to hear Blokland’s expressive voice featured, clearly an integral part of the band’s success.
Timms is extremely skilled and experienced as a producer so overall the album sounds crisp and polished, though it’s perhaps too polished at times. The album can tend to carry more of a sterile feeling rather than an organic one. Often Holton’s vocals seem further in the background, overshadowed by the force of the other instruments. Perhaps that was due to the overdubbing dynamics involved for him to replace Lopresto’s original lead vocal tracks.
What cannot be denied is the quality of the performance and the material itself. Should the band be able to make live gigging more of a priority, they would undoubtedly be incredible in concert and convert a wealth of new fans. Yes, it’s been a long wait for the new album but, having overcome such a daunting obstacle in losing a lead singer, Southern Empire have more than risen from the ashes as new worlds now await.
Released By: Giant Electric Pea Records
Release Date: September 4th, 2023
Genre: Progressive Rock
Musicians: Shaun Holton / Lead and backing vocals * Cam Blokland / Electric and acoustic guitars, lead and backing vocals. * Jez Martin / Fretted and fretless bass * Brody Green / Drums, hand percussion, ridiculously high backing vocals…again! * Sean Timms* / Keyboards, programming, lap steel guitar, backing vocals.
Additional Musicians:
- Danny Lopresto / Backing vocals, guitar
- Steve Unruh / Violin and flute
- Adam Page / Tenor saxophone
- Marek Arnold / Soprano saxophone
- Lisa Wetton / Percussion, narration on ‘When You Return’
- Amanda Timms / Flute
“Another World” track-listing:1. Reaching Out 2. Face The Dawn 3. Hold On To Me 4. When You Return 5. Moving Through Tomorrow 6. White Shadows 7. Butterfly
Order “Another World” HERE.
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Singing multi-instrumentalist songwriter Nate Garrett has much to say. Or so it would seem, given his industrious nature while evolving his mixed-metal project Spirit Adrift. Today, with the release of the incredibly ambitious “Ghost at the Gallows,” Garrett marks five full-length albums in about as many years, a rare feat in today’s music industry, especially with any sense of quality in mind. However, this seems to be less about volumetric brute force quantity, and more about a desire to impatiently continue to accelerate the metamorphosis of the Spirit Adrift organism until it reaches its final form, if such a thing is possible in the hands of an expressive perfectionist.
While traditionally billed as a mostly doom-genre metal band, or at least existing somewhere upon the continuum ranging from Black Sabbath to Opeth, in this latest LP release, the band tunes its motor while simultaneously incorporating more diverse rock and metal albums than ever before. Some examples of this selective diversity will be evident in scrutiny of the individual tracks, but on the whole, it is clear that Nate and the group have been taking masterclasses in the “Book of Heavy Metal” (hat tip to Dream Evil). The compositions themselves are like carbon fiber; their strength is in how the various threads, themes, and styles are woven tightly together into something which somehow exceeds the sum
of its parts. Let’s get into it.
The album fades into an opening made of what sounds like rain falling softly upon a riverbank at nighttime. This is then joined with clean electric guitar chords, strummed and dissected into individual notes, swirling with chorus and various other modulations. Finally, about one minute in, the same chord sequence comes thundering out in a metal wall of sound on par with Metallica’s “Battery.” Big, well-mixed drums, sweet layers of high-gain guitars, and thundering bass guitar are layered so well it would raise Flemming Rasmussen’s eyebrows. By the time the main riff comes in and the drums pick up their tempo, the rhythm chopping is more of something one might expect from Jake E. Lee or John Sykes.
Nate’s vocals remain strong and expressive, perhaps most comparable to Racer X’s Jeff Martin, around the ”Superheroes” and “Getting Heavier” period, and perhaps with a hint of diaphragm and grit reminiscent of younger Gene Simmons. In the first brief instrumental break from the vocals, we get our first glimpse into the almost staccato alternate open picking of the guitars, paired perfectly with some
very tight drumming, right down to rock-solid double kick and ride action. There are times that these frantic interludes are a bit like Maiden’s “Where Eagles Dare,” with some of Nicko’s most innovative drumming to date. Also noteworthy are the harmonized guitar parts, while invoke a healthy amount of “Dave and Adrian” good-time nostalgia from the golden age. Once we have given her “to the river,” the song closes with more soft rain on the riverbank.
” Ghosts At The Gallows” ArtworkSpeaking of Adrian, the alternating open note picking of the second track, “Barn Burner,” is almost in the same vein as the “Wasted Years” intro, but it’s unique enough to stand on its own as not being overly derivative. As a whole, however, the song exists more in a dirty early thrash sort of groove. About two minutes in, the instrumentation settles into a chugging, relentlessly driven, cymbal-heavy groove, featuring some of the same open note E string alternation found at the intro. Special mention should be given to the bass guitar creatively winding its way through the grooves, managing to avoid following the guitar parts exactly, or getting so creative that it becomes distracting.
Still keeping us on our toes, “Hanged Man’s Revenge” is raw 80s thrash at its finest. Aggressive tempo, straight-on riffage, and hard-edge vocals paint a wicked scene, complete with blistering lead guitar work. The track is not as simple as it may first appear, however, since about halfway in, it breaks down, getting nasty with the doomy and the gloomy. It’s like Iommi riffs with dueling guitar solos, fading into oblivion as the floor toms are beaten into submission.
“These Two Hands,” fades in with some lovely minor-key acoustic playing; definitely steel-string, but there might even be a subtle layer of nylon as well. Gentle, soulful vocals join the guitars for a few solemn verses, until around three minutes in, when layered high-gain guitars launch simultaneously into a bend reminiscent of the big crescendo of “Orion.” This sets a grandiose stage for some assertive vocal verse, before breaking for another interesting old-school technical thrash metal dual-guitar throwdown, full of interesting hammer-ons and pull-offs integrated into well-suited lead guitar phrasing. This slams us suddenly back into the same gentle acoustic guitar parts from the beginning, although with a small dose of violin strings. The effect is very similar to what was conveyed with the outros of “To Live is to Die,” or Maiden’s “The Prophecy.”
“Death Won’t Stop Me,” is one of the doomier and sludgier tracks on the record, managing to fuse together Corrosion of Conformity dirt with the sensibilities of Dio and Sabbath. The rapid-eight note lead guitar phrase laid over the top of the verse structure makes for a nice touch. As a whole, the guitars do an admirable job walking the line between blues and metal, in an almost Black Label capacity. “I Shall Return,” has some obvious Roads/Lee riff structure roots, probably most notably to material like “Crazy Train”, but when we spoke with Nate Garrett, he revealed some even more surprising origins to the track. It’s a fun, high energy romp for sure. It continues to explore the mortality angle found lyrically in the themes of the album, but with a more optimistic approach, both lyrically, and in the actual key changes of the composition.
One of the more technically interesting tracks of the record is “Siren of the South,” a track with a few different sounds and elements, fusing the dark and brooding with focused thrash energy. Layered lead guitars return with stellar effect, taking turns with effects-laden vocals. The rapid-fire rhythm section attacks in the last half of the song make effective use of varying pauses for varying counts, toying with
the listener. Are we headbanging? Or aren’t we? There is even an eerie unplugged interlude with a hint of lush chorus, before the song answers the question one final time: Yes. We are headbanging. What does this album have in common with “Seventh Son of a Seventh Son?” The title track is a juggernaut. In this case, weighing in at eight minutes, with no filler, this one is a bruiser. Reverse delay
and reverb on the vocals makes us wonder if we are supposed to go to the light or not. The tempo is just right, the heaviness is spot-on for a wrenching song about stepping up to the noose. Even the layered lead guitars making the big “Orion” bends come back again, before the song dips into clean guitars with some of the thickest chorus modulation ever put on a metal record. Nate’s vocals echo their way hauntingly into the clean guitars, as we get the occasional plucked harmonics to really set the stage before dark and pained “ahhhhhhs” lead us towards the bombastic conclusion. With all the knobs pushed to 11, the band pushes for one last swan song of beautiful heavy melody, before one last clean chord is plucked before fading to black.
This album is a whopper. With fries. It is a lot to take in and digest, for a seemingly simple eight-track album. It may take a few listens to learn the riffs, the changes, the grooves, and find your own personal favorite hooks and riffs. All in all, it is probably worth it. One may reasonably argue that taking some of the best ingredients in rock and metal, and fusing them with modern sensibilities into a metal record with streaks of thrash, doom, prog, and classic metal would be a derivative work. This could be true, even if it were to ignore the fact that virtually everything being done today stands on the shoulders of some preceding titan. However, the more practical view might be that if an automaker were to summon the very greatest engineers and design experts, most of whom would be retired or passed on, and infuse a modern production car with the steering of a 911, the handling of a Skyline, the heart and soul of a Hemi V-8, and the legendary lines of a Jaguar or a Ferrari, and put it into a single package, it could possibly end up being the most celebrated driver’s car ever created.
Well, forgive the laborious metaphor, but Nate Garrett has teamed up with Tom Draper on guitars, Sonny DeCarlo on bass, and Michael Arellano on drums to do the heavy metal equivalent of just that. They have taken inspiration from the lead guitar work of 80s Iron Maiden, the rhythm chops of Rhoads and Sykes, songwriting sensibilities ranging from “Master of Puppets” to “Youthanasia”, and fused that with the dark places discovered and explored by everyone from Sabbath to Dio to, well, Spirit Adrift, and created something that is still unique and very much worth remembering. And it’s sure as hell worth you listening to it. The mix is big and tight without losing dynamic headroom, the musicianship is world-class, and the songwriting is actually pretty original, and it’s unfortunate how we cannot say that about more albums.
Usually, we would say something like, if you like Band X, or Specific Genre Z, you should check this out. Forget that. If you like metal, any metal at all, you owe it yourself to check this one. It’s a highlight of the year, as far as we are concerned. It just hit the stores today.
Release Date: August 18th, 2023
Record Label: Century Media Records
Genre: Traditional Heavy Metal
“Ghost At The Gallows” track listing:1. Give Her To The River 2. Barn Burner 3. Hanged Man’s Revenge 4. These Two Hands 5. Death Won’t Stop Me 6. I Shall Return 7. Siren Of The South 8. Ghost At The Gallows
Order “Ghost At The Gallows” HERE.
The post SPIRIT ADRIFT – Ghost At The Gallows (Album Review) appeared first on Sonic Perspectives.
Slashing metal and frosty melodies abound.Good things can and often do come in small packages, or at least that’s the conclusion one might reach wherein the latest offering of Finnish melodic death metal stalwarts Omnium Gatherum is concerned. Having staked their claim as one of the premier acts to oversee what has arguably been the most formidable rival scene to the original Gothenburg one, they’ve since refined their craft into an expression of densely painted atmospheric wonder after the mold of Dark Tranquillity. In contrast to their similarly styled counterparts Insomnium, however, the approach this outfit has taken veers a bit closer to a traditionally impact-based approach when the guitars are blazing away rather than a post-rock oriented dream-like approach, though their anthems often feature enough dreamy-sounding keyboard elements to keep them closer to said fellow countrymen rather than the power metal-tinged handiwork of Children Of Bodom and Kalmah.
The year 2023 has seen this now 6 person fold chase their 2021 smash LP Origin with a short and to the point EP dubbed Slasher, and while this particular killer of an album lulls its victims to a state of security with a consonant veneer, it wields the knife of death metal brutality as aptly as any melodeath outfit. The addition of touring guitarist Nick Cordle to the permanent lineup has definitely seen an expansion in the guitar arrangement, while the absence of his predecessor Joonas Koto’s ultra-clean vocals acting as a foil to Jukka Pelkonen’s bear-like grunts and groans has afforded the latter the opportunity to dabble in standard singing, and he proves quite up to the task. The chief fixtures that turn this from a standard affair into a highly distinct player on the stage continue to be Aapo Koivisto’s flowing keyboard ambiences and the impact-based riff work and melodic asides of founder and guitarist Markus Vanhala, but the collective whole exhibits a level of prowess that should not be overlooked.
Walking the thin line between relaxingly steady grooves and a frenetic mode of thrashing brilliance typical to the sub-genre, Omnium Gatherum manages to show forth in under 20 minutes what many bands fall shy of in double the time. Kicking things off with a moderate length banger, the title anthem “Slasher” somehow manages to wheel between the band’s heavier demeanor and lighter balladry while maintaining a clear sense of accessibility and coherence. Nipping closely on its heels is a pummeling metallic rendition of the Flashdance soundtrack hit “Maniac”, which sees Jukka’s ferocious bark that could challenge Chris Barnes circa 1994 somehow meld seamlessly with what is essentially a reformatted slab of 80s new wave syrup. The up tempo cruiser “Sacred” is also no slouch in terms to delivering impactful riff work at a break-neck speed, turning up the technical side of things to full blast and coming the closest to appropriating the more popular power metal-infused side of the Finnish style, while the closing number “Lovelorn” leans a bit closer to the mellow rocking mode of Insomnium, albeit with double the lead guitar goodness.
Omnium Gatherum is just the sort of band that knows what works and has a way of sticking to it without becoming stale. Those that have following them since the mid-2000s will note that very little has changed in terms of their stylistic demeanor, but they’ve lost none of their potency in the years since despite a few notable lineup changes. Those that have yet to experience what they have to offer yet have somehow managed to stumble upon the similarly styled work of Insomnium, Mors Principium Est and Skyfire will find a similarly credible version of the signature sounds of each combined with a more calculating execution. It may have already been done several times over the past 15 years by the same fold and a couple of others from northern Europe, but it never gets old, and it will be undoubtedly interesting to see where this six-person strong incarnation of Omnium Gatherum will go in the near future.
Released By: Century Media Records
Release Date: June 2nd, 2023
Genre: Melodic Death Metal
Musicians: Markus Vanhala / Lead guitars * Aapo Koivisto / Keyboards, backing vocals * Jukka Pelkonen / Lead vocals * Mikko Kivistö / Bass * Atte Pesonen / Drums * Nick Cordle* / Rhythm guitar
Slasher Track-Listing:1. Slasher
2. Maniac (Cover Version)
3. Sacred
4. Lovelorn
Order Slasher at **HERE.
The post OMNIUM GATHERUM – Slasher (EP Review) appeared first on Sonic Perspectives.
I’m not sure what it is with prog metallers who bear the initials “D.T.” but they really do love flooding the market. That’s not necessarily a bad thing in Devy’s case, but the number of live albums he and his many musical conduits have released is frankly exhausting, and many of the setlists are frustratingly similar to one another. Add to that Devy’s use of backing tracks to replicate that infamous wall of sound, and we end up with stacks and stacks of live albums where the backbones are nearly identical. One of Devy’s many saving graces is that he forces so much wiggle room into performances that might otherwise be indistinguishable. We saw that wiggle room manifest as a stage production for the ages in “The Retinal Circus,” and a freaking orchestra in an ancient Roman theater in “Ocean Machine: Live in Plovdiv.” “Empath Live in America” keeps us on our toes by tossing out the backing tracks, click tracks, and even fixed set lists entirely.
“Devolution Series #3: Empath Live in America”
Recorded during the Boston stop of the ill-fated “Empath” tour in Spring of 2020 (and if you remember Spring 2020 fondly, I’m raising a finger at you and it ain’t my thumb), “Empath Live in America” stands out among Devy’s expansive live discography for being so absurdly free-form: every concert threatened to descend into absolute discord, and absolutely none of them did. Instead, audiences were treated to an actual live band playing deft arrangements of some of the most complex music Devy had ever written. I’d also dare postulate that the scaled-back band who played the truncated “Empath” North American tour did greater justice to certain songs – “Why?” comes to mind – than the European counterparts we heard on “Order of Magntitude;” that we hear them attempting “Earth Day,” which the band had not learned or even heard, is testament to the boldness of this move. We need more of this in live music! Consequently, the vibe on “Empath Live in America” is looser even than my moral code, and in keeping with Devy’s character, entertaining as fuck. I’ll never tire of seeing this man perform.
Devy’s acerbic wit and disarming self-deprecation are a big part of the reason he gets away with releasing as much live material as he does, but make no mistake: “Live After Death” this ain’t. “Empath Live in America” is absolutely not a shameless money grab, but like the rest of the Devolution series, it’s geared strictly at the diehards, completionists, and potentially at music historians. For those subsets, “Empath Live in America” is required listening because it documents the first steps of what I hope becomes a prevailing attitude in metal – live music ain’t really live music if you need a laptop for it to happen.
Order “Devolution Series #3: Empath Live in America” HERE.
Released By: Inside Out Music
Released On: June 9th, 2023
Genre: Progressive Metal
Musicians: Devin Townsend / Guitars, Vocals * Mike Keneally / Guitars * Nathan Navarro / Bass * Diego Tejeida / Keyboards * Morgan Ågren / Drums * Ché Aimee Dorval /* Vocals, Acoustic Guitars
“Empath Live in America” track-list:1. Intro 2. Evermore 3. Supercrush! 4. March of the Poozers 5. Why? 6. Hyperdrive! 7. F*ck around section 8. Ih-Ah! 9. GIGPIG Jam 10. Forgive Me 11. Love? 12. Kingdom
Pre-order “Devolution #3 – Empath Live In America” HERE.
The post DEVIN TOWNSEND – Devolution Series #3: Empath Live in America (Album Review) appeared first on Sonic Perspectives.
Having released Neal Morse’s rock opera “Jesus Christ The Exorcist” a few years ago, Frontiers Music came knocking again for a new concept album. They came to the right place. Although he was reportedly initially hesitant to dive into the world of concept albums, once Morse took the plunge with “Snow” over two decades ago, he has cranked out progressive rock thematic stories at an alarming pace. That most of these are somewhat Biblical in nature comes as no surprise but – miracle of miracles – many non-Christians seem to enjoy the music enough that they keep coming back for more, too. True, some have wearied of the Morse “formula” or the specific subject matter but for the faithful, Morse continues to create new melodic delights and top-tier prog. Let’s take in his latest technicolor overture.
Stylistically, “The Dreamer” sits right in between Morse’s last two “solo” prog albums: “Sola Gratia” and “Jesus Christ The Exorcist”. It’s not quite to the level of theatrical production that JCTE held but certainly points in that direction, featuring many of the same guests vocalists on several songs. However, Morse himself takes on the main character of Joseph and so this plays out a lot more like “Sola Gratia” did with Morse singing the bulk of the material. Aside from Eric Gillette lending his talents on drums and guitar on a few tracks, the Neal Morse Band is not part of this album either, so we can draw a clear distinction between Morse’s various projects. Happily, the musical guests that Morse does invite along serve the project well. If you’ve enjoyed the previous albums already mentioned, you’re bound to be happy with this one too, so dream on, dreamer.
What would a Morse concept album be without an opening “Overture”? Fear not, they decided to make Alexa’s/Siri’s task a little easier this time by naming this one “The Dreamer Overture”. Ahem…brilliant. As far as the composition goes, no matter how many times I’m tempted to think, “Neal, just give the Overture a break for once”, they still rock. Every time. We even get a little harmonica on this one courtesy of Paul Farmer. And it’s kinda cool how the sound of a buzzing fly transforms into the string section at the opening before kicking into a nasty attack that reminds of “Sola Scriptura”. Gillette hits the drums hard and fast on this one, making you think for a moment that Mike Portnoy is part of the band, too.
Okay, with that out of the way, what’s next but…a “Prelude”. Starting off in surprisingly mellow form, it builds into a classic Morse anthem, supported by a lovely string quartet and backing vocal trio. Here God is singing to Joseph, feeling a little too close to the approach on the “One” album, until Steve Morse lets loose with a characteristically soaring solo. Bring on that coat of many flying colors. The breezy “A Million Miles Away” follows, which maybe could have landed on a D’Virgilio, Morse & Jennings album, boasting a strong chorus and fun groove.
“The Dreamer – Joseph: Part One”
It’s not until fourth song “Burns Like A Wheel” that the ensemble of characters start to make their entrance, heralded in by Ted Leonard’s fine tenor. The story begins taking shape in earnest as we learn that Joseph’s brothers are quite the jealous lot and would hardly blink at the thought of selling their bro off to the slave trade and pocketing the profits. The musical accompaniment will probably meet with mixed opinions from listeners, the “Liar, Liar” chorus just feels silly to these ears, as if Leonard were about to sing “pants on fire!”. By the time we reach “The Pit”, we’re clearly in theater-production-lyrics mode which feels a little at odds with what came before. And there’s the confusing rub: the album sounds like a new Morse Christian prog rock album (e.g. the Sola albums) but reads more like a theater production (e.g. JCTE), so we’re not quite sure which one we’re getting.
Onto the music. “Gold Dust City” is a great rocker by any standards, Jake Livgren delivering a fantastic vocal performance as the Slave Driver. The lyrics bring back to mind “Snow”’s experience encountering the Harlem Knight in “Welcome to NYC”. Love that sax solo from Jim Hoke who channels Dick Parry’s work on “Dark Side of the Moon”. It flows right into “Slave Boy” (“Freak Boy Pt. 3”?), a slinky and seductively rocking piece delivered with style by Talon David and the backing vox of Harmonie Hall, Devonne Fowlkes and Kim Mont.
The pacing slows down intentionally to great effect with a pair of “waiting” songs. The Sloth-like speed (yeah, the reference is intentional) of “Wait On You” gets its point across as our protagonist wastes away in the pit of solitary confinement but eventually we build up into an epic Gillette guitar solo with accompanying strings and choir. So good – a classic. But then comes something we hadn’t expected: an a cappella choral arrangement on “I Will Wait On The Lord” by the Vanderbilt Blair Children’s Chorus Chorale, directed by Mary Biddlecombe. Finally, a new musical approach in the Morse quiver and it’s a welcome one.
“Ultraviolet Dreams” proves to be a late-entry highlight on the album. Aside from the female backing vocals, this is a true Morse solo piece where he plays everything. It’s a great bluesy number, with an almost-obnoxiously addictive chorus that feels like a guilty pleasure and a heart-felt guitar solo laid down by the man himself. For all the guests on the album, sometimes it’s best to get out of the way and just let Morse have at it.
The conclusion of Part One approaches as “Heaven In Charge of Hell” offers several tasty riffs with a scorching guitar solo from Andre Madatian before we come to the finale of “Why Have You Forsaken Me?”. Thematically it’s an appropriate pause until Part Two comes out next year but musically the final mellow duet of piano and French horn makes for a unremarkable parting moment – though the final gong hit does help. Had “Wait On You” made sequential sense, that would have been a more fitting finale, a la “Breath of Angels”.
It’s not a perfect album. The tug of war between prog rock album and Broadway show is never resolved: the guest vocalists aren’t utilized as much as one would expect, yet it’s clearly not just another Morse solo album. Further still, the guests who ARE used were almost all on his previous full-on rock opera JCTE, which binds these projects together in ways that don’t always feel entirely unique or beneficial to creating their own identity. We’ll see if Part Two offers any new directions while tying together the story and musical approach. Still, taken by itself, “The Dreamer” offers plenty of quality material to satisfy Morse fans and sounds sublime with Jerry Guidroz’ mix. Eat ‘em and smile.
Released By: Frontiers Music SRL
Release Date: August 11th, 2023
Genre: Progressive Rock
Musicians:Cast of singers:
- Joseph – Neal Morse
- Judah – Ted Leonard
- Reuben – Matt Smith
- Potiphar’s Wife – Talon David
- Slave Driver – Jake Livgren
- Simeon – Wil Morse
- Jacob – Mark Pogue
- Warden and Prison Guards – Matt Smith, Mark Pogue, Wil Morse, Gabe Klein, Chris Riley
Instrumentalists:
- Neal Morse / Guitars, keyboards and percussion | Bass on 1, 2, 11, 13, 14, 15, 16 | Drums on 14
- Eric Gillette / Drums on 1, 2, 13 | Guitar solo on 11
- Steve Morse / Guitar solo on 2
- Gabe Klein / Drums on 3, 4, 5, 6, 7, 8, 9, 10, 11, 15, 16 | Keyboards on 4, 5, 6, 7 | Background vocals on 7
- Gideon Klein / Bass, guitars on 3, 4, 5, 6, 7 | Background vocals on 7
- Sam Hunter / Guitars on 3, 4, 5, 6, 7
- Mark Leniger / Saxophone on 1, 15
- Paul Farmer / Harmonica on 1
- Jim Hoke / Saxophone on 8
- Andre Madatian / Guitar solo on 15
- Hunter Keeran / French horn on 16
- Harmonie Hall, Devonne Fowlkes and Kim Mont / Background vocals on 2, 3, 6, 8, 9, 10, 11, 14
- Josee Klein, Hannah Tyler, Carl Larson and Gideon Klein / String Quartet on 1, 2, 9, 10, 11, 15, 16
- Vanderbilt Blair Children’s Chorus Chorale – Directed by Mary Biddlecombe on 12
- April Zachary, Julie Harrison, Amy Pippin and Debbie Bressee / Background Vocals on 16
“The Dreamer – Joseph: Part One” track-listing:1. Overture 2. Prologue/Before The World Was 3. A Million Miles Away 4. Burns Like A Wheel 5. Liar, Liar 6. The Pit 7. Like A Wall 8. Gold Dust City 9. Slave Boy 10. Wait On You 11. I Will Wait On The Lord 12. Ultra-Violet Dreams 13. Heaven In Charge Of Hell (Eat ‘Em And Smile) 14. Why Have You Forsaken Me?
Order “The Dreamer: Joseph, Part One“ HERE.
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It doesn’t feel pity, or remorse, or fear.Often side-projects that function as de facto super groups can have a tendency of either sounding too much like the primary bands of those involved or make a blatant effort not to do so. Indeed, it is arguably more the exception that such a fold of musicians will strike up a balanced approach that plays into the basic stylistic niches that they have planted their flags on without sounding like a carbon copy thereof, and the early 2010s saw the construction of such a collaboration in hardcore-infused modern thrash metal quintet Death Ray Vision. Though originally billed as an outfit boasting the talents of Shadows Fall vocalist Brian Fair, bassist and co-founder of Killswitch Engage Mike D’Antonio and several other players with backgrounds in the Massachusetts metalcore scene, the subsequent exodus of Fair and a couple other lineup shifts have seen this project’s core blend of groove-driven modern thrash with heavy hardcore tendencies endure and continue to expand, with their latest studio entry No Mercy From Electric Eyes being their most intense effort to date.
Given the dystopian and futuristic connotations of the title, this is naturally an album that showcases an unapologetic display of raw metallic aggression with a decidedly modern edge while flying the flags of discontent. Moments resembling the vintage grooves of Pantera and the thrashing ferocity of Sepultura are laced into a template that is still reminiscent of the harmonically consonant and Gothenburg-influenced stylings of D’Antonio’s flagship project Killswitch Engage and several other prominent New England contemporary outfits that made their mark during the 2000s metalcore craze, albeit in a more stripped down and gritty fashion. For his part, newly acquired lead vocalist Keith Bennett sticks mostly to a mid-ranged gravely shout that recalls the 90s groove/thrash exploits of Pro-Pain, often having a peculiarly southern twang to his delivery which is interesting coming from a Boston native. But what really sells this album is the interesting blend of riff work that rides on top of a thunderous battery from the rhythm section, often splitting the difference between 90s groove/thrash and a more technically involved presentation that leans into the swifter end of the melodic death metal spectrum.
“No Mercy From Electric Eyes” Artwork
Though sporting a reasonably nuanced mixture of NWOAHM influences and picking its plays pretty methodically, the general flavor of this album is a straight shot of unrelenting rage, basically going heavier than Shadows Fall but stopping just shy of Lamb Of God territory. Break out speed machines like the opening beast of an anthem “Behead The King” and riff happy crusher “Praise The War Machine” stand out as being the more varied and involved displays of the band’s metallic proclivities, trading blows with similarly ambitious though more uniform expressions of fury like the southern metal-tinged groove fest “Armageddon Is The Answer” and the almost 100% faithful Bay Area emulation “Crawl Forth The Cowards” (which also features a wickedly memorable guitar solo exchange towards the end), culminating in the highlight moments of a generally consistent listen. Then again, one would be remiss not to mention the mid-paced, Seasons In The Abyss-like swagger of “Reaper”, let alone the high octane crossover mayhem of shorter bangers like “From The Rafters” and “O Great Destroyer”, which crush about as hard as a 20 ton anvil.
This is the sort of album that checks all of the boxes of a lean, mean, modern thrashing machine, but tends to somewhat lose its punch after successive listening due to the generally one-dimensional flavor of the vocals and the lack of any really noticeable dynamic contrast in the arrangement. It’s basically all amps play on 11 from beginning to end, which stands in stark contrast to much of the influences that it draws upon, even that of stripped down groove/thrash albums that have been the staple of Lamb Of God since the mid-2000s. Much of this likely rests on Bennett needing some more time to fully gel with the rest of the band, though compared to some of the noteworthy work that Killswitch Engage put out with Howard Jones at the helm, it also occasionally feels like the rest of the band is holding back a bit on the sonic possibilities that they could potentially explore with this style. Overall a solid listen, but something that works best in moderate doses.
Released By: Metal Blade Records
Release Date: June 30th, 2023
Genre: Thrash Metal / Hardcore
Musicians: Keith Bennett / Vocals * Chris Rosati / Guitar, vocals * Pete Cortese / Guitar * Mike D’Antonio / Bass * Colin Conway* / Drums
No Mercy From Electric Eyes Track-Listing: 1. New Lords Of Light
2. Saturn Devouring His Young
3. This Hell is Mine
4. Deeper
5. Right Here In The Dark
6. Not by Blood, But by Words
7. Tyrants Weep Alone
Order No Mercy From Electric Eyes at *THIS LOCATION*.
The post DEATH RAY VISION – No Mercy From Electric Eyes (Album Review) appeared first on Sonic Perspectives.
Haunting odes pierce the evening gloom.Horror-themed sitcoms The Munsters and The Addams Family might amuse the typical spectator when projected from the television screen, but one has to wonder what it would like to be in the actual presence of said characters and being unsure whether to run for the hills or laugh along with their abnormally normal antics. This is the sort of quandary that presents itself when attempting to interpret the quirky, carnival of oddities that goes with an avant-garde outfit such as Bergen, Norway’s own Vulture Industries. At first glance, they check all of the boxes of a band that graduated from the black metal wave of the 90s into a somber, Gothic sonic motif that could almost be fit for radio, but further examination they become as bizarre as the disposition of Herman Munster becoming one’s new manager at the office. Having been toiling about in the progressive realm since 1998 in one form or another, they are far from being newcomers to the scene, yet their first studio LP in 6 years Ghosts From The Past has a certain freshness to it that almost feels like this long-enduring quintet has reset their approach.
The manner by which this album catches the listener off guard is by largely sticking to a simple presentation filled with a generally predictable sense of progression, making those upcoming moments of jarring unorthodoxy all the more blatant. This is accomplished largely by sticking to a uniformly mid-paced rocking sense of tempo and an organic sense of groove established by the methodical beats of drummer Tor Helge Gjengedal and the shuffling steadiness of Kyrre Tiegan’s bass work, establishing that often resembles a lighter and less glassy take on Type O Negative. The parallels that this arrangement shares with Scandinavia’s extensive black metal sound are subtle, usually manifesting in slower melodic drones and minimalist rhythmic figures from guitarists Oyvind Madsen and Eivind Huse, and result in something of a spacey rocking vibe that contrasts with the still heavy foundation. Generally the twists that turn this from a morose carnival of Gothic grayness manifest in the various extra instruments and keyboards provided by front man Bjornar Nilsen, whose voice has a quasi-operatic melodramatic quality that further cuts against the mundane elements at play here, as well as the brass instrument input by guest contributor Hans Marius Andersen.
“Ghosts From The Past” Album Artwork
The result of these contrasting elements coming together is a series of seven songs that function as standalone art pieces that are drawn together by a unified sense of atmosphere and timbre. The opening anthem “New Lords Of Light” presents the most upbeat picture of what is largely a dreary anthology, coasting over a hypnotic bass and drum groove with intermitted guitar input that provides a vehicle for Nilsen’s menacing baritone, which conveys a chilling sense of fatalism despite its animated demeanor. The Black Sabbath-tinged crunch at a driving tempo “Saturn Devouring His Young” further underscores this album’s sense of harrowing storytelling given the part of Roman mythology being depicted and the fittingly bleak doom metal trappings surrounding it. The coasting gloom with a sorrowful trumpet theme that lands with a nodding stride chock full of infectious hooks dubbed “Deeper” treads the closest into a musical homage to the aforementioned horror sitcoms, complete with a haunting church organ, and stands as the most memorable entry of the lot, save for maybe the drawn out balladry and fits of rocking discontent of closing slough “Tyrants Weep Alone”, laying out a punishingly beautiful slab of minimalism that easily justifies its 9 minute length.
Though they will likely continue to be tied to the circus-like blackness of fellow avant-garde Nordic acts like Arcturus and Solefald, Vulture Industries has a harrowingly charming sense of distinctiveness that makes them a continually eligible listen for those with a penchant for the outlandish. And for the 20 years that they’ve been putting out material under this name (25 if counting their preceding stint under the name Dead Rose Garden), they haven’t lost any of the accompanying sense of novelty that continues to sell this music to those who are eternally desperate to be different from the throngs of conventional and otherwise semi-conventional metal. Ghosts From The Past is maybe a small rung beneath the quality of their seminal offerings in The Dystopia Journals and The Malefactor’s Bloody Register respectively, but it continues in the same traditional of said albums in merging the theatrically majestic with the macabre. It may or may not gel with those looking for a more mainline expression of Gothic metal, but it wouldn’t be much of a stretch to see a few Type O Negative fans taking to this as well.
Released By: Karisma Records
Release Date: June 16th, 2023
Genre: Avant-garde / Progressive Metal
Musicians: Bjørnar Erevik Nilsen / Vocals and keys * Eivind Huse / Guitars and vocals * Øyvind Madsen /Guitars * Kyrre Teigen / Bass and vocals * Tor Helge Gjengedal* / Drums
“Ghosts From The Past” Track-Listing: 1. New Lords Of Light
2. Saturn Devouring His Young
3. This Hell is Mine
4. Deeper
5. Right Here In The Dark
6. Not by Blood, But by Words
7. Tyrants Weep Alone
Order “Ghosts From The Past” at *THIS LOCATION*.
Ghosts from the past by Vulture Industries
The post VULTURE INDUSTRIES – Ghosts From The Past (Album Review) appeared first on Sonic Perspectives.
Fourteen times is definitely a charm.When a band has come within a stone’s throw of crossing the 30 year threshold of a career marked by critical acclaim and massive popular awareness, titles like veteran or elite tend to go without saying. Likewise, when said outfit also manages to maintain a highly stable lineup and has gone fourteen studio albums deep into the auditory breach, there is bound to be a fair degree of stylistic evolution and experimentation occurring at some point. Such is the disposition of 90s alternative metal/post-grunge icons Sevendust, whom have now found themselves among the auspicious ranks of Napalm Records and have walked a rather impressive tightrope between the impact-based, infectious grooves of the nu-metal craze and the various developments in modern rock practices that have come to pass in the subsequent decades. As such, it logically follows that their latest LP dubbed Truth Killer comes with a high degree of intrigue and gravitas, though rarely does the prevailing of logic pack such a heavy punch.
The onset of veteran status and the throes of middle age may well have served to sharpen this quintet’s execution of their craft, but thankfully it has done nothing to diminish the raw intensity that originally made them a household name. Led by the versatile and brooding baritone of highly charismatic helmsman Lajon Witherspoon, this troupe of Atlanta-born sonic surgeons run the gamut of just about every modern rock trick in the book, showing zero signs of wear or contrivance that can often come with maintaining a consistent style over 3 decades. The dank, down-tuned stomp and atmospheric droning bits thrown into the mix by co-founder and rhythm guitarist John Connolly and the expressive lead work thrown in by long-time axe-slinger Clint Lowery prove pivotal in painting a tapestry of modern angst, while the steady drive of the long-serving rhythm section in bassist Vince Hornsby and drummer Morgan Rose provide an unbreakable foundation that keeps this modern colossus from collapsing under the incredible weight of sound that has been thusly tamed in the studio by producer Michael Baskette, whose handiwork on Sevendust’s acclaimed 2020 LP Blood & Stone speaks for itself.
“Truth Killer” Artwork
Though this towering collection of bottom-heavy bangers fits pretty comfortably into the existing repertoire sporting the Sevendust name, those who have shared their journey for any part of the past few decades will note some rather interesting developments. Arguably the most overt element of change at play is the heightened level of atmospheric and electronic elements that are along for the ride, particularly the almost pop/rock balladry that kicks things off with the unusually subdued opening entry “I Might Let The Devil Win”, almost functioning as a drawn out, four minute prelude before the coming fury, save for the crooning vocal performance out of Witherspoon and the conventional song structure being employed. Likewise, the upbeat yet generally lighter and ultra-catchy rocker “Superficial Drug” features a far more understated guitar presence relative to the sea of electronic sounds and a similarly smooth and pop-like vocal delivery, resulting in a gothic-tinged take on the alternative metal coin that could almost be mistaken for Evanescence.
Yet barring the aforementioned outliers and a general tendency towards accenting the backing keyboard work a bit often at key points throughout the rest of the album, that same brand of modern aggression that fans have come to expect is firmly in place. Pummeling entries like “Won’t Stop The Bleeding”, “Everything” and “Sick Mouth” don’t pull any punches between the thudding stomp of the guitar work and the signature growl that Witherspoon regularly employs to complement is forceful clean work he brings to each infectious chorus. Truth be told, the one area where this album really shines is the sheer quality of the hooks being brought to the table at each refrain section, with up tempo bangers like “Holy Water” and closing hurrah “Fence” going so far as featuring more of a pop/punk vibe to complement the convergence of dank alt. metal riffing and spacey industrial keyboards. But those who are craving a truly old school nu-metal vibe to take them back to this band’s early days need look no further than the scream-happy and punchy bruiser “Love And Hate”, which takes the concept of core fan service and manages to make it fit within the context of a highly evolved opus.
While this album is collectively a single rung lower on the ladder than its riveting 2020 predecessor, it trades blows with it effectively and should absolutely be heard by any self-respecting fan of the fold. The mixture of peripheral atmospheric detailing and hard chugging metallic fervor establishes a rather unique synchronicity that, while not wholly unfamiliar to those that have been paying attention to the developments in the metalcore and modern rock sound over the past 10-15 years, definitely stands out from the pack. For years now there has been buzz about a revival of the music that originally modified the remnants of the old grunge sound and breathed new life into an arguably stagnant rock scene in the latter half of the 90s, but for the guys in Sevendust, there hasn’t really been much of a lull in activity to call this current mold of the band a comeback per say, though the 2020s version is proving to be a cut above the 2010s incarnation.
Released By: Napalm Records
Release Date: July 28th, 2023
Genre: Hard Rock / Alternative Metal
Musicians: Lajon Witherspoon / Vocals * Clint Lowery / Guitars * John Connolly /Guitars * Vince Hornsby / Bass * Morgan Rose* / Drums
Truth Killer Track-Listing:* I Might Let The Devil Win * Truth Killer * Won’t Stop The Bleeding * Everything * No Revolution * Sick Mouth * Holy Water * Leave Hell Behind * Superficial Drug * Messenger * Love And Hate * Fence
SEVENDUST Truth Killer will be available in the following formats:
- 1CD 6p. Digisleeve
- 1LP Gatefold Vinyl BLACK
- 1LP Gatefold Vinyl MINT – North American retail Only
- 1LP Gatefold Vinyl Die Hard MARBLED BLUE/WHITE/BLACK (Slipmat, Record Butler) – Napalm Mail Order Only, limited to 300
- 1LP Gatefold Vinyl GLOW IN THE DARK – Band Mail Order Only, limited to 500
- 1LP Gatefold Vinyl CURACAO TRANSPARENT – Band Mail Order Only, limited to 500
- 1LP Gatefold Vinyl GOLD – Band Mail Order Only, limited to 500
- 1LP Gatefold Vinyl ORANGE TRANSPARENT – Band Mail Order Only, limited to 500
- Music Cassette NEON YELLOW TRANSPARENT – Napalm Mail Order Only
- 1CD 6p. Digisleeve + Shirt “Truth Killer” Bundle – Napalm Mail Order Only
- Digital Album
The post SEVENDUST – Truth Killer (Album Review) appeared first on Sonic Perspectives.
What would you do to celebrate your band’s 40th anniversary? A live album? Maybe release a compilation? Well, Voivod are not known for taking the easy way out, so they decided to present something new and unique for the fans. And thus, “Morgöth Tales” was born, a new album where the band re-recorded songs from their back catalogue with the current lineup, counting on a little help from some faces which will be familiar if you have been following them for a while. Oh, and there’s a new song which names the album, and a hidden track. Let’s get to all of that in a minute!
Voivod are no strangers to celebratory releases lately. 2020 brought us their live album “Lost Machine Live”, and more recently they put out the “Ultraman” EP, with reinterpretations of the soundtrack of the namesake Japanese TV series. While the most substantial outbursts of creativity were reserved for their “official” releases, 2018’s “The Wake” and 2022’s “Synchro Anarchy”, there’s something unique about these special projects where they cater to an already captive audience. In that sense, “Morgöth Tales” serves two purposes: it’s a cool thing for fans to see the current (and most likely definitive) lineup tackle the material, and also a great point of introduction for those who want to know what all the hype about this band is about.
Recorded and mixed by Francis Perron at RadicArt Studio, mastered by Maor Appelbaum and produced by Voivod, the album kicks it off with “Condemned To The Gallows”. Originally recorded for the compilation album “Metal Massacre V”, the song was inexplicably omitted from the band’s debut album “War and Pain”. While the original had its charm, the version we hear benefits from a much better production, whilst maintaining the aggression and sense of urgency of the original recording. What stands out is that although this is in tune with the speed metal of the early 80’s and the Motörhead influence of their peers, it’s obvious that the seeds of what would come in the band’s sound were already sown from early on. Similarly, the jarring pace of follower “Thrashing Rage” (from 1986’s “Rrröööaaarrr”) does not lose an inch of the impact it had when it came out.
Next up we see the title track of 1987’s “Killing Technology”, which created the words that unite Voivod fans around the world – “we are connected”. Here appearing on a shortened version, this song inadvertently foreshadowed humanity’s dependence on the internet and cell phones. The words on the chorus are more relevant today than ever before: “Growing technology/Fooling technology/Killing technology!”. It’s followed by “Macrosolutions To Megaproblems”, yet another mainstay of their set-lists, and “Pre-Ignition”, from “Nothingface”, the album that put them in the mainstream. Both faithful to the originals, but with enough room for Dan ‘Chewy” Mongrain (guitars) and Dominic “Rocky” Laroche (bass), who weren’t in the band in its origin, to add their own spin.
“Morgöth Tales” Artwork
A million time signatures later, we arrive at the material from albums where Voivod was closest to the mainstream, although much of their weirdness was still preserved then. In the early 90’s, the metal landscape was changing fast, shaken by the initial impact of grunge and reshaping into other forms, less confined to the boundaries of its inception. 1991’s “Angel Rat” and 1993’s “The Outer Limits” both threaded new waters for the band, and presented a slightly more polished approach. From these two releases, the band chose to revisit “Nuage Fractal”, where Rocky’s bass soars high, and “Fix My Heart”, which sounds slightly heavier than the original.
There’s also room for older members Eric Forrest (vocals and bass) and Jason Newsted (yes, THAT Jason) to make special appearances. Eric tackles “Rise”, from the period where Voivod flirted with industrial metal and more extreme forms of music. Jason plays on “Rebel Robot”, from their self-tilted release. “Voivod”, their 13th effort, marked the return of Snake on vocals and arguably their most successful period, having played at Ozzfest and constantly appearing on MTV – remember when that was still a thing?
Officially, “Morgöth Tales” ends with its title track, an all-encompassing five-minute song which somehow manages to capture all they are about: a small dose of pop, thrashy moments, solos at the speed of light, and a change in time signatures at every corner. The sonic cues and lyrical references are a joy to listen for long time fans, but if you’re new to the band, you’ll enjoy this one just as well. The genesis of this one goes back to the European tour with Opeth in November/December 2022, and shows the vibe of the experimental music they are doing nowadays, with a new twist.
But wait…don’t go away just yet, because they still have one alien in the bag. The hidden track here is a cover of Public Image Limited’s “Home”. Quite the unusual choice for a band whose guitar sound is always so distorted, with the six strings gnarling at you like a dragon from outer space. They haven’t sounded this melodic even when they covered Pink Floyd in the 90’s. While the original had Steve Vai on guitar, Chewy’s solo on this version takes cues from Eddie Van Halen’s whammy bar work. A great way to end this celebration, which leaves the fans curious about their next steps.
Not every band has the luxury of celebrating 40 years. Doing that when they’re still a cohesive unit which is pushing their sound forward and traveling the extreme galaxies of songwriting, is another cherry on their cosmic cake. A lot of their peers became just another business, with zero or no ties to its beginning and sometimes subcontracting the songwriting duties but certainly not Voivod. While chronologically it does seem that they’re closer to the end of their career than to the beginning, musically they remain as creative and relevant as ever.
Released By: Century Media Records
Release Date: July 21st, 2023
Genre: Progressive Metal / Sci-Fi Metal
Band Members: Rocky / Bass * Away / Drums * Snake / Vocals * Chewy* / Guitars
“Morgöth Tales” track listing:1. Condemned To The Gallows (2023 Version) [originally on “Metal Massacre V” compilation, 1984] 2. Thrashing Rage (2023 Version) [originally on “Rrröööaaarrr”, 1986] 3. Killing Technology (2023 Version) [originally on “Killing Technology”, 1987] 4. Macrosolutions To Megaproblems (2023 Version) [originally on “Dimension Hatröss”, 1988] 5. Pre-Ignition (2023 Version) [originally on “Nothingface”, 1989] 6. Nuage Fractal (2023 Version) [originally on “Angel Rat”, 1991] 7. Fix My Heart (2023 Version) [originally on “The Outer Limits”, 1993] 8. Rise (2023 Version, feat. Eric Forrest) [originally on “Phobos”, 1997] 9. Rebel Robot (2023 Version, feat. Jason Newsted) [originally on “Voivod”, 2003] 10. Morgöth Tales [New Song]
The Ltd. CD Jewelcase in O-Card and Digital Album formats will also come with a cover version of the Public Image Ltd. track “Home” as bonus.
The LP format will come on 180g vinyl and with a 4page LP-Booklet in the following variants:
- Black LP – Unlimited
- White LP – Ltd. 800x copies (Canada & CMDdistro)
- Transparent Green LP – Ltd. 300x copies (CMDdistro)
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The integrity of their sonic bloodline remains.Now more than 20 years into their career, it can be safely said that Denmark-born power metal meets progressive rock trustees Pyramaze have achieved veteran status, and it continues to reflect in their steady studio output. Having reinvented themselves into the new standard-bearers of power metal with an AOR edge in the mid-2010s, a niche popularized back in the mid-2000s by the now semi-active German act Masterplan, their sound has come to embody the notion that an infectious hook can coexist with a mid-paced and nuanced interpretation of a style otherwise known for its speed and impact factor. In fact, barring a temporary reunion with the band’s two prior vocalists Lance King and Matt Barlow, along with original guitarist and principle songwriter Michael Kammeyer to construct a towering monument of epic power metal fanfare to close off their last studio offering “Epitaph”, this is a very different band from the one that first surfaced in the 2000s and their latest studio entry “Bloodlines” continues down this more recently beaten trail.
Much like their 2017 album “Contingent“, this incarnation of Pyramaze has a more straightforward musical presentation that gives way to a vivid and largely sentimental brand of storytelling, though here the band has come away with stronger songs despite heavily dialing back the technical elements that were still present 6 years prior. Much of this owes to the 2022 exit of long time lead guitarist Toke Skjonnemand from the fold, taking his highly expressive and technically extravagant signature sound with him, and leaving virtuoso keyboardist and atmospheric wizard Jonah Weingarten to breathe all of the detailing elements into an arrangement that is more heavily reliant upon mid to moderately up tempo grooves with straightforward rhythmic input from guitarist/producer Jacob Hansen. However, Toke did participate to an extent in the recording of this album, and has imbued the swift power metal banger “The Midnight Sun” and it’s longer and more intricate cousin “The Mystery” with some spellbinding solos that hearken back to the days of “Legend Of The Bone Carver”, which is fitting given that both songs come the closest to revisiting the band’s 2000s sound.
“Bloodlines” Artwork
Ultimately the two aforementioned entries in this 44 minute marriage of heavy-hitting metal and film score are the exceptions that prove the rule, which is that this is a band that is flying one engine short and compensates with a heightened keyboard presence and a stellar vocal delivery to compensate. Whether it be the largess of the synthesized orchestral instrumentals that bookend this album in all of their bombastic glory, or the mid-paced bangers that see this band’s front man shine like a star in the midst of a supernova, it becomes immediately obvious that Weingarten and helmsman Terje Haroy are the ones stealing the show. To be fair, the input of the rhythm section and Hansen’s chunky down-tuned guitar work isn’t a slouch next to the aforementioned impresarios, but what ultimately sells structurally simple and to the point anthems like “Taking What’s Mine” and “Broken Arrow” is the dense symphonic overlay and Haroy’s highly impassioned delivery of the lyrics, channeling a melodramatic spirit that David Coverdale would be proud of. His most auspicious moment, however, proves to be when he is tasked with trading verses with Ad Infinitum vocalist Melissa Bonny on the serene power ballad “Alliance”, recalling the same melancholy brand of beauty that graced “She Who Summoned Me” back in 2006.
In every measurable respect, this album is a worthy successor to what came before it, though it falls short of the mystique of “Legend Of The Bone Carver”, the brilliant largess of “Epitaph”, and the generally banger-obsessed splendor of “Disciples Of The Sun”. It’s still a substantial triumph when considering that this act has opted to soldier on with one of their most consequential members now absent from the fold, though he Toke ended up taking this album as an opportunity to go out with a bang. The road ahead seems a bit uncertain as this outfit has no permanent bassist, to speak nothing for Jacob Hansen pulling all the guitar duties for a band that has been a two guitar arrangement since its very inception. But given that they did manage to pull a proverbial rabbit out of their hat in recruiting Terje into the fold after an extended period of lineup instability in the past, it will hopefully prove a trend with whomever Pyramaze opts to fill the immense shoes that currently stand empty. But come what may, “Bloodlines” is another solid notch in this outfit’s belt, and those that have trodden the path with them up until now will not be disappointed.
Released By: AFM Records
Release Date: June 23rd, 2023
Genre: Power Metal
Musicians: Terje Haroy / Vocals * Morten Gade Sørensen / Drums * Jonah Weingarten / Keyboards * Jacob Hansen* / Guitars, bass
“Bloodlines” Track-Listing: 1. Bloodlines
2. Taking What’s Mine
3. Fortress
4. Broken Arrow
5. Even If You’re Gone
6. Alliance
7. The Midnight Sun
8. Stop the Bleeding
9. The Mystery
10. Wolves of the Sea
Order “Bloodlines” at *THIS LOCATION*.
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Since exploding onto the LA rock scene in 2014, and immediately becoming a significant chapter in the Book of Alice Cooper, Nita Strauss (yes, like her ancestor Johann) has made a mark on the rock scene with a quickness seldom seen before. Even when not adding to the already legendary stage presence of a Cooper show, she is now one of the top-tier six-string hired gunslingers of the rock and metal scene, in the rolodex of everyone from professional wrestling to Demi Lovato. One might think that would be adequately busy, especially with noteworthy endorsements like signature Ibanez guitars and Dimarzio pickups, but not one to rest upon laurels, Nita broke into the solo recording world in 2018 with her ambitious instrumental solo album “Controlled Chaos.” Nita thought the album would get going more quickly with a little infusion of Kickstarter cash from the fans, but she probably never expected the goal to be met within hours, and then get met again eight times over. This was instrumental in putting Nita in a position enviable to most any musician; she was able to do her album in her own way, without contracts or label executives or producers pulling her in several directions. In fact, she engineered and produced the album, writing all the material and playing all guitar and bass parts, to great effect, crafting what was essentially the last “Shrapnel” shred record, easily comparable to Friedman’s “Dragon Kiss” or Becker’s “Perpetual Burn,” among many others of the type. The album was versatile, with diversity of style, but when it came time to shred, tracks like “The Quest” were worthy of anything from Mike Varney’s stables.
And so it is that in 2023 our heroine, perhaps enjoying a small break from the wild circus life of Alice Cooper, carved out enough time to tackle an even more ambitious solo album than the first. “The Call of the Void” is demonstrably a step up from the safe formula employed in Nita’s traditional, albeit impressive, household shred collection. In this record, we find Nita using that rolodex in reverse, calling up some big names, most notably vocalists, to pursue a daring lyrical outing. Let’s go over some highlights.
The instrumental introduction, with thunder and rain, creates a mood which marries well with the album cover imagery, Nita’s kicks dangling and looking down over prime time Los Angeles city streets. It is apparent from the first track that Nita is traveling further down a metaphorical road where the metal playing style becomes very contemporary and fresh. While there were elements in the first album which were an homage to scene of Racer X and Yngwie (J) Malmsteen, this feels more like the age of Gus G, Ola Englund, and Devin Townsend. Perhaps this is not just a smart production approach, but a sensible artistic direction, considering some of the top modern talent on tap. Once the first track, “Summer Storm,” concludes its furious opening, it transitions very smoothly into the first noteworthy lyrical track, “The Wolf You Feed,” with Arch Enemy arch-vocalist Alissa White-Gluz, who delivers the full spectrum of growls and howls, along with a silky smooth chorus. Thankfully, Nita keeps the composition, riffs, and tempo neatly inside the Arch Enemy wheelhouse, making for an organ transplant no body will reject.
There are definite Nita fingerprints on the lyrical themes of “Digital Bullets,” featuring the vocals provided by Chris “Motionless” from east coast metalcore act Motionless in White. The song visits unfortunately ubiquitous notions of internet keyboard warriors “firing round after round after round” of the titular digital bullets. It is not an especially new or novel topic for discourse, but considering Nita has suffered the slings and arrows of outrageous internet asshats for several years now, and her first lyrical album would seem as fair a place as any to exorcise some demons. Cyber-bullying is a bit sad and unnecessary, but there are certainly more worthy targets in the celebrity-sphere than Nita Strauss, a down-to-earth rocker’s rocker if ever there was one.
“Call Of The Void” Album Artwork
Speaking of rockers, Halestorm’s very own Lzzy Hale lends her impressive pipes to the track “Through the Noise,” which surprisingly has a much different vibe than the two previous vocal tracks. The chords, progressions, and riffs are a bit more restrained. If industrial modern metal had a blues-rock sub-genre, this song would almost be inventing it. Nita is proving herself to be a musical chameleon of nigh-Bowie proportion. And on the subject of this versatility, Nita worked with Disturbed and their singer David Draiman to produce “Dead Inside,” easily one of the best tracks Disturbed ever made. The electronic percussion, structure, and vocal delivery are textbook Disturbed (although in exceptionally good form) with the exception that this track has a Nita Strauss going for Olympic gold on her mean little Ibanez S-series.
Another interesting collaboration is with fellow LA rockers Dorothy. Now, the song sounds very modern, so it’s a little unclear whether this is a collaboration with the entire band known as Dorothy, or if this is a complete Nita Strauss production with Dorothy Martin on vocals. It seems more likely to be the latter, but regardless, “Victorious” a pretty rocking tune, a bit of a head-banging arena anthem one might find in the Eclipse catalog. Similarly, Anders from In Flames gets drafted into service on “The Golden Trail,” which, as a song, is a bit like In Flames, but not quite. That being said, Anders’s big furious vocals feel right at home in the riffs, and he actually adapts very well for the unique tones of the chorus.
Perhaps the most interesting example of genre defiance on the album comes with “Winner Takes All,” a heavy and industrial piece featuring the one and only Mr. Nice Guy himself, Alice Cooper. For the track not feeling especially “Alice,” he delivers a fantastic performance, especially with old Vincent being 75 this year. Next time you say “OK, Boomer,” just make sure you aren’t talking about Alice. The man is more metal than all of us.
For the final lyrical track, “Monster,” Juliet Simms of “the Voice” fame appears in her new stage persona Lilith Czar, which seems to be a complete redesign of her singing sound. Big, mean, rock vocals with attitude. Nita’s contemporary almost-industrial metal writing and production on this track proves fertile soil for Lilith’s new sound and direction.
The entire album is sprinkled with a few instrumental guitar-fueled Nita tracks, covering a few genres, and her rhythm and lead playing are absolutely A-grade stuff, whether entire instrumental tracks, or just the rhythm behind and around the vocal parts on other tracks. There are two, however, which really stand out. The penultimate track is called “Kintsugi,” the fascinating ancient Japanese craft of fixing broken pottery with gold paint, to actually showcase the scars and the journey of the object, in a lovely metaphor for life and growth. Marty Friedman, with his unique eastern-fusion playing, may well be the best living guitar player on Earth today, and Nita makes no effort to hide the admiration, and “Kintsugi” really feels like it could have been a bonus track on Marty’s 1992 “Scenes” album. It’s a semi-dirty blues tone journey which is melancholy in its minor key self-reflection.
You didn’t think Nita was going to be a Marty fan-girl and just leave it at that, did you? The final track, “Surfacing,” also instrumental, is a Nita duet with the man himself, and depending on what you are in the market for, may be the best track of the album. In case you thought this might be another Japanese folk blues pilgrimage to Hokkaido or Mount Fuji, guess again, because this one is a Marty shred piece. Maybe not from his 80s period with our dear friend Jason Becker, but maybe more like one of the slamming high-energy pieces found on 2014’s “Inferno” album. There’s not much to say about Marty’s playing on the track, who has probably not missed a single note in his life, but both players are in top form, and the two-part harmonies are not to be missed.
Nita Strauss has changed course a bit with this album, and probably for the better. 100% instrumental albums can be a little fatiguing sometimes. Once in a while you find something like “Senpai 3” from Sithu Aye where it’s an album of nothing but guitar, and yet every single track leaves you wanting more. Other times, and probably more often, an all guitar shred album starts to feel like a four-hour director’s cut of “Dumb and Dumber.” Or a pizza with two pounds of pepperoni. It’s just… too much. Nita’s previous album, while one of these, was actually not too bad, but this album is far more digestible, especially to the rock and metal fan who might not be a complete lead guitar geek. This may also be proven out with the early Spotify numbers, where the vocal tracks have millions of plays in some cases, while the brilliant last two instrumental tracks have only a few thousand plays. Nita has done her homework, and tailored the assignment to the professor pretty perfectly. The record has a little something for everyone, and you’ll be a fool to miss out on it.
Release Date: July 7th, 2023
Record Label: Sumerian Records
Genre: Metal
“The Call Of The Void” track listing: 1. Summer Storm
2. The Wolf You Feed (Featuring Alissa White-Gluz)
3. Digital Bullets (Featuring Chris Motionless)
4. Through The Noise (Featuring Lzzy Hale)
5. Consume The Fire
6. Dead Inside (Featuring David Draiman)
7. Victorious (Featuring Dorothy)
8. Scorched
9. Momentum
10. The Golden Trail (Featuring Anders Fridén)
11. Winner Takes All (Featuring Alice Cooper)
12. Monster (Featuring Lilith Czar)
13. Kintsugi
14. Surfacing (Featuring Marty Friedman)
Order “The Call Of The Void” HERE.
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No quarter offered, none given.Conflict and schism have been frequent companions to rock and metal bands since time immemorial, but such occasions often present new opportunities on both sides of the fissure. The peculiar case of Alcatrazz, one of the consequential bands of the early to mid 80s that would introduce the world to Neo-classical shred trailblazer Yngwie Malmsteen, is not without a sense of irony given that its resurgence right in the midst of the lockdowns that turned much of the world into a prison. Likewise, the subsequent split that would leave its founder and iconic front man Graham Bonnet on his own and his remaining band mates staking an additional claim to the outfit’s name has left the prospect of two versions of the same musical juggernaut. Though Bonnet’s version is still in the process of fielding their de facto debut outing, the remaining four and their recently acquired replacement singer have now unleashed a second post-split LP in “Take No Prisoners” that continues the revival of the 1983 “No Parole For Rock ‘N Roll” sound that first made Alcatrazz a household name.
In like fashion to their 2021 predecessor outing simply dubbed “V”, this second go around draws heavily from the band’s dual mystique of Rainbow influences meshed with the early 80s NWOBHM craze that was upping the older style’s aggression factor. Doogie White, who could be labeled “the replacement guy” given his past propensity for filling the shoes of various vocal titans via Rainbow, Malmsteen and Empire, continues to roar like a mighty lion after the spirit of Dio with a bit of a Mark Boals tinge, acting as the head of this mighty metallic golem. Axe-slinging virtuoso and Yngwie disciple Joe Stump continues to light up the fret board like it’s going out of style, though dialing back things where needed and often employing more of a Blackmore-like swagger to complement the flurries of rapid sweeps and scales. Newly acquired and former Blaze Bayley drummer Larry Paterson steps into his role seamlessly, laying down mid-paced grooves and fast-pace beats with the same flair of his predecessors, while this outfit’s new de facto co-leaders in bassist Gary Shea and keyboardist Jimmy Waldo continue in their Deep Purple-like roles of filling the arrangement and showing occasional bits of flair.
“Take No Prisoners” Album Artwork
For the most part, “Take No Prisoners” is an album that sticks to what works, merging the vintage Rainbow and Malmsteen elements of the band’s roots with a rawer, modernized edge that tends to mirror the previous two albums. The opening speed machine “Little Viper” lays out a frenetic riff set with numerous fits and starts courtesy of Stump, while Waldo’s rock organ work slips in a slight psychedelic twists into what is otherwise a consistent storm of metallic bluster. Sing-alone romp and rocking single “Don’t Get Mad…Get Even” leans back into more of an 80s fist-pumping anthem, complete with a guest gang vocal refrain with NWOBHM queens Girlschool, while the similarly mid-paced yet more mystical “Power In Numbers” sees Waldo’s organ work go full Jon Lord mode and rivals the prominence of Stump’s busy guitar work. Other standouts include cruising and infectious new classic of a self-titled banger “Alcatrazz”, a beautifully situated nod to Malmsteen’s brand of high octane power metal “Bring On The Rawk”, and a triumphant yet melancholy mini-epic slough loaded to the brim with brilliant guitar and keyboard work in “Gates Of Destiny”, though the song that really breaks from the pack and steals the show is the heavy-rocking beast “Holy Roller (Love’s Temple)”, essentially merging vintage Deep Purple magic with a pummeling metal attitude.
Though Bonnet’s version of Alcatrazz has yet to field an album, it is generally stipulated that the involvement of Jeff Loomis is said project will entail a more experimental approach to this band’s musical template, so it follows that those whom cleave to the classic sound that goes with this incarnation of the band will want to stick by it. Relative to the last two albums this one is an ever so slight step down, if only due to the combination of playing things a bit safer and that Graham’s highly distinctive vocal presence is still missed. For his part, Doogie White turns in the same highly bombastic and impassioned delivery that has made him one of the busier singers in the business for the past 30 years, but what’s going on around him mostly keeps things by the numbers. Nothing on here can be categorized as a slouch, and there is definitely something to be said for not messing with a winning formula, but even a faithful emulation will fall a tad short of the original, thought just a tad, mind you. Existing fans will not be disappointed, and newcomers are definitely encouraged to try out one of the free cells for an extended stay.
Released By: Silver Lining Music
Release Date: May 19th, 2023
Genre: Heavy Metal
Musicians: Doogie White / Vocals * Joe Stump / Guitars * Jimmy Waldo / Keyboards * Gary Shea / Bass * Larry Paterson* / Drums
“Take No Prisoners” track listing:1. Little Viper 2. Don’t Get Mad…Get Even” (feat. Girlschool) 3. Battlelines 4. Strangers 5. Gates Of Destiny 6. Alcatrazz 7. Holy Roller (Love’s Temple) 8. Power In Numbers 9. Salute The Colours 10. Bring On The Rawk
Order “Take No Prisoners” HERE.
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Hey, they weren’t kidding with this title!There are many versions of extreme that have cropped up in the metal realm over the decades, but only a select few can claim to be among the originals that took the old formula of hard rock played too loud and too heavy and turned into an entirely different beast. Though often overshadowed by the ubiquitous melodic influence of Iron Maiden and the dark ferocity that Venom used to inspire legions of death and black metal disciples, power trio and speed metal trailblazers Raven could arguably stake an equal claim to shaping metal into what it would become as the traditional style gave way to the numerous sub-genres that still endure to this day. In essence, they functioned as the missing link between Judas Priest and Metallica, pushing the boundaries of high tempo mayhem in a manner comparable to Motorhead, but also turning the technical factor up to 11 with zero apologies. Now 15 albums deep into their nearly 5 decades long career, this 3 person killing machine have opted to up the ante yet again with the release of “All Hell’s Breaking Loose”, and album that lives up to its name and then some.
Since hitting the ground running with a string of pioneering studio recordings in the early 80s, the brothers Gallagher have staked their claim at being the heavy metal answer to Rush’s Geddy Lee and Alex Lifeson, maximizing the excitement factor on both the 4-string and 6-string respectively while pushing the boundaries of acceptable velocity. In contrast to many of the younger bands beholden to the NWOTHM craze, however, they’ve taken a similar path to many of their old guard contemporaries by continuing to embrace the subsequent evolution of both the style and recording technology to further refine their sound and keep things current. But the true ace up their sleeves that has allowed them to barrel forth into the 2020s with arguably the most insanely fast and frenetic version of their sound has been the acquisition of New York-based drum virtuoso Mike Heller as the third column of their towering monument of sound, and suffice it to say, his highly precise and rapid fire approach to making the kit roar brings the sonic possibilities of heavy metal into brand new territory this time around.
Holding true to their enduring status as a NWOBHM staple with an eye for the archaic, Raven kicks off this veritable blitzkrieg of metal mastery with a blistering nod to the days of the inquisition dubbed “Medieval”. Right off the bat the cacophony of glass-shattering high notes out of John, whom somehow manages to keep his bass in sync with brother Mark’s wild thrashing riffs, meld seamlessly with Heller’s crazed, fill-happy yet utterly precise drum work to paint an image of armor-clad knights rounding up heretics for the fire of purification. The intensity factor is dialed even higher with the entry of speed metal monster and single “Surf The Tsunami”, which does to the airwaves what its namesake has often done to many a hapless structure near the shoreline, while the screaming fury of the title anthem “All Hell’s Breaking Loose” mixes the same mixture of blinding speed and inhuman shrieks with an intricate riff set out of Mark’s guitar that could make James Hetfield blush, to speak nothing for the super-chaotic lead segments that rival Kerry King. To put it plainly, 75% of this album could be likened to a meth-infused response to Judas Priest, with occasional asides like “The Far Side” seeing John Gallagher’s bass input going beyond berserk while sporting an utterly brilliant chorus hook.
“All Hell’s Breaking Loose” Artwork
While the lion’s share of this album wails away at the edge of where speed metal begins to flirt with thrash, there are some truly unexpected moments that culminate in highlights by either bucking this tendency to some degree, or by exaggerating to the point of breaking through to the other side (apologies to Jim Morrison). In the latter camp, the wild ride that is “Desperate Measures” manages to fool the ears at several key points into thinking that Raven has wandered straight into death metal territory via Heller unleashing several insane blast beats, though John keeps his signature snarl painted over with frequent high wails regardless of how insane the machine gun double bass work beneath him gets, and the somewhat more guitar happy “Edge Of A Nightmare” and the chunky cruiser “Turn Of The Screw” sees the drums almost matching the same chaos factor. The somewhat more punk-infused closer “Go For The Gold” dials back the frenzied moments just a tad, but even here the double kick work manages to continually beat against the boundaries of thrash metal. The album’s de facto creative apex “Invasion” is the only song that shows any occasional elements of nuance and groove, but also sees the Gallagher brothers shell out some of their most off the hook guitar and bass work to date.
About the only strike against this album is that it goes so heavy on the speed and fury that it borders on overkill, leaving nothing in the way of a denouement at any point in over a half an hour of the pedal being put to the metal. Groove hounds and those who like an occasional ballad to go with their metal cuisine should beware, as there is scarcely a trace of the former to be found here, and absolutely nothing resembling the latter.
It’s hard to know what is the most impressive feat accomplished here; the fact that John Gallagher can hit all these insanely highly notes at the age of 64 like he’s in the midst of his 20s while also slinging the bass like he’s the elder brother of Cliff Burton, that Mark Gallagher has this many insane riffs left in his arsenal this far along, or that what Mike Heller brings to this album is actually performed by a mortal man. For some it may prove to be too much to handle, but for those who can, whether they be long time fans of the Raven brand or not, this is on par with just about every masterwork in this band’s 40 years plus history.
Released By: Silver Lining Music
Release Date: June 30th, 2023
Genre: Heavy Metal
Musicians: John Gallagher / Lead Vocals, Bass, 12-String Bass * Mark Gallagher / Guitar, Vocals * Mike Heller* / Drums
“All Hell’s Breaking Loose” track listing: 1. Medieval
2. Surf The Tsunami
3. Turn Of The Screw
4. All Hell’s Breaking Loose
5. The Far Side
6. Desperate Measures
7. Victory’s Call
8. Edge Of A Nightmare
9. Invasion
10. Go For The Gold
Order “All Hell’s Breaking Loose” HERE.
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Storms, rivers and the promise of peace drive the lyrical themes on Gov’t Mule’s 12th album. Just as the ocean is comprised of water from a variety of rivers and storms, this album finds Mule delivering a wide range of styles sourced from various tributaries. It’s dramatically different from its focused predecessor “Heavy Load Blues” which is all-the-more impressive given that both albums were recorded at essentially the same time. For Mule fans there’s plenty here to dig, and to dig into.
There truly is something for everyone on the new album. “Same As It Ever Was” opens with an enlivening acoustic guitar figure before kicking into the full electrified band arrangement and impassioned lead vocals. “Sing what you have to say, sing it like you have no choice. Play what you want to play, play it loud with your own voice.” Danny Louis hits the keyboard solo with almost a Rick Wakeman fervor, while Warren Haynes lifts his guitar solos into the ethers, with Jorgen Carlsson staying exceptionally busy on the bass riffs. Great opener.
One of the hallmarks of the band is in their tendency to celebrate their influences, both on stage and in the studio. On “Shake Our Way Out” we are treated to Billy Gibbon’s unmistakable presence, first on guitar and then on vocals, complete with many of his trademark quips and dusty delivery. The middle section has a groove so thick you’ll have to wear your cheap sunglasses as you break into a grin and blow your Top.
A pair of peace titles offer some of the album’s best material. “Made My Peace” tells the tale of the prodigal son returning with great harmony vocals on the chorus. The string arrangement inevitably conjures up Beatles vibes, as Louis’ spirited piano tickling paves the way for Haynes to jam on high. Even better riffs show up on “Peace I Need”, a fantastic funky blues rocker that defies the listener to sit still. Carlsson gets in some satisfying bass fills before Matt Abts surrounds the audience with his drum kit as the arrangement shifts in the second half.
The band’s musical diversity opens up as the album progresses. “Your Only Friend” is a sorrowful ballad, lamenting how an addiction can end a lifelong friendship, with added strings building the emotional impact. Then “Dreaming Out Loud” pulls out all the stops for the album’s funkiest groove. Horns, added percussion from Bobby Allende and guest vocals from Ivan Neville and Ruthie Foster create an instant party. Carlsson rises to the occasion, funking up his bass playing while Louis hits the keys in all the right ways and Abts makes the rhythm swing. Later on “The River Only Flows One Way” takes a different turn as Billy Bob Thornton offers up a sedate but fitting vocal; mood music at its best.
“Peace… Like A River” Artwork
Carlsson opens up “After The Storm” with his bass figure, leading the band to channel The Doors as if this was an impassioned mashup of “Riders On The Storm” and “LA Woman”. This is one of the album’s best, allowing all four members of the band to shine without guests or excess multi-tracks.
There’s several more excellent tracks on this 76-minute album, including the soulful “Just Across The River” with duet vocals from Celisse Henderson. Quite a burner of a track. But why stop there? Get the bonus disc which offers another half hour of quality music including the addictive jam “Stumblebum” which no Mule fan should miss.
Although this summer finds Gov’t Mule touring the “Dark Side of the Mule” in honor of that album’s 50th anniversary, the overabundance of quality original material on “Peace…Like A River” will leave many fans wishing they put more new tracks on the set-list. Perhaps they will in their east coast and European fall tour. Sadly, Carlssson recently announced he is leaving the band and has been replaced on tour by Kevin Scott. Nevertheless, after all this time Warren Haynes and his excellent band prove that they’re not missing a beat and are still delivering the goods, in the studio and on the road. Go catch yourself some Peace this summer.
Released By: Fantasy Records
Release Date: June 16th, 2023
Genre: Blues Rock / Southern Rock
Musicians: Warren Haynes / Guitar, vocals * Matt Abts / Drums, percussion, vocals * Danny Louis / Keyboards, guitar, trumpet, vocals * Jorgen Carlsson* / Bass
“Peace… Like A River” track-listing: 1. Same As It Ever Was
2. Shake Our Way Out (ft. Billy F Gibbons)
3. Made My Peace
4. Peace I Need
5. Your Only Friend
6. Dreaming Out Loud (ft. Ivan Neville and Ruthie Foster)
7. Head Full Of Thunder
8. The River Only Flows One Way (ft. Billy Bob Thornton)
9. After The Storm
10. Just Across The River (ft. Celisse)
11. Long Time Coming
12. Gone Too Long
Deluxe edition (CD Only) – “Time Of The Signs” EP track listing: 1. Stumblebum
2. Under The Tent
3. Time Stands Still
4. Blue, Blue Wind
5. The River Only Flows One Way (WH vocals)
Order “Peace Like A River” HERE.
The post GOV’T MULE – Peace… Like A River (Album Review) appeared first on Sonic Perspectives.
Man and beast unite to overcome all.The mystique of heavy metal’s early days has enjoyed a rather massive renaissance over the past decade or so, so much so that a whole slew of young bands from across the globe have culminated in a new wave of sorts to rival the original New Wave of British Heavy Metal. But when the proverbial rubber hits the road, it’s usually the older guard that has either weathered or otherwise resurfaced following the storm of changing popular sentiment that truly deliver the metallic goods. Colorado-born USPM icons Jag Panzer present a curious case of both, having split the scene at its apex in 1988 amid internal turmoil and reformed in 1993, arguably the absolute nadir of heavy metal’s viability as an art form in the continental United States. Nevertheless, minus a few bumps in the road following their colossal contribution to the 80s metal regime “Ample Destruction”, this is a band that has consistently chiseled away at the mold to reveal one stellar opus after another, and following 6 years of silence in the studio since 2017’s “The Deviant Chord”, their latest album dubbed “The Hallowed” carries the promise of even more refined work of sonic metallurgy.
Conceptual storytelling via studio LP is naturally nothing new to the power metal sub-genre, nor is Jag Panzer unfamiliar with this approach in light of their turn of the millennium retelling of MacBeth in “Thane To The Throne”, and the post-apocalyptic realm where this particular story is set has been a familiar trope in old school metal circles since the days of “The Road Warrior”. However, the vividness of how the winter-torn world of abandoned metropolises in which this particular epic is set, combined with the unique idea of mankind and the animal kingdom joining forces to survive and replenish the earth and the stylistic trappings of Iron Maiden and Judas Priest in a prototypical leather-clad traditional fashion come together results in something on a whole other level. Correspondingly, the performance of the band itself rivets at every possible opportunity, with 61 year old stalwart vocalist and longtime disciple of the ways of 80s glass-shattering excess Harry Conklin showing everything except for his age, with long-time fellow travelers in guitarist Mark Briody and bassist John Tetley pulling their respective shares. One would also be remiss not to notice the thunderous and often rapid fire battery of Rikard Stjernquist’s kit work, accomplishing in his mid-50s what many in their 20s would find daunting, whereas six-string shredder Ken Rodarte’s studio debut with the band (he’s functioned as the de facto 5th member in a live capacity since 2018) sees him measuring up to the seemingly impossible standard set by Chris Broderick.
