My Dying Bride - The Manuscript (EP) (2013)

Everyone has that band or style of music that they turn to in rough times. Sometimes, when the lights are off, the room is dark, and things just aren't going your way, you find solace elsewhere. Our emo brethren have long been fans of The Smiths, something to make the outsiders feel welcome into the club. For country fans, there have always been floods of songs about how "she done left me, took mah dog and mah truck." But for metal fans, it isn't always so simple. The undisputed kings of doom and gloom, My Dying Bride, hold that special place in the hearts and minds of many fans across the world, their unique combination of pain and salvation so often welcomed. But even more than that, is the consistency with which this band has created these masterpieces. Even as the laundry list of members, past and present, grows, the music has not wavered far from the graying path. Instead, it has evolved into something darker, more empty, and yet so much more fulfilling. The new EP, "The Manuscript" is 23 years removed from the beginning of this band, but it may be a crowning achievement on a career that shows no sign of slowing down.

There is no doubt, a mere two seconds into the title track, that you have stumbled back into the melancholic territory of My Dying Bride. Vocalist Aaron Stainthorpe, whose voice could be considered synonymous with sadness and morose, croons over the usual bed of slow drums and guitars. His whispers can haunt your dreams, sounding as though they've come from the other side. Paired with the cries of violin from Shaun MacGowan, you have a stunning mix of moving and emotional elements. The latter stages of the track, comprised of two clean, acoustic guitars furnished by Andrew Craighan and Hamish Glencross, is the perfect setup for the next track. Whimsy gives way to crushing guitar lines and a deep growl from Stainthorpe, a theme that floods "Var Gud Over Er." Their guitar sound, dueling in so many ways, is a signature of a band that has been around the block more than a few times. This is the band at their darkened best, providing not only contrast from one track to the next, but within each movement. Even knowing that an eruption of drums is coming, as is the norm in a My Dying Bride opus, you are always excited when it finally hits. Rolling double kicks come and go, with the crash of cymbals book-ending them. It would seem impossible to sound so sad, and yet so evil at the same time.

A menacing guitar riff opens "A Pale Shroud Of Longing," which, while falling short in the time battle with the previous track, might perhaps be the more epic of the two. MacGowan gives a dazzling performance, one that is sure to tug at your strings in just the right way. But it is the way the band ties the two halves of the track together that rings most true. Solemn moments are surrounded by heavy ones, with some devilishly heavy guitar work crushing you at the most opportune moments. Stainthorpe's vocals just before the six minute mark, upbeat and yet somehow depressing, are an amazing elevation of the norm. Unlike so many of the tracks in the catalog, this one lends itself well to the notion of being played in a live setting, perhaps inspiring many a sad individual to lift their heads up in enjoyment. And what more fitting way to begin the closing track than with a spoken word passage of emotionally devastating themes? Yes, "Only Tears To Replace Her With" is a telling title, one that could not possible be confused for being a happy-go-lucky tune. The melody that dominates the track is mesmerizing. This stands out from the rest of the EP for so many reasons, and deserves multiple, uninterrupted listens to be fully appreciates for all of its simplicity and glory.

There is simply no disputing the power with which My Dying Bride operates, with every album, every song, every riff, every word handed to you, wrapped in a neat, bleak package. It's as if they can look into your innermost workings, and know exactly what they must do to tug at your heart strings. They might not depress you, though they do with many, but they will always strike a familiar chord. For more than two decades, they have been playing us, their fan base, like the solemn strings that coat their music. We bend, to and fro, with the emotional investments that are given and taken from us with each release. if that were all we had gotten from the library of this band, we would be thankful for it. But there is something so much more to it than that. Sure, we have our dark room companion. But this isn't a one dimensional, crying, sobbing piece of nonsense. There is merit to what they do, and what they've done here, that cements each album as a jewel in the crown of the unrivaled leaders of the pack. 23 years of cloudy skies have brought us to this point. And "The Manuscript" is exactly the disc we wanted, and needed.

10/10

Official Site - http://www.mydyingbride.net/
Facebook - http://www.facebook.com/pages/My-Dying-Bride-Official-uk/282179138510618

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Gallileous - Necrocosmos (2013)

One look at the cover art, and you can probably infer the kind of trip you'll be taking. When you ride along with Polish five piece Gallileous, you are certain to go places you've never thought of, or at least never cared to try. But with a sound that sits squarely in the huge gap between the prog days of yore, and the melancholic doom stylings of today, you would be hard pressed to find any other way to get from A to Z without traversing the entire galaxy in between. What sits in front of you, with an air ship gracing its cover, is a mind altering piece of melodic, jam driven metal that might leave you scratching your head, or merely trying to find it in the cloud of smoke you insist you see. At any rate, the five track album know as "Necrocosmos" is a trip you simply have to take to understand. And whether you imbibe the herbal remedies the fine folks of Colorado have at their legal disposal or not, this is a long walk that might leave you questioning your purpose... or simply looking for a snack.

