Tersivel - For One Pagan Brotherhood (2011)

Pagan Folk metal is attempted by so many bands now-a-days. It’s so hard to keep up with the groups that provide true meaning to the genre versus those who claim they are, yet sound nothing like it. Stepping into the light of true Pagan Folk metal stands a band from Argentina by the name of Tersivel, with their first studio album entitled “For One Pagan Brotherhood.” With the bar of expectation set high, this band seems to shoot through the roof with their traditional folk instruments, Viking-like chants, and catchy, melodic riffs.

Right off the bat, the first track, “Cuzat Beer House Song,“ makes you feel like your on a ship getting drunk with a bunch of Vikings and singing catchy chants all night long. What more can you ask for to start off a Pagan Folk Metal album. This is topped off with a nice little solo played on an acoustic guitar to really complete the picture.

However, don’t be fooled. Moving on to track two, things get a little heavier with the song “As Brothers We Shall Fight.” It starts out with blaring horns and aggressive drums and vocals. About halfway thought the song enters compelling guitar’s chugging away while accompanied by eerie, symphonic strings. This is the perfect build-up that leads to bone crushing vocals as the song comes to an end.

Another great aspect of this album is that the band throws in these little 3 to 4 minute tracks like “And Fires Died Away” and “Aeolian Islands” that consists of traditional pagan sounds and melodies that really keep you locked into the feeling of the album and the whole Pagan scene. These basic little instrumental songs really set the mood, especially when the following tracks are full of really low vocals and really strong distorted guitars that’ll knock you on your ass!

Aside from these instrumental tracks, you also have songs like "We Are The Fading Sun" and "Far Away In The Distant Skies" that are filled with dark, violent growls and loud chanting vocals which are, at the same time, mixed with verses that are clean and clear. This adds so much depth to the album and really moves smoothly through the transition of styles. You’ll also notice that even with these heavy changes they never lean away from the folk sounds that they’ve grown accustom to throughout the album.

“For One Pagan Brotherhood” is truly a great experience to the ear and an epic adventure for the fans who hear it. So grab your mugs and hop on board for the voyage of your life!

9/10

Official Site - Coming soon
Myspace - http://www.myspace.com/tersivel

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Dotma - Sleep Paralyses (2011)

In the world of metal, one flooded with sub genre upon sub genre, no band wants to merely fit in. There is the ever present desire to stand out, to emerge from the tapestry. "Sleep Paralyses," the debut album from Finnish female fronted fantasy metal hopefuls Dotma, is ripe with all the elements of a fairy tale. With each note, each keystroke, each drum fill, this looks more like a dream come true than a tall tale.

Layered guitars and keyboards provide a fitting introduction to an atmospheric opening track, titled "Legend Of Blackbird." Frontwoman Johanna Lesonen has a voice that is both assertive, yet delicate. She is capable of strong, over the top vocals, but can also exercise subtlety when necessary. Beautifully played keyboards accent what is a drum heavy track, with double kicks scattered throughout. Epic and well constructed, all in the span of a short five minutes.

"Reborn" is an example of operatic metal done to perfection. Both female and male vocals, delivered with strength and conviction, backed by a choir of 5, which could pass for a group of 20. Crystal clear, each vocal passage feels like an act at The Met. The guitar work deserves mention, taking center stage at opportune moments. It is not overbearing, but rather becomes the backbone of the composition. "Silent Sunshine" sees a pair of solos, delivered with magnificent accuracy and depth. Ghostly keyboards set the tone, as if they are the canvas which the track will be painted to.

Things slow down in an soft acoustic tune, the flute powered "Indian Fall." Lesonen has the spotlight on this one, with extra layers being added as the track progresses. Each time the drums build, you wait for the heavy explosion, one that does not arrive fully until the closing. With a somewhat ironic title, "Whispering" is a symphony of guitar, bass, keyboards and drums, weaving in and out of one another, dancing alonside a powerful vocal addition.

Strings lead in to what is definitely a track on the folk end of their spectrum, "The Cave