To the uninitiated, the Jag Panzer sound can be best described as the quintessential expression of the 80s American power metal sound, carrying a similar sense of melodic splendor and theatricality to its more popular European counterpart, but retaining a grittier and more stripped down demeanor that recalls the older heavy metal stylings of its respective era. From its very beginning, “The Hallowed” presents this outfit’s common heritage with the the most important metal exponents of the 80’s heavy metal – in a truly blatant fashion – with fast-paced and compact crushers like “Bound As One” and “Prey!” leading the pack with a blend of “Defenders Of The Faith”-styled aggression and a “Powerslave” sense of melody streaming from recurring lead guitar themes and Conklin’s chorus hooks that all but slap the listener upside the head with a steel gauntlet. Similarly to the point yet more mid-paced beasts like “Ties That Bind” and “Weather The Storm” also explore a Maiden-centered template, with the former sounding heavily reminiscent of “Piece Of Mind” classic banger “Revelations” at times, though the formula proves a bit more complex and Conklin’s voice comes off as less operatic and carries a tad more bite in line with the winter wasteland being lyrically depicted.
“The Hallowed” Artwork
As with most ambitious feats of compositional pizzazz, “The Hallowed” is as much a grower as it is a shower, ergo the longer the songs go the more intricate things become. Though one of the more moderate songs in terms of scope at 5 minutes in length, the speed-infused metal machine and single “Stronger Than You Know” is peppered over with so many brilliant lead guitar fills and gravity-defying high notes out of Conklin that it rivals the most stellar moments of any of the aforementioned albums, while the chunky thrashing session that is “Onward We Toll” brilliantly blends the fist-pumping, sing-along goodness of early 80s metal,with a bludgeoning, bottom-heavy riff set. Even longer crushers like the gallop-happy heavy-hitter “Edge Of The Knife” really work masterfully in evoking the post-apocalyptic character of the album’s story while still functioning as a catchy anthem conducive to the power metal style, sporting one of the more accessible chorus sections amid a flurry of sectional twists and turns and arguably the most insane guitar solo display out of Rodarte to date. But with the culmination of all the intermittent voice-over moments and superior anthem-craft that is the rest of the album, everything comes to a head with the closer and towering 9 minute epic “Last Rites”, which taps into that elongated heavy metal template like it’s going out of style and sees some quasi-symphonic elements come into play courtesy of Mark Briody, often shifting the melodic hook duty away from the guitars in favor of a folksy violin foil that draws out the pastoral happy ending to this otherwise dark and dreary tale.
Those who know and inevitably love the handiwork of Jag Panzer will find an album here that matches, if not surpasses the utter brilliance that made “Thane To The Throne” America’s most compelling answer to the ubiquitous European power metal wave that had achieved de facto hegemony in the early 2000s. Despite opting for an approach that many naysayers might argue has been done to death, “The Hallowed” is sure to prove one of the most consequential conceptual works to come out of the melodic side of the metal spectrum in the 2020s, not to mention a compelling reminder that age is a non-factor for those whom chase after greatness in the metallic realm.
With a story that could be dubbed the missing link between “Mad Max” and “The Beastmaster”, one might go so far as to assert that this veteran quintet has remained firmly entrenched in the 80s despite the passing of several subsequent decades, but this album carries the necessary mixture of current production practices and a heavy edge to trade blows with any modern exercise in heavy metal mayhem. Old dogs may be prone to sticking to old tricks, but this time around those same dogs just saw mankind through the apocalypse and came out as triumphant as the heroes of any classic tale.
Released By: Atomic Fire Records
Release Date: June 23rd, 2023
Genre: Heavy Metal
Musicians: Harry Conklin / Vocals * Mark Briody / Guitars * Ken Rodarte / Guitars * John Tetley / Bass * Rikard Stjernquist* / Drums
“The Hallowed” track listing: 1. Bound As One
2. Prey
3. Ties That Bind
4. Stronger Than You Know
5. Onward We Toil
6. Edge Of A Knife
7. Dark Descent
8. Weather The Storm
9. Renewed Flame
10. Last Rites
Order “The Hallowed” HERE.
The post JAG PANZER – The Hallowed (Album Review) appeared first on Sonic Perspectives.
Negativity distilled to its fundamental form.The tail end of the 2010s saw some interesting developments in the metal world, perhaps most notably in the once stagnant metalcore scene on both sides of the Atlantic thanks to the reformation of several noteworthy pioneering acts and some new blood hitting the proverbial streets. In the latter camp stands the uniquely styled, alternative metal quartet out of Hertfordshire, UK dubbed “Vexed”, whom made some waves soon after their 2019 formation with a string of singles that would explore that darker and more mechanized side of the sub-genre. Their decidedly cynical and aggressive approach would prove a fitting soundtrack to the stagnant malaise that was the lock-downs of the early 2020s, with their debut entry “Culling Culture” turning some heads among such noted outlets as Revolver, Loudwire and Alternative Press and even gracing their corresponding Best Of lists for 2021. Not wasting any time, 2023 has brought an even heavier and more violent incarnation of this dynamic newcomer fold via their sophomore LP “Negative Energy”, which may prove to be the most aptly named album to come out of the 2020s yet.
Personal experience being cited as the chief influence of this harrowing collection of bottom-heavy fits of sonic rage, there is a clear sense of earnestness that permeates each moment of brutality, with themes of death, pain, betrayal and grief that is explored. Lead vocalist Megan Targett stands as the most dynamic player in this explosive melodrama, employing a vicious and often gender-defying display of guttural harshness that bears an uncanny resemblance to the morose barks and grunts of Jens Kidman, yet at several key points this extreme sense of aggression and anger gives way to an angelic, almost gothic vocal persona that wouldn’t be out of place on the cleaner side of a 90s death/doom duet. The surrounding instrumentation checks most of the boxes of a modern progressive metal outfit, with guitarist Jay Bacon splitting his time between ambient, post-rock inspired clean drones and rhythmically nuanced riffing that rests somewhere between a stomping nu-metal groove and a more complex djenting quality, whereas the battery provided by drummer Willem Mason-Geraghty and the bottom end handled by bassist Al Harper is an exercise in calculated precision that bolsters a simple yet bizarre blend of atmospheric dissonance and impact-based fervor.
“Negative Energy” Artwork
Despite the stylistically mixed up presentation, the 13 songs that round out this opus are largely an exercise in adhering to the formal tropes of alternative metal where technical gimmickry is scarce and the song structure is largely predictable and fitted for rock radio play. The punchy grooves and morose musings of this album’s lead off singles in “Anti-Fetish” and “X my <3 (Hope To Die)” are bleak enough to cut against the grain of popular pleasantries, yet one can’t help but note their infectious and sometimes funky character. Other shorter entries like “We Don’t Talk About It” and “Lay Down Your Flowers” lean in a bit harder on the band’s djent tendencies and have a far more intricate character that could trade blows with what generally passes for the most aggressive end of metalcore of late. Brief instrumental asides like the looming ambience with a militaristic stomp of an opening prelude “PTSD” and the spacey balladry of “DMT” showcase a more nuanced and contemplative approach that this album is otherwise bereft of to any measurable degree. Curiously enough, this otherwise straight line of pure aggression with a few jarring asides takes on a far more balanced and effective tone towards the end with late entries like “Trauma Euphoria” and the elongated progressive anthem “It’s Not The End” where a more melodic tone is struck during the chorus segments and Targett opts for a clean vocal delivery that results in a needed catharsis amid the constant barrage of discontent.
It’s a foregone conclusion that if aggressive music is one’s poison, there are few out there today who can match what Vexed brings to the table within the metalcore/alt. metal template, but as a total package “Negative Energy” may come off as static to most that are core consumers of said sub-genres. It is by no means a pop/rock affair, yet the bare-bones songwriting approach that typifies most of its contents makes it strangely amenable to anyone who doesn’t want a lot of fancy bells and whistles thrown into the mix. That being said, the overt melodic factor that comes into play towards the album’s conclusion betrays a far more effective approach to this format that Vexed fails to full capitalize on, which holds back what is otherwise a stellar display of modern metal influences with a fixation upon the darkest crevices of the human experience. By all measures, these songs are solid representations of the cynical tone that they seek to strike, but as a whole album it finds itself struggling to maintain a sense of coherence. Nevertheless, this is a good entry by a band that is one to be watched as the 2020s continue to unfold.
Released By: Napalm Records
Release Date: June 23rd, 2023
Genre: Alt-Metal
Musicians: Megan Targett / Vocals * Jay Bacon / Guitar * Willem Mason-Geraghty* / Drums
“Negative Energy” Track-list:1. PTSD
2. Anti-Fetish
3. We don’t talk about it
4. X my <3 (Hope to die)
5. Panic attack
6. Lay down your flowers
7. There’s no place like home
8. Extremist
9. Default
10. Trauma Euphoria
11. It’s not the end
12. DMT
13. Nepotism
Order “Negative Energy” HERE.
The post VEXED – Negative Energy (Album Review) appeared first on Sonic Perspectives.
Coming hot off the heels of playing to packed arenas opening for Journey, Steve Lukather continues to wrestle with the legal and perceptual problems that make up Toto. Once a brotherhood of high school friends who quickly became much in-demand studio musicians, the spin cycle of life has managed to unravel most of what held the hit-making machine together.
If there’s one remaining thread that refuses to wither away, it’s Luke. He’s the only founding member that never took a hiatus from the band. And as much as he may have wanted to wander off, the songs kept calling him back. With a classic back catalog and the resurgence in popularity of “Africa” thanks to an unexpected Weezer cover, Toto remains a brand that can still do good business playing live, even if the deck has been shuffled a bit.
While lawsuits from various family members of previous lineups have now made it unlikely that a new “Toto” record will ever see the light of day, “Bridges” comes pretty darn close. As the title suggests, it serves as the middle ground between classic Toto and Lukather’s more eclectic solo records. Part of what makes it sound like Toto is the presence of contributors who played a key role in past Toto records. First off, there’s Luke’s unique singing voice, which sounds remarkably good for a guy pushing 65. It still sounds like the man who sang, “I’ll Be Over You” and “I Won’t Hold You Back” back in the day. Add in a little 80s production to the mix and you’ve got classic sounding vocals that rise to another level with the background contributions of Joseph Williams. While Williams wasn’t a founding member, he has served as the front man on a number of classic Toto records that have earned him familiarity and legitimacy. He’s a welcome presence on the record, both from a writer, producer and background vocalist standpoint.
Another element that is present on “Bridges” that makes it sound even more like a Toto record is the very welcome return of Simon Phillips on drums. Sonically speaking, Simon’s booming drums are unrivaled in terms of tone and presence, and hearing him play on most of the track on “Bridges” is like seeing an old friend again. With Luke, Phillips and Williams working together, the pieces are in place for a return to that classic sound. As it turns out, founding Toto piano man David Paich also contributes to the songwriting, which kind of solidifies it all. When you put these guys together, you get that sound, and the goal of this record certainly wasn’t to deviate from what they’ve historically produced. It can’t be called Toto, but it can certainly sound like it. And it does.
Part of what’s present in “Bridges” is songs with immediate accessibility. From the first listen, you hear the hooks and can pick up the chorus lines right away. Songs like “Someone” and “When I See You Again” are polished pop/rock tracks that could have been instant radio hits in another era. Whereas his last studio record was an attempt to stretch out and really “play,” on this new release, Lukather is exercising a lot of restraint and playing to favor the song. What you don’t get in pyrotechnics, you get in pure musicality. There’s a ton of feel in the playing.
There’s also a lot of emotion in the slower tracks that lament lost love. In the spirit of the classic Toto ballads, both “All Forevers Must End” and “I’ll Never Know” bring a beautiful sense of melancholy that is moody but never boring. In fact, these two tracks might be the most tasteful and feel-oriented of the set. If I was making a Toto best of, they’d both be contenders to be included on the collection.
“Bridges” Album Artwork
By now, one might think that this record is all polish and shine, but that would be a mistake. In the spirit of Clint Eastwood saying “Get Off My Lawn,” Luke delivers perhaps his most biting lyrical delivery to date on “You’re Not My Kind of People.” Luke has always been known for his sense of humor, and he goes no holds barred at his unspoken enemies when he sings, “I’d piss in my pants if you were on fire, rather than hear one more lie.” This jagged little number would be at home on “Kingdom of Desire” and it delivers a bit of contrast to some of the other tracks.
So does “Take My Love,” a blues number that smolders like it belongs in a smoky club setting. This track feels more like Luke and less like Toto than most of the record, but it adds another shade to the record with some stellar female backing vocals and a soaring but melodic guitar solo that flirts with the ghost of Gary Moore.
“Burning Bridges” is a bit of a love child between ZZ Top and Steely Dan with a rollicking verse and jazzy like chorus that sound like a track that would have been right at home on “Mindfields.” The opening track, which was mostly written by Luke’s son, Trevor, is a declaration that despite getting older, Luke is still “Far From Over.” It’s a rocking opener that rightfully states that there’s still plenty of gas left in the tank and new roads to be explored.
I wish I could comment more on the other songs on this record, but there aren’t any. In fact, if there’s one real shortcoming of this release, it’s that it’s too short. Clocking in at around 36 minutes, I find myself frustrated that Luke and company didn’t include about 4 more tracks.
Grey hair be damned, Luke’s still solid at 65. He’s making music with his friends and having a few laughs along the way. The production sounds great, the guitar tone is spot on and the songs are catchy and quickly absorbed. Add in some quirky album art and you’ve got yourself a gift for fans missing Toto. While it’s not officially a new Toto record, this is as close as you’re going to get, and I recommend you don’t pass it up.
Released By: The Players Club / Mascot Label Group
Released On: June 16th, 2023
Genre: Classic Rock / AOR
“Bridges” Track-Listing:1. Far From Over
2. Not My Kind Of People
3. Someone
4. All Forevers Must End
5. When I See You Again
6. Take My Love
7. Burning Bridges
8. I’ll Never Know
The post STEVE LUKATHER – Bridges (Album Review) appeared first on Sonic Perspectives.
A new, more impressive mountain of sound emerges. The 2020s may well be remembered as the decade that was put on hold for a couple years, but if the recent studio exploits of the rock scene are any indication, making up for lost time will come to define the middle of it. Case and point, Atlanta-born hard rock staple Royal Thunder, a band that lives up to its name by making a mighty raucous while paying tribute to the royalty of hard rock legends that set the standard back in the late 60s and early 70s. To the uninitiated, their peculiar blend of stylistic expressions that bridge the divide between the contemplative psychedelic trappings of the acid rock glory days with the raunchy edge of the early ascent of 90s grunge, with Rolling Stone Magazine going so far as describing them as “a bit like an alternate universe where Janis Joplin fronted Led Zeppelin”. Since the release of their 3rd studio LP “Wick” in 2017 this fold went on something of an extended studio hiatus marked by the exit of guitarist Will Fiore, rendering the band a trio for the first time since their self-titled debut EP, but a renewed sense of determination and drive has seen them back it with an ambitious new offering in “Rebuilding The Mountain.”
Per the testimony of guitarist and co-founder Josh Weaver, this opus’ creation was a special time for the fold to regroup and reconnect after a period of inactivity and personal struggle, and the result is a highly involved and often cathartic 40 minute journey that takes on an almost conceptual character. A heavy emphasis is placed upon establishing a dense atmosphere and drawing start dynamic contrasts that could be likened to the sonic equivalent of literary world-building, with each song functioning as chapters within a larger codex that could stand on their own, but make more sense as a collective whole. True to their adherence to the psychedelic precursor to 70s progressive rock, Royal Thunder has recaptured the age old practice of an album oriented release, and brilliantly presented it with a series of songs that are wide in scope, yet compact enough to be well suited for terrestrial radio play. The instrumental presentation takes on a blend of the rawness of early grunge and a spacey, shoegaze-like sense of static serenity, which is spearheaded by a highly dramatic display by bassist/vocalist Mlny Parsonz, whom matches the heavy dynamic range of the music with a performance that runs the gamut between an almost aloof, understated alternative rock croon and a bombastic roar.
The ebb and flow of ideas that round out this excursion move seamlessly, despite often involving jarring fits and starts, with each song being interconnected through extended periods of lingering ambience. The expositional first chapter “Drag Me” kicks things off with a sense of moderation and nuance, with a dense layering of effects-steeped guitars, distant keyboards and an understated, jazzy rhythm section painting the background as Parsonz sticks to an understated croon resting somewhere between that of Hope Sandoval and a restrained incarnation of Ann Wilson. Nipping on said 5-minute prelude’s heels is the more bombastic “The Knife”, which begins on a softer note but rapidly ascends to a raucous roar, with Mlny’s biting wails reminding as to why she is often compared to Janis Joplin. The transitions from song to song wisely avoids the trap of simply seesawing between soft and loud and emerges in a more intricate fashion, with mixtures of the two being the most commonplace formula, be it 90s alternative-leaning bangers like “Twice” and “Pull”, or vintage rock jams like “Live To Live” and “The King” that recall the band’s affinity for old-school hard rock. But those seeking a heavier and nastier mode of rock need look no further than the distorted, bass heavy and generally swift beasts that are “Now Here – No Where” and “My Ten”.
‘Rebuilding The Mountain’ Artwork
Though getting their second start a bit late in the decade, with a slight hangover from the drama of the past few years still lingering and arguably one person short, it’s a foregone conclusion that Royal Thunder are back and bringing the latter part of their name like they never left. The jury might be out as to how this fold will recreate the massive wall of sound that they’ve accomplished here in a live setting without one or two backing musicians, but insofar as the studio is concerned, this new power trio format is serving them just as well and even sees their sonic horizons expanding a bit in compared to 2017’s “Wick”.
Josh Weaver ultimately steals the instrumental end of the show with a brilliant display of droning, effects-driven riffing and occasional and largely intermitted emulations of Kim Thayil’s noise-steeped lead work, accomplishing something that could trade blows with “Louder Than Love” and occasionally even “Badmotorfinger”, though the total complement of the album is not as heavy on the impact-factor. That being said, Parsonz’s extremely dynamic and impassioned vocal performance continues to be this band’s signature selling point, and she outdoes herself at every point here. The existing fan base of the Royal Thunder will not be disappointed, and anyone with a penchant for the psychedelic not already familiar with the brand would do well to remedy their disposition immediately.
Released By: Spinefarm Records
Release Date: June 16th, 2023
Genre: Old-School Hard Rock
Musicians: Mlny Parsonz / Vocals, bass * Josh Weaver / Guitar * Evan Diprima* / Drums
“Rebuilding The Mountain” Track-list:1. Drag Me 2. The Knife 3. Now Here No Where 4. Twice 5. Pull 6. Live To Live 7. My Ten 8. Fade 9. The King 10. Dead Star
Order “Rebuilding The Mountain” HERE.
The post ROYAL THUNDER – Rebuilding The Mountain (Album Review) appeared first on Sonic Perspectives.
Considering that drummer Martin Utby and guitarist/bassist/vocalist Simon Bergseth vowed to start a band over two decades ago (when they were children), it’s surprising that Avkrvst’s first LP—“The Approbation”—is just now coming out. What’s even more astonishing, however, is how remarkable it is. Fueled by their shared love of artists such as King Crimson, Porcupine Tree, Anekdoten, and Opeth, the Norwegian progressive rock/folk/metal troupe have crafted one of the genre’s best debut albums in years. Without a doubt, it’s a must-hear collection.
In keeping with tradition, “The Approbation” is a conceptual sequence about “a bleak soul who is left solely with his thoughts, isolated on a cabin deep into the dark forests, far away from civilization. [It] takes the listener through the thoughts of a man struggling towards the acceptance of death, being hauled into the abyss.”
Musically, it engrossingly “capture[s]the feeling of a cold, gloomy fall – a dark sky, filled with gazing stars above the mist.” Part of that sonic success comes from the fact that it was penned and recorded in a Norwegian cabin during the winter; thus, there are “sounds of rain and a train’s horn from far away, which are actual sounds recorded outside the cabin at night under the stars.”
As for the fittingly evocative artwork, it was done by the legendary Eliran Kantor (Testament, Sigh, Thy Art is Murder), who set out to “find the element of time passing during a period of seclusion and self-reflecting in a forest cabin, and thought about the stars above.”
Kantor adds: “Everything on the ground is dormant and in slumber, while right above us, the universe waits for no one. It correlated nicely with a lot of the lyrics, since in them the sky elements always play the part that is unstoppable and constantly having an effect on the person below staring up and finding himself swept by the gravity of his surroundings and how they make him reflect inwards.”
From beginning to end, all of those elements come together beautifully.
Following eerily atmospheric prelude “Østerdalen,” the record properly begins with “The Pale Moon.” Simply put, it’s a stunningly blissful yet occasionally hectic journey that—true to Avkrvst’s intentions—skillfully juxtaposes the mellow synths and wistful singing of Nosound with the roaring start/stop riffs and rhythms of “Deadwing”-era Porcupine Tree. Packed with serene vocal harmonies, pleasant acoustic guitar strums, and by the end, black metal screams and fatalistic poeticisms (“Death pulls me under the depths of emptiness / Caressed by eternal darkness / This is where all light comes to die”), it immediately illustrates the quintet’s talent.
“The Approbation” Artwork
Luckily, that dichotomic magic never lets up. For instance, follow-ups “Isolation” and “Anodyne” throw in plenty of off-kilter time signature changes—so they feel like the manic lovechildren of modern Haken and vintage Agalloch—whereas “The Great White River” is relatively encouraging and ornate, with decorative timbres adding dazzling optimism. Likewise, “Arcane Clouds” evokes the chilling loneliness and pensiveness of early Anekdoten, just as the closing title track is the epic tour-de-force of styles and moods that frequently caps-off records like this.
It may’ve taken over 20 years for “The Approbation” to arrive, but its gestation period was well warranted. At the risk of sounding hyperbolic, it single-handedly and demonstrably introduces Avkrvst as a top-tier newcomer in the world of progressive music. Sure, it’s overtly reminiscent of some genre mainstays, but that more or less comes with the territory (and it never overshadows the quintet’s imagination and purposefulness). If Avkrvst can match—or even surpass—what they’ve accomplished here with subsequent records, their catalog will likely be celebrated as much as those of their influences.
Release Date: June 16th, 2023Record Label: Inside Out MusicGenre: Progressive Rock/ Folk/Metal
Musicians: Simon Bergseth / Guitars, bass, vocals * Martin Utby / Drums, synths * Øystein Aadland / Bass, keys * Edvard Seim / Guitars * Auver Gaaren* / Keys
“The Approbation” Track-list:1. Østerdalen
2. The Pale Moon
3. Isolation
4. The Great White River
5. Arcane Clouds
6. Anodyne
7. The Approbation
Order “The Approbation” HERE
The post AVKRVST – The Approbation (Album Review) appeared first on Sonic Perspectives.
Looking for a fresh new discovery in the world of prog? Although “Helix” is their fourth album, chances are good that the vast majority of the prog community has not heard of Legacy Pilots before. Given the quality of this release, that will hopefully change. There’s some major star-power supporting this album, which is telling as to the quality herein. Get a load of this: the drums throughout this album are served up by Todd Sucherman and Marco Minnemann! Lead vocals by John Mitchell and Jake Livgren! Bass appearances from Pete Trewavas and a solo from Steven Rothery! What?! Who are these Legacy Pilots, anyway?
Piloted by Frank Us and a few key house musicians, the band has a very strong foundation in their own songwriting and performance. Still, they rely heavily on an A-list of guest stars throughout the album. Although that might come off as disingenuous, in this context it totally works. The core musicians are excellent, the writing is solid, and the guest artists take the proceedings to truly stellar heights.
We start off with none other than John Mitchell who co-writes and sings on the first two songs. “True Spirit” carries a catchy trademark Mitchell chorus but it’s nice to hear him singing a song not completely his own, as it steers the song away from some of his regular cliches. That is even more true of “The Even Chance”, an atmospheric ballad that is one of the album highlights and includes a Mitchell guitar solo as good measure. “A Sense of Hope” follows up with lead vocals offered by the phenomenal bassist Lars Slowak whose skilled playing fuels much of the album (except for Trewavas’ appearances). The complex social issues addressed by the lyrics are matched by the explosion of Us’ keyboards and the fury of drum hits from Sucherman who is a total beast on his kit. I didn’t really expect anyone to be able to match (or dare I say, surpass) Minnemann, but Sucherman is up for the challenge. Truly, the drumming on this album alone is worth the price of admission.
Jake Livgren takes over vocals for the next section of the album, impressing time and time again with his masterful skill, tone and range in vocal attack. “A Little Differently” stands up for love being expressed between humans regardless of their gender orientation. The music is a little more smooth AOR-styled than the rest of the album but it completely succeeds as such and would have sat comfortably alongside any major hits from the 70s or 80s by bands like Toto or Styx. Livgren’s voice is right up there with the giants from that era.
“Helix” Album Artwork
Next, Livgren gets to stretch out on the eight-part suite “re-sponse” which is the centerpiece of the album. Again, Sucherman wow’s the listener at every turn with his inventive drumming which he unbelievably laid down in one take. Part II “The Inner Battlefield” is the choicest moment in this epic, with a fantastic vocal from Livgren and a sublime solo from Steven Rothery. Again, worth the price of admission right there. With Us’ piano and keyboards driving several of the sections and Slowak’s bass offering compelling coloring and rhythm in its own right, there’s no lack of musical muscle to keep the listener engaged throughout this excellent 17 minute journey.
“Colors & Light” offers a palette cleanser after that lengthy epic, a mellow moment of reflection without any percussion. Main man Us takes on the lead vocals for this one, a revelation given that he carries a David Sylvian vibe in his tone and delivery. Seems a shame that he isn’t singing more on his own album but who can complain given that Mitchell and Livgren are on the mic? An instrumental foray follows, “So NICE To Be Here” with Minnemann and Trewavas laying down the monstrous groove over hypnotic scales played on keys & guitar by Us. A final mini-epic closes the album, the instrumental “Exploring My DNA” which is the closest Us strays to ELP territory, especially in the “3rd Impression” with his keyboards. Again Minnemann goes to town and who are we to argue?
If there’s any downside to the album it’s that the wide range of guests – especially vocalists – and musical styles prevent Legacy Pilots from establishing a clear identity. Still, each piece is so well executed that it’s hard to find fault. It’s much easier to conclude that this is an album packed with top tier performances, songwriting and production. What’s more, many of these guests – and others – have appeared on previous albums, establishing Legacy Pilots as a co-creative collective rather than a band in the traditional sense. Regardless, this is a classic album produced in a modern era. You can easily find them taking flight on Bandcamp. Don’t miss out.
Released By: Independent
Release Date: March 25th, 2023
Genre: Progressive Rock
Musicians: Frank Us* / keyboards, guitars, vocals, bass
With:
- Todd Sucherman / drums (2,3,5)
- Marco Minnemann / drums (1,4,7,8)
- Pete Trewavas / bass (7,8)
- Lars Slowak / bass (3,5 III,VIII)
- John Mitchell / vocals (1,2)
- Jake Livgren / vocals (4,5 II,IV,V,VII)
- Finally George / vocals (5 I,III)
- Steven Rothery / guitar (5 II)
“Helix” track listing:1. True Spirit (5:19)
2. The Even Chance (5:20)
3. A Sense of Hope (5:03)
4. A Little Differently (4:32)
5. Re·sponse (17:31) :
– Re·sponse (I) Prologue (3:16)
– Re·sponse (II) The Inner Battlefield (3:00)
– Re·sponse (III) Tactical Measures (1:00)
– Re·sponse (IV) Silent Eyes (1:47)
– Re·sponse (V) The Human Being (2:21)
– Re·sponse (VI) Return of the Molecules (1:41)
– Re·sponse (VII) Let the World Know (2:04)
– Re·sponse (VIII) Epilogue (2:23)
6. Colors & Light (2:45)
7. So Nice to Be Here (4:51)
8. Exploring My DNA (14:12) :
– First Impression (6:11)
– Second Impression (2:22)
– Third Impression (5:38)
Order “Helix” HERE.
The post LEGACY PILOTS – Helix (Album Review) appeared first on Sonic Perspectives.
Because four T’s would be excessive.As the prime movers that brought the metal genre into prominence approach their golden years, the inevitable question of succession becomes more and more relevant. Likewise, in these days where recalling the exploits of the denim and leather days of the early 80s has seen a noticeable rise in popularity, one has to wonder if there isn’t a revival of the eclectic to downright odd stylistic strides that the art made in the subsequent decade. Both of these questions have recently found a compelling answer in Ottto, a project that in the past several years has turned heads due to the involvement of legendary bassist Robert Trujillo’s son Tye, who has been making waves in his own right by filling the shoes once occupied by his father with Suicidal Tendencies. Though the end result of 6 years of effort and a small string of smaller releases, this power trio’s debut LP “Life Is A Game” has all the charm and pizzazz of an album that has come from out of nowhere, not to mention one that opts for a road less traveled in metal circles of late.
Doing what it is expected is often the first ingredient of surprise, and even the shortest sampling of the auditory treats that round out this studio album showcase a musical surgeon and a process of song creation that falls perfectly in line with what one would guess a successor to the Trujillo name might accomplish. A balanced mixture of the crossover brand of thrash that the likes of Suicidal Tendencies and D.R.I. had pioneered with the funky, alternative sensibilities of Mordred, Infectious Grooves and even a bit of Faith No More is the best way to described it, touched up with a crisp, modern production approach that lends comparison to the most recent output of Anthrax. For his part, Tye functions as the chief attraction with his highly animated and intricate take on constructing a low-end foundation, though drummer Patrick Chavez’s bombastic battery is far from a slouch element in the equation and guitarist/vocalist Bryan Ferretti rides a close second with a crunchy and innovative riff display, an intermittent yet intricate assortment of guitar solos and a forceful yet smooth vocal assault that lands between a vintage 90s alternative howl and a 2000s metalcore wail.
Variety is the name of “Life Is A Game”’s game, as the previously noted alternative elements that suggest a mid-paced rocking affair are adorned with several swifter orthodox thrash metal elements, and the arrangement proves quite rich in spite of consisting all but solely of a barebones mixture of guitars, bass and drums. One can’t help but be instantly transported to those exciting days in the late 80s when the early strides into funky territory were first being explored, when the animated banger “Skyscraper” commandeers the speakers, all the while that neck-destroying, quick-paced thrashing element is not gone from the formula. Likewise, the rhythmic nuance and almost Alice In Chains-like sense of vocal harmony that adorns the bottom-heavy crusher “Scopa” takes an auspicious moment about halfway through to jump back into 1987 Bay Area territory for a brilliant solo segment. But wherein catchy hooks with a driving thrash metal sense that truly bring home the bacon are concerned, it’s tough to top the crossover-infused attitude that oozes out of “Dance Of The Dead”.
“Ottto” Album Artwork
Nevertheless, the majority of the material that rounds out this album sees Ottto crossing the Rubicon that rests between the sounds of the 80s and 90s, favoring the latter at just about every turn. One need only hear the opening chords of this album’s first rocking shot across the bow “My Pain” to hear a brand of metal that was reacting to alternative sensibilities. The semi-ballad mixture of atmospheric respite and crushing grooves “Night Howlers” could almost be mistaken for something off Machine Head’s “Burn My Eyes” were it not for Tye’s wildly animated bass work, a greater sense of precision between the riff work and the drumming and Ferretti’s smoother and more cutting vocals. The previously mentioned heavy-grunge tendencies in how Bryan and Tye blend their voices reaches an absolute fever pitch on the down-tempo romp “Trip”, though the end result is something a bit less brooding and more quirky. But the point where this band truly lands a knockout punch is right at the end with “The Void”, which might well stand as one of the more memorable and intricate blends of quirky alternative/avant-garde/funky high-jinks and metallic crunch to come out of 2023.
Though perhaps hampered a tad by being so varied in approach as to borderline on schizophrenic, “Life Is A Game” is the sort of solid debut entry that could find a comfortable home in the playlists of many a metal head young or old. In most respects it stands in direct opposition to the current NWOTHM and traditional 80s thrash metal scenes, yet it’s so well accomplished that it wouldn’t be too much of a stretch to see some adherents to those crazes taking to several of these songs. We truly hope the the target audience of this band is not limited to those who have been immersed in the current exploits of Suicidal Tendencies and Metallica, and correspondingly the son-of-a-superstar counterpart project Bastardane, featuring James Hetfield’s son on drums. It’s unclear whether this album will be the catalyst of a whole new generation of bands adopting the stylistic template that ruled the metal world from 1991 through 1995, but there is enough in this opening salvo to guarantee a succession of solid entries under the Ottto name down the road.
Released By: Independent
Release Date: March 24th, 2023
Genre: Groove / Hardcore / Funk Metal
Musicians: Bryan Noah Ferretti / Vocals, Guitar * Tye Trujillo / Bass * Patrick “Triko” Chavez* / Drums
“Life Is A Game” Track-list:1. My Pain 2. Skyscraper 3. Night Howlers 4. Scopa 5. Let Them Return 6. Ride Low 7. Dance of the Dead 8. Trip 9. Cosmos 10. The Void
Order “Life Is A Game” HERE.
The post OTTTO – Life Is A Game (Album Review) appeared first on Sonic Perspectives.
As the leader of one of the most progressive bands out today, Einar Solberg has long held the potential for an impactful solo album. Indeed, some fans of his band Leprous have joked that their last couple of releases have essentially been Solberg solo albums, to which Solberg quickly responds that there is more collaboration with other band members now than on earlier Leprous albums. As it turns out, the seeds of inspiration for “16” started taking hold as far back as 2018 and took their time to germinate.
There’s numerous ways to approach a “solo” album when departing from a tried and true band context. In the case of “16”, Solberg decided to branch out and collaborate with different artists on each track to broaden his creative reach. This mindset of 50/50 compositional credit with collaborators is ironically even further away from a true solo album than one would expect, resulting in a wonderfully diverse and rich collection of songs. Still, with Solberg’s unique and defining voice front and center, at times this doesn’t feel that far from his Leprous identity. Thus, we can conclude it was a wise decision to bring in new musicians with whom to co-write, otherwise there may have been less of a clear distinction between his solo and band projects.
A well-chosen core band provides strong continuity and a high level of performance throughout the album: Keli Guðjónsson on drums, Tor Egil Kreken on bass, Chris Baum playing violin and Raphael Weinroth-Browne on cello. The moody opening track prominently features Browne’s cello amidst his co-composition credit, an exquisitely measured way to start the album but also a familiar tone given Browne’s extensive history playing and touring with Leprous. Being the title track, it also sets the tone for the lyrical content of the album. Solberg uses the dark material of his personal past as grist for the album’s lyrics: “It took me sixteen years to realize that I was meant to walk through winter nights, but daylight tends to appear again.”
The clear calling card that Solberg brings to the table is his extraordinary vocal range and delivery. Not surprisingly, he doesn’t hold back in this regard. Nearly every piece contains a breathtakingly beautiful vocal performance. His falsetto is on full display throughout and his skilled harmonic layering and vocal arrangements elevate the musical backdrop offered. “Remember Me” is just one example, with an aching vocal which completely transfixes the listener over a lounge vibe until Guðjónsson’s busy drumming enters, and later transforms into a more dirge-like rock piece as Solberg’s vocals rise up the octave.
“16” Album Artwork
The album is measured in its balance between songs more heavy on the rhythmic side, moody pieces that still swing, and those with a more expansive cinematic scope. Tracks like the hypnotic “Grotto” and “Home” are easy charmers given their groove, the latter even incorporating co-author Ben Levin’s spoken rap. In addition to the impactful strings from Baum and Brown, horns are brought in to accentuate the experimental nature of songs like “Blue Light” and the explosive “Where All the Twigs Broke”. Some of these textures have been explored on recent Leprous albums as well but are most welcome here as Solberg continues to develop them.
The album draws to a close with an intense run of pieces, starting with the Ihsahn co-write “Splitting the Soul” – complete with growls – continuing with the piano-based beauty “Over the Top” and finally concluding with the sprawling “The Glass Is Empty”, co-written by Tóti Guðnason. As the most experimental song on the album, “Glass” opens with percussion and church organ from Þórður Sigurðarson, and incorporates The City Of Prague Philharmonic Choir as Solberg ends with, “I have to leave, I have to leave, I have to go, I’ve never seen anyone going this low. I lock the door, can’t win this war, I leave this prison of guilt tearing down what we built.”
In many ways, 16 is exactly what many of us hoped for in a Solberg solo album. And there’s more to come. Of his newfound solo career, Solberg reveals, “I will definitely continue with this because I really like it, but the next album will be more of a proper solo album, because I haven’t done that before.” Happily, he adds: “We have a very good vibe in Leprous and we’re still really ambitious. So this will co-exist peacefully with Leprous.” May it be so.
Released By: Inside Out Music
Release Date: June 2nd, 2023
Genre: Progressive Rock
Musicians: Einar Solberg / Vocals * Keli Guðjónsson / Drums * Tor Egil Kreken / Bass * Raphael Weinroth-Browne / Cello * Chris Baum / Violin * Ben Levin / Guitar * Magnus Børmark* / Guitar
“16” track listing:1.16 (feat. Raphael Weinroth-Browne)
2.Remember Me
3.A Beautiful Life
4.Where All The Twigs Broke (feat. Star Of Ash)
5.Metacognitive (feat. Raphael Weinroth-Browne)
6.Home (feat. Ben Levin)
7.Blue Light (feat. Asger Mygind)
8.Grotto (feat. Magnus Børmark)
9.Splitting The Soul (feat. Ihsahn)
10.Over The Top
11.The Glass Is Empty (feat. Tóti Guðnason)
Order “16” HERE.
The post EINAR SOLBERG – 16 (Album Review) appeared first on Sonic Perspectives.
The union of fantasy and comedy prevail once again.Sudden and drastic changes in membership have been the death of many a band, and those who survive such trials often find their status diminished in the eyes of their established fan base, but if power metal is about anything, it’s about standing tall in the face of adversity and carrying the day despite the odds.
Indeed, when it comes to the game of musical chairs that often comes about in this particular metal sub-genre, it has become fairly commonplace for a band’s split to result in two near-equally matched and competing entities, though often they will differ in how they choose to evolve the established sound to which each has contributed. The end of the 2010s, the decade that birthed the iconic and flamboyantly comedic act dubbed Gloryhammer, would ultimately seal their original lineup’s fate following an impressive trilogy of LPs that arguably re-vitalized the symphonic wing of Europe’s power metal scene with the exodus of highly auspicious and charismatic vocalist Thomas Winkler in 2021 under controversial circumstances.
With the subsequent formation of similarly styled and rival project Angus McSix under the command of Winkler and Orden Ogan mastermind Seeb Levermann and several gauntlets being thrown down, a de facto conflict of stardom vs. compositional craftsmanship has emerged with 2023’s “Return To The Kingdom Of Fife”, Gloryhammer’s fourth studio album, being the latter’s impressive counterstrike.
In most respects, keyboardist and band mastermind Christopher Bowes has opted to turn back the clock to where this outfit began in the early 2010s, drawing heavily from the Rhapsody (Of Fire) and Stratovarius-pioneered orthodoxy that originally put the Gloryhammer name on the map as a premier purveyor of what could be dubbed the 3rd wave of power metal. The level of technical intrigue and musicality that has been injected into the obligatory formula of hook-driven anthems has all of the flash and flair of the most ambitious entries of power metal’s ascendant period in the late 90s through early 2000s, but tastefully interpreted in a manner that will be easily digested by today’s trustees of the art form.
But the most pivotal change that has brought the Gloryhammer sound into a more orthodox realm has been the entry of Cyprus-born vocalist Sozos Michael in the role of Angus McFife V, whose polished and smoother approach is reminiscent of Timo Kotipelto with a bit of Hansi Kursch thrown in for the needed impact factor, but stands in stark contrast to Winkler’s biting, jagged-edged snarl which could readily be likened to Ronnie James Dio. But the riff happy delivery of guitarist Paul Templing, his technically charged lead battles with Bowes on several of this album’s banger numbers, and the fast-paced battery provided by bassist James Cartwright and drummer Ben Turk (whom often rivals Alex Holzwarth on here) should definitely be taken into account.
Commencing with a harrowing symphonic overture dubbed “Incoming Transmission” that all but exclusively reminisces upon the darker side of Rhapsody Of Fire’s early days via “Power Of The Dragonflame,” the early 2000s tendencies of this album are all but worn on its proverbial shirtsleeve from start to finish. The gallop-happy cruiser that comes raging forth to truly initiate this explosion of sonic majesty in “Holy Flaming Hammer Of Unholy Cosmic Frost” (self-contradictory mouthfuls as song titles are just one of Bowes’ many comedic tools) underscores this older school tendency, attacking the airwaves with a blend of high octane speed metal bursts, wild Baroque harpsichord and orchestral themes and an overall air of pompous bluster as only symphonic power metal can deliver.
It’s one of those opening entries that could easily fool one into calling it the best of the bunch before the next song is heard, and one that serves to set the tone for the rest of the album, as the shuffling metallic fury of “Imperium Dundaxia” and a synth-heavy, cruiser in “Wasteland Warrior Hoots Patrol” nip on its heels to round out a highly potent opening trifecta. Amid this sea of fantastical melodic splendor is a subtle yet noticeable electronic edge between some quirky robotic vocal asides and synthesizer tones that keep things related to the current trends in power metal, thus preventing one from thinking this album came out in 2003 rather than 2023.
“Return To The Kingdom Of Fife” Artwork
The progression of this album from its frenetic beginnings is an exercise in gradual variation, but the band’s ability to churn out impact-based metallic crushers is tempered with a healthy sense of eclecticism that takes other attributes of the power metal style into account. The more mid-paced and folksy “Brothers Of Crail” checks all the boxes of an engaging, fist-pumping anthem, but places a lot more emphasis on keyboard and vocal texture, with Michael’s lofty voice being brilliantly layered into a sea of choral brilliance that is as harmonically rich as it is tied to the bar room sing-along style that Bowes occasionally imports from his Alestorm handiwork.
The band’s proximity to EDM/pop stylings are on full display on the compact banger with another long name “Keeper Of The Celestial Flame Of Abernethy”, as is their affinity with the simplistic heavy metal sensibilities on the down-tempo number “Sword Lord Of The Goblin Horde”. But at the end of the day, it’s the throwbacks to the fast-paced glory days of yesteryear that continue to carry the day, as noted in flashy beasts like “Fife Eternal” and the shred-infused masterwork “Vorpal Laserblaster Of Pittenweem”. Likewise, those whom like their LP coup de grace entries long and involved, the closing epic colossus “Maleficus Geminus” (not going to bother typing out the mini-paragraph that is the entire title) is so chock full of musical twists and turns that it is sure to stand as Gloryhammer’s closest attempt to rivaling Rhapsody’s insane magnum opus “Gargoyles: Angels Of Darkness”.
Though fans will likely be divided as to whether the four original members of Gloryhammer or Winkler’s auspicious spinoff project carry the legacy of the name to a greater degree, “Return To The Kingdom Of Fife” leaves little doubt that the former holds the edge in the compositional department. The greater emphasis upon mainline heavy metal and modern EDM gimmickry in Winkler’s sound can be equally appreciated by any existing trustee of the Gloryhammer brand, though ultimately Bowes’ version carries the edge as a total package, at least insofar as the current year is concerned. Barring a need for Sozos Michael to gel a bit more with the arrangement, which he has already done to an impressive degree given his radically different approach to fronting Eons Enthroned, Harmonize and Planeswalker, this is an album free of any noteworthy flaws, and the skies above Fife are sure to be the limit in the coming years.
Released By: Napalm Records
Release Date: June 9th, 2023
Genre: Power Metal
Musicians: Sozos Michael / Vocals * Paul Templing / Guitars * Christopher Bowes / Keyboards * James Cartwright / Bass * Ben Turk* / Drums
“Return to the Kingdom of Fife” Track-list:1. Incoming Transmission 2. Holy Flaming Hammer of Unholy Cosmic Frost 3. Imperium Dundaxia 4. Wasteland Warrior Hoots Patrol 5. Brothers of Crail 6. Fife Eternal 7. Sword Lord of the Goblin Horde 8. Vorpal Laserblaster of Pittenweem 9. Keeper of the Celestial Flame of Abernethy 10. Maleficus Geminus (Colossus Matrix 38B – Ultimate Invocation of the Binary Thaumaturge)
CD 2 contains the orchestral version of “Return to the Kingdom of Fife”.
“Return to the Kingdom of Fife” will be available in the following formats:
- Wooden Deluxe Box (2-CD Digipak, 7” Single for “Fly Away”, Cards + Dice + Flag + Collector’s Card)
- 2LP Gatefold Marbled
- 2LP Gatefold Black
- 2CD Digipak
Order “Return to the Kingdom of Fife” HERE.
The post GLORYHAMMER – Return To The Kingdom Of Fife (Album Review) appeared first on Sonic Perspectives.
I love so much of Ray Alder‘s work that I sometimes doubt I’m qualified to critique it. But a quick listen of damn near anything he’s done reminds me that I only love his work because it’s consistently excellent. Ray‘s solo debut, “What the Water Wants,” felt like a matured take on his old band Engine, and its followup does a damn great job at refining an already moody sound.
As sorely as I will always miss Fates Warning, I cannot help but think that having his name unshackled from theirs has given Ray the freedom to create music that moves its audience without making it a challenge for them. Though many of the songs on “II” squeeze in a bit of progressive flair, the album remains a collection of fairly accessible tunes that are more preoccupied with effectively conveying ideas and sentiments than they are with painting entire worlds with words and sound. If the idea was to create radio rock that doesn’t suck, we can consider that mission accomplished. Be forewarned: “II” is not a terribly groundbreaking record. And you know what? It doesn’t need to be. The songs stand strongly enough on their own.
“This Hollow Shell” establishes the mindset that permeates “II,” and fellow fans of the late Mark Zonder era of Fates Warning will rejoice in the dejection and desolation we revisit here. Without plagiarizing his own work, Ray recreates the morose and melancholic moods of “A Pleasant Shade of Grey,” “Disconnected,” and “X,” and while it certainly does not live in the same world as these landmark records, “II” lodges itself on a neighboring planet, sustaining itself on djent and other more modern metal elements rather than the prog giants and headbanging grandaddies of yore. The bottom end is strong in this one.
Almost as impressive is Ray‘s ability to create songs that are cerebral enough to please the prog nerds, yet engaging and relatable enough to appeal to people who just like meaningful songs. “Keep Wandering” deserves special mention for bleeding jazz into metal in a way that bears no similarity to Cynic, Candiria, or other heavier jazz-metal groups. Instead, returning collaborators Mike Abdow and Tony Hernando show off their pretzel fingers with some unfathomable chord voicings that I’m willing to bet look like broken telegram transmissions when charted out, while Ray draws on his decades of creating perfectly hummable melodies over formless, amorphous meters to sing over these bizarre progressions as only a singer of his stature can: with ease, grace, and somehow with enough tunefulness for an 80s chewing gum jingle.
“II” Album Artwork
The delightfully direct drive of “Silence the Enemy” recalls Fates’ almost grungy “Begin Again” in that it is completely devoid of trickery and excess, and relies entirely on catchy riffs, infectious hooks, and expert songwriting. Even the lead breaks ooze expertise without them feeling like a chore. Meanwhile, cuts like “Waiting for Some Sun” sound and feel as dejected as Ray‘s lyrics indicate: the rain from which the storyteller hides manifests musically and sonically as the tension intensifies in tandem with the text. This song chills its listeners not by assaulting their senses, but by gently manipulating them to feel the weight of its words. This is the “don’t tell me how you feel – make me feel it myself” ethos embodied, and it comes so naturally to Ray and from his performance that we focus more on the story told rather than the storytelling. If that doesn’t indicate a fuckton of emotional intelligence and dedication to craft, I don’t know what does.
And there’s more where that came from. “II” concludes with a pair of tracks that are among the finest in Ray’s distinguished discography. Even with that subtle nod to his old friends in Dream Theater on “Passengers,” and the nearly eight-minute closer “Changes,” Ray honors the prog-metal tradition without retreading any footsteps he made while helping perfect the genre in the late 1980s. We are entranced not by prowess, but by substance.
Despite his moves to California and Spain, Ray‘s music retains the distinct character of a music-making soul forged in San Antonio’s South Side: loving but bleak, hopeful but grounded, elegant but earthbound. I feel extra jolts of joy and and gratitude that even decades after skipping town, Ray‘s music continues to spread that intangible wisp to unsuspecting ears the world over. That he’s doing it with such damn fine music in his fifth decade as a recording musician makes the distinction that much sweeter.
Order “II” HERE.
Released By: Inside Out Music
Released On: June 9th, 2023
Genre: Progressive Metal
Musicians: Ray Alder / Vocals Mike Abdow / Guitar and bass Tony Hernando / Guitar and bass Craig Anderson* / Drums
“II” track-listing:1. This Hollow Shell 2. My Oblivion 3. Hands of Time 4. Waiting for Some Sun 5. Silence the Enemy 6. Keep Wandering 7. Those Words I Bled 8. Passengers 9. Changes
The post RAY ALDER – II (Album Review) appeared first on Sonic Perspectives.
A new pastor leads the metal masses to salvation.When it comes to longevity, few can boast the degree of tenacity and dedication that has been displayed by Metal Church and particularly its guitarist, mastermind and lone founding member Kurdt Vanderhoof. Originally staking his claim on the metal craze of the 80s in the San Francisco Bay Area prior to it becoming the hub of the west coast thrash movement, the early strides made would become a beacon from which the broader American metal scene would take much of its influences, and in the decades since they’ve exhibited an eclectic blend of traditional, thrash and power metal stylistic quirks that continually remind of the days when metal was far less fragmented. Through the dark era of grunge the Metal Church brand would soldier on in spite of near depleted popular interest, with Vanderhoof even hanging the band’s hat in the hometown of Kurt Cobain, and barring a few short hiatuses in subsequent years, continued to put out solid entries back to back. Now with the 2020s well under way, a highly potent shot across the proverbial bow has been unleashed in “Congregation Of Annihilation,” an apt name for the most intense and refined slab of metal splendor to come from this band in over 20 years.
The tragic passing of highly charismatic and long-running helmsman Mike Howe in 2021, after a sizable uptick in quality of studio output via 2016’s “XI” and particularly the last banger opus “Damned If You Do”, had all but promised to cut Metal Church off at the knee, but as the prior 40 years has testified, this church has an uncanny ability of finding competent ministers to man the pulpit. Tapping former Meliah Rage and current Ross The Boss vocalist Marc Lopes to deliver the latest medley of sermons may well have proven the most significant move the band has made since the end of the 90s, as his forceful snarl and extremely wide range breathes a level of life into this fold’s highly kinetic and melodically charged handiwork that at least matches the flair of Metal Church’s early 90s output, if not their iconic and highly celebrated magnum opuses from the 80s. Combined with the songwriting expertise and seemingly bottomless well of crushing riff work that Vanderhoof always brings to the table, the shred-happy leads of Rick Van Zandt and the same steady rhythm section of bassist Steve Unger and drummer Stet Howland that proved invaluable in shaping the sound of “Damned If You Do,” the result is an unrelenting 49 minute session of sonic punishment to rival the ferocity of any Bay Area act, tempered with a hook-driven approach to melody that is a bit more accessible to those outside of the thrash scene.
Reprising the winning combination of Vanderhoof’s production expertise with that of engineer Johnny Hyatt, Metal Church has dished out an LP that is defined almost entirely by sheer impact, sporting a truly massive and biting guitar tone and massive mix that strikes a good balance between the highly compressed practices that typify the modern thrash sound with the vintage pedigree that long time fans of this outfit have come to expect. The cruising power and flashy riff work of opening crusher “Another Judgment Day” packs enough of a punch to be easily mistaken for something off of Megadeth’s “Rust In Peace,” though the combination of a streamlined structure and Lopes’ glass-shattering wails makes for something that’s more along the lines of a compact banger entry rather than a progressive epic. This proves to be more than just an isolated case as similarly styled high octane entries like “Pick A God And Prey” and “All That We Destroy” have all of the raw fury and flashy moments to put the likes of Testament and Exodus on notice, while retaining more of an archaic, early 80s power/thrash demeanor that betrays a closer adherence to NWOBHM than what most thrash acts have done since 1985.
“Congregation Of Annihilation” Artwork
For the most part, this album sticks to delivering moderate length kill sessions that put the majority of emphasis on energy and drive, though there are a few moments of nuance and respite to be found amid the sea of turbulent twists and turns. Generally this manifests in a tamped down introduction and outro such as the ones that graces the pummeling thrasher “Making Monsters”, while the almost serene clean beginning of “Me The Nothing” is chased by something closer to a Dio or Accept-like down tempo metal entry with recurring atmospheric elements and the bombastic approach of the vocals gives way to something that is occasionally haunting. At other times the feel of things shifts in favor of something closer to an old school, rock-infused take on up tempo metallic fervor as on “Children Of The Lie”, which almost sounds like it could have graced one of Saxon’s early 80s LPs were it not for the exaggerated bite of Lopes’ vocals. The bonus tracks included are no less intricate in their approach to mixing old with new, with “My Favorite Sin” opting for a heavy shuffle that also blurs the lines between metal and hard rock, while closer “Salvation” bookends the album with another Megadeth-like entry that sees the lead guitar work take the direction of the song to its logical conclusion with a bluesy swagger that would make Chris Poland smile.
The naysayers that were all set to write this metal mainstay off as over and done due to the unfortunate loss of Mike Howe (R.I.P.) are likely to be the only ones that will be disappointed here, as “Congregation Of Annihilation” stands as the sort of comeback affair that has a way of reigniting former glory to the proportion of an atomic bomb. Opinions may vary as to whether this is the greatest donation to hit the offering plate since 1999’s “Masterpeace” or the more celebrated diamond in the rough in 1993’s “Hanging In The Balance,” but it’s pretty easily stipulated that this towers above what has come to light bearing the Metal Church insignia since the turn of the millennium. In the personal opinion of this writer, the metal masses would be better served in getting their fix with this album than with the mixed affair that was Metallica’s latest entry, and those who have stuck with this longstanding clergy of all things heavy will be sure to find their church bolstered as strong by its enduring musical doctrines as it was by the man who rocked the mic for most of their career.
Order “Congregation Of Annihilation” AT THIS LOCATION.
Released By: RatPak Records
Release Date: May 26th, 2023
Genre: Thrash / Heavy Metal
“Congregation Of Annihilation” track-listing:1. Another Judgement Day
2. Congregation of Annihilation
3. Pick A God and Prey
4. Children of the Lie
5. Me The Nothing
6. Making Monsters
7. Say a Prayer with 7 Bullets
8. These Violent Thrills
9. All That We Destroy
10. My Favorite Sin (Bonus Track)
11. Salvation (Bonus Track)
Musicians: Marc Lopes / Vocals * Kurdt Vanderhoof / Guitars * Rick Van Zandt / Guitars * Steve Unger / Bass * Stet Howland* / Drums
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Let’s get one thing straight. Extreme II, aka “Pornograffitti”, is one of the best rock records since 1990, hands-down. “Extreme III (Sides to Every Story)” was definitely no slouch, and the first record had some great tracks as well. It is funny that we just got done checking out Winger “Seven” when Extreme “Six” came our way, because both bands were doing a Herculean amount of heavy lifting trying to elevate hard rock and fight the rising tides of mediocrity before both got put on ice for very similar reasons. Both bands were able to craft three masterpiece records before being encased in carbonite. Other acts like Faith No More, Mr. Big, Firehouse, and Talisman were fighting similar battles along the same front-lines, but the early work of Extreme, especially the second record, served as a glorious last stand for thinking man’s hard rock and metal.
Following Extreme’s break in the late 90s, they did reform in 2008 to release the moderately successful “Saudades de Rock,” but things have been mostly quiet in the time since. Lead guitar wizard and principal songwriter Nuno Bettencourt indicated to Eddie Trunk in 2020 that the band had several albums worth of new music in the works, but they did not want to release something until the music could be the best work possible. It seems that time is now, and the passing into history of Eddie Van Halen, patron saint to all guitar players, may have been a catalyst, at least in part. “When Eddie Van Halen passed, it really hit me,” Bettencourt said. “I’m not going to be the one who will take the throne, but I felt some responsibility to keep guitar playing alive. So, you hear a lot of fire on the record.”
We are going to spend a little time here dissecting the scope and intensity of that fire on this record, but one thing is clear; there is no shortage of the fire on “Rise,” the first track of the album. Perhaps the scowling, red-eyed gorilla on the album cover is looking to get some revenge and set right the catastrophic post-Harambe timeline, but Extreme is certainly providing the firepower with this opening track. At first, there is only Nuno riffing hard on his signature Washburn super-strat and Dimebag-style humbuckers, before drums join with a brisk, driven, energetic eight-beat pattern in 4/4. At the same time Pat Badger’s bass joins in, Gary Cherone gets right to dropping some verse. Now, we don’t want to highlight anything derivative this early in the review, but when it is literally the first thing on the record, it’s hard to avoid. Gary’s verse structure on the track is essentially carbon-copy of “Silvergun Superman” from Stone Temple Pilots 1994 chart-topping “Purple” album, albeit at a faster tempo here. It hardly seems intentional, but it’s an unfortunate blemish when the single from the new album starts off sounding like a previous Billboard hit album.
After Gary works through the opening verses, we are treated to the first iteration of the chorus, which, strangely enough, is a sort of inverted 3-5-3 sequence of that yodeling “millennial whoop” thing that pop and indie music discovered a few years back. The chorus is about lifting you “up up up” but if there were a way to give the word “up” multiple syllables via tonal shifts, Extreme have cracked that code, to be sure. At this point, we’ve dinged the new single twice, but surprisingly, it’s still solid, well-put-together, and quite listenable. It has as much ear-worm potential as most any other high-gain Extreme tune. Of course, all the buzz about this track is about one thing, and one thing only: Nuno’s over-the-top guitar solo. Although his fills throughout the track are cool and textbook Nuno, this solo sets a new bar we’ve not seen since the first two records. Right in the middle of this 4-minute track, Nuno goes off like a Roman candle, with a very phased brown sound, picking like a madman, delivering right-handed fire not seen since the first 45 seconds of “Eruption,” before the two-hand tapping comes into play. Between the picking technique and the diving Floyd Rose action, it’s definitely a condensed EVH tribute, but it’s 30 seconds into the solo where things get interesting. While it’s most comparable to Eddie’s “Mean Street” intro, the technique and execution is still very much Nuno’s own, and there’s really no way words can describe the four-fingered, semi-muted, arpeggiated runs dominating all the real estate above the twelfth fret in a very short amount of time. The icing on the cake is the vocal/synth chorus of “ahhs” joining the last few phases of the section, which seem to lift the song higher, adding to the entire “Rise” theme. It may not be a perfect song, but it’s catchy and heavy enough, and damn, Nuno’s solo alone makes the whole album worth the price of admission.
The second track, “#Rebel,” captures much of the same mojo in a bottle found in “Proud Desperado” from the aforementioned Winger “Seven” album. A derisive song taking a poke at the trappings of wannabe-rebel culture, the riffs are chunky and the vocals are great, right down to the point where Gary starts heading for the stratosphere, while Nuno’s lead guitar follows right along. Speaking of whom, the guitar solo is a whole lot of action tastefully jammed into a 30-second block, as is Nuno’s wont to do, complete with two-hand tapping bits in the middle.
If you liked the chunky aggressive guitars on the previous track, (getting into “He-Man Woman-Hater” territory) you will enjoy “Banshee.” The verse structure is actually borderline bluesy, like some weird cousin to The A to Z of rock, Aerosmith and ZZ Top. Credit to Kevin Figueiredo on the solid drumming here, right down to the abuse of the ride cymbal. The guitar solo is cool here, although a bit more blues-rock and less metal, which is suitable, right down to bent stops and the occasional added finger tap.
In a surprising detour, Nuno tunes up the twelve-string steel acoustic for “Other Side of the Rainbow,” a love-themed ballad with a couple neat party-tricks. When the verse steps up into the chorus, it has a sincerely feel-good melodic retro vibe, sort of like what Paul Gilbert used to try to capture in tracks like “Amy is Amazing.” Around two minutes in, Nuno keeps up the strum while Gary demonstrates he still has all or most of his impressive range, belting out an improvisational vocal section, before turning it over to Nuno to bring it home with a tasteful medium-high gain guitar solo. Of course, while Nuno has the acoustic guitars out, the band moves on to “Small Town Beautiful,” an even more traditional ballad, offering some vocal give-and-take duet elements between Gary and Nuno. No, it isn’t “More Than Words,” nor does it need to be. It’s just a well-written little sanctuary for the feels, during a break from all the heaviness.
In another radical detour, we have “The Mask,” which might not have Jim Carrey, but it does seem to have Nuno singing in the style of Beetlejuice, to a backdrop of a shuffle of drums and bass. Shortly after Gary takes back the mic, the whole band joins in on full gain, while Gary delivers a chorus about ripping off masks and seeing who we are inside. The rest of the track is effectively the same format, aside from some cool vocal harmonies, and before the solo there’s a nice instrumental progression right out of the book of classic rock and roll, sort of along the same lines as the last thirty seconds of Journey’s 1978 “La Do Da.”
Channeling late 90s industrial techno vibes, “Thicker Than Blood” seems like some sort of NIN/Zombie hybrid, but by the time the chorus comes in, it’s still Extreme at the core. Demonstrating some versatility, Nuno takes some verses, and delivers well. Many of the vocals are delivered through post-production effects emulating that whole bullhorn-through-a-telephone sort of distortion. Speaking of distortion, Nuno delivers a great little solo jam, utilizing octave and ring modulation effects to accomplish a unique flavor. While we are revisiting the 90s and its aftermath, the next track, “Save Me” is dripping with grungy sort of Alice in Chains energy. While the guitar solo is unmistakably Nuno, the rest of the track is muddy distortion, probably dropped to “D” tuning, with a chorus hearkening back to “Man in the Box” atmosphere.
“Six” Album Artwork
If any track is shaping up to be the unsung (not literally, of course) hero of Extreme’s sixth record, it could very well be “Hurricane.” From it’s achingly beautiful acoustic guitars, to the impeccable vocal harmonies, this could just well be Paul Simon and Art Garfunkel. The lyrics are a simple metaphor relating to a storm of sorrow brewing in the heart, on a storm-front of painful memories, yet songs and imagery such as these are the ones which stand the test of time.
Returning to the 2000-ish industrial Matrix vibes we found in “Thicker Than Blood,” it might be easy to discount the next track, “X Out” as another attempt by an old rock band to try to learn new tricks, but there is some real substance here. The lyrics are dark and interesting, playing on the depressed and disheartened narrator wanting to embrace their inner “Live-Laugh-Love” with optimistic things like Faith, Hope, and Love, but instead the narrator ticks off all the pain, suffering, disappointment and tragedy in the world, and chooses instead to “X Out” things like faith, hope, and love. If you only give the track 30 seconds, you might make the mistake of thinking this is something that got left off of the “Fifth Element” soundtrack, but it has a lot of depth and variety. The industrial riffing takes some breaks to get into the whole “X Out” vocal progression, and just let the synth atmosphere breathe and stretch out. At around 3:20, the song format breaks into something almost like the epic “Home” by Dream Theater, perhaps merged with something Vai might have done in his “Ultra Zone” period. Simple piano melodies carry this surprisingly deep tune to its conclusion.
In perhaps the most surprising detour of the album, we have “Beautiful Girls,” a Diamond–Davidian 180 from the previous track about doom and gloom. This track, with modern indie-pop production, paired with skirt-chasing subject matter, and Nuno unleashing his Brian May chops, result in this track being about as dark and metal as “You Can Call Me Al.” It’s a fun track, and probably right at home on the PA system at Bahama Breeze or Jimmy Buffet “Margaritaville,” but we certainly did not see it coming.
The album closes with similar bittersweet energy to “Hole-Hearted,” with this new track “Here’s to the Losers.” Thematically, it’s a bit like “We are the Champions,” if said song was more about getting up and trying again when you do not succeed. It’s a short jangly number, with faux-crowd interaction, and a concise Nuno guitar solo. Gary’s vocals are in fine fettle, and a fitting way to round out this album.
As far as rounding out this review, this album takes a few listens to be absorbed properly. After one casual listen, it might be easy to dismiss this as the title track single, plus a variety of moderately entertaining filler. In truth, which each listen, some of the individual tracks start to stand out, not only for differences of sub-genre and theme, but also for their unique high points and characteristics. “X Out” is a surprising trek into the dark and serious side of Extreme, and “Hurricane” is a rare and precious bloom, sure to someday appear on a definitive Best of Extreme collection. The other tracks showcase not only a variety of genre, but a sensible approach to integrating contemporary elements brought to the music scene since Extreme’s original peak, but without compromising the integrity of the band’s sound. As a whole, the album is well-mixed, thoughtfully laid-out, well-written, and a welcome treat in a music scene all-too-starved for such records today. Definitely look for this one on June 9th.
Release Date: June 9th, 2023
Record Label: earMUSIC
Genre: Melodic Hard Rock
Musicians: Gary Cherone / Lead vocals * Nuno Bettencourt / Guitars, brass/orchestration arrangements, keyboards, piano, backing and lead vocals * Pat Badger / Bass, backing vocals * Kevin Figueiredo* / Drums, percussion
“Six” track-listing:1. Rise
2. #Rebel
3. Banshee
4. Other Side of the Rainbow
5. Small Town Beautiful
6. The Mask
7. Thicker Than Blood
8. Save Me
9. Hurricane
10. X Out
11. Beautiful Girls
12. Here’s to the Losers
Pre-order/save “Six” on CD/LP/Digital HERE.
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The cover photo says much about the album and artists. Samantha Fish and Jesse Dayton are decked out in ‘50s leather and hair – they look like they just came out of the movie Badlands and are modern-day Martin Sheen and Cissy Spacek. Fish and Dayton are headed out on the road, taking death(wish) with them as they avoid the authorities and accepted conventions. And so they bring us blues, and rock, and a tad bit of country, and even some alternative. They take turns on guitar leads and vocals. It’s a mix of styles and talents that makes “Death Wish Blues” something to reckon with.
Things kick off with “Deathwish,” a pounding blues-rocker with great energy as Samantha Fish tells the tale of dangerous love. The guitar breaks rock out. This is a strong opener. Jesse Dayton takes the vocals on “Down in the Mud.” True to the title, this is dirty blues, getting in the slop and wallowing around. The guitar is a bit funky on this one – and it fits.
“Riders” is in the same vein, a funky blues offering in which the pair provide a musical conversation, each doing lead vocals in response to the other. This one documents Fish and Dayton’s strengths as singers – they are very good. “Settle for Less” starts modestly, with Fish singing and playing guitar as the rhythm is supported by drummer Mike Dillon – it sounds like he’s just hitting his sticks against one another. And then the song blows up, becoming more of a rocker than anything else. Fish’s vocals are angry – and so is her guitar solo.
“Trauma” puts the spotlight back on Dayton. The guitar fills are great, adding to the story of a love that hurts – but that can’t be stopped. The guitar break is neo-psychedelic, almost in a Neil Young sort of way. This trauma is a mind blower. “No Apology” takes things down several notches. The melody, the rhythm are poppier on this one – if there were a single from “Death Wish Blues,” this would be it. Fish sounds more pleading, more plaintive in this one. There is no guitar break, just the strength of an excellent singer unloading her heart.
“Flooded Love” is driven by a bass line that comes straight out of Peter Gunn. It then has a psychedelic break that comes out of nowhere (and yet is very interesting). This one has punch as the duo share lead vocals. “Love on the Side” chugs along with a nice guitar riff and sees Fish and Dayton involved in a vocal conversation. Somebody is gettin’ done wrong and it feels so good.
“Death Wish Blues” Artwork
“Rippin and Runnin” starts with a pure blues riff that changes into a hot rocker. Fish’s vocals are inviting yet tough. “You get what you pay for” indeed. “Dangerous People” has Fish at her most alluring – and dangerous. She likes ‘em crazy. Maybe she is crazy. The scratchy guitar just adds to the feeling of this blues rocker.
“Supadupabad” has a rhythm and push reminiscent of the Doobies’ “Jesus is Just Alright.” But the guitar work is more frenetic. Dayton tosses in some spoken word lyrics. This one is wild, nearly out of control for all 2:07 length. The intro to “You Know My Heart” is similar to that of “Angie” by the Stones. A little quiet, a little longing, very catchy. This one is a love song, not in your face like so many of the other offerings on “Death Wish Blues.“ It’s an appropriate way to close things out.
Let’s acknowledge one thing – this Deathwish isn’t for everyone. Samantha Fish has built a reputation as a rocker of the first order, combining that genre with a touch of blues. If you have questions, check out her version of Black Sabbath’s “War Pigs” – it nears Ozzy status in its energy and blast. Jesse Dayton has played with Waylon and Willie, with Rob Zombie and Social Distortion. Folks who are looking for that in “Death Wish Blues” will be sorely disappointed.
But the album never claims to be that. This is two artists steeped in rock and blues, come together to share vocals and guitar leads on an impressive debut record as a duo. The pair are on tour as we speak, and it remains to be seen what and how they do on the road. “Death Wish Blues” could be just a starting point. Maybe they’ll jump into that ’51 Mercury Coupe, armed with their axes, and do some real damage beyond the Badlands.
Released By: Rounder Records
Release Date: May 19, 2023
Genre: Blues / Country / Alternative Rock
Band Members: Samantha Fish / Guitar, Vocals * Jesse Dayton / Guitar, Vocals * Austin Clements / Bass * Mike Dillon /* Drums
“Death Wish Blues” Track-list:1. Deathwish (2:39)
2. Down In The Mud (2:52)
3. Riders (3:40)
4. Settle For Less (3:09)
5. Trauma (3:06)
6. No Apology (4:16)
7. Flooded Love (2:39)
8. Lover On The Side (2:48)
9. Rippin’ And Runnin’ (4:21)
10. Dangerous People (3:31)
11. Supadupabad (2:06)
12. Know My Heart (3:47)
Order your copy HERE
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Godsticks’ prior album, 2020’s “Inescapable,” found the celebrated English ensemble successfully introducing more inviting arrangements and welcoming melodies into their dynamic brand of heavy prog rock/metal. Despite still being quite aggressive and intricate at times, follow-up “This Is What a Winner Looks Like” logically doubles down on that chemistry, resulting in their most immediately enjoyable and tuneful record to date.
Reflecting on how the COVID-19 pandemic affected their work, front-man Darran Charles explains: “[E]very band and their dog were writing and releasing new music. For me though, it was the least creative time in my entire life.” Fortunately, being able to perform live reinvigorated the whole band’s imagination and determination, and by dividing up artistic duties more than ever, Godsticks crafted their most collaborative LP yet.
As for the cover art, designer Richard Beeching reflects: “The band and I agreed we needed a visually engaging sleeve to match the album’s strong title, but nothing too literal. Something just about abstract enough to allow the audience to make of it what they will. Our primate fits the bill nicely.” Indeed, there connection between the lead image and the name of the record makes It arrestingly bold and humorous.
Opener “If I Don’t Take It All” instantly embodies the sequence’s emphasis on fetching accessibility, Written about “the struggles we all face every day and overcoming them – whether it’s something a bit more dramatic and harrowing . . . or the more personal, inner battles that every one of us will have to face,” its subtle electronic coatings enhance what’s already a highly catchy piece instrumentally and vocally. Charles sings with poppy defiance and confidence over grungy guitar chords and steadfast rhythms, so it’s a perfect blend of nuanced style and traditional structure.
“This Is What A Winner Looks Like” Artwork
Naturally, a few subsequent tracks—“This Is My New Normal,” “Don’t Say A Word to Me,” and closer “Wake Up”—largely fit into the same box while featuring enough original elements to feel distinctive and rewarding. There are even a couple of compositions (“Mayhem” and “Throne”) that tap into the prog metal gruffness of, say, Periphery and Karnivool.That said, much of the collection broaches lighter and gentler territories, too.
For instance, “Eliminate and Repair” and ‘’Devotion Made to Offend” are built upon morose guitar patterns, pained vocal harmonies, and crestfallen lyricism. They’ve got plenty of punch as well, but much of their duration is introspectively moody and unassuming. On the other hand, ‘’Silent Saw” and “Lying” evoke Radiohead and The Pineapple Thief with their synthy atmospheres, pleasing rock timbres, and delicate ponderings.
Whether or not “This Is What a Winner Looks Like” is better than its predecessors is difficult to say, as fans who adore Godsticks’ more experimental and gruff earlier days will find less of that here. In contrast, listeners who’ve enjoyed their increasingly focused and commercially viable trajectory will almost certainly see it as the best of the bunch. In any case, “This Is What a Winner Looks Like” represents another superb balance of freshness and familiarity, allowing the group to revise their formula once again without losing much — if any — of their core identity.
Release Date: May 26th, 2023Record Label: KscopeGenre: Progressive Rock/Metal
Musicians: Darran Charles / Lead Vocals, guitars, keys * Dan Nelson / Bass * Gavin Bushell /Guitar * Tom Price* / Drums
“This Is What a Winner Looks Like” Track-list:1. If I Don’t Take It All
2. Eliminate and Repair
3. This Is My New Normal
4. Devotion Made to Offend
5. Silent Saw
6. Throne
7. Don’t Say A Word To Me
8. Mayhem
9. Lying
10. Wake Up
Order “This Is What a Winner Looks Like” HERE
The post GODSTICKS – This Is What a Winner Looks Like (Album Review) appeared first on Sonic Perspectives.
Why?
Why in God’s name is this necessary? I mean, coming on the heels of “Impera” — which I rated the top album of 2022 — “Phantomime” is a letdown. t’s just not special.
I know, Tobias Forge has done this before, putting out covers EP’s between albums. Maybe it’s a way to keep Ghost in the public eye. Maybe Forge is just paying homage to artists/ songs that mean something to him. Maybe it’s a chance to use royalties to support a cause (“Enter Sandman” monies went toward a Swedish camp that welcomes LGBTQ kids). Maybe some or all or none of those. But why?
The record kicks off with “See No Evil,” a great song by the Punk/New Wave band Television. The Ghost version is more sonically full than the original. But there’s little to match up to the twin Television guitar attack of Tom Verlaine and Richard Lloyd. An interesting choice, no question. But why?
“Jesus He Knows Me” is more of an obvious choice. The Genesis original poked fun and bile at televangelists — people who are out to gratify their wants as opposed to lifting the spirits of the faithful. Forge has been doing something similar for more than a decade, deriding organized religion and some of the pastors therein. The new version — and this may sound like a broken record — has a much fuller sound, highly produced and with a sheen that is pure Ghost. But otherwise, it’s pretty close to Phil Collins and company’s performance. Why?
I was actually thrilled to see the group cover Hanging Around by the Stranglers. If I’d interviewed Forge a couple of years ago (and I’m still available to do that, hint, hint), I would have asked him about doing that song. It’s a natural — specially with the bad Jesus joke in the chorus:
Christ he told his mother
Christ he told her not to bother
Cos he’s alright in the city
Cos he’s high above the ground
He’s just hanging around (hanging around)
That being said, I prefer the original. t’s sleazy and dirty (of course it is, it’s the Stranglers). Jean-Jacques Burnel’s bass drives the song throughout. Hugh Cornwell’s somewhat threatening vocals really make a difference — while Forge’s are very clean and crisp. Ghost’s take is heavier, with a thicker production. It’s just not dangerous. Why?
Iron Maiden’s “Phantom of the Opera” is also an obvious cover. The original is Prog-Metal, right up Ghost’s alley. But Iron Maiden — at least on this song — has more fire and brimstone in the performance. The Ghost cover is better produced and, just like the others, has a fuller sound. The lead vocals are comparable between Paul Di’Anno and Forge (Bruce Dickinson had not yet joined Maiden). But they both lack the “pop” needed to do the song true justice. As always, Ghost is interesting. There is no revelation here, unfortunately. Why?