With a solid doom tempo, but the spacey use of synthesizers, the title track might prove to be a suitable representation of what the band has to offer. As bizarre a mix as the two seem to be, it all comes together in a broken harmony of sorts, rounded out by a vocal line that is akin to trembling chants. The tone of both instrumental and vocal are, somehow, a perfect match for one another. Never is that more clear than in the last verse, where the electric piano, dense chugging guitar, airy vocal and a background guitar solo come crashing together in a mess of progressive doom. By slapping that tag onto the output here, it would be easy to mislead you. It isn't progressive in the modern sense; but you can hear the seventies and early eighties prog influence in tracks like "Fractal Dimension." The use of keyboards as an atmospheric and melodic element infuses some life into the darker doom pacing. That being said, the seventies influence also seems to bleed into the production work, with the mix lacking that digital age clarity you would expect. In this case, though, it works, as the analog sounding output matches the mood. The extended jam that comprises the last few minutes of the track could be right out of the Phish handbook, with a healthy side of My Dying Bride.

By the time you reach the aptly titled "Time Traveler,' you've been transported to a dream like state. Everything is softer here, including the guitars, rocking you gently back and forth. Over seven plus minutes, you are lowered into a melody induced haze, and you made find yourself wondering when you officially got high. The trippy theme continues in a different way on "X - Rayed By Stars," with the lyrical content continually bending your mind into a soft pretzel. It is the keyboard work that makes this track successful, carrying you at every moment with a blend of synthesizer and electric piano sounds. But guitar work is also at a premium here, with some intricate solo work coming in and out of the mix. What amounts to perhaps the best track on the album is also the most confusing. There are several separate moments where it feels as though the track is, or should be, over. Yet it carries on, stretching to a near eight minute length. But it is dwarfed in both size and scope by the finale, the nine minute "Cosmic Pilgrims," which sees the band utilizing everything they've done thus far into one mammoth offering. There is still that harmony between instruments, anchored by those imperfect yet adequate vocals. The chanting is off key at times, but sounds so right at others. This is an acid trip in musical form; it might even be worth digging out your blacklight posters and tie dye.

There's no two ways about it; this is one of the more intriguing and bizarre mixes of styles you can ever hope to come across. It isn't contrived or ill-prepared, though. hat Gallileous have done here is to infuse the new with the old, or the old with the new. Whichever way you slice it, it works in a very different sort of way. Once you've completed your journey through the cosmos, which takes roughly 45 minutes, you may feel a sort of emptiness that will only be cured with another trip; and then another and another. Much like the psychotropic drugs that this album may convince you that you're on, it becomes addictive very quickly, with a very harsh sort of withdrawal. That is to say, it would be hard to listen to this album, and then switch back to some good ol' power metal. It just wouldn't be a good fit. Regardless, the ethereal haze that "Necrocosmos" provides you with is certainly with all of the symptoms you'll exhibit afterwards. Contact your doctor if the effects last more than four hours.

7.5/10

Bandcamp - http://gallileous.bandcamp.com/
Facebook - http://www.facebook.com/gallileous

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The Podcast: Episode 84 (No scrubs)

Hard to believe the month of May is nearly behind us. Almost five full months in the books, and we are chugging right along on our journey through the 2013 metal scene. This week taught us not to make assumptions for any reason. The new Infinita Symphonia album left us scratching our heads, while the boy band look of Polyphia almost made us pass on what turned out to be a gem. Shade Empire is sure to make some of the best in the business jealous, and Churchburn fooled us into thinking we had them figured out before ever hitting play. And lastly, the stereotypes of French weakness were quickly extinguished by the new Eibon opus, "II." And that is why you have to listen before you decide.

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Eibon - II (2013)

As Americans, we always feel as though we have a lot to apologize for. We're not all in the KKK. We're not all racist, ethnocentric jack-offs. That much I can promise you. And despite the assertions of many a redneck or ignoramus, we also know that the French are far from weak. And while the narrow minded and mentally dull might equate strength with military power, it is in the music that we can find the most impressive asset of France. Hardened five piece Eibon, from the capital city of Paris, might have more raw power pouring through their amps than our military has in all of our nuclear weapons. With influences ranging from the legendary Pink Floyd to cult hero Varg Vikernes and Burzum, it would be very easy to assume they'd follow the blooming set of psychedelic stoner bands that France has been churning out left and right. But, you know what they say about assuming? I don't either, but I can safely say you'd be off the mark. The two tracks on "II," which is surely not a coincidence, are enough to convince any "freedom fries" proponent that the French are, indeed, a world superpower.

It doesn't take long before your ear drums are being assaulted by a barrage of crushing instrumentals and devastating vocal lines. The two pronged guitar attack, lead by Max Hedin and Guillaume Taliercio, does the bulk of the heavy lifting in the first movement of "The Void Settlers." Their layered approach does wonders for the depth of the mix, without ever giving off that overly polished feel. Instead, the entire production feels raw, but professional. The exception is, notably, the vocals of frontman Georges Balafas, which crackle and pop with deathly tones. Contained within this nearly nineteen minute behemoth are several timing and tempo changes, some subtle and some not so much. The downtempo, doom laden portion might be the strongest moments, creating a stirring, spine shaking mood that is as impressive as you can imagine. But it is where the album builds from there that shows off their genius. The halfway mark of the track is a milestone, a point where the band reaches their full potential. Blaring guitar riffs, a shaking bass line, and a constant set of rolls and fills on the drum kit all share equal time in the mix, leaving you with a sludgy, yet wholly atmospheric midsection. Brick by brick, the wall of sound is rebuilt before exploding once again with a dense groove. You can feel that it is all building towards something; that something is a chaotic, screaming finish of feedback and distortion.

An eerily calm beginning to "Elements Of Doom," a quiet intro that lasts for a brief three minutes, is quickly destroyed in the first wave of distortion. Balafas is at his best here, his choked screams cutting through the immense wall of guitars. The air of pure evil that blows through the track does something special for the soundscape, as do the deadly accurate guitar leads that flow from one segment to the next. Don't be fooled, though, this isn't a delicate, dainty foray into melodic masterpieces. Sure, there are some well crafted grooves to be found throughout the track, with a high density of them in the bass driven post metal styled breakdowns. But they are not the foundation of all things to come. The rhythm section of bassist Stephane Riviere and drummer Jerome Lachaud shine brightest in these more chaotic moments, with Lachaud in particular releasing a battery of percussion in the most congested of areas. His stick work can leave your head feeling as though it might explode under the pressure. When combined with layer upon layer of grinding distortion and vocal mayhem, it is almost too much for the recording to take. But then, the outro comes. The chaos ends. And rain drops fall. You can finally relax, and sit back in your seat. It is a beautiful ending to a bloodbath of a track.

The apprehension we all feel when we see tracks stretching into the twenty minute mark isn't wrong; it is a programmed response. Few bands can successfully make a twenty minute opus feel like it flew by in the blink of an eye. Eibon might not have bent space and time here, but they have certainly proven that they can make a song of these lengths, without resulting to boring, droning riffs that repeat endlessly. Instead, they give you a mere two tracks, both with countless acts inside of them, that span over forty minutes of air time. Not once do you find yourself looking at the clock, hoping it is almost over. And not once will you feel the need to skip ahead to see what is next. You get lost in wave after wave of crippling drum work, with each snare crack and kick drum thud feeling like another bruise on your rib cage. You get swept up in the distortion and grit of the guitars, pushing and pulling you in every direction. And you get pounded into the ground with each screaming lyric. I'd say that is a rousing endorsement, if I've ever heard one. One may be the loneliest number, but "II" is the most painful.

8.5/10

Bandcamp - http://eibon.bandcamp.com/
Facebook - http://www.facebook.com/Eibonmetal

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Churchburn - Churchburn (EP) (2013)

We've gone over this time and time again. How much can we really derive from a name or album artwork? Can you tell me the entirety of the story contained, just by what is on the cover? In some cases, the answer might actually be yes (see: power metal, viking metal, folk metal). But much more often, you can only infer the most menial, worthless details about a band simply by looking at the letters, logos and photos that make up their presentation. From the smallest US state, Rhode Island, comes a band that produce a sound much larger than the 1,000 square miles their home state represents. Churchburn make their first impression with their name, and the imagery it calls up. They make their second impression with the album cover of the latest self titled EP, graced with a crucified figure in black and white. And neither one, not the name or the photo, truly represent the sound that this band possess. Taking pieces of the most powerful genres in modern metal - death, black, and doom - this four piece are more than meets the eye, and more than their name could ever represent.