“Phantomime” Artwork
The closer is the surprise: a performance of Tina Turner’s “We Don’t Need Another Hero.” This is the only song where the original was released during Forge’s lifetime (and barely). The Ghost-man’s vocals are good and strong on this one — but how does one compete with the incomparable Ms. Turner? You can’t. Honestly, Forge isn’t really trying to do so. This is his take on things. But Tina’s version is the standard, more of a plea than a statement of fact. Ghost is demanding that there be no more heroes. I wonder — what if they’d slowed things down, echoing “Impera”’s “Respite on the Spital Fields,” creating something sinister and dangerous? Alas, we’ll never know. Why?
Interestingly, these songs were recorded at the same time as “Impera” — and another five were cut with the thought of doing an entire album of covers. Forge decided not to go that far, and that’s probably wise (and that means there are another set of songs ready to go). I’ve admitted it before—I came late to the Ghost banquet, but I dove into the feast with mouth wide open. “Impera” was brilliant. “Phantomime” is okay but not special, certainly not in the way that I’ve come to expect from the Swedish savant.
So I’ll go see the band on their current tour and marvel at all that they are. I’ll put “Phantomime” in the library, in the back with stuff I rarely listen to (“Impera” is at the front). And I’ll await the next original album by Ghost. And when it comes out, I imagine I’ll ask, “Why the hell didn’t they put this out instead of the covers EP?”
Released By: Loma Vista Recordings
Release Date: May 19th, 2023
Genre: Symphonic / Metal / Prog / Arena Rock
Band Members: Tobias Forge (Papa Emeritus IV / Vocals * Nameless Ghouls* / Guitars, Keyboards, Bass, Drums, Background Vocals.
“Phantomime” Track-list: 1. See No Evil (Television cover)
2. Jesus He Knows Me (Genesis cover)
3. Hanging Around (The Stranglers cover)
4. Phantom Of The Opera (Iron Maiden cover)
5. We Don’t Need Another Hero (Thunderdome) (Tina Turner cover)
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No nonsense thrash that shows no mercy.The unrelenting beast that is thrash could be likened to the Greek myth of the hydra, for if one head is felled, one or two more will grow in its place. It was widely stipulated during the latter half of the 2010s that explosive up and comers Power Trip were the premier purveyors of a revitalized take on the style’s revival with a heavy dose of crossover influences, and despite the tragic passing of their iconic front man Riley Gale in 2020, there were already plenty of American acts already surging forth to take up arms alongside them. One of the more auspicious acts to crop up on the east coast would be Richmond, Virginia’s own Enforced, a power-infused quintet with a hunger comparable to 10 packs of ravenous wolves, who have been making some rather sizable waves in the American underground since their 2019 debut with War Records dubbed “At The Walls,” which earned them a slot in the Century Media roster soon after and culminated in a highly lauded and sonically vicious sophomore outing in 2021’s “Kill Grid.”
Continuing an impressive hat-trick of concise, raw and vicious thrashing mayhem into the current year is this fold’s third and current studio installment “War Remains”, a truly fitting title as every second of its 33 minute duration paints a vivid visual of war torn wastelands with the promise of even more carnage at every turn. The specific stylistic expression that unfolds bears an uncanny resemblance to the death metal-adjacent intensity that typified the mid to late 80s output of Slayer and Sepultura, with intermitted dissonant melodic passages often paraphrasing the signature sound of the former’s handiwork on both “Reign In Blood” and “South Of Heaven” respectively. The aggression level is kept comfortably in the red throughout the entire album, though it proves a highly balanced affair that knows when to pull back into a slower tempo and when to fire the proverbial afterburners at full blast. At the center of it all is the harsh raving shouts of helmsman Knox Colby, whom largely embodies all of the power and fury of a young Max Cavalera, occasionally veering into territory not all that dissimilar to Chuck Schuldiner circa 1988, though one would be remiss to gloss over the barrage of masterful riff work and wild solo interchanges by guitarists Will Wagstaff and Zach Monahan.
As their previous studio LPs, there is no beating around the bush to be found here, be it in the form of token balladry or thematic instrumental intros or interludes. Going straight for the proverbial jugular at its very onset, this album scores a technical knockout with the opening crusher “Aggressive Menace”, which largely sticks to a roaring pace like a lost track off of Sepultura’s “Beneath The Remains”, though with some Bay Area-inspired gallops thrown in for good measure and an impressive varied overall structure for an entry clocking in at under 3 minutes. A similar story is told at a more moderate pace with the massive wrecking ball set to music “The Quickening”, which maintains the aforementioned heaviness of late 80s Sepultura, but splits its duration equally between a mid-paced monster and a pedal to the metal nod to the frenzied thrashing of mid-80s Slayer, while the riveting intrigue of “Hanged By My Hand” dives further into 1986 extreme thrash territory and is among the more impressive showings of machine gun precision and militaristic force by drummer Alex Bishop to date.
“War Remains” Album Artwork
Even before the first half of this harrowing opus has elapsed, it becomes painfully obvious to any newcomer that Enforced brand of crossover thrash has more of a structural relationship to thrash’s punk rock roots rather than a stylistic one, as everything on here rings way too complex and vicious for anything Discharge or Black Flag would have put together. The dissonant fury chock full of chaotic, Kerry King-inspired shredding “Avarice” and the riff happy title anthem “War Remains” are so uncompromisingly thrash to the extreme that even the boys in Dark Angel might be possessed to recommend that they dial it back a tad, to speak nothing for the demonic roars out of Colby all but exclaiming “Scream Bloody Gore” at every other verse. Interestingly enough, the second half of the album is where the songwriting gets a bit more intricate, with the haunting intro of “Mercy Killing Fields” taking a few melodic cues from “South Of Heaven” before stepping on the gas pedal, while the riff work on “Nation Of Fear” often reminisces on the archaic trappings of “Show No Mercy” when the thrash sub-genre was still heavily tied to its NWOBHM roots. Yet it all comes to a head with the closing hurrah “Empire”, which stands as the most brilliant display of infectious riff work out of this band to date and ventures dangerously close to paying direct homage to “Seasons in The Abyss”.
Enforced is not a band of gimmicks or pretense, there is no grand mystery to what they’re about, and the level of greatness that they end up achieving here can be boiled down to a masterful execution of songwriting prowess within an existing template. This isn’t an exercise in redefining thrash metal so much as it is a grand expression of it that can easily be likened to the greatness the art form achieved in the past, but not mistaken for it. Between the jagged-edge of their guitar tone and the full-bodied punch of the rhythm section, this is an album that is unmistakably 2023, though it primarily recalls the exploits that were common from 1985-1990. Anyone with any level of familiarity with their previous two albums will naturally take to this like a maddened berserker to a battlefield, and those who have come to love the signature brand of crossover that has been revived by the likes of Power Trip, Foreseen and High Command will not want to pass this up.
Order “War Remains” AT THIS LOCATION.
Released By: Century Media Records
Release Date: April 28th, 2023
Genre: Thrash / Crossover Metal
“War Remains” track-listing:1. Aggressive Menace 2. The Quickening 3. Hanged by My Hand 4. Avarice 5. War Remains 6. Mercy Killing Fields 7. Nation of Fear 8. Ultra-Violence 9. Starve 10. Empire
Enforced line-up:
- Knox Colby / Vocals
- Will Wagstaff / Guitars
- Zach Monahan / Guitars
- Ethan Gensurowsky / Bass
- Alex Bishop / Drums
The post ENFORCED – War Remains (Album Review) appeared first on Sonic Perspectives.
Part throwback, part modern, all classic metal!
The world at large will no doubt continue to be dumbfounded at how every prediction of metal’s oncoming demise has proven as accurate as the Jehova’s witness various predictions of the apocalypse, but one clue that may help clear things up is the string of resurrection spells being cast in the form of studio LPs courtesy of Switzerland’s latest and possibly most auspicious act, Burning Witches. Drawing from the same blend of raw yet melodic, 80s styled speed and aggression that typified the heavier side of the old style and the feminine mystique that came with such notable acts as Warlock, Zed Yago and Leather, this quintet of highly skilled up-and-comers have been repeatedly upping the ante since their 2015 inception, bringing the classic metal tropes of witchcraft and archaic evil into the present day synthesis of the traditional style with power metal. The birth of their fifth portfolio of studio incantations dubbed “The Dark Tower” (not to be confused with the Stephen King novel series) continues their highly consistent output of communicating the sounds of 4 decades past into a modern context with caution thrown to the proverbial wind.
Though still a comparatively young outfit, the road already traveled has not been without a few bumps for this fold, and the performance they turn in here definitely betrays the wisdom of a battle-tested regiment. Dutch vocalist and jagged-edged impresario Laura Guldemond makes yet another stellar showing since stepping in for original singer Seraina Telli, recalling the lioness-like power and rasp of Doro Pesch and Jutta Weinhold during their respective 80s heyday, while still relative newcomer and guitarist Larissa Ernst continues to cut heads masterfully with co-founder Romana Kalkuhl, putting forth a blend of pulverizing riff work and richly harmonized lead exchanges that would make Iron Maiden and Judas Priest proud. Pile on top of this highly sweet and savory brew of old school fervor the colossal rhythm section provided by bassist Jeanine Grob and drummer Lala Frischknecht, as well as the production magic of German thrash legend Schmier and Poltergeist icon V.O. Pulver, and the result is an album so chock full of aggression that it often blurs the lines between its old school inspiration and the subsequent thrash exploits of the aforementioned powers behind the coven.
Though an album that is clearly knee-deep in the occult imagery of the early to mid-80s, there is also a highly theatrical character to it that dovetails with the later power metal craze in the U.S. and later Europe. The haunting clean guitars and dreary atmosphere of the opening prelude “Rise Of Darkness”, further adorned by a haunting harmonized chant by Guledmond and a menacing narration, set the tone of a looming explosion of auditory excellence with a vivid image of olden horrors in tow. Nipping directly on its heels is a brutal display of modern speed metal mayhem that could rival Judas Priest’s most vicious outings since “Painkiller”, and proves no slouch in the shred department with a stream of solos provided in a guest capacity by American virtuoso and The Iron Maidens axe-slinger Courtney Cox, whom also provides her signature licks to the fast-paced sea of riffs and harmonies “World On Fire” and the serene bordering on pristine balladry of “Tomorrow”, two songs which showcase a level of artistic range that sees this outfit outdoing themselves compared to past studio efforts.
“The Dark Tower” Album Artwork
Naturally this opus doesn’t diverge too far from the last couple LPs, leaning heavily on compact and well-crafted songwriting to temper what is otherwise an off the rails expression of archaic metal splendor. Mid-paced rocking beasts like “Renegade” and “Arrow Of Time” waste no time with fancy gimmickry and go straight for the most infectious hooks possible, recalling some of the arena favorites that Dio, Accept and Iron Maiden were trotting out in the mid-80s with a pair of equally memorable sing-along chorus sections. Things veer into more of an epic storytelling direction with the coupling of the audio book interlude of horror “House Of Blood” and the dark, thudding beast of a title anthem “The Dark Tower”, showcasing Guldemond’s extreme prowess in a master storyteller capacity, while the eerie signature guitar riff brings a vile, Slayer-like element to an otherwise traditional extended metal romp. Yet when all is said and done, the pinnacle moment that ties this album’s chapters together is the rich melodic speed anthem “Heart Of Ice”, which could almost be a b-side from Maiden’s “Powerslave” were it sung by Dickinson and mixed with 1984 studio technology.
If a modernized blend of mid-80s nostalgia and 2010s power metal fury is one’s preferred poison, then Burning Witches’ latest boiling cauldron of molten steel is about as good as it can get. Even when measured against the titanic sounds of recent output by the likes of Crystal Viper and Battle Beast, there is an extra dose of uncompromising aggression and punch that puts this album closer to the decibel level of the latest material heard out of Accept and Primal Fear. Old school fans will particularly want to give this offering an attentive listen for the two brilliant covers that come at its tail-end, as the renditions of WASP banger “I Wanna Be Somebody” and Ozzy Osbourne’s “Shot In The Dark” this outfit delivers take all the best elements of the originals and amps them up something fierce. With these five leather clad amazons now hitting the road with aforementioned guest guitarist Courtney Cox in congress and nothing but clear sailing ahead, it can safely be said that the 80s are alive and well in 2023, and the selections from this outing that make it to the stage will surely bring down the house with the best of them.
Order “The Dark Tower” AT THIS LOCATION.
Released By: Napalm Records
Release Date: May 5th, 2023
Genre: Heavy Metal
Musicians: Laura Guldemond / Vocals * Romana Kalkuhl / Guitars * Larissa Ernst / Guitars * Jeanine Grob / Bass * Lala Frischknecht* / Drums
“The Dark Tower” track-listing: 1. Rise Of Darkness
2. Unleash The Beast
3. Renegade
4. Evil Witch
5. World On Fire
6. Tomorrow
7. House Of Blood
8. The Dark Tower
9. Heart Of Ice
10. Arrow Of Time
11. Doomed To Die
12. Into The Unknown
13. The Lost Souls
14. Shot In The Dark (Ozzy Osbourne cover)
15. I Wanna Be Somebody (WASP cover)
The post BURNING WITCHES – The Dark Tower (Album Review) appeared first on Sonic Perspectives.
Wonders never cease. Left for dead as a recording entity after the abysmal “Heaven & Earth” in 2014, progressive rock patriarchs Yes returned in 2021 with the surprisingly listenable album “The Quest”. Pleasant, unchallenging but competent, it was more than some expected but less than many hoped for (see our extensive review here). Just a year and a half later, Yes is back with “Mirror To The Sky” and it’s yet another step up from the nadir of 2014. Although they’ve lost the legendary Chris Squire and Alan White during that time, they’ve managed to coalesce effectively despite generational gaps in their lineup. Now comprising of two “veterans” of the band and three long-serving “youngsters”, the current version may be referred as “Yes-lite” by some but happily there’s still plenty of creativity kicking as they forge a new Yes sound. There’s no question that this is a different Yes than the one that left us after “Magnification” – and the subsequent one-off “Fly From Here” – so if the listener can’t get over the fact that Anderson and Wakeman are not in the band, there is little point in reading further. Still, there are several whiffs of Yes DNA present throughout the new album and more than a few rewarding songwriting turns, so for those willing to allow the past to be passed, let’s reflect on this mirror to the sky.
The new album is much more ambitious than “The Quest”, an essential ingredient in justifying its relevancy in the first place. While it doesn’t dazzle on first listen, like most rewarding albums it grows over time, revealing many layers of tasty playing thanks to Steve Howe’s skillfully uncluttered production. Once we make peace with the reality of the current incarnation of the band, and their unique spin on the Yes sound is embraced, the fruits of their labors start to become apparent.
“Cut From the Stars” is a fine lead-off single, perhaps even better than “The Ice Bridge” was in conveying a renewed sense of energy and focus. Complete with Steve Howe/Geoff Downes interplaying runs overtop of Billy Sherwood’s Squire-infused bass-lines and eco-conscious lyrics from Jon Davison, this certainly sounds like modern Yes. But whereas “The Ice Bridge” turned out to be one of the best songs on “The Quest”, there are pleasures much greater to be found on “Mirror To The Sky”.
“All Connected” is perhaps the most consistently successful song on the album, a nine-minute mini epic which features Howe’s heavenly steel playing throughout, along with a host of other classic Howe guitar moments. The opening wordless vocal section is prime modern Yes terrain which could have been milked a bit further but instead the band chooses to go right into a fairly generic opening verse. Still, the extensive vocal harmonies are layered with astounding skill, making for thrilling listening on headphones. Heck, any Yes song that includes a lyric like “Karmachromatic” has to be on the right track. Authored by Davison/Sherwood/Howe, this is the best songwriting combo the current band has to offer and fortunately they followup with writing the impressive “Luminosity”. After an emotionally engaging instrumental intro and a lovely vocal intro (again, wordless!), Davison’s opening Celtic verse tastefully nods to something Anderson himself might have written (e.g. “Boundaries”). Sherwood’s fretless bass playing and vocal counterpoint is a delight while Howe’s dobro and Downes’ vibes offer plenty of extra color. Howe’s closing section on steel, supported by cascading strings, is some of the best we can hope for in latter-day Yes.
The centerpiece of the album is unquestionably the 14-minute title track, an impressive mix of evocative lyrical melodies, sweeping symphonic orchestration and diverse musical terrain. Strangely, the piece starts off with a clunkier performance than one would expect: Howe’s opening theme seems a bit uneven though the idea is good, Davison’s acoustic strumming is dry and uninviting in the mix and Downes’ piano is unable to salvage the clash of the the 6-strings. Had all guitars on the album been left to Howe, the outcome would likely have been greatly improved, as he invariably finds unusual voicings with which to elevate the material in a way that Davison’s straight-forward strums cannot. After the piece gets going things quickly improve, Howe finally coming to the fore with a bit of fire as Sherwood’s steady bass propels the rhythm section forward. The melodic choruses are particularly strong, a quality that often is lacking in modern Yes music and is crucial to the epic’s success. The grandeur of the orchestration lifts the piece as a whole, though Howe’s soloing over the middle section would have benefited from a more energized attack. Still, his shining moment comes toward the latter half where an extended slow-build offers a transcendent expanse quite unlike any Yes moment in recent memory, as Paul Joyce’s sensitive orchestration beautifully compliments Howe’s playing. Exquisite. A few motifs also call to mind moments from Yes’ past: if the hammer-on theme at 1:24 sounds familiar, cast your ears back to ABWH’s “Themes” at 3:43 for a similar approach. Likewise, the 5-note acoustic run at 2:49 brings to mind “The Ancient” at 12:28, almost making us expect Davison to launch into, “So the flowering creativity of life wove its web face to face with the shallow.”
Closing the album-proper is the Davison ballad “Circles of Time”. Like his “Future Memories” on the previous album, it’s a beautiful addition to this collection of songs, in tune with the spirit of Yes albums while contributing Davison’s own unique stamp on the band’s legacy. Much less successful is the middle-of-the-road rocker “Living Out Their Dream”. Wielding an unexpected lyrical subject that’s as off-base as Anderson’s “crack time” moment in “That, That Is”, coupled with a weak cowbell-driven tempo, there’s very little to redeem this poor choice other than some decent Howe soloing towards the end. Yes has not always been immune to questionable tastes in their attempts at accessible hit rockers (e.g. “Don’t Go”, “Almost Like Love”, much from “Open Your Eyes”, etc…) but it’s sad that this song is the only Downes co-write on the album. It seems more and more that he is saving his best material for DBA or other projects.
“Mirror To The Sky” Album Artwork
As was the case with its predecessor, “Mirror To The Sky” offers a second disc of 3 songs in addition to the main disc which represents the proper album. Overall this is a good move, as the first disc carries a decent cohesiveness (aside from “Living Out Their Dream”) and these additional songs – whether deemed “bonus tracks” or not – offer a bit of interest but don’t feel essential. There’s a lot going on in the eight-minute “Unknown Place”, which offers unusual but effective vocal approaches and brings Downes more out in the mix. There’s even some church organ playing here but maddeningly it lacks a satisfying sense of fluidity that the Wakeman family would have been able to deliver in their sleep. Still, it’s worthy of investigation, as is the breezy “Magic Potion” which even successfully rocks a bit.
Throughout the album the personnel are working well together as a whole and ably demonstrating their compatibility. This incarnation of the band is indeed progressing – they’re not quite daring yet but they are experimenting and getting more adventurous which is most welcome. Davison feels like he’s coming into his own and Sherwood has already long been there, brilliantly living up to Squire’s legacy with his impeccable approach to bass and backing vocals. Drummer Jay Schellen doesn’t stand out but offers solid support as he pays homage to Alan White’s style. Most vitally, Howe’s overarching impact continues to deliver a performance which can genuinely carry on the band’s legitimacy and appeal. Surprisingly, the main disappointment here is Geoff Downes, not so much in what he plays but in what he doesn’t play. Repeated listenings show that Downes is very active in the background, complimenting all that the rest of the band performs. But when it’s all said and done there’s hardly any quotable moments that one can remember from him, other than some lackluster church organ on the second disc. While he’s clearly a competent keyboardist, Downes’ approach hardly lives up to the legacy of pioneering players who made their flamboyant mark on Yes music – notably including Downes himself on “Drama” (not to mention numerous Asia albums and other projects). One can only imagine where this album – or the two that proceeded it – might have gone had the band been able to boast a keyboardist with the same fire that Howe and Sherwood display. Where have you gone, Geoff Downes?
Happily, as was done on “The Quest”, Steve Howe’s well-balanced mix is back and the album succeeds in no small part to the fact that it simply sounds fantastic. Howe-ever, as with “The Quest”, the only downside to having a Yes member also being the producer is that there is no one to push the band further than their own initiative will take them. While “Mirror To The Sky” is a strong album, it could have jumped to the next level even more with additional prodding from a judicious producer, particularly in the keyboard department. Still, Howe’s spacious, pristine production is a blessing and cannot be overstated. The band seem to be floating on a high right now and are likely recording their next followup even as you read these words. Rather than silently slinking away into the 21st century, it appears that Yes are determined to squeeze out as much remaining inspiration as they can, at least while Howe is in the game.
Released By: Inside Out Music
Release Date: April 7th, 2023
Genre: Progressive Rock
Musicians: Steve Howe / Guitars, vocals * Geoff Downes / Keyboards, vocals * Billy Sherwood / Bass guitar, vocals * Jon Davison / Lead vocals, acoustic guitar, percussion, keyboards * Jay Schellen* / Drums, percussion
“Mirror To The Sky” track listing:CD1:
- Cut From The Stars 05:27
- All Connected 09:02
- Luminosity 09:04
- Living Out Their Dream 04:45
- Mirror To The Sky 13:53
- Circles Of Time 04:59
CD2:
- Unknown Place 08:15
- One Second Is Enough 04:04
- Magic Potion 04:08
Pre-order “Mirror To The Sky” HERE.
The post YES – Mirror To The Sky (Album Review) appeared first on Sonic Perspectives.
So color me skeptical. That’s what I thought when I first heard about the Neal Schon album. I mean, face it: a gathering of current and former Journey-men, playing a big set of that band’s songs, from each and every era. And it is in a 3 CD/DVD digi-pack package.
To me, it screamed “money grab.” I was wrong. “Journey Through Time” is great, no question about it. The performances are outstanding. The music selections are wonderful and provide several surprises. I’ve listened to this over and over, and it sounds better with each hearing. Schon has certainly put out something that people SHOULD want to buy. It’s that good.
The first four cuts are from early Journey, the pre-Perry period. “Kohoutek” is a great example of the early sound. There are flashes that remind one of Santana (more on that later), but the spacey prog-jazz flourishes are signature, early Journey. This was a very interesting band, one popular with the college crowd of the time (including me). Schon and Rolie get a chance to shine on this one, and they do so with flair. But the truth of the matter is this: only a few fans got this at the time it came out. As a result, their record company (which shall not be named) almost dropped them. But it gave them one more chance, demanding that Journey go more commercial and hire a second lead singer (which led to the membership of Steve Perry).
“Kohoutek” blends into “Daydream,” one of the first songs featuring the aforementioned Mr. Perry. It’s a bridge from the past into the next phase of Journey, the one that leads them to becoming the top arena rock ensemble of the late ‘70s and early ‘80s. Of course, Perry is not on this album. But Deen Castronovo — not just a superb drummer — takes over the lead vocals. The resemblance is uncanny, including the signature “whoa whoas” that Perry threw into so many songs. This version of “Daydream,” also has a wonderful bass solo from Marco Mendoza.
One of the shockers of this album — or any that might try it — is that Schon and company wait until the 8th cut to enter the realm of greatest hits. “Feelin’ That Way” allows Rolie a chance to power-ballad a bit, and then that segues into “Anytime” (with Castronovo assuming lead vocals). On the studio album, this was the song pairing that really started Journey on the road to the big-time. And this is where the Schon group could fall short — say, playing a little slower or in a different key to accommodate aging vocalists, or just failing to energize the proceedings. None of that is noticeable here. The songs are vibrant and alive, powerful, and melodic — just as they were 45 years ago on the album “Infinity”. You’ll want sing along; I did (and do).
“Journey Through Time” Artwork
And that’s true of all the hits performed on “Journey Through Time”, including “Lights”, “Separate Ways”, “Lovin’ Touchin’ Squeezin’”, et al — and wrapping up with the biggest of the big, “Don’t Stop Believin’”.
But here’s another surprise. Sprinkled throughout the rest of the music: deep cuts from the past (“Mother Father”), returns to those first three prog-jazz albums (songs like “Nickel and Dime”, “Hustler”, etc.), and nods to the latter-day band, the one that stopped having hits but continued to record and perform (“Trial By Fire”). If you’re a dedicated fan and have all the albums, you’ll probably recognize all of these. If not, the breadth of your Journey knowledge and appreciation is about to increase by several hundred percent.
What links all these songs, all these eras, is the great musicianship and songwriting skills. Those things never really flagged, through feast and famine. Journey was a band that had chops and showed them. And that point is reinforced in “Journey Through Time.”
But if this album is full of surprises, the last two cuts take it up a notch or three. Schon and Gregg Rolie go back to a time before Journey, to their roots in the early Santana. The great “Black Magic Woman” retains its initial slinkiness before firing into the fast and heavy instrumental section. No, Schon wasn’t on the original recording (or at Woodstock), but he shows flashes of Carlos Santana himself in laying down a blazing guitar. And Rolie’s voice and keyboards are still smooth and spectacular in painting the tale. That then gives way to “Oye Como Va”, a toe-tapping concert fave that allows for audience sing-along (even if they’re not sure what the words mean).
I found myself a bit breathless after all the proceedings, and I can only imagine that the live audiences on this tour were in the same condition when all was said and done.
“Journey Through Time” is called a Neal Schon album, and that’s all well and good. He still plays a superb guitar, more than 50 years on. But this is an outstanding journey through Journey’s impressive catalog. If you have doubts, like I did, prepare to make a 180-degree turn. This is a fantastic release. And I won’t stop believin’ it.
Released By: Frontier Records
Release Date: May 19th, 2023
Genre: AOR Rock / Prog-Rock
Band Members: Neal Schon / Guitar * Greg Rolie / Keyboards, Vocals * Marco Mendoza / Bass * Deen Castronovo / Drums, Vocals * John Varn* / Keyboards, Vocals
“Journey Through Time” track listing:1. I’m Gonna Leave You
2. Look Into The Future
3. Kohoutek
4. Daydream
5. La Do La
6. Line Of Fire
7. Walk’s Like A Lady
8. Feelin’ That Way
9. Anytime
10. Lights
11. Still They Ride
12. Separate Ways
13. Lovin’, Touchin’, Squeezin’
14. Wheel In The Sky
15. Patiently (Medley)
16. Trial By Fire (Medley)
17. Stay Awhile (Medley)
18. Mystery Mountain
19. Of A Lifetime
20. Just The Same Way
21. Lovin’ You Is Easy
22. Lady Luck
23. You’re On Your Own
24. Hustler
25. Nickle And Dime
26. People
27. Mother Father
28. Any Way You Want It
29. Don’t Stop Believin’
30. Black Magic Woman
31. Oye Como Va
Pre-order “Journey Through Time” HERE.
The post NEAL SCHON – Journey Through Time (Album Review) appeared first on Sonic Perspectives.
Savage, all too savage.With a history now spanning more than 30 years, the early 90s offshoot of heavy and thrash metal that has come to be known as groove metal has seemingly covered every possible base, save that of an outsider’s perspective. In truth, one of the persistent flaws in the blend of raw anger and scooped mids that put Pantera on the map with 1992’s “Vulgar Display Of Power” has been its barebones character and parochial tendencies, though to be fair a number of hybrid approaches blending industrial and more extreme influences would soon crop up alongside the purer expressions of the style. But what has been continually missing from the equation is something a bit more subtle, namely a group of musicians not initially tied to the groove scene giving their own take on things, and with the onset of the 2020s a highly promising solution to this dilemma arose out of Central America in Costa Rica’s Savage Existence, providing a fresh perspective on this established expression of metal fervor and ruining plenty of spines with their 2021 debut “Animals.”
Originally the brainchild of Canadian entrepreneurs Jesse Radford and Daniel Cleland on drums and guitar respectively, and Russian-born and established vocalist/songwriter Anton Darusso, this outfit presents all the traits of a wildcard act. Though Radford and Cleland come into the equation as newcomers, Darusso’s longstanding tenure with Costa Rican power metal outfit Wings Of Destiny proves a highly interesting twist on things, as does his fellow band mates Emil Minott and Andres Castro joining the fray on bass and guitar; a Helloween disciple’s take on the groovy southern metal trappings of Nola so to speak. Suffice it to say, the resulting blend of ideas that built this band’s first LP contained a sufficiently orthodox mixture of 90s and 2000s New Wave of American Heavy Metal influences to pass for an original adherent to the scene, yet there was something wholly unique in how they would approach things, a sort of subtle blend of augmented technical intrigue and atmospheric polish that would set them apart from the originals, and these divergences have become far more pronounced on their recently unleashed eponymous sophomore studio album.
One could dub what comes to light on this LP as a more cinematic take on groove metal, which makes a good deal of sense given Darusso’s power metal background. Truth be told, anyone familiar with his traditional metal vocalist gymnastics with Marco Garau’s Magic Opera will likely be shocked at just how competently he emulates the raw viciousness of Phil Anselmo’s signature vocals, often referring to the particularly dark and ugly persona he exhibited on “The Great Southern Trendkill,” while also seamlessly switching to a cleaner baritone voice that outshines Robb Flynn on his best day. Likewise, the music surrounding his versatile vocal presentation is no less varied, kicking things off with a symphonic overture in “Still Life” that is about as Hans Zimmer-oriented as a typical Pyramaze prelude, while the overlay of lead guitar work on highly dynamic, sludgy beasts like “Independence Day” and “Standing In Flames” veer pretty clear out of the realm of Dimebag and Flynn, though often imitating some of the idioms of both. Likewise, the dreary ballad-elements of “It’s All On You” bears some resemblance to the nuance heard on the lighter moments of Machine Head’s “Unto The Locust” and “Bloodstone & Diamonds”, yet hits harder and proves even less predictable.
“Savage Existence” Album Artwork
Nevertheless, while much of what occurs on here seems a tad more thrashing than Lamb Of God and maybe a bit too melodically rich for Pantera, the overall nuts and bolts that keep this well-crafted machine together are very much in line with what an old school fans of either band would expect from an orthodox emulation. The bite of Cleland’s and Castro’s riff assault has enough of that signature jagged edge and southern swagger on streamlined bangers like “Steady Blows To The Head” and “Leap Of Faith” to rope in any self-respecting aficionado of “Far Beyond Driven” and “Burn My Eyes,” deviating only in that the chorus hooks provided by Darusso’s cleaner expressions are maybe a tad more precise. The iron-fisted punch of “Dumpster Fire” cuts a bit closer to the 2000s high octane groove-thrashing, but one can’t help but be struck by how perfectly Darusso’s schizophrenic performance evenly blends the dueling iconic personas of Flynn and Anselmo, not to mention unveil one of the most catchy choruses ever committed to the groove template.
As far as bands trying to revive the darkest crevices of mainline 90s metal, Savage Existence live up to their name in churning out uncompromising anthems of rage and discontent, and are definitely poised to become a major player as the 2020s continue to unfold. Barring a studio release by the revived version of Pantera, it’s hard to imagine there being anything coming down the pike that might rival this. And speaking as someone who is not of the core audience that this style caters to, I can personally attest to there being heavy crossover potential in this, particularly to those who enjoy the heavier, U.S. brand of modern heavy and power metal where a greater emphasis is placed on the chorus section and the guitars take on as much of a singing quality as they do an agitated, effects driven foil to the vocals while in a lead capacity. The input of Wings Of Destiny members Andres Castro and Emil Minott definitely had a hand in shaping how this album came out, and for those who have continued to follow the steady studio output of said band, there is plenty here to enjoy. There is heavy potential (no pun intended) for this outfit moving forward, but those wanting a beast of an album need look no further than the one bearing this outfit’s moniker.
Order “Savage Existence” AT THIS LOCATION.
Released By: Independent
Release Date: April 28th, 2023
Genre: Groove Metal / New Wave Of American Heavy Metal
Musicians: Anton Darusso / Vocals * Daniel Cleland / Guitars * Jesse Radford / Drums * Emil Minott / Bass * Andres Castro* / Guitars
“Savage Existence” track-listing:1. Still Life 2. Steady Blows To The Head 3. Cull 4. Dumpster Water 5. Leap Of Faith 6. All On You 7. Independence Day 8. Enigma 9. Standing In Flames 10. Matricide
Order “Savage Existence” AT THIS LOCATION.
The post SAVAGE EXISTENCE – Savage Existence (Album Review) appeared first on Sonic Perspectives.
After devoting an entire musical career to exploring global pagan lore with impressive results, Italian metal band Elvenking began to be subtly besieged by a previously unknown ethereal manifestation. Little by little, the degree of interference of this strange being on the band would become more latent to the point of claiming life for itself through the album “Reader of the Runes – Divination” in 2019.
Once the Reader of the Runes manifested corporeally in the real world, a single adventure would not be enough, so Elvenking is about to publish “Reader of the Runes – Rapture”, the second installment of a trilogy that aims to cover the story of this strange being.
Hundreds of bands dedicate their work to portray themes about mythical creatures, consequently an album with these characteristics could quickly go unnoticed and become one of the bunch. Nonetheless, Elvenking presents a record that encloses a lively and appealing story, where every track is essential for the story’s development, and that should be listened in its entirety to properly experience it.
The concept album the Italians have prepared, takes us into an ominous story full of mystery, affliction, and thrilling encounters with dark magic and vicious characters in which different musical approaches converge to provide a soundtrack that positions the band as a reference in the fusion of metal sub-genres such as pagan, folk, heavy, power, and melodic death metal. “Reader of the Runes – Rapture” will dazzle power/folk metal fans with its terrific orchestration, catchy choruses, countless melodic hooks, killer guitar solos, and the precise use of harsh vocals to imbue the record with darkness and heaviness. Although the intention is to enjoy the album as a whole, some songs stand out on their own merits by having some of the best musical passages on it.
Such is the case of the opening track “Rapture”, a piece that begins subtly with a pleasant guitar line that gradually gains intensity through an outstanding orchestration, an interplay between heroic riffs and the evoking sound of the violin. It also encloses different shifts that sum to the record’s dynamics, where the acoustic guitar takes the lead in a delightful bridge that sets the mood for the potent guitar solos yet to come.
The album quickly takes on a darker tone with the introduction of “The Hanging Tree”. With a rampant start marked by a piercing drum pattern and crushing riffs, the Elf King shows his claws with a menacing atmosphere that dominates the track, which includes an anthemic chorus ready to resonate in the throats of all those who gather in front of the band in future live performances.
“Reader Of The Runes – Rapture” Album Artwork
The ominous vibe and the sorrowful essence of the album deepen with the story of the grieving “Bride of the Night”, a cut that features special guest Heike Langhans in vocals. Unfortunately, the opportunity to have the former Draconian vocalist becomes only anecdotal because her presence is limited exclusively to the choir, preventing her voice from standing out as it should have. Although the track has great hooks and a memorable chorus, the truth is that Heike‘s participation feels somewhat wasted.
Elvenking shows why they are masters of folk metal with tracks such as “Incantations”, oozing festive violin and orchestrations, that will have all the taverns singing the Reader of the Runes’ spells. The track is not limited to being a mere folk song but finds more dynamism with a musical section that allows the interplay of violin and guitar to take over the music to present later a subtle and bewitching passage that allows vocalist Damna to demonstrate the scope of his vocal range.
The closing track, “The Repenant”, seeks to wrap the album potently. It does so with an increase in intensity and heaviness, progressing from melodic segments to heavy passages – the heaviest on the album – closing the story with a bang by employing a gloomy and anguishing atmosphere, accentuated with blast beats, crushing riffs, and a piercing guttural scream.
With the second installment of the Reader of the Runes story, Elvenking proved their evolution with a more energetic, violent, and dark tale than its predecessor. The successful mix of musical approaches succeeds in telling the story of this fearsome creature, while the path is prepared for the third and last act. Judging by what they have shown us thus far, the conclusion could only be downright epic.
Released by: AFM Records
Released Date: April 28th, 2023
Genre: Heavy Metal / Folk Metal
Musicians: Damna / Vocals * Symohn / Drums * Aydan / Guitar * Jakob / Bass * Headmatt / Guitar * Lethien* / Violin
“Reader of the Runes – Rapture” Track-listing:1. Rapture 2. The Hanging Tree 3. Bride Of Night 4. Herdchant 5. The Cursed Cavalier 6. To The North 7. Covenant 8. Red Mist 9. Incantations 10. An Autumn Reverie 11. The Repentant
Pre-order “Reader of the Runes – Rapture” HERE.
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Once upon a time, Ian Anderson of Jethro Tull mused lyrically about being “too old to rock and roll, and too young to die.” Don’t panic, Kip, this is not about you. Actually, this is a commentary on the strange twilight state of being where we often find some things, like a sort of Fish-on-a-Bicycle, where yes, that’s neat, but what’s it do? Winger, the band, despite incredible mammoth talent, has always suffered from being too good at too many things at the same time. A bit like the Ray Lomas character of the aforementioned Tull album, Winger is too prog for rock and roll, and a bit too rock-and-roll for a Cruise to the Edge. This somewhat unique juxtaposition, paired with a few other wrong place/wrong time factors, led to Kip Winger’s eponymous rock/metal project becoming one of the first and most heinous sacrifices to the nihilistic volcano god of 90s the music scene. Thankfully, the band only had to keep their heads down and stay busy with other projects for about ten years before reuniting to do their “IV” album, a rocket-fueled monster which continued to direction of “Pull” but with more polish and maturity. In the subsequent years, the band went on to do the equally substantive “Karma” and “Better Days Comin” albums, and while the 90s exile and hiatus remain the most defining moment of Winger history, it is interesting to note the band has done more recording and touring since their 2006 reunion than they did before the hiatus. The “heyday” of Winger was really not all that long, and, arguendo, the music has improved in the years since.
And so it is that we come to 2023 and the release of “Seven,” the latest and possibly greatest Winger album. Good news first; as is mostly the tradition of this band, the lineup remains intact. Kip remains not only the namesake of the band, but the voice, the bass, and the principal songwriter. The one, the only Reb Beach resumes his duties as lead and rhythm guitar wizard. Rod Morgenstein, another proggy luminary in the band, alumnus of acts such as Dixie Dregs and Tabor/Myung’s Jelly Jam, commands the drums as well as ever. Paul Taylor and John Roth continue to round out the keyboard and rhythm guitar functions, often doing the heavy lifting as the unsung heroes of the band’s massive sound.
Winger’s seventh album comes right out with its hard-hitting first single, “Proud Desperado.” There is no steady buildup here; from the moment the needle hits the wax, Rod is slamming the drums, and all instruments are pounding away with a heavy riff. This goes through four repetitions before surprisingly disgruntled gang vocals join the fray with some “heave, ho” sort of action going on. When the first verse of Kip’s vocals is added, it is apparent by the time the first chorus arrives that Kip Winger is very much in control of his voice. Already possessed with world-class pipes, it is clear he has taken care of them, or been very fortunate, but whatever the case, he is still firing on cylinders at least 90% as well as he was in 1990. Speaking such things, the whammy-wizard Reb Beach has all his chops intact, as is evident from the Floyd Rose abuse he delivers in the solo on the first track, a technical yet tastefully concise little number. Speaking of brevity, the track itself comes in just under four minutes, making it a perfectly bite-sized introduction to the band’s 2023 sound. The music video for this one is worth a watch. Not only is it worth watching for the high-value production, but the thematic elements underscore the lyrical content, some authentically rock-and-roll stuff about rebellion and political deception. Pissed-off anarchist content is always welcome.
Photo by Christopher Carroll
This is followed with “Heaven’s Falling,” a mid-tempo minor-key rocker that could have been right at home on the “IV” comeback album. It is unfair to classify much material on this record as filler, since it’s all good, but there are a few tracks that don’t necessarily raise the bar, but nonetheless deliver solid songwriting and musicianship with cool riffs and melodies to keep the record going. This is one of those tracks. Of course, in Winger tradition, its apparent simplicity belies some of the interesting keyboard work, drumming, and guitar bits that would never be found in the filler material of lesser bands.
In fact, if you want interesting flavor and inventiveness, “Tears of Blood” will be much more to your liking. From the almost “Hells Bells” sort of dissected semi-dirty guitar chords in the beginning, the track has a fresh vibe. Once the song advances to the first chorus, Kip’s vocals are pushed, tight, high, and aggressive. “Cause your Judas mind betrays your Jesus heart / and the skeptic’s words tear your soul apart,” and etc. The song carries a certain pained heaviness, with more gravitas than some metal tracks that are just sort of angry for the hell of it. By the time the second chorus leads into a quiet interlude with whispering voiceover, sound bites, and swirling synth atmosphere, it really plants the seeds of anticipation for Reb to lead the way with a great little lead part to subsequently set up Kip for one last chorus session and really hammer the rest of the song home. Really superb stuff.
“Resurrect Me” is more of a straightforward rocker, a la the “Pull” album (are the guitars dropped to D tuning?) with a steady chugga-chugga riff structure. The harmonized guitar parts throughout, doing some call-and-response business with the vocals, add a lot of unique character to this one. Of course, for anyone wondering if Kip could still build a song around bass guitar, look no further than “Voodoo Fire,” which actually probably has a lot of “In the Heart of the Young” vibes, tempered with the evolution of the band in the time since. It’s strange to hear a track that could easily be pictured being delivered by Kip onstage in 1989 in leather pants and a perm, and yet, still does not sound musically out of place today, aside from the entire genre being a bit of an anachronism today, for the worse. The final thirty seconds are actually an interesting way to close the track, but you’ll have to hear it for yourself.
To talk about the sixth track, “Broken Glass,” it is important to understand and acknowledge the solo work of C.F. Kip Winger. Following the unfortunate dissolution/retirement of Winger the rock band, Kip spent time studying at UNM, trying to reorient himself and work on solo material. The first product from this time, “This Conversation Seems Like a Dream,” was a bit less hair metal, and a bit more introspectively alternative, like if Kip sat down to write music with Peter Gabriel and Tori Amos. Following the loss of his wife in a tragic 1996 car accident, there was a tonal shift in his 2001 “Songs from the Ocean Floor,” where lyrics had a melancholy sort of maturity, ranging from the tenderness of “Here Two Lovers Stand,” to the pain of “Only One Word,” a song regretting the loss of a loved one, and the longing to share even one last word. Lyrics like “a river of Novocain / could never ease the pain,” and “no words were spoken / your body lay broken” made it clear where Kip’s thoughts were during this period.
While the tonal shift of Winger has been clear since about 1993’s “Pull,” Kip’s solo work has had a profound effect upon the sound of the band since the 2006 reunion. Not only are the lyrics less about partying with the opposite sex, and more about philosophical pursuits, but instrumentally the music has matured significantly as well. This brings us back to “Broken Glass.” Everything about this track feels like something that would have merged in with Kip’s 2008 “Moon to the Sun” solo album. Who knows what he has planned for additional solo work, but this is a song he clearly wanted to get out right here, and we are better for it. It is a low-tempo ballad, driven by piano, acoustic guitar, and synth elements, but it’s the tragic chorus that feels like it’s musically bleeding all its emotions out in a minor key. Even Reb’s guitar solo is only a few notes over about ten seconds, but it slots right into this restrained little slice of introspection.
“Seven” Album Artwork
Bringing things more or less back to the usual, we have the rocker “It’s Okay.” Ignoring the Bon Jovian talkbox/wah pedal thing happening, what might be most interesting is the sheer volume of vocal responsibilities handled entirely by one Reb Beach. Of course, this writer could be wrong, in which case Reb is owed an apology and a case of Coors Light. Well, if it is Reb, he’s sounding good, and vocal variety can be a bit of fun. It might not be Dennis DeYoung and Tommy Shaw or anything, but a little spice is always welcome. In the interest of keeping this review to a manageable size, we won’t spend too much time on the next couple tracks, but it is worth noting that they are fairly standard Winger rock material, although “Do or Die” has some interesting rising and falling action, alternating between solo Kip Winger unplugged vibes, and straight-up angry metal.
A very strong argument could be made that the strongest track of the album is the last: “It All Comes Back Around.” Its majesty is going to be a little hard to convey in words, so definitely just pull up the outstanding music video for the single. It opens with nothing but piano, and soft Kip Winger vocals, delivering a slow quiet rendition of the chorus. This leads into Kip vocalizing, softly at first, and then loudly, leading into the entire band joining in with a big riffing section comprised of keys and high gain guitars. The first verse section is Kip singing over Rod tapping away on the rim of his snare, before the vocalization comes back from the beginning, and then we get the first “knobs to 11” rendition of the chorus. The song really hits its stride around 3:30, when the vocals fall away, Rod gets to a military sort of march on the snare, the keyboards become almost a swirling ethereal force, surrounding Reb’s lead guitar as he sets the mood and offers up a small teaser for what’s to come later in the song. Kip does the chorus a bit more, but the last 2 to 3 minutes of the track is just a blank canvas waiting for Reb to do what he does best, which is to compose and deliver a thoughtful guitar solo which walks the line nicely between soulful and technically impressive. The track wraps with some chorused “ooh ooh” vocals, and Kip bringing it all back around one more time for the chorus, before fading to the conclusion of the record.
Kip and the band have delivered a very solid, and very listenable album in “Seven.” While it can be debated whether the strong moments of this album can top other recent heavyweight tracks like “Your Great Escape/Disappear,” “Can’t Take It Back,” “Supernova,” “Witness,” or “Tin Soldier,” as a complete collection of works, this album is every bit the equal to the previous three, all of which were very strong. The musicianship, including singing performance, is all strong, all across the board. Reb, Rod, and the rest of the band remain among the best in the music scene, to the point where it is nigh-criminal to lump them in as “hair metal” with other less talented acts of old. Of course, what makes a great album is less about musicianship and more about songwriting, and this album does it well. It’s heavy, it’s delicate, it’s loud, it’s soft, it’s angry, and it’s sad. Unless Extreme has a serious rabbit in their hat, it is hard to imagine any 2023 album in this genre, that can top Winger’s “Seven.” Look for it on Cinco de Mayo.
Release Date: May 5th, 2023
Record Label: Frontiers Music SLR
Genre: Melodic Hard Rock
Musicians: Kip Winger / Lead vocals, bass, acoustic guitar, keyboards, piano * Reb Beach / Lead and rhythm guitar, backing vocals, harmonica, keyboards, piano * Rod Morgenstein / Drums, percussion, backing vocals, piano * Paul Taylor / Keyboards, rhythm and lead guitar, backing vocals, piano * John Roth* / Rhythm and lead guitar, backing vocals, bass, keyboards
“Seven” Track-listing:1. Proud Desperado
2. Heaven’s Falling
3. Tears Of Blood
4. Resurrect Me
5. Voodoo Fire
6. Broken Glass
7. It’s Okay
8. Stick The Knife In And Twist
9. One Light To Burn
10. Do Or Die
11. Time Bomb
12. It All Comes Back Around
Pre-order/save “Seven” on CD/LP/Digital HERE.
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After the death of five, the sixth would rise.The dissolution of a lineup can prove devastating for any band, and the particular eventuality of a lead vocalist jumping overboard has been the unmaking of many impressive flagships, but in the immortal words of Michael Douglass from the film King Of California; “Catastrophe, equals opportunity”. Insofar as the booming 3rd wave of power metal that began to truly pick up steam at the onset of the 2010s, Scottish-born and brainchild of Alestorm helmsman Christopher Bowes‘s Gloryhammer were the kings of unapologetic camp, or at least they contended heavily for the crown with the likes of Battle Beast, Twilight Force and Victorius. The aforementioned decade was basically their playground and saw them spawn a trilogy of borderline absurd yet highly successful blends of fantasy and Sci-Fi storytelling, spearheaded by Bowes’ songwriting prowess, technical wizardry at the keys and unique flair for delivering a truly irresistible hook to bring it all together, and by the equally commanding vocal presence of Swiss upstart Thomas Winkler. But the 2020s would see the fortunes of this mighty fold dashed by the departure of said master singer under less than affable circumstances, and with it the rise of a new allegiance sporting a very similar sound and brand of madcap heroism.
In a nutshell, Angus McSix is the resurrection of Winkler’s former Gloryhammer persona, now wielding a mighty blade in place of his now broken hammer and telling the world all about it on their newly hatched debut with a mouthful of a title dubbed “Angus McSix And The Sword Of Power”. At his side of share in his many cartoonish adventures against the forces of evil is former Frozen Crown session guitarist Talia Bellazecca, whom channels the richly harmonized and expressive model of Andre Olbrich, but also showcases some auspicious moments of technical flair. Ex-Rhapsody Of Fire drummer Manuel Lotter turns in a thunderous performance as well, though in a more tempered fashion compared to the rapid double kick work he took to the aforementioned Italian symphonic power metal mainstay. But the two most prominent heroes of this quest on LP are that of Winkler himself, whose riveting high range and forceful timbre recalls the heyday of Ronnie James Dio and Rob Halford, and guitarist/bassist/producer of Orden Ogan fame Seeb Levermann, whom functions as the power behind the throne and turns this quartet of skilled surgeons into a juggernaut of colossal proportions comparable to the original union of cartoon camp Voltron.
To even the newly initiated into the world of European power metal, the parallels this album shares with Gloryhammer are impossible to miss, though to Winkler and company’s credit, there are enough unique elements at play here to keep this from being a total copy of the original. Any sense of wide-reaching epic songwriting has been forsaken for a singular focus on concise bangers that rarely cross the 5 minute mark, and along with it a tasteful mixture of rock solid musicianship with only occasional bursts of complex showmanship to keep the accessibility marker clearly in view. The tempo largely sticks to a mid to moderately fast stride that emphasizes the sub-genre’s affinity with its 80s heavy metal predecessor, whereas the symphonic and electronic elements that go along with the 3rd wave approach all but by default see a sound that is both dense, yet also heavily pop-influenced, with certain simpler rockers like the Saturday morning cartoon ode “Laser-Shooting Dinosaur” (a less than subtle nod to Victorius) and keyboard rich anthems like “Ride To Hell” and “The Key To Eternity” dancing dangerously close to the Battle Beast/Beast In Black world of post-disco adorned power metal, save with a heavier bottom end and more of a Stratovarius-informed sense of musicianship.
“Angus McSix And The Sword Of Power” Album Artwork
But a few interesting quirks at the fringes notwithstanding, this album has a very back to basics approach to power metal that gets by with a tasteful level of gimmickry in the musical department, though maybe not so much in the lyrical or visual one. The guitar-happy fanfare of “Amazons Of Caledonia” and the shuffling heaviness with a folksy edge of “Sixcaliber” have that sort of instant classic feel to them that insist upon a second and third hearing, the latter including a highly impressive if brief guitar solo out of Bellazecca that would make Timo Tolkki proud. Alliteration aside, the grandiose effort that is “Starlord Of The Sixtus Stellar System” proves to be the most ambitious, delving heavily into the symphonic end of the equation and venturing the closest to a full on emulation of where Winkler left things with Gloryhammer back in 2019, and he turns in arguably the most outlandishly ambitious vocal performance that he’s ever committed to the recorded medium. Yet when all is said and done, the ultra-catchy banger that kicks the album off “Master Of The Universe” steals the bulk of the show in all its He-Man inspired glory, exposing the only significant flaw in this album, namely putting the coup de grace at the beginning.
The jury is naturally still out as to whether Winker has managed to outdo his former band mates, and Chris Bowes is naturally not one to ever deliver an inferior product, but it’s a safe bet that the union that has been formed between this vocal powerhouse and the studio wizardry of Seeb Levermann is one with staying power. Like any debut, there are some areas that could stand to be expanded upon, most particularly that of Bellazecca’s and Lotter’s contributions to the arrangement, which are overall solid yet ultimately come off as a bit understated in relation to the emphasis on bombastic keyboards and larger than life vocal gymnastics. By no means is this a weak first showing, but any pre-existing fans of Winker’s former outfit will find his output here a bit plainer and perhaps even safer. Then again, it’s a foregone conclusion given the proverbial gauntlet that has been thrown down here, both lyrically and musically, that this will spawn some degree of rivalry and competition with that of Gloryhammer, and all of us onlookers are sure to be the richer for it.
Order “Angus McSix And The Sword Of Power” AT THIS LOCATION.
Released By: Napalm Records
Release Date: April 7th, 2023
Genre: Power Metal
Musicians: Thomas Winkler / Vocals * Seeb Levermann / Guitars, Bass, Backing Vocals * Thalia Bellazecca / Guitars * Manu Lotter* / Drums
“Angus McSix And The Sword Of Power” track-listing:1. Master of the Universe 2. Sixcalibur 3. Laser-Shooting Dinosaur 4. Amazons of Caledonia 5. Ride to Hell 6. Starlord of the Sixtus Stellar System 7. The Vision in the Fires (Intro) 8. Eternal Warrior 9. The Key to Eternity 10. In a Past Reality 11. Fireflies of Doom 12. Just a Fool Will Play Tricks on Angus McSix (Bonus Track)
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Where rock and metal collide.While still a new player in the American music scene, New York natives and old school metal adherents Tanith have adopted an auditory aesthetic that is about as archaic as they come. Bursting onto the circuit with their 2019 debut “In Another Time” (an apt album title to be sure), they cemented a niche that is a bit less common in New Wave Of Traditional Heavy Metal circles, combining the dueling guitar approach of Thin Lizzy and the doom-infused, free-flowing jam rock approach of mid-70s Black Sabbath with a unique pairing of lead vocal personas that embody both the olden male helmsman archetype with the more recent phenomenon of its equally potent feminine counterpart. By no means should this suggest that the quartet that makes up this fold is anything short of the full package in terms of technical proficiency and expressiveness, but it’s a fool’s errand to deny that the combined voice work of NWOBHM veteran and guitarist Russ Tippins (the band’s lone non-U.S. member and a direct link to older ways) and bassist Cindy Maynard are the prime feature of this project.
Naturally with success can come the potential for hardship, and between the lockdowns of the early 2020s limiting correspondence between Tippins and the rest of the band, as well as the sudden departure of guitarist Charles Newton mere days before Tanith would hit the studio, it seemed the odds were stacked against the long-awaited sophomore LP “Voyage” coming into being. But the sudden eventuality of a de facto power trio having to fulfill the role of a quartet would prove the perfect challenge for the remaining three, and 43 minute sequel after a 4 year wait arrive with equal prowess and fervor to its 2019 predecessor. In many respects the ante has been upped, as a greater degree of older 60s psychedelic motifs and more expansive displays of virtuoso musicianship are among the many developments to be discovered, though tempered with an eye for brevity and accessibility that is often absent from other bands delving into the olden times of epic heavy metal glory. In short, there are no slouches in this sonic book of 9 chapters, no unnecessary filler, but rather a pure, refined display of that often sought but rarely realized stylistic ambiguity between hard rock and metal that has been a hot item of late.
Lofty landscapes in line with the high fantasy tropes of early 80s heavy metal on both sides of the Atlantic are the order of the day, tempered with an even earlier and more spacey production that speaks more to the era that was the former’s forerunner. Riding in on a brilliant folksy acoustic introduction, the opening foray “Snow Tiger” kicks things off on a swift and nimble note, as the driving kit work of Keith Robinson recalls the bombastic and flashy brilliance that Cozy Powell originally brought to Rainbow, while Tippins more than effectively emulates the roles of both longtime Thin Lizzy legend Scott Gorham and his many axe-slinging foils during the formative years of said iconic trailblazers, and even turns the clock ahead at times to the early days of Murray and Smith bringing down the harmonized rage via Iron Maiden. Similar fits of fast-paced old school adventurism unfold with the speed anthem “Adrasteia” and the gallop-happy epic crusher “Seven Moons (Galantia Pt. 2)”, both of which see a highly riveting vocal display out of Maynard and a bass performance on the latter to rival the bluesy wizardry that Geezer Butler took to “N.I.B.”.
“Voyager” Album Artwork
Of course, there is a bit more to this outfit’s modus operandi than the proto-speed metal mayhem that was originally pioneered by Riot and Judas Priest. Early on in this succession of 70s nostalgia sits the mid-paced rock anthem “Falling Wizard”, which enters things almost sounding like an even older timey nod to The Mamas & The Papas and spends much of its time dancing between the lighter side of Rainbow and the harder side of The Who. Despite being chock full of rich guitar harmonies, it’s pretty hard to miss the occasional Jefferson Airplane-like moments popping in and out of the mix on “Architects of Time”, though it does move into heavier and faster territory as it progresses. The folk rock proclivities of “Olympus By Dawn” provide an even greater contrast, while that of “Flame” are arguably the most pronounced deviation from the metal template in favor of lighter territory, and the clean vocal delivery of Maynard and Tippins meld with the frequent acoustic breaks as seamlessly as they do the more electrified moments.
Far from being a necessary enemy of triumph, adversity has always been its constant companion, and Tanith’s newest studio entry could well stand as one of the more auspicious examples of it to come to light in 2023. It’s only really limited by the scope of its target audience, which claims a sizable plurality of traditional metal fans young and old, but will prove less of a boon for modern metal fans who expect something more heavily compressed and less melodically pristine. Those who took to what is often dubbed proto-metal in the 1970s and have come to love modern emulations of it in terms of songwriting and studio production via outfits like Sweden’s Night, Scottish retro-hounds Midnight Force and fellow Brooklyn-born old school kin Sanhedrin will be the primary welcoming committee for this fantastical opus of otherworldly adventure. Though it may seem a fundamental contradiction, one can truly move forward by taking a few steps back, even if as a result one finds oneself the better part of 50 years in the past.
Order “Voyage” HERE.
Released By: Metal Blade Records
Release Date: April 21st, 2023
Genre: Hard Rock / Proto- Metal
Musicians: Russ Tippins / Guitars, vocals * Cindy Maynard / Bass, vocals * Keith Robinson /* Drums
“Voyage” track-listing:1. Snow Tiger 2. Falling Wizard 3. Olympus by Dawn 4. Architects of Time 5. Adrasteia 6. Mother of Exile 7. Seven Moons (Galantia Pt. 2) 8. Flame 9. Never Look Back
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The Mars Volta are back after a decade-long hiatus, and their new album is titled “Que Dios Te Maldiga Mi Corazon”. This is a collection of 12 reworked acoustic tracks, where the band members return to their Latin and Caribbean roots. The result is a folk record with strong political overtones that showcases the band’s musicianship and creativity.
From the opening track “Blacklight Shine,” it’s clear that this is not going to be a typical record. The traditional Latin and Caribbean arrangements of finger-picked acoustic guitars and raw percussive rhythms give this track a unique flavor. Vocalist Cedric Bixler-Zavala‘s voice is at the forefront, and it’s impressive to hear how well he adapts to the acoustic setting. The reworked version of “Graveyard Love” transforms the original into a rhythmic salsa-like number. The percussion takes center stage, and it’s hard not to move to the infectious beat. The same can be said for “Shore Story,” which is given a piano-driven Latin jazz arrangement that breathes new life into the song.
The title track is a standout, with its piano-driven soundscape that feels like it’s taken from a bustling street performance. Bixler-Zavala‘s vocal delivery is commanding and emotional, and it’s impressive how much power he can generate without the aid of distortion and noise. For the creation of this album The Mars Volta removed the extra layers and created room for the essence of every song to stand out on its own. “Vigil” is a great example of this, as it feels like a natural complement to the original. “Cerulea” is another highlight, with its dark and dramatic feel and pained vocal melody.
While tracks like “Blank Condolences,” are given more dramatic reworkings, others like “Tourmaline,” are more subtle. The downside of this approach is that towards the end of the album, some tracks start to blend together, adding an element of predictability. Despite this, the musicianship and passion of the band keep the album engaging throughout. Cuts like “Equus 3” are full of energy and showcase the band’s impressive technical abilities. The record closes on a high note with energetic takes on “Collapsible Shoulders” and “The Requisition.”
Overall, “Que Dios Te Maldiga Mi Corazon” is a unique and impressive album that showcases The Mars Volta‘s versatility and creativity. Stripping away the excess and leaving space for the core of each song to shine through, this effort turns in a collection of folk-infused tracks that boasts powerful political themes, certain to leave a lasting impression on both longstanding and recent followers. Recommended it to anyone searching for a different and exciting listening.
Released By: Cloud Hills
Released On: April 21st, 2023
Genre: Prog / Folk Rock
*“Que Dios Te Maldiga Mi Corazon”* Track-listing: 1. Blacklight Shine 2. Graveyard Love 3. Shore Story 4. Blank Condolences 5. Vigil 6. Que Dios Te Maldiga Mi Corazon 7. Cerulea 8. Flash Burns From Flashbacks 9. Palm Full Of Crux 10. NoCaseGain 11. Tourmaline 12. Equus 3 13. Collapsible Shoulders 14. The Requisition
Pre-order HERE.
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Joe Bonamassa at Red Rocks has become a bit of a staple of my summer concert schedule. I’ve been fortunate to see the long-running bluesman play a number of tours at this legendary venue, and I’ve never left without being thoroughly impressed and entertained. The most recent stop at Red Rocks last August, however, I had a scheduling conflict and was unable to attend. And while a part of me wondered if I might have missed something special, I now know the answer. It was a superb show. And now anyone can experience it, thanks to this new live audio/visual release called “Tales of Time,” now available on CD/DVD, CD/BR, vinyl, and other digital formats.
As I’ve stated in previous reviews of Joe’s studio records, one of the biggest challenges I have as a listener is for the material to not start to sound too “samey.” The nature of the blues allows for a variety of shades, but not a change of color. The blues are always blue. So, I wondered what might be unique about this particular outing to elevate it from Joe’s previous tours, and as this release documents, there are a couple of things that made this tour stand out. The first is the material. “Tales of Time” predominantly features live versions of several tracks from his most recent studio album, “Time Clocks.” In my review of that record, I pointed out that it was one of the most mature recordings of his career, landing a little more in the rock territory and featuring some great songs that had lasting power in his catalog.
I have a love/hate relationship with live albums. Sometimes they’re simply sloppier, worse sounding versions of the studio performances. On the other hand, sometimes they ratchet the energy and add some raw power that makes a studio version sound neutered. UFO’s “Strangers in the Night” is a good example of a live record that makes the studio versions of those songs almost un-listenable to me, because the production holds the energy back. Bonamassa has been playing and recording live shows for a very long time, so he’s honed the craft and I’m happy to say that the live versions of the songs from “Time Clocks” are enhanced by the live energy and performers on stage.
Some elements are consistent to previous tours. For example, Joe’s backup singers are an integral part of his show and the remarkable trio of Jade MacRae, Danni DeAndrea and Mahalia Barnes deliver a powerful punch of vocals support while swaying and shimmying in time in a manner that makes it hard to look away. As always, they’re excellent here. Joe continues to sport the shades and wear a loud, suit-like get-up that demands attention, though he’s leaning a little more cowboy than businessman in this tour’s wardrobe. Once again, the legendary keys player Reese Wynans, who worked with bluesman Stevie Ray Vaughn up until his passing, is here for another run providing his steady organ, piano and synth chops with professional precision.
As far as the rest of the band goes, however, some changes have taken place. The recently deceased bass stalwart Michael Rhodes’ spot has been taken up by Calvin Turner, who favors being steady over showy, much like his predecessor. The drum stool is now being filled by Lemar Carter, who brings a little extra oomph to the percussion in the live renditions of the songs. And lastly, Joe has a second guitarist providing support with Josh Smith, who is a bit of a Ferrari being kept in the garage in his role here, but he sure seems to be having a good time.
“Tales Of Time” Artwork
Another welcome change is the addition of a more developed stage production, with large video screens. The visuals add an entertaining aesthetic to the performance without taking away from the performers on stage. The grandiosity of the venue is creatively showcased with some tasteful drone shots interspersed amongst a lot of different camera angles, including from back behind the band. For someone who is unfamiliar either with Red Rocks as a venue or Joe Bonamassa as a guitar player, this is a great introductory package to both.
“Notches” opens with a swagger that sets the stage for a night of guitar in the spotlight. “The Heart That Never Waits” strolls along and benefits from an explosive solo that then breaks down to some delicate soft playing that creates some great tension before finally building and breaking loose again. It’s nice to see Joe playing in a couple different gears and the band moving lock-step with him. “Curtain Call” unfolds with some “Kashmir”-like Indian vibes. Pretty much every Bonamassa song is a vehicle for Joe’s soloing, but in this track, he takes the spotlight on a Theramin-like device that provides the spacey wooshes used so effectively in his live version of “Who Killed John Henry” performed previously with Black Country Communion. The band is punchy while Josh Smith concludes the song with a contrasty solo that’s sadly a bit too low in the mix.
“Mind’s Eye” is a melancholy change of pace that showcases just how clean the band sounds live, and the steady growth of Joe’s confidence as a vocalist. The backup singers also add a layer of slick sophistication to this solid loner tune, and Joe’s lead solo is a tasty bridge to a big chorus that captivates, even while toning things down.
By now a pattern has been established. Song by song, Joe has switched out guitars, playing everything from a Telecaster, to a Les Paul, to a flying V to add some subtle tone varieties. He’s known to be a massive collector so the show gives him a chance to show off his collection a bit. “Questions and Answers” feels like a fiery, older blues tune that he seems to really enjoy playing, and the band seems to reflect back his joy. Reece takes a tasteful piano solo and the slinky tune benefits from Carter’s pocket and drive.
“The Loyal Kind” is one of the finer moments from “Time Clocks,” and this live rendition really shines. The laid-back verses and raucous choruses make it a fun ride that provides another chance for the ladies to shine with great harmony. Joe’s commanding solo sways and soars and this song and performance are a good encapsulation of his style. Bonamassa breaks out a red Stratocaster for “Known Unknowns,” which is the closing song from the studio record. The song feels like it could have been a Bonnie Raitt hit and it benefits from the unique Strat tone on his solo.
“Time Clocks” hints at country with its Vince Gill-like verse and Gospel-sounding chorus. The tune provides some diversity and climaxes to a grandiose ending with multiple solo sections that feel like we’re nearing the end of the show. On the video, the next track is the rollicking “Evil Mama” that features a great bass line that propels the tune forward. It’s a feel-good tune from the “Redemption” record that seems to let everyone burn off some steam and shine collectively. Joe and Reece both smolder on their solos and bring the house to its feet, making a definitive statement that this is tight, professional unit enjoying itself immensely.
The video includes about five more songs than the CD, including Joe’s take on Gary Moore’s “Midnight Blues,” and the strategically selected show-closer, “Mountain Time,” which Joe said he got a chance 20 years earlier write with Will Jennings. The drawn-out epic travels through a variety of paces, with the video of a flying bird being entirely complimentary as the song climbs to a soaring ending.
Before playing “Mountain Time,” Joe shared that he learned the importance of living one’s life to the fullest from Jennings. Judging by the shows he’s performed at Red Rocks over the years, one would be hard pressed to argue that he isn’t doing just that.
Released By: J&R Adventures
Released On: April 14th, 2023
Genre: Blues Rock
“Tales Of Time” track listing: 1. Notches
2. The Heart That Never Waits
3. Curtain Call
4. Mind’s Eye
5. Questions And Answers
6. The Loyal Kind
7. Known Unknowns
8. Time Clocks
9. Just ‘Cos You Can Don’t Mean You Should
10. Evil Mama
“Tales Of Time” DVD/Blu-ray: Dawn Of Time (Intro)
Notches
The Heart That Never Waits
Curtain Call
Mind’s Eye
Questions And Answers
The Loyal Kind
Known Unknowns
Time Clocks
Evil Mama
Midnight Blues
I Didn’t Think She Would Do It
Just ‘Cos You Can Don’t Mean You Should
Mountain Time
* Times Tail (Credits)
Bonus Features:
- Dust Bowl
- Band Intros
- The Ballad Of John Henry
The post JOE BONAMASSA – Tales Of Time (Album Review) appeared first on Sonic Perspectives.
The Wrecking Crew scorches all in its path.For a band that has been trudging the dank swamps of metal’s thrashing edge for as long as the rest, Jersey’s original wrecking crew Overkill have never really garnered the level of commercial interest that has dogged their Big 4 contemporaries. But for those with any degree of familiarity with their sonic stock and trade, the question as to why answers itself, as this quintet of mosh pit builders don’t operate under the blueprint of mere commercial viability. Theirs’ has been an exercise in rugged consistency to the gritty, grimy, working class ideal upon which the very foundation of the thrash sub-genre stands, and they’ve held a near 100% consistency in adhering to its stylistic parameters despite some drastic changes in the market. Nevertheless, Overkill is not a band that simply plays it safe and settles for coloring within the lines either, and with the creation of their 20th studio album “Scorched,” they’ve opted to take a more varied approach relative to the warp speed brand of kinetic old school thrash that permeated their handiwork during the 2010s.
For the most part, all of the obligatory elements this band’s legions of green and black clad underground adherents have come to expect are kept in place, resulting in a sonic template that is equally as familiar as it is innovative. Now at the ripe age of 63, deranged vocal warlock and front man Bobby “Blitz” Ellsworth continues to belt out gravely banshee shriek that have caused some to dub him thrash’s answer to Udo Dirkschneider, though at a few key points he proves more than capable in toning it down a tad for a more haunting delivery. In like fashion, fellow co-founder and iconic bassist D.D. Verni’s dark and distorted bottom-end continues to be a staple of the band’s sound, riding high in the mix and enjoying an increased share of solo moments relative to the last few studio outings. Long time guitar duo Derek Tailer and lead wizard Dave Linsk continue battering the foundations of sonic possibility with a riff assault heavy enough to rival any mainstay from the Bay Area, with the latter’s technical high-jinks taking on a bit more of an old school heavy metal vibe this go around. Relative newcomer and drumming machine Jason Bittner reprises the thunderous intensity he brought to 2019’s “The Wings Of War” and has gelled fully with the band as if he’d also been sloughing away with them since the early 2000s.
The high impact world of green goblins with black hearts that comes with any entry from this outfit is plain to behold, yet the architecture that adorns the landscape this go-around is of a more multifaceted variety. From the opening stream of notes that Linsk paints over the introduction of this opus’ riveting title anthem “Scorched”, it becomes clear that a more melodic and measured brand of chaos is afoot, incorporating a dynamic blend of mid-paced crusher riffing and frenetic burst of speed that occasionally exhibit a power metal-like quality. Though it ultimately qualifies as an epic number, this opening assault definitely comes off as more concise than much of what typically rounded out a 2010s kill box, and it foreshadows a more streamlined, though by no means less intense album. Indeed, frenetic cruisers like “The Surgeon” and “Twist Of The Wick” hit the ground running with the same fervor as anything this quintet has drawn from their creative well since “The Years Of Decay,” ditto the riveting old school series of sonic booms dubbed “Harder They Fall”, but one can’t help but notice the increased level of intricacy going on behind Blitz’s relentless rants and raves.
Subtlety has never been a concept that applies to Overkill, yet when considering the construction of some of the less conventional thrashers found on this album, it’s the best word to describe the method behind their madness. At certain times the stylistic adventures outside of the band’s usual fair come in the form of an innovative introduction or a more hook-oriented harmonic scheme hearkening back to their mid-80s modus operandi, both of which adorn the otherwise conventional modern thrash anthem “Going Home”. Then again, pulling back the tempo and layering the guitars a bit finds shuffling monsters like “Wicked Place” and the closing puncher “Bag O Bones” reminiscing upon the groove metal-laced material that typified this fold’s 1994-2007 catalog. But for those who are curious at just how capable Overkill proves in throwing in a massive left-turn to spice up the witch’s brew, one need look no further than the duo of power anthems “Won’t Be Coming Back” and “Fever”, the former sounding dangerously close to something that Black Sabbath might have thrown together during the early 80s with Dio, while the latter begins and repeatedly refers back to an atmospheric mode of spacey balladry (complete with Blitz employing a signature clean sound heard occasionally since the mid-90s) that’s pretty close to a reinterpretation of “Planet Caravan”.
Perhaps the only thing more auspicious about this being Overkill’s 20th go at upping the thrash metal ante is that it just happened to coincide with the release of the most prominent pioneering outfit in the sub-genre’s latest studio LP, namely Metallica. Whether by a random coincidence due to scheduling or a rather curious marketing approach by Nuclear Blast Records, this eventuality draws a very relevant contrast between two different philosophies represented in two elder statesmen, and the contrast in the result is nothing short of stark. Opinions will naturally vary until the end of days, and popular sentiment will no doubt see Metallica continue to prevail as the most commercially viable expression of metal, but there is something to be said for a band that is untouched by the whims of critics and the fickle masses getting the job done with a greater outcome both in terms of quantity and quality. That’s the ideal that Overkill lives by, it’s the very spirit that stands behind that green and black flag that they continue to fly, and like nearly every LP that has come to light since 1985, “Scorched” is sure to rivet any and all looking for metal distilled to its nastiest and most combustive form.
Order “Scorched” HERE.
Released By: Nuclear Blast Records
Release Date: April 14th, 2023
Genre: Thrash Metal
Musicians: Bobby “Blitz” Ellsworth / Vocals * D.D. Verni / Bass * Dave Linsk / Lead Guitar * Derek Tailer / Rhythm Guitar * Jason Bittner /* Drums
“Scorched” track-listing:1. Scorched
2. Goin’ Home
3. The Surgeon
4. Twist OF The Wick
5. Wicked Place
6. Won’t Be Comin Back
7. Fever
8. Harder They Fall
9. Know Her Name
10. Bag O’ Bones
The post OVERKILL – Scorched (Album Review) appeared first on Sonic Perspectives.
“72 Seasons” is finally here. What does it bring? Well, I think is a another triumphant catalog entry for arguably the biggest metal band in the world, a record manages to strikes a balance between their early years and more recent output. Sporting gritty tones, dark and bleak (at times tormented) lyrics that pretty much dance with the exercise of confronting inner demons, squealing and impressive solos with a healthy dose of blues sprinkled throughout, steady bass and a guitar riffage that takes no prisoners, “72 Seasons” certainly evoke the “Kill ‘Em All” era, while the album’s construction feels like a seamless blend of the “Black Album” and “Load.”
Among the album’s highlights – and obviously skipping the 4 singles everyone and their mamma already listened to, a million times – “Chasing Light” stands out with its captivating guitar structures and memorable chorus. Hetfield’s screams harken back to his younger days, lending an air of nostalgia. The second track, “Shadows Follow,” is a jaw-dropping showcase of Metallica’s chuggy prowess, featuring an infectious riff and intense energy, arguably one of their most energetic songs in a long time. “Sleepwalk My Life Away” is a delightful groovy number that keeps listeners hooked, and while may be considered the album’s weakest track, it still maintains a strong sludgy vibe and serves as a great underdog entry. With a bass-heavy intro that gives way to a “Load”-era riff, it’s an ear-worm that’s hard to forget.
“Too Far Gone” pays homage to Metallica’s punk influences, creating an emotionally charged listening experience, one that kinda evokes the power of the live setting. Hetfield’s empathetic vocal performance ensures this track will quickly become a live favorite. Meanwhile, “Room of Mirrors” surprises with its engaging intro and masterful lyrical storytelling. Its harmonies, bass-lines, and quintessential riffs make it one of the strongest cuts on the album. Other noteworthy tracks include “You Must Burn!”—a heavy song that could fit seamlessly into the “Reload” and “Shadows Follow” also deserves praise for its heavy sound and perfect live-show potential, reminiscent of both “Ride the Lightning” and the “Black Album.“
“72 Seasons” Album Artwork
Metallica concludes “72 Seasons” with an adventurous, captivating, and fully-realized song that showcases them at their finest in decades. For some this track, named “Inamorata”, will be a grower, instead of instantly winning everyone over. Acting as some sort of an outlier, not only because it’s the longest-ever recording from Metallica with an 11-minute runtime, but also because it features a middle section with clean guitars, a departure from the fuzzed-out, plugged-in shredding that dominates the rest of the album; its Black Sabbath infused riffs, muscular guitar tones and bouncy licks – paired with the pounding core of the rhythm section – drive this behemoth’s twists, turns, somehow encapsulating all of Metallica‘s eras into one, emphasizing the primal essence of the band, adorned by simmering angst and a chorus that couldn’t feel more heartbreaking. In my opinion, “Inamorata” place in Metallica’s catalog is secured among non-mainstream favorites like “Orion,” “Fixxxer,” and “My Friend of Misery.”
Overall, “72 Seasons” is a compelling and powerful album that places Metallica back at the top of its game. With a diverse array of tracks that cater to every fan’s taste, it’s a bold and successful effort that cements their legacy as thrash legends.
Release Date: April 14th, 2023Record Label: Blackened RecordingsGenre: Thrash Metal
Musicians: James Hetfield / Lead vocals, guitars * Kirk Hammett / Guitars * Robert Trujillo / Bass * Lars Ulrich* / Drums
“72 Seasons” Track-list: 1. 72 Seasons
2. Shadows Follow
3. Screaming Suicide
4. Sleepwalk My Life Away
5. You Must Burn!
6. Lux Æterna
7. Crown Of Barbed Wire
8. Chasing Light
9. If Darkness Had A Son
10. Too Far Gone?
11. Room Of Mirrors
12. Inamorata
Order “72 Seasons” HERE
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A less trodden trail is blazed.
With well over a decade in the rear view since what has been dubbed the New Wave of Traditional Heavy Metal became a force to be reckoned with in the metal underground, some might say that the formula has been completely established, but they would be quite mistaken when considering the likes of California’s own Night Demon. Though an outfit that has been making waves since the early fringes of the 2010s, their presence would become better known at the very middle of said decade with their signing to Steamhammer Records and the 2015 unleashing of their debut LP “Curse Of The Damned,” an opus that arguably resurrected the old school NWOBHM sound in a place fairly close to where it was originally overshadowed by the glam-dominated Sunset Strip scene. The subsequent release of their highly acclaimed 2017 sophomore studio outing “Darkness Remains” would codify them as standard-bearers of the old school sound, yet only now 6 years later with the recent unveiling of their 3rd full length endeavor “Outsider” has this metallic upstart arguably tapped into their fullest potential.
At first glance, this latest installment of vintage heavy metal rage seems to stick closely to the familiar themes of swift, riff happy aggression that typified their previous album, but a closer examination reveals a band that has broadened their take on the power trio to a fairly different place. This mostly manifests in a greater degree of dreary, atmospheric tone to much of the songwriting and the album’s overall production that deviates from the expected mixture of Diamond Head, Tank and Iron Maiden influences that this group is known for wearing on their proverbial shirtsleeve. It doesn’t quite crossover into the realm of the sort of doom metal meets traditional stylings that one witnessed back in the glory days of Witchfinder General and Cirith Ungol, but it gets dangerously close at times, and sees guitarist Armand John Anthony touch up his affinity for Brian Tatler and Mick Tucker with some Tony Iommi trappings, while Dusty Squires’ drumming has definitely acquired a looser, almost jazzier affectation that occasional reminisces upon vintage Bill Ward high-jinks, while Jarvis Leatherby’s flashy, Steve Harris-inspired bass work often exhibits a wandering, Geezer Butler-like quality. Truth be told, the only element that has retained all of its familiar character is Jarvis’ mid-ranged, Algy Ward-like every man vocal persona.
The structure of the final product is no less intricate and evolved than the individual players that crafted it, and takes on a sort of vivid, almost theatrical character. Adorned with a somber instrumental at its inception simply dubbed “Prelude”, a clear signal of a change in direction is sent between the blend of 70s prog-like synthesizer lines and dense piano sound, as Leatherby’s bass drives things along with occasional interplay from the rest of the band. In essence, this is the sort of elaborate introduction that paves the way for something truly impactful, and it can’t be understated just how much of a triumphant fist in the air that the subsequent title anthem “Outsider” proves to be. Picture a brilliant blend of Iron Maiden-inspired melodic splendor from Jarvis’ bellowing baritone, a driving to thrashing drum display and an elaborate dance of flashy guitar work and one would still need a bit more to fully comprehend it all. A similar story is told with more of a jazzy shuffle at an even more blistering pace with the entry of “Obsidian”, possessing a dank and often haunting character that dovetails with some of the faster work of early Saint Vitus. Other fleet-footed bangers like “Rebirth” and “Escape From Beyond” prove to be fair from slouches as well, with the latter featuring one of the most thrilling spectacles courtesy of Anthony’s guitar work yet.
“Outsider” Album Artwork
Be this all as it may, the truly awe-inspiring moments of this well-crafted series of old school serenades come at a much slower tempo and in a far less triumphant air. Taking heavy cues from the traditional and epic doom trappings of Candlemass and Cirith Ungol, the slow-trudging dirge “Beyond The Grave” could have all but been accomplished by a different band save for Jarvis’ vocals, which brilliantly walk the line between a heartfelt croon and an agonized wail. The brilliance of the interplay between the instrumentation rounded out by these three surgeons cannot be understated, erecting a towering wall of sound and maximizing the dynamic capabilities within a doom setting masterfully, with Leatherby’s droning bass often resembling a tolling bell as the wild kit work of Squires continues to be on another level. The dreariness factor is increased further still on the woefully balladry of “The Wake”, which often draws from the blues/rock roots of Sabbath as it progresses from a subdued elegy to a metallic storm of grief, culminating in a less than subtle nod to Diamond Head’s “Am I Evil?” during the guitar solo at its tail-end. Functioning as a sort of extended successor to the aforementioned doom-drenched ballad, the closing epic number “The Wrath” draws the deepest from this outfit’s expansive well of ideas and demonstrates the widest dynamic range, often blurring the lines between doom and thrash metal in a manner highly becoming of a band seeking to recapture the unfettered stylistic character of early 80s heavy metal.
Thus far, there is a solid case to be made that Night Demon has truly come into its own and delivered something worthy of magnum opus status, though still a relatively young act in the grand scheme of things. It’s the sort of album that greets one with a very familiar set of ideas, yet keeps the listener guessing throughout, touching upon that progressive stylistic ideal that was a staple of the NWOBHM scene and often found the bands involved being comparable only in terms of their shared country of origin. Combined with the rare and arguably unconventional disposition of attacking the metal genre from the standpoint of a trio arrangement, this band has climbed the proverbial mountain and has shouted from its peak that old school metal is not a fad with a termination date. It is difficult to surmise where this California-based outfit will go next, let alone how they would go about topping this compact yet colossal collection of metal magic, but regardless of how things roll out, this is a band to watch regardless of what one’s preferred sub-genre happens to be.
Order “Outsider” HERE.
Released By: Century Media Records
Release Date: March 17th, 2023
Genre: Heavy Metal
Musicians: Jarvis Leatherby / Vocals, Bass * Armand John Anthony / Guitars, Keyboards * Dusty Squires* / Drums
“Outsider” track-listing:1. Prelude 2. Outsider 3. Obsidian 4. Beyond the Grave 5. Rebirth 6. Escape from Beyond 7. A Wake 8. The Wrath 9. The Last Day
The post NIGHT DEMON – Outsider (Album Review) appeared first on Sonic Perspectives.
It’s been roughly seven years since Chilean progressive rock sextet Aisles released their highly acclaimed fourth LP: 2016’s expansive and conceptual “Hawaii.” In that time, they’ve put out a handful of live material and even changed singers (swapping Sebastián Vergara with the equally capable, if notably different, Israel Gil). Thus, “Beyond Drama” arrives with plenty of anticipation and high expectations. Luckily, it satisfies them all, offering an intentionally more straightforward and hefty listening experience influenced by artists such as Rush and Porcupine Tree. What it lacks in diversity and epic scope (compared to its predecessor) it makes up for with increased immediacy and economical pacing, making it a distinctive yet fitting and rewarding entry into Aisles’ already commendable arsenal.
In the official press release, guitarist Germán Vergara calls the record “a brutal turning point,” explaining: “We went through this huge restructuring and the loss of some historical members. I would define it as a record of crisis, but also of inspiring moments. Crisis for the whole social and personal context – not that we had been in crisis during the process – but that we were interpreting a crisis of polarization, of a pandemic, of a certain desolation due to the confinement. And of course, we had to move on from the departure of my brother [Sebastián] from the band.”
Stylistically, he also clarifies that their “new creative direction” is about “trying to connect more with the public. . . . We wanted to pay a lot of attention to the melodies something that has been a signature of Aisles’ sound from the beginning of the band.” Produced and mixed by Vergara and Angelo Marini—with mastering by engineer Randy Merrill (Muse, Beck, Paul McCartney)—“Beyond Drama” manages to be more welcoming and catchy than the ensemble’s past works without sacrificing much, if any, of their characteristic complexity and charm.
Opener “Fast” establishes that style well, with hyperactive guitar riffs, feisty percussion, and futuristic effects evoking the cosmic intricacies of Animals as Leaders. At the same time, it’s quite accessible and decorative due to how its hooky verses and choruses (punctuated by emotionally resonant lyricism) coincide with delicate piano notes. In total, then, “Fast” works wonders as both an album kickstarter and an introduction to Aisles’ revised personnel and purpose.
That straightforward sophistication carries over to several other tracks, including the hauntingly intense “Disobedience,” the symphonically yearning “Needsun,” and the playfully urgent “The Plague.” Elsewhere, “Megalomania” (“an ode to darkness and . . . nostalgia,” according to Vergara) is beautifully grief-stricken yet spiritedly arranged and cleverly nuanced, with glimpses of powerful resolve complementing fragile realizations and instrumentation. Then, “Time (A Conversation with My Therapist)” transitions from a steadfast and empowering ode to a full-on celebration of counterpoints and quirky timbres in the vein of Gentle Giant and Beardfish. There’s also the delicately regal and morose ballad “Surrender,” as well as wild, Dream Theater-esque finale “Game Over,” to round things out.
“Beyond Drama” Artwork
Although every piece on the LP is at least very good, “Thanks to Kafka” is easily the weakest entry because it’s not particularly compelling musically or melodically. There’s not much to it (compared to everything else here), and honestly, the overtly rushed vocal phrasing during the chorus is awkward. That said, its “completely introspective” examination of “the idea of people who did not find answers to their existential problems or who lost the battle of life”—as Vergara puts it—is compelling lyrically.
That small gripe aside, “Beyond Drama” was undoubtedly worth the lengthy wait, as it finds the band in top form in just about every way. Plus, it’s a superb showcase for newcomer Gil, whose voice is bolder and less wispy than Vergara’s; as such, he’s not necessarily better or worse than his technically, but he’s likely the better fit for this material, at least. Either way, “Beyond Drama” proves that neither a prolonged hiatus nor a significant line-up change has diminished Aisles’ artistry. On the contrary, it’s easily among their most consistent and enticing LPs to date, so there’s no reason why fans shouldn’t appreciate nearly every minute of it.
Release Date: April 5, 2023Record Label: Presagio RecordsGenre: Progressive Rock
Musicians: Israel Gil / Lead vocals * Germán Vergara / Guitars * Daniel Concha / Bass * Felipe Candia / Drums * Juan Pablo Gaete / Keyboards * Rodrigo Sepúlveda* / Guitars
“Beyond Drama” Track-list:1. Fast
2. Megalomania
3. Thanks to Kafka
4. Disobedience
5. Time (A Conversation with My Therapist)
6. The Plague
7. Surrender
8. Needsun
9. Game Over
Order “Beyond Drama” HERE
The post AISLES – Beyond Drama (Album Review) appeared first on Sonic Perspectives.
With a growing extraversion and drive to innovate becoming increasingly apparent across the extreme metal world, it is no great shock that a band that prides itself on creating a delectable melting pot of sonic hodgepodgery such as Downfall of Gaia would release an album such as “Silhouettes of Disgust” which to my admittedly rather uneducated ears incorporates no fewer than 5 metal and rock genres across its fascinating 45-minute runtime. In many ways though, these influences are subservient to a Depressive Black Metal core, only accentuating it and providing thematic context. So then, is “Silhouettes of Disgust” a well-reasoned melding of contemporary sounds, or is it an unfocused morass, so preoccupied with what it “could” be that it forgets what it “should” be? Read on to find out.
It would be a lie to say that the very opening moments of “Silhouettes of Disgust”are well handled, a single bar of ambient noise precursors a slightly bland and poorly produced segment of traditional black metal riffage causing there to be a coarse transition into the album, but thankfully things are much better from the moment the prominent and punk-laced drumming becomes present in the mix, and the excellent vocals burst into the piece, they themselves a mix between the relentless anguish of a tormented soul and the anoxic throes of a sinner hanging alone from gallows of his own making. With competent song evolution shifting the track from punkier, thrash infused periods of relative of intensity to melodious post-rock/post-black segments brimming with a stoic beauty, an emotional gravitas is unerringly present across “Existence of Awe.”
Such subtle and tender emotional packaging is traded for cacophonous rage in earliest parts of “The Whir of Flies” which often sounds like this spiraling, tumbling trip to the bowels of hell, where upon reaching the bottom, you are bombarded with calciferous brimstone that sears and smites the landscape all around. Not to become too one note however, a resolved post-rock segment once again takes over the mid-section of the song, perhaps evocative to some of the feelings of sickening shame and guilt that come after an outburst of aggression, the ruminations of the chronically inexpressive, and the manifestation of internal wounds that can be held shut no longer, only to be poisoned by the air the eventually reaches them. The festering welts and tears ooze crimson recriminations deep to the thematic core of “The Whir of Flies” when things pick back up again in tempo and embrace a rather modern atmo-black aesthetic, with melancholic lead guitars angelically rising above a noisy and bellicose core, such a contrast perfectly encapsulates the dualistic nature of the track, and indeed the often-conflicting emotional interrelationships between negativity, rage, shame and remorse.
In some ways, the less rigid and formal structure offered by genres that remain largely untouched by grubby hyper-corporate hands offer the most conventionally unpalatable aesthetic approaches, allowing themes and compositional angles to be melded together in ways often sublime. Such notions are evidenced in tracks such as the opening two of “Silhouettes of Disgust” whereby topics most uncomfortable are combined with genre-bending idealistic extravagance into a veritable bonanza of rare-as-platinum virtuosic gravitas.
Melodies of unrelenting desperation abound in “While Bloodsprings Become Rivers” which is a progressively more deranged and forlorn affair by the second, with a sonic evolution that cuts deeper and deeper with every passage that is expertly woven into the composition, each segment building upon the momentum given by its antecedent with unerring aplomb. A track best enjoyed alone, in the dark, perhaps even in the freezing cold, a grave seriousness pervades all of “While Bloodsprings Become Rivers” allowing a full emotional range to create an introspective mood deeper than any ocean, more profound than many other works – even within a genre known for such a sound. A truly beautiful song, if only beautiful in the sense that there is beauty in chaos and annihilation to the ear trained and the mind receptive to such a sentiment.
Occasionally, there’s a predilection in modern metal to underutilize the bass guitar, but thankfully Downfall of Gaia understand how effectively they can be used to create an enjoyable opening to a track. “Bodies as Driftwood” is opened with a delightfully morbid yet undeniably groovy bass line with sparse percussion – an approach later repeated after a more traditional black metal segment of the track, albeit with some vocals layered in. However, I wouldn’t say that “Bodies as Driftwood” is a particularly distinctive track amongst the others on “Silhouettes of Disgust” save for this. Though with the average quality of the tracks on the record being higher than that time you smoked weed in 11th grade through an apple bong whilst listening to Pink Floyd, it’s safe to say it doesn’t lower the quality of the album in any way.
“Silhouettes Of Disgust” Artwork
I think the only way I can correctly convey the feelings of listening to this album is to be personal, to be unashamedly emotional, to confessionally express how the album does link to memories of darkest personal moments, not because I am unique in having them – far from it; but because this album is dark, it is personal, it’s got slithers of nostalgia soaked in dejected melancholy, occasionally, resplendent sunbeams of hope come through the cracks of the sonic oubliette only for them to be blotted out by the omnipotent monochrome of depression made audible inherent in the blackest, harshest, most unrelenting periods of “Silhouettes of Disgust.”
A harrowing spectre, or perhaps I should say “silhouette” stalks a fair chunk of “Eyes to Bruning Skies” which dips it’s toes into the gloomy, hazy death march that is funeral doom. A stripped back sound with excellent female vocals comprises the first quarter of the song, before it explodes anew into a rapacious, vicious jaunt of uncontained retribution, lashing out like a bear in a trap, making itself heard like a partisan in front of a firing squad, screaming out into the night as if it could beat it into day. Alas, an utter decimation of any fighting spirit occurs, and once again you’re catapulted into an abyss seemingly without end, in the trademark style which “Silhouettes of Disgust” has coined by this point in its duration.
Sixth track “Final Vows” is a rather unique track on an already genre blending album, not thematically, despondency and ennui still abound across the track, but with a disjointed and fractured nature (in the best way) being apparent at points in the track before meeting a more blackgaze approach harkening visions of Harakiri For the Sky, “Final Vows” feels both more like what you’d expect to hear out of a modern extreme metal band, and yet somehow within the context of the album, fresh and exciting. This clever nod to a contemporary style embedded within a distinctive context is both perfect in terms of positioning within the album and also in the way it is handled. It manages to hit all the hallmarks of Downfall of Gaia’s sonic base whilst simultaneously providing a greater level of accessibility via a re-contextualized application of an otherwise common sound. To make the unoriginal seem original, and nay even be original is no mean feat, and, ironically, could constitute a creative risk on the part of Downfall of Gaia, but they do not faulter here – not even slightly.
This sort of framing within the album is just one part of a cohesive set of impressive abilities displayed by Downfall of Gaia beyond that goes beyond their impressive musicianship itself. Not only have they seemingly ordered the album properly, but they’ve also, barring a slight wobble in the very opening moments of the album, managed to successfully toes the line between harsh and abrasive production that conveys a homegrown, almost outsider edge, and a professional production job that manages to allow the beauty of the instruments to stand out, and not get lost within the mix. It’s hardly ground-breaking stuff, but it is an important part of why exactly “Silhouettes of Disgust” is so listenable and full of quality.
Lulling us towards the final portion of the album is the venerable “Unredeemable.” It’s another song that just exudes beauty, but of the heart-breaking kind, of the kind that is distinctly human, one that speaks to the human spirit and ineffable optimism that hides within us, one that when confronted by the obscene, the upsetting or the unsettling, decides to find a way to appreciate what it witness, one that defiantly lights a flame in order to melt the vile ice of resignation. In this song, a part of us lives, a part of us is provided a spotlight befitting of its importance to our existence – whether or not we choose to embrace it consciously, or if it resides in a deepest recesses of our unknowable minds. To be this late into an album and to still be beguiled by tracks such as “Unredeemable” is a testament most sincere to the breadth and depth of feeling and sentiment that pervades the album, and this song in particular could not really do it any better than it does with its wonderful melding of genres, immense vocals, jaunty yet impactful percussion and resolved yet energetic energy.
Left with the lofty task of providing a fitting end to “Silhouettes of Disgust” “Optograms of Disgust” doesn’t shirk its responsibilities. Combining the sombre moodiness, technical proficiency and outstanding track evolution that is common across the whole album, “Optograms of Disgust” successfully exalts the work done previous to it in the most ingratiating fashion. It doesn’t deviate from the overriding formula of the album, and frankly, why should it? Instead, it simply focuses on providing a small taster of everything brought into the album thus far. Whilst not the finest track on the album, it sits in the top half of them for sure. It’s probably just as well that this is the final track on “Silhouettes of Disgust” however, as within a few minutes of the end, I was beginning to tire of it all ever so slightly – not to blame “Optograms of Disgust” for this however, and perhaps is more of a rumination on how around 45 minutes tends to be the best length for an album of this type.
Ultimately, “Silhouettes of Disgust” takes a depressive black metal core and blends it with a smorgasbord of different elements, stylistic approaches and vibes and smashes them together into a resounding success. Whilst it keeps its experimental nature on the downlow within the compositions themselves, this wonderfully expressive and heartfelt melting pot is not just a great album, but a shoe-in for my personal Album of the Year.
Released By: Metal Blade Records
Release Date: March 17th 2023
Genre(s): Depressive Black Metal / Blackgaze / Hardcore
Musicians: Dominik Goncalves dos Reis / Vocals, Guitars * Peter Wolff / Vocals, Guitars * Anton Lisovoj / Bass, Vocals * Michael Kadnar* / Drums
“Silhouettes of Disgust” Track-Listing:1. Existence of Awe 2. The Whir of Flies 3. While Bloodsprings Become Rivers 4. Bodies as Driftwood 5. Eyes to Burning Skies 6. Final Vows 7. Unredeemable 8. Optograms of Disgust
Order “Silhouettes of Disgust” HERE.
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Launching a debut solo album can often be an exercise in patience and tenacity. All the more reason that Matt Dorsey must be feeling triumphant right about now. Most prog fans who know his name have likely heard his playing in Sound of Contact or on one of Dave Kerzner’s other projects like In Continuum. Whereas SOC bandmates Kerzner, Simon Collins and Kelly Nordstrom have gone on to record multiple releases in the subsequent years (check out recent “The Traveler” and “The Architect”), we haven’t gotten to know much about Dorsey. Until now.
“Let Go” is a power-packed half-hour of short melodic rockers with a shimmer of prog to them. Dorsey sings and plays most everything himself including drums but he brings in the big guns for a few tunes each: the mighty Marco Minnemann and his former Progject mate Jonathan Mover. He even skillfully mixes the album, with mastering by Andy VanDette, and the results are impressive. This is an album that sounds great from a fidelity, songwriting and musical standpoint. After debuting many of these songs on stage at last autumn’s ProgStock festival, Dorsey is finally letting the world experience his studio skills first-hand.
Ironically, “Castles Made of Sand” opens like a Kerzner album with its piano proclamation setting the tone. Dorsey’s vocals quickly make their entrance, harmony overdubs providing a rich presence, though intentionally restrained in their delivery. “Compromise” quickly follows with a lilting 3/4 time signature and we get to hear Dorsey’s singular voice more clearly. It’s a sweet discovery. There’s a quality very similar to that of Duncan Sheik, particularly with the harmonies chosen, which is extremely satisfying. “Will you compromise all the colors in the skies, will you convince your heartbreak all of your lies, just so you can say you were always true?”
“Let Go” Album Artwork
Unmistakably, Minnemann enters on “Waiting For the Fall” and here we’re treated to the only other guest appearance on the album, a very Tony Banks-ish keyboard solo delivered by Kerzner himself. It’s a wonderfully aggressive song which continues on the subsequent “Man”. Boasting a U2-flavored rhythm section, Dorsey’s muscular bass playing comes to the fore as Minnemann goes to town on the drum kit. Dorsey even gets in a prog keyboard solo of his own at the end. Play this loudly while cruising with the top down.
“Impossible Friends” introduces a Spanish flavor in its acoustic guitar and piano playing. This clever composition finds Dorsey’s voice low in his register for the verses, only to climb for a soaring chorus. Not sure why we don’t have some castanets in the mix too but nevertheless this is a very welcome splash of color to broaden the album’s scope. “Echo” brings an upbeat foot-stomping rhythm to it with an acoustic foundation, as if inspired by second side of Zeppelin III. Although it sounds like he’s singing “Let go” in the chorus, that’s actually the next song, another rocker propelled by guitar and Minnemann’s drums. “Dangerous” wraps things up which, despite its title, is actually a jaunty love song, leaving us humming along as the song fades out too soon.
With a running time of 30 minutes, this reads more like an EP than a full-length release. Yet strangely the listener is so generously rewarded throughout with memorable hooks and melodies that we don’t feel wanting. There’s few solos or indulgences here, just great songs that are well arranged and performed. And if the urge for a little more does strike, it’s very easy just to hit play and start right from the top again.
Released By: Independent
Release Date: April 7th, 2023
Genre: Progressive Rock / Pop / Rock
Musicians: Matt Dorsey / Vocals, guitars, bass, keys, drums, percussion * Dave Kerzner / Keys on “Waiting For The Fall” * Marco Minnemann / Drums on “Let Go”, “Waiting For The Fall”, and “Man” * Jonathan Mover / Drums on “Castles Made Of Sand”, “Impossible Friends”, and “Echo”*
“Let Go” track-listing:1. Castles Made of Sand
2. Compromise
3. Waiting for the Fall
4. Man
5. Impossible Friends
6. Echo
7. Let Go
8. Dangerous
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Twenty years.
It’s been twenty goddamn years since I’ve anticipated an album as much as I’ve anticipated “Exul.” And like “Exul,” that last one was also a followup to a record that, to my ears, repaved the prog metal path. And to my ears, that last anxiously-awaited album, Evergrey‘s “Recreation Day,” was a massive letdown, a limp successor that in retrospect could not have possibly lived up to the eminence of the record it followed. I was crestfallen.
“Exul” is not a letdown. Hell, even if “Exul” consisted entirely of its lead single “Equus,” it would be a worthy successor to 2017’s “Urn,” a record whose gravity and thoughtfulness left very little to desire. “Equus” opens with Martino Garattoni‘s pulsating bass and now-former drummer Dan Presland’s almost tribal tom-work unnervingly re-introducing us to the unsettling, dissonant riffs of Matt Klavins and Benji Baret. But no sooner than they unsettle us, violinist Tim Charles‘ soothing strings enter the mix and remind us that this raging brutality overlain with unspeakable beauty is the essence of the Ne Obliviscaris sound: it is at once complex and vengeful, serene and savage, and is the face of the modern era’s most elegant iteration of progressive metal. I never would have thought that “Images and Words” would one day lead to this, but holy fuck am I grateful it has. Seldom has the gentle violin paired so perfectly with the blast beat.
Charles takes the first vocal on “Exul,” his gentle voice a worthy counterpart to his violin. Charles‘ voice carries the clarity of a young LaBrie with a warmth that the Canadian wailer has always lacked. It has an earthier but by no means dirtier character that befits the tense nature of his band’s sound, and feathers rather than charges its way atop Klavins’ and Baret’s halcyon acoustic strumming and Garattoni’s jazzy throb, the transition into which is as organic as the violin it follows. Things expectedly but not predictably heavy up with the earlier dissonant riffage and percussive fury as bandleader Marc “Xenoyr” Campbell boasts some of the most menacing roars of the post Åkerfeldt/ Swanö era, a cherry atop a dessert that can only be described as progressive death exquisiteness. And this is scarcely a minute into the opening cut. A string and acoustic led interlude lead us to the “Equus” climax, where the left-handed Baret opens his blistering but by no means showy solo skills with some discomforting harmonic dive bombs before he expertly leads us to a string-skipping apogee that recalls the shredders of yore without aping them, as Charles chillingly begs for release underneath. Xenoyr takes our distress multiple steps further as the song draws to a close, leaving us in stunned sobriety as all abruptly ends. Stated bluntly, the sound of “Equus” is the sound of perfection.
Another in a long string of two-part centerpieces (see “Libera” or “Devour Me, Colossus”), “Misericorde” wastes zero time kicking us in the skulls, immediately crushing us with the abrasive riffery for which NeO is known. An atonal string break offers a cold bit of comfort before Baret briefly struts his stuff. It should be noted that “Exul” allows Klavins and especially Baret more room to shred than “Urn” did, but they wisely choose to keep their boastfulness to a minimum. For all the shred-happy moments “Exul” offers, absolutely none of it is done in service to the ego. There’s plenty of wankery for you to dive into if you feel like trudging through metal’s infancy. This? This shit’s refined, string quartets and rim-shots over relentless brutality and all. The mostly instrumental “Misericorde II: Anatomy of Quiescence” opens thusly but quietly, allowing Charles to solo away in a weeping, wistful manner that few instruments other than the violin allow. Baret then takes a jazz-inspired solo that delves into the fjoory-filled metallic rage as his companions join in on the fun. The song then takes a tense turn, as Baret and Klavins chug away in mesmeric repetition that suggests they’ve taken a liking to “Coal” era Leprous. They hypnotically hold us longer than most pop songs last as Tim and session stringer Emma Charles lull us further into trance as the song re-intensifies into another expertly-built apex. “Misericorde” is unquestionably a fine addition to its epic multi-part predecessors, and any disregard to this fact is done at the peril of those who deny its glory.
“Exul” Album Artwork
“Suspyre” and “Graal” continue in the vein NeO has long established: both are eventful and plenty heavy, with the former beginning nearly like a baroque take on “Gates of Urizen,” and the latter benefiting from a brief band tacet as Charles completes a thought. Neither break new ground for the band or the genre, and they don’t really need to do that; sometimes, mere excellence is enough. “Exul” closes with a brief piano-led passage that allows Charles to channel his inner Einer Solberg. My more critical half insists that “Anhedonia” could have better been utilized as part of a larger piece, like an intro or interlude. My more sensible half reminds me that only NeO knows NeO the way NeO does, so I keep my stupid trap shut. “Exul” was, after all, birthed just as life came to a screeching halt in March 2020, and while everything certainly sucked for all of us during that time, the global shutdown afforded “Exul” that must more time to gestate. These six cuts weren’t merely borne fully grown, they were borne fully evolved. And that evolution coming from within a unit that was already pushing progressive metal’s boundaries is a phenomenon us prog nerds must not ignore. It’s often joked that Australia tries to kill those who tread upon it, but it is breathing new life into a genre that’s often accused of succumbing to its own pretensions.
Order “Exul” HERE
Released By: Season of Mist
Released On: March 24th, 2023
Genre: Extreme Progressive Metal
Musicians: Marc “Xenoyr” Campbell – Harsh Vocals * Tim Charles – Clean Vocals, Violin, Viola, Keyboards * Benjamin Baret– Lead & Acoustic Guitar * Matthew Klavins– Guitar * Martino Garattoni – Bass * Dan Presland –* session drums / Choir
“Exul” track-listing:1. Equus 2. Misericorde I – As the Flesh Falls 3. Misericorde II – Anatomy of Quiescence 4. Suspyre 5. Graal 6. Anhedonia
The post NE OBLIVISCARIS – Exul (Album Review) appeared first on Sonic Perspectives.
How can an artist create a transformative experience of the highest order with three songs alone? If anyone were capable of this feat, it would be metal’s most impressive maverick: Ihsahn. At only fourteen minutes long, “Fascination Street Sessions” may feel like fleeting euphoria, but it proves an inimitable gem that will forever shine upon the crown of Ihsahn’s discography. This latest sample of Ihsahn’s creative genius is absolutely worth an in-depth dissection, but for those who would rather pass over a review that reads more like an essay, take “Fascination Street Sessions” and go forth with jubilee. This is Ihsahn at his very best.
Ihsahn has produced a veritable feast of music for listeners to gorge themselves upon. From Emperor’s timeless black metal epics to his ever-evolving solo project, Ihsahn has spent the last thirty years in a state of ceaseless creation. In fact, between 1994 and 2018, Ihsahn went no longer than approximately two years without releasing a full-length album. So for fans accustomed to an endless aural feast, the last five years have been a relative famine.
The welcome darkness of Ihsahn’s last studio album, “Amr,” greeted the world in early 2018. Two more years would pass before the arrival of two distinct EPs, titled “Telemark” and “Pharos,” each containing three original tracks and two covers. And before one can truly pull apart the decadent and bite-sized EP “Fascination Street Sessions,” it is essential to glance at these two preceding EPs, as well as the creative activities that have kept Ihsahn busy in the interim years.
“Telemark” was released on Valentine’s Day, 2020. This date is particularly appropriate, as “Telemark” serves as a love letter to Ihsahn’s early career. Raw black metal is peppered with earth-splitting screams on the fierce “Stridig,” and then this darkness is further infused with the familiar keening of Jørgen Munkeby’s saxophone. The addition of sax to metal may no longer be viewed as a novelty, but as the 2000s bled into the 2010s, it was Ihsahn who pioneered this brand of brass-textured extremity with his album “After.” A frenetic touch of jazz became something of a signature for Ihsahn, and this iconic style has reappeared as a staple throughout his solo project’s discography. As for the expansive soundscapes on title track “Telemark,” one instantly finds themselves whisked away to Norway in the 1990s, where black metal began to blossom and Emperor laid its roots. Ihsahn has consistently expanded his skillset along with his creative inspiration, and although he has traversed genres from avant-garde to spoken word poetry, he has always been seen as one of black metal’s most essential founders. “Telemark” steps into this familiar realm and embraces the image that has come to define Ihsahn’s career. This is the core of who Ihsahn was in his youth, who he still may be at his heart, and how the world may always see him.
“Pharos,” however, proved to be a far cry from the biting chill of snow-covered Norwegian forests. Replete with soft melancholy, “Pharos” has the spacious and delicate appeal of pop-driven progressive rock. There are no screams, the harshness traded out for Ihsahn’s melodic clean vocals, and guitars reverberate gently rather than distort. The ominous atmosphere that drapes itself over most of Ihsahn’s work is surprisingly subdued. “Losing Altitude” builds itself on furls of low-hanging smoke, while title track “Pharos” breathes with the beautiful indifference of a violent summer rain. Some were surprised by the choice of covers on the album, namely A-Ha’s hit “Manhattan Skyline,” which featured Einar Solberg on vocals. For those that have followed Ihsahn and his work for some time, this should be an obvious choice to join the collection of cover tracks. Ihsahn has not concealed the fact that pop rock artists have been an important part of his musical journey, and given that A-Ha is a Norwegian-based pop-rock icon, there’s little surprise that this song has been carried with Ihsahn for some time. While Ihsahn had taken incremental steps across styles between prior albums, “Pharos” took a bold dive headfirst into uncharted territory, and in doing so revealed a sorrow-tinged tenderness that had not been known to Ihsahn’s mainstream image. To hold “Pharos” in one’s hands is to be entrusted with a precious gift, granted a glimpse at a brand-new chapter of life.
A love letter to all that has been, and a declaration that reveals a new dimension to a well-beloved icon. These EPs are two halves of one whole, and their physical separation speaks their story almost as loudly as the music itself. Almost three years later, where does that leave “Fascination Street Sessions?” As it turns out, this is the natural next chapter for an artist who has not just made himself through ongoing stylistic evolution, but as an artist who has had a longstanding interest in music production. Ihsahn teamed up with Trivium’s Matt Heafy in 2022 as the producer for Heafy’s solo project. Ibaraki’s black metal debut, “Rashomon,” was met with an overwhelmingly positive reception, and Ihsahn was noted as an immutable key to its success. So when Ihsahn entered Fascination Street Studios, he did so with the purpose of creating content for URM Academy’s online educational program for music production. Joining him was Fascination Street Studio’s acclaimed engineer/producer Jens Bogren (Opeth, Dimmu Borgir, Arch Enemy, Powerwolf), as well as Ihsahn’s long-time drummer Tobias Ørnes Andersen. Keyboard player Øystein Aadland was a new addition that joined in on this endeavor.
Ihsahn has worked with Bogren for the better part of a decade, and this time the pair worked together to create a thorough course in music production, the content spanning from pre-production through final master. Not only did Fascination Street Studios gather the best talent in the business, this talent was able to work with high-quality instruments and top-tier equipment. The demos used to create this course were eventually compiled into “Fascination Street Sessions.” And while the course itself will later be released through URM Academy, this EP is a first glimpse of the fruits of their labor.
One must wonder how much this fundamental difference in purpose influenced the course of songwriting and the creative process. Not only was there an exceptionally diligent focus on production, but “Fascination Street Sessions” is essentially the textbook made to accompany a classroom lecture series. Granted, it’s a more inspiring textbook than most academics will ever produce, but it is a learning tool nonetheless. The primary benefit from this unique approach is apparent in the unparalleled production quality across the EP. In fact, the production is as close to perfect as one could ever conceive for a piece of music. “Fascination Street Sessions” captures an immense amount of detail in a beautiful sonic balance, each unique element integrated flawlessly, and its vibrancy matched by masterfully diverse songwriting. There is no shortage of appreciation for the pure technical foundation that makes this EP come together so comprehensively.
“The Observer” is the focal point of the EP, and it rightfully leads the charge as one of Ihsahn’s most immediately captivating tracks since “Arktis.” Some of this magic comes from the newest weapon in Ihsahn’s arsenal: the seductive tone of Aadland’s euphonic crooning. These clean vocals are as rich as honey, and each word drips with dripping with temptation and emotion at every word. Once Ihsahn’s growls join the fray, his abrasiveness is met with the amorous intonation of Aadland’s hushed poetry. The disparate duet washes over the listener in a pleasant wave of fire and ice. This contrasting interplay is present in all elements of the track, including guitars that dance fluidly between distortion and acoustics, and a rhythm section that uses progressive tendencies to keep an ongoing momentum.
Adding to the warmth of both “The Observer” and all of “Fascination Street Sessions” is the presence of a lustrous organ weaving its way into the heart of the EP. This additional layer of depth is supplied by a vintage Hammond in Fascination Street Studios, and similar effects are achieved with a combination of digital and analog techniques. When it comes to the depth of the instrumentals, it’s crucial to note that Andersen is also at the absolute top of his game. It feels as though Andersen and Ihsahn have become extensions of each other, their roles intertwined with inseparable chemistry, a union so sincere that they match one another with every step. From the gentle rolling percussion that urges “The Observer” forward to the demanding punishment of “Contorted Monuments,” this EP proves to be a tremendous highlight of Andersen’s ever-maturing skills.
While “The Observer” may lean into the darkened rock atmosphere that sculpted much of “Pharos,” lead single “Contorted Monuments” brings back the familiar flames of blackened intensity. Its opening riff is an infectious hook that will echo as a welcoming motif, and this passage is shortly followed by a blistering solo that even further ensnares its prey. The rest of the track drags the listener between two extremes, dragging them underwater before allowing them to claw to the surface, just a few precious moments to gasp for air. This austere atmosphere is accomplished by Ihsahn’s biting screams building with fervent zeal, the tension rising as he dials up the intensity with a punishing chorus, touching upon a scorching summit of fury before it comes crashing down into a soft rock refrain. Although he has long used clean vocals in his solo work, it is clear that Ihsahn’s vocal capabilities have expanded in their breadth, with both “Pharos” and “Fascination Street Sessions” as prime examples of just how mellifluous they have grown to be. An already varied body of work and talent is made even more diverse by the ability to switch seamlessly between scorching rasps and melodic verses.
In both “The Observer” and “Contorted Monuments,” attention is owed to the sheer skill and complexity of the lead guitar. Ihsahn’s expertise with the instrument has been long recognized as a cornerstone of his work, but the atmospheric intensity of “Fascination Street Sessions” makes it easy to get lost in the profound feelings that the EP invokes, rather than appreciating the musical skill Ihsahn brings to the table. “Fascination Street Sessions” is chock full of solos, riffs, and melodies that vary from distortion-ravaged to clean acoustics. Some of these solos are short, merely a few moments of tantalizing excellence, while others sink in their teeth and refuse to let go. The listener is absolutely at the whim of Ihsahn’s skills as he crafts opulent stories with his instruments.
The final track of “Fascination Street Sessions” is a cover of the song “Dom Andra,” originally by the Swedish pop-rock band Kent. Although the band never quite rose to popularity in the United States, they were a mainstay in Sweden and the other Nordic countries, so much so that “Dom Andra” won Sweden’s Song of the Year award in 2002. The execution of “Dom Andra” is reminiscent of Ihsahn’s take on Portishead’s “Road,” the closing track of “Pharos.” But what brings “Dom Andra” to the next level is Jonas Renske of Katatonia on vocal duty. This modern and slightly-blackened rendition is largely true to its original, capturing the dark synths that were popular at the time, as well as the saturating despondency that unwinds as the track progresses. Renske’s voice is so imbued with emotion that it is effortless to sink into the story that unfolds, regardless of one’s ability to understand the language. Ihsahn has shown once again that no genre can confine him, and that no matter what ambitious endeavor he undertakes, he will excel in its execution. Whether this is using additional talent, like Renske and Aadland, or wading into the mellower tides that pop and rock have to offer, Ihsahn will create something incredible.
“Fascination Street Sessions” is a beautiful display of talented production, virtuoso musicianship, and Ihsahn’s wholehearted embrace of pop-rock influences. Does this mean that Ihsahn is abandoning his extreme metal roots? That doesn’t seem likely. There’s little question that Ihsahn’s heart still belongs to extreme metal, that blackened kingdom in which he has long been crowned as one of its princes. “Fascination Street Sessions” stands out as much as it makes an important statement as to his skills, continuing interests, and ever-evolving abilities. Yes, Ihsahn is a black metal artist, and perhaps that is all some people will see in him. But he is so much more. He is an innovator, an educator, a talented producer, just to name a few. At only 47 years old, his career is still relatively young. We would only be so lucky if he continues to share the results of his ongoing evolution and passions for years to come.
Release Date: March 24th, 2023
Record Label: Candlelight Records
Genre: Progressive Metal /Progressive Rock
Musicians: Ihsahn / Vocals, Guitar, Bass * Øystein Aadland / Keyboard * Tobias Ørnes Andersen* / Drums
“Fascination Street Sessions” Track-list:1. 1. The Observer 2. Contorted Monuments 3. Dom Andra (Kent cover) (feat. Jonas Renske)
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When a band who makes a comeback after being on ice for decades is actually called Ice Age, well, there’s a mammoth temptation to unearth waves of puns at the expense of their glacial pace. But we’ll spare you the jokes and get down to the music which is plentiful and impressive. After two notable releases – particularly the praised debut “The Great Divide” in 1999 – the band briefly changed their name to Soulfractured before disappearing from the scene. With guitarist Jimmy Pappas not even picking up a guitar for a good 10 years in the aftermath, any hopes of a reformation looked unlikely until a neighborhood barbecue rekindled friendships and stoked a dormant ember of inspiration. It wasn’t long until the call for a continuation came into play and after a few years of writing and a subsequent pandemic, the band was ready to unleash their third full-length album.
Despite the lengthy sabbatical, it seems like the band picked right up where they previously left off. Indeed, it’s somewhat uncanny how the third album seems like the next evolutionary step the band could have taken 20 years ago, but fate required a much longer pause. This is great news for long-time Ice Age followers as there is certainly no question as to whether or not the band’s still got it. Undeniably, the songs are strong and the performances remarkable. If anything, the band is more of a powerhouse now than they were at the turn of the century. With 3 of the 4 original members still in the lineup, it truly does feel like their heart and soul are still intact. It should already be clear that if you’re a veteran fan of Ice Age, your best bet is to go out and pick up “Waves of Loss and Power” if you haven’t already. You won’t regret it.
At this point we should be left with anyone who is new to Ice Age and wondering what it’s all about. As a melodic prog metal (with a small “m”) band that specializes in hooks and memorable twists, Ice Age bridges the gap between Styx, Saga and Dream Theater. Singer and keyboardist Josh Pincus carries more than a few similarities to Dennis DeYoung, while drummer Hal Aponte reveals his Rush influence via a fury of hits throughout the album. The heavier bands from the past few decades come to bear in Pappas’ playing who thoroughly resuscitates his own abilities, while newer bassist Doug Odell ably covers the bottom end with runs and groove. It’s an exciting and stimulating blend of inspirations coming together to deliver modern prog in prime form and who better to capture all of this on tape than Rich Mouser at the mixing desk. With this combination at hand, it’s little surprise that “Waves of Loss and Power” ended up being as good as it is.
“The Needle’s Eye” is a confident hard-hitting opener. Chosen as the first single, it may mislead newcomers as to the breadth of the rest of the material but it nevertheless clears out the cobwebs pretty quickly with insistent riffage alongside percussive pounding. “Riverflow” brings on the prog-rock and is a highlight of the album, weaving together piano and gorgeous vocal melodies from Pincus with good rock sensibilities from the rest of the band. There’s plenty of Pappas’ tasty guitar sprinkled throughout, with a spectacular solo about two-thirds the way through.
“Waves of Loss and Power” Album Artwork
A couple of epics tie a connection to the earlier albums in classic proggy form. The majestic “Perpetual Child Part II (Forever)” is a clever bridge to the debut album, given that Part I was one of their most celebrated songs. Although the band claims not to have initially planned for a sequel, once the newer themes started to bear similarities to the original, the thematic connection took on a life of its own. The same can’t be said for “To Say Goodbye” which Pincus intentionally approached as a possible continuation, beginning with a brief piano instrumental as “Part IV (Remembrance)” before leading into soulful closing epic “Part V (Water Child)”. Although it eventually fades out after 15 minutes, the band is still raging and sounding like they have another round in them.
In between, there’s a run of shorter songs which show that the band excels in that form as well. “All My Years” highlights a punchy chorus while “Float Away” rides on a moving Odell bass line and compelling hooks in just over 4 minutes. “Together Now” stretches out a bit longer at 8 minutes, which ends up feeling like the ideal span of time to display all that Ice Age is capable of without lingering too long. It’s another high point of the album as Odell again comes to fore on bass.
Boasting well over an hour of running time, there’s been no lack of new inspiration accompanying Ice Age’s second coming. While a classic running time of 45 minutes is more digestible, it’s hard to blame them for not holding back with so much to say after all this time. The bottom line is whether you are a newcomer or a fan from ages ago, this is a welcome new release which fits 2023 like a glove. (puns withheld)
Released By: Sensory Records
Release Date: March 10th, 2023
Genre: Progressive Rock
*“Waves Of Loss And Power“ Track Listing:*1. The Needle’s Eye
2. Riverflow
3. Perpetual Child, Part II: Forever
4. Together Now
5. All My Years
6. Float Away
7. To Say Goodbye, Part IV: Remembrance
8. To Say Goodbye, Part V: Water Child
“Waves Of Loss And Power” was released on CD and digitally through Laser’s Edge division Sensory Records. Order the CD at the label web-shop HERE , the standard digital version HERE and the 24-bit hi-res version HERE.
Waves Of Loss And Power by Ice Age
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T-minus three… two… one…
Whispers of spring fill the air as new life unfurls its leaves. The grey clouds of winter begin their hesitant retreat, and an endless breadth of blue sky is revealed once more. And in looking up at the vast expanse of the heavens, it’s impossible to ignore call of the celestial bodies far out of reach, beckoning mankind on its next great adventure. Of the many minds that have pondered what lays beyond our solar system, Scorched Moon is the latest band to let their imagination run wild and create a work of art for us earthbound souls to lose ourselves in.
More than a decade in the making, this Georgia-based quartet now present their debut album, “Obsidia.” The band was originally formed in 2012 by vocalist and guitarist Trapper Lanthier, and while its roots were first laid in Savannah, the current iteration of the band is based out of Atlanta. After a hiatus, relocation, and adjusted lineup, Scorched Moon finally found themselves on steady feet. And while Scorched Moon may only now be debuting their first full-length album, they have been a familiar sight in the southeastern metal scene over these last few years. Their accomplishments include sharing the stage with the likes of Aether Realm, Wilderun, and Oceans of Slumber, among many others.
“Obsidia” puts forward a familiar and ever-tempting proposition: progressive metal that carries the listener between faraway stars. This is a project that is driven by its songwriting, with a bombastic sci-fi adventure overlaid. There may be many other spacefarers in the genre, but Scorched Moon look to set themselves apart with decadent keyboard melodies, a rich variety of vocal techniques, and a dynamic approach to album-based storytelling. “Beyond the Singing Stars” is an aptly named track, and it is one replete with dreamlike instrumentals, every passage glowing with the warmth of a distant sun. This carefully constructed composition is a prolonged instrumental foray that spans more than five minutes of technically complex riffs, each new movement dancing in a seamless duet with the keyboard’s melody. Such inspired sonic architecture is the paragon of what Scorched Moon is capable of, and it sends this song out into the world with frenetic fury and passion.
Closing track “Doubt” is a melancholic and spiritual counterpart to this exemplar spark. Where “Beyond the Singing Stars” is a ball of fiery hydrogen, “Doubt” carefully traverses the textures of a cold, empty vacuum. Never picking up speed beyond that of a winding ballad, the beautiful piano on display truly sets the atmosphere for a satisfying conclusion. It also features some of the essential vocal styles utilized throughout “Obsidia.” This includes Lanthier’s sole voice isolated at the forefront, lofty verses with Lanthier’s bandmates providing accompanying vocals, and choir-like harmonizations. Granduer across the album is both bombastic and delicate. But “Obsidia” is not all dreamlike wonder amongst a hymnal piano, for there are growls buried in the cosmic abyss, carried in rumbling screams that tear through tracks like “K-186f.”
“K-186f” is a clear standout on “Obsidia.” Not only does it have a visually enticing music video to match its intensity, but it opens with a prog-driven bass solo that is striking enough to draw in even the most inattentive audience. As for its title, the actual Kepler-186f is an exoplanet that resides more than 580 light-years away from Earth, and it is also the first exoplanet ever discovered within the habitable zone of a central star. The thought of reaching a habitable planet is reflected in the jovial “Light of Day.” For all of the traditional heavy and extreme metal elements in “K-186f,” “Light of Day” trades that ominous dissonance for beams of sunlight, and the up-tempo passages reflect a variety of skills among these musicians. “Obsidia” tackles the whole spectrum of human emotion throughout its journey, from elation to terror, with this dichotomy on full display during the enrapturing “Triumph and Tragedy.”
There are numerous tonal shifts across this album, as though each track were a chapter in and of itself, another step in this cosmic journey. Sometimes this is welcome, such as “Light of Day” losing its brightness as it bleeds into the subtly grittier “Violence,” but other times sees this technique more jarring. Both “No Turning Back” and “Silence Painted Crimson” seem to haphazardly tumble into themselves rather than grow naturally from the preceding tracks. The upside to such variety across the album is that the listener gets a full display of the talents Scorched Moon has within its ranks. At the same time, it’s a touch overwhelming, as though they were fighting to fit ten years of vision and creation into the same fifty minutes of music.
That ambition proves to be a double-edged sword, because it’s also what makes the listener hungry for more. “No Turning Back” is delightfully progressive, and it is a great example of Lanthier’s technical skills on the guitar. The enticing embrace of “Violence” brings the hard work of keyboard player Matthew Boatwright front and center with some of the most brilliant songwriting on the record. There’s even a guest vocal feature from Vincent Jones of Aether Realm on “Silence Painted Crimson,” which adds yet another layer of skill to an already excellent set of talent.
A product of musical talent and brilliant storytelling, “Obsidia” is a strong debut from Scorched Moon. It lets the imagination run wild as delicate keys and roaring guitars guide the listener through space. There is emotion, tension, and a commitment to atmosphere that makes each track wholly immersive. Influences from progressive metal, power metal, and extreme metal intertwine for a cinematic experience. The only question is: where will Scorched Moon take us next?
Houston, we have liftoff. Next stop: Kepler-186f.
Release Date: March 22th, 2023
Record Label: Independent
Genre: Progressive Metal
Musicians: Trapper Lanthier / Vocals, Guitar * Matthew Boatwright / Vocals, Keyboard * Michael Sanders / Bass * Jade Edge* / Drums
“Obsidia” Track-list:1. 1. Lost Adrift 2. No Turning Back 3. Light of Day 4. Violence 5. Triumph and Tragedy 6. K-186f 7. Beyond the Singing Stars 8. Silence Painted Crimson 9. Doubt
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Tribe of Pazuzu is an aural beast almost as mystifying as the ancient demon of its name. This is an act that fits seamlessly within the old-school death metal movement, but has only just brought its debut album to life in 2023. This enigmatic trio has resisted the calls for slow- and mid-tempo extremity and instead given in to the unrelenting demands of fast-paced, shred-driven death metal. “Blasphemous Prophecies” is an album full of fire, desire, and ambition. It sticks close to death metal tenets while pushing the boundaries of patience for sonic punishment. And by coincidence, it is also overflowing with an abundance of blasphemous prophecies.
Tribe of Pazuzu began its life with two great gasps of air, its EPs “Heretical Uprising” (2019) and “King of All Demons” (2020). These were received with fanatical acclaim and desperate pleas for something more substantial, and fans have since begged for the elusive full-length album. Three years after “King of All Demons,” Tribe of Pazuzu answered these cries and released their full-length debut, “Blasphemous Prophecies.” And just as with their EPs, this album is an onslaught of unforgiving and technically accomplished death metal of the highest order.
The vision that guides the ever-present darkness of this project comes from frontman Nick Sagias. Sagias serves as both the vocalist and the bassist for Tribe of Pazuzu, in addition to being the project’s longtime creative lead. Rounding out the trio is guitarist Randy Harris and drummer Flo Mounier. The first two Eps also featured guitarist John McEntee (Incantation), who was unable to join the band in the writing and recording of “Blasphemous Prophecies.” Despite the absence of an otherwise founding member, Tribe of Pazuzu have flourished with this latest outing, and they have done so by embracing a stylistic flair that calls upon the very cornerstones of death metal. “Blasphemous Prophecies” is not an album for the death-metal-hesitant, or those less reverent disciples of the extreme. This is a 30-minute onslaught that carries with it both the dreadful and the eldritch, the raw edge of shadows swallowing it whole. This is an exaltation of darkness that asks for only the most dedicated to embrace it.
“We Serve Under No God” is an opening track that leads with an absolutely irresistible hook. The riffs are complex enough to draw the listener’s attention, but abrasive enough to demand immediate respect. As “We Serve Under No God” bleeds into title track “Blasphemous Prophecies,” this much becomes clear: Tribe of Pazuzu may be introducing their debut album, but these musicians are not newcomers to the scene. Each artist involved has been affiliated with at least three other extreme metal acts past and present. They demonstrate a sincere appreciation for and understanding of the genre, and that shows in every note of this album. The dissonance of “Blasphemous Prophecies” is expertly curated, a steel-cut touch of static against a soft fog of echoes, the sinister notes dissolved against thorn-laden wool. Meanwhile, “Invocation of the Ancients” shows command over tempo as it flexes effortlessly from merely fast to the purely frenetic, with Harris leading at the helm.
‘Blasphemous Prophecies’ Artwork
Some may find the unending up-tempo sonic assault monotonous. But Tribe of Pazuzu makes no false impressions or claims as to its potential variety. “Countess of Blood” is an abrasive onslaught of percussion and screams, and it sports one of the most thrilling solos of the album. “Born a Jackal” carries just as much spirit as the first half of the album without slowing down.
“Blasphemous Prophecies” has lost much of the variety and experimentation that contoured its initial EPs, but that’s not a criticism. Rather, this album is a beautiful display of a band coming into its own, committing to a sound and making the most of its talents within those boundaries.
The more subtle brand of variety evolves within the multiple guest features on the album. This includes Jorgen Sandstrom (ex-Grave, ex-Entombed) providing guest vocals on “The Trial and Prosecution of the Scorned Prophet,” and Christian Donaldson (Cryptopsy) who has a guest solo on “The Trial And Prosecution of the Scorned Prophet” and “Pazuzu Incarnate.” Adding additional dimensions to this body of work makes “Blasphemous Prophecies” all the more enticing. The variety of talent that shapes this album, and the competency with which that talent is displayed, makes Tribe of Pazuzu an instant classic.
“Blasphemous Prophecies” is direct, compact, and a non-stop thrill ride through an ominous twilight. It may not be the most inventive or imaginative work to come out of the scene, but it does not shy away from its own truth, and instead embraces that foundation to further elevate its greatness. These stories are worth telling and they are deserving of exploration through the lens of Sagias’ screams. A grand step taken towards what will hopefully be a fruitful career, “Blasphemous Prophecies” is worth the ear of any extreme metal fan.
Release Date: March 6th, 2022
Record Label: Independent
Genre: Black Metal
Musicians: Nick Sagias / Vocals, Bass * Randy Harris / Guitar * Flo Mounier* / Drums
“Blasphemous Prophecies” Track-list:1. We Serve Under No God 2. Blasphemous Prophecies 3. Countess of Blood 4. Invocation of the Ancients 5. The Trial and Prosecution of the Scorned Prophet 6. Pazuzu Incarnate 7. Born of a Jackal 8. Towards Oppressors
Order “Blasphemous Prophecies” HERE
BLASPHEMOUS PROPHECIES by Tribe Of Pazuzu
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Considering that they began as a Pink Floyd cover band, it’s truly impressive how consistent and distinctive German quartet RPWL have remained over the last 25 years. Indeed, everything they’ve done—from 2000’s “God Has Failed” to 2019’s “Tales from Outer Space”—radiates idiosyncratic charm and a refined compromise between top-notch songwriting and sophisticated (but not overly showy) musicianship. Their latest LP, “Crime Scene,” measures up to that legacy quite well. While it’s not as instantly fetching or enduringly unforgettable as its immediate predecessor, it’s nonetheless a superb extension of RPWL’s pleasantly ambitious and invigorating vibe.
Whereas “Takes from Outer Space” featured numerous guest musicians, “Crime Scene” was composed and performed entirely by the core band. On that note, the record is their first with bassist Markus Grützner, as well as their first without ex-keyboardist Markus Jehle since 2005’s “World Through My Eyes.” Of course, RPWL have never let significant line-up changes (of which there’ve been many) diminish the quality of their work, and “Crime Scene” is no exception. From start to finish, the highly skilled Grützner demonstrates terrific chemistry with his new bandmates.
“Crime Scene” also continues the group’s penchant for conceptual themes. As stated in the official press release, the album “directs its attention to the morbid, the perverse, the evil in good, [and]the abysses of the human behavior spectrum in all its unpredictable diversity, which sometimes comes across as bizarrely disturbing and conclusive, if one tries to fathom it.” Specifically, there are references to people such as Dresden necrophiliac Carl Tanzler and Münsterberg serial killer Karl Denke, plus normalized domestic violence. Undoubtedly, those are some of the darkest topics RPWL have ever tackled, yet they never prevent “Crime Scene” from being enjoyably colorful, adventurous, and tuneful.
Case in point: opener “Victim of Desire.” Although it begins ominously (with dissonant strings and other timbres colliding over the sounds of someone breathlessly running away), it soon erupts into a characteristically bright and dense rocker. True, frontman Yogi Lang’s typically warm deliveries are sometimes made colder through computerized effects, but his melodies and interlocking vocals are still mostly soothing. Likewise, the arrangement cleverly balances gruff guitar riffs and forceful percussion (during the verses) with wistful respites (during the chorus). There’s a lot of eccentric instrumental diversions, too, including some cosmic counterpoints between thick bass notes and divine guitar harmonics. It’s simultaneously a great way to begin and a great representation of RPWL in general.
“Crime Scene” Album Artwork
Although a few subsequent tracks harness similar juxtapositions, each does more than enough to feel sufficiently individualistic. For instance, “Life in a Cage” emphasizes dreamy but chilling synth coatings and ambiance in ways that evoke pre-“Stupid Dream” era Porcupine Tree. As its name suggests, “King of the World” is very regal and full-bodied, with strong hooks and a sustained temperament. Then, closer “Another Life Beyond Control” is robust and reflective thanks to its stacked vocal layers, thoughtful chorus, and ever-changing textures.
In-between, the record highlights the quartet’s acoustic side via “Red Rose” and “A Cold Spring Day in ’22.” The former is especially sunny and pastoral, with gentle guitar strums, harmonies, and rhythms decorating heartfelt sentiments such as “The world outside is acting strange / When you come to sing your song / This melody will guide my way / To bring you back where you belong.” In contrast, the latter tune is a bit livelier and quirkier due to some playful backing timbres and irregular pacing. It’s a particularly wonderful addition to the sequence.
Even though it’s slightly less captivating and memorable than “Tales from Outer Space,” “Crime Scene” is far from disappointing or negligible. On the contrary, it’s a gorgeously conceived and realized journey that encompasses everything that makes modern RPWL so remarkable. The songwriting is thoroughly lovely, the instrumentation is ceaselessly exploratory yet welcoming, and the singing is as poetically rich as ever. Far too few of RPWL’s contemporaries have sustained their peak quality this much—especially those who’ve been around as long—and “Crime Scene” is unquestionably an essential addition to their catalog.
Release Date: March 17th, 2023Record Label: Gentle Art of MusicGenre: Progressive Rock / Neo-Prog
Musicians:Markus Grützner / Bass
Kalle Wallner / Guitars
Yogi Lang / Vocals, keyboards
Marc Turiaux / Drums
“Crime Scene” Track-list:1. Victim of Desire
2. Red Rose
3. A Cold Spring Day in ‘22
4. Life in a Cage
5. King of the World
6. Another Life Beyond Control
Order “Crime Scene” HERE
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Hailing from Hungary’s Budapest, the duo Deposed King aren’t likely to be on your radar. How could they be? Armed with only a sparse Bandcamp page and a brand new Facebook page with 69 followers so far, they’re pretty much unknown. Which makes it all the sweeter to discover a recording as well developed and presented as “One Man’s Grief”. The material herein has been percolating since 2016 as main-man Daniel Kriffel and Dominique Király toyed with ideas and the impetus to record an album slowly came to form. Aside from a couple of other brief guest appearances, this duo finished the conceptual journey called “One Man’s Grief” on their own and the results are breathtaking.
This may be the shortest review I ever write because a track-by-track dissection would seem to miss the point. “One Man’s Grief” is best taken in as a whole, a world to completely immerse yourself inside of. Alternatively, even played in the background while doing work is a fulfilling and nourishing experience. Some adjectives I could throw at it would include: lush, cinematic, emotional, organic, mysterious and hypnotic. Probably the best comparison I could give is: Lunatic Soul meets ambient Opeth. If that sounds up your alley, just go purchase it on Bandcamp immediately, there’s no need to read any further.
In case you’re still curious, the album contains a mix of instrumental and vocal passages. They vocals are quite good, delivered in that Mikael Åkerfeldt kind of style. The instrumentation is even better, alternating between traditional prog-rock elements and more modern electronica. I hesitate to mention that the percussion is programmed lest that is a turn off but honestly you wouldn’t really know (or care) just by listening to it, so skilled are the arrangements. There’s folk, world and classical music here, along with ambient soundscapes and touches of metal. They even include a brief moment of growls which are some of the best usage of that form that I’ve heard. Really, the duo employs whatever would serve the song and take the listener on a journey. Although the ingredients are all familiar, the recipe is quite original.
“One Man’s Grief” Album Artwork
The concept of the album, as told by its author, is: “We follow one man’s feeling and his path seeking along the journey. He wakes up in the woods in the morning, does not know how he got there, he knows he needs to keep going. During his journey a lot of things and thoughts are going through in his mind. At the end of his journey he reaches the ocean. It’s night, dark and endless, but also beautiful.”
In many ways, that’s the best way we could describe this album, too: dark and endless but also beautiful. And while the 56 minutes of running time may not be endless, it certainly does achieve a timeless quality that can stay on “repeat” for hours. Head on over to THIS LOCATION now and check out this sumptuous journey, it’s well worth your time.
Released By: Independent
Release Date: January 12th, 2023
Genre: Progressive Rock / Post Rock / Electronica / Ambient
“One Man’s Grief” Track-listing: 1. First Light 02:06
2. Caves 06:10 info
3. Endless Hours 06:14
4. Path of Forlorn 07:46
5. Half-Light 08:59
6. Fading Shadows 07:10
7. Sirens of the Sun 02:49
8. Ceasing to Exist 09:24
9. Last Light 05:11
One Man’s Grief by Deposed King
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Imagination and falsehood converge.
Few stories are as undisputedly American as that of the driven dreamer turned immigrant crossing an ocean to try his hand at making it in the United States, particularly in the music business. But the story of singer/guitarist/songwriter and Spanish-born John DeMena wasn’t always a bed of roses, but rather an inspirational tale of working-class determination that saw this aspiring artist of limited means’ arrival in 2008 marked by continual uncertainty and struggle in the face of an economic recession and increasingly limited job prospects. Yet through it all, DeMena himself reflects upon these experiences as educational, and has credited them with his sense of “military-style discipline” in better understanding himself. Subsequent inroads made in the music industry that would lead to musicians and producers associated with the likes of Jane’s Addiction, Alice Cooper and even comedian Jimmy Kimmel, along with his music being featured in noted outlets such as MTV and Metal Hammer, would help to pave the way for his long-awaited solo studio album and debut “Dreams And Lies”, a veritable magnum opus with a highly diverse range of stylistic expressions.
The modus operandi behind DeMena’s eclectic and distinctive take on the hard rock genre includes a plethora of 70s, 80s and 90s influences from the likes of Pink Floyd, AC/DC and David Bowie to Alice In Chains, Radiohead and Nine Inch Nails, culminating in a neo-orthodox approach so to speak. The presentation walks a fine yet riveting line between simple, groove-based rock riffs and hooks, and a borderline virtuosic guitar display that often recalls the more animated moments of Slash and Angus Young, among several other auspicious blues-based shredders of the past and present. But even more intricate is the manner in which DeMena’s sense of atmosphere and cadence takes a formula that might otherwise come off as cliché and molds it into something that is very fresh and current, bringing to the table something that is arguably as significant to rock in the 2020s as The Black Crowes’ “Shake Your Money Maker” was to the 90s and Buckcherry’s debut would be at the turn of the millennium. And at the center of it all is a highly competent, soulful, occasionally raucous and distinctive vocal performance courtesy of DeMena himself.
Though the aforementioned influences are worn on DeMena’s proverbial shirtsleeve, the manner in which each song comes together creates an effective synchronicity of classic rock tropes and modern sensibilities result in a highly engaging and fresh experience. Building from a minimalistic overture to a tidal wave of punchy riff work, the opening number “…I The People” draws from a familiar blend of late 80s Guns ‘N’ Roses and Mötley Crue influences and delivers a mercilessly infectious banger that’s part “Sweet Child O’ Mine”, part “Dr. Feelgood”, yet is about as 2020s as they come, spearheaded by a forceful vocal performance. Things get into the 70s blues rock weeds something fierce via “Turn Me Loose”, while the southern swagger of “Bring Out The Rock” trades blows between a gritty Mississippi-like sense of gusto and a funk-infused bass performance with DeMena’s singing occasionally featuring some Brian Johnson flourishes. Yet it isn’t until the mid-paced romp “Angel City” that things go full AC/DC mode, albeit with a healthy side of Slash-inspired lead guitar noodling that, when combined with DeMena’s more mid-ranged voice, reminds a fair bit of the glory days of Velvet Revolver.
“Dreams And Lies” Album Artwork
It should be noted that while the lion’s share of this album reaches pretty far back into hard rock antiquity, that a sizable share of what remains takes time to wander off the map a bit. The generally spacey semi-balladry of “Eternal Eyes” has a pretty clear alternative bent to it, with the music boasting John’s clear affinity with Radiohead, while his crooning verses and more boisterous chorus singing is a dead-ringer for Jerry Cantrell. The ultra-catchy and upbeat air of “No Looking Back” largely recalls the early to mid-90s flirtation that the alternative said had with jangle pop via the likes of Gin Blossoms and R.E.M., and stands as the most accessible entry of the bunch, while the full on acoustic sweetness of “Infinite At All” isn’t too far behind and features one of DeMena’s more dynamic vocal performances. But those who truly crave something different from the expected will want to go straight for the otherworldly title anthem “Dreams And Lies”, which splits the difference between the previously noted 90s alternative influences and the 70s acid rock aesthetic of Pink Floyd circa “Dark Side Of The Moon” to masterful results.
In a day and age where everything seems to be either saturated in electronic sounds or otherwise adjacent to the hegemony of EDM, it’s refreshing to get some new blood on the scene that sticks closer to the organic character of the pre-synthesizer era. To be fair, John DeMena proves to be anything but a slave to the past in his studio emulation of hard rock’s extensive history, and his unique blend of previous styles isn’t something that would be mistook for a throwback to the 90s or a previous decade. Whether one comes to this genre looking for a hard edge, a banger refrain to sing along with in the car, something to tickle the imagination, or an impressive display of the guitar’s versatility as an instrument, “Dreams And Lies” has a bit of it all woven into its concise, 39 minute duration. It doesn’t quite go to the point of reinventing the wheel, but for a first solo venture by an artist coming to the scene in the past 15 years, it’s a cut above most.
Order “Dreams And Lies” HERE.
Released By: Independent
Release Date: March 3rd, 2023
Genre: Rock
Musicians: John DeMena / Vocals and guitars * Glen Sobel (Alice Cooper) / Drums * Matt Rohde (Jane’s Addiction) / Keyboards, * Pete Griffin (Steve Vai*) / Bass
“Dreams And Lies” track-listing: 1- I the People 5:07
2- Turn Me Loose 5:06
3- Eternal Eyes 5:05
4- Bring Out the Rock 3:57
5- Dreams and Lies 5:03
6- No Looking Back 4:10
7- Angel City 5:05
8- Infinite At All 5:10
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The new Steel Panther album, “On the Prowl”, was released a few days ago, but just to paraphrase the title of its first track, “It’s Never Too Late (To Write A Review)”.
Contrary to CDC recommendations, Steel Panther have stayed very active during the years when humanity was battling Covid. They did a few live-streams (one of which we reviewed HERE), and released the definitive song to summarize the complete mess the world got itself into in 2020, the aptly titled “Fuck 2020”.
The band was also busy picking a replacement to original bassist Lexxi Fox, who announced his departure on July 2021. Many audition tapes an a few shows with potential candidates later, the chosen one to carry the low end of their sound was their long time friend Joe “Spyder” Lester. Having already played with them in 2018, Spyder is a solid and safe bet, and the band literally did not skip a beat, jumping straight into the production of “On the Prowl”.
One thing that should be established from the get-go is that at this point, nothing would change anyone’s opinion about Steel Panther. Having released their debut “Feel the Steel” in 2009, their debauchery and offensiveness has only gotten worse and more in-your-face through the years. If you get the joke, you’ll like it, and if you don’t, it’s better to stay away. The rewards for sticking around is that you get to have fun like old times, without worrying about getting cancelled or losing a sponsorship.
With a cover that shows their mascot in shiny silver prowling through the Sunset Strip, it’s no wonder that they decided to start the album with a whistle scream by vocalist Michael Starr, which mimics something that David Lee Roth would do. “It’s Never Too Late (To Get Some Pussy Tonight)” kicks it off with one of the most energetic songs they have released in many years. The song has already had its live debut in last year’s “Res-Erections Tour”, even before the album was released. Next up is another single, “Friends With Benefits”, another fast-paced number where the band explores the dangers and advantages of international trade and Asian migration.
Addressing what is probably the most dangerous pandemic in recent times, “On Your Instagram” talks about the excessive and deceiving use of Instagram filters. Much like on “Community Property”, one of their biggest hits, the overtly seriousness of the music is counterbalanced by the lighter tone of the lyrics.
“On The Prowl” Album Artwork
The stock market, Warren Buffet, crypto-currencies and asset management are lumped together on “Put Your Money Where Your Mouth Is”, a Steel-Panther-by-numbers song, if there ever was one. Things get a little more exciting on “1987”, a bittersweet number that reminisces about simpler times, when “the friends we had were real and we saw them every day, and no one once got canceled for the things that they say”. Satchel’s incredible guitar solo on this song is one of the highlights of this album. Reminding us of something Warren DeMartini would do on Ratt’s heyday, it has already been covered by a gazillion YouTubers.
No strangers to the topic of human anatomy, the band runs into more than one controversy when they decide to address this theme. The bluesy “Is My Dick Enough” discusses male insecurity, while the menacing “My Dick is All that And More” boasts about the boys’ bulky privates, with a great intro by drummer Stix Zadynia, who seems to have taken inspiration from Aerosmith’s “Love in an Elevator” here. These two songs are separated by the poppy “Magical Vagina”, whose title says it all. And continuing down the same path, premature ejaculation is discussed on the high-octane “One Pump Chump”.
The self-deprecation they have resorted to in previous songs such as “I Ain’t Buying What You’re Selling” or “Heavy Metal Rules” comes back in full swing on “Ain’t Dead Yet” and “Sleeping on the Rollaway”, both of which close the album while also summarizing the band’s way of life: have fun now and deal with the consequences later.
While some of the reviews of “On the Prowl” mention that their jokes have worn out, it’s fair to say that critics have been saying this about the band since their second album. There is still definitely gas in Steel Panther’s tank, and any hope that they change their approach is better to be left at the door. Overall, this might be a step below their previous album, 2019’s “Heavy Metal Rules”, but most of the songs here have the potential to make their way onto their live set. Their brand is as reliable as a bowl of Cheerios – you know exactly what you’re gonna get, and there’s no such thing as too much of it.
Released By: Steel Panther Inc
Release Date: February 24th, 2023
Genre: Hard Rock / Glam Rock
Band Members: Michael Starr / Vocals * Russell John Parrish (Satchel) / Guitars * Joe “Spyder” Lester / Bass * Stix Zadynia* / Drums
“On The Prowl” track listing: 1. Never Too Late (To Get Some Pussy Tonight)
2. Friends With Benefits
3. On Your Instagram
4. Put My Money Where Your Mouth Is
5. 1987
6. Teleporter
7. Is My Dk Enough (feat. Dweezil Zappa**)
8. Magical Vagina
9. All That And More
10. One Pump Chump
11. Pornstar
12. Ain’t Dead Yet
13. Sleeping On The Rollaway
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Hailing from the birthplace of black metal, Norwegian black metal project Mork continues to spread winter’s unforgiving chill more than a decade into its active career. “Dypet” is this solo act’s sixth full-length album, and the sixth to be released in the last decade. Mork was formed in 2004 by Thomas Eriksen as a side project, but upon the positive reception of debut album “Isebakke” in 2013, the artist has continued a steady stream of releases and live performances. Mork has also been featured on numerous compilation records, including compilations by its label Peaceville Records, and also participated in two splits. Eriksen is still Mork’s sole driving force, but he has recruited multiple musicians for live performances, and is no stranger to featuring guest musicians onto albums.
Mork is not entirely true to the first wave of black metal, but the style unmistakably has its roots in this defining extremity. “Dypet” has distinct growth from Mork’s last studio album, 2021’s “Katedralen.” There is modernity and touches of doom throughout this most recent offering, these slow- and mid-tempo movements defining “Dypet” and creating its ominous atmosphere. This style gives Mork a hypnotic allure, a sense of calm, as though the listener were bathing in late-stage hypothermic bliss. The grim embrace of winter begins with opening track “Indre Demoner,” a moderately heavy foray into the abyssal depths that await. This descriptor is appropriate, as “Dypet” translates to “The Deep,” a reflection of the all-consuming mood that Mork portrays with each gloomy note or sorrowful riff.
The energy level increases as chaos blooms in “Forfort Av Kulden.” This track picks up the pace with a strong opening hook, and the vocal power from Eriksen truly shines here. Eriksen’s screams are the most notable feature on any Mork album, as his tortured howls mesh effortlessly with abrasive riffs, and the oceanic depths of “Dypet” begin to take shape. The album proceeds naturally and comprehensively, with strong tempo changes and smooth transitions found in “Svik” and “TilbakeTil Opprinnelsen.” Past critics have alluded to black ‘n’ roll influences in Mork’s work, but this latest effort seems to have forgone those same elements, leaning more heavily into classic extreme metal inspiration. The dissonance and echoes that carry throughout “Bortgang” are a strong example of Mork’s present stylistic leanings.
“Dypet” Album Artwork
Another highlight of the album is Hjelvik’s feature on “Hoye Murer.” The track is accented by an instrumental interlude, further elevating Hjelvik’s vocal talents. “Hoye Murer” contains both the fury of a storm and the tenderness of sunrise over fresh snow. It adds a melodic touch to an otherwise harsh atmosphere, and it is positioned perfectly in the overall flow of the album. Varied track lengths also play in Mork’s favor, with a long opening sequence and the seven-minute “Et Kall Fra Dypet,” as well as the more compact “Avskum” and “Svik.” Even where some atmospheric passages tend towards monotony, “Dypet” propels the listener forward with certainty. This is a determined album that does not overstay its welcome.
For listeners seeking pure, sulphuric black metal, Mork is not the answer. Rather, this modern iteration of black metal calls to those who prefer their despairing laden with doom-driven influences and carefully orchestrated gloom. There is nothing revolutionary about “Dypet,” but it is consistent and calculated, and a good offering from the modern black metal scene. Eriksen’s passion is obvious in his execution, as is the skill in his vocal and guitar talents. Primal moments fit alongside polished interludes, and its experimental aspects mesh well with the traditional elements, technical prowess as a defining feature. “Dypet” is well-balanced, if not a somewhat unconventional work of revivalist black metal, but it remains another solid effort from Eriksen and a fitting addition to the Mork discography.