That immediate sense of dread you feel during the early stages of "Come Forth The Swarm" is no accident, nor is the multidimensional showcase that follows. Jammed into the seemingly short nine minute outline are some of the most crushing riffs and blood curdling screams ever put into digital formats. All of the heaviness of death metal meets the emotional foreboding of doom in each verse and chorus, though it would be crass to even call them that. Instead, it is important to ntoe that the segment surrounding the five minute mark will widen your view of the song, the album, and the band. The sweeping guitar melody is crisp, clean, and magnificent, and sets things up perfectly for a return to black. In contrast, "Crown Of Fallen Kings" is more straightforward in delivery, though no less punishing. The traditional doom sound fits the band well, as guitarist and vocalist Dave Suzuki cuts to your inner ear with his combination of ominous riffs and grating screams. It may seem more stripped down, but it remains as impactful and grave as the previous offering. It is down to "Kneel Upon Charred Remnants" to give the album it's more brutal twist. As if the title alone doesn't solidify that, the down tempo chugging surely will. Suzuki achieves haunting status with his vocals here, each growled cry shaking you to your core. Once again, the soft atmospheric guitars set up the final plunge, leaving you soothed before bruised.

If you found yourself mislead by the not-so-subtle artwork that graces the cover of this EP, consider yourself to be one of the lucky ones. By the time you've hit play and digested thirty seconds of what is pumping through your speakers in your general direction, you are already fully aware that this isn't a throw away, wannabe death, doom, black hybrid album. There is real richness to be had here, a real ability to bend and combine sub genres at will into something equally frightening and enjoyable. To clarify, this isn't a one trick pony. It may seem, at some points, to be predictable. And perhaps it actually is. But getting what you grow to expect does not diminish getting more than you bargained for. It isn't overflowing with small subtleties and hidden gems. It is, however, packed full of intense emotional investment and very well thought out songwriting. There are small twists and turns on the album that make it something much more than a crucified man waiting for death. And you can thank Churchburn for putting it right there for the eye to see.

8/10

Bandcamp - http://churchburn.bandcamp.com/
Facebook - http://www.facebook.com/CHURCHBURNDOOM

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Shade Empire - Omega Arcane (2013)

It’s always common when a band releases an album that tops their previous one. It’s not very common for a band to release an album that totally destroys their previous one. What I’m talking about is the newest release from Finnish symphonic black metal masters Shade Empire. This album is “Omega Arcane” and it’s mind-blowing. When they dropped their first album “Sinthetic” back in 2004, they only were laying the foundation to the powerhouse they would build with “Omega Arcane.” “Sinthetic,” “Intoxicate O.S.,” and “Zero Nexus” are all excellent albums. They have their problems, but overall definitely worth a listen. For their newest release, they ditch the electronic sound for a more organic, symphonic one that works on so many levels. This is one epic album.

The album opens up with “Ruins,” “Dawnless Days” and “Until No Life Breeds.” The album could just be
these three songs and it would still be amazing. Their songwriting skills are night and day from previous efforts. “Ruins” is gorgeous, “Dawnless Days” is insanely epic and “Until No Life Breeds” is catchy as hell. The five year gap between albums really shows on this effort. Everything is much more thoughtout and  inspired. “Ash Statues” is slower than the other tracks on the album, but its beauty is jaw  dropping and awe inspiring. This is symphonic metal at its best. The mood and atmosphere it creates is unmatched, even by the rest of the album. As if the first four songs weren’t amazing enough, they keep upping the ante on the rest of the album. “Disembodiment” is the longest song they’ve ever written; it’s unforgettable and hands down the best track on the album. This song has everything all packed into a thirteen minute package. Never have they been more experimental and more sure of their abilities as a band. Even though “Disembodiment” is the coup de grâce, the rest of the album is still strong and relentless. The title track, “Omega Arcane” is the second longest on the album, running at a little over twelve minutes. It’s not nearly as amazing as “Disembodiment,” but it’s still damn good. In terms of symphonic black metal, I would say this album blows away all the competition.