Release Date: March 3rd, 2022
Record Label: Peaceville Records
Genre: Black Metal
“Dypet” Track-list:1. Indre Demoner 2. Forfort Av Kulden 3. Scik 4. Et Kall Fra Kypet 5. Hoye Murer (ft. Hjelvik) 6. Bortgang 7. Avskum 8. Tilbake Til Opprinnelsen
Order “Dypet” HERE
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Founded nearly 20 years ago, American progressive metal quintet Periphery have always stood out amongst their peers and influences. That’s as true of their self-titled 2010 debut LP as it was 2019’s “Periphery IV: Hail Stan,” and it’s quite an accomplishment considering the pedigree of bands perpetuating the same style (such as TesseracT, Spiritbox, Monuments, The Contortionist, and Animals as Leaders).
Fortunately, their latest collection—“Periphery V: Djent Is Not a Genre”—is no exception. Not only does its title uphold the habitually tongue-in-cheek nature of its predecessor’s (all the while commenting on a long-standing debate within the metal scene), but its contents are more or less equally satisfying. It’s not as immediately gratifying as some of the group’s other full-length works, yet with repeated listens, it reveals itself to be every bit as special.
In the corresponding bio/press release, guitarists Misha Mansoor and Mark Holcomb admit that creating it truly tested the limits of Periphery’s artistic and interpersonal unity. Mansoor explains:
There were times where I didn’t know how this album would ever come out. I didn’t know how I’d ever feel good about the album, and I’d rather quit the band than put out an album that I don’t feel great about. . . . We ended up in a very difficult place where we had to ask if we were retreading ground. I always say it’s very simple to make a Periphery record – the only thing we need it to do is excite us. That hasn’t changed, but it’s gotten harder and harder for us to make music that passes muster because we’re ultimately doing it for ourselves. . . . Material that we would’ve thought was great in the past isn’t cutting it anymore.
Holcomb adds: “Our standards are higher than ever, so we all pushed ourselves on this album much harder than we ever have before. It was a hard process because we had to keep ourselves honest to those standards.”
Surprisingly (if understandably), it took the guys about a year to make it—with the COVID-19 pandemic providing its own share of setbacks—resulting in the longest gap between releases in their history. Luckily, the end result was worth all of the trials and tribulations the quintet endured. Supported by former official bassist Adam “Nolly” Getgood, saxophonist Jørgen Munkeby, and even a choir, “Periphery V: Djent Is Not a Genre” is a relentlessly impressive and fulfilling journey that both Periphery and their fans should indeed be excited about.
“Periphery V: Djent is Not A Genre” Album Artwork
Although “Wildfire” isn’t as epically and multifacetedly eccentric as the last album’s opener (“Reptile”), it’s nonetheless a typically resourceful and intense way to begin. Frontman Spencer Sotelo’s verses have never sounded more assuredly demonic, just as the complementary arrangement is among Periphery’s most relentlessly hostile. Of course, the cleanly sung chorus is predictably hooky and emotive, and the track’s imaginatively jazzy and soothing detour (complete with delicate pianowork and flamboyant horns) is a characteristically inventive touch.
Naturally, a few subsequent songs uphold that traditional yet invigorating balance of heavenly and hellish attributes. For instance, “Atropos” offsets its dynamically chaotic rhythms and screams with plenty of soaring melodies and cosmic synths. Likewise, “Wax Wings” is ripe with sing-along choral chants, dizzyingly intricate guitar patterns, beautiful string bellows, and mournful piano notes. Near the end, “Dracul Gras” offers some of the LP’s catchiest and craftiest moments (including a remarkably moving coda built upon programmed beats and tones).
What’s more, the record showcases Periphery’s softer side in several spots. Namely, there’s electro pop ode “Silhouette,” a touching ballad bursting with dreamily creative instrumentation (with orchestration), heartfelt singing, and poignant lyricism. Honestly, it wouldn’t have been out of place on, say, TesseracT’s “Polaris” or Linkin Park’s criminally underappreciated “A Thousand Suns.”
The same can be said for the comparably divine “Dying Star.” As cliché as it is to say, closer “Thanks Nobuo” feels like the cathartic culmination of what’s preceded it. Full of both harsh and calming elements—such as crushing riffs, celestial soundscapes, erratic percussion, and dense vocal harmonies—it’s a richly profound and ambitious composition.
While “Periphery V: Djent Is Not a Genre” is certainly less silly and peculiar than “Periphery IV: Hail Stan” (if not other earlier LPs), it’s likely the quintet’s most mature and focused statement to date. As such, it’s not definitively better or worse than its immediate predecessor. Instead, it’s just as rewarding and accomplished but in different ways. Above all else, it continues Periphery’s reign as modern djent’s superlative act (even if they’d clearly reject the classification), and it absolutely shouldn’t be missed.
Release Date: March 10th, 2023Record Label: 3DOT RecordingsGenre: Progressive Metal / Progressive Metalcore / Djent (debatably)
Musicians: Spencer Sotelo / Vocals * Jake Bowen / Guitars, synths, programming * Matt Halpern: Drums * Misha Mansoor: Guitars, synths, orchestration * Mark Holcomb*: Guitars / Bass
“Djent Is Not A Genre” track listing:1. Wildfire
2. Atropos
3. Wax Wings
4. Everything is Fine!
5. Silhouette
6. Dying Star
7. Zagreus
8. Dracul Gras
9. Thanks Nobuo
Order “Periphery V: Djent Is Not a Genre” HERE
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As the world slowly emerges from the weirdness of the last three years, one can recognize that many, if not most, artists found creative ways to mitigate a reduced touring schedule. This has often been accomplished via the creation of content outside the usual routines and rhythms. While much of this has been the recording of covers no one asked for, a lot of said tributes ended up actually being somewhat cool, and giving the listening community some new things to enjoy. Many artists even revisited the “Christmas Album” well, which had run pretty dry since the era of Andy Williams and Karen Carpenter. One such artist was Paul Gilbert, of Racer X and Mr. Big fame, who treated us to “Twas” in time for Christmas 2021. Much like Rocky Balboa still having a bunch of “junk in the basement” to get out in 2006, Paul Gilbert still has some stuff in his metaphorical Portland basement, and the first thing to see the light is a whole lot of Dio.
“The Dio Album,” as one may guess, is a big CD full of Dio tunes. Thankfully, it spans the entire Dio catalog, from Sabbath to Rainbow to solo career. What might not have been readily apparent, even to the seasoned Gilbert collector, would be whether this was to be an instrumental album, in whole or in part, especially with Gilbert being a more than passable lead vocalist on his own work. We can answer that right here. There are no vocals on the Dio album. Which is just as well, as we could probably count on one hand the number of living singers who could do any amount of justice to Dio vocals, and we believe Paul would be the first to admit he is not among that small number. So, we are left with Paul’s lonesome Ibanez scrambling like hell to be Dio-esque while playing it cool, and making it seem like it’s no big deal.
Before we get down in the weeds, trying to hyper-analyze the vocal approximations of the album, it might be nearly as imperative to also bear in mind that Paul is stepping into the Doc Martens of guitar giants while doing this project. The first of which is Tony Iommi, with his 9.5 very capable fingers. “Neon Knights” is the infamous opener from Sab’s “Heaven and Hell” album, the first time metal audiences got to hear what an Ozz-less Sabbath would sound like. In this case, Paul nails the rhythm guitar riffs. Frankly, aside from enjoying the luxury of a more modern mix, it is hard to differentiate this track from the original, at least until Ronnie J. Ibanez enters the track. While this is likely to be the most subjective element of the record, where user mileage may vary, the vocal interpretation is pretty cool. The nearest analogy might be John 5’s rendition of “Beat It,” where the cool factor is enough to balance out the lack of human vocal cords. The most noteworthy item, which might otherwise avoid attention on the first listen, is that it seems like Paul went out of his way to play the parts on different rigs. It is almost like the rhythm parts were played on one guitar and amp, and so forth for the vocals and again for the lead guitar parts. The quasi-Iommi guitars have a very different sound than the “vocals.” Artistically, this is a sensible move, since Gilbert is already in uncharted waters doing a Dio tribute without any vocals, so at least this separates out the vocals bits from the work of the equally famed guitarists being represented. Frankly, it is nice that the Iommi parts are fairly true to the originals, and same for Blackmore.
Speaking of Blackmore, the album continues with “Kill the King,” which receives an interesting faux-live treatment with some piped-in crowd noise, reminiscent of the late 70s live Rainbow shows which started with some Judy Garland “Over the Rainbow” before the crowd goes wild as Cozy Powell rips into his kit while Ritchie comes charging onto the stage to deliver the riffs. As with the prior track, Paul does an admirable job separating out the sounds and feel of the vocal RJD parts from the instrumental Ritchie parts. The track even closes out with more crowd noise samples to maintain the “recorded live in 1976” vibes Paul is going for.
“Stand Up and Shout,” from Dio’s solo “Holy Diver” album, receives similar treatment to the previous two. The mix is improved through the magic of years and technology, and it’s highly listenable if you don’t need the actual words. Paul even recreates the crowd gang vocals with a neat pick scrape in the right place. Pretty cool. Making a quick turn back into the Sabbath-sphere, we get “Country Girl” from the 1981 “Mob Rules” album. Thankfully, this one gets nicely quiet and moody right where it’s supposed to, although it’s a bit of a shame to lose the lush choral harmonies of the original.
Paul does some cool effects on “Man on the Silver Mountain.” The rhythm guitars get manhandled a bit through some combination of chorus and phaser to give it a funkadelic 70s rock vibe. It also sounds like he might be doing a bit of finger-plucking on the chords of the main riff, in keeping with how Blackmore did songs like this and “Smoke.” Not only are the complex parts done true to the original, but the Blackmore leads are executed flawlessly, albeit with some audible “PG-rated” embellishments. Speaking of cool effects and such, “Holy Diver” somehow manages to accomplish all the synth keyboard minute-long intro with just guitars and effects like delay, reverb, and volume knob swells. Actually, this might sound like a petty detail, but the coolest thing of the entire track might be where Dio does his little humming bit right after the high-gain rhythm guitars come in. Paul does that same humming bit with lead guitar, and it is such a dead-ringer replica that you need rewind it three times to be sure it was guitar and not Ronnie. That is some serious left-hand technique. As for the rest of the track, it’s all here, from Vivian’s great licks and leads, and Dio’s career-defining vocals “Don’t you see what I mean?” Well, we never really were positive what Dio meant on this song, but hey, we can worry about it even less now that there are no words.
When Gilbert returns to Sab’s “Heaven and Hell” album, it’s time for the big one, the title track. The first thing that really stands out here is the faithful reproduction of the tight Geezer bass-line. The second, much more important thing, is how dead-on Paul is with the dynamic Dio vocals. Vibrato, pitch drop-offs, all of it. It also bears mentioning that Paul makes a point of layering the eerie Tony lead harmony bits in the early parts of the track. As a whole, it’s a damned accurate rendition of the original, with the one obvious difference, of course. Such is the case for all the remaining cover tracks, really. Rainbow’s “Long Live Rock and Roll” is absolutely faithful to the original instrumentation and feel. Sabbath’s “Lady Evil,” is spot on, and “Don’t Talk to Strangers” gives Paul an excuse to bust out a steel-string acoustic, before slamming into the main riff with extra gusto. “Starstruck” is eerily similar to Blackmore’s original playing, although, all things equal we would have rather had “Stargazer” from the same album, since it is definitely far more “horns up” than the almost Bonnet-esque “Starstruck” with its more pop rock sensibilities.
Of course, the core of the album could do much worse to close than “The Last in Line.” The low-gain clean intro is interestingly joined by semi-dirty slide blues guitar for the opening vocal parts. Once the main riffs come in, thankfully, the definitive Jimmy Bain bass-line is kept intact to really underscore the gravity of the chorus. The guitar solo is virtuosic as one might expect, although with a bit more legato style than Vivian might have originally favored. But hey, Paul is welcome to make it his where and when appropriate. And he most definitely does.
“The Dio Album” Album Artwork
One last bit of bonus good news: The Japanese CD edition (no word on if this goes for all digital versions or streaming platforms) gets a cover of “The Butterfly Ball” from the Roger Glover concept album of the same name. For those not familiar, this was like the best little Beatles song to never get written by the Beatles, or included on the “Sergeant Pepper” album. It’s like if 1975 Queen wrote “Being for the Benefit of Mister Kite.” The last couple minutes have a great big instrumental jamboree, upon which Mister Gilbert has a shredding good time.
Speaking of good times and shredding, we hope Portland’s resident hipster werewolf Paul Gilbert had fun doing this album. Like a lot of oddities produced while the music world emerged from its lengthy slumber, it definitely has the character of something made mostly for the joy of the artist, and really, that is something to be admired. Market value is well and good, and a great way to put food on the table, but when an artist gets to Paul’s level of veteran status in the rock world, he has certainly earned the occasional self-indulgence.
It is debatable whether there is intrinsic value in interpreting vocals, especially iconic vocals like Dio’s, on the electric guitar. It has a certain novelty, like accidentally getting subjected to a friend’s “MySpace” page in 2005 and suddenly swimming in a Midi music file where the vocals have been replaced by the tootling of a Casio flute. Also, the aforementioned friend’s animated gif wallpaper. Joking aside, if anyone on earth is going to have the talent to pull off something like this, playing Dio vocals on a fingered musical instrument, it would have to be the man from Spaceship One himself, Paul Gilbert. At times, his tone is a little vintage-y, as is his wont as of late, with his blocky retro guitars and mid-gain amps, but for some of the material it’s actually very spot-on. For some of the later Dio material, it might have been more appropriate for Paul to get back to his sounds from “Superheroes” and the appropriately-titled “Getting Heavier,” but this is really splitting hairs.
Check out the video samples already online, and if you like the one track, you will enjoy the whole album. If you can’t get into Dio without the Dio, then this is not for you, but you still owe it to yourself to check out the rest of Paul’s catalog. From Mr. Big to Racer X to Paul’s own solo stuff (“Burning Organ,” “Spaceship One” and many others) there is a seemingly endless catalog to enjoy, for everyone from Shrapnel Shred-Heads to straight-head hair metal and rock fans. Either way, we think Ronnie would give Paul a heartfelt “horns up” for this new release.
Release Date: April 7th, 2023
Record Label: Music Theories Recordings / Mascot Label Group
Genre: Hard Rock
Musicians: Paul Gilbert / All instruments but drums * Bill Ray* / Drums
“The Dio Album” Track-listing:1. Neon Knights
2. Kill The King
3. Stand Up And Shout
4. Country Girl
5. Man On The Silver Mountain
6. Holy Diver
7. Heaven And Hell
8. Long Live Rock ‘N’ Roll
9. Lady Evil
10. Don’t Talk To Strangers
11. Starstruck
12. The Last In Line
Pre-order/save “The Dio Album” HERE.
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As winter fell over Norway in 1991, teenagers Ivar Bjørnson and Grutle Kjellson (13 and 17, respectively) embarked on a journey that would forever shape the landscape of black metal. And thus Enslaved was born, with debut album “Vikingligr Veldi” arriving in 1994. In the thirty years since, Enslaved have remained a mainstay in the extreme and progressive metal scenes, and are credited as one of the forefathers of Norse-inspired metal. Now the band has fifteen full-length albums under its belt, with the sixteenth on the horizon. “Heimdal” is a return to the band’s roots as much as it is a departure, and it serves as a renewal of vows with the Nordic folklore that has long guided Enslaved’s path.
In 2020 Enslaved released “Utgard,” the first studio album that featured the band’s latest lineup. With the new lineup came new stylistic decisions, some of which Sonic Perspectives had not been too keen on, but the album faced a largely positive reception. It was yet to be seen where the band would go next: would they continue to wander aimlessly throughout a smorgasbord of modern influences, or would they redefine themselves as the adept extreme-prog masters they have long been known as?
Fortunately, this latest opus tends heavily towards the latter. “Heimdal” is an outstanding album when viewed either in isolation or when compared against the sum of Enslaved’s discography. It is comprehensive, dynamic, and a journey across etheric realms that comes in a 50-minute package. As compelling as it is enigmatic, there is something for everyone in “Heimdal” and its all-absorbing depth.
Perhaps its greatest strength over “Utgard,” a strength that had been largely absent on most of Enslaved’s albums since “Riitiir,” is its comprehensiveness. From the opening horn of “Behind the Mirror” to the fading notes of the title track, Enslaved crafts an experience that demands the listener’s attention at every moment. And yes, it is the magic sound of echoing horns and running water that immerse the listener in those first few moments of “Behind the Mirror,” sounds so rich that if one closes their eyes they might believe themselves standing upon a dragon-headed ship. The horn is blown by Eilif Gundersen of Wardruna, and its massive sound immediately invites imagination to run wild. Was that the sound Vikings heard as they approached the shore so many centuries ago? How divine must it have been as it echoed across the water, cutting through the morning mists? Distant vocals give the sensation of expansiveness, a feeling that defines much of the album’s atmosphere. There’s so much to absorb that it’s almost overwhelming.
No time is wasted before extremity emerges. “Congelia” is a brutal assault on the senses, its darkness saturated with all the hallmarks of early black metal. Distorted guitars scream alongside thunderous percussion. Enslaved threaten to tear open the sky with the track’s awe-inspiring guitar solo, every ounce of fire and fury of the gods poured into each note. This grim dissonance is the perfect segue into the mellowed breaths of “Forest Dweller.” “Forest Dweller” is perhaps the track most reminiscent of “Utgard,” with its more electric influences and slow- to mid-paced tempo. A slow-tempo introduction is just what is needed at this point in the album, a brief breather to find respite from the relentless storm that had been unleashed in the opening tracks.
“Heimdall” Album Artwork
Enslaved show the breadth of their experience in their mastery of pacing. From the intense barrages of riffs to the mellow atmospheric interludes, transitions are handled smoothly, and with expert musicianship. Particular credit is owed to Iver Sandøy on drums, as he carefully keeps time from the most solemn marches to the most explosive of choruses. This percussive precision adds to the polished elation of beautiful melodies, and it adds teeth to the barrage of guttural roars. “The Eternal Sea” does dial back the intensity somewhat, but it does so in a way that falls victim to the monotony of a mid-album filler, failing to meet the expectations set by the preceding tracks. This is one of the greatest criticisms “Heimdal” may deserve: sometimes it tries to do too much, much as Enslaved had done in “Utgard.” While “Heimdal” is undoubtedly more focused in its scope, and that focus leads to a much more comprehensive album experience, there is still room to hone the stylistic influences.
“Caravans to the Outer Worlds” was first featured on its titular EP in 2021, and this explosion of sound has its rightful place as the penultimate track of “Heimdal.” Every moment of “Caravans to the Outer Worlds” packs an incredible punch, momentous in sound, nonstop in energy. Although it has been out in the world for almost two years, it fits seamlessly into the story “Heimdal” tells. Kjellson again shows off his vocal talents here, his earth-shattering screams dripping with the darkness of night, expertly controlled alongside Håkon Vinje’s clean vocals. Succeeding this astral ascendance is title track “Heimdal,” which serves as a fitting conclusion to this story. As with most other albums in its discography, “Heimdal” is imbued with meaning, and these concepts are heavily drawn from Norse mythology and Nordic history. Most significantly of all is how the name “Heimdal” calls back to “Heimdallr,” one of the first songs Enslaved had ever written.
Is “Heimdal” the best album that Enslaved have ever produced? Probably not. But is it one of the best albums they have produced in the last decade, and one that is a new spark of passion more than three decades into their career? Absolutely. This latest iteration of the band is still built on the creative vision of its two founding members, and they boldly step forward into the third decade of metallic fury and imagination. The artistic canvas on which Enslaved paints is rich with history and folklore, and it is the musicians that allow these stories to come to life. “Heimdal” is a mind-bending journey between realms and across history, and it is one that deserves the listener’s full attention as they succumb to the fantastic extremities and alluring mystique.
Release Date: Marc 3rd, 2022
Record Label: Nuclear Blast Records
Genre: Blackened Progressive Metal
Musicians: Ivar Bjørnson / Guitars * Grutle Kjellson / Vocals * Arve ‘Ice Dale’ Isdal / Guitars * Håkon Vinje / Keyboards, clean vocals * Iver Sandøy* / Drums
“Heimdal” Track-list:1. Behind the mirror 2. Congelia 3. Forest Dweller 4. Kingdom 5. The Eternal Sea 6. Caravans to the Outer Worlds 7. Heimdal 8. Marta J. Braun)
Order “Heimdall” HERE
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Galaxies are born, and galaxies die. Indifferent to the life that has sparked deep within the Milky Way’s arms, yawning black holes consume stars and planets alike. And from within this voracious void, a place where time bends and light disappears, emerges Omega Infinity. Self-branded as extreme metal from the void, this duo of darkness have finally broken three years of silence to deliver their sophomore album. “The Anticurrent” is the ethereal unknown in sonic form, and it is a tremendous force that will bend time and space for all who dare to listen.
“The Anticurrent” comes three years after Omega Infinity’s debut, “Solar Spectre.” “Solar Spectre” was an impressive traipse through our own solar system, and it let the weight of each planet sit heavy on the listener’s tongue. It caused the iron to pulse in their veins as the dust from Mercury stained their skin. The acidic atmosphere of Venus threatened to scorch one’s lungs, and the foreboding shadows of Mars waited to swallow their prey. It was a solar spectacle of undaunted proportions, extreme metal that carried with it a conceptual vision, and a piece of art that captured the extremity of the vacuum of space. With this high bar in mind, it seemed impossible to imagine that Omega Infinity could muster a follow-up that would even come close to such brilliance. Yet “The Anticurrent” not only meets this expectation, but surpasses it.
A notable strength is the decision to partner with numerous guest musicians for vocal contributions, including Adrienne Cowan (Seven Spires) and Lindsay Schoolcraft (Antiqva). Each guest vocalist acts as a brilliant complement to the low howls that Xenoyr has long been known for, not aiming to compete with his demonic roars, but to make their impact even richer. Cowan appears on “Iron Age” with a feature that showcases both her harsh and clean vocal abilities. There are few vocalists in the modern metal scene as strong as Cowan, and she proved herself a strong pick for the atmosphere of inevitability found in “Iron Age.” Also notable is the contribution of András Nagy (Sear Bliss) on both “Voices From the End of Time” and “Night Journey.” His screams add both passion and technical proficiency that bring the vision of “The Anticurrent” to life. Omega Infinity truly shows off its songwriting talent with these guest features, because not only is each vocalist featured on a track that matches the atmosphere of their vocal abilities, but they are seamlessly integrated into the full length of the track. The features are not a single fleeting verse, but they are an integral part of the story each track is trying to tell, a story that would not be the same without them. Not only did Omega Infinity write songs that are near perfectly-tailored to artists from outside the band, but they did so with careful attention to their creative vision.
“The Antimatter” Album Artwork
There are also notable instrumental divergences from “Solar Spectre,” particularly those that pull away from a solely percussive-driven distortion, such as bringing piano melodies to the forefront of tracks like “The Alpha.” Variety is also notable in the electronic undertones of “Banish Us From Eden” and the dancing synth across “To The Stars.” Twelve-minute closing track “Voices From the End of Time” is a mammoth endeavor that combines spoken word, vocal effects, distortion, and other elements to imbue a haunting sensation on the listener. There are times “The Anticurrent” brings a sense of humanity to the forefront, much as it does in “Banish Us From Eden,” but it has not forgotten its cosmic roots. “Voices From the End of Time” plays out like a movie, part horror and part science fiction. This final track is drawn out with painstaking attention to detail, with voices fragmenting as a simple piano melody keeps time, and the currents of time become static bending in the background. It serves as a blissful and fitting end to the impossible scale of an album so sonically and thematically ambitious.’
Once “Voices From the End of Time” reaches its concluding notes, “The Anticurrent” offers up two bonus tracks. The first is “Night Journey” (Sear Bliss cover), featuring Andras Nagy, and the second is a rendition of Emperor’s classic “Ye Entrancemperium.” Featuring Marta J. Braun as a guest vocalist, this latter creative interpretation adds unique flavor to a longtime favorite, and layered screams and growls make it a riveting experience. Both covers are interpretations that stay true to the Omega Infinity style without losing the spirit of the originals. The covers are also an opportunity to hear Tentakel P.–responsible for all instruments on the album–cover a wider range of styles.
And so time marches on, uncaring that the bones of humanity crumble to dust. To summarize the album, “The Anticurrent” is an experience that hovers somewhere between a tidal wave of crushing noise and sonic enlightenment. It is a conceptual journey that spans beyond the confines of time as we observe it, a tale that can only be told with a roar of emotion and distortion. But with screams and percussion as the storytellers, Omega Infinity have brought their listeners on another experience of a lifetime.
Release Date: February 17th, 2022
Record Label: Season of Mist
Genre: Extreme Metal
Musicians: Xenoyr / Vocals * Tentakel P* / Everything Else
“The Anticurrent” Track-list:1. The Alpha 2. Creation 3. Iron Age (feat. Adrienne Cowan) 4. Banish Us From Eden 5. To The Stars 6. Death Rays (feat. Lindsay Schoolcraft) 7. Voices From the End of Time (feat. Andras Nagy) 8. Night Journey (Sear Bliss cover) (feat. Andras Nagy) 9. Ye Entrancemperium (Emperor cover) (feat. Marta J. Braun)
Order “The Anticurrent” HERE
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Ambitious, innovative, and genre-bending British progressive metalists Haken return to the scene with “Fauna”, the highly-anticipated followup to the 1-2 punch of “Vector” (2018) and “Virus” (2020) set to release March 3, 2023. It is their 7th full length studio LP since the band’s inception in the mid 2000s. “Fauna” marks the return of a key player, wink-wink, in Haken history. Keyboardist Pete Jones was an early member of the band during their formative years and performed on the demo “Enter the 5th Dimension” in 2008. He parted with the band shortly after to complete his academic studies, only to return more than a decade later filling the recently vacated role on keys.
“We’ve known Pete since he was fifteen,” says guitarist Richard Henshall. “He turned up at a rehearsal way back in the early days, and we were like: ‘How are you this good at playing piano at fifteen?!’ It’s really great to rekindle that musical relationship and also that friendship, and start sharing music with each other.”
“Fauna” is the ultimate showcase of Haken’s diversity. Whether you are a fan of Haken‘s adventurously melodic classic period (“Aquarius,” “Visions,”, and “The Mountain”), their futuristic throwback 80s homage “Affinity”, or their lean into djent on “Vector” or “Virus”, you will find something to love about “Fauna.” Imagine a best of album but with all new material.
Calling this a concept album might be an invitation to mock progressive rock’s tendency to become formulaic and pretentious, so I will resist that temptation and call this a themed album. Each song stands on its own with no connected story-line, yet they all pull from the same idea/inspiration.
“The premise of the album when we started writing it was that every song would have an animal assigned to it,” explains vocalist Ross Jennings. “They all have something related to the animal kingdom that we could write about, but they also connect to the human world. Each track has layers, and some of them are more obvious than others.”
It opens with three tracks previously released as singles before opening up into new territory. “Taurus,” “Nightingale,” and “The Alphabet of Me” were well-chosen singles as they perfectly represent the diversity of the album. The rusty metal jagged djent from “Taurus” connects well with other rhythmically complex pieces like drummer Ray Hearne’s stand-out performance on “Sempiternal Beings” and the stuttering riffs and vocal textures of “Beneath the White Rainbow.”
“The Alphabet of Me” pays respects to catchy melodic 80s prog while bringing it to the future with its dystopian edge, addictive chorus, and cautionary lyrics. It pairs nicely with another 80s homage “Lovebite”, a metaphor about failed relationships personified as a black widow devouring her mate. (Don’t worry. It’s not as cheesy as that might sound.) “Nightingale,” having released as a single about a year ago, always felt like early, quintessential Haken to me with its unique poly-rhythms and dynamics. It finds a home here in “Fauna” amongst several like-minded compositions, one being “Island in the Clouds” which ebbs and flows with a gorgeous bass-line by Conner Green and soaring vocals.
Arguably, the star of the record may be “Elephants Never Forget,” an 11-minute juggernaut that delivers a sound as big as the titular pachyderm itself. Guitarists Henshall and Charlie Griffiths set the scene in a majestic and awe-inspiring opening section before dropping away for a playful keyboard and vocal melody from Jones and Jennings reminiscent of Gentle Giant. The epic effortlessly shifts tones several more times taking the listener on an unexpected journey of twists and turns through passages evocative of Nine Inch Nails and Queen.
“Fauna” Album Artwork
The perfect example of animal-kingdom-meets-humanity comes from the album closer “Eyes of Ebony.” The clean guitar melancholy piece is both about the global extinction of the white rhino and the recent passing of Henshall’s father, who was a huge supporter of the band and actively worked to promote them in their formative years. Thematically, it serves as a fitting end for the album but leaves you wanting more. Perhaps that was the goal all along.
Musically, throughout “Fauna,” the band continues to explore disorienting yet engaging rhythms. Solos have largely been replaced with complex syncopated sections. While I love a face-melting guitar solo and wish there were a few more sprinkled around, at least Haken hasn’t fallen into the generic prog-metal cliché of trading back and forth between guitar and keyboard wankery for five minutes in the middle of every song like more predictable prog-metal acts.
In whole, the album is successful in its goals. It pays tribute to musical inspirations while being unmistakably Haken, past, present, and future. The lyrics are thought-provoking and bring the album together as a cohesive unit. Parts of “Fauna” are sure to grab you immediately upon your first listen, while others may feel disorienting at first due to the rhythmic complexity and require several spins to fully appreciate. Listening to this record, as is true for most great progressive music, is like making soup. If you have the patience to let it simmer, you’re rewarded with a much deeper, robust flavor. This album is a soup I’m happy to order again and again.
Still, a lingering question remains: Just as Vector had a Virus, will Fauna have a Flora?
Released By: InsideOutMusic
Release Date: March 3rd, 2023
Genre(s): Progressive Metal
Musicians: Ross Jennings / Vocals * Richard Henshall / Guitars, Keys * Charlie Griffiths / Guitars * Pete Jones / Keys * Conner Green / Bass * Ray Hearne* / Drums
“Fauna” track listing:1. Taurus 4:49 2. Nightingale 7:25 3. The Alphabet Of Me 5:34 4. Sempiternal Beings 8:24 5. Beneath The White Rainbow 6:45 6. Island In The Clouds 5:46 7. Lovebite 3:49 8. Elephants Never Forget 11:07 9. Eyes Of Ebony 08:32
What mysteries and miracles await where indomitable darkness meets the unrelenting fury of galloping guitars? The answer may be found in the dark hymns offered by blackened speed metal act Hellripper. With third full-length album “Warlocks Grim & Withered Hags,” Hellripper summons a maelstrom of shadows split by the lightning of electric guitar and thunderous percussion.
Hellripper is an inconceivable beast that has well-earned its sulphuric name, as James McBain – the single man at the Hellripper helm – masterfully meshes the fury of speed metal beneath a blackened cloak. Hailing from Scotland’s Northern Isles, McBain began to garner serious attention in 2017 with Hellripper’s debut album “Coagulating Darkness.” This excellence was proven to be more than a fluke with the release of the exceptional sophomore album “The Affair of Poisons” in 2020. The full Hellripper discography is incomplete without mention of the compilation album “Complete and Total Fucking Mayhem” from 2016. It is also incomplete without taking a cursory glance at McBain’s involvement in other projects, which span from death metal in Lord Rot to raw black metal in Rats of Reality, and also includes touches of gothic post-punk with Lock Howl. There is little question that McBain is musically adept and artistically inspired, but it seems that Hellripper is his most concentrated and mature outlet yet.
It’s exciting to see an artist as talented and driven as McBain focusing his efforts on a flagship project, particularly when the project has such a splendid body of existing work, and when there are few others in the genre with such a strong sonic identity. Blackened speed metal is not as niche as it once had been, and Hellripper can’t even claim that it’s the first solo blackened speed metal outfit (just take a glance at US-based Midnight). But McBain delivers something special that other similar acts have not yet mastered: actually bringing black metal to the table. Decades of imitation have watered down the meaning of “black metal” when “black” is attached as a prefix to other genres, and it often comes to mean little more than harsh vocals and distorted guitars as a mere veneer on the genre that lies beneath. That’s not Hellripper, and it’s especially not “Warlocks Grim & Withered Hags.” “Warlocks Grim & Weathered Hags” is perhaps the heaviest work to come from Hellripper yet, as it leans further into black metal influences than its predecessors, and it shows an impressive leap in technical skill from McBain. This is notable from the opening notes of “The Nuckelavee,” its opening riff a brand of fire that could melt steel, and its drums could split the earth. “The Nuckelavee” is almost six minutes of pure, unadulterated black-speed fusion. The marriage of screaming guitars and McBain’s tormented howls paint a picture of unyielding despair, and effortlessly conjures images of the beastly demon the song is named for.
“Warlocks Grim & Withered Hags” Album Artwork
“I, The Deceiver” is another track on the album that wholeheartedly embraces the darkest elements of black metal while keeping the demanding pace of speed metal. Grim bass notes temper the fiery race across guitar strings, as do McBain’s isolated shrieks. “Mester Stoor Worm” adds to the splendor with a traditionally ominous hook before bursting into distorted guitar and furious blast beats. The layered screams are a brilliant display of composition and thoughtful songwriting, and the guttural shouts feel like they were pulled right from the burgeoning 90’s black metal scene. With this praise in mind, some of those darker elements could have taken a spot of greater prominence throughout the album to offer up greater variety. “I, Deceiver” showed excellent command over tempo and atmosphere in a way that some other tracks lacked. Further, the most black-metal oriented tracks appeared at opening and closing points of the album, leading to a touch of monotony at the album’s midpoint. Generally, however, “Warlocks Grim & Withered Hags” does a great job of engaging the listener throughout the album and across tracks that span from just three to nearly nine minutes long. This ability to add variation without departing from the album’s atmospheric core is again demonstrative of McBain’s songwriting skill. “Mester Stoor Worm” is an absolutely unmatched closing track, sweeping in like a nightmare made flesh and before destroying everything in its path. It is beautiful, ghastly, and bleak, particularly in the melancholic closing verse that strips away any remaining hope.
For all the talk of just how Hellripper incorporates darkness into the core of its being, there should also be attention paid to the technical proficiency that allows the sheer speed and intensity to succeed. “The Cursed Carrion Crown” feels as though it could set the sky ablaze just from McBain’s determination to shred at the speed of light. This track is yet another demonstration of his vocal range, here erring towards higher screeches rather than demonic howls. “Goat Vomit Nightmare” is a straightforward freight-train packed with blow after blow. As for “Poison Womb,” it seems to beg for an audience to clear a pit and wreak havoc at a live show.
McBain’s commitment to excellence is apparent throughout “Warlocks Grim & Withered Hags,” from the excellent production that leaves behind just the right amount of grit, and through the compact delivery that makes the album so digestible. There is a noticeable maturity to his evolution as Hellripper brings heaviness to the next level, and the same could be said for McBain’s own technical skills. Hellripper has taken a serious step up from “The Affair of Poisons,” both vocally and instrumentally, and McBain’s ambition is palpable. This latest opus is a brilliant combination of technical skill and artistic vision, and it should serve well to sate the appetites of extreme metal fans.
Release Date: February 17th, 2022
Record Label: Peaceville Records
Genre: Black / Speed Metal
Musicians: James McBain: All music and lyrics * Joseph Quinlan: Additional Lead Guitar on ‘Poison Womb (The Curse of the Witch)’, ‘The Cursed Carrion Crown’ & ‘The Hissing Marshes’ * Marianne: Additional vocals on ‘The Cursed Carrion Crown’ * Antonio Rodríguez: Great Highland Bagpipes on ‘Warlocks Grim & Withered Hags’*
“Warlocks Grim & Withered Hags” Track-list:1. The Nuckelavee 5:4 2. I, The Deceiver 4:56 3. Warlocks Grim & Withered Hags 7:15 4. Goat Vomit Nightmare 3:16 5. The Cursed Carrion Crown 5:47 6. The Hissing Marshes 3:51 7. Poison Womb (The Curse of the Witch) 3:43 8. Mester Stoor Worm 8:32
Order “Warlocks Grim & Withered Hags” HERE
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The zany and ambitious metal quintet AVATAR is back with its 9th album, appropriately called “Dance Devil Dance”. This time, the AVATAR lore stops around a figure that in different ways has always been part of its discography, only for this time to put the Devil under the spotlight, and with a clear sight of him, we can see that, surprisingly, he is dancing!
While the record portrays different themes – among which we can encounter disastrous diseases, rarefied riots, extreme mosh pits, or unbridled violence – “Dance Devil Dance” triumphs by maintaining a constant throughout its running time, that the listener, just like the devil, can’t stop moving. I was fortunate enough to witness the live debut of “Dance Devil Dance” and “Valley of Disease” and saw the unanimous approval of an eager audience that could not help themselves but move, claiming for more AVATAR with their fists in the air. The first two singles proved to work perfectly in the live setting, ultimately the hardest test for the debut of a new song.
The sound of a bell is the first thing we hear when we press play. It heralds what’s to come for the sonic journey ahead: an ominous yet festive journey full of devastating riffs, a harsh and clean vocals masterclass, and a tight and ripping musicianship. The album starts in massive style with “Dance Devil Dance”, and this track confirms even more that AVATAR has crafted a unique sound that is easily identifiable, yet one that is evolving, including a vast number of musical approaches and styles, making this musical journey unexpected, exciting, and overall, quite enjoyable. And then there is Johannes‘s vocal range. It’s getting to the point that it seems absurd what he can do in terms of singing. He is on fire throughout the record, and this first track is only a sample of what he has in store for us.
However, let’s not forget that AVATAR is not merely a vehicle for Johannes‘s spotlight shining brighter. Instead, his vocal delivery is accompanied by his band-mates impressive musicianship, one that shines with its brilliance and awes just as much. For instance, “Chimp Mosh Pit” delivers a tremendous groove, the rhythm component of AVATAR on a complete rampage approach.
Released as the first single, “Valley of Disease” is where madness and savagery converge. Such track fiddles with passages reminiscent of industrial metal while jumping into pure thunderous heavy metal, showcasing a dichotomy in two different aspects. The first is the conjunction between their earlier sounds and the new musical direction that they have developed with “Hunter Gatherer”. Similarly, the balance between Johannes‘s clean and harsh vocals manages to converge pure brutality with a melodic component, with seamless results. This song reaches a high level of intensity and heaviness, and the fact the chorus is sung with a clean approach simply highlights how smartly Johannes uses both techniques, a practice that the vocalist has been implementing more and more frequently.
“Dance Devil Dance” does not include any long-track, in the vein of “Lullaby (Death All Over)”, “Use Your Tongue”, “Bloody Angel”, or even “A Secret Door”. The longest song here is “On The Beach”, which despite not being comparable in running time to the aforementioned, contains some unexpected curve-balls. The playful and festive chorus contravenes the ferocity and aggressiveness of the major section, where the frantic rhythm of drummer Alfredsson guides our steps as we celebrate by the sea. Metal and rock come together to give the listener one of the best passages on the record, topped off by guitarists Jonas Jarlsby and Tim Öhrström ravening guitar interplay, sweetened with a killer and memorable solo.
“On The Beach” ends so delicately and gently that it could pass for a sweet lullaby, only to be ripped from such tranquility with the fierce beginning of his successor “Do You Feel In Control”, a cut that walks a straightforward path, delivering heavy blows in a simpler but effective fashion. “Gotta Wanna Riot” pairs a provocative message with a lively and energizing vibe, simply epitomizing the essence of rock n’ roll. Filled with hooks and invigorating parts, the listener will have no choice but to join this rock and metal riot.
“Dance Devil Dance” Album Artwork
Johaness’s clean vocals in “The Dirt I’m Buried In” are the stuff dreams are made of, a full display of the AVATAR‘s chameleonic essence, in this case drenched in melodic hooks and a catchy chorus. Simply another winner. “Clouds Dipped in Chrome” follows, and is wholly opposed to the radio-friendly harmonies we just listened to. Led by doomy riffs and blasting beats, the music embraces an insane death metal energy and plunges us into a rabbit hole of mayhem and destruction.
Next up is “Hazmat Suit” , and if strong emotions and unbridled insanity compel you, it will suit you perfectly. The track invites the listener to get carried away by endless hazardous materials and not stop moving for a second. An electrifying mosh pit is guaranteed when this one is included in the live set-list.
AVATAR zig when we expect them to zag with “Train”, a slow-tempo cut where Johannes behaves as an illegitimate son of Johny Cash to deliver a heartfelt performance. Just as they did with “Gun” in the previous album, his voice carries the dramatic weight of the song. However, don’t think they stop there: “Train” also contains a deafening section that destroys the subtle and tender atmosphere achieved before, and the dynamism and ease to intersperse opposite interludes within the same composition, and keep it cohesive, truly stands out here.
For the album closer AVATAR teamed up with the mighty Lzzy Hale from Halestorm to serve-up “Violence No Matter What”, a raw anthem full of angst and dissent, exploring themes of greater social and political depth – and of course, they do so in pure banger fashion. As absurd as it may seem, many people worldwide have not yet understood that “no one gets to be a fucking fascist”. They are the ones who believe the end justifies the means, and the means usually entail unredeemed violence. When these despicable beings rise, voices manifestly oppose them. AVATAR and Hale join those voices with a direct, harsh, and wrathful song that conveys all the frustration, indignation, and anger provoked by the terrible things that cowards holding a position of power can bring unto the masses.
The dark circus is about to premiere a new infuriating show, where horror, the strange, and the savagery will be presented through frisky and portentous pieces of music. Its ringmaster, known as Johannes Eckerström, is a thirsty and untamed madman who has a deadly weapon for a voice and is coming for you. He wants you to join the freak-show. You will enjoy, you will vibrate, you will feel alive, and above all, you will dance!
Full of fantastic twists and a superb dynamism that allows for intermingling different musical approaches, with its brilliant musicianship and a mammoth vocalist, “Dance Devil Dance” is a must listen within the AVATAR discography, and within metal overall. Expect to encounter this album across several top album lists at the end of the year.
Released by: Black Waltz Records
Released Date: February 17th, 2023
Genre: Heavy Metal
Musicians: Johannes Eckerström / Vocals * John Alfredsson / Drums * Jonas Jarlsby / Guitar * Henrik Sandelin / Bass * Tim Öhrström* / Guitar
“Dance Devil Dance” Track-listing:1. Dance Devil Dance 2. Chimp Mosh Pit 3. Valley Of Disease 4. On The Beach 5. Do You Feel In Control 6. Gotta Wanna Riot 7. The Dirt I’m Buried In 8. Clouds Dipped In Chrome 9. Hazmat Suit 10. Train 11. Violence No Matter What (Duet w/ Lzzy Hale)
Pre-order “Dance Devil Dance” HERE.
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Simon Collins and Kelly Nordstrom have worked together for nearly two decades but it wasn’t until 2020 that they decided to form a new band with just the two of them. Having released his 4th solo album “Becoming Human” that same year, Collins felt he had expressed all that he needed to as a solo artist and that it was time to get back into a band situation. They both realized that their bond was so strong that no other musicians were needed, thus they cover all of the vocals, drums, keys, guitars, bass and effects between the two of them. The result is a dense, layered collection of unique songwriting containing a measured heaviness in its lyrical content and sonic performance.
Fans of previous band Sound of Contact will find little in common with eMolecule aside from a few references to the “Dimensionaut”’s story. Rather, this new band is more of a logical extension of what Collins began with “Becoming Human”, taking that stylistic essence and running with it into even deeper and darker territory. Indeed, the opening verse of “Thoughts Become Matter” from “Becoming Human” seems to have evolved into the mantric verse of the title track “eMolecule”. But where his solo album(s) have plenty of melodic hooks which harken back to the strengths of his dad’s songwriting, eMolecule seems determined to screw with traditional songwriting structure and only offer a couple of songs which have the Collins characteristic pop sound on them. The rest are from a much darker dimension, ultimately making for compelling listening when given repeated exposure.
The lengthy band title track opens the album with grating electronics and a lead guitar fanfare of sorts until we get to the drone of the main body of the piece. Mysterious, shadowy and sufficiently creepy, the layered repetition of themes can’t help but become addictive as we succumb to the walls of distortion and intriguing effects that Nordstrom produces from his guitar. When an extended ambient guitar section – bordering on Floyd’s “Echoes” – finally climaxes into an explosive return of the main theme, it’s a highlight moment. Next up is the title track of the album name, “The Architect”, a searing blast of dystopian angst. Even an atmospheric tender musical interlude in the middle is filled with disturbing narration until the riffs return.
Only two tracks in and the album has already established a very dark but captivating atmosphere. There’s no escape in subsequent songs “Prison Planet” where Collins’ big bang drum hits bring deliverance, or “Mastermind” which starts off eerily and descends into a trapped claustrophobic setting as the narrator takes total control. “I’m here to save you and then betray you, eternal cycle you’re my disciple.” As the inevitable “Dosed” follows, our subjugation is complete: “There’s no use in trying, it’s clear I’m dying. I am a ghost, now I’ve been dosed.” Yet it’s one of the best on the album. The mostly-instrumental “The Turn” promises to offer a bit of reprieve with its simple piano motif and slow build of spacious guitar layering. But at the four minute mark we’re assaulted again with distorted chords and heavily processed vocals of angst and infected loathing.
“The Architect” Album Artwork
After this onslaught run of six songs it’s hard not to feel somewhat suffocated by the futuristic tyranny of the material. eMolecule doesn’t claim this to be a concept album but it sure feels that way given its nightmarish dystopian visions. Thus, the song “Awaken” almost feels too much like a 180, ushered in by Collins’ soothing and melodic voice over gentle synths and guitar strums. This has all the makings of a pop hit, even the electronic beats conjure memories of 80s hits by Collins Sr, along with some wonderful guitar from Nordstrom. It’s a welcome if unexpected lightening up of mood, as if we are awakening from a very bad dream of the subject matter in the album’s first half.
The vibe doesn’t last long, however, making “Awaken” more of an outlier on the album than the start of a new direction. “Beyond Belief” and especially “The Universal” finds the dark tech returning in a wall of sound. The album attempts a ballad of sorts with “My You”, one of the few calls back to the “Becoming Human” vibe, and an actual traditional guitar solo from Nordstrom rewards the listener towards the end. Finally, “Moment of Truth” almost offers a duet between Nordstrom and Collins on lead vocals, alternating between a cautionary narrative and an uplifting chorus. Yet they can’t resist letting it all go to hell in the final minute with a proper chaotic thrashing of guitar stabs and drum hits to close the album.
Whew. If it sounds overwhelming, that’s because it is. Yet there’s enough unique creativity and sheer force to make this an album worthy of attention. At 80 minutes long, the onslaught might be too much to take in one sitting but the quality is maintained throughout. Astonishing sound design and programming relentlessly adds to the chaos and unique production of the album. Collins and Nordstrom appear to be creating music of the future, an ethos which is the essence of progressive rock.
Released By: Inside Out Records
Release Date: February 10th, 2023
Genre: Progressive Rock
Musicians: Simon Collins / Vocals, drums, keys, sound design/programming * Kelly Nordstrom* / Guitars, bass, vocals, keys, sound design/programming
“The Architect” Track-listing:1. eMolecule 10:43
2. The Architect 6:05
3. Prison Planet 4:58
4. Mastermind 8:39 5. Dosed 5:07
6. The Turn 5:56
7. Awaken 5:09
8. Beyond Belief 4:47
9. The Universal 6:03
10. My You 5:27
11. Moment of Truth 6:56
Pre-order “The Architect” HERE.
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What a wonderful surprise to discover this new album from Solstice, lighting up like a summer’s breeze even in the thick of winter. Before we dig in, let’s confirm which Solstice we’re talking about as there’s a few bands out there with that name. No, this is not the death metal Miami-based band, nor the English doom metal version of Solstice. However, this particular Solstice are indeed from England, Milton Keynes to be exact, starting out over 40 years ago during the second wave of prog-rock. Despite several extended pauses throughout their career, the band has continued to evolve and reinvent themselves over the decades, always with guitarist Andy Glass at the helm. Their latest renaissance started in 2020 with the release of the impressive “Sia”, now quickly followed by their 7th album “Light Up” with the same band lineup.
While Solstice’s origins stretch back to 1980, the new album reveals plenty of youthful energy bursting forth from the 6 tracks herein. The title track is a perfect opener for this sunny outing, buoyed by singer Jess Holland’s sprightly vocals which make each song shine. Holland is a delight throughout the recording, at times straying outside of familiar English lyrics to convey the energy of the material. On this track “Light Up” she establishes herself in the opening notes and never lets go while Pete Hemsley’s drum kit surrounds the listener with exciting grooves. Robin Phillips lays down a solid bass foundation which suggests a bit of funk as Steven McDaniel’s organ playing adds to the percolating rhythms. Solstice has always featured the violin as a key ingredient, originally offered by Marc Elton and now ably performed by Jenny Newman who elevates each piece – including this opening song – with her playing.
“Wongle No. 9” follows up with a truly funky groove that makes it impossible to sit still. Phillips’ bass playing is infectious, and Holland’s playful vocals woo the listener in with each twist and turn. Honestly, this song is completely addictive and may end up being one of my favorites of the year (though we’re barely out of January), it Wongles you up and won’t let go. Glass dominates the latter part of the song with an incendiary guitar solo, reminding the listener that this is his band even amidst such a wealth of talent. “Mount Emphraim” brings Newman more to the fore with a joyous Celtic feel as we scale the heights. Holland’s voice offers double-tracked verses and a swooning chorus while McDaniel plays a good supporting role on his synths but eventually gets to come more to the fore at the end, intertwining leads with Glass.
“Light Up” Album Artwork
The proceedings finally slow down for a moment on the ironically titled “Run”. Glass lays down a shimmering, transcendent progression for Holland to offer her enchanting vocals on top of. Oddly, the guitar seems a bit behind the beat at times and almost moves too tentatively, threatening to bring the song to a standstill until the electronic percussion assures that the time signature will be adhered to. Still, it’s a beautiful track especially once it builds during the latter half. “Home” is another luscious piece, Holland’s voice dropping Celtic trills amidst tender lyrics. It progresses organically, held together by Hemsley’s attentive and generous percussive approach.
Which brings us to the epic closer “Bulbul Tarang”, named for a Punjabi instrument from India. The title instrument offers an alluring drone intro to the 10-minute piece but soon we journey into a wide spectrum of colors and sounds on this gorgeous composition. Sweet harmony vocals, soaring guitar leads and very tasteful accompaniment from the other band members make this Floyd-inspired track an album highlight. When they break into a key change in the final minute, it lifts the song even higher with Yes-like grandeur.
“Light Up” makes an ideal starting point for the newcomer while also being an impressive feather in the cap of a 40+ year career. Despite their extensive history, even wooing in Steven Wilson as an early fan, Solstice flies under the radar of much of the modern prog-rock community. That deserves to be remedied and “Light Up” is one more prime reason why.
Released By: Giant Electric Pea Records
Release Date: November 6th, 2022
Genre: Progressive Rock
Musicians: Andy Glass / Guitar, vocals * Jenny Newman / Violin * Pete Hemsley / Drums * Jess Holland / Vocals * Robin Phillips / Bass * Steven McDaniel* / Keyboards, vocals
“Light Up” Track-listing:1. Light Up (5:39)
2. Wongle No. 9 (7:14)
3. Mount Ephraim (5:59)
4. Run (8:14)
5. Home (6:42)
6. Bulbul Tarang (10:24)
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Shining in the Void: Katatonia returns with new album
Katatonia, Sweden’s masters of melancholic metal return with their latest album, “Sky Void of Stars.” Never known as a stagnant band, Katatonia has evolved greatly over their 30 year history. From their early death metal beginnings, through their doom metal era and into atmospheric progressivism, the band has never been afraid of change. The lead single for the new album (“Atrium”), teased a stylistic shift into a poppier direction, but is that actually the case? Let’s give the album a run through.
The album kicks off with the second released single, “Austerity”. The song comes out of the gate at a driving pace, which becomes a recurring theme throughout the album. Interestingly, the atmospherics are quite heavy on this track, as are the presence of some heavy synth leads. The sludgy riff heavy “Colossal Shade” follows up with lyrics speaking of a corrupting influence. “Opaline” leads off with a very heavy synth lead, and a very slickly pop-style drum groove, complete with what sounds like 80s style drum machine sounds mixed in before returning to a more standard Katatonia-esque rocker. “Birds” is yet another fast paced banger.
“Impermanence” is the most moving and powerful song on the entire album, a wonderfully energetic ballad featuring an exquisitely done duet with fellow Swede Joel Ekelöf (of Soen). “Atrium”, the lead single, effortlessly moves through it’s groovy beat while delivering perhaps one of the biggest ear worm choruses I’ve heard in a long time. “No Beacon to Illuminate Our Fall” bounces between moody atmospherics before slamming the listener with a a quite bitter and brutal midsection that is a surprising gut punch before the album closes out with the heavy and moody “Absconder” (listed as a bonus track), which has the closest feel to tracks on previous albums (such as “Dead End Kings” or “Great Cold Distance”).
There is a lot to unpack on this album, especially as one would when comparing it to previous efforts of a very established band. On a whole, it feels more fast and upbeat (as much as Katatonia can be, I suppose) compared to previous efforts. I mentioned in the intro to this review about a “poppier” direction for the band, and after several listens to the album, I think this isn’t really the case. Yes, this album is very synth heavy (more on that in a second), and there are a few big “In the Air Tonight” – style drum breaks, but this definitely isn’t a band going Phil Collins – style pop. What this album feels to me is a collection of songs that has a lot more groove to it than what I’ve been used to from the past several albums. It’s an odd thing to reflect on while listening, but it definitely gives a different vibe. And certainly, this feels to be the “fastest” Katatonia album in a while.
“Sky Void of Stars” Album Artwork
As usual, the composition and musicianship on this album is terrific. Anders’ riffs are fantastic as always, and are a unique core anchor to the whole sound of the band. As many synths and atmospheric elements as there are on this album, and the prominence they hold, the guitars bring everything back and ground you to the Katatonia that we’re all familiar with. Jonas Renkse’s lyrics are still typically beautifully esoteric, although several songs on this album felt far more direct, and far more deeply open and (possibly) biographical than in previous albums. Lyrics aside, I don’t know if I’ve ever heard Jonas sing as intensely (and as well) as I have on this album. Niklas Sandin’s bass is top notch throughout the album, particularly on “Opaline”.
While Katatonia has always been an atmospheric band, the synth and atmospheric textures certainly feel to have been elevated to a much higher degree than on previous albums. The extra ambiance certainly elevates nearly every track with a lushness that does nothing but reinforce the core elements of the band, that of Jonas’s plaintive vocals and lyrics, and the fantastic guitar riffs. And certainly, this feels to be one of the best produced Katatonia albums I’ve heard, which given my love of “Fall of Hearts” is saying something. This album sounds absolutely fantastic. The review copy I listened to was stereo, but I can only imagine what this album sounds like in surround (available only in the limited edition wood box set, which sadly appears to be sold out already). I do hope that, at some point, the Atmos mix sees a separate release so that people who missed out on the box set will still be able to listen to it.
While there are some poppier elements to some of the tracks on this album, Katatonia succeeds in doing what many artists tend to misfire at: Incorporating and expanding less familiar elements while still thoroughly maintaining the core essence of what they are. And certainly, this album expands on their already outstanding sonic palette. While the sky may be void of stars in the world of Jonas Renkse, this is an album that shines very brightly.
Released By: Napalm Records
Release Date: January 20th, 2023Genre: Progressive Metal
Musicians: Jonas Renkse / Vocals * Anders Nystrom / Guitars * Niklas Sandin / Bass * Daniel Moilanen / Drums * Roger Ojersson* / Guitars
“Sky Void of Stars” Track-listing: 1. Austerity 2. Colossal Shade 3. Opaline 4. Birds 5. Author 6. Drab Moon 7. Impermanence 8. Sclera 9. Atrium 10. Beacon to Illuminate Our Fall 11. Absconder (Bonus Track)
Order “Sky Void of Stars” HERE.
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Occasionally, it feels like in black metal’s quest to evolve and incorporate new elements, some of the original rawness has been lost, the days of teeth-gritted, bloody-minded, shadowy perdition appear often to be a distant memory, hazed with the pernicious sepia of word-of-mouth rumours regarding the bands secret desires, and the oft-laughable moral panic it generated amongst god-fearing parents across the western world. Where has this energy gone? Where has this rebellious streak disappeared to, when now black metal converges upon recycling its traditional satanic themes over and over again to the point where it has become irkingly trite, where all meaning once generated by the themes in a more conservative world is rendered moot by social progress, and numbness to the themes through acquaintance. So how does a band that wants to not just stylistically represent black metal, but also embody the traditions around it do so in a modern world? Well, I would suggest that Frozen Dawn do a pretty good job of it with their most recent and third album, “The Decline of Enlightened Gods” even if they don’t exactly reinvent things thematically – instead they use their excellent compositional skills and fairly balanced production to evoke the feelings that Black metal used to, before it became infested with hipster nonsense.
You’re left in no doubt as to the aspirations of “The Decline of Enlightened Gods” when at the start of “Mystic Dark Fires of Dark Allegiance” the heavily distorted, buzzsaw guitars bite into life following a rather fleeting ambient bar. Shades of crimson bedeck the twisted easel Frozen Dawn gaze upon, as they lash helpings of murky tone upon the listener, and chain them down like a moribund sacrifice with immensely theatrical riffage that has groove and abrasion in equal parts, before the piece eventually gorges upon you with a dirge of monotonous bile, going on upon the conclusion of such a part to repeat the process again, but with seemingly greater aggression, and a more resolved decision to attack the listener again.
Yet, despite such an aural assault, no quarter is given in “Spellbound” which as the name might suggest, inspires visions of encasement in a prison of mana, harnessed by those following a demiurge who cares not for his followers, and instead wishes merely to make them his playthings. Some meta-commentary may well be invoked by such a concept, as it feels very much like Frozen Dawn are the demiurge here, and with their energetic, haranguing, boisterous compositions, they are leaving you transfixed in the foul yet resplendent light of their music. It could be said that “Spellbound” is a little too full on, and for some listeners this will absolutely be true – it does sit on a higher level of heaviness than what most black metal listeners familiar with more contemporary acts will be familiar with (not to say genuinely heavy metal is dead by any means) but I don’t think that in any final sense that it’s too heavy to break into, if effort is directed at multiple listens.
So captivating are the initial throes of “The Decline of Enlightened Gods” that the entire rest of the album is largely justified as a listening prospect by the first two songs alone. Many an album dreams to start as well as this, as of course, an impression of one is so often informed by the first and last moments of it. Whilst it is true that most albums do start in a reasonably compelling manner, I think just the sheer violence with which “The Decline of Enlightened Gods” is the vehicle for not just success here, but noticeable distinction as well.
Relentlessly, “Black Reign Awaits” surges forth with the zeal of a thousand thralls and a menace received so promptly, that the excitement bred through the first three tracks reaches a fever pitch that’s simply astounding. There’s so much to love here, from the sporadic usage of driving percussion separate from the litany of blast beats that adorn other sections of the track, to the immaculately handled vocal performance that hits all the typical notes of the genre but retains a bestial quality beyond that which is often cultivated in black metal, and instead has parallels with it’s thrashier cousin, death metal. All in all, no momentum is lost in any sense of the term in “Black Reign Awaits” and the album continues to become more and more enjoyable.
You ever have it where a riff sounds familiar, and yet totally distinct from anything else you’ve heard at the same time, in a seeming contradiction? The rapidly descending riff at the start of “Frozen Kings” is riff royalty insofar as it is able to take something seemingly so cast in stone, and then reinvent it. This brief moment is not astonishing in itself, but so often the devil is in the detail, and I think in this moment, a lot can be said about what makes “The Decline of Enlightened Gods” so good. See, there is a trend in this album to be somewhat traditional in approach, with smatterings of Burzum present throughout alongside many other common 2nd wave tropes – and yet at no point does it sound like Frozen Dawn have failed to be anything but authentic and largely self-inspired across the whole album.
Consequently, when rapidly approaching the center point of the album, it must be said the album, despite a lack of variety in approach or even general song writing, engagement remains extremely high. So captivating is the core sound of Frozen Dawn that they really need not alter their approach much, as what they have is essentially perfect for the twisted world they’re trying to create in their songs. Not every album has to be a whirlwind of constant change, replete with diverse instrumentation and technically complex ideas, well, unless you only like Prog.
In spite of no change being necessary, Frozen Dawn make one anyway in album midpoint, “Wanderer of Times” with some doomy, more focused segments, melded of course to the traditionally styled Black metal segments that they do so amazingly. At points in this track, Frozen Dawn sound a little bit like their also excellent label-mates over at Transcending Obscurity, Vorga, a band whose nose for a good riff rarely receives competition, but Frozen Dawn are not to be outdone, and “Wanderer of Times” contains some of the best guitar work across the whole of the album, not to mention that the way the track layers up into a super noisy, chaotic clump, with only an incredible solo played over the top of it to provide any separation between elements.
Catastrophic is the only way to describe the outstanding “Oath of Forgotten Past.” No amount of words will do justice to the excellence of it, it knows when to rise, when to fall, when to explode with energy, and when to retreat with caution, every dynamic shift is perfectly placed, and every passage tied together without a mark against it. In this song, a dizzyingly good album reaches its peak.
“The Decline of Enlightened Gods” Album Artwork
With the further evolution of “The Decline of Enlightened Gods” there is no doubt left that black metal fans are going to have the album lace their Album of the Year lists, this is what so many of the less blackgaze-loving folks want, maximum attack, maximum coarseness, something uncompromising and unapologetic, something that doesn’t chase trends, but helps reincarnate them. I cannot help but say, even at this earlyish stage in the review, that this album competes with the best black metal albums from bands created post-2010.
Brandishing cursed images of celestial oddities is “Cosmic Black Chaos” be they alien or as a result of the immutable and oft inconceivable forces of the cosmos, it is sure that they are represented in all of their massive form in this track. Perhaps less distinctive than the immediately before it, but featuring more excellent solo-work as compensation, “Cosmic Black Chaos” is another formidable entry, and tackles a theme somewhat less travelled with the same lazer focus as other topics Frozen Dawn have dealt with before.
Up next however, is “The Decline of Enlightened Gods’” title track. When bestowing a track with the honour of being named after the album it sits on, you ensure that it must sit markedly above others the share the album with it. Sadly, whilst being a fine song, “The Decline of Enlightened Gods” is nowhere near as interesting as many of the other songs that have been and gone on it. With a slightly stilted chorus and a greater focus on monotonous noise rather than sonorous and soaring riffs, the effort comes across as accomplished and does have good scale to it, but invariably is a disappointment doubled in nature by the decision to show this as the album’s stylistic determiner via its name.
It speaks volumes however that the lowest point of “The Decline of Enlightened Gods” would still be considered a serviceable entry on albums lesser than it, perhaps falling victim to the quality of its antecedents more than any major compositional or executory flaws. Often times I feel that great albums have a track that sits weakly amongst the rest, and that it can become an undue target of derision, and in some way, I would concede the same of the aforementioned. It is pertinent to say that in no way does the album suffer a great injustice at the hands of it, with no larger impact beyond a minor grumble at its implementation.
The final original composition on offer by Frozen Dawn is the rather pretty and surprising “The Fall of Aeons.” A track that subverts expectations by being largely acoustic, and evoking traditional Spanish guitar music, perhaps as much an ode to the band’s country as much as a conclusive ending. “The Fall of Aeons” should be commended for its individual beauty whilst also admonished for not incorporating anything previously prominent within the album – leaving the real end of the album to be the self-titled track.
After a well-handled cover of Necrophobic’s “Blinded by Light, Enlightened by Darkness,” the album comes to a close, and to be said of it are many compliments. It’s engaging to the extreme, gritty, has its core in the traditions of Black metal without being held hostage by them, has the perfect runtime, has the perfect style of production for the genre, and features moments of incredible virtuosity – especially in the case of the guitar parts. “The Decline of Enlightened Gods” is a phenomenal album that hits the pinnacle of nearly every conceivable metric with seldom a blip, and puts itself in early contention for Album of the Year lists across a broad swath of Metal listeners.
Released By: Transcending Obscurity Records
Release Date: February 10th, 2022
Genre(s): Black Metal
Musicians: Arjan Van Der Wijst / Drums * “Grinder” / Vocals, guitars * Antonio Mansilla* / Bass
“The Decline of Enlightened Gods” track listing:1. Mystic Fires of Allegiance 2. Spellbound 3. Black Reign Awaits 4. Frozen Kings 5. Wanderer of Times 6. Oath of Forgotten Past 7. Cosmic Black Chaos 8. The Decline of Enlightened Gods 9. The Fall of Aeons 10. Blinded by Light, Enlightened by Darkness (Necrophobic Cover)
Order “The Decline of Enlightened Gods” HERE.
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Progressive rock can be a serious place. For every whimsical prankster prog band out there, there’s at least five others who take their craft probably much too seriously. Given that reality, We Came From Space occupies a niche within a niche, admirably aiming for that narrow band of music geeks who also enjoy a nerdy sense of humor. Come to think of it, there might be quite a few of them out there. Let’s hope so because WCFS delivers the goods and has released a fine album that deserves to be heard. If you fancy tastefully arranged progressive pop rock, this is a band to discover. And if you want a laugh, check out their liner notes or website.
This quartet may be best known in prog circles for their keyboard player and vocalist Bill Hubauer who has been a member of the Neal Morse Band over the past decade, but the rest of the band is equally talented: Dave Buzard on guitar and vocals, Dave Hawk on bass and vocals, and Tim Malone on drums. Having released the impressive “While You Were Away” in 2018 and then following up with a 2020 EP (two tracks from which make it onto this new full-length release), the band has all cylinders firing for new album “Overlords”, from performance to songwriting to production. There’s an extremely modern sheen throughout the recording. Even though 70s influences can be heard throughout – from Styx to Rush to ELO to Steely Dan and more – the material sounds fresh and relevant thanks to the crisp engineering and production.
The ten-minute opening title track establishes the terrain pretty quickly, playing “some happy chords for the robot overlords, making a joyous noise while the landing gear deploys”. The initial orchestrated pomp opens up to the sweeping GeoShred guitar app played by Hubaeur before beginning the first verse sung by Buzard who lends a slightly Barenaked Ladies feel. As the band features three vocalists, there’s lots of vocal layering and swapping out of the lead role as songs progress from section to section with plenty of twiddly instrumental bits in between. In this case, by the time we get to the reprise of the main chorus, Hubauer takes over the singing duties for a grand finale amidst guitar fireworks.
Dave Hawk comes to the fore on the mic for the next two songs. The catchy “On The Radio” could be a tidy 3-minute hit single but this is prog so the band stretches out in several spots including a deliciously spacious jam towards the end of the song. “Empty Space” carries the vibe of a 70s ballad, music and melody composed by Hubauer including a breezy piano solo and some Steely guitar work from Buzard.
“Overlords” Album Artwork
Odes to the atomic bomb seems to be a perennial favorite and “She’s The Bomb” is perhaps the most adoring contribution since David Gilmour’s “Cruise”. Paired with “Atomic Blues”, this lengthy jam finds Hubauer’s synths blazing forth towards the cosmos and beyond. Unfortunately, following track “Reputation” fizzles out and is the album’s one dud, the straight-ahead rocker feeling out of place with the rest of the material
The final three songs are a Hubauer tour de force as he features on the mic and primary musical composition (lyrics throughout the album are mostly written by the feathered pair of Buzard & Hawk). “Silent Letters” brings in that psychedelic pop brand of Jellyfish and XTC that Hubauer and his friend Neal Morse have explored so thoroughly in various other bands, proving that WCFS can handily conquer that style, too. “Facade” ups the ante with a soaring chorus and the inevitable tip of the keyboard hat to Dennis DeYoung but it’s the mini-epic “Seize the Day” where everything comes together as the highlight of the album. Seizing on Mike Portnoy’s favorite mantra, this satisfying closer carries the emotional impact to match the band’s musical muscle for their best song yet.
Truth be told, “Overlords” is one of my favorite kinds of albums: slick, well-produced songs which harken back to an organic era of inspiration, carrying a wide range of influences. It’s stylish, it’s cleverly executed and it’s even funny at times. They came from space but the music is relatable enough for us humans to come to love.
Released By: Independent
Release Date: February 3rd, 2023
Genre: Progressive Rock
Musicians: Dave Buzard / Guitar, Vocals, and the Flatulating Reticulated Flume * Dave Hawk / Bass, Vocals, and the Möbius Stripper Pole * Bill Hubauer / Keyboards, Guitar, Vocals, and the Baritone Hyperbolic Funkometer * Tim Malone / Drums, Percussion, and the Four Octave Schissel*
“Overlords” Track-listing: 1. Overlords
2. On the Radio
3. Empty Space
4. She’s the Bomb/Atomic Blues
5. Reputation
6. Silent Letters
7. Facade
8. Seize the Day
Just over seven years since their previous album – in other words, a dog’s year – the wait is over and we have a new The Winery Dogs release to listen to. The band was formed in 2012 when Billy Sheehan (bass) and Mike Portnoy (drums) were looking for a six-string genius to join them on a guitar-driven power trio. And boy, did they find one in Richie Kotzen! Richie had been Billy’s band-mate in Mr. Big for a few years, and somehow it did not occur to anyone that he would be a great fit, until Eddie Trunk suggested they gave him a call. The result was an incredible debut, with roots firmly planted in the rock bands of the late 60’s and early 70’s – think Grand Funk Railroad, Cactus, Beck, Bogart & Appice, The Who etc.
Starting a band from the ground up was a challenge that these three musicians hadn’t faced in a long time, and they ticked every box of this plan, with a successful first tour playing in smaller venues, and an excellent follow up in 2015’s “Hot Streak.” The sophomore album exposed them to a much larger audience, and guaranteed spots on summer festivals everywhere. Notably, on one particular leg of that tour they had Jeff Scott Soto’s band as the opener, which led to Soto being chosen as the vocalist of another one of Portnoy’s bands, Sons of Apollo.
The Dogs’ rise to the top seemed unstoppable, but Billy, Mike and Richie returned to their respective corners to focus on various other projects for the ensuing next few years. While this may have been a needed break at the time, it caused them to lose some momentum, and kept the fans wondering what could have been if they went straight into the studio to record a third album. It would take them a few years to play together again, but a small scale tour of 2019 reignited the flame and rekindled the trio, who was ready to record a third album. Unfortunately, we all know what happened between 2020 and 2022, and their plans were derailed. With the three members living miles away from each other, Covid made it impossible to jam and collaborate for months on end. But now it’s the right time to let the dogs out, and once again they’re ready to take the world by the balls in 2023, with a brand new release in tow.
Simply titled “III”, the new album kicks off with the two songs that were already revealed to the public, “Xanadu” and “Mad World”. Chances are that if you’re reading this review you’re interested in the band and already listened to them, but just in case, let me clarify: “Xanadu” is NOT a Rush or Olivia Newton-John cover. Instead of that, we get a funky and fast paced number, driven by Portnoy’s drums on the verses, with harsh lyrics and an incredible chorus. “Mad World” is a Motown-meets-Stevie-Wonder number, with a syncopated riff, and is arguably the most soulful song the trio ever created. Billy’s bass solo on the outro alone is worth the price of admission.
Mike has described the dynamic of the band as Richie being the anchor and him and Billy running in circles around him, much like The Who’s recipe where Keith Moon and John Entwistle were doing crazy things and Pete Townsend and Roger Daltrey were holding down the songs. This is none more evident on “Breakthrough”, where Richie’s vocals soar high as he goes philosophical on some of the lines: “I realize because we’re who we are / we’ll never be what we were”. I’d be surprised if this is not their choice for the third single.
“Rise” brings back the funk, with added cowbell and hi-hat work from Mike, and an expansive bridge with an interesting vocal arrangement where all three members sing. Richie’s edgy solo is preceded by a blistering bass part and a unison where all three are completely locked in. “Stars” is classic Dogs material, an organic number with a solo section that was clearly born out of the three of them jamming in a sweaty and small room.
“III” Album Artwork
On the interview I did with Billy (which you can check out HERE), he agreed with the notion that while the first album was more straight-ahead rock and the second one had a little more experimentation, “III” was intended as a combination of these two approaches. That becomes clear on a track like “Vengeance”, arguably the nastiest curve ball on the album. Richie’s menacing lyrics and pedal-heavy guitar work are paired with a catchy chorus and hummable melodies throughout.
“Pharaoh” is introduced by a distorted bass line, followed by a rocking riff. The perfect mix between soul and shred, this would be a great addition to the latter part of their live set. “Gaslight” kicks in and adds pedal to the metal, with a vibe similar to “Elephant Gun”, from David Lee Roth’s solo debut, an album that Billy was also a part of. Putting together a set-list, as well as sequencing songs on the album, is an art form that Mike excels on. And so it is that he chose the waltzing ballad “Lorelei” to be placed at the tail end of the album, much like “Regret” did on the band’s debut and “Think It Over” did on “Hot Streak”. The guitar melody follows Richie’s soulful delivery, and the tale of the enticing mermaid Lorelei gains a new light with enigmatic lyrics.
The album ends with the ultimate party anthem “The Red Wine”, with Richie’s swagger and precision once again taking center stage, and a chorus carefully crafted for the live setting. Billy’s outro drives the listener to the hard edge, ending the proceedings on a note soaring towards infinity.
Is this their best release? That’s hard to say. Some fans will agree that it is, while others will not, and in the age of polarization, debates like this hardly ever get a clear winner. What “III” is though, is an incredible addition to the Dog’s catalogue, and an album that can propel them to new heights. The pull of the members’ other bands will always be there: Mike Portnoy has a million things going on in parallel, Billy might do a reunion tour with Mr. Big, and Richie has a prolific solo career and potentially more shows with Adrian Smith. One can only hope that the extensive tour they have planned for this year gives them enough momentum to keep going and reach a steadier pace. These Dogs are barking at your musical doors louder than ever, and you’d be a fool if you don’t let them in.
Pre-order the album HERE. Enter to win a custom Fender Richie Kotzen Telecaster guitar HERE (A vinyl edition of “III” will also be forthcoming in just a few months)
Released By: Three Dog Music
Release Date: February 3rd, 2023
Genre: Hard Rock
Band Members: Richie Kotzen / Guitars, vocals * Billy Sheehan / Bass, vocals * Mike Portnoy* / Drums, vocals
“III” track-listing:1. Xanadu
2. Mad World
3. Breakthrough
4. Rise
5. Stars
6. The Vengeance
7. Pharaoh
8. Gaslight
9. Lorelei
10. The Red Wine
Into a world of magic, we fly.
Ever since metal music’s conception amid a sea of heavy rocking and mystical pursuits courtesy of the late 60s psychedelic craze, the fantastical has shared a strong connection with the genre in question. Likewise, following the rise of the European subset of power metal pioneered by the likes of Helloween and later taking said continent by storm during the dawn of the current millennium, it’s been stipulated that at some point a fold of artists would take this peculiar blend of infectious hooks, virtuosic showmanship and theatricality to its logical conclusion. Naturally there have been many claimants to this unique disposition since the late 1990s, and while the jury is still out, there is a strong case to be made that a particular group that came raging out of Sweden in the 2010s in Twilight Force has taken the crown. Now four albums deep into a career spanning a little over a decade, their latest LP dubbed “At The Heart Of Wintervale” lends heavy credence to their kingship of all things campy.
For those whom have braved the battlefield with this symphonic mainstay for any duration between their over-the-top 2014 debut “Tales Of Ancient Prophecies” and their subsequent tenure with Nuclear Blast Records, the formula at play has changed little, but has nonetheless grown to colossal proportions. The bombastic marriage of Rhapsody Of Fire’s pioneering blend of technical neo-classicism and operatic splendor with the ultra-light and consonant camp factor that was distilled from that formula via stylistic disciples in France’s Fairyland and Poland’s own Pathfinder is left mostly unchanged, save some peripheral tweaks to further accentuate the band’s impact-based metallic edge that borderlines of extreme metal influences and a more ambitious songwriting approach. The virtuosic chops of band co-founders and lead guitarist Johan Lindh (aka Lind) and keyboardist Daniel “Blackwald” Beckman continue to rivet at every turn, while the flashy drum kit work of newer member Isak Olsson and the soaring, Michael Kiske-like majesty of Trick Or Treat vocalist Alessandro Conti steal much of the show.
The resulting eight chaptered novella of sonic sweetness and D&D imagery proves a boon for any metal head looking to throw on a freshly polished suit of chain-mail armor and clear a former dwarf mine of a nasty goblin infestation. Compact bangers such as the albums opener and the band’s own eponymous anthem “Twilight Force” and its equally flashy cousin “Sunlight Knight” present the band at their most accessible and methodical, blaring out a high octane mixture of Helloween-influenced speed metal mayhem, Malmsteen-informed instrumental wizardry and dense orchestral overlays that few could ever hope to rival. The latter song, along with the slightly more drawn out and technically-charged “Skyknights Of Aldaria” also manage to sneak in a few interesting curve-balls in the form of some fleeting extreme metal moments and a comical steel drum interlude, bringing what can be best described as a Disney-like element to something more readily aligned with the works of Anne McCaffrey and Piers Anthony.
“At the Heart of the Wintervale” Album Artwork
But that which ultimately sets this album apart from its three predecessors is not the occasional left-turns into unexplored stylistic territory, but rather the sheer scope of the songwriting that brings this band dangerously close to matching artistic wits with their primary influence, namely Rhapsody Of Fire. Two massive 10 minute epic numbers in “Highlands Of The Elder Dragon” and album closer “The Last Crystal Bearer” showcase a highly expansive array of symphonic devices that could easily adorn a fantasy film score, as well as a vivid presentation of guest vocalists, narrations and conceptual storytelling that approach game-changer territory for a band often likened to the comical B-cinema antics of Gloryhammer. Combined with the borderline inhuman vocal gymnastics displayed by Conti at every turn, and the heavy level of nuance and multifaceted interplay at work between the entire instrumental arrangement; a minimum of four to five listens is required to fully grasp everything that’s going on within these two towering compositions that comprise nearly half of the album’s principle duration.
While this particular subset of power metal may not be for everyone, those that don’t mind their melodic feasts saturated in pure auditory saccharine will find a new classic here that will give the Dragonlands and the Majesticas of the world a run for their money. If there is any Persian Flaw to be found in this otherwise flawless work of Northern European craftsmanship with a Southern European captain at the helm, it’s that there are no compromises when it comes to this album’s adherence to joyous sing-along romps. The ratio of light to darkness in what is stipulated to be the classical struggle between good and evil in musical storybook form tilts so heavy to the former that the latter proves an afterthought, though it does retain that needed metal edge beneath the layers of keyboards and soaring choirs. Think of it as the whimsical musical musings of Mozart standing in contrast to a scene more readily obsessed with Bach and Beethoven, and for those of us that ride dragons into the oncoming storm, we wouldn’t have it any other way.
Order “At The Heart Of Wintervale” HERE.
Released By: Nuclear Blast Records
Release Date: January 20th, 2022
Genre: Power Metal
“At the Heart of Wintervale” track-listing:1. Twilight Force
2. At the Heart of Wintervale
3. Dragonborn
4. Highlands of the Elder Dragon
5. Skyknights of Aldaria
6. A Familiar Memory
7. Sunlight Knight
8. The Last Crystal Bearer
9. The Sapphire Dragon of Arcane Might is Back Again
10. Skyknights of Aldaria (orchestral version)
11. The Last Crystal Bearer (orchestral version) *
- Available only in the Limited Digibook Edition.
Musicians: Alessandro Conti (Allyon) / Vocals * Philip Lindh (Lynd) / Lead guitar, acoustic guitar, lute * Jocke Leandro Johansson (Aerendir) / Rhythm guitar * Dunder Björn Lundqvist (Born) / Bass * Daniel Beckman (Blackwald) / keyboards, piano, violin, cembalo * Isak Olsson (De’Azsh)* / Drums
Setting sails with a new captain at the helm.
Originally conceived by four former members of Sabaton as a proper continuation of said band’s musical trajectory since their split following the release of 2012’s “Carolus Rex,” Swedish power metal outfit with a penchant for war and history dubbed Civil War quickly made much to distinguish themselves early on. Though their stylistic direction was heavily similar to the straightforward, polished and well-rounded character of their former band, a slightly more complex and varied songwriting approach combined with a very different front man than Joakim Broden in Astral Doors vocalist, and arguable successor to the legacy of Ronnie James Dio, Nils Patrick Johansson would make a pivotal difference and carve out a unique niche within a sub-genre of metal generally known for playing it safe. But with Johansson‘s departure soon after their 2016 LP “The Last Full Measure,” as well as some additional lineup shifts and controversy surrounding departed guitarist Richard Sunden, the future appeared uncertain just as this outfit was beginning to really establish itself.
But in the famous words of Michael Douglass in an obscure independent film King Of California, “Catastrophe, equals opportunity”, and the entry to the fold of guitar shred extraordinaire and former Winterlong mastermind Thobbe Englund and ex-Outworld vocalist Kelly “Sundown” Carpenter, one of the more impressive comebacks in recent memory was in the cards. The backgrounds of both newcomers in more progressive subsets of metal, combined with the incredibly powerful and similarly Dio-influenced voice of Carpenter leading the charge, Civil War has not only returned with a vengeance but has all but totally reinvented themselves in the process, and their resulting 2022 and fourth studio LP “Invaders” presents a veritable case study in how to take an already highly distinctive niche in power metal and make it even more so. Smatterings of darker metallic ideas, lofty symphonic elements and a generally more aggressive approach are all mixed into the pot to yield the most intense and poignant set of songs in this outfit’s catalog thus far.
“Invaders” Album Artwork
In contrast to the prior theme of past conflicts either pertaining to the American Civil War or other notable moments in world history from a mostly dispassionate point of view, “Invaders” takes the viewpoint of the subjects of invasion as the more sympathetic party and plays virtual cheerleader for their cause of resistance, be it a lost one or a successful one. The opening slab of high octane metallic thunder with a heavy dose of eastern mysticism “Oblivion” kicks things off on a decidedly dark and heavy note, sounding almost like a more condensed and infectious version of what Carpenter was doing with Outworld back in the mid-2000s. Other swift numbers that follow such as the title anthem “Invaders” and “Warrior Soul” carry a similarly colossal quality to them, but tilt closer to Civil War‘s previous handiwork, whereas the keyboard-steeped and mid-paced bangers “Carry On” and “Heart Of Darkness” all but veer into Battle Beast territory. Yet the songs that truly see this album come into its own are the overt throwbacks to their previous work with Johansson, namely the infectious cruiser with a heavy Irish folk tune element “Dead Man’s Glory” and the rerecording of their old 2013 EP classic “Custer’s Last Stand”.
2022 was a year of extremely stiff competition in power metal circles, and though the latest offerings out of Freternia, Dragonland and a few others appear poised to be the dominant contenders for the best album of the year, Civil War made a truly formidable showing here that should see their stock rising in the coming years after 6 years of virtual inactivity in the studio. Popular sentiment will likely continue to dictate that Sabaton is the superior act and the true claimant to this particular niche within the power metal scene, but from a purely qualitative and artistic standpoint, this fold managed to supplant most of what they’ve put out since the early 2010s and stacks up well against a lot of the better known stuff out there. Those who want their power metal polished and heavy, but also lyrically deep and poignant will definitely want to familiarize themselves with this album and keep an eye on where they go next.
Order “Invaders” HERE.
Released By: Napalm Records
Release Date: June 17th, 2022
Genre: Power Metal
“Invaders” Tracklisting:1. Oblivion 2. Dead Man’s Glory 3. Invaders 4. Heart of Darkness 5. Andersonville 6. Carry On 7. Soldiers and Kings 8. Warrior Soul 9. Slaughterhouse 5 10. Battle Of Life 11. Custer’s Last Stand
Musicians: Daniel Mullback / drums, backing vocals * Daniel Mÿhr / Keyboards, backing vocals * Petrus Granar / Guitars, backing vocals * Kelly Sundown Carpenter / Lead vocals * Thobbe Englund* / Guitars
Death metal has in its just under 40 years as a genre, given birth to some of the most diverse and genre-bending expressions of rage and misanthropy to have ever been expressed in musical form. From the guttural pig squealing madness of slamming death metal to the wonderfully intricate, often beautiful and yet still searingly harsh melodic and technical death metal genres, death metal has no doubt become a poster-child for sonic diversity within music. Now I was lucky enough to recently catch the Faces of Death Tour in Southampton, featuring Fallujah, Harbinger, Allegaeon and others, all showing off amazing blends of virtuosity and crushing brutality, in fact, I could hardly move my neck the next day (I knew taking part in that wall of death was a bad idea) so it’s safe to say that I have a healthy (or unhealthy) appreciation for the more contemporary death metal acts out there at the moment.
However, despite this, I would be lying if I said sometimes I didn’t yearn for the groovy simplicity and earnestness of straight cut death metal, and it’s becoming harder and harder to find bands that don’t just embody the ethos of that thrash metal laced goodness, but also the raw and hard-charging sound of it in isolation, without sudden timing signature changes, visionary artsy synth sections or unnecessary 5 minute ambient interlude tracks that are the equivalent of buying a Venezuelan lottery ticket, winning and then going to claim your prize the next day to find that it’s now worth a fraction of what it was. Indeed, I grow tired of the compromise, tired of the need to reinvent the wheel – thankfully, Leper Colony are set to drop one of the most untainted and refreshingly simple (If such hard and fast music can be said to be simple) death metal albums for quite some while.
You know that part of “Angel of Death” by Slayer right at the start where Tom does that cool as hell banshee scream? Well, Leper Colony open up their self-titled and first release with such a trick. Is it as good? No, you’ll never beat Slayer for that, but what follows in “The Human Paradox” is a distinctively traditional and claustrophobic affair, with shifting tempos, coarse production and a sublime jauntiness that encourages irresponsible head banging and immediate engagement. It’s good simple fun, it’s not going to win an award for being some sort of Wagner-esque masterpiece, with rise and fall dynamics that hint at emotional subtleties and dizzyingly grand narratives and frankly I don’t want it to, I like it for the agricultural slugfest that it is.
Now that the scene is set and the listener knows exactly what to expect from “Leper Colony” there are no real shocks in “Perdition’s End,” which despite perhaps being a bit slower a burn and having a greater focuses on solo work (which I must add is pretty good!) the same sort of pugilistic and dark vibe can be felt across the song, along with the thrash and traditional death metal elements you’d be right to expect right after “The Human Paradox” this is not boring however, due to the relatively short nature of the track and the minute differences between the general trappings of the songs being enough to sustain enjoyment throughout.
I perhaps should note that despite my appreciation for the traditional sound that Leper Colony so obviously want to cultivate, it perhaps in the first two tracks leans too heavily on its influences, I’ve mentioned Slayer and I’ll mention them again right away. Now Slayer aren’t technically a death metal band, but they certainly were instrumental in the sound death metal had going forward, but I can’t unhear just how similar the instrumentals sound to something Slayer would put out. There’s also a strong Death influence that is right at the forefront at the music as well – and no doubt if I was a bigger fan of Death I would hear it even more. Despite liking the songs I’d be lying if I didn’t say that I also at the same time am disappointed that they don’t so much as incorporate the traditional sound they’re targeting as they do embrace it at the cost of anything that makes the songs particularly individual.
Thankfully, track number 3 “The Surgical Undeadvours” feels very much a unique and distinctive take on their inspirations for the album. I really like this song, the right amount of chug to riff ratio, excellent vocal performance, great use of Arabian style riffs and a mix so noisy that if you placed your headphones on any hard surface it’d probably trigger seismographs for miles around. It’s just another song that’s great fun and ultimately, as much as I love a serious album, there’s a place for music that is made to simply be enjoyed, not deeply contemplated or analyzed.
The quality remains but the originality does not in “Tar and Feathers” which once again returns to imitation rather than outright innovation. I think if I highlight this every single time it’s true I’ll end up sounding like a broken record so it’s suffice to say, there’s not an awful lot of originality here unless said otherwise. Irrespective of this, “Tar and Feathers” is another well put together and thoroughly enjoyable song when you’re simply listening to it in a causal manner, and will no doubt be exactly what some people are looking for.
“Leper Colony” Album Artwork
Brazenly addictive and drenched in a self-assured swagger that fills the track with a more idiosyncratic and finite sense of style is album midpoint, “Rapture Addict.” Indeed if this is what the rapture is supposed to sound like, then perhaps I can understand exactly why such a big deal is made about it, though I may decide to stick around during it in order to hear this song a few more times. I think whilst the riffs, vocals, percussion and combination of all three together are obviously the core of what makes the song good, there’s something to be said as well for the way in which the song develops, with a high intensity right from the start that increases over the course of the song in a way that feel organic and natural, never quite disturbing the initial flow of the track and allowing for each new segment to expand upon the groundwork of the previous one to create a track that is unified in what it offers. Certainly, it bodes well for the latter half of the album that Leper Colony seem to have found their feet.
Up next is the title track, another pretty solid song that certainly seems to cement the transition to a sound that is evolving upon the bands inspirations, rather than getting largely lost in it. With a galloping drumbeat and some black metal style vocals sitting in a decently high register at points, there’s a stronger sense of foreboding in “Leper Colony” than elsewhere on the record, with rage being traded for tension and an end-of-days style. An altogether less thrashy affair than other songs previous to it, “Leper Colony” is an aguish soaked miasma that threatens to choke its listeners, infesting the lungs with chlorinous lesions and bubonic pustules of intransient condemnation. With such a sinister sound, it is always good to see the band try to represent the thematic core of the album in a slightly different way than breakneck tempos and jaunty riffage, and instead create a slower, more pronounced and nuanced piece to convey another angle of similar ideas.
I would say that Leper Colony like to err on the more simplistic side of riff structures, selecting a middling intensity and adding a smidge of technicality combing both with alternating tempos and a preponderance of loud dynamics. It’s very classically death metal, with some great solo work and a refreshing lack of guitar chug, which seems to be the flavor of the last decade or two in death metal, as deathcore encroaches further and further into the genre and blurring the lines between the two.
The 7th track of the album “A Flow So Greatly Macabre” is perhaps one of the heaviest offerings that exists across the whole album, with a super muddy production approach that has a noxiously thick fog cover the entire composition in a muted coarseness that emphazises the strained vocals and indignantly rapacious percussion, leaving each instrument just about perceptible in a sea of harsh noise. Of course that might not necessarily sound complimentary, but to me, that’s exactly what I want in extreme metal, a messy, DIY, abrasive morass. Fast as you like and bolder than a 50-something man whose testosterone levels are dropping at an alarming rate who goes out to buy a Porsche and leaves his wife so he can get a small taste of the primal confidence he had as a youth, “A Flow So Greatly Macabre” is a thrashy brawler of a track that is sure to get you ready to dive into a mosh pit as soon as you hear it.
You know sometimes the best way to start a track is by just absolutely shredding the hell out of it, no doubt that by 30 seconds into “Flesh Crawl Demise” things are so shredded by the immense guitar playing on display that it’s a surprise they don’t resemble compromising documents about Operation Northwood. Things don’t exactly slow down at any point either, with all the energy and aggression of “A Flow So Greatly Macabre” present here in “Flesh Crawl Demise” again, it’s certainly back into the foible of being a bit more of mashup of influences song than it is Leper Colony’s own distinct sound, but after a good run of songs that are, it is no longer a criticism, and in fact becomes quite welcome!
To conclude the album we have the final track, “Gruesome End” which is actually the shortest track as well. The short length doesn’t prevent it from being a good end to proceedings though, striking a balance between all elements incorporated on “Leper Colony” that is satisfying, if not exactly the high point of the entire album.
Leper Colony’s self-titled debut is an album that displays promise, and is completed to a fair standard, even if I can’t say the would score points for originality. Nevertheless, all the elements of a band that can produce great albums are there, and if you enjoy death metal infused with slower riffs and an amalgam of influences from the greats of the genre, this record will merit you attention.
Released By: Transcending Obscurity Records
Release Date: January 13th, 2022
Genre(s): Death Metal
Musicians: Rogga Johansson (Paganizer) / Guitar, Bass * Marc Grewe (ex-Morgoth, Insidious Disease) / Vocals * Jon Skäre (Consumption*) / Drums
“Leper Colony” track listing:1. The Human Paradox 2. Perdition’s End 3. The Surgical Endeavours 4. Tar and Feathers 5. Rapture Addict 6. Leper Colony 7. A Flow So Greatly Macabre 8. Flesh Crawl Demise 9. Gruesome End
Order “Leper Colony” HERE.
Primed and polished to a lustrous shine.
Despite the explosion of female-fronted symphonic metal acts that coincided with the mid-2010s being a major topic in metal media circles, the entry of German upstarts Beyond The Black into the fray seemed to come all but out of nowhere. With the instant backing of Nuclear Blast Records and being helmed by former German talent show winner and pop band Saphir singer Jennifer Haben, a few eyebrows had been raised and even some speculation that the band was a label contrivance. But whatever rumors were swirling around this band in their formative period, the sheer power and pizzazz that was displayed on their 2015 debut “Songs Of Love And Death” made them a hot item among symphonic metal trustees, spearheaded by Haben’s soaring voice, which bore a noticeable resemblance to famed Within Temptation vocalist Sharon Den Adel. Eight years, three subsequent studio albums and a couple lineup shakeups later, this fold continues to deliver a highly accessible yet fairly intricate assortment of bombastic fanfare that rivals many of the big names that have been at it for the better part of two decades, and their latest and eponymous studio album is no exception.
For those that have not been riding the waves that this outfit has been making since the beginning, the shift towards a lighter, rocking tone that commenced on 2018’s “Heart Of The Hurricane” with the changing out of all the original membership save Haben has given way to something a tad closer to their seminal sound here. The tone of the guitars has a bit more bite to them, and the riff work put forth by Winterstorm axe-slinger Tobias Lodes and Serenity guitarist Chris Hermsdorfer (arguably one of the more impressive six-string duos out there) proves to be pretty ambitious, to speak nothing for the blend of tasteful melodic and occasionally virtuosic solo work that graces each song. Meanwhile the symphonic bluster filling out the arrangement and drive of the drum work provided by Kai Tschierschky is noticeably darker and heavier, striking a tone that could be likened to a smoother blend of Nightwish’s “Once” and Within Temptation’s “The Silent Force.” Yet with all of these more aggressive elements firmly in place, a nuanced blend of atmospheric sorrow and dynamic contrast also plays a pivotal role in turning each of these compact anthems into a highly engaging listening experience.
“Beyond The Black” Album Artwork
Each of the ten sonic chapters that make up this well-rounded LP is a unique creature unto itself, often blurring the line between a fist-raising anthem and a melancholy exercise in modern power balladry. Bringing the energy with a powerful blend of punch and symphonic bluster is the opening banger “Is There Anybody Out There”, which in addition to being mercilessly catchy also sees Haben displaying some of her operatic chops to compete with a riveting guitar display out of Lodes and Hermsdorfer. Other up tempo beasts like “Winter Is Coming” and “Into The Light” bring a similar blend of technical flair and memorable hooks in a slightly more subdued fashion, while the grooving stomp with a dense orchestral overlay “Not In Our Name” leans a bit more towards modern Within Temptation mode of hard rocking goodness. By way of contrast, the folksy edge of “Reincarnation” and the dynamic power balladry of “Free Me” interweave some haunting acoustic guitar work into the equation and allow for Haben’s more subdued melodic tone to really shine. But the song that truly brings home the gold is the mystically-tinged sing-along romp “Dancing In The Dark”, which really lays into the symphonic side of the band’s sound and also sees the most dramatic progression from beginning to end in terms of emotional impact.
While Beyond The Black have yet to put out a bad album, there is a case to be made that they’ve tapered off a tad since the 2016 shakeup that saw all five of Haben’s band mates replaced, resulting in a pair of albums in “Heart Of The Hurricane” and “Horizons” that were noticeably less metallic despite the gravitas that the new lineup brought to the equation in said department. Those who’ve been of this mindset can easily rest assured that the same thunder that typified this outfit’s debut and sophomore LPs is back in full force here, touched up a bit with a greater level of studio polish and stylistic diversity. It’s maybe a tad behind those albums in terms of overall impact, as this one gets a bit more into the weeds in terms of world music influences and atmospheric interludes, but it’s no slouch to even the slightest degree. Newcomers who are drawn to such noted newer symphonic acts as Chaos Magic and Sleeping Romance, along with the noted classics in Delain, Within Temptation and Nightwish respectively, will find a similarly compelling blend of beauty and beast here.
Order “Beyond The Black” HERE.
Released By: Nuclear Blast Records
Release Date: January 13th, 2023
Genre: Symphonic Metal
“Beyond the Black” Tracklisting:1. Is There Anybody Out There
2. Reincarnation
3. Free Me
4. Winter Is Coming
5. Into The Light
6. Wide Awake
7. Dancing In The Dark
8. Raise Your Head
9. Not In Our Name
10. I Remember Dying
Bonus Tracks:
- I Remember Dying (Stranger Reprise)
- Wide Awake (Piano Version)
- Raise Your Head (String Version)
To blend active, engaging music with a sense of space and isolation is a task so seemingly oxymoronic that many bands never attempt to do so, indeed, even the few dissonant death metal bands out there are in a rather niche corner of their own, and certainly spotty in their quality and even less reliable in their output. Mithridatum then, with their black metal focused approach seem to be wishing to attempt the impossible in their determined quest to make their debut album “Harrowing” convey not just energy and viciousness, but also on-the-nose themes of isolation and introversion.
Perhaps the notion of dissonance within a musical context ought to be explained in more simplistic terms as the notion of a distant, cave-like sound that incorporates a blunted production technique that creates a flat and invariable sound, that is to say it simply sounds muffled. Of course, such an approach is a quite a divisive one, with many audiophiles deriding anything sounding muffled as a result of low-quality hardware or a poor musical ear. However, may naysayers be confronted with the opening track of “Harrowing” as a direct opposant of their philosophy, as it is abundantly clear from the off that “Sojourn” is not the by-product of some lackadaisical, laissez-faire, amateurish artists, but instead is an intentionally crafted and profoundly engaging entry onto Mithridatum’s debut album that is sure to immediately perk any listeners ears, and immediately garner a healthy modicum of respect for the as-yet unproven band. Perhaps in the most-critical of senses, it could be said that “Sojurn” is a little too jangly and discordant for an opener, being a tough nut to crack for all but the most seasoned of listeners, but the flip side of this is that it acts as a unmistakable statement of intent, one that shows the albums is not one of compromise or record-label manipulation, but that instead is the pure, concentrated vision of a set of musicians. Regardless, such a conflicting approach is commendable, but to this reviewers’ ears, is a little too strong in its vision, and ends up feeling a spot messy, if not overall important for the context of the album and largely enjoyable.
Thankfully, the somewhat bewildering nature of “Sojurn” in fact sets up and provides a frame of reference for the slightly calmer (If such a thing can be said of a song this abrasive!) “Silhouette.” In and amongst the discordant production, clashing riffs, punctuated drums and utterly unpredictable movement of the track, brief moments of sonic repose creep in much as water to a desert wanderer, with conventional black metal riffage being allowed to reign over the composition in brief stints, before collapsing back into a kaleidoscopic morass, in sound recreating the paintings of tortured absurdist artist Edvard Munch and in overall feel harkening the writings of the wise yet ultimately quietist Soren Kierkegaard. To have music evoke such things is a testament to it as an art form, as a thing extant not to appease or be consumed, but to provoke and disrupt, to conjure and to create – a thing to be extolled in all our waking moments, lest we persist in a greyscale dream, and allow clouds of functionality and boring compliance to rain glass shards of bitter melancholy onto us, and drown us in their conformist flood.
With a note of self-reflective irony, maybe I am thinking too deeply into the compositions, perhaps their seemingly random nature is in fact random, perhaps every note, every drumbeat, every howl and growl is a mere utterance, an impression of a vision, crafted from a vision that was spawned long before it – and yet why don’t I feel that it is so? Why do I feel like this is the concentrated power of a collective reckoning, one of a impassioned cry into a world that wants not to hear it, a harkened requiem for an internal consultation? A wish to be not just heard and disregarded but absorbed by the ineffable emotional osmosis that occurs in the process of engaged listening. At such an early stage within “Harrowing” I am already consumed by notions both imparted in me by the music itself, but also self-conceived in response to such a purposeful and distinctive stimulus – the tracks themselves. Indeed, I am caught, conflicted, bamboozled and dumbstruck in the perverse light of the album, left to rot in it’s vileness, forced to choke upon it’s festering aromas.
“Harrowing” Album Artwork
You may be mistaken for thinking the chaos is over upon the start of “Mournful Glow” but oh, how foolish you would be to do so, as made abundantly clear once the deconstructed fragments of guitar halt, and coagulate surreptitiously and with pernicious menace into a much more rapacious and raucous melee, with a fusillade of blast beats seemingly cascading across a noticeably disturbed guitar part, whilst choked back harshes resonate as a poetic plea to barbaric forces across the infernal caldera that lies in the song, which sits at the volcanic center-point of Mithridatum’s debut album. Never at any point does the pestilence recede into a distant fog, beyond that the composition itself is inherently foggy, and that a lack of clarity is the trade mark of “dissonant” metal, be it black or death. Indeed, the centre of the album also becomes its core, and from it, the last compositions stake their claim amongst an album of greats.
So then, it is perhaps no surprise that “Lower Power” doesn’t linger around too much, losing any impact or its ability to bewilder with staggering malleability,, instead, the vocals quieten to a whimper, the riffs instead take the spotlight, merging 2nd wave black metal sensibilities with a vaguely progressive edge that creates a compromise of both, in a way that is exclusively compelling and never feels cheap or baseless. The hustle and bustle of “Lower Power” is much the same as wondering the streets of a deserted city. During the lockdowns, I was in the city of Portsmouth, UK, often before the pandemic, it was a place where you could vanish and never be noticed, where you could walk 10 miles and feel as if not a single person had seen you, but when everywhere was shut, and you could leave the house once a day for fresh air, you felt an odd sense of connection to the rare strangers you passed, a sense of common struggle, a feeling of shared anguish – the instrumentals in “Lower Power” feel exactly like this, with each one being recognizable, and able to be analysed fleetingly, and yet the distance from them is clear, the fuzziness around their ages breeds an incomprehensibility not expressible in language, but only in the transcendental process of emotive and engaged listening. Holistically, the song is a borderline masterpiece of its style without qualification or mediation.
I think to briefly break from the somewhat sensationalist nature of my writing this far; it is a testament to the quality of the album that it has inspired me to write in such a verbose way. The album does still have its problems though. It has taken me 4 listens to truly understand it (or at least I think understand it) at first, I was largely repulsed and confused, scoffing at its seemingly arbitrary nature, but the more I listened, the more I felt I could feel a resonance within me in regards to it. If you choose to listen to “Harrowing” please make sure to give it multiple chances, and I know how often that’s said, I must’ve said a hundred times that I’d rather have my armpits stung by a thousand hornets than listen to five minutes of Rivers of Nihil only to be met with a “you just have to give it multiple listen!” In defiance of this though, is a genuine promise that if you give this album a few listens, with time to settle between them, that you will find something special within it.
And so, then we encroach upon the final entry on the Barrier-Reef deep “Harrowing.” “The Passageway” continues the existential decent of the previous tracks, becoming more withdrawn, more pensive and more abstract. With each shift and fold, you are dragged deeper into an ocean of incomprehensible scale, with a depth so punishingly obscure that as you are sucked deeper into it, the light that was visible all along eventually vanishes and you are left cradling tatters in the intransient noire. To end so hopelessly confounds the natural human need for immediate resolution, the sentiments wont fade, the ideations wont dissipate, this is a song, and furthermore an album that lingers, that sticks to you and wont fade, you are left coming back to it over the course of a day, analysing it in your moments of solitude, being pluralised by its confounding imprisonment every time you dare to allow your tired mind to drift back to it.
In some ways, I wouldn’t blame anyone for reading this review and disregarding it as an exercise in linguistic wankery, to think that in some way it is dishonest or afflicted, but I invite you to step into “Harrowing” and to invest time in the necessary re-listens, and then to still tell me that you do not at least understand where I am coming from in my assessment of it. All in all, to consider that not only is “Harrowing” one of the best examples of dissonant metal I have ever heard, but is also one of the best exercises in matching an ideal impact to a sound I have ever heard, and yet it is only a debut album of under 40 minutes in length, then it is no exaggeration to suggest that it will be an early AOTY contender, and something that will stick in my regular rotation.
Released By: Willowtip Records
Release Date: February 3rd, 2022
Genre(s): Dissonant Black Metal, Progressive Black Metal
Musicians: Lyle Cooper / Guitar, Bass, Drums * Geoff Fico / Vocals * Marlon Friday* / Guitar
“Harrowing” track listing:1. Sojurn 2. Silhouette 3. Mournful Glow 4. Lower Power 5. The Passageway
Pre-order “Harrowing” here.
For whatever reason, the first two records by Damanek more or less flew under the radar. And that’s a shame, for they are well-worth the listen.
That should change with their third outing, “Making Shore.” It is well named, for it truly makes is a wonderful journey that explores new musical lands.
First, the introductions. Damanek is the brainchild of British multi-instrumentalist and vocalist Guy Manning. And he is joined by two prog-rock stalwarts. Australian Sean Timms (of Southern Empire) handles programming and production. German Marek Arnold – who is involved in too many bands to count – is on reeds, giving a distinctive feel to the proceedings. Sometimes he’s jazz; other times, Middle Eastern. But Marek is a treasure.
The album is split into two sections. The first seven songs are socio-political-ecological pieces, the likes of which were the focus of the first two Damanek recordings (although these are unified by one central character). These things are close to Guy Manning’s heart, as one can tell by listening to the music and going over the lyrics. Each cut is strong, reflecting Manning’s taste in music—‘70s Prog, Easy Jazz, a bit of Rock, Pop, Folk, and smatterings of Ethno-Music. These are songs that are meant to be hummed along with, tapping the toes to the beat, immersing oneself in the sounds.
I want to pick out one song in particular—it is very special. “In Deep Blue Sea” has a wonderful backstory. The Manning family was on holiday. Their autistic son indicated that he’d like to try scuba diving. So he went through the training, learned what he needed, and then took the dive. The young man was pleased with the experience. So his father put all that in this song, one that is driven by Caribbean rhythms and a simplified instrumentation – some programming, voice, keyboards, sax. The lyrics are beautiful, especially when one knows where they came from.
A brave boy stands on a foreign shore and looks at the waterline
Up here in the Sunlight, well everything to him feels fine
Going to leave the warmth of the comfort zone and plunge into the unknown
Move from the air above the surf to the mysteries of below, down below
Diving into the Deep Blue
Let the waves push over your head
An underwater land where the colours change
As you glide across the grey rock base and follow the current slow
Angel fish swim along Anemone row, Anemone row
Now he’s back on dry land and he tells us of his tale
Total fear and wonderment, still tipping the scales.
And then there’s side 2 (yeah, I know, CD’s and downloads don’t have sides. But Guy Manning has gone with this, so we’ll follow along). “Oculus—an epic gothic and literary flight of fancy” is an overture and four-part suite; this is new for Dananek, and, to be honest, Manning wasn’t sure it would fly – even after the record was in the can.
He needn’t have worried.
“Making Shore” Album Artwork
It is the tale of a man(ning?) who finds an alternative reality through the looking glass. He makes trip after trip, experiencing new and different lives as he does so. But during his last voyage, the narrator comes across an urn of his own ashes on a mantle. He panics – a fear made worse when someone covers the looking glass with a shroud and he cannot go home. Finally, he runs into a younger version of himself. This gives him new strength and appreciation for life. When he returns to his real world, he is content.
Musically, the suite covers a lot of ground. The instrumental “Overture” is by turns urgent, contemplative, anthemic, moody, playful, and more – all in nine minutes. Special attention is given to Manning’s piano and some lovely flute by guest artist Linda Pirie. It is the preparation for what’s to come.
“Act 1—Spot the Difference” is more recognizable as Damanek, in no small part because of Manning’s smoky baritone voice. This one is something of a power ballad – but it has a couple of breaks that remind one of Jethro Tull.
“Act 2—The Corridor” immediately comes in with a blast of sound. It has the feel of ‘70s-‘80s pop rock—perhaps Christopher Cross mixed with Alan Parsons. This is a toe-tapper with a couple of quieter sections that provide an additional level of interest.
That blends into “Act 3—Passive Ghost.” It starts quiet, with keyboards and voice, a lovely ballad that builds as more instruments are added throughout. It contains musical and lyrical references to Joni Mitchell, The Animals, and The Wizard of Oz. It is clever and appealing and anything but passive.
“Act 4—A Welcoming Hand” leads off with an interplay of Marek Arnold’s saxophones with… Marek Arnold’s saxophones. It’s playfully intricate. As Manning’s voice takes over (still with the saxes), it becomes something of a shuffle (which evolves from 4/4 to 6/8 time) before busting out in an Al Stewart-sounding rock section. Guy Manning’s vocals are in top form here, really expressing the feeling of new hope and joy.
This is Prog, and it demonstrates that Manning and Damanek can succeed in various iterations of the genre. It makes me wonder where they might go in album number four.
Don’t get me wrong—I enjoyed the first two Damanek albums. “Making Shore” is a big step forward – one that, as I mentioned – has direct lines to the past as it moves into an exciting future. The record title is absolutely correct: Damanek and Guy Manning are making shore, discovering new territory with this one. If all goes as it should, many listeners will catch this wave and ride it to shore. And then repeat…
One more point, something close to my heart. “Making Shore” is dedicated to super-Prog fan Paul Hanlon, who passed away last year – but not before he contributed some money to put this project together. Paul was a close friend of mine, and I’m overjoyed that artists have recognized him and what he brought to the genre. Paul Hanlon is still making waves in the music field.
Released By: Giant Electric Pea
Release Date: January 13th, 2023Genre: Progressive Rock
Band Members: Guy Manning / Lead and Backing Vocals, Keyboards, Acoustic Guitar & Instruments, Loops, Samples, Percussion * Marek Arnold / Saxes, Seaboard; Additional Keyboards * Sean Timms /* Backing Vocals, Programming
Guest Artists:
- Brody Green / Drums (except cut 5)
- Cam Blokland / Electrical Guitars
- Ralf Dietsch / Electrical Guitars (on cut 6)
- Jonathan Barrett / Fretless Bass (on cuts 3 & 5)
- Nick Sinclair / Bass (all except 3 & 5)
- Riley Nixon Burns / Trumpet (on 2, 6, 10, 12)
- Linda Pirie / Flute, Piccolo (on 8)
- Julie King / Backing Vocals
- Kevin Currie / Backing Vocals
- Amanda Timms / Backing Vocals
“Making Shore” Track-List: 1. A Mountain of Sky 2. Back2Back 3. Noon Day Candles 4. Americana 5. In Deep Blue (Sea songs Pt 1) 6. Reflections on Copper 7. Crown of Thorns (Sea Songs Pt 2)
Part 2
- Oculus Overture
- Act I Spot The Difference?
- Act II The Corridor
- Act III Passive Ghost
- Act IV A Welcoming Hand
Order “Making Shore” at this location.
It was almost one year ago that we had the opportunity to have a listen with Ronnie Romero and his covers album called “Raised on Radio.” If you are unfamiliar with Ronnie’s bonafides, or you want a recap of his previous release, feel free to catch up on our previous coverage. For the extra-abridged version, Ronnie is one of the top rising star vocalists in modern rock and metal, and last year he put together a collection of rock classics for personal homage. Now, freshly in the new year, we are treated to the matching bookend. Where the previous collection was simply entitled “Raised on Radio,” now the radio part has been upgraded to “heavy” radio. Now, just being real for a moment, this new batch of tracks barely qualifies as radio. The track with the most radio play is probably something like Ozzy’s “No More Tears,” but hey, if you live in a market where the stations were ever playing “Four Horsemen,” or “Hallowed be thy Name,” well, lucky you. That being said, we are not going to get hung up on details, because the previous release was a collection of the songs which inspired Ronnie’s career, and this is just the same thing with the gain knob rolled up to 10. Good tunes are good tunes, so let’s get right to it.
First of all, take note that aside from a couple nice guest cameo appearances, it’s the same lineup as Ronnie Romero’s previous cover album. The best news in that would likely be the return of the heavy metal renaissance man Alessandro del Vecchio, on keys and overall production. Although Ale gets around and puts his signature on a lot of music, he is sort of like Parsons or Max Norman or Kevin Shirley where you see his name on a record and at least you know it will sound good.
The album kicks off with “The Battle Rages On,” which was essentially the final effort by “old” Deep Purple before the Morse era. In some ways, it is an interesting choice, since Ronnie’s new boss Ritchie Blackmore called it quits with Purple while making this album, calling it “The cattle grazes on.” Yet, the title track from that old record remains a real rocker, and if anything, this version puts some shade on the original. In 1992, Ian Gillan was already showing mileage on his voice, and being made to sing parts written for Joe Lynn Turner was not helping matters. On the other hand, this new record was made in 2022 by a Ronnie Romero very much in his prime. Pair that with a slightly heavier presentation, and modern mixing, and you have a cover that easily rivals the original.
The subsequent “Metal Daze” benefits for many of the same reasons. While Manowar were in their respective prime for this one, they were hardly polished on their first record, which was made with second-class production, even by 1982 standards. Again, Ronnie and the boys were able to polish and make viable a track mostly reserved for Manowar’s cult following. On the other end of that spectrum, we have “Turbo Lover,” almost nearly the titular track from Priest’s 1986 “Turbo” record. This was very much Priest at the top of their game, with Halford backed by Glenn and K.K. at their best. For this one, Ronnie called up his Destinia bandmade Nozomu Wakai for support on the guitars, and it’s a good thing as the guitars are so critical on this track, along with the synths handled capably by Alessandro. Is it better than Priest? Probably not, but it’s a really good version, especially the guitar layering in the solo section of the track. If Ronnie wanted to cover some Priest, and do it well, to check it off a lifetime bucket list, consider it done.
“Raised on Heavy Radio” Album Artwork
Hot on the heels of “Turbo Lover”, we have Priest’s oldest and dearest roadmates, Iron Maiden. Few tracks are more hallowed than “Hallowed,” and here is Ronnie to take that bull by the horns. So here’s the thing. No one will ever do Maiden better than Maiden, especially from the golden age. So omitting that as even a possibility, what other reason is there to cover it? To pay tribute, to put one’s own spin on it, or just to say you did. It does not even need to be a carbon copy. After all, if we wanted 1983 Bruce, Ronnie could have just passed the mic to Rafael Mendes. Musically, this cover of Hallowed is good, even if somewhat a mechanical replica. The plus is we get Ronnie’s interpretation, with his almost Dio-esque timbre, so we’ll just think of it like an alternate-universe replica of the original and be happy with that.
In the same era, we have Accept’s 1982 “Restless and Wild” album, which had that same early-thrash rough mix feel as “Kill ‘Em All” and “Killing is my Business.” This one really benefits from the marvels of modern recording, as well as Ronnie’s consummate professionalism behind the pop filter. At the time, UDO was definitely blazing a trail into uncharted metal territory, and Ronnie stands on shoulders of the giants preceding us, as we all do, and his polished singing demonstrates this. Thus it is that his version of “Fast as a Shark” easily holds its own with the original, and is a valuable part of this collection.
Meanwhile, we have something with a bit more production value than Accept did in 1982, in the form of Ozzy’s “No More Tears.” There’s a couple pros and cons here. First up, while this track sounds fairly good, it’s not on a level with Bob Ludwig’s 1991 ear candy masterpiece. Bob Daisley’s bass sound was just larger than life, and what is there to say about Zakk? Now, today, we have Ronnie putting his own spin on Ozzy’s take, which is neither good or bad, it’s just a different flavor. What saves this track is Gus G on guitars, with his huge tone and heavenly vibrato. He has played this very song live alongside Ozzy who knows how many times, so if he’s good enough for Ozzy, that’s good enough for us.
Speaking of the Ozzyverse, we also have Sabbath’s “Shining” from their 1987 “Eternal Idol” album. Thankfully, they get the Tony guitars pretty well right, and Ronnie keeps the performance in line with the spirit of the other Tony on the record, Tony Martin. Much like Gillan had to adapt to discarded Turner lyrics, Martin had to adapt to discarded Ray Gillen (Badlands) lyrics. It was a tumultuous time in the Dio–Rainbow–Purple–Sabbath universe. Thankfully, this track is supported by the guitars of Savatage alumnus Chris Caffery, once again boosting its overall street cred.
While we are taking a stroll in the Black/Purple universe of Ritchie Blackmore and his Rainbow, we have a cover of “Light in the Black” from Rainbow’s sophomore “Rising” album. While we could debate about whether Ronnie is the right guy to be covering Dio-era Rainbow, Ritchie has already made that determination for everyone by naming Ronnie the current singer of Rainbow. If Ronnie is good enough to sing Rainbow for Ritchie, that’s good enough for us. He does, in fact, deliver a spirited performance here, and the instrumentation is solid. While the original is absolutely a classic, it is almost 50 years old, and benefits well from modern production as well as Alessandro venturing out into the keysphere and ending up someplace between Jon Lord and Derek Sherinian. Also, the staccato triplet section in the middle is kept tight and true to the original.
On the subject of bonafides and legitimacy, Ronnie was able to borrow Mister Helloween himself, Roland Grapow, to provide guitars for his Masterplan modern classic “Kind-Hearted Light.” Although it is instrumentally quite true to the original from 2003’s self-titled Masterplan debut, Ronnie is certainly bold in tackling Jorn Lande vocals. However, he does this effectively and faithfully to the Masterplan recording. Surprisingly, we also get to dabble in the golden age of the Yngwie (J) Malmsteen catalog, in the form of “You Don’t Remember, I’ll Never Forget” from the “Trilogy” record. Effectively, we have Ronnie approximating Mark Boals vocals, which is just as well, because if Frontiers wanted a Jeff Scott Soto cover, they have the real thing on speed-dial. Alessandro does a tasteful approximation of Jens Johansson’s now-retro keys, and session man Rose Rubio ostensibly covers the Yngwie parts respectably well.
Possibly the most surprising choice is the final cover, “Four Horsemen” from Metallica’s debut “Kill ‘Em All.” Just about everyone in modern metal has been influenced by Jamez or Metallica in some way, but it would have been a more obvious choice to grab something from Black Album, or Puppets to be just a little bit edgy, but going with the first album is legitimate homage to old-school thrash. Ronnie does a great job, as he should, being technically a superior vocalist to Hetfield. If there is any complaint, it is the guitar leads that bear little if any resemblance to Kirk’s original work, which make some of his best lead work in the first few albums. This is so different, Ronnie could have just covered “Mechanix.” It’s not that the lead parts are bad, per se. It’s just that if we wanted to see Kirk guitars played totally differently than what’s on the record, we could just buy a ticket to a Metallica concert.
That’s a wrap for this big smoking pile of metal. We learned something today. Ronnie Romero has great taste in rock and metal. Also, he can do a hell of a job. He may not be the most versatile vocalist on the scene, but he is damned good at what he does, and every last one of these covers was good. If you are a fan of Ronnie’s usual work, like Rainbow or Lords of Black, this album is pretty essential for you as a fan. If you are just a general all-around metal fan, you should check out a couple tracks and see if you want to go in for the whole album. It makes for a pretty solid hour of metal for driving or working out, especially just to get a flavor a little different than these songs we’ve all heard a thousand times before.
Release Date: January 27th, 2023
Record Label: Frontiers Music SLR
Genre: Hard Rock / Melodic Metal
Musicians: Ronnie Romero / Vocals * Jose Rubio / Guitars * Javi Garcia / Bass * Andy C / Drums * Alessandro Del Vecchio* / Keyboards
“Raised On Heavy Radio” Track-listing:1. The Battle Rages On (Deep Purple cover) 2. Metal Daze (Manowar cover) 3. Turbo Lover (Featuring Nozomu Wakai) (Judas Priest cover) 4. Hallowed Be Thy Name (Iron Maiden cover) 5. Fast As A Shark (Accept cover) 6. No More Tears (Featuring Gus G.) (Ozzy Osbourne cover) 7. The Shining (Featuring Chris Caffery) (Black Sabbath cover) 8. A Light In The Black (Rainbow cover) 9. Kind Hearted Light (Featuring Roland Grapow) (Masterplan cover) 10. You Don’t Remember, I’ll Never Forget (Yngwie Malmsteen cover) 11. The Four Horsemen (Metallica cover) 12. Turbo Lover (Alternate Solo Version) (Judas Priest cover – Digital Bonus Track)
Pre-order/save “Raised On Heavy Radio” here.
Welcome back, Riverside. You have been through the wringer this past decade with the loss of cornerstone Piotr Grudziński on guitar in 2016, yet you carried on as a trio with the cathartic and impressive “Wasteland” album in 2018. It’s now been over 4 and a half years before a new, full-length studio album could be given birth and here it is, “ID.Entity”. Riverside fans, rejoice.
Indeed, there is good reason to celebrate and look forward to this new chapter, as their eighth album will deliver a good chunk of what every fan loves about this band. Riverside strayed a little more metal with “ADHD”, a little more song-oriented with “Love, Fear and the Time Machine” but by and large their sound is fairly consistent while still being adventurous. With “Wasteland” there were several new colors explored which could have signaled a new direction yet to come but now in retrospect it appears that album was not a transition album but rather an outlier, unique in the catalog for very valid reasons of the grief and healing process which it exorcised.
“ID.Entity” is both a throwback to early Riverside and paradoxically a progression at the same time, perhaps closest to their “Shrine” album for overall balance and diversity. The band largely wrote and recorded the album together in the studio, giving it a very collaborative and live feel. New guitarist Maciej Meller has been fully integrated and carries the Grudziński spirit while establishing his own presence. As such, this is one of the best releases in their history.
There’s no doubt that lead man Mariusz Duda enjoys poking at labels and pre-conceived preferences, including from the band’s fans. For years he’s eschewed categories such a prog, metal, etc…the understandable and inevitable frustration of many artists. So it’s not so shocking that opening track “Friend or Foe?” sounds for a moment like A-Ha or some other 80s pop band with its synth bass and drum hits. Fortunately, it also ends up sounding a lot like classic Riverside in the end with its distorted rhythm guitar. A decent song but probably the least impressive on the album, leading one to wonder if it was granted the opening slot simply to push some buttons of “non-pop” Riverside fans.
With followup track “Landmine Blast” – BOOM – we are in early Riverside territory as Duda’s repetitive bass lick drones forth and the trance is cast. It’s all here: the hypnotic dream-like groove, the driving angst, the intensity changes that keep the rhythm insistent even during mellower sections as instruments layer in and out. And now the album truly starts to hit its stride. “Big Tech Brother” is even better, a 7-plus minute rollercoaster of dynamics that sees Duda nearly growling in one turn, followed softly by an almost-comical admission of, “I’ve nothing to hide, I simply hate your style” accompanied by tender piano. Meller is sounding fantastic here with both his rhythmic playing and drawn out lead lines, which interweave with Michał Łapaj’s keyboards. It’s a bit of a shame when the song fades out during an addictive progression which could have gone on for several minutes more. Hopefully in concert it will.
“ID.Entity” Album Artwork
“Post-Truth” continues the string of infectious prime material. Heads will bob on the concert floor, then turn to banging. Really, what more could a Riverside fan want than a song like this? Łapaj hits the mood right with a synth solo and later ends the song tenderly on piano. Meller is belting out the band’s classic lead guitar melodic approach. Piotr Kozieradzki hits the drum kit with a massive sound to support the gravity of the band. And Duda’s bewildered, depressive lyrics paint a bleak picture of our world’s inhumane status quo.
Had enough yet? Hardly. Enter the centerpiece of the album, 13-minute “The Place Where I Belong” comprised of several sections but holding the flame of the ballad alive. The opening acoustic section is filled with tenderness and beauty but the foreboding is not far away: “No one will believe you just like I believed you, my love. Do not play with fire.” The second section is a narrative of our polarized world accompanied by searing lead guitar lines and hammond organ solos. Absolutely satisfying. An acoustic interlude slows down the energy a bit but leads up to a transcendent fourth section where Meller truly shines with his own voice on lead guitar. It’s nearly a perfect epic from the band, at times going in unexpected directions which suggest that this was a collaborative group-authored piece.
The final two songs have been previously released as the first singles of the album: the defiantly heavy “I’m Done With You” with the none-more-satisfying line “Far Away!” belted out by Duda, and the more upbeat bopping of “Self Aware” where Meller channels 80s-era Alex Lifeson for a change. The extended album version of the latter song adds three minutes of moody ambient groove to close the album, very characteristic and the perfect touch.
The album isn’t without a few missteps. The computer-generated voice that crops up on a couple of tracks lacks any degree of artistic subtlety and feels like overkill, not to mention annoying to have to hear every time during otherwise excellent songs. (Also, it’s a little amusing that “the crowd pounces upon you” sounds like it’s saying “the clown pounces upon you”) And some of the lyrics of the second section of “The Place Where I Belong” – and a couple of other places – could have benefitted from more poetic nuance. Still, for the vast majority of the album Duda’s desperate lyrics realize the sonic terrain and the conceptual scope of the album. ID. Id (Freudian stage of development). Entity. Identity. It’s a fun, if depressing, darker exploration of the times we live in.
Yes, my friends, Riverside are back and if you’ve read this far you’re certainly going to be listening to this album. And enjoying it, without a doubt.
Released By: Inside Out Music
Release Date: January 20th, 2023
Genre: Progressive Rock
Musicians: Mariusz Duda / Bass, vocals * Michał Łapaj / Keyboards * Piotr Kozieradzki / Drums * Maciej Meller / Guitars “ID.Entity” Track-listing:CD 1 – Album:*
- Friend or Foe?
- Landmine Blast
- Big Tech Brother
- Post-Truth
- The Place Where I Belong
- I’m Done With You
- Self-Aware
CD 2 – Bonus Material
- Age of Anger
- Together Again
- Friend or Foe? (Single Edit)
- Self-Aware (Single Edit)
“ID.Entity” will be available in the following formats:
- Ltd. Deluxe 2CD+Blu-ray Artbook (Disc 1: Album, Disc 2: All 4 bonus tracks, Blu-ray: All main 9 album tracks in Dolby Atmos, 5.1 and 24bit HighRes Audio mix versions)
- Ltd. 2CD Mediabook (Disc 1: Album, Disc 2: All 4 bonus tracks)
- CD Jewelcase
- Deluxe Digital Album (Including all 4 bonus tracks)
- Digital album
The album’s vinyl version comes as Gatefold 2LP (With the bonus tracks “Age of Anger” and “Together Again” on Side D) in the following variants:
- Black vinyl: All outlets
- Orange vinyl: All outlets
- White vinyl: 500x copies via JPC & Burning Shed
- Yellow vinyl: 500x copies via EMP & Just For Kicks
- Sky Blue vinyl: 600x copies via Laser’s Edge & CM Distro/Webshop Europe
A new laboratory of lethal germs has been opened.
Opinions may vary as to which subset of American death metal is the sickest, with a convincing case being made that the New York area brutality of outfits like Immolation and Suffocation can claim the crown, but when it comes to that distinct, old school blend of raw morbidity and violence that first codified the sub-genre, all roads lead to Florida. Perhaps it was something in the humid, gator-infested swamps that inspired some of said state’s residents to take the early strides of extreme Bay Area pioneers Possessed and Slayer and ferment it into a variant of moonshine so potent that it needed its own separate classification. Either way, as early as the mid-1980s a small collective of thrash metal outfits were inspired to further push the existing boundaries of sonic aggression, and among them was arguably the most straightforward expression of this then novel metallic subset in Obituary, originally under the moniker of Executioner. Their 1989 debut “Slowly We Rot” and its near equally iconic 1990 follow up “Cause Of Death” have since become highly respected staples of the genre, and though many would argue that their subsequent efforts have not quite reached the same heights, they’ve been a marvel of qualitative consistency in the years ever since.
With the 2020s now in full swing and the recent aftermath of 2 years of worldwide cabin fever still being felt by the concert-going public, this quintet’s 11th and latest studio LP “Dying Of Everything” is the perfect summation of what had recently come to pass in both musical and lyrical terms, not to mention a formidable auditory beat down in 10 parts. Lead by iconic front man and stylistic missing link between the harrowing persona of Jeff Beccera and the ghoulish depths of Chris Barnes, namely John Tardy, Obituary takes the concept of getting back to basics to a whole new level. Still maintaining an strong stylistic adjacency with their thrash roots, most of what unfolds is an exercise in high impact yet symmetrically structured violence, bolstered by a thunderous yet disciplined showing by brother, co-founder and drummer Donald Tardy and the steady bottom end of ex-Death bassist Terry Butler. However, what truly makes this outfit’s brand of graveyard-dwelling grooves gel is the guitar work, and between the bone-rattling riff work of longtime rhythm guitarist Trevor Peres and the intermitted six-string gymnastics of lead axe-man Kenny Andrews, a chord is struck that rings dangerously close to the greatness that was originally achieved by this fold at the dawn of the 1990s.
“Dying Of Everything” Album Artwork
At each point, what unfolds is an exercise in not messing with a winning formula yet somehow amplifying it to new heights, to the point where one might say that Obituary embodies the famous quote of the android Ash about the purity and simplicity of the Xenomorph in Ridley Scott’s Alien. The opening foray of thrash-infused fury “Barely Alive” strikes an immediate tone of horror after the vintage stylings of Slayer, complete with Andrews’ flashy guitar leads embodying that same blend of chaotic noise and virtuosic flair that splits the difference between Kerry King and former Obituary and Death shredder James Murphy. The similarly frenetic character of the title anthem “Dying Of Everything” and the double kick-steeped murkiness of “Weaponize The Hate” and “By The Dawn” follow suit with a blend of fast-paced drumming, pummeling guitar lines cloaked in an utterly dank tone, wildly expressive solo passages and John Tardy standing above the whole fray with his maddened ravings that could be likened to a semi-ghoulish preacher shouting sermons to a moshing, undead audience. Other standout moments that take things in a more mid-paced tempo without skipping up on the ferocity include the thudding stomp of “The Wrong Time” and the dissonant groove of “My Will To Live”, though honestly, every single entry in this collection is a certified banger.
While Obituary was never really gone from the scene, this towering entry to their highly expansive catalog could be treated as a comeback, both in the sense that it’s the first mighty blast of death metal brilliance to spring from their arsenal since their 2017 eponymous 10th LP, and also because its among the most impressive studio feats they’ve fielded in quite a while. Between the vivid atmospheric tone that is struck via the faithfulness to old school practices put forth by prolific engineer and the more modernly minded Joe Cincotta, and standout performances by every part of this 5-piece Florida juggernaut, there’s a solid case to be made that “Dying Of Everything” is up there with the certified classics that originally kicked off Obituary’s career during the early heyday of death metal. If nothing else, it is the most formidable entry from them since the towering monument of brutality with a highly technical gloss that was 2007’s “Xecutioner’s Return,” no small feat for de facto new guy Kenny Andrews given that said album enjoyed the one-off services of shred icon Ralph Santolla (R.I.P.). If old fashioned brutality with an eye for musicality and accessibility is one’s poison, this might well be the ideal fatal dose to swallow in 2023, no small feat given how early in the game it is.
Pre-order “Dying of Everything” HERE.
Released By: Relapse Records
Release Date: January 13th, 2023
Genre: Death Metal
Musicians: John Tardy / Vocals * Donal Tardy / Drums * Trevor Perez / Guitars * Terry Butler / Bass * Kenny Andrews* / Guitars
“Dying Of Everything” track-listing: 1. Barely Alive
2. The Wrong Time
3. Without a Conscience
4. War
5. Dying of Everything
6. My Will To Live
7. By the Dawn
8. Weaponize the Hate
9. Torn Apart
10.Be Warned
Northern European thrash served up extra nasty.
Thrash metal can work a few different ways, but it is generally stipulated that subtlety is its antithesis, and there is definitely something to be said for a back to basics take on the style, which has typically been the preferred approach of the bands partaking in its revival since the turn of the millennium. It’s an open question as to which scene originally set the bar the highest in the 1980s in terms of sheer aggression, but there was something particularly dark and sinister about the place that the German scene brought to the table during the middle of said decade that has since spawned throngs of emulators from both sides of the Atlantic and beyond. Among the more concise disciples of this brand of mad thrashing mayhem to rage forth from the tail-end of the 2000s is a quartet from Helsinki dubbed Ceaseless Torment, and while the name itself implies a sinister brand of thrash metal in line with the classic exploits of the Teutonic Trio, their 3rd and latest LP installment “Victory Or Death” takes things to their logical conclusion.
The mold of no compromising, pedal to the metal brand of sonic chaos on display here bears a strong resemblance to the ferocity witnessed during the Frank Blackfire era of Sodom during the late 80s, touched up with a beastly guitar tone that rivals the compressed force typical to 2010s revivalist icons Power Trip. Guitarist/vocalist and co-founder Sebastian Fredriksson brings a raw and sepulchral raving persona to the fore that bears a strong resemblance to Thomas “Angelripper” Such, while the blurring tremolo riffs and crunchy grooves from his rhythm input places well against the frenetic lead work of long time shredder Kim Lappalainen, whose solos likewise tread fairly close to the concise bursts that Blackfire brought to “Persecution Mania” and “Agent Orange.” Combined with the tight and heavy-ended rhythm section performance put forth by bassist Mikko Karppelin and drummer Tommi Makkonen–Viherialehto, the finished structure that emerges leans into the heyday of German thrash pretty hard while also keeping things simple and slightly in line with American crossover.
Beating around the bush is not in this album’s vocabulary, it’s the sort of freight-train approach to the thrash formula that starts off at full speed and takes extremely few occasions to slow down for a cargo drop. The opening crusher “Final Sacrifice” underscores this zero to sixty in seconds flat approach to things masterfully, riding off an explosive series of beats at neck-destroying rapidity, clocking in at just under three minutes while still seeing Lappalainen managing two rip out two impressive solo sections. Its immediate successor “Beyond The Boundaries Of Sanity” and the mad speeder “Killing Commands” may as well round out a trilogy with the aforementioned opener, as they lay down the relentless fury in the same basic fashion and clock in at almost identical time lengths. Later entries such as “Sons Of Sodom” (a title that could describe the band) and “Funeral Pyre” linger a bit longer and have a few more moving parts, but generally mirror that same raging nods to classic Sodom bangers like “Nuclear Winter” and “Enchanted Land” approach that typifies this band’s already noted shorter numbers.
“Victory Or Death” Album Artwork
Naturally there is some level of variation at play on this album that keeps it from being a one-dimensional slaughter fest, though nothing on here makes even a fleeting attempt at being progressive or otherwise goes off the classic 80s script. The just over 5 minute blaster “All Be Dead” has what amounts to a 90 second jam session that showcases Tommi’s drumming capabilities and Lappalainen’s technique at the six-string before going into outright kill mode, and even after the lyrical carnage commences the flavor of things is a tad bit more measured, hitting an apex during a brilliant dueling solo display with Fredriksson getting a few solid licks into the mix. But the entry that truly sets itself apart from the pack is the epic closer “Slaves Of Hell”, which takes a few nods from Slayer’s “Seasons In The Abyss” and arises from a dark and doom-drenched intro with Mikko’s bass work getting some time in the sun to bring some Kilmister-styled glassy raunchiness into the mix. Ultimately it finds itself veering back into chaotic territory in line with the rest of the album, but it stands tall above the fray by being an even more potent dose of adrenaline despite the continual similarity in ideas being employed.
For a little over a decade there have been various online outlets insisting that the revival that was named the New Wave of Old School Thrash Metal was on its way out, yet every year there is no shortage of up and comers looking to draw another portfolio of bangers from the well of ideas that was dug during the sub-genre’s conception roughly four decades ago. Though Ceaseless Torment isn’t really a brand player on the current stage, the added visibility that is sure to come given their recent move from the obscure and small time Finnish BWK Records to the comparatively larger Italian label WormHoleDeath will undoubtedly see them rise to greater prominence, and “Victory Or Death” is the sort of album that is up to the task of leaving a solid first impression, right in the newcomer’s skull. Lead guitarist Kim Lappalainen has since departed the fold to join the ranks of Impaled Nazarene, but it’s a safe bet that this isn’t the final word in this outfit’s tenure. They may not be reinventing the wheel here, but between their solid songwriting and unfailing zeal for the art, it’s the sort of tried and true goodness that any thrash fan can blast out at maximum volume.
Order the “Victory Or Death“ album HERE,
Released By: WormHoleDeath Records
Release Date: Spetember 30th, 2022
Genre: Thrash Metal
Musicians: Sebastian Fredriksson / Guitar & Vocals * Kim Lappalainen / Guitar * Mikko Karppelin / Bass * Tommi Makkonen-Viheriälehto* / Drums
“Victory Or Death” Track-listing:1. Final Sacrifice 02:48 2. Beyond the Boundaries of Sanity 03:14 3. All Be Dead 05:11 4. Killing Commands 02:38 5. Funeral Pyre 04:13 6. Only Victory or Death 04:20 7. Sons of Sodom 03:49 8. Obsession Possession 03:53 9. Slaves of Hell 06:36
German gothic metallers Lord of the Lost topped charts and wowed audiences across the world in 2021 upon release of the stunning double-album “Judas.” Here at Sonic Perspectives, our review dove deep into the album’s lyrical significance, its instrumental artistry, and its contributions to the band’s already impressive discography, before awarding it a 9.5/10. Despite the album’s global success, Lord of the Lost were not content to rest on their laurels. In May 2022, the band released an EP titled “The Heartbeat of the Devil,” which included different edits of tracks from “Judas” as well as cover songs. Music videos from the “Judas” era continued to be released through September this year, concluding with the ninth and final video for “A World Where We Belong.” At the same time the band had taken to the stage for their extensive Homecoming Tour, which spanned across more than nine countries over two months.
As though this marathon of activity were not enough – it’s exhausting to even list it all – Lord of the Lost dropped a brand-new music video on December 24th with an unexpected announcement: their new album “Blood & Glitter” would be released in just six days. The “surprise album” is a feat rarely seen in the modern era of music promotion. Most listeners are treated to three or four singles in the six months prior to the album’s release, social media feeds stuffed with pleas for pre-orders, and music videos strategically timed for maximizing viewer engagement. Vocalist and frontman Chris Harms voiced his irritation at this demanding and often hollow endeavor in the limited press offered in advance of “Blood & Glitter.” Harms even sank his claws into album reviews, noting with contempt that there are so often “1,000 pointless reviews in advance” of a release. Perhaps this very article is exempt given that it follows the album’s release, but regardless, this reviewer is always happy to ramble on about one of the most bold, exciting, and aesthetically daring bands in the modern metal and gothic scene. And this reviewer is certainly going to pretend that she isn’t wounded by Harms’ criticism of the industry (she doesn’t quite have the thick skin that the Lord of the Lost crew must possess).
“Blood & Glitter” embodies everything that Lord of the Lost have come to be known for while stepping away from the somber air that shadowed “Judas.” From a unique stylistic approach that brings modern flavor to glam, and a sonic identity that draws from gothic metal through electronic and new-wave, “Blood & Glitter” is a no-punches pulled approach to gothic rock ignited by metal’s biting edge. Not so much as a single ballad slows down the rollicking pace of this party-anthem opus, but underlying darkness introduced by Harms’ screams and rumbling percussion keep it firmly rooted in the gothic atmosphere that has long defined Lord of the Lost’s sound. The thematic content is personal and tainted with passion and rage in equal measure to further offset the pop-tinged up-tempo offerings. Bright synths mingle effortlessly with fervent growls for a delightful atmosphere that dances between arena anthems and dim-lit clubs, notable on tracks such as “Absolute Attitude” and “Destruction Manual.” Some tracks will leave listeners torn over whether they should be dancing or head-banging.
Despite the apparent disdain for exhaustive promotion, there was still some excitement in advance of “Blood & Glitter” being released. This came primarily in the music video for the sole and lead single, title track “Blood & Glitter.” Everything about this single and its accompanying video seems designed to “wow.” While it may first sound like an easy party anthem, the depths of “Blood & Glitter” calls upon a wealth of serious emotion that Lord of the Lost invokes with marksman-like precision. The band spends the better part of three minutes drenched in a combination of sparkling gold and crimson liquid, an aesthetic signature that expounds upon the vibrancy of 70’s glam. Each band member is afforded a healthy dose of personality in their costuming, with Harms sporting a spectacularly dramatic cape and a smattering of sequins that leave little to the imagination, keyboardist Gared Dirge rocking glittering tights in addition to a bright red mohawk, and guitarist Pi Stoffers in a tightly-tailored display of eye-catching fabrics. Their faces upturned in apparent elation beneath pouring blood offsets the gold confetti that also rains from above, an appropriate visual feast to match the song’s content and zeal. This single and its whole-package approach to a glamorous presentation make for an instant Lord of the Lost classic.
The blunt and deeply personal lyricism throughout “Blood & Glitter” leaves no doubt for listeners seeking some deeper meaning at this album’s heart. Lord of the Lost have truly left their souls on display here, with pointed lyrics that match the musical intensity. “Leave Your Hate in the Comments” is the paragon of this unapologetic philosophy and the heavy-handed metaphor-free lyrics that dominate “Blood & Glitter.” Lord of the Lost are no strangers to hate in the comments, be it on their YouTube videos, posts on Napalm Records’ official pages, or even on their own social media accounts. Recent gems include some of the following (and exclude many others that would not be fit for publication – a full stream of comments can be seen on the song’s just-released music video):
“Shits (sic) lame, they need to stop with Gary glitter here
Unfollowing. I’ve had enough of this gay shit stuffed down my throat already this year.
This band is trash. Stop spamming it.
Looks gay
[T]his kinda music doesn’t belong next to the actual metal bands Napalm Records promotes
With that in mind, there’s little doubt that Lord of the Lost truly mean every syllable shouted out in the verses to “Leave Your Hate in the Comments,” including:
“Blame us, degrade us
Tell us that you hate us
…
We’re stupid, we’re useless
…
We’re crap and we’re faggots
We’re not enough”
But in the way Harms sings these verses, there is no dejection to be found. There is no despair, nor is there mourning. Instead, there is a brilliant light. There is the bright defiance of success, the joy that comes in climbing to the very top of the German charts, the splendor that comes in opening for the legendary Iron Maiden. This is accomplishment that no amount of faceless hatred could ever dethrone, and “Leave Your Hate in the Comments” does not hesitate in sharing this triumph over faceless hatred.
The same confrontational attitude embodied in “Leave Your Hate in the Comments” weaves into “No Respect for Disrespect,” a lively number ignited by the enthusiasm from the synths and keys that Dirge commands. And where Dirge brings the touches of pop or new-wave, Stoffers steps in to douse the listener with exquisite riffing, a dichotomy particularly notable in “Absolute Attitude.” Dirge and Stoffers are matches not just in setting the mood, but in their charismatic performances, visible both on-stage and in the “Blood & Glitter” music video. This partnership creates a well-balanced exchange amidst the collision of different genres, particularly the jubilant and danceable melodies that float above the tumultuous bass undertones. It sometimes feels as though this album is Lord of the Lost welcoming their listeners to a party at the end of the world.
Just when it seems that “Blood & Glitter” can get no more personal, the album concludes with the touching “One Last Song.” Harms supposedly crafted this song after asking himself what song he would want to sing last before he died, and realized he hadn’t yet found it. So, in true gothic fashion, he wrote that very song. It weeps with love and melancholy, overflowing with devotion to not just the craft of music, but to the life that Harms has built and the legacy he hopes to leave behind. The mellow darkness that permeates messages of hope is a true testament to Harms’ skill in flitting fluidly between light and darkness. “One Last Song” is also a strong final note for an album that is more thematically personal to the band than ever before.
There is no praise too great for Harms as a vocalist, frontman, and songwriter. His presence as a vocal staple in the German rock and metal scene is undeniable and well-earned. A spirited interviewee, skilled performer (look no further than the “Blood & Glitter” music video), and an unapologetic personality are all features Harms possesses alongside his unmatched vocal ability. Smooth crooning switches seamlessly to caustic shouts and screams, and Harms demonstrates a pleasant vocal range as he traverses the peaks and valleys within “Blood & Glitter.” Listening to the rest of the band unite behind him sparks an utterly delightful and positive chemistry. His fiery spirit is enough to make any listener itch for Lord of the Lost to take these songs to the live stage – it’s all but a promise of the performance of all lifetime.
Although “Blood & Glitter” is dominated by unceasing energy, the album still plays with tempo in satisfying and infectious ways. There is no better example than “Reset the Preset,” which begins with a simmering percussion that rapidly turns into a thunderous stampede of drums. Niklas Kahl keeps the rest of the band on their toes with impeccable rhythm throughout all of “Blood & Glitter,” but “Reset the Preset” and “Dead End” are solid proof that this drummer is more than just a mere metronome. Part of the rich personality that makes the album more than just arena-anthem tracks is the confident integration of a bold rhythm section. Kahl and bassist Class Grenayde make for an unstoppable duo, matching all the energy of Dirge’s keys with pure grit. The prominence of Grenayde and Kahl in the mix is evidence of thoughtful production and songwriting that works to enunciate each essential instrumental element. The production for “Blood & Glitter” is tremendous in general, as the album feels polished without losing essential atmospheric subtleties.
For all of its straightforward and ardent fire, there are also more sensitive and visceral passages contained in these momentous tracks. “Leaving the Planet Earth” hits with a cinematic dreaminess that makes stylistic allusions between Harms and David Bowie all the more tangible. “One Last Song” is rich with feeling, particularly in vocal delivery, while that same decadence is added to “Save Our Souls” with a layer of dramatic violin. The ability for Lord of the Lost to pack “Blood & Glitter” with nuance without abandoning its burning momentum is but one example of exceptional songwriting skill.
“Blood & Glitter” further enhances the band’s inherent strengths by bringing in guest musicians on both vocals and instruments. This includes Marcus Bischoff (Heaven Shall Burn) on “The Future of a Past Life,” Andy La Plegua (Combichrist) on “Reset the Preset,” and violinist Ally Storch (Subway to Sally) on “Save Our Souls.” Each guest was placed in a song that accented their strengths alongside that of the already talented band members for an explosion of talent. “The Future of a Past Life” demonstrates a particularly strong match between vocal styles.
There is simply no other band in the current metal scene doing what Lord of the Lost is doing. They do not rest, they do not compromise, and they do not tailor their personalities or content to bow to the seemingly endless pressures from hatred that drips from their public reception. Not only that, but they make damn good music that’s worth putting on repeat, and they do it in glittering tights and high-heeled shoes. Their bright smiles on stage and vocal allyship to communities often sidelined in metal makes supporting Lord of the Lost so much more than just a mere musical endeavor.
Release Date: December 30th, 2022
Record Label: Napalm Records
Genre: New-Wave Gothic Metal
Musicians: Chris Harms / Vocals, Guitar * Pi Stoffers / Guitar * Class Grenayde / Bass * Niklas Kahl / Drums * Gared Dirge* / Keyboard, Piano, Synth
“Blood & Glitter” Track-list:1. Blood & Glitter 2. Leave Your Hate In The Comments 3. Absolute Attitude 4. The Future Of A Past Life 5. No Respect For Disrespect 6. Reset The Preset 7. Destruction Manual 8. Dead End 9. Leaving The Planet Earth 10. Forever Lost 11. Save Our Souls 12. One Last Song 13. The Look (Roxette Cover)
Order “Blood & Glitter” HERE
Terror strikes at the dawn of the 80s.
Former King Diamond/Mercyful Fate tribute band turned spinoff homage band Them has been a fairly steady presence for the past 7 years, since their 2016 debut “Sweet Hollow” ushered in another outfit seeking to revive the horror story approach to heavy metal during the extended studio hiatus of both aforementioned iconic 80s trailblazers. Yet from the beginning mastermind and lead vocalist of old time New York thrash metal outfit Coldsteel, namely Troy Norr, has sought to distinguish his latter day brainchild from the likes of Portrait, Attic, and In Solitude by opting for a faster, thrashing variation on the older heavy metal approach of yesteryear, all the while maintaining a clear horror aesthetic by opting to have each album released under the Them moniker in close proximity to Halloween. 2022’s “Fear City” stands as the fourth installment in Norr‘s ongoing conceptual storytelling vision, upping the ante in nearly every respect while also bringing his one-eyed, ghoulish and recurring protagonist into a very different time and place.
Set in what is assumedly the early 1980s in the crime-plagued streets of The Big Apple based on the story bits provided via brief interludes, the vengeful and neutrally aligned principle character KK has come back to take vengeance upon the descendants of those who wronged him in the past. As with prior installments of this saga, the musical content opts for an extremely melodic and methodical structure that mirrors the symmetry and dark aesthetic of King Diamond‘s seminal 1980s albums, then proceeds to inject a heavy amount of neck-destroying thrash elements that draw upon the more violent side of the Teutonic sound (think “Abigail” meets Destruction’s “The Antichrist”) and further increases the technical factor. Norr‘s vocals tend to be less falsetto-happy then that of King Diamond and mixes in a more gruff-driven element and a heighten interplay of gang chorus elements, while the dueling guitar work of Markus Ullrich and Markus Johansson land somewhere between LaRocque and Malmsteen, further aided by a near equally busy showing by keyboardist Richie Siebel.
“Fear City” Album Artwork
The general order of the day for this LP is a foray of highly kinetic, three to four minute long bangers that manage to pack in enough vocal and guitar gymnastics to fit an ode of double the length, all the while avoiding excess and being highly memorable despite the often rambling lyrical narrative and theatrical atmosphere. The crazed riff work that adorns the opening cruiser “Flight Of The Concorde” could almost be mistaken for an amped up homage to Riot‘s “Thundersteel”, while the equally frenetic yet more bottom-heavy “Welcome To Fear City” often flirts with death metal territory due to an utterly insane drum performance by newly recruited Death Dealer and former Into Eternity drummer Steve Bolognese. Blurring lead guitar passages and raging ghost choirs permeate the extreme thrashing mayhem of “Death On The Downtown Metro” and “The Deconsecrated House Of Sin”, yet the song that manages to steal the show is the towering 9 minute musical narrative “The Crossing Of Hellgate Bridge”, which hurls everything at the prospective listener but the kitchen sink.
To date, this is the strongest and most advanced piece of conceptual mastery to come out of the Them brand, and barring the production getting a bit hazy at times due to the cacophony of melodies and counter-melodies overlapping at key transition points while being drenched in ultra-busy guitar and drum work, it’s a perfect package that takes all of the best elements of what King Diamond and Mercyful Fate started and casts it in a new ominous light. It’s sheer complexity gives it a level of staying power that will more than carry this outfit’s audience through the next two years until a further chapter in KK‘s seemingly unending quest for vengeance is revealed, and while the voiceover segments have a dated and slightly corny character to them, the twists in the story that come into focus are sure to keep every avid following hooked. No matter what crafts his hypocritical adversaries might devise, you just can’t keep a good ghoul down, and KK‘s stories will hopefully prove far from finished.
Order the “Fear City” album HERE,
Released By: SPV/Steamhammer
Release Date: October 28th, 2022
Genre: Heavy Metal / Power Thrash Metal
Musicians: Troy Norr (AKA KK Fossor) / Vocals * Alexander Palma / Bass * Markus Ullrich / Guitars * Markus Johansson / Guitars * Richie Siebel / Keyboards * Steve Bolognese* / Drums
“Fear City” Track-listing:1. Excito 1:48 2. Flight of the Concorde 3:48 3. Fear City 4:12 4. Retro 54 4:54 5. An Ear for the Action 0:29 6. Graffiti Park 4:06 7. 191st Street 5:30 8. Home Stretch 0:54 9. The Crossing of Hellgate Bridge 9:19 10. Death on the Downtown Metro 3:42 11. Stay Tuned… 0:23 12. A Most Violent Year 0:57 13. The Deconsecrated House of Sin 3:43 14. In the 11th Hour 3:17
In the minds of the deranged and twisted lies a medley of sickness. Narcissism, paranoia, sadism and rage. In “Somewhere Within the Pines” these dastardly machinations are dissected and autopsied with gratuitous nuance and fastidiousness, telling the story of a demon serial killer who preys upon our most vulnerable members of society – children. Using the cut-throat brutality of death metal and impressively implemented progressive metal motifs, Anomaly produce a deep, dark, twisted and resoundingly imposing concept album that offers unpredictability as much as a gritted teeth enjoyment behind every riff and in every song.