This year keeps getting better and better for metal. Some of the strongest albums in a long time have been released. “Omega Arcane” shows that Shade Empire has the skills to take over the entire genre. The atmosphere, emotion and power on this album are breathtaking. Dimmu Borgir and Fleshgod Apocalypse couldn’t even dream of touching Shade Empire’s new opus. “Omega Arcane” really is that good. It’s an album I’ll have spinning in my car for a long time. There is no way to put this lightly, so here is my attempt: This album is fucking incredible. Listen to it now.

9.5/10

- Brian DuBois

Official Site - http://www.shadeempire.com/
Facebook - http://www.facebook.com/shadeempireband

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Polyphia - Inspire (EP) (2013)

It would have been nearly impossible for any music industry expert to predict the explosion of instrumental metal and rock bands. After all, the lead singer, for better or worse, has always taken up a proportionate chunk of the limelight. But with the recent shift in trends, the band itself has begun to take back what may be rightfully theirs. Animals As Leaders proved as much on their pair of albums and subsequent touring success. Most recently, Intervals solidified the genre with a powerhouse performance on their "In Time" EP. But now, it is time for a new breed of band to, perhaps, blur that dreaded line between talent and popularity. With the four members easily mistaken for boy band stars, Polyphia have the talent to please the most finicky of rock and metal fans, with a look that is sure to catch the eye of many a teenage girl across the country. With the release of their new five track EP, "Inspire," the Texas based quartet have nothing to lose, and everything to gain; all without a single word.

The opening track, the aptly titled "Ignite," sets out to do exactly that. Though it is a slow burn of delicately played piano keys and massive ringing guitar chords, it culminates with some dense exercises in chugging. When the full force of the band comes down, you have little choice but to accept it and join. The downside, however, comes in the lack of a true low end in the mix. The drums are presents, but without the pounding thud. Whether it was a designed sound of the recording and mixing process or otherwise, it becomes a theme in the album. This doesn't signal the complete absence of bass, though, as bassist Clay Gober matches the guitar work note for note at times, including the track "Persevere." Featuring Intervals guitar wizard Aaron Marshall, the track combines the swaying melodies of the former with the crushing blast beats of Polyphia, resulting in a track that is as technical sound as it is short. But perhaps there is no track on the EP that does the band as much justice as the title track, "Inspire," in all of its spacey glory. It sees the entire four piece come together in one cohesive unit with guitarists Tim Henson and Scott LePage trading riffs off and on. It's their tone, though, that makes the five minute run time a sure winner. What they carve out here is a melo-djent hybrid, one that works in both theory and practice. The inclusion of keyboard and electronic beats is a nice touch, even bringing a thunderous bass line to the mix.

Gober displays some of his best work in the opening moments of "Transcend," before it erupts into a high speed shredfest. The aforementioned drum sound is most notable hear, with each roll sounding like a series of clicks and taps rather than a much needed dose of thunder. Drummer Brandon Burkhalter has the pace, the timing, and the accuracy to elevate the band to a new level, but must be heard to do so. Holding down the low end would allow Henson and LePage to go even further into the bending, winding guitar work than they already do. It could even solidify the mix in ways we've yet to hear, though the opening barrage on "Impassion" is surely a peek into how that would sound. It isn't the chugging in the foreground that you should focus on, but the light synth and electronic work taking place behind it all. That strength becomes the foundation; it provides the framework for something bigger to be built upon. And in this case, it sees the dynamic guitar duo proving once again that vocals are an unnecessary addition. With their soaring riffs and rich chord work, Henson and LePage fill their own roles, as well as those that any vocalist could ever hope to fill. The block that surrounds the three and a half minute mark is something to behold, in all of its intricacy and simplicity; yes, at the same time.    

With all of the recent success in the vocal free sect of the rock and metal communities, it only makes sense for a band like Polyphia to get one foot squarely into the limelight. Their talent is undeniable, and their songwriting echoes so much of that talent. But it speaks more to their thought process than anything else. They could have left us with a one dimensional, drooling djent album if they chose to. Instead, they unleashed a multifaceted work of free flowing guitars and intoxicating melodies. They've already gone deeper than many of their peers, and certainly given a more impressive performance than many of their counterparts. They are bound to be popular, once again creating a major identity crisis for every hipster who dares to decry the mainstream in hopes of gaining credibility among their elitist friends and online community chat buddies. The only remaining question is whether they will change and adapt to their ever growing talents, or simply let them become stagnant? It would seem silly to let an EP called "Inspire" be the end of their story. They are still a few solid kick drums away from a happy ending.

8/10

Bandcamp - http://polyphia.bandcamp.com/
Facebook - http://www.facebook.com/Polyphia

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