Baiting you into the sonic barrage that is “Somewhere Within the Pines” is “Cursed to Meet Another Sunrise.” Shuffling along with agonizing and grizzly riffage and being completed with guttural vocals tinged with abject despair, the early throws of this album are certainly foreboding and linked well to the thematic, and this becomes even more so with the more nuanced and technical middle section that manages to set a more subtle emotive turn that allows for a period of contemplation before eventually slamming back down into a chuggy morass, that despite continuing on for a fraction too long, develops into a nicely circular period of brutality. If you want to make a concept album, first impressions are more crucial than ever, and the first impression made by “Somewhere Within the Pines” more than adequately frames the general mood and direction of the album.
The next step beyond a well-honed introduction is to then develop upon the context laid out and really immerse the listener into the themes and notions the concept aims to convey. It is then good that the second track of the album “Somewhere Within the Pines” sufficiently conveys the aspects of despair and doom with its higher tempo skull-crushing intensity that meets surprisingly well with the achingly sad melodic segments adjoining them. Immersion is not total by this point of the album, but good ground has been seized in the battle to truly make the listener feel part of the story, it is without reproach that at least a large proportion of the framing has been done by now, but the overall ability to withdraw the listener into another world has not quite been achieved yet.
It is perhaps a good thing then, that even though I do not feel fully immersed within what “Somewhere Within the Pines” deigns do be, that nonetheless I am enjoying it greatly. There’s an air of one of my personal favorite bands – 1914, about them. Of course, I wouldn’t just boil Anomaly down to this, they’re far far too progressive and intricate to be as unwaveringly savage as 1914, but there’s certainly some sonic overlap there. Indeed, the melding of progressive elements here is done in a way where the intensity of the music is un-compromised and so is the underlying groove, and yet these are in fact embellished by the quirkiness that the addition of said elements often generates.
Proceeding deeper into the molasses-thick and doom laden window into the sickening occurrences of the albums thematic locale, “These Cold Weeping Winds” tells of how the resident demon once again victimizes another target, and how the rumors of his existence being merely folklore are but the financial protestations of the privately terrified, whose idle disregard for the demon belies the actual terror he strikes into their trembling hearts. The theme is all pervasive in “These Cold Weeping Winds” and finally becomes fully immerse, I feel as if I am hunting the demon, or wait, is it hunting me? It becomes hard to tell when caught in the anxious torrent being pumped into my ears, every drum beat, every guitar lick, every exasperated bellow from Anomaly’s vocalist Neil Tidquist drives me deeper into the clutched of “Somwehere Within the Pines” and in a sense, I too can no longer hope to escape.
Excavating deeper into the wounded psyche you will have developed via listening thus far is the similar “My Old Bleached Bones.” Could a cautionary tale be more prominent, could it be more impactful? Dashes of piano tingle on the skin as a groovy yet godforsaken riff drags along, wobbling and wavering like the knees of anyone foolhardy enough to seek the demon upon meeting its vile gaze and become another victim of its insatiable perdition. With a brief resolve, a pacifying of sorts, delectably rich baritone vocals ring in, incorporating a glum and forlorn timbre that is so detectable across them in a way most perplexingly obvious and yet so consciously indivisible – no doubt the apoapsis of suspense has passed, and now the unavoidable consequences of a misadventure encounter with our serial killer shall transpire.
At this point in “Somewhere Within the Pines” you’re transfixed, it’s as if musical medusa had stared into your eyes and you are but another stone statue in the barrier reef deep ocean of the thematic intensity delivered thus far. To capitalize on the groundwork of the first two songs was the aim of the ones following and I cannot say that in any way Anomaly have failed to do so. I love to be immersed in a concept album like this, I will make no secret of my adoration for the grand designs of much more popular bands such as Pink Floyd and Marillion who so wonderfully set out in the history-seeped aspiration to tell stories that speak to the core of who we are, be they satirical, homely, biting or resigned, speak they of our ability to love immensely and complexly or the human folly to fall vice to the various tipples and substances who surround us even in the face of greater concerns. In “Somewhere Within the Pines” a horror most entrenched in the core of many people is espoused. To lose a child, to have the weak harmed, to have done unto the only uncorrupted sign of purity in a world thick with dirt and bastadry an injustice. To overlook the theme as a trite reflection of too on-the-nose B rate horror flicks is to not appreciate the gulf in the severity of the representation of such a topic between such a medium and what is laid out in this record. All the noise, all the shifts and changes within the music, it all means so much more when you feel the desperation in the songs, when you pay an active mind to what is actually going on here, and how each individual instrument and passage is touching upon the various emotions that the subjects of the songs may well feel in such a scenario.
It is then perhaps a shame that track number 5 is so jarringly different to what came before hand. “Don’t Go Out Into the Woods Alone” is arguably a cover of an American folk song, with a name I frankly do not remember but a sound and lyrical direction I am most familiar with. I understand why Anomaly wanted to mix things up a bit, and in isolation, this is a perfectly accomplished and fun rendition of a classic song many will know from their younger years, but in all honesty, for me, it just doesn’t make sense being where it is in the album. It is totally immersion breaking and that’s so bitterly disappointing after I was so invested in what was happening within the narrative. A song like this needs to be at the end of an album, a little song into the end, or perhaps a post-scriptum of sorts. Now it has left the last two songs with so much work to do.
No doubt as jarringly as track number 5 arrived, it disappears with the following entry onto “Somewhere Within the Pines,” “Sentenced to the Trees.” Images of desolate forests thick with wispy mists and bracing cold are conjured by the dissonant and bleak guitar wizardry and are only shaped into the perceptible forms of ancient oaks by the driven percussion that sits in an equilibrium within the mix with the rest of the instruments. The so-often mentioned within this review immersion begins to return, but perhaps not to the dizzying height it once did. A mention must be made to the production here on the ultra-melodic acoustic guitar led mid-section which sounds absolutely gorgeous, warm and yet still soberingly dry. In fact, as a song just by itself, “Sentenced to the Trees” is probably the highest point of the album, being genuinely beautiful at parts despite the altogether harsh nature of the track.
Sometimes, albums become victims of their own success, both outside of themselves and within themselves and for the latter, “Somewhere Within the Pines” stands as an example. When you’ve tasted the brilliance of the first four tracks and you feel as if you are in the concept the album is espousing, it is so bitterly disappointing that despite what is a great song in “Sentenced to the Trees” the mistake that was “Don’t Go Out Into the Woods Alone” has done so much damage to the flow and continuity of the album that it’s really hard to settle back into the way I felt before I came across it. It’s hard not to feel harsh when criticizing it, and no doubt some listeners are going to love the juxtaposition of “Don’t Go Out Into the Woods Alone” but I have to be honest when I say it felt amateurish and endemic of a decision that was made because it could be, not because it should be.
Of course, this means a lot rests on the 7th and final song of “Somewhere Within the Pines.” It is entirely up to “One Last Glimpse of the Sun” to restore the vibe that existed prior to my recent complains, and with a funeral doom style opening it is certainly true that the darkness of previous songs returns with a vengeance. Adjoining to such passages is a mournful ambient segment that eventually coalesces to be a more typical of the album death metal track. Despite the greatness of the song on an individual basis, it does not return me to the level of engrossment that I previously reached, even if it does come painstakingly close.
All in all, individually, nearly every song on “Somewhere Within These Pines” has its own moments of greatness, is entertaining and most of all is compellingly good at telling a story. It is a shame that a terribly placed stylistic shift ruins the albums’ chance at achieving the highest of scores and instead relegates it to relatively quiet praise and respect. I hope to see more from Anomaly in the future, and sincerely wish the band nothing but the best in their quest to tell stories via their technically accomplished and oft fascinating music.
Released By: Self-Released
Release Date: November 25th, 2022
Genre(s): Progressive Death Metal
Musicians: Neil Tidquist / Guitars, Vocals * Mary Beers / Keyboards * John Ibarra / Guitar * Daniel Stachowiak* / Bass
“Somewhere Within the Pines” track listing:1. Cursed to Meet Another Sunrise 2. Somewhere Within the Pines 3. These Cold Weeping Hands 4. My Old Bleached Bones 5. Don’t Go Out Into the Woods Alone 6. Sentenced to the Trees 7. One Last Glimpse at the Sun
Order “Somewhere Within the Pines” here.
Somewhere Within The Pines by Anomaly (MKE)
What did you do during the pandemic?
If you’re the English prog-metal group Threshold, you plow right ahead with the next project. It turns out that the results are in their latest release “Dividing Lines.”
They did their work well.
Coming five years after their very successful “Legends of the Shires,” the new one is refreshing and a bit of change of pace. “Legends” was a two-album concept. “Lines” is one album of songs that aren’t really that connected, musically or lyrically. But as has been the case with all of the music in the catalog, Threshold puts its stamp on things. There’s no question about where this is coming from.
Without doing a strict rundown of each track, let’s hit some of the highlights. First, in general, the band is not afraid to show its musical influences. There are bows to Kansas, Asia, Foreigner…and lots and lots of Pink Floyd. It’s not slavish adherence or imitation, since these nods are within the framework of the music. And there are a couple of occasions where more than one of those bands’ sounds pop up in just one song. Yes, “Dividing Lines” is progressive metal. But it’s also arena rock, in the best sense of the word.
“Haunted” kicks things off with a metal roar of guitar and hard beat. The chorus features a flood of keyboards that flow into a haunting, near ballad section. Karl Groom’s guitar is a bit Gilmourish, if you will. This is a great introduction to “Dividing Lines.”
Other highlights (but certainly not everything):
“Hall of Echoes” places ethereal keys over metal guitars. It takes things down a bit and then builds up to power rock, a switch that it makes several times in 6-plus minutes. Oh, and did I mention the hooks? There are great ones in each song, and this is no exception.
“The Domino Effect” is one of those double-digit-long pieces that have been so popular with Threshold fans. And no wonder. Starting with an orchestral sweep, guitars and drums pick up the pace and the beat. At times, the vocals in particular sound a bit like Lou Gramm of Foreigner, adding a different dimension to the piece. It also has a quiet section with bass and keys and voices and guitar, before picking things up with a hard rock approach. This one is a keeper.
“King of Nothing” is also a bit more arena rock than metal. It’s somewhat bombastic in presentation. But the staccato time signature (6/8?) is something from prog-rock, and the melody flows from hook to hook to hook. You’ll bob your head to this one.
“Defence Condition” is the one I keep going back to (and I’ve had “Dividing Lines” on repeat for several days). It starts with a fog of keyboards that give way to an early ‘80s electronica section. The 4/4 beat is insistent and compelling, shifting and twisting throughout. Gloomy sections give way to driving sections. There’s a bit of Megadeath and Foreigner and Kansas and some other things I can’t exactly place. It doesn’t matter. This is the way to close an album, a piece with urgency and hooks that has me stomping my feet, throwing a fist in the air and yelling along with “Tell me who to trust.”
The players make it all work.
Bassist Steve Anderson and drummer Johanne James keep things moving along, managing the shifts in rhythms and pacing with flare and precision. Singer Glynn Morgan — in his second stint with Threshold — is powerful and evocative. In some ways, he’s more of an arena rocker than the typical prog vocalist. As I’ve said before, there are times when lead and harmonies remind one of heritage groups like Foreigner, Boston, Asia, etc. And I mean that in a very good way.
Karl Groom’s guitar is a signature part of the band’s sound. He doesn’t show off by throwing in fast runs, one after another (although he can do a bit of speed when appropriate). His is an evocative, plaintive sound that occasionally drifts into David Gilmour/Pink Floyd territory. And that, too, is a good thing.
Richard West is a key to Threshold. He does some remarkable fills, at least some of which work in counterpoint to Groom’s axe. But he also lays down the foundation, the chords and instrumentation providing a musical flow that underlies everything else in the songs. And his background vocals compliment Morgan’s lead to a “t”. Without West’s contributions, Threshold would be more metal and less prog.
Lyrically, “Dividing Lines” paints some bleak pictures of the weak and weary being put upon by the powers-that-be. This is not a concept album, but the songs consistently refer to lies, cons, oppression; this is a world where trust and faith are in short supply. Yet the final word in “Defence Condition” is one of defiance.
What you going to do when the meaning goes
You’re lying like thieves and you’re not going to change me
What you going to do when the feeling grows
We’re falling like leaves but you’re not going to change me
What you going to do when the demon knows
You’re lying like thieves and you’re not going to change me
What you going to do when the healing flows
We’re falling like leaves but you’re not going to change me
You’re not God and you’re never going to save me
God is mentioned more than once. Somehow, in all the chaos and corruption, He still exists. The storytellers rely on The Lord to help them get through. No, Threshold doesn’t beat the listener over the head with preaching. But in its way, this is an album of faith, written and performed by men who, at the very least, want to believe.
Overall, Threshold’s “Dividing Lines” is an outstanding effort from a unit that is still looking up, 30 years after its creation. Their potential and future seem limitless and bright. The band is in a good place — coming out of the era of Covid.
My good friend Joel Barrios, the major domo of Sonic Perspectives, accuses me of “going down the rabbit hole” for some of the groups he turns me on to. It’s an interesting metaphor, and I grudgingly admit that he’s right. With that in mind, this hare has gone deep for Threshold and “Dividing Lines.” It’s on my list for the Best of 2022. Step over the line, jump down the hole and prepare to go way down. It’s that good.
Released By: Nuclear Blast
Release Date: November 18th, 2022Genre: Progressive Metal
Band Members: Johanne James / Drums * Karl Groom / Guitar * Richard West / Keyboards, Backing Vocals * Glynn Morgan / Vocals * Steve Anderson* / Bass
“Dividing Lines” Track-List: 1. Haunted
2. Hall of Echoes
3. Let It Burn
4. Silenced
5. The Domino Effect
6. Complex
7. King of Nothing
8. Lost Along the Way
9. Run
10. Defence Condition
Order “Dividing Lines” on a variety of formats, including signed insert + UK exclusive colored vinyl from Recordstore, at this location.
It is refreshing when quality rock and metal spread to all the corners of the globe. We were excited when Girish and the Chronicles came streaking out of India like a shooting star in 2020, doing Sunset Strip hair metal better than most of the acts in L.A. It is with this same attitude that our attentions are drawn to About Us, a melodic rock and metal act, technically also out of India, but let’s be real for a moment. It’s a big country, and anything but a monoculture. About Us hails from the far corner called Nagaland, which is essentially Southeast Asia, and very much possessed of its own unique cultural identity.
The band is composed of a sextet of band-mates of varying rock tastes and backgrounds, which is evident in the zesty salad that is the band’s self-titled debut offering. The band’s label, Frontiers, markets the band as AOR and hard rock, but there’s things ranging from blues to progressive metal happening as well. Without further ado, let’s give this record a spin and see what we’ve got.
The album opens up with “Right Now,” which although having no relation to the Van Halen brothers of translucent tomatoes, does a more than adequate job of putting the band’s cards on the table. Opening with an 80s AOR keyboard sequence, swirling synth quickly gives way to a high-energy riff structure of drums, bass, and guitar, before some fairly Petrucci-Boogie tone provides a taste of the album’s lead guitar tones. We get a verse before launching right into a chorus. While the singer, Sochan, hints at a variety of hard rock and hair metal vocalists, he would seem to be most comparable to Mats Leven, most particularly his work on Malmsteen’s “Facing the Animal” record. This, subjectively speaking, should almost certainly be seen as a positive for the band’s overall sound. What is nice is that although the song’s structure is someplace in the territory of AOR and hair metal, the guitar and bass, paired with the energetic drumming, gives it a refreshing youthful sort of energy. Of course, when the song breaks halfway in, and the band just about stops except for a very slow kick drum and bass guitar, the guitar solo, thick with reverb comes in to demonstrate that these are some world-class chops, technically proficient and well thought-out. Sochan comes in near the end with some even more impressive vocal highs, before the band busts out some even better high-energy metal crescendo.
“Gimme gimme” evidently an older staple of the band’s writing prior to recording with Frontiers, is pure L.A. glam metal, proudly on display. Thankfully, the riffage is someplace between Crüe and Dokken, giving the song a certain technical toughness saving it from being pure Poison. Speaking of which, it’s just shy of the 3 minute mark that the guitar player starts chopping out some very impressive palm-muted arpeggios, leading into another fairly technical solo, walking that always-important line between technical and tasteful. Points awarded once again for great tone. Whatever amp, or amp sim, and reverb is being used for the leads on this album, A+ for nailing a great sound.
“About Us” Album Artwork
The third track, “Lead my Heart,” gives the impression of a filler track, or at least one that does not get picked for the obligatory YouTube music videos, but it’s still a solid enough composition. In the last 30 seconds of the song, the lead vocalist certainly pulls a new trick when it sounds like during one sustained high note, he is rapidly karate-chopping his own voice box or something. It’s a bold strategy, Cotton, let’s see if it pays off for him.
Getting back into the tracks tapped for YouTube greatness, we have “Our Fairyland.” The track is mid-tempo, and medium on the heavy-scale. It is most definable as a hard rock ballad, with a few twists as the boys in About Us like to include. Vocalist Sochan certainly has upper range, and this vehicle is most definitely used as a vehicle to show that off to its fullest. Our apologies for going on about the lead guitars, but they are just so good. It is unclear on whether Pona or Renlamo (the two credited axe-slingers) are responsible for the lead work, but the solo on this song is absolutely world-class, and could have appeared on any hair metal track from 1985 to 1990 and no one would have for a moment said “this track could have used better guitar.” If anything, thanks to the wonders of modern recording technology, this album has a better sonic “perspective” than most anything recorded prior to 2000. It’s a great mix.
We almost thought we had a handle on this band’s sound and their occasional tricks, but the fifth track, “Loaded Love,” opens with twangy single-coil Fender tone that flirts with a sound that goes past Texas blues and almost becomes country Western. Once verse structure comes together, the song ends up in a groove that is someplace between Bon Jovi and later-era Heart. While it might not be chart-topper material, it is nice to get some compositional and textural variety, especially from such a new act.
The band gets back to business with “Rock on Top,” which comes hammering down the door with some snarling George Lynch style, and some cool change-ups. Speaking of Mister Scary, the song is full of cool fills, and unless we’re not hearing something right in our powered monitors here, there’s even a smattering of cowbell. And some movie quote about prophecy and revolution? OK, that’s fine, we’re into that. There is also two-hand tapping in the solo, and big surprise, joke’s on you, we’re into that shit too.
Things get even heavier with “Rise,” complete with muted chugging and pinch harmonics Dime would enjoy. There are some creative elements to be found here, from ethereal backing gang vocals, to unpredictable time change-ups and riff structures. Speaking of Dime, Sochan decides to channel his inner Phil Anselmo (and who doesn’t have a little Phil Anselmo inside) and let it rip over top of some heavy chugging on “The Golden Troops.” The vocal fry is impressive. Let’s hope he’s not shredding his cords as badly as it sounds, because this is some hardcore borderline black metal stuff happening here. Hey, this album is a great value. Buy some AOR, get one free thrash metal. We can dig that.
On the subject of AOR, the album goes from “brootal” thrash to piano-and-strings love ballad with what is technically the final track of the album, “Open Your Heart.” The song is already sweet and tender with piano, violin, and vocals, although there are parts where the song is accented nicely by acoustic guitar, and later with semi-clean electric guitar doing some noodling right out of Jason Becker’s “Raspberry Jams”. The CD does include a bonus track, “Love and Affection,” which does not break any rules or set any new standards, but it’s a good enough AOR track, although once again the lead guitar work absolutely steals the show.
In a genre (or genres?) of same-old, same-old, About Us does enough new tricks to make it really worthwhile. If it suffers from anything, it would be scattered energies from trying to be a variety sample-pack of different things, but arguably that is also the greatest strength. So no, if you want a pure AOR album or metal album or thrash album, this isn’t it. To some listeners, “Our Fairyland” would be delightful, but “Golden Troops” is a bridge too far. Alternatively, someone might headbang for “Right Now,” and fall asleep during “Open Your Heart.” It could be line pineapple on pizza for some listeners, but they just need to go with it, because it’s delicious, like this album. If you are a rock and metal-head of a certain age, you are probably into just about every style and sound on this album, to some extent. Check out the videos, and if you get any kind of cool vibes at all, it will be worth your while to check out the rest of the record. Meanwhile, we will be waiting to see what this new band does next. The self-titled debut album recently hit the stores and the streaming services, so give it a go.
Release Date: November 11th, 2022
Record Label: Independent
Genre: Hard Rock / Melodic Metal
Musicians: Sochan Kikon / Vocals * Renlamo Lotha / Guitars * Pona Kikon / Guitars * Soren Kikon / Bass * Renbomo Yanthan / Keyboards * Yanni Ennie* / Drums
“About Us” Track List:1. Right Now
2. Gimme Gimme
3. Lead My Heart
4. Our Fairyland
5. Loaded Love
6. Rock On Top
7. Rise
8. Golden Troops
9. Open Your Heart
10. Love And Affection (Bonus Track)
Order “About Us” HERE
What exactly makes science fiction so alluring? Is it the flashing neon lights of a dystopia’s rainy city, or is it the sprawling expanse of a strange planet? Is it alien creatures with otherworldly features, or is it humans with their flaws we all know so well? Perhaps it’s the soundscapes that musicians craft, their inspiration wrought from the machine to the organic, and the sonorous percussion that is both angelic and unholy beneath its grit.
London-based artist Benjamin Blank is no stranger to such acts of creation, having begun his solo industrial metal project Binary Order in 2008. After releasing five albums in as many years, Blank is set to keep this impressive streak by releasing “Messages From the Deep” on November 29, 2022. Coming just twelve months after 2021’s inspired release “Dunes,” “Messages From the Deep” is a masterful work of storytelling that combines multiple genres for an opus brimming with compelling narrative and tension. It is certainly an industrial canvas on which Blank paints, but there is little question that other sources of inspiration define his sonic identity, namely extreme metal and the cyberpunk-sharp edge of electronic music. These influences meld together to create a sound that offers both scenery and story in one, calling up images from renowned media like Dune, Akira, and Blade Runner.
“Sick” is a strong opening track, offering a few teasing moments of electronic ambiance before tearing apart the false tranquility with Blank’s raw screams. This harshness is mirrored in “Violence,” aptly named for a track intent on a demonstration of rage, but also a show of variety with a demonstration of range in Blank’s cleaner vocals. “Violence” ends with a crunchiness that is reminiscent of classic industrial influences, mirrored in the high-pitched synth riffs of “Towards the End.” For every inch of darkness there is another inch of intensity, highlighted in the mammoth endeavor “My Own Mortality.” “Messages From the Deep” swells with metal’s breadth while carefully tempered by a wistful milieu.
Binary Order excels in the exploration of scale, and proves that the feat of achieving a cinematic track does not necessarily point towards pure grandeur. Sometimes, the most poignant moments are those that are as intimate as one’s own soul, meandering ambience that gives the listener time for their own thoughts to fill the empty space. “A Good Death” is one such track, its isolated guitars and rumbling undertones serving as an ode to solitude. Leaning into both this nuance and the sci-fi brand of existentialism is “The Hands of Time,” which opens with a clean burst of synth before melting into tempestuous drums. Despite Blank’s tormented harsh vocals, there is a tenderness in “The Hands of Time” that feels much like a solitary journey into the unknown, and a cohesion in the instrumental mix that highlights the one-man endeavor that gives Binary Order its life force. These delicate shadows creep forth as one track bleeds into another, swallowing the listener into a maw of aural angst.
“Messages From The Deep” Album Artwork
And despite those notedly pensive moments, there is little doubt that Binary Order has the fangs required for metal’s unforgiving bite. Serving as the second single as well as the album’s midpoint, “Parasite” is relentlessly brutal, and also reminiscent of gothic-electronic acts like Perturbator. But where the gothic would be intent on drawing upon pure darkness, “Messages From the Deep” displays an excellent command over adrenaline-soaked dread. Much as science fiction of any medium reminds its audience that the true horrors have arrived, so do the deepest parts of “Parasite” and “The Weight” remind us of our present societal trajectory.
There is little doubt that Binary Order’s sole creator is incredibly talented, but despite numerous releases in the past half-decade, there are moments where it feels he is hiding parts of himself. The distortion on clean vocals, particularly in “Still Water,” can easily read as a stylistic choice as much as they can insecurity. Given the unrelenting ferocity in Blank’s harsh vocals, it would be nice to see clean vocals shine through with greater clarity on tracks like “Still Water” and “The Weight.” But given just how much of his soul is borne in both “Messages From the Deep” and Binary Order’s prior releases, it seems there is little more we can ask of this spectacular one-man band. Between the exquisite blend of genres, masterful control over atmosphere, and tracks that span from four-minute bites to near eight-minute-epics, “Messages From the Deep” is a worthy exploration of the shadows.
Release Date: November 29th, 2022
Record Label: Independent
Genre: Industrial Metal
Musicians: Banjamin Blank* / Everything
“Messages From The Deep” Track List:1. Sick 2. The Weight 3. Violence 4. The Hands of Time 5. Towards the End 6. Parasite 7. My Own Mortality 8. Still Water
Order “Messages From The Deep” HERE
Can you think of a band more renown for the innovation, quality and longevity in the doom metal universe than Candlemass? No doubt “Solitude” as a single song alone has probably done more to shape the sensibilities of the genre than any other track or perhaps even album has since in dour Birmingham, 4 mates got together under the name of Black Sabbath and decided to make the darkest music they could conceive of, all the way back 51 years ago in 1971. Candlemass have released 13 albums prior to their latest one over the course of their existence as a band, all of which have been met with love and acclaim ranging from the quietly respectful to the superlative-bustlingly adored. With this in mind, the legendary Swedish band once again set out to spellbind listeners with their idiosyncratic blend of theatricality, solid musical fundamentals and enthusiastic storytelling in “Sweet Evil Sun.”
With great apprehension and excitement, I approached “Sweet Evil Sun.” I am a huge doom metal fan, from its dark and messy side in bands like 1914 through to its sensitive and profoundly emotional sides in bands like Warning, so to say Candlemass are a source of relative reverence to me would be a colossal understatement. It is always testament to the love you have for a band when news of them releasing a new album is met with trepidation as much as excitement – a want for them to have a perfect legacy, a need for them to remain the beacon of greatness that you perceive them to be. Were I merely a passing fan of theirs, I would feel only the simple emotion of excitement, but the conflicting medley of emotions I am bombarded with when confronted with the task of reviewing a band I hold so dear is as far from simple as it could possibly be. Thankfully, “Sweet Evil Sun” opens fairly strongly with the catchy and imposing “Wizard of the Vortex.” With its typically epic story-line and it’s excellently incorporated doom metal fundamentals that subtly link up with more traditional heavy metal passages, “Wizard of the Vortex” picks up very much where the band left off last. With this said though, I would be lying if I said that I felt the actual chorus was particularly well accomplished, feeling a bit stilted and offbeat in a way that somewhat ruins the overall flow and continuity of the track.
So with a slightly conflicting initial entry into “Sweet Evil Sun” it would be safe to say that my fears had not exactly been waylaid, however the albums namesake and second track is a far more engaging offering. Bearing a delectably meaty main riff and a theatrically oriented vocal performance from the band’s original vocalist Johan Langqvist, who re-joined Candlemass in 2019, “Sweet Evil Sun” is a far more gripping and authoritative track, with much more careful songwriting that is better in-keeping with the style and quality you might expect from such a well venerated band.
On the note of returning vocalist Johan Langqvist, I want to make special note of how much character I think his voice lends to pretty much anything it touches. Johan’s vocal trappings have inspired countless other vocalists since his first notable appearance in the legendary “Epicus Doomicus Metallicus” with his rich lows, shrill highs and strongly pronounced vowel sounds that form a supremely honed and refined vocal approach that has tinges of darkness and brooding that are contrasted against fruitier and more playful asides. With great breadth of style and impressive range on display throughout the opening songs of “Sweet Evil Sun,” it is abundantly clear that in the 35 years since Johan first stepped onto the scene, his instantly recognizable voice has lost nothing in its formidable power and presence.
Upping the anti with some filthy deep and discordance-tinged guitar brutality that reaches a surprisingly rapid tempo is the rapacious “Angel Battle.” Leaving you in no mind as to the cataclysmic event which the song tells of, and flitting with aplomb between hazy doom metal passages and NWOBHM worshiping breakneck segments, “Angel Battle” is a track which successfully embrace the melding between the traditional core of Candlemass, whilst unabashedly laying out it’s more recent sonic explorations. Such a dualistic beast does not befall the all-to-easy folly that is to appear directionless or contrives, and instead provides a fresh, forward-looking composition that will delight the ears of any Candlemass fan, and no doubt those who have somehow managed to avoid hearing them until now.
It is a little bit hard to draw much of a distinction initially between song number 4, “Black Butterfly” and the previous “Angel Battle” with both having remarkably similar sounding riffs and stylistic approaches, but the main distinction between them becomes more apparent as the song progresses on – the lesser presence of an uptick in tempo (though one still exists) and instead a greater focus on a molasses thick sludgy sound. Perhaps it is for the better that Candlemass do have tracks such as this, which lean more heavily into their traditional sound – and yet I can’t help but feel I’ve heard everything that is in this song already when we are only four songs in.
Indeed it would seem that barring entry number 3 on the album, “Angel Battle,” that there is already an issue with a lack of diversity between the songs on “Sweet Evil Sun.” It is not that the compositions are poor as such, but it is that they suck the enjoyment out of one another be recycling or merely face-lifting what comes before it. This sort of self-cannibalization is somewhat inevitable when you’ve made 14 albums as a band, but that doesn’t prevent there from being a sepia of apathy discoloring the visage of the overall product displayed all too soon within the album.
Thankfully, a much-needed dose of variety is injected into “Sweet Evil Sun” by album midpoint and beacon of hope “When Death Sighs.” Don’t get me wrong, this is still a groovy, plodding, imposing piece of traditional doom metal, but the addition of female vocals, a more complicated opening riff, a somewhat restrained post-chorus and swag-laden percussion all combine together to create the best song of the album so far and further, and perhaps more importantly, to refresh what was becoming rapidly more and more stale.
Launching into the realms of Nordic mythology with zeal and incorrigible amounts of affectivity is the also really rather good “Scandinavian Gods” a song the sound as if it could’ve come out of the 80s directly – in the best possible way of course. Very much so, could I envision a track such of this being a live performance staple of many famous bands of the era, with that distinctive focus on being tongue in cheek cheesy and upon fastidiously selling the epic nature of the tale being told, and the rock credentials of the track. Such an assuredly self-indulgent song ought to be too sickly for recommended consumption, and yet much like a family size chocolate bar, just because you probably shouldn’t sit and consume it with abominable glutton, doesn’t mean it isn’t ever so desirable to do so.
The early teething problems inherent in the album seem to have subsided by the time the album passes its center point, with a much more enjoyable and explorative soundscape becoming more and more prominent as “Sweet Evil Sun” passes along. Even if it were to be the case that the album returns to its old ways, some promise for the future has been clearly established in “Scandinavian Gods” and in “When Death Sighs.” Perhaps then it is best said that the album is imperfect, yet still replete with moments of class and refinement, they are just deeper into the album than some may be willing to go.
Instrumental variety is something that I always crave in records, and it is to my delight that “Devil Voodoo” opens up with a wondrously crisp and poignant acoustic guitar section, before collapsing into a jaunty and aggressive tango that without abatement spews energy and drama. Going from strength to strength, “Devil Voodoo” is Candlemass near their best, at any era, in any album. Conjuring visions of misty castles, occult meetings in bleak glades and horrors most foul, 7 tracks into the album, Candlemass find their footing with aplomb and deliver an addictive and punch retort to any criticisms I have levied thus far – that’ll show me.
“Sweet Evil Sun” Album Artwork
Proving that the feint towards the implementation of a more acoustic sound was not a fleeting fluke, and capturing the spirit of “Devil Voodoo” without becoming a derivative of it is the breakneck “Crucified.” I am unfamiliar with Candlemass playing music this fast, at this point, any pretensions of a band stuck in it’s doom metal roots, unable to move or budge from it are completely shattered by an explosive burst of pace and extravagance that slows only to exaggerate and embellish the darkness of the themes of the track. Whilst tempo changes are not uncommon on “Sweet Evil Sun,” nowhere are they more noticeable and well handled than they are on “Crucified.”
It may have taken a while for “Sweet Evil Sun” to endear itself to me, but with the latter half of the albums greater emphasis on a harder, more changeable, more explorative sound it has finally done so. No doubt I will never be in a hurry to listen to songs such as “Wizard of the Vortex” again, but so much of what is in and follows the halfway mark is the band performing and composing as well as they ever have. In a way, the relative failure of the earlier parts of the album to captivate me provide the metamorphosis of the album into something much greater with a contextual undertone that ameliorates what is already very commendable in the later half of the record. In some ways, imperfection can be a blessing, lending a human, tangible, organic side to an album. This is not to say that a perfect album is undesirable, but that there is merit in recovering from a span of poor songwriting mid album, and converting what was wrong into something that is so certainly right. It is of great testament to the spirit and quality of Candlemass, and part of my personal love for them that at some point in the songwriting process, they were able to break out of the tropes they had fallen into – to cast away the chains of mediocrity and grasp with calloused fingers and reddened knuckles the hair thin rope of greatness and climb it to the heavenly precipice at which the later tracks justly reside.
Wrapping up the rollercoaster of sentiments that is “Sweet Evil Sun” is the “Goddess” + “A Cup of Coffin (outro)” combination, which does return to the earlier sound of the album in some ways, but with a greater conviction and with more distinctive riffage that doesn’t feel as irkingly recycled. With its cohesion building circular referencing to earlier sounds, and it’s nods to some of the bands earliest work “Goddess” feels like a heartfelt and worth nod to the long term fans of Candlemass. I would be lying if I said “A Cup of Coffin” wasn’t a slightly odd addendum onto the end of what seemed to be a perfect ending, but it incorporates a round of applause that I suspect was taken from the audience at one of the bands well-known live performances. Perhaps it is there as a thank you to the fans. Nevertheless, the ending of the album is satisfying and brings things to meaningful and resolved conclusion.
The greatest sin committed by “Sweet Evil Sun” is that it is perhaps best to be described as a “slow burner.” The first half of the album is poor, unexciting and derivative of itself. Yet somehow, from the ashes rises a phoenix, and the album returns to the form you would come to expect from a band as legendary as Candlemass undoubtedly are. It would be wrong to pretend that the latent quality of the record vanquishes the qualms generated by it’s opening throws, but it would be equally wrong to say it is ruined by them. As a whole, Candlemass can be content with their release, and no doubt they are anyway, long term fans will find much to be loved and appreciated here, but perhaps will remain slightly disappointed with the end product.
Released By: Napalm Records
Release Date: November 18th, 2022
Genre(s): Doom Metal / Heavy Metal
Musicians: Johan Langqvist / Vocals * Leif Edling / Bass * Mappe Bjorkman / Rhythm Guitars * Lars Johansson / Lead Guitars * Jan Lindh* / Drums
“Sweet Evil Sun” track listing: 1. Wizard Of The Vortex
2. Sweet Evil Sun
3. Angel Battle
4. Black Butterfly
5. When Death Sighs
6. Scandinavian Gods
7. Devil Voodoo
8. Crucified
9. Goddess
10. A Cup Of Coffin (outro)
Order “Sweet Evil Sun” here.
Straggling the border between rock and metal is always a dangerous game for a band, but gothic metal has long found success in the every increasingly narrow gap between the two, with bands such as Type O Negative, My Dying Bride and Katatonia having thousands upon thousands of gloomy eyed, makeup bedecked fans clamoring for tickets, merch and further releases (though to say Type O Negative won’t be coming back would be an understatement.) With this in mind, La Muerte seem to perfectly encapsulate the spirit of the scene as a whole, whilst also remaining distinctively based in their own interpretation of the sound, containing more than a smattering of pure doom metal elements and eardrum busting splash of Noise Rock to proceedings that creates a must listen release for 2022.
Instantly you’re met with an abyssal cacophony of noise, sharp yet rich guitars and harrowing vocals resound across the piece, evoking images of being trapped in a rather claustrophobic cave, left to stare at the rapidly approaching tide with no recourse but to accept your fate. It is no surprise that when track number 1, “Sortilegia” is named after the album that it resides upon, you receive such a clear statement of intent with the brooding, almost apocalyptical sound of the album being laid bare instantaneously within the hypnotic dirge that lays before you.
Keen to show they aren’t a one trick pony though, La Muerte burst into life with a groovier and rockier sound in “No Fear” that in spite of it’s different approach, remains teeth chattering menacing as it mercilessly pounds away at your skull with a pugilistic preponderance of pernicious power. This is accentuated in no small part by absolutely perfect production that manages to make things muddled enough to add a bit of a musical challenge to listening and yet allows the instruments to remain raw and idiosyncratic, particularly the deliciously stripped back percussion that sounds as if the kit were right next to you – something I adore in 90% of the time in the harsher side of my music taste.
It’s not often that an album instantly manages to be so captivating and convincing in its quality that within two tracks you’re already absolutely hooked. This is musical speed-ball, there’s so much nastiness, so much bite, so much sheer aggression in the music that it’s so much fun to listen to it should be illegal. There’s such a perfect sense of momentum to the songs that you just feel like you’re hurtling towards an ink black horizon at Mach 2. “Sortilegia” seems to be the perfect example of how you don’t have to be the heaviest band going to create a truly vicious and exhilarating listening experience.
Just in case your neck muscles weren’t left in some sort of hopeless spasm from all of the CTE inducing headbanging you were doing during the last two songs, the rather confrontationally named “Kiss My Fist” punches through the drywall of your psyche, polluting your mind and leaving you bleeding acid from your now demolished auditory tract. I really love this song, it has this grungy edge to it that harkens images of Nirvana at their “Bleach-era” hardest but turned up to 11, no, scratch that, it’s just invented a 12. It’s also worth noting that this is the first time on the album that I really noticed the punkier influences of the band coming into play, with noticeable post-hardcore side to the riff structures within “Kiss My Fist” that evokes a real ear-worm quality to specific sections of the song that makes it surprisingly catchy.
“Snake in my Hand” is not about what you might initially be thinking of, thankfully Dan over at the bands PR company sent me all the lyrics on the album over (Thanks Dan!) so to my delight, I can confirm the song isn’t a Type O Negative style reference to an act of self-enjoyment and is in fact about the much more palatable topic of murdering someone. All jokes and infantile giggling aside, the song continues the really strong quality of “Sortilegia” on without fault, with its jaunty opening being well developed into the meatier and brash course that cohesively conveys the violent pretensions of the track, with a remorseless and curt chorus section, bringing to the forefront a deep-seated hatred that burns like a crematorium on overdrive. “Snake in my Hand” pairs very naturally to “Kiss My Fist” both songs obviously sharing a thematic similarity, but also a similar progression and modus operandi, so not only are the two songs great in their own right, but they also form an extremely cohesive whole.
I can hardly believe this is the bands first release in 4 years, and on top of that, before they returned in 2015, they had actually been inactive for 19 years. Apparently, they had quite the cult following back in the 90s in their homeland of Belgium. It is perhaps a bit surprising then that “Sortilegia” doesn’t sound like some half-hearted release that rehashes old tropes into a package that trades on its nostalgia rather than its outright quality. In fact, the album is an extremely modern sounding affair, perfectly encapsulating the sort of sounds we’re beginning to see really kick off again in the 2020s, particularly noise rock (check out the new Chat Pile album if you like that stuff!) It’s not a pre-requisite to an album that it sounds like it’s on the cutting edge of modern sounds, but I would be foolish if I didn’t say that’s one of the best parts of what La Muerte have put forward in this release, it adds an avant-garde taste to what is otherwise a fairly simplistic sonic core, such a combination is a match you’d find hard to complain about.
“Sortilegia” Album Artwork
“Ave Satana!” is the message of “Sortilegia”‘s midpoint, with the pain drenched “Brother Satan” which certainly seems to posit an occult and ritualistic vibe which no doubt will be of interest to those who like their heavy music to give a firm nod to the secretive and reclusive left-hand path practices of various satanic and demonic organizations in existence, both well known and underground. I’m sure the band are likely using the theme just to find another way to convey they darkness that their music feeds upon, but you could believe from the sound of “Brother Satan” that they have at least some acquaintance with the devil.
In a completely different vein however is “Pontiac Firebird” which is a song about, well actually being a black Pontiac Firebird. This is an odd topic, but actually, I quite enjoy it. Now my French isn’t particularly good, but I have to say I find the lyrics quite fun, and the topic itself appeals to me as a massive petrolhead. I’ll take more harsh music about being an iconic American muscle car any day, even if it seems totally bizarre within the context of the album to have such a song thematically. As you might expect from a track about a classic American car, the sound of the song has small call-backs to the American hard rock scene of the 70s, perhaps being described as if Steppenwolf had drunk a bottle of vodka and then been attacked by an aggrieved swarm of bees. “Pontiac Firebird” is a really fun track, and I think it helps to keep the album focused on being something you can have a bit of a laugh with, whilst serious moments exist on “Sortilegia,” the overarching mischievous and cheeky personality of La Muerte shines through.
After having crossed the half way point of “Sortilegia,” it hasn’t lost any of its charm. It’s fun whilst still being meaningful, it’s harsh without being un-listenable, it excellently balances gothic, punk, rock and noise elements together into a hyper polished and heavily stylized medley. It’s so interesting to me how thematically we can go from murder to Satan to a love for cars and still have the overall album feel focused and honed in. I think the record isn’t really about one things as such in specific, but is instead about the exhilarating sensations of life, the most intense ones, such as our anger at the existential conditions of a life we didn’t choose, the burning passion of hatred that resides within us that threatens constantly to unchain our primal selves, the inbuilt drive to exert might and will against that which may oppose us – all of these sensations are described by the innovative sound and well-honed themes in here.
Perhaps the most distinctive entry on “Sortilegia” is “Monster.” Quite a bit softer than the other tracks on the album, “Monster” is a bit of a reprieve in a sea of intensity. It’s quite welcome really, and it means that when later songs go harder, it feels as fresh as it all the way back at the start of the album, after all, if everything goes hard, nothing goes hard. In spite of what “Monster” does for the rest of the album contextually, I would be lying if I said this was La Muerte at their best, the track is a bit bland to my ears, perhaps it chases palatability a little too strongly or perhaps I am just a caveman with the ability to write in Latin script, but ultimately, whilst the song is necessary for the quality of the album, it doesn’t quite merit listening to in isolation.
Happily, the slightly lacklustre “Monster” seems to have not engraved itself in the rest of the album, with the very next song “Blood on the Moon” being an extremely robust effort. Returning to the aggressive and veritably combustible explosivity of the main body of the album’s songwriting. “Blood on the Moon” indeed stands out as another deeply enjoyable track that trades on being able to get your pulse up and the adrenaline flowing.
La Muerte are a band that I think can expect their reach and following to grow quite a lot upon the public release of “Sortilegia.” Not only is this a great thing for them (and they will have fully deserved it) but it’s a good thing for gothic metal in general. It’s safe to say the genre has been in a bit of a downward trend for many years now, with new releases becoming fewer and farther between. However, an album of this quality with such a strong relation to the genre is likely to spark a renewed interest in it, and I sincerely hope that they are able to hook up with other bands currently doing a similar thing and form a wider movement to great a sort of post-gothic metal wave, as this is a sound I could do well to hear much more of.
With rousing chants, drawn out sections of bleak guitar, rapacious percussion and distant vocals “Dust, You Will Return” excellently conveys a sense of decay, forlorn and encompassed by a grief made obsidian black by the phenomenally implemented production decisions. I’m not surprised the production is as good as it here, with avant-garde black metal sensation and one of my personal favorite artists Déhà being crucial to the production process. It’s a miracle he’s found the time amongst his prolific release schedule to actually not just produce the album, but to produce it so phenomenally well, and nowhere is this more abundantly clear than in “Dust, You Will Return.”
Most of the songs on “Sortilegia” have been fairly short up until now, but “Keep Your Secret” comes in at a relatively drawn out six-minutes-and-twenty-one seconds. At no point during this does it become un-engaging however, nor does it ever feel out of keeping with the rest of the album. In fact, as we head towards the end of the album, it is satisfying that “Keep Your Secret” is largely evocative of the first song of the album, the self-titled “Sortilegia” with a more distant and faded sound than the songs directly before it. This sonic callback is so integral to making an album feel every bit as joined together as it could be, and groups from Pink Floyd to Nine Inch Nails make fantastic usage of it to elevate the standard of their work – La Muerte are no exception.
In a similar vein then is the closer of the album, “Longue Misere.” Capitalising upon “Keep Your Secrets” sound, the song is a shifting, pulsating, molasses thick morass of noise and angst. Grander in scale than anything previous on “Sortilegia,” “Longue Misere” is an epically proportioned affair, with perhaps a greater degree of theatricality to that which exists elsewhere on the album. It is a slight shame then that perhaps the band have missed a trick by not including a greater degree of instrumental variety to really hammer home the extraverted and audacious sound of the track, some pained strings or a devilishly rich grand piano deployed well within this track would help it meet the aspersions that is core so obviously attempts to set out and make real. Nevertheless, “Longue Misere” is a worthy listen, and a solidly throughout closer to an album that deserves perhaps ever so slightly better, but is not harmed grievously by its inclusion irrespectively.
Released By: Consouling Sounds
Release Date: November 25th, 2022
Genre(s): Gothic Metal / Noise Rock / Post-Hardcore
Musicians: Christian Z / Drums * Dee J / Guitars * Marc Du Maurais / Vocals * King Kirby / Guitars * Le Tino* / Bass
“Sortilegia” Track-listing:1. Sortilegia 2. No Fear 3. Kiss My Fist 4. Snake in my Hand 5. Brother Satan 6. Pontiac Firebird 7. Monster 8. Blood on The Moon 9. Dust, You Will Return 10. Keep Your Secret 11. Longue Misere
Order “La Muerte” here.
Sortilegia by LA MUERTE
15-minute EPs aren’t often the highlight of many peoples listening palettes, often they’re hype builders, or perhaps a sort of proof of concept for a change of direction a band is embarking on sonically or thematically. Here in “Medicine/Madness” though, there’s genuine substance on display in what is a worthwhile effort to create a bite-size chunk of quality deathcore brutality that won’t just be regarded as a footnote in both the months releases and in As Paradise Falls wider discography.
Introducing “Medicine/Madness” is “BATS”, its deathcore pretentions being immediately clear and forthright, with distinctive -core harshest and ominously gloomy down-tuned guitars which engage in a compellingly aggressive syncopated chug, “BATS” is largely what you want from your deathcore, nothing too fancy, nothing too melodic, just straight up brutality, occasionally punctuated by moderately technical riffs that follow a progressive metal patent. Not content with simply being your standard deathcore fare though, “BATS” closes out with a stealthy, predacious hip-hop beat that contextualizes, the previous segments of the song nicely within a framework of calculated aggression that adds a welcome element of dynamism to a genre that normally has all the sonic nuance of a toddler with a vuvuzela.
In continuation from “BATS” is the harsher and slightly more swaggering and extroverted “Captain Hero” which is as likely to be surprisingly sparse as it is catastrophically rapacious and breakneck. “Captain Hero” has some fantastic breakdowns that play nicely off of one another into a broadly cohesive and neat whole that shows a competent usage of tempo variation which is backed up by noteworthy musicianship which manifests itself in millisecond perfect timing and an excellent vocal approach, with subtle but measured nuances in the way the vocals are expressed that tie nicely into the wider softer-harder-softer-harder structure of “Captain Hero.”
I ultimately have to be conflicted however with the vocals on display in “Medicine/Madness,” in any technical sense, I cannot criticize them. I enjoy the timbre of Ravi’s voice, the force with which it is propelled, and the convincingly emotive emphasis that he incorporates to make his harsh vocals seem earnest and appropriate. They’re also surprisingly clear, which is also where the problem comes in. The lyrics here are poor, I know that deathcore isn’t exactly the place to go for substantive commentaries on the world nor sprawling monologues about the nature of existence, but they just border upon being cringeworthy – and I’m a guy who enjoys cringe. I don’t want to make too fine of a point on it, it hardly compromises the enjoyment of the music, it just means you probably want to dial your ears to listen to the vocals as an instrument, as opposed to seeking wisdom in the lyrics.
“Medicine/Madness” EP Artwork
Sirens chime and an alert is sounded at the start of “KFBR392” a message to your ears and senses to hunker down and prepare for a full frontal assault because As Paradise Falls have decided to incorporate a near cataclysmic level of noise in this particular track. Industrial elements combine with traditional deathcore elements to create a seriously interesting and distinctive listen that showcases a coherent and novel idea. I am aware that nu-deathcore is a thing, and perhaps this particular track would fit that descriptor well. This is a sound to keep an ear out for, and if I could urge As Paradise Falls to really dive into any sound they’ve exhibited on the “Medicine/Madness” EP, it would be this one, as with a bit more refinement and perhaps some more unabashed industrial elements, then I can As Paradise Falls become a leader in a quickly growing movement. The additional elements never feel tacky or gimmicky, they don’t compromise the heaviness of the piece, the incorporation of a variety approaches here is nearly immaculate and is deserving of unmitigated acclaim.
The penultimate entry on “Medicine/Madness” is “Mechanical Hannibals”, which is perhaps the most traditionally heavy song on the EP. It’s seriously harsh, it’s the sort of thing that if you played it in front of most of your mates, you’d find your calendar to be suddenly very sparse. There’s not an awful lot to analyze barring a smattering of synth strings that lend a knife edge tension to proceedings that collapses into an extraordinarily pronounced breakdown that ought to appear on compilations for years to come.
I could honestly get used to more Deathcore being like this, proficient without being overly technical, brutal without being cheesy (lyrics aside.) What’s to the real testament of “Medicine/Madness” and in relation to my statements in the opening paragraph of this review is the way that this EP feels very complete and accomplished, it’s not just something the band did to remind people they still exist, nor is it a part-time part-effort hashing together of scattered ideas, the laser focus on developing a complete and professional sound is consistently apparent in all aspects of the music present.
Fifth and final on “Medicine/Madness” is the aggravatingly named “TR4K 1”, which aside from its name is actually rather good. Sitting at just over two minutes in runtime, it’s hardly a spellbinding epic that shifts and shimmies along a constantly evolving path, but it is good, simple fun. It’s a nice and neat closer that doesn’t rock the boat but doesn’t really need to. What is here is an excellent deathcore release that is every bit as unique and diverse as it is traditionally appealing to fans of the genre. It isn’t the last word in intricacy, nor is it really something that I think I will come back to all that often, but I am glad to have listened to it and at only 15 minutes run time, there’s not really an awful lot of reasons to not give it a spin.
Released By: Eclipse Records
Release Date: September 23rd 2022
Genre(s): Deathcore Metal
Musicians: Ravi Sherwell / Vocals * Danny Kenneally* / Everything else
“Medicine/Madness” Track-listing:1. BATS 2. Captain Hero 3. KFBR392 4. Mechanical Hannibals 5. TR4K 1
Order “Medicine/Madness” here.
Soen have long been heralded as brilliant musicians, and they are often considered masters of heavy, yet soulful progressive music. They have drifted comfortably across both metal and rock alike in the span of five studio albums, and ten years of creation have left little sonic territory unexplored. But even after their breathtaking 2019 release “Lotus” and it’s equally impressive successor “Imperial” in 2021, this quintet have managed to outdo themselves yet again. Not just a mere concert video, “Atlantis” is a live encounter that makes the Soen experience more personal, and more impactful, than ever before.
Recorded on December 10, 2021, at the legendary Atlantis Grammofon Studios, “Atlantis” is Soen like never seen (or heard) before. Fourteen carefully-selected songs span more than an hour as the band, accompanied with an 8-piece orchestra and backing vocals, offer the viewer an exceptionally intimate glimpse into Soen’s heart-wrenching beauty. The act is no stranger to the use of moving strings and delicate pianos to accent their work, but “Atlantis” elevates the experience to another level. All live accompaniments take on a greater body than the album mixes, and the atmosphere in the studio allowed energy to swell with rare elegance. Thoughtful cinematography and lighting further add to the wistful ambiance. There is extraordinary strength in moments of instrumental minimalism, often contrasted against coordinated orchestral chaos, and beauty blossoms in the wake of this compositional divergence. The presence of these live guest artists gives even greater nuance and fluidity to already rich songwriting.
Longtime vocalist Joel Ekelöf makes an easy centerpiece as he leans comfortably against a barstool, a black suit jacket contoured to his body. Soft bulbs illuminate him with a subtle warmth rarely seen beneath a stage’s spotlights. Everyone in the room is just as polished at the front-man, cloaked in black with passive visages, focus directed towards their craft. Although much of the screen time is dedicated to the band members themselves, there is also care given to the orchestra members as they weave a breathtaking translation of Soen’s work. The frantic violins that steal the show in “Lucidity” are captured with crisp attentiveness, the cellist in the shadows is shown in deep concentration, and the backing vocalists croon in darkness. To include these musicians as an essential part of the performance, turning an otherwise anonymous orchestra into people with faces and visible skill, is a credit to the artistry involved in the making of “Atlantis.” Frequent side-profile shots of Ekelöf and lead guitarist Cody Lee Ford give even more visual dimension to match the audibly multifaceted performance. The choice to make the visual performance in “Atlantis” both subdued and perceptibly pondering is essential to its success, as anything more could very well have shattered the audience’s immersion.
Of Soen’s sizable discography, choosing just fourteen songs for metamorphosis must have been a daunting task. An orchestral rendition of Slipknot’s “Snuff” was an inventive and unexpected addition, and poignantly compliments the variety that fills out the rest of the track-list. Moving pieces like “Lucidity” and “River” were practically begging to be chosen, while others like “Modesty” may have been less obvious selections, but each was given new life with meticulous care. Although the focus was certainly on both “Lotus” and “Imperial,” there were additions from both “Lykaia” and “Cognitive,” including the much-beloved “Savia.”
“Atlantis” Album Artwork
“Antagonist” opens the show and instantly entices. There is little question that “Antagonist” is the punchiest track from “Imperial,” its heaviness and unrelenting percussion nothing short of earth-shaking. In “Atlantis,” Soen and company have crafted the song as a melancholic ode, transforming a fiery anthem into poetry best read by candlelight. These first minutes make clear that Ekelöf is here to steal the show, even more than the front-man has in albums past. “Monarch” is one of many opportunities for Ekelöf to showcase his range and emotion, both in restrained expression and in powerful choruses. “Atlantis” keeps Ekelöf at the forefront consistently, and while this is understandably desirable, there are times like those in “Snuff” where his prominence drowns out the richness of the orchestra and bass notes.
The two highlights are “Modesty” and “Lotus,” as both tracks are not merely cinematic, but transcendently sublime. “Modesty” swells with high-pitched violins and precise percussion from drummer Martin Lopez. When the lyrics mix with what the instruments embody as desperation, it feels as though this rendition of “Modesty” is a soundtrack primed for an apocalyptic wasteland. There is an urgency to Ekelöf’s tone as he shouts and the backing vocals rise with him, sweeping the audience off its feet and carrying them away in the rushing tide of orchestral power. “Lotus” is similarly visceral, but this time that closeness comes from the very thing that makes the studio setting so special: it feels personal to the viewer, and the viewer alone. The soft cries of “gather around” that lead each verse seem like a personal plea from Ekelöf to the viewer. And when he sings the most poignant verse of the song his voice is reassuring, like he’s making the promise himself, comfort bleeding through every note:
“Gather around
Holding close your sons and daughters
Promise them that we will all be alright
Let them know you love them all”
Although Ekelöf is easy to laude, no less care should be given to the multi-instrumental and impassioned performances from the rest of Soen’s ranks. Piano serves as a comforting blanket that opens wide the currents of “River,” and abrasive guitars give illuminating contrast to “Modesty.” Lars Enok Ahlund takes on both piano and guitar, handling both instruments with a deft air of grace. And though Lopez is isolated in a back room for the entirety of “Atlantis,” his percussive contributions are perfectly matched to the unique approach this performance has taken to bring Soen’s catalog to life. As one of the only two founding members remaining, his contributions to “Atlantis” seem particularly well-placed, and he is seamlessly integrated into the visual presentation despite his physical distance from the main studio.
Whether watching alone as an act of introspection, as an exercise in poetry, or as mere background noise, “Atlantis” is a gem in the Soen discography that is not to be missed.
Release Date: November 18th, 2022
Record Label: Silver Lining Music
Genre: Progressive Rock
Musicians: Joel Ekelöf / Vocals * Martin Lopez / Drums * Oleksii ‘Zlatoyar’ Kobe / Bass * Cody Lee Ford / Guitar * Lars Åhlund* / Keyboards
with:
- Stefan Stenberg: Double Bass
- Joakim Simonsson: Piano and Organ
- Karin Liljenberg: Violin 1
- Andreas Forsman: Violin 2
- Erik Holm: Viola
- Cecilia Linné: Cello
- Johanna Börjesson: Vocals
- Therése Börjesson: Vocals
Technical support: Dan Wahlbeck
Drum tech: Rickard Gustafsson
Sound support: Niclas Lindström
“Atlantis” Track List:1.Antagonist
2. Lunacy
3. Monarch
4. Trials
5. River
6. Jinn
7. Illusion
8. Modesty
9. Lucidity
10. Savia
11. Fortune
12. Snuff (SLIPKNOT cover)
13. Lascivious
14. Lotus
Order “Atlantis” HERE
It is often easy to forget against images of lush Nordic forests and twisted stories of betrayal and murder that Scandinavia is not actually the home of black metal. Instead, you have to look across the North Sea to the west at the spiritual starting point of all metal, the United Kingdom. In 1982, Venom combined high speed thrash metal with dark and menacing guitar tones and unprecedentedly macabre lyrical themes to create the first black metal album, which was called, well, “Black Metal.” But so often the British black metal scene is stale and a mere footnote in comparison to countries like Norway, Germany and Poland. Even as a Brit myself who absolutely adores black metal, I find it hard to recommend many bands from the country who ply their trade in the noisy and abrasive soundscapes the genre offers. It is to my great pleasure then that I can say Abduction’s latest release “Black Blood” with it’s progressive Abigor like riffs and thick ultra-distorted production is easily recommendable and stands head and shoulders above much of what exists in British black metal today.
Rolling in like a deep fog over the hills of Dartmoor is “Kernos Crown.” Seeped in the blackest tar of hatred and swarming with the satan-born bile that only true black metal can produce, the chaotic and jarring sonic hellscape of “Kernos Crown” breeds images of desolation and abandon unbridled that charge forth the with the crushing intensity of the gladiatorial battle staged between the instruments within it. Groovy yet disturbing, harsh yet ultimately approachable, the bastard pantomime that is “Black Blood” has its curtain retracted and its stage laid bare in its most vile resplendence without any hesitation or abstraction on account of such an excellent first track.
Not content with the destruction of ear drums and personal constitutions, Abduction takes aim at the gods, with an ode to a slayed Demeter, god of the harvest, committing tainted acts against a guardian of the Sacred Law. “Dismantling the Corpse of Demeter” has a stormy funeral like atmosphere that soon becomes a omni-present storm of malice and dismay. Whirlwinds of guitar are complimented by fist sized hailstones of percussion as sickly thunderclaps of famine and pestilence take the form of bestial harsh vocals. In “Dismantling the Corpse of Demeter” a storm of biblical proportions dismantles any fear that may exist in the listener of an effort too mild or concerned with juxtaposing elements, and instead shows the truest black metal credentials in all of their confrontational glory (in spite of a flow halting and unnecessary 20 second silence at the end of the song.)
In “Black Blood”, you have the type of music that lives and breathes, it is given an ungodly form, it shouts against sanity and modern sensitivities, it rebels against all that would oppose it with a force greater than any could muster through a medium other than the inalienable actor that is music. Such an intrinsically virtuosic engagement of black metal’s sound has to have come from a group of like-minded individuals, each possessing individual but nevertheless great talents, no? Wrong, this caustic sludge of maleficence and maiming is the by-product of the twisted machinations of A | V’s mind. Such instrumentally accomplished work would be remarkable even if each instrument was to an individual person, but the fact that they are all played by one person themselves is an incredible feat, and cuts away mental images of basement projects with over simplistic compositions that so often befalls the one-man black metal project moniker. I am informed that at one point, A | V used to offer live performances of Abduction with only himself being present, likely through the use of recorded tracks and the ilk, but now and I am sure to much benefit, Abduction does possess a live band with a full rostrum of members, and I am further informed that they are without a doubt worth seeing if you are able to do so, I certainly know that I aim to do so.
No doubt drawing visions of a cave so mystic is “Plutonian Gate” the fascination with a ravaging of Greek mythology and a contortion of it into a tale of woe and decay continues unabated in the sacrilegious perversion that is “Black Blood”’s longest track. Perhaps starting in a more measured way, with some delectable clean vocals, restrained though they may be, “Plutonian Gate” offers a more nuanced ode to oblivion. As inevitable as death and taxes though, the intensity many beseeched adventurers seek arrives in a way fitting and proper. A theatrical bent is entrenched below the mantle of this abyssal track, one that creates a wonderment unconventional and strange, one that encapsulated the horrifying beauty of annihilation. In a world so ineffably cruel and ugly, beauty abounds from the darkest spaces in multitudes. A | V gets this, they understand how to make chaos and disorder palatable, how to peer open the prying eye of Weltschmerz that dirties our very souls and convert it into an appreciation most satiating.
“Black Blood” Album Artwork
With a more depressive edge, harkening evocations of bands such as Totalselfhatred and Bethlehem, “Lightless at the Grand Conjunction” paints a monochromatic pastiche of a scene forlorn. This spiraling dirge bitterly stabs into the mind of listeners, afflicting them with a sadness barbed with icicles of frosty hate that hang from the grand ceiling of torment. My adoration for this side of black metal cannot be understated, no toxic positivity, no brave faces, only emotive evisceration easing you into an eternal eventide. Like the last day of autumn, a mournful sensation overtakes me hearing this, one of contemplation etched with engravings of abrasion and scarification deep within the psyche.
I listen to a lot of black metal, like, a lot. From the industrial black metal of Thorns to the incontestably brutal Sarcofago all the way through to the despairing and frankly uncomfortable Xasthur. It is then to me remarkable that I can say despite influences from a multitude of bands, within “Black Blood,” Abduction cultivates a sound that is distinctively theirs, with a technicality and eccentricity to their work that doesn’t serve to soften the overall sound – something which many of the more progressive “black metal” bands fail to do. It is also refreshing that such a contemporary black metal band actually keeps to the riffy roots of the subgenre, so many other bands of this wave of consistently approach the genre as a sort of sped up drone metal, thinking that long drawn out monotonous passages cultivates an atmosphere conducive to enjoyment, but in fact is frankly boring. I am happy to report that no such accusation could be levied at Abduction.
With a thematic shift, “A Psylacibic Death” presents a moderately psychedelic affair, perhaps evocative of a bad trip, replete with chasmic groans and tonal obscurities. It is perhaps to be best explained as a black metal envisaging of a nightmare, one upon reflection that calls to me Chopin’s “Prelude, OP.28, No.15,” which was written supposedly in honor or a dreamlike terror that once came over Chopin whilst he played the piano, a terror in which he fell into an icy lake, with freezing drops of rain beating upon him, the only majorly perceptible sensation, besides that of mortal peril. “A Psylacibic Death” shares almost nothing compositionally with such a piece, and yet I feel the same when I hear it, I hear fear and anguish, I hear the sensation of drowning deeply in a thick haze, I hear the hopelessness we are met with when we witness the sight of a fate we cannot change and even less understand.
Such a pensive passage however does not last into the sixth and final dirge of “Black Blood.” “In Exaltation of the Supreme Being” is an offering, a sacrifice, an invocation. It is a savage and unyielding butcher, lacerating the meek, distilling the essence of divinely inspired envy and rage into a condensed eight-minute package. Screaming, thrashing, seething and crashing, the track is the platonic form of negativity, no further encapsulation of such a notion is necessary, no further treatise on its merits or its foibles. It is simply blackness made incarnate.
What more can I say about such a near perfect album, I can hardly think to criticize it. In honor of my critical duty, I must confess I perhaps may have wished ever so slightly to hear messier segments on the odd occasion, though so seldom was it that I would be remiss to claim it had compromised my active enjoyment of the record and instead only slightly blemishes my retrospective meditation of it. I am proud to know the UKBM scene is producing music like this, so uncompromising, so drenched in emotion and intent, so dizzyingly addictive, “Black Blood” is simply the greatest black metal album to have come out of the United Kingdom since the most famous aforementioned and genres name sake, “Black Metal” by Venom.
Released By: Candlelight Records
Release Date: November 11th 2022
Genre(s): Black Metal / Progressive Black Metal
Musicians: A | V:* Everything
“Black Blood” Track-listing:1. Kernos Crown 2. Dismantling the Corpse of Demeter 3. Plutonian Gate 4. Lightless at the Grand Conjunction 5. A Psylicabic Death 6. In Exaltation of the Supreme Being
Order “Black Blood” here.
The chosen metallic odes arise!
The horizons of heavy metal have broadened quite substantially in the past four decades, but there is definitely something to be said for a back to basics, no compromises, and old school approach to the art. Then again, with the ongoing craze of trying to create the sound of the first half of the 80s spearheaded by the NWOTHM, it behooves one who doesn’t run with the pack to avoid trying to outright relive the past while still paying it homage. Enter heavy metal vocalist and 40 year veteran Catherine “Leather” Leone, longtime collaborator of iconic guitar virtuoso David T. Chastain and front woman of the band bearing his stage name, to bring the vintage metallic thunder with a modern twist from the captain’s chair of her own band. But despite being quite active in the past 10 years and fielding an impressive outing in Leather’s 2018 sophomore LP dubbed “II,” this year may prove her most triumphant return to the fray if this outfit’s latest studio album “We Are The Chosen” is any indication.
Determination and defiance are the two primary themes that permeate this impressive sonic opus in 10 chapters, with a side helping of historically significant influences to boot. Coming off a two-year period of lockdowns and a correspondingly dead touring scene, it functions as a nuclear explosion of penned up passion, often blurring the lines between Leone’s mainline heavy metal sound during the 1980s and a truly vicious brand of modern speed metal edge that elicit comparisons to the likes of Grave Digger and Primal Fear. Reprising his role from this outfit’s 2018 sophomore LP, guitarist/songwriter Vinnie Tex paint a collage of menacing riffs that split the difference between the high octane thunder of Judas Priest and the older, heavy rocking grooves of the early 80s NWOBHM and American metal greats. Likewise, the rhythm section rounded out by drummer Braulio Azambuja and Tex playing also the four strings construct a colossal foundation after the spirit of what Scott Travis and Ian Hill brought to “Painkiller.”
But when all is said and done, center stage belongs to the veteran, leather-clad Amazon that is leading the charge, and from one song to the next Leone showcases a level of raw power and gravely edge befitting America’s answer to Doro Pesch and Jutta Weinhold. Like a freight train carrying a shipment of smaller freight trains, the opening anthem and speed-infused crusher “We Take Back Control” embodies all of the best elements of German-styled speed metal with a thrashing edge, while Leone’s jagged growls could almost rival that of Eric Adams. Similarly fast and fierce cruisers such as the riff-happy, thrashing mayhem of “Always Been Evil” and the driving force of “Tyrants” further tilt this entire album into Teutonic territory, while the somewhat more rhythmically nuanced metallic bluster of “Off With Your Head” shifts between a driving power feel and a more groovy stomp, all the while Leone’s jagged vocal fervor perfectly embodies the image of The Red Queen commanding scores of executions.
“We Are The Chosen” Album Artwork
Naturally not all that occurs here is an exercise in ramming speed with zero respites, as an impressive assortment of slower and more involved compositions hearken back to the bygone days when heavy metal originally delved into the epic and the fantastical. The bluesy swagger set to a pummeling modern metallic template dubbed “Shadows” presents an interesting side venture into older Black Sabbath territory, complete with some spacey atmospheric elements that point to an interesting marriage of said band’s mid-70s and early 80s eras respectively. Then again, the shuffling riff work of title anthem “We Are The Chosen” points to late-80s revision of “Children Of The Grave” with a harrowing present day sense of heaviness and a tantalizing side-order of symphonic elements. But the coup de grace that really brings this album’s greatness home is the poignant tribute to Ronnie James Dio in “Hallowed Ground”, perfectly blending the olden vibes of the “Holy Diver” era with the modern melancholy of Dio’s latter day works, all but to the point of channeling what may have been a track off one of the sadly unfinished second part of the “Magica” series, with Leone providing a fittingly gritty growl in memory of the man on the silver mountain.
After topping off this tall order of traditional heavy metal with a storming trifecta of speed-happy mayhem in “Dark Days”, “Who Rules The World” and “The Glory In The End” respectively, one is left to reflect upon what may prove one of the most stellar offerings of the year. It goes without saying that the vocalist who lends her name of the project is the star attraction, but one would be remiss to skip over the impressive guitar display put forth by Tex, showcasing a sense of virtuosic flair and melodic grandeur that finds itself nestled between the iconic work of Vivian Campbell and Tipton/Downing during the height of the 80s heavy metal renaissance during the middle of said decade. Yet it can’t be stated enough that this is as much a towering metallic assault in the 2020s sense as it is an album recalling the earlier days when heavy metal was not so heavily bound by stylistic rules and sub-genre labels. It pulls zero punches, often blurring the lines between its mainline American roots and the speed-steeped German sound that’s been quite the rage of late, and it should sit well with fans both young and old.
Order the “We Are The Chosen” album HERE,
Released By: SPV/Steamhammer
Release Date: November 25th, 2022
Genre: Heavy Metal
Musicians: Leather Leone / Vocals * Braulio Azambuja / Drums * Vinnie Tex* / Guitars and bass
“We Are The Chosen” Track-Listing:1. We Take Back Control 4:49 2. Always Been Evil 4:06 3. Shadows 4:08 4. Off With Your Head 5:17 5. We Are the Chosen 5:27 6. Tyrants 4:29 7. Hallowed Ground 6:56 8. Dark Days 3:41 9. Who Rules the World 5:09 10. The Glory in the End 3:26
For ages, debut albums have often been regarded as the purest form of a band’s sound, before they seek a broader appeal, or perhaps a direction that combines a wider array of influences. I myself am partial to preferring a bands debut more than I would say a latest release of theirs, I adore the purity of the vision laid out in them, the excitement of an artists raw creative form being laid bare, without obstruction from overly fancy production, the pressure of record company expectation and without a fanbase to inevitably cater to. Invictus’s “Unstoppable”only affirms this notion of mine to me with its distinctively nuanced and intricate weaving of both technical and melodic strains of death metal that ends up being one of the freshest and most engaging sounds I’ve heard in 2022.
I personally cannot imagine how hard it is to decide exactly how to compose the first song on your first full length release, do you make it a manifesto of sorts? One that encapsulates the notions and idiosyncrasies you hold dear to your creative process. Do you perhaps instead break people gently into your sound, providing the most instantly consumable derivation of it in order to convince fleeting listeners to stay for the duration of your album? I suppose with a tile like “You Will Know Who I Am” the intentions of the track made extremely clear, indeed with groovy, pulsating and ever so slightly monotonous riffage, the core blueprints of Invictus’s sound are all on display, glistening with golden touches of expert musicianship that nicely tie off what is otherwise a hard charging and energetic ode to self-definition and rebellion against oppression, political and social. I feel there’s a dualistic sense of harshness within “You Will Know Who I Am” in the sense that not only is there an obvious abrasiveness to the sound, with down-tuned guitars and guttural vocals aplenty, but also a thematic and emotional darkness that juxtaposes fierce determination with venomous disdain and aggression. This sort of complex and delicate interplay between compositional elements generates a well-rounded and notably cohesive sonic palette that conducts a full-frontal assault on the listeners initial skepticism and immediately crushes such uncertainty into a fine dust which is blown away into the notional aether by the forcefully enjoyable nature of the track.
Sounds good, doesn’t it? Well soaring to even further heights is “Eagles” which is a veritable wall of menacing rapid guitar chugging that bleeds over into a gorgeous harmonious chorus section, getting more and more technical with each pass. “Eagles” isn’t anywhere near as aggressive as the opening “You Will Know Who I Am” and yet it feels like the emotional context of the opener provides the concrete foundations of the ideas presented in “Eagles” which deftly uses its softer, more ethereal and fleeting nature to further emphasize the emotional center-point of the album, and richly develop it into a more broad reaching and at least to this listeners ears, sentimental direction.
Such an emotively intuitive grasp of the way in which music has the power to move, to trigger reflection, to inspire contemplative turbulence is a beautiful thing to behold both in direct digestion of the phenomena, but also in the way which one may, with rational merit, seek to expand the lyrical and contextual content of the opening two tracks. So many of death metal’s detractors (myself once included) would no doubt attempt to proclaim that a paradox exists in doing so in a genre so famed for its traditionally uncompromising brutality, which is supposedly ill suited to the deployment of such virtuosic faculties, and yet I defy them to sit and simply listen with an open mind to the previous two entries on “Unstoppable” and remain unshaken in their presumptuous belief.
Indeed then it is no great shock that the vengeful and wounded agony of “Bleed Me Out” continues the alien and yet immediately endearing auditory translation of unconventional beauty that “Unstoppable” is rapidly converting into a prestigious hallmark. With occasional hints of orchestral strings in the chorus, staggered and intentionally varying percussive approaches and an absolutely outstanding vocal performance, this professionally accomplished track layers into an anthem for the damned and betrayed wherever they may lie in both time and place.
If perhaps things were becoming too intricately evocative by this point however, then the fourth track of the album “Exiled” crashes back into more familiar territory for the genre, perhaps sacrificing some of the theme-led focus of the previous songs instead for a more conventional brutality, which acts a craftily deployed redirection of the listening focus, enabling a revived listening focus for those who had thought that they already had everything Invictus and “Unstoppable” was about. Of compositional note is the somewhat brief yet meaningfully implemented solo work, of which it can be called an oddity within what has been presented thus far.
“Unstoppable” Album Artwork
I am so firmly entrenched in my belief that this album is such a perfect example of why debut albums can be so great that it would take gale force winds to move me from it. It is frankly undeniable that “Unstoppable” is an excellent example of the raw, wild and distinctive nature of debut releases. It would be a lie to say that instrumentally it is a whole world away from bands such as Fame on Fire or Horizon Ignited, two bands I have covered and enjoyed before, but the blending of melodeath and tech-death elements together in such a seamless way, combined with the intricately emotive nature of the compositions that I have already waxed lyrical about generates an ineffable sense of explorative excellence that only an artist making their debut or the greatest of multi-album bands can evoke.Now if you’re a fan of sludgy, groovy, driving sounds, you’re in for a treat with “Get Up” which actually to me sounds like it could easily have come out of Slipknot’s early litany of work, even the vocal performance has an air of Corey Taylor about it. It’s still distinctively in keeping with the sound I am beginning to expect from Invictus but it perhaps leans into its influences a little more, which is no bad thing, as doing so provides an enjoyable change of sound that keeps listening active and adds an air of unpredictability to the middle portion of “Unstoppable.”
Eliciting intense headbanging is the aim of track number 6, “Weaponized” which appears to combine strong Deathcore influences with a more recognizable and delicate melodeath chorus section. “Weaponized” is an uplifting and energizing track that makes further good use of Invictus’ ability to combine genre approaches in a way that feels organic, allowing for an engaging composition that successfully once again sets the perfect stage for the thematic overtures of the music to perform upon.
It should be noted that Invictus’ founding member is none other than Maurizio Iacono (God I love Italian names) who was a member of two other projects in the metal-sphere that generated notable cult followings – Kataklysm and Ex-Deo. In both projects, Maurizio’s presence is felt keenly, and perhaps then it is no great surprise that such an abundantly talented musician is able to so phenomenally deliver performances as great as are on “Unstoppable.” Now I don’t think you have to be the most accomplished musician in order to create good music, but I think in Maurizio’s case, you’d be hard pressed to suggest that his personal virtuosity did not significantly contribute to the dizzyingly high quality of the record. This is only further accentuated by the broad musical ability of the other members of Invictus.
Song number 6, “3656” is by and large similar to the majority of the work on the album, which is hardly a bad thing. I enjoy the vocal harmonies in the chorus quite a bit, they’re nicely mixed in, prominent and rich without overpowering the instrumentals, which themselves are nicely accomplished and present. With a much faster tempo and perhaps even vaguely black metal sounding guitars (I’ll never fail to hear them!) “Ghost of My Father” is a rather dark and dejected song, with a tenuous energy that threatens to boil over into an outright breakdown at many points. It’s nice after some slightly less emotive tracks that the resounding thematic gravitas of other songs on “Unstoppable” has returned so vividly in “Ghost of My Father.”
It’s safe to say that whilst I enjoy pretty much every song on “Unstoppable,” that it is at its best when the songs are emotive, as opposed to when they are perhaps a more standard affair. There’s enough in the instrumentals and base sound to create a good listen regardless, but it almost at points becomes a victim of its own success, with reflective thinking leading me to notice a mild gap in quality between the best and worst songs of the album. (Even if at its very worst points, it is merely very good instead of outstanding)
Track number 9, “Darkest of Enemies” turns the groove up to 11 in the verses, but is joined to another smooth and anthemic chorus with further excellent harmonization and complex juxtapositions of harshness and traditional beauty that cascade wonderfully into a crescendo of meaning and purpose, in a wider narrative that embodies a spirit of resolute defiance and the indomitable spirit which perhaps can be encapsulate succinctly in the poem which shares its name with the band, “Invictus.”
As we rapidly approach the end of “Unstoppable,” 10th song “American Outcast” perhaps represents the zenith of societally disenfranchised themes on the album, which takes aim at the sick underbelly of contemporary US society, and perhaps wider western societies. I suspect my personal beliefs would differ from Invictus’s members, and yet in spite of such a supposed clash, I think the lyrics are presented in a bi-partisan and universally agreeable manner without being to aimless or mild. Though it is rather odd that a Canadian band would consider themselves “American Outcasts.” Of particular note are the swirling, rousing synth strings which add an orchestral flair to “American Outcast’s” chorus sections, which creates a rather epic and almost gladiatorial sound in the song that no doubt bolsters the revolutionary credentials of the track.
Fulfilling my rather baseless desire for piano in literally everything is a brief, yet satisfying piano interlude in the 11th and final entry onto “Unstoppable,” “Keeping the Wolves at Bay.” It’s much of the same occasionally chuggy, often aggressive and rather technical sort of song that exists elsewhere on the song, probably falling into the middle of tracks on the album in terms of quality. I think I would’ve liked to see a longer song here that made greater use of the clearly well envisioned synths and melodic sections that exists elsewhere on the album. There’s a missed opportunity to create a grand manifesto of sorts here, a magnum opus so to say. Still, it’s hard to be too harsh about “Keeping the Wolves at Bay” when it’s still a pretty damn solid effort.
I feel that Invictus’s debut effort “Unstoppable” is an album mature beyond its years, with a completely resolved sonic basis that consistently elevates the nuanced and emotive thematic ideas of the album to stratospheric heights, leading to an album that save for a bit more diversity in style, wants for very little. If this is the start for Invictus, then who can say where the end is?
Released By: MNRK Heavy
Release Date: October 21th 2022
Genre(s): Melodic Death Metal / Technical Death Metal
Musicians: Maurizio Iacono / Harsh vocals * Chris Clancy / Clean vocals * Jeramie Kling / Percussion * J-F Dagenais* / Guitars
“Unstoppable” Track-listing:1. You Will Know Who I Am 2. Eagles 3. Bleed Me 4. Exiled 5. Get Up 6. Weaponized 7. 3656 8. Ghost of My Father 9. Darkest of Enemies 10. American Outcast 11. Keeping the Wolves at Bay
Order “Unstopabble” here.
“Four years, four fucking years,” vocalist Tom Barber exclaimed to me during my almost 2-hour interview with him. This passionate outburst was related to the length of time between their last album “Eternal Nightmare”, and the brand new, soul-piercing record “Suffer In Hell”. After spending a lot of time listening to this album, I’ve decided that the only negative thing is that we have to wait until March for the second half of this double album offering, “Suffer In Heaven”, and 4 months is not even that bad at all…
It goes without saying that a lot has changed over four years, and this is the exact same with Chelsea Grin. The way the group sounds on “Suffer In Hell” is pretty far away from what people have come to know when getting used to “Eternal Nightmare”. Some may lament this change, though I doubt it. The new record is an evil and spectacular step up in every way. It’s heavier, more creative, and most notably shows off the writing talent of guitarist Stephen Rutishauser. The album sounds like an ominous destructive force, looming over the world. There’s a theatricality at times to the tracks but makes the record feel like an anthology of evil fables, demonic folk tales even.
Rutishauser didn’t waste an iota of creative energy throughout this album. Disgustingly groovy melodies bounce around in “The Isnis”, a track that touches on the Ancient Egyptian Book of The Dead, exploring the way all things in the universe are infinitely connected. The straight up spine-snapping chugs in final track “Suffer In Hell, Suffer In Heaven” are almost too much to take; those pinch harmonics are perfect, though. The listener is essentially treated to 8 tracks of some of the most enjoyable deathcore in recent times. One thing doesn’t change with this band, however, and that is the constant heaviness throughout the album. It’s overpowering, and with the veteran skills of Jeff Dunne mixing the album, it’s easy to understand just how oppressive and dominating this body of work will be. Bassist David Flinn also gets to lay down a thick bass performance that beats into your chest relentlessly.
Despite listing those two examples above, the album is far from two-dimensional. The softer moments in “Floodlungs”, a personal album highlight, are a nice moment of calm but still oozing with darkness, much like being in the eye of a storm. The storm comes back with an immense strength, however, in the form of a breakdown that instantly reminded me why I love bands like Humanity’s Last Breath so much. Feeling weightless during an apocalypse-level breakdown? This is where you experience that.
The symbiosis between guitar and orchestral layers in the apocalyptic ode “Origin Of Sin” is just as fun as it is dark, and it immediately shows off the kind of theatricality the band is diving into on this record. A gothic atmosphere completely shrouds the listener’s world during “Deathbed Companion”, and who can’t help but crack a little smirk at the beginning of “Forever Bloom” when that little medieval jingle plays. Whether you relate it to the sound of a spooky house in an amusement park or the soundtrack to your favourite video/board game, there’s no debate that it’s a damn fun way to start a track.
It’s hard to believe at first, but the drums were programmed by Rutishauser also. It was initially hard to believe because he did an insanely good job at making the drums sound human, as well as original. The fills are creative, such as the trippy little one before the breakdown at the end of “Crystal Casket”, a track that (to my understanding) explores totalitarian control and focusing on one’s own state of true being as a form of rebellion.
“Suffer In Hell” Album Artwork
If anyone could take the focus away from an instrumental performance as intense as this record, it could only be Tom Barber. For his second studio performance as Chelsea Grin’s vocalist, he refuses the binary approach to the usual deathcore vocalist performance; gutturals and piercing highs. Throughout “Suffer In Hell”, the listener is constantly blindsided by a blend of versatility and pure hostility. Barber is the voice of every demon you don’t want in the corner of your room, but nonetheless here he is, dominating the hellish soundscape before you.
The theatricality within this record doesn’t stop at the instrumental side of things. Barber brings a ghoulish and dramatic effect to the vocals, furthering the feeling that each track is immediately identifiable, unique from the last. It’s a rare thing to have that in a modern deathcore albums, and despite some people disagreeing with that, I think they’ll know what I mean.
Barber has an iconic sound, no doubt, but that doesn’t stop him from reaching out into the far reaches of vocal extremes. Opening track “Origin Of Sin” has him gurgling ancient wisdom that immediately brings about thoughts of vocalists like Austin Dickey of Infant Annihilator or Abiotic vocalist Travis Bartosek. “Forever Bloom” is a pure unleashing of everything Barber can be, at times tapping right into the voice of the late Trevor Strnad, who also appears on this track. It’s a match made in hell/heaven (see what I did there?). Strnad had a major influence on Barber’s vocal development, and so there’s a hint of sadness in the air as we listen to Strnad decimate his section on the track, gobsmacked at the beautiful filthiness that he was able to let out.
Articulation is something Barber has completely mastered. The pronunciation of words and phrases catches you off guard. The lashing of words in “Forever Bloom” is almost too much to keep up with, but it easily sells the idea of putting the track on repeat. I liken his performance to that of an actor who does such a great job of portraying characters that you forget who the actor actually is. The performance is more than just Barber, and that’s a pretty special thing. His hardcore yells also jump out occasionally in tracks like “The Isnis” and some evil banshee shrieks tear the sky open in “Crystal Casket”.
Clean vocals don’t get left out of this 8-track experience either, and they’re a worthy addition to the sound of “Suffer In Hell”. “Floodlungs”, a song that dives deep into the regret of one’s absence or estrangement, turns Barber into an ethereal layer that bleeds into the gloomy atmosphere. “Mourning Hymn”, a lamentation for the loss of potential life, contains some clean vocals that sit just atop some shrill screams, creating an almost operatic performance from the group.
Lyrically, the themes are various, but that makes for some pretty genuine material. It’s not the milking of one idea, swapping out words and structures to say the same thing. It’s a body of work that touches on numerous things whilst also changing up the syntax, the phonetics in Barber’s vocals, and all the ideas in between the lines. It’s slightly obscure at times in its messages, but that only serves to let the listener dive deep into the subject matter and make of it what they will.
You can probably tell from the positive words above, but it’s my opinion that “Suffer In Hell” is easily a contender for album of the year, and one of the best deathcore albums to be released in recent years. Each track is unique, telling a different story from different voices and perspectives, and the instrumental side is just as fun and engaging to get familiar with. It’s one thing for an album this good to be dropped, but for a follow-up record to be dropped in 4 months from now? It’s a damn good time to be a Chelsea Grin fan.
Released On: November 11, 2022
Released By: OneRPM
Genre: Deathcore
Musicians: Tom Barber / Vocals * Stephen Rutishauser / Guitar/Programming * David Flinn /* Bass
“Suffer In Hell” Track-list:1. Origin Of Sin 2. Forever Bloom (Feat. Trevor Strnad) 3. Deathbed Companion 4. Crystal Casket 5. Floodlungs 6. The Isnis 7. Mourning Hymn 8. Suffer In Hell, Suffer In Heaven
As December looms near and “Album of the Year” lists begin to come together, there is one 2022 release that should not be missed: Xaon’s third album, “The Lethean.” This Swiss quintet has crafted an opus of absolutely epic proportions, one that offers up beauty of unrivaled artistic vision, and there is no doubt “The Lethean” is a must-listen for any fans of symphonic death metal. Xaon excel in sonic storytelling, with their style combining influences from progressive, blackened death, and symphonic metal. Rich orchestral layering meshes beautifully with unrestrained metallic brutality, and this contrast ignites a fire of wonder that will burn deep in the listener’s heart long after the final note fades. To witness such ingenuity and ambition in the modern symphonic death metal scene is nothing short of miraculous.
“The Lethean” marks considerable change for Xaon, and not just in the stylistic growth from sophomore outing “Solipsis.” Perhaps the greatest change to note is the lineup, which experienced a full lineup change amongst instrumentalists, one which leaves founder and mastermind Rob Carson as the only original member. With regards to the stylistic changes, “The Lethean” sees Xaon skillfully increase their use of symphonic elements while simultaneously introducing a more balanced mixture of clean and harsh vocals. This pulls “The Lethean” away from the depths of severity and errs on the side of metal’s more cinematic offerings. That’s not to say that “The Lethean” pulls any punches – rather, it tempers its fire with an alluring sort of darkness. It’s a darkness that is haunting, tempting, and undeniably seductive.
“If I Had Wings” is undoubtedly one of the album’s strongest tracks, notable in that it is both able to stand strong on its own as well as fit seamlessly into the album’s overall flow. Xaon have also created a music video that is absolutely worth one’s time, as the video blends the band’s impassioned performance with a melancholic narrative, and the beautiful setting makes for a breathtaking backdrop. Lyrical allusions to Icarus and the wax melting from his wings is the metaphorical opposite of a song that soars with confident grandiosity. The track length gives the chorus time to truly make its mark, and as the musical tone shifts throughout the track, the lofty chorus tangles with both hope and sorrow. Lead single “Wayward Sun” is just as noteworthy, particularly for its masterful transitions between atmospheric intonations. Beginning with heavy bass tones, “Wayward Sun” soon erupts into a battle between guitars and percussion, explosive in its power and assertive with its orchestral presence. Its trudging chorus is memorable, not just for Carson’s emotive voice, but for the angelic horns and chorals that make an already moving piece even more impactful. And although these two songs are highlights of “The Lethean,” they gain much of their allure from the compositional strength present in the rest of the album.
“The Lethean” Album Artwork
This album is all about moments that move the soul as much as they encourage the listener to move with the blast beats. “A Kiss of Winter” has a relentlessly upbeat tempo, one that stirs the heart to thundering along with the percussion. The sheer dramatic depth of its pre-chorus, coupled with aggressive symphonic accents and an oriental interlude, make this a thrilling penultimate exploration. The closing track, “Telos,” offers a gentle acoustic foray, and it is a brilliant piece of songwriting rooted in a sense of satisfying finality. It’s also a final opportunity to understand just how versatile Carson’s voice is, as the listener is invited to sink in the waves of melancholy and hope alongside him. “A Golden Silence” introduces further dimension with artistic and skillful use of spoken word in addition to measured transitions between verses and chorus. This is another songwriting strength that reappears throughout “The Lethean:” transitions across moods and songs are smooth, never jarring the listener between different aural climates.
One surprise buried within “The Lethean” is just how long its tracks are. Aside from the 90-second opening instrumental, the tracks range from four minutes to nearly eight minutes long, averaging around six minutes long. In a genre that focuses on intensity and aggressive paces, this is a length more suited to progressive metal and its oft-meandering passages. Yet Xaon has used track length and album runtime to their advantage, using every available second to explore the dichotomy between sonic light and darkness, and elevating their musicianship to the next level. It opens up opportunities for guitarists Eerik Maurage and Klin HC to take center stage with furious riffing and breakneck shredding. For a feat of drumming mastery, look no further than “And Yet I Smile,” where Julien Racine absolutely owns every moment behind the kit. Further intrigue is added to “And Yet I Smile” by a dancing keyboard and a passage recited in smooth French, with Racine keeping pace at every step. The gentle approach to drums and percussion in the orchestral-centered pieces keeps the album’s momentum flowing, and it also gives great opportunity to appreciate the sheer endurance required for tracks like “In Pyrrhic Seas.”
Frankly, it’s a tragedy that Xaon have not yet skyrocketed to the very forefront of the symphonic death metal scene. One could dare say it’s a tragedy they aren’t the centerpiece of modern metal as a whole. There are few other contemporary acts that are willing to be so ambitious as to push forward with stylistic evolution while still delivering music with unyielding quality. This is certainly ground that has been tread before, as there are numerous connections to be made with foundational acts like Dimmu Borgir, but to see Xaon continue to push the limits of their own capabilities is a treat indeed. The production is sound, the ingenuity is ever-present, and the musicianship is second to none. If there is any album you listen to in an attempt to catch up on 2022 – is it really almost over? – “The Lethean” is the one. Cheers to Xaon for another masterpiece, and raising a glass to the hope of a future just as bright.
Release Date: July 11th, 2022
Record Label: Independent
Genre: Symphonic Death Metal
Musicians:* Rob Carson / Vocals * Julien Racine / Drums * Laure Begue / Bass * Eerik Maurage / Guitar * Klin HC / Guitar
“The Lethean” Tracklist:1. The Lethean 2. The Hunt 3. A Golden Silence 4. If I Had Wings 5. And Yet I Smile 6. In Pyrrhic Seas 7. Wanton 8. Wayward Sun 9. A Kiss of Winter 10. Telos
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Did you hear about that massive earthquake in Canada recently? It was caused by Trench dropping their latest EP “Encased In Chrome”. It’s a superbly heavy and entertaining release, spanning 11 minutes, and in those minutes the listener is taken to some pretty cool and unexpected places. If you thought their 2020 album “Blossom” was [...]
Way back in the summer of 2018, we were visited unexpectedly by an otherworldly invasion of symphonic prog-metal. When we asked to be taken to the leader, we found ourselves in the presence of Symphony X maestro Michael Romeo. We had many questions for our new ruler. Where was Symphony X? What was the meaning [...]
Let the end times rage! It might be said that a style that cleaves to an established orthodoxy will eventually go stale like unsealed bread, but it’s near impossible for anything to come to such a state in the frigid tundra where black metal’s 2nd wave first spread its decrepit wings. The stalwarts of Norway’s [...]
Does “third time’s a charm” still hold true if the first and second times were damn good, too? Maybe “hat trick” would be the more appropriate term for Pattern-Seeking Animals’ third release in nearly as many years as they continue their trajectory of exciting, creative, progressive music. Originating from the Spock’s Beard family, P-SA debuted [...]
Tobias Forge is a seer. A prophet. A diviner. I know. That’s quite a statement from a protestant pastor (that would be me) when talking about a band leader who delves into the occult and the perils of organized religion. More on that later. But how else to explain that his last Ghost effort, ”Prequelle,” [...]
The ugly truth has been illuminated. There is no shortage of inspiration of late for those seeking to paint a bleak musical picture of the world as it is, though the number of acts out there that pull it off with a sense of distinctiveness and poise are a rarer find. Though by no means [...]
I was just a kid in 8th grade when I wrote my first music review for my school newspaper in the very metal town of Albuquerque, NM. The year was 1982, and the record I reviewed was “Blackout” by Scorpions. I loved it, and made a passionate but poorly written case that, despite Klaus Meine’s [...]
It took me a while to figure out how to start this review. It was hard to decide how I could best describe the absolute bone-rattling power that is displayed on Kublai Khan’s latest release, “Lowest Form Of Animal”. The 5-track EP is an explosion of intimidating strength. It’s the sonic equivalent of life at [...]
The War is too great for a single episode. Some stories, be they historical or fictional, are just too large to be contained in a single album, or at least that is the logic behind Sweden’s most popular power metal export Sabaton’s latest studio venture. Coming just under three years since the World War I-centered [...]
Few bands have morphed as successfully as Marillion. No one in their right mind would have guessed that a band that began life as Genesis-wannabe neo-proggers would later release albums as dreamy as 2004’s “Marbles,” or the mindwarp we call “Brave” from a decade earlier, or that those then-undreamt forays into mental anguish and sonic [...]
A killer winged knight descends. Though seemingly tied to a bygone era, the revolution of high impact speed metal and melodic heroism that came roaring out of the European underground in the 90s, swimming against the tide of alternative rock cynicism no less, has refused to let up and endures in the continued studio output [...]
In early 2020, when the whole world seemed to be going crazy (not the current flavor of crazy, mind you), we almost nearly had an incredible find sneak under our radar. Thankfully, very little escapes the Sonic Perspectives Central Listening Outpost, and we got to experience the best damned melodic hair metal act out of [...]
Three years ago, the Dutch band Knight Area came out with a remarkable album called D-Day. It marked the 75th anniversary of that crucial action in WWII and was a tribute to the men and women who participated in it. The plan was to do a full tour for the album—and then Covid struck, canceling [...]
When Roine Stolt’s The Flower King released “Manifesto of An Alchemist” in 2017, it was uncertain what that meant for the potential of a full Flower Kings reunion. Three albums later in a relatively short span of time, it’s apparent that Kings never die, they just rotate in and out of a revolving door from [...]
Fury road revisited. There’s a very plausible school of thought out there that once one hits a streak, the best course of action is to keep it going by following up as soon as humanly possible. In the case of California-born super group and gritty speed meets power metal quintet Death Dealer, the dual disposition [...]
Spring arrives early this year thanks to Peter Jones and his wonderful Tiger Moth Tales. Following in the vein of 2017’s “The Depths of Winter”, this new seasonal recording focuses on different aspects of the Spring throughout the world. Don’t expect endless tales of rebirth and the return of the dawn, however; there’s plenty of [...]
The eternal dove compels the cemetery ravens. Though now a fairly commonplace concept, back in the mid-2000s the notion of an American band resurrecting the epic metal stylings of the early 80s was far less so. Yet this was the context that saw a lone multi-instrumentalist based in Detroit named Paul Tiseo take on the [...]
Let’s start with me saying this: I thought that I was going into this album with the most open of minds, ready to experience anything. However, I wasn’t prepared in the least for what I was provided with. Zeal & Ardor’s self-titled record is a powerful display of what happens when intelligent people with incredible [...]
Very few bands that survive for four decades continue to put out material that matches the intensity of their youth. The French Canadians of Voïvod managed to do exactly that, while making a grand total of zero concessions to the mainstream. From their punk origins on albums like “War and Pain” and “Rrröööaaarrr”, evolving into [...]
Chances are significantly better than not, if you are reading this, you are some form of Ayreonaut, or a fan of the works of Dutch prog rock mastermind Arjen Anthony Lucassen, and his flagship Ayreon project. While self-professed tall skinny hippie Arjen has a hand in many works, such as Gentle Storm, Stream of Passion, [...]
Zombie trees rise from decrepit roots. Though having existed in some capacity since the height of the New Wave Of Thrash Metal in the late 2000s, French thrashers Dead Tree Seeds have been one of their motherland’s best kept secrets for most of their existence. With their first studio LP dubbed “Seeds Of Thrash” having [...]
I dare you not to crack a smile during the opening verse. There had been mention that Neal Morse’s new acoustic project with Haken’s Ross Jennings and long-time pal and former Spock’s Beard band-mate Nick D’Virgilio was going to have a Crosby Stills Nash flavor to it. So when the lead-off song “Everything I Am’’ [...]
Kee Marcello must be in a musical wayback machine. Or he has a sense of humor. His new band (and their self-titled album) is called Out of This World. Which was the name of the first Europe album he appeared on in 1987. A halcyon moment, undoubtedly—but that album sold half of what its predecessor, [...]
It isn’t always necessary for a band to reinvent itself in order to remain relevant. Finland’s Amorphis, for example, found its identity early in its career and had nearly refined it by their third album, 1996’s “Elegy.” Though the band began dabbling with prog-rock and psychdelia on the 1999s wonderful “Tuonela,” the band soon lost [...]
Terror from beyond the final frontier. With nearly two decades of skull-crushing brutality at their backs, Los Angeles-born trustees of old school brutality Abysmal Dawn have made their mark on the scene with an eye to consistency. Drawing inspiration from the darkest corners of the old New York and Florida scenes with the likes of [...]
Four years shy of reaching their fiftieth anniversary, the South Yorkshire metal institution Saxon is about to release their new album – the first of original material since 2018’s “Thunderbolt,” on February 04th. Entitled “Carpe Diem,” this release is a perfect representation of their brand of metal, and brings a few new ideas here and [...]
Silent Skies made their debut in late 2020 with the boundless soundscape of “Satellites,” an absolutely stunning release which celebrated the nascent union between musicians Tom Englund and Vikram Shankar. It was a sonic experience that carried the listener from the depths of sorrow to the heights of hope, its elegance expressed with striking musicality. [...]
New year, new faces in the prog world. Jonas Lindberg won’t be a familiar name to most of our readers but don’t let that dissuade you from checking out his band The Other Side and their excellent album “Miles From Nowhere”. The second full-length album from the band, its initial singles garnered enough attention to [...]
Review by Gonzalo Pozo and Brian Masso. Persefone has, possibly more than any other band in the contemporary prog metal sphere, set itself apart by pairing devastatingly brutal tech death metal with uplifting, inward-looking lyrics that would gain approval from even the most devoted TM practitioners. Hailing from the tiny Catalan-speaking nation of Andorra in [...]
Well, here’s a treat to start our new year together. If you haven’t already discovered Lalu, please direct your attention to their new release “Paint the Sky”. It’s a remarkable album comprised of a stunning core band with numerous special guest appearances. The frontman in the core quartet – Damian Wilson – needs no introduction [...]
In 1989, Dann Huff stepped out of the shadows from being a top-notch session guitarist who played on a astounding number of top selling records, and into the spotlight as the front man of Giant—a melodic hard rock band signed to A&M Records. They came out of the chutes strong with a fantastic single, “I’m [...]
The ringmasters of Armageddon have arrived. Like cells dividing within a living system, the metal world has seen its fair share of band splits that result in two near identical offshoots, though this separation does not always result in two equal outcomes. Case and point, one of the premier acts of power metal’s third wave [...]
At the end of 2019 B.C. (Before Covid) we had the pleasure of sampling the landmark 1000th album release from Frontiers Music, namely “Native Soul” from Italian melodic rockers Edge of Forever. As a whole, we were impressed. Frontman and keyboard/production wizard Alessandro Del Vecchio is perhaps the busiest and most versatile weapon in the [...]
The jesters hold their tongues. With nearly two decades having passed since Iced Earth front man Matt Barlow originally cut ties with said band to pursue a career as a public servant, and a little over 10 years since his final stint with said iconic American power metal institution, the metal faithful still hunger for [...]
Carrying on the legacy of The Moody Blues is clearly at the forefront of John Lodge’s thinking in releasing this compact live collection from the summer of 2019. As the band’s legendary bassist and one of their main vocalists and songwriters, Lodge has been one of the three sustaining faces in The Moody Blues’ latter [...]
I just need to say, this band takes the prize for the absolute coolest, most badass name in metal. Venom Prison. The confronting one-two verbal combo is a perfect promise to how heavy and aggressive this band is. From the moment I listened, I felt that that promised was fulfilled. “Erebos” is the fourth full-length [...]
Sadness blooms by moonlight. Though no sensible person seeks after tragedy, it can often provide the inspiration for some of the greatest works of art that the world has known. The doom metal movement, in all its various permutations, has often proved to be the most adept at turning the ugliest truth of existence, namely [...]
“This is what I came for, what I longed for. And it changes everything and nothing at all.” These lines from “Oak and Stone” are likely some of the last ever to be heard by David Longdon on a Big Big Train album. As immensely painful as it is to admit that, there is solace [...]
Dank crosses meet soulful purposes. It could be said that behind every iconic metal front man is a correspondingly elite flock of musicians, and the career of Birmingham born vocalist Tony Martin’s career since the 1980s bears this out at every point. Though his tenure with Black Sabbath in the late 80s and mid 90s [...]
The up-and-coming metal band Chaosbay shook the metal world back in 2020 with the release of their critically acclaimed album “Asylum”, which confirmed them as a thunderous force to be reckoned as one of the most exciting metal acts of the moment. Now, they are back with another collection of authentic bangers that comes in the form of [...]
Let’s remind ourselves of one thing at the start: a band is releasing new material after 50 years of existence. Allow that sobering timespan to sink in. How could such a thing even be possible? Given that context, the new release from Jethro Tull is quite the successful achievement. Perhaps a different kind of success [...]
Free flowing thoughts beget elaborate structures. The world can change a great deal over the course of a decade, and the same often holds true for bands that have stuck it out for as long. Yet this could be seen as an understatement when considering the wild evolutionary leaps that Bostonian folk metal masters turned [...]
There seems to be a consensus on the internet that Australian metalcore is some of the best metalcore out there. Pridelands, the 5 piece from Melbourne, proves that this statement rings loud and true. The metal scene in Australia is absolutely brimming with artists that have so much to give to the rest of the [...]
Embrace the Lovecraftian horror. The cemetery grass may be greener on the other side of the death metal hill, but rarely is it the case that a group of musicians credited with helping create one distinct movement within said metal subgenre to venture effectively into the territory of another. Then again, stylistic boundaries haven’t been [...]
Though there is no small amount of music being checked for naughty or nice status here at Sonic Perspectives, it is a treat when Santa deposits something unusual under our tree. Such is the case with a little EP with bells on, from “ChristmasForce,” a Boston area holiday metal project brought to us as a [...]
Beautiful dirges break the sorrowful earth. Since the bleak world of doom metal first came to the world via the trailblazing efforts of Black Sabbath, many bands have risen to both emulate and expand upon the sound that took shape at the dawn of the 1970s. However, few have partaken of the tragic character of [...]
A black-blooded legacy reemerges. Relegated to obscurity almost to the day of their initial inception in the late 1980s, Swedish death metal warrior outfit Unanimated has been fold spoken mostly in whispers among those whom might otherwise know a fair bit about their respective scene, despite being fairly influential among more blackened adherents to the [...]
There is no time like the past. Sweden has basically been ground zero for the explosion of 80s heavy and speed metal revivalism, culminating in what many have since come to refer to as the New Wave of Traditional Heavy Metal. Among its ranks has been an assortment of acts dating back to the late [...]
An archaic danger looms. Though heavy metal may not be at the point of supplanting English in its de facto status as the common tongue of the global community, it’s reach continues to expand, and within the past few decades it was able to take root in India, a far distance from its birthplace in [...]
The Teutonic storm has commenced. With nearly 40 years of heavy metal history at his back, veteran trustee of old school Teutonic fury Herman Frank has definitely not slowed down with the passage of time. Indeed, if his solo output since the close of the 2000s has been any indication, like a fine wine his [...]
Darkness envelops the natural world. Thinking outside the box and conjuring up something that is truly original is often a task best suited to a single individual. Though there is definitely something to be said for the quality of creative results stemming from a consensus of several members of a band, lately it seems that [...]
A primordial heroism returns. Nostalgia is a powerful ally in today’s metal scene, sharing an almost equal footing with originality, and the best bands to occupy the present craze with early heavy metal revivalism are not averse to including some of the second concept in paying tribute to the past. Such is the road that [...]
Familiarity begets unpredictability. While an obvious far cry from the 90s death metal mayhem that originally typified his career with Dominus, guitarist and vocalist Michael Poulsen and his outfit Volbeat’s unconventional blend of metal and mainstream music trappings has always seemed a near effortless expression. The very notion of putting a voice clean enough to [...]
A looming shadow graces the end times. Labels are a useful tool in connecting objects with those whom seek them, but they are naturally imperfect and can occasionally be misleading. Further complicating the matter is that with the passage of time and the necessary evolution in circumstances that comes with it, yesterday’s genre will encompass [...]
Hard rocking classics never die. Herman Frank has been one of the busiest men in the business of late, fielding three impressive albums in the early 2010s with Accept and still finding time to put out nearly double that amount under his own name in a somewhat more aggressive and modernized package. But what some [...]
The darkness has prevailed! For a while there has been a renewed interest in where death metal was during its original heyday in the late 80s and early 90s, birthing what some have come to call the New Wave Of Old School Death Metal. But while some younger outfits such as Skeletal Remains, Gruesome and [...]
Spare the rod, spoil the metal! Fortress is a name been employed by many a metal act in the past, yet it is an apt moniker for the Whittier, California-based quartet that is among the latest folds to carry it, given their lofty and vividly drawn sound. Having already made some respectable waves in the [...]
Old fashioned is the new original. The past decade has seen a number of older styles of rock and metal make a substantial comeback, but the peculiar case of the retro-doom meets 70s rock/proto-metal revival spearheaded by the likes of Ghost, Blood Ceremony and Castle has proven to have the widest appeal. Though a bit [...]
Glory is reprised once more. Heroes tend to be measured by their latest exploits, whereas veterans are judged by their consistency and staying power, and rare is the case of a band that can be equally qualified as both. But this is the exact disposition that the Rhapsody Of Fire name has accrued for itself [...]
2020 sucked for everyone for many reasons, particularly for those who live on the arts. And while the health of those in the Cynic circle wasn’t directly affected by the covid-19 pandemic, 2020 was book-ended by the deaths of longtime drummer Sean Reinert and on-again/ off-again bassist Sean Malone, who together brought the intricacies of [...]
Few modern acts have the zeal of the doom-trooping brotherhood of fans following Zakk Wylde’s Black Label Society. It is in homage to this brotherhood that the band names its 2021 release, “Doom Crew, Inc.” From the road crew to the faithful fans, walking the line dangerously close to skirting MC territory, the whole circus [...]
Just before 2021 comes to a close, Imminence have given us something of absolutely epic proportions. “Heaven in Hiding” is an expansive and transcending collection of tracks that are just as engaging and enthralling as any cinematic experience. If you’re already a fan of Imminence, then you’re going to be blown away. If you’re a [...]
They dialed “B” for bastard! For the better part of 2 years the live music scene has continued to reel from the catastrophic economic impact of the Covid pandemic, but as Michael Douglas’ character in the 2007 movie King Of California (aka a movie you’ve probably never seen) put it, “Catastrophe equals opportunity”. Enter veteran [...]
Deception begets innovation. Breaking new ground is a joy shared by artists and undertakers alike, and though it would seem that every twist and turn in the expansive maze of doom metal has been fully explored, there is a younger crop of adherents that beg to differ. Among the more curious of these latter day [...]
Tempered steel and modern bombast unite. Few bands can boast the level of prolific output and the ambitious work ethic exhibited by Temperance, a band that is fast becoming one of the Milan’s and Napalm Records’ hottest imports. Having already fielded five albums in just under as many years, each a high energy display of [...]
Hey listener, let me quickly take you down memory lane. It’s 2010, Volumes drops their debut EP “The Concept of Dreaming”, and you discover the masterpiece “Wormholes”. The best thing about this though, is that 11 years later, you’re still obsessed with the incredibly groovy onslaught of metalcore and djent that the L.A 4-piece have [...]
After rumbling the symphonic death metal realms with their roaring and sweeping sophomore album, Aephanemer is back with a new record that proves that the impressive results obtained with “Prokopton” were no coincidence. If their previous work granted them the signing by Napalm Records, “A Dream Of Wilderness” sees them worthy of becoming torchbearers of the genre for years to [...]
All things begin in simplicity. Open-ended subjects and highly generalized concepts have been the forte of a subset of melodic death metal that rose out of the recent aftermath of the Gothenburg scene’s seminal output of the 1990s. Establishing a dreamy, dense atmospheric backdrop of keyboard textures inspired by the example of Dark Tranquillity that [...]
The banner of discontent flies high. Long breaks in output can often signal a career that is winding down, but nothing could be further from the truth in the case of Bay Area thrash metal pioneers Exodus if the latest studio installment of their 40 years plus career is any indication. With a little over [...]
An epic journey to greater congruity unfolds. Far from being a one-trick pony, melodic death metal has proven a high diverse sub-genre and veritable movement unto itself that has spawned a number of interesting variations. Arguably the most interesting of the lot is what one might call the dream variant, pertaining to a more atmospheric [...]
A new flame sets the north ablaze. A veritable force of nature was born in the closing years of the 2010s in NorthTale, a formidable super group co-founded by Brazilian-born virtuoso guitarist Bill Hudson, Swedish drumming speed machine Patrick Johansson of Stormwind and Malmsteen fame, and then recently former Twilight Force helmsman Christian Eriksson (aka [...]
Hey you, yeah you, drifter, vagabond, whatever you like to call yourself, you wandering soul. Come sit with us by the campfire as we explore the tale of All Hail The Yeti, and their latest chapter, “Within the Hollow Earth”. The 4-piece metal force from Los Angeles has unleashed a brand new seven-track EP, and [...]
The abyss stares back. Every movement has a forerunner, an influential figure of sorts that isn’t necessarily part of what comes later, but provides the framework by which it comes to develop. Though the concept of merging metal music with the subject of Norse history and mythology predates the advent of death metal, there is [...]
Gizmodrome is one of those super-groups that appears to be destined to leave the fans wanting more – not due to the quality of the output, but because of the tremendous pull of each member’s agendas. Much like Flying Colors, Them Crooked Vultures or Black Country Communion, there’s always a feeling that these bands could [...]
Heathen warriors with blackened hearts arise. Somewhere between the crackling, low fidelity, orthodox cult of black metal’s Northern European reign in the early to mid-1990s and the smooth, atmospheric, more eclectic offshoot that would come to capture mainstream attention afterward, there is a sweet spot that captures all the best elements of both. Of late [...]
Whether or not you’re a fan of Bullet For My Valentine, it’s hard to deny that over the nearly 25 years that the band has been around, they have contributed an invaluable amount to the metal world. Just before this year reaches it’s end, the 4-piece have dropped an absolutely monumental album. The self-titled album [...]
We are usually encouraged to do most of the relevant actions that we carry out with creativity and innovation. However, achieving it requires an effort that sometimes prevents us from translating it into our activities. Therefore, the achievement of innovation and creativity becomes a flag that we should pursue since it will raise our actions [...]
A darker symphony looms. There are many forces in the metal market that can spur innovation, and scene saturation is arguably the most potent of them. In the particularly prominent world of female-fronted symphonic metal that has been riding a proverbial tidal wave of commercial viability has been no exception to this, particularly given that [...]
It’s been over four years, but DED have finally released their sophomore album “School of Thought” on the 15th of October. Whilst the majority of fans have been ecstatic to absorb more material from the band, it has left a few listeners scratching their heads. This can only be expected, however. The band’s debut LP [...]
Dark introspections lead to nuanced creations. It is all but inevitable that with the passage of time a given style subset within music will become more expansive; not necessarily losing what it was in the beginning of its run, but coming out as significantly different all the same. Arguably the most curious developments of late [...]
Vintage Sci-Fi meets the current decade. There is having an established formula, there is elevating gimmickry to the level of an art form, and then there are bands that plant their flag on doing both with zero apologies. In the specific realm of merging the high-impact and tuneful variety of heavy and power metal that [...]
The tomorrow that arrives in yesterday’s attire. Whoever said that a tiger never changes his stripes has never encountered the Cincinnati-born metalcore turned modern rock with a lot of twists juggernaut known as Black Veil Brides. Originally cutting their teeth in the studio circa 2010 with a sound fairly reminiscent of contemporary albums out of [...]
The game will never end. The chaotic state of the world might be likened to a raging storm cloud above the heads of all humanity, but if there is a silver-lining to the sad state of affairs that is the present, it is that it has provided much inspiration for heavy metal’s many contributors. Few [...]
A little extra time may come in handy to finish a project or even start a new one. For Ross Jennings, a pandemic-enforced break from his usual touring and recording patterns afforded him the opportunity to go a step further and reinvent himself as an artist. Not that one would have thought a re-invention was [...]
Joe Bonamassa has been on a terror since he burst onto the scene in 2000 with his debut record, “A New Day Yesterday.” Twenty years later, he drops his 15th studio record, a new chapter in his bulging discography that offers a few new shades of the blues with a bit of spit shine polish [...]
Another twisted symphony has been conjured. Theatricality has long been tied to the metal scene, and while many have proven apt to refine and expand upon the relationship between auditory and visual darkness, Suffolk’s own Cradle Of Filth have taken the concept to its logical conclusion for most of their 30 year history. Naturally with [...]
The title of Dream Theater’s most recent studio album has proven premonitory. Although the album was released in 2019, we have certainly experienced some “Distance Over Time” in these two brief yet interminable years. It is a different world in which we awaken, and the gentlemen of Dream Theater are not insulated from it. With [...]
The symbol of perseverance endures. Getting back to business as usual seems an epic struggle even after nearly 20 months of craziness, with fond memories of 2019 and before seemingly born of a bygone era. But with Los Angeles-based heavy metal icons Armored Saint, business as usual has been a blatant misnomer, especially when taking [...]
What do you get when you cross 5 talented musicians with 12 huge tracks and a beautiful accompanying visual theme? You get “Coma”, a stunning sophomore album from UK rockers THECITYISOURS. On the 22nd of October, this album is going be dropped into your lap, and you’ll be privy to a deeply personal album, swirling [...]
As 2021 prepares to curl up into itself like the equally unwanted demonic Bald Mountain of Fantasia, the Iberian Machine known as the Lords of Black continues to hum away, producing some of the very best melodic metal with a flair for the progressive. In fact, it was only in the also-unwelcome year of 2020 [...]
The revolving door still turns out a classic. It seems as if only yesterday that the mighty, guitar-oriented 80s heavy metal train that was Alcatrazz had returned with a vengeance to usher in the 2020s with a newly minted masterpiece after more than 30 years of studio silence. Even during their original run in the [...]
Frank Carter & The Rattlesnakes burst onto the English punk rock scene in 2015 with debut album “Blossoms,” headed by the energetic and confrontational front-man Frank Carter. Although Carter had certainly acquired an impressive resume after stints in both Gallows and Pure Love, this eponymous creation was lit by the same fierce punk spark that [...]
The Lovecraftian aesthetic enjoys a ravaging resurgence. The death metal subgenre has always carried a rather blatant kinship with the works of H.P. Lovecraft; all but the point of the former’s very birth being a necessary consequence of the latter’s existence. But in the specific case of one of the style’s earliest pioneering acts, namely [...]
Transmission: received… ready to display… 01010011 01110100 01100001 01110010 01110011 01100101 01110100 00011001 01110011 00100000 01100110 01101111 01110101 01110010 01110100 01101000 00100000 01110011 01110100 01110101 01100100 01101001 01101111 00100000 01100001 01101100 01100010 01110101 01101101 00101100 00100000 00011100 01001000 01101111 01110010 01101001 01111010 01101111 01101110 01110011 00011101 [decrypting…] Decryption: Starset’s fourth studio album, “Horizons”. Transmit response: [...]
Papa Emeritus, it’s confession time. I confess that, until a couple of months ago, I had never heard GHOST. Seriously. I do not lie. Hold on, before you go all crazy on me (a la “Rats”). I have no-one to blame but myself. I wallowed in ignorance and self-deceit. I denied myself the pleasures of [...]
A multiplicity of expressions emerges. Necessity can often be the catalyst of creativity, and for many artists that have been condemned to a state of de facto house-arrest since the early spring of 2020, the studio has become a deliverance of sorts. But while many in the metal world have largely stuck to what they [...]
Heavyweight metallers Trivium knocked fans off their feet with the formidable 2020 release “What The Dead Men Say.” With a glowing review and the number one placement for Sonic Perspective’s favorite metal albums of 2020, this last opus noted Trivium rising to new heights with both technical complexity and melodic precision. Some listeners saw this [...]
Some bands are worth searching out. If Three Colours Dark’s latest release wasn’t on your radar – nor their debut album in 2020 – it might be worth your time if classy, contemporary pop prog-rock is to your liking. The duo of Jonathan Edwards and Rachel Cohen established their reputation over 20 years ago in [...]
What hath ABBA wrought? The legendary Swedish group – gone for nearly 40 years before reuniting in 2021 – was rejected by most rockers back in the ‘70s. Too soft. Too clean. Too…nice. And yet many modern-day bands from Sweden have taken some cues from the foursome, especially when it comes to melody and hooks. [...]
The shut-ins gaze outward. Few nations have been impacted more severely by the events of the past year and a half than the land down under, leaving whatever modest live metal scene within its borders in a state of perpetual limbo. Yet the coerced standstill that has resulted has proven a fountain of inspiration for [...]
The biggest perk of reviewing music is fairly obvious; one gets to hear all kinds of cool new material. The downside, sadly, is that one can grow rather jaded. Been there, done that. Heard it all before. On more cynical days, “new” acts and albums can just feel like reshuffling of the old into a [...]
Well, you gotta give it to ’em. “Das Album” by We Butter the Bread With Butter left me speechless, and I had a real hard time figuring out what to write. Long story short? I absolutely loved it. I got so into this album that I decided to write this review completely in German. So, here [...]
Sometimes two priests isn’t a crowd. Metal icons never really retire, they just go on holiday for just under a decade before coming back as strong as ever, or at least that’s how things go if K.K. Downing’s story up until now is the standard. His auspicious departure from the fold of Judas Priest in [...]
How concerned are you? Not many bands know how to make a statement quite like Ministry, who have long brandished tenets of antifascism, staunch distaste of political corruption, and strong belief in equal rights. Given both their extensive history as industrial metal pioneers and the tempest of 2020, there was little question that founding member [...]
Otherworldly is definitely the word. Among their blackened Norse contemporaries, Enslaved were always sort of the odd group out, taking the road less traveled and dealing in a more expansive definition of extreme metal. One could liken their evolutionary trajectory as similar to the progressive and often melodically consonant way that fellow Bergen residents Borknagar [...]
I’m fairly ashamed to say that whilst Wage War has been constantly on my radar, I never put a couple of hours aside to sit down and go through the discography until only recently. It’s taken me a while, and that could be for a bunch of reasons: worrying that the band wouldn’t match up [...]
A warlock’s legacy is cast in stone. For the better part of 15 years, old school heavy metal has enjoyed a vibrant, albeit still largely underground renaissance. Whether one wishes to focuses on the cultural phenomenon that is the New Wave of Traditional Heavy Metal, or the corresponding renewal in interest towards the older bands [...]
Alt-metal titans Gemini Syndrome have been busy by the sounds of it… very busy. 5 years have come and gone since their second album “Memento Mori” hit us, so it is not hard to imagine their enthusiastic fans baying for more. Well, bay no more… the boys are back, and they’ve brought some incredible power [...]
Thrash legends never die. Though they may not share the same level of visibility as the likes of Kreator, Destruction and Tankard, the Bavarian thrash metal powerhouse Paradox could be seen as a formidable rival to said iconic outfits from a standpoint of musical credibility. Originally conceived under the moniker of Overkill back in 1981, [...]
A mainline player brings the metal mainstream. It is said that you never get a second chance to make a first impression, and for many the name Mark Tremonti will be forever tied to the commercial behemoth that was/is Creed and all of the post-grunge baggage that has been tied to it. Yet even back [...]
It’s Easter in the apocalyptic metal lands. Many in the field of high speed German steel have come and gone since its heyday in the 1980s, but veteran speed/power metal fence-sitters Rage have endured long past most of the competition, and have been among the most prolific progenitors of the art form to boot. With [...]
A more artful display of surgical precision emerges. Having sliced and diced their way into the annals of death metal’s rich and extensive history since 1986, Liverpool’s own Carcass could be described as just about anything within the spectrum of said sub-genre’s many offshoots. Indeed, their comparatively small yet stylistically extensive body of work since [...]
Here it is, friends: the long-awaited twenty-second studio album from Yes. As one of the few bands who pioneered the form we now call Prog and are still making new music, this is a momentous release. Revered, adored, critiqued, obsessed, Yes is a band who have made their mark several times over and yet somehow [...]
Four tales are told by a dreaming, wayward bard. Melodic death metal has a wide variety of potential expressions in spite of its supposedly rigid parameters, with some of its elder progenitors continuing to explore its more abstract possibilities. In the particular case of the Finnish scene, a trifecta of sorts has held up this [...]
The Inglorious machinery does not stop. It continues to show off the terrific results that its new components provide, as it was seen early this year when they launched the fantastic “We Will Ride” back in February. Not satisfied with having released one of the best hard rock albums of the year, the band returns some months later [...]
Theatricality begets innovation. Though now a phenomenon that has become ubiquitous throughout Europe and beyond, it could be argued that the ongoing revival of old school heavy metal dubbed the New Wave Of Traditional Heavy Metal owes its birth to Scandinavia, and specifically Sweden. With such pivotal early entries into the scene such as Wolf [...]
If you know Jim Matheos, you know he likes to alternate between heavy and mellow. The honcho behind the most long-running of contemporary progressive metal bands showed us his softer side with solo albums such as “First Impressions” and “Away With Words” in the 1990’s, and his fondness for ambient electronic music became evident in [...]
Perhaps the oldest dilemma in the arts is the struggle between the desires of the artist’s patronage, and the desires of the artist himself. Many of the most celebrated albums in modern music history are a rare convergence of these conflicting forces, where an artist’s creative genius is simultaneously a work of the artist’s inner [...]
After appearing at the mighty gates of Valhalla, four legendary war kings were commissioned by Odin to return to Earth and spread epic chants that describe the warlike feats performed by the four fierce warriors. Their outstanding merits on the battlefield allowed them to return for the sole purpose of inspiring a new generation of [...]
Progress cuts right to the core. The concept of progressive music, regardless of what specific genre it subsumes, is one that has become a bit muddled of late, owing no doubt to it coming of age and developing its own orthodoxy of idea-splicing and signature tricks of the trade. Nevertheless, for some the term still [...]
The UK metal masters Employed To Serve have returned, and trust me, you’re not ready for what they’ve brought with them. All I can say is if you listen to it at home, make sure your furniture is sturdy because you’re probably going to want to throw it into the next postcode with all the [...]
Punk gives rock the blues. Few things will establish a band more thoroughly than a work horse approach to musical output and a correspondingly rigorous ethic on the road, and that’s been Canadian rockers Danko Jones since their 1996 inception. Born out of an era just after the initial exploration of punk blues, a hybrid [...]
The abyss stares back. If the more than 50 years of metal music’s history has taught anything, it is that it isn’t bound by the limitations that tend to afflict other musical expressions, and even now there are several prominent artists out there pressing further into the seemingly boundless beyond in search of an endpoint. [...]
Although it was barely a year and a half ago, it seems another lifetime when we reviewed Night Flight Orchestra’s “Aeromantic” album, a couple short weeks before the world went all to hell in a hurry. The band themselves, despite their name and all its trappings, were not able to fly above the fray. A [...]
Fashions old and performances bold. Though relatively new to the American metal scene, Arizona/Texas born doom metal trustees Spirit Adrift have put out an impressive body of work that would rival many full careers in the business. Originally conceived as a side-project of Gatecreeper guitarist Nate Garrett and also featuring several other musicians from said [...]
Pondering metaphysics from the forest gloom. Often times the nature of a given craft will be determined by its surroundings, and this is doubly so in the case of the atmospheric school of black metal that arose within said sub-genre’s 3rd wave. Generally the colder and greyer the landscape, the more amendable to a dreary [...]
Making the most of his calendar’s dearth of live gigs, Steve Hackett has apparently stayed busy in the studio, releasing his second album of the year. By and large a complete shift from January’s classically-focused acoustic “Under the Mediterranean Sky”, this new “Surrender of Silence” is an explosive blowing away of “lockdown cobwebs”, as he [...]
When in Rome, let the fires roar. The great exploits of history, both ancient and recent, have provided plenty of lyrical fodder for heavy metal going back as far as the genre’s primordial era. However, the specific subject of Roman history and mythology has been something of a road less travelled within metal circles, particularly [...]
The Teutonic titans thrash the entire internet. With nearly 40 years under their belts, it can be safely stated that Destruction has solidified their status as elites of the thrash metal pantheon. The storms of disapproval from polite society and the changing fashions of subsequent decades has done little to dampen their fire-born spirit, so [...]
The year 2020 could be proclaimed as the year of Aphelion. Representing the point of an object’s orbit when it is furthest away from the sun, it’s truly an album title whose time has come. Even as we continue moving through the uncertainty of 2021, Leprous’ own “Aphelion” can’t arrive too soon, providing a balm [...]
Hardship is universal, but despite its destructive and damaging impact, it binds us together as humans. This is what death metal supergroup Alluvial are expressing in their brand new album “Sarcoma”. Each song visits a different facet of hardship and suffering, and they are tied together through the idea of ‘sarcoma’, a cancer that grows [...]
Eradication begets elucidation. For the better part of four decades, thrash metal has arguably remained the purest expression of its adoptive genre, showcasing the most gradual level of evolutionary development while still remaining fresh and vital. Granted, its experience its fair share of peaks and valleys in both quality of output and commercial viability since [...]
Classics never die. It is rare that a conversation about guitar-oriented rock occurs without the name Night Ranger being dropped early on. As one of the bands that typified the 80s concept of two equally yoked shredders cutting heads alongside Judas Priest and Iron Maiden, they were nevertheless more in line with the accessible hard [...]
As they entered the studio to record their fourth album, the Neal Morse Band agreed on two objectives: 1 – Not to make a concept album (especially not a third Pilgrim’s Progress installment), and 2 – Not to make a double album. Much to their chagrin, they only hit the 50% mark, which sounds disappointing [...]
After listening to “Solace”, Venues’ sophomore album, it is hard to believe that at a recent point in time, the fate of the band hung in uncertainty. The brand new 10-track release is a catchy and powerful celebration of the band’s triumph against potentially career-ending challenges. The listener can hear that each member of Venues [...]
Prepare for another grandiose Neo-Baroque assault. In terms of showmanship with an eye for technical flair, few can match the ability and historical significance tied to the name of Yngwie Malmsteen. Many have come in the years since his stints with Steeler and Alcatrazz in 1983, to speak nothing for the riveting display of virtuosity [...]
Metal primed to scar the masses. Some old dogs can not only learn new tricks, but pull them off about as well as ones half their age, or at least that’s the motto that former Twisted Sister front man and 80s heavy metal icon Dee Snider has been living by in recent years. Having always [...]
Scar of the Sun, the 5-piece metal outfit from Athens, Greece, dropped their third full-length album, “Inertia” last May. Fans were teased to the new material as early as March, and consequently they were aching for more. The single “I Am the Circle” was widely lauded, and for good reason. It’s a powerful track, melding [...]
They continue marching to the beat of a different drum. Popular culture has an unfortunate tendency of giving too much credit to the present when it comes to creativity, often glossing over the lesser known prime movers that set the stage for the current craze. This was arguably at its most blatant during the late [...]
Watch out, prog-metal aficionados, there’s a new kid in town. The London-based trio Urne have made their intentions loud and clear with their debut album “Serpent & Spirit”, as it’s a competent 8-track exploration of all things metal. Formed in 2016, Urne spent two years formulating their sound, and the first offering from the band [...]
To drink from the cup of memories. Frontiers Records may bill itself as the foremost label in melodic rock, but a more descriptive title for their work would be along the lines of career resurrection outfit. With an ever-growing roster that includes the likes of Don Dokken, Stryper, Sebastian Bach and Geoff Tate, it’s pretty [...]
I am brutally ashamed to say that Ghost Iris didn’t come across my radar until I was given the opportunity to review their latest album. It would have been a privilege to watch this band develop since their debut album, “Anecdotes of Science & Soul” released in 2015, which is astounding in every way. Nonetheless, [...]
Jesse Leach holds the odd distinction of replacing the guy who replaced him. Unlike Blaze Bayley and Ripper Owens, though, a huge swath of Killswitch Engage fans embraced the powerful voices and commanding presence of Howard Jones, who fronted the Massachusetts quintet (for whom I believe the classification of “metalcore” is a disservice) for a [...]
Larger-than-life vibes, summery anthems, and enough reggae beats to keep your hip uncle dancing like the life-loving goofball that he is. This is how I see “Sucker”, the latest album from Arizona boys Katastro. This album marks a new direction from the band; a whole new style. Their previous albums were much more rock-based, or [...]
Some bands can struggle to sit comfortably in that area where one can be insanely heavy, but contagiously catchy at the same time. Beartooth is not one of those bands. Since 2013, Beartooth has grown in every conceivable way, and the latest release, “Below” is a testament to that. “Below” is the fourth full-length release [...]
Powerwolf returns with new scriptures under their habit to preach them to their loyal horde of followers. The content of their latest psalms leads them to continue expanding their take on lycanthrope lore, folkloric terror, and blasphemous rants, which have been compiled under the name “Call of the Wild” and will be addressed to the masses from [...]
When UK Prog Rockers Big Big Train released their last album “Grand Tour” in 2019, they had their sights set on international exploration, if not exactly domination. Branching out beyond the quintessentially English stories that defined previous albums, “Grand Tour”’s lyrics were primarily inspired by greater European history and the wonders of travelling. Unfortunately, their [...]
Artists like Born of Osiris don’t come around often. When they do, it’s hard to stay as energetic and relevant as when they first became well known in the scene. Nearly 15 years after their debut album “The New Reign”, Born of Osiris are still one of the most influential bands in the metal scene, [...]
What the heck is going on in Sweden? Something with the water? A strange variant of the pandemic? A weird batch of lutefisk? None of the above—or all the above? I ask because there seems to be an explosion of melodic rock coming from that Scandinavian country. No, I’m not going back to ABBA. But [...]
The anatomy of a throwback realized. Twenty-five years may be a long run for any band living the rock ‘n’ roll lifestyle, yet it seems only yesterday that an unlikely player from California would come crashing in at the turn of the millennium with a sound more suited to two decades prior. Even this Anaheim-born [...]
Someone enthusiastically hands you a cup filled with dark liquid, a mixture so potent your eyes burn as you bring it to your lips. You can’t name a single flavor, but by god it gets the job done. The same could be said for Wizardthrone, a dynamic concoction of technical-power-death-symphonic-black metal from outer space – [...]
Although the first taste of Interloper dates back to 2018, the trio continued to tease their projects yet to come over a number of years, with their EP “A Revenant Legacy” being released in January 2021. Now that summer has arrived, Interloper has dished out the main course: their full-length debut “Search Party.” Comprised of [...]
The paradox of universal hatred unfolds. Phrases like meteoric rise and from out of nowhere tend to be thrown around a bit too often of late in reference to consequential moments in metal history, but in the case of Gothenburg death metal pioneers At The Gates, they prove a fitting description. Forming in the early [...]
If one were to search for a modern-day Midas amidst the metal mythos, they need look no further than Chris “Lord” Harms. Though rather than gold, everything this talented musician touches turns into a sea of sonic shadows, enveloped by his aphotic vision. His deep voice carries with it a sultry timbre, one that meshes [...]
Five sacrifices to the queen of bats. There is a mystique about the early days of heavy metal, a sort of post-psychedelic magic that makes it conducive to fantastical storytelling. Among the latest adherents to the ongoing way of metal traditionalism that has culminated in the NWOTHM is an act dubbed Entierro that, interestingly enough, [...]
The seeds of interstellar sludge have been planted. The roots of sludge metal may well be tied to The Melvins and the Pacific Northwest in the late 80s, the style may have been expanded and arguably perfected in Nola, but there are some bands in Europe that have been making some waves with it of [...]
Several years ago on Dream Theater’s Progressive Nation tour, I saw Scale the Summit for the first time. Despite their youth at the time, I was impressed with their guitar-based instrumentals that were more focused on the song than shred. They eschewed the standard cliches of prog metal guitar that typically featured dark, minor slug fests [...]
“Oh by the way, which one’s Pink?” With the volume of Floyd tribute albums that are continually released over the years, it can be hard indeed to know which – if any – are worth the listener’s time. All the more reason to spotlight the McBroom Sisters’ unique offering which stands out from the crowd [...]
“Unity”, what a suitable name for Midgar’s latest release. For Andy Wilson-Taylor, the sole member of this cinematic rock band, it sounds like absolutely everything has come together for him in 2021. Released in June, “Unity” is an ambitious and larger-than-life offering that is diverse, musically intelligent, and intensely catchy. Comprising 13 tracks, Wilson-Taylor has [...]
A triumphant throwback arises. When someone drops a name like Stratovarius or Sonata Arctica in familiar conversation regarding European power metal, it’s a foregone conclusion that 9 out of 10 people will know the bands and much of their accomplishments. However, when delving into the equally competent and somewhat younger crowd that has been keeping [...]
It’s one thing for a band to post a tweet or write a song that mentions the gratitude they hold for their fans. It’s an entirely different thing when a band creates a platform that offers multiple avenues of interaction between them and the fanbase, as well as releasing an album that revolves heavily around [...]
Okay, seriously, what the hell is in the water in Sweden? I have one idea… thall. Death metal bands from the Scandinavian country seem to know something the rest of us don’t when it comes to death metal and all its related styles. Orecus, the 4-piece death metal outfit, must be drinking that water by [...]
Once known as Devil You Know, the recently rebranded powerhouse Light The Torch come forward with the second album under this name, “You Will Be The Death of Me.” Following three years after the aptly titled “Revival,” the latest effort from this supergroup offers metalcore with an emotional polish and a solid lineup exhibiting sheer [...]
Devin Townsend gives mind-blowing performances as casually as I fart, and if it weren’t for his disarming humility, ridiculous sense of humor, and legit genius at his craft, the number of live albums he’s released would be viewed as egotistical dry-humping of the Canadian cash cow. “Galactic Quarantine” is the second in his series of [...]
The power metal renaissance continues. There is definitely strength in numbers; as if the ongoing success of Tobias Sammet’s Avantasia and the wide array of super groups flowing out of the floodgates of Frontiers Records was not enough of an indication of that. Following his exodus from the band that was his vehicle for helping [...]
Hey you, do you ever wonder what it feels like to float endlessly in a starless sky when the northern lights are at their brightest? Well, wonder no more. Marianas Rest, the Finnish 5-piece, have released “Fata Morgana” an atmospheric expanse that lifts you up and carries you to such a realm. Marianas Rest have [...]
Chicago is establishing itself as a home for quality modern progressive rock, with The Cyberiam becoming one of the primary players. This quartet wields extremely talented musicianship, skilled songwriting and a blueprint drawing from some of the genre’s most beloved bands: Rush, Dream Theater, Tool and Porcupine Tree. “Connected” is only their second full-length album [...]
The passing of the torch from one generation to the next is necessary to keep any craft alive, though in certain specific cases, a father has the honor of passing the tradition on to his own progeny. Along with proud thrash metal patriarch and Exodus front man Zetro Souza, who had the unique honor of [...]
“A Place to Breathe” is the latest release from Syncatto, a (primarily) solo project of Artificial Language guitarist, Charlie Robbins. Charlie has a very distinctive approach to the instrument that finds him flying all over the fretboard with various sweeps and legato phrasing. The evolution of his playing from 2015’s “A Place to Hide” to [...]
Bring your tie-dyes to the pilgrimage. There is nothing like getting a chance to root for the home team, especially given that the City of Brotherly Love’s metal scene is so often overshadowed by the ones in neighboring New York and New Jersey. Yet despite the up and comer traditional doom act with a strong [...]
Break free of the dystopian prison. The industrial metal icons Fear Factory have been no strangers to chaos over the years, not solely as a prime subject of their lyrical pursuits, but sadly also in the band’s interpersonal and business end of things. While not quite having the largest ensemble of past members in their [...]
Abiotic, the 5-piece destructive force from Florida, has delivered another devastating blow to the realm of heavy music. Their new full length record, “Ikigai” is the next step in the band’s newly revived career. Their acclaimed sophomore album “Casuistry” was released in 2015, however fans were rightly disheartened to learn of the band’s dissolving in [...]
It hasn’t been long since we last heard from Sojourner. It feels like only yesterday that we were blessed with “Premonitions”. That exquisite blend of black and melodic death metal was a treat for 2020, and people were understandably itching for more. Fortunately, the wait for new material was very short, and as of June, [...]
If I told you that The Devil Wears Prada, after their latest album “The Act”, would go back to their metalcore roots and create a ‘sequel’ to their 2010 EP “Zombie”, would you believe me? I’m not sure I would, but here we are in 2021, with just that. On May 21, “ZII” was dropped [...]
What pumpkins have united, let none tear asunder. For those with any degree of familiarity with power metal, whether it is the European variant alone or its slightly older and originally western hemisphere born cousin, the name Helloween is a ubiquitous one. Originally a somewhat typical adherent of the German speed metal scene of the [...]
Andre’ Linman is sorry. Sorry for the lack of rehearsal. Sorry that the crowd size is limited by the pandemic quarantine. Sorry they played two ballads in a row. Sorry that he has to give his patter in both English and Finnish. Sorry that he’s talking too much. Stop apologizing! For Andre’ and his band [...]
No bungling to be found here. If Conan the Cimmerian’s life quest was to solve the riddle of steel, then the equivalent endeavor of the heavy metal community might just be unmasking the enigma that is Mr. Bungle. Anyone who has encountered even a minute’s worth of their quirky sonic craft since their collaboration with [...]
June 11 sees the release of the much anticipated debut of Mammoth WVH. The band is obviously comprised of one single element, Wolfgang Van Halen (aka Wolfie), and he’s been doing a kind of soft opening of the album, with several songs being released to the public every now and again. Now, we’re finally able [...]
Over fifty years after the British Invasion, American progressive rock bands are still relatively few and far between compared to those hailing from other shores. Those originating in Tennessee even less. However, Evership’s new “The Uncrowned King” does have more than one thing in common with another Tennessee-based artist: a concept double-album of symphonic prog [...]
Hell has officially boiled over. If there was one criticism of the thrash metal revival of the 2000s that continues to recur in both polite and impolite conversation alike, it’s the notion that the most prominent adherents were too interested in reliving the past rather than building upon it. Perhaps it didn’t help matters that [...]
Any review of new music from Styx must first deal with the inevitable reality that Dennis DeYoung is gone. He’s left the building. And he’s not coming back. Now, this is the music business we’re talking about, and for most musicians, the pandemic crushed what was already an ailing means of making a living with [...]
Thrash permeates the unrelenting blackness. There is something to be said for subtlety when it comes to extreme metal and the sense of horror it tends to evoke, and more often than not this notion tends to be sidestepped by many looking to fixate on cartoonish degrees of violence and gore. This more nuanced approach [...]
Rise Against been at the forefront of the mainstream punk rock scene for the better part of two decades, rocketing to fame following breakout album “Appeal to Reason” in 2008. Since then the quartet has been the picture of consistency, both with an unwavering lineup and an unmistakable sonic signature that has pushed them to [...]
A thunder clap before the mighty storm arrives. It is difficult to carry on even the shortest of conversations regarding power metal’s symphonic sub-style without mentioning Rhapsody Of Fire. In essence, the concept largely owes its existence to the early strides that this Italian band of virtuosos made in the 1990s while much of the [...]
The infernal casino is a heavy place. Sometimes old dogs like to revert back to old tricks, though in the case of Grave Digger front man Chris Boltendahl and guitarist Alex Ritt, it’s been something they’ve been meaning to attempt for a few years now. Owing to a lot of extra free time last year [...]
In the great mixing pot of early-2000s heavy music emerged Atreyu, borrowing from metal, punk, and even pop for a sound that was both unyieldingly aggressive and instantly infectious. The outfit has long fit best into the “metalcore” box, despite having a number of tendencies that settle their sound comfortably in the realm of alternative [...]
Orcs arise from the decrepit depths. Popular fascination tends to follow bands that match a consistent yet novel style with a common lyrical trope. However, every now and then a band comes along that seems to spend a good deal of time discovering themselves before hitting the aforementioned sweet spot between originality and accessibility, and [...]
The American stoner rock and metal scene has grown from an amorphous mist to something of a prolific beast, roping in influences from doom and sludge as numerous bands rose to fame. From the legendary hails of Sleep to the roaring thunder of The Sword, Oregonian quartet Red Fang have carved a place for themselves [...]
The coven summons a formidable frost. One could view the past year as lost time, as a bleak era where live music was few and very far between. But the flipside of that perspective is a time of opportunity, specifically for a band to hone their craft in a songwriting and studio capacity, and that [...]
Blackened flames scorch the sky. The U.S. black metal scene has long been the Rodney Dangerfield of its adopted sub-genre; it gets virtually no respect from their European forbearers. It was frequently noted in interviews among various figures within the Scandinavian guard that America seemed a bit behind the curve and often imitating what was [...]
After delivering the critically acclaimed “The Day is Done” in 2018, the Italian prog rock trio Karmamoi is set to release its fifth album entitled “Room 101” on May 28th, 2021. Their latest record was gestated during the Covid-19 pandemic, which in its early stages devastated Italy and spread an overwhelming sentiment with quasi dystopian forecasts throughout the world. In the [...]
Lost treasures come to light. Over the past decade the metal scene has been fairly preoccupied with getting back to the good old days, which has been accompanied by a back-to-basics mode of stylistic traditionalism that has seen a flourishing revival of sounds not widely heard since the 70s and 80s. Mostly consisting of younger [...]
The sea runs red amidst the debris. Few shadows cast as wide as that of a former member of the fold exiting and going on to what can only be described as a contender for the biggest phenomenon in metal. Apart from Exodus, who suffered this fate when their pentatonic scale shredder Kirk Hammett joined [...]
Synthwave artist James “Perturbator” Kent has been making waves in the electronic music scene for the better part of a decade, the momentum from his first releases in 2012 growing into the Billboard-chart topping “The Uncanny Valley” by 2016. With a penchant for darkness and a fearlessness that allows him to grow far beyond the [...]
A grand metal traditional continues on. Though it may seem like a relic from a bygone era, the practice of putting out various artist compilations to shed light on the up-and-comers of the metal world has yet to abate itself. Of the many releases of this type to come raging out of the 80s heavy [...]
White Moth Black Butterfly (WMBB) classify themselves as a “contemporary pop project with progressive and experimental music at its heart”. A very appropriate categorization of the project that began with Dan Tompkins (Tesseract) collaborating with New Delhi producer / songwriter Keshav Dhar (Skyharbor) on the debut “One Thousand Wings” which also featured UK singer and [...]
A year of lockdowns and isolation is bound to lead towards innovation, especially for artists who are used to playing live gigs and traveling the world for a living. It may well be that Amorphis co-founder and guitarist Esa Holopainen would eventually have made a solo album of his own accord. But having his touring [...]
Horror tropes delivered with kinetic precision. The thrash metal revival often dubbed the NWOTM has been chugging along for almost 20 years now, and is still showing zero signs of slowing. Never one to miss an opportunity to hedge their bets, Metal Blade Records took on a real flamboyant player in the aforementioned scene when [...]
When it comes to impressive resumes in the world of guitar, Jeff Kollman is right up there with the best of them. Logging time alongside artists such as Alan Parsons, Glenn Hughes, and Phil Mogg, his talent has been able to shine with the brightest in the business. His notoriety stretches even further than these [...]
The progressive Danish-Sweden quartet known as Vola has deservedly made a name for itself within the progressive scene with the help of its first two albums. In the meantime, they have also gained recognition among its peers and music enthusiasts around the world, so when the news of a third record came out, expectations peaked. For many [...]
The horizons continue to broaden. While the jury is out on whether or not Myles Kennedy is the busiest man in rock at present, he is definitely in the running when considering the impressive studio output of late featuring his highly distinctive voice. With six highly impressive showings with Alter Bridge, not the least of [...]
The banner continues to fly. Few subjects define the power metal sub-genre as completely as a grand crusade waged by a legion of plate-armor toting knights, and this has been the calling card of progressive-leaning Slovakian stalwarts Signum Regis since their 2007 inception. Though often compared to other Christian outfits such as fellow countrymen and [...]
Innovation is the lifeblood of any art form, without it we wither and die, but there are times when one wonders just how far originality can extend. Among the projects to come about in the past decade that has sought to answer this question about as brazenly as possible is the Temple, Arizona based extreme [...]
With so many naysayers out there declaring that rock is dead and in need of a proper eulogy, one might rightly assume that the world of music has grown sickly. Even in what passes for rock radio on today’s airwaves seems more geared towards the accomplishments made 30 or more years ago than giving the [...]
The titanic Michigan-based hard rockers Pop Evil have remained active and ambitious, both on tour and with studio albums, since their 2008 debut “Lipstick on the Mirror.” With five singles scoring the coveted accolades of #1 hit and further cementing their relevance in rock, Pop Evil has been an unstoppable, heavy-groove machine for over a [...]
Thrash reaches 10 on the intricacy scale. Of all the consequential acts to come raging out of the mid-80s thrash metal scene, Artillery was among the more closely tied to its traditional heavy metal roots. Often compared to American trailblazers of the style Megadeth, they often aimed for a more nuanced and developed songwriting approach [...]
The Norway Invasion of prog just keeps on delivering its relentless onslaught of high-quality material. Among the ever-growing number of talented bands releasing new albums, Jordsjø are determined not to be left out as they follow up their fine 2019 release “Nattfiolen” with the colorful “Pastoralia”. As a duo, Jordsjø comprise of multi-instrumentalist Håkon Oftung [...]
The Teutonic roof has officially been raised. Letting go of the past can be a difficult thing in and of itself, but when it is filled with so many iconic artists and works as the glory days of heavy metal were, it borders on sheer impossibility. British hard rockers turned unwitting heavy metal trailblazers Motörhead [...]
Maybe it’s global warming at play but things seem to be heating up for Frost*. Over fifteen years, three albums and one EP into their career, the stars seem aligned for the band to deliver their best album yet in this day and age. Fronted by co-founders Jem Godfrey and John Mitchell, and supported by [...]
Count Subterranean Masquerade as one of the many bands who’d been on my radar for years who, despite having very strong ties to Green Carnation and Orphaned Land, I unfathomably never bothered to check out. These dudes were right there, under my nose, and in my Facebook feed. I have no excuse to not already [...]
After wiping out everything in its path with “Magma”, French progressive metallers Gojira return to tear apart and conquer once again the metal scene with the release of its seventh studio album “Fortitude”, in which its constantly changing sound, and its evolving vision, suitable merges with its recurring environmental and social activism. “Fortitude” continues in the same vein that the [...]
Towers stand wreathed in existential torment. Though the murky world of extreme metal has been churning out an endless supply of new material over the 30 years plus since its rise to prominence, there are still a few surprises left in its arsenal, at least if the Australian act Plasmodium has anything to say on [...]
Stability can only accomplish so much. The mid-2000s were the undisputed apex point of what many have come to dub the New Wave Of American Heavy Metal, and following its bastard nu-metal son’s popularity waning away, the next craze would be the metalcore phenomenon spearheaded by the likes of Killswitch Engage, Trivium and As I [...]
A competent nod to progressive orthodoxy emerges. Progression is a relative concept, and its application to music can be a tad nebulous, if for no other reason than that yesterday’s step forward tends to become today’s tried and true. One can’t even help but notice that such stylistic delineations as experimental, avant-garde, and alternative have [...]
A dragonfly freewheels through an abstract construct. The metal world has seen its fair share of oddities come and go throughout the past few decades, with numerous acts filtering out of the progressive, avant-garde and alternative niches within its stylistic umbrella continuing to expand the genre’s very definition. While the jury may be out regarding [...]
The bodies continue to pile up. Though better known for its massive contributions to the early speed metal and subsequent thrash metal scenes of the 80s, Germany has had a rich tradition in death metal circles that goes back to the sub-genre’s primordial days. With such noted names as Morgoth striking the decrepit earth in [...]
Rock is a dish best served dirty. There is something to be said for breaking new and original ground when putting together a new act, but there is also plenty to note about a band that works within an existing framework and puts together a fresh and refined take on a known formula, which is [...]
Drenched in synth and sin, The Lion’s Daughter come roaring out of the success of their third album “Future Cult” and straight into the spotlight with the salacious stupor of “Skin Show.” Having first made their footing in the underbelly of blackened sludge, The Lion’s Daughter now douse their sound in neon lights and the [...]
It is so temping eulogize the Finnish super-shredder two months my junior through whom I vicariously lived my rock star dreams. Thankfully for both the reader and me, more gifted writers with greater insights than I have done plenty of that since onetime Boy Wonder Alexi Laiho ascended the Stairway to Valhalla late last year [...]
Dissonant horrors shake the human subconscious. Though not necessarily the first band to fly the decrepit banner of death metal, it’s all but impossible to have a conversation about said sub-genre of extreme metal without the name Cannibal Corpse being the first to be dropped. Between their prolific studio output and no nonsense approach to [...]
An icon for the new generation emerges. Though the manner in which an artist rises to prominence may have changed, the art itself tends to stay mostly the same for both those whom create it and consume it. In this present age of internet-based celebrity, there is a certain satisfaction in seeing a promising new [...]
If there’s one thing the Italian label Frontiers Records can be credited for, it’s giving rock acts of yesteryear more runway for extending their career and releasing new music in a style that the winds of time would otherwise have buried long ago. For those of us who came of age in the 80s and [...]
For several years, there has not been a rock band that achieved such critical recognition and commercial success as Greta Van Fleet did with its debut single and initial recordings. With their first-ever single “Highway Tune”, as well as the release of EP “From The Fires” and debut album “The Peaceful Army”, the young Michigan rockers continually shook the rock world with their [...]
Marty Friedman may stand alone in rock and heavy metal with the singular distinction as the foremost bridge between western metal and Japanese culture. While Americans generally recognize Friedman as the virtuosic lead guitarist of the most successful Megadeth records, Japan knows Friedman-san as a linguistically fluent, full-time Japanese resident and star of both stage [...]
Old and new converge to recapture the original punk spirit. Super-groups have become a dime a dozen of late, which is quite impressive when considering what over a century of crazed fractional reserve banking has done to the value of everyone’s money. But some adherents of this growing trend pack enough musical credibility and intrigue [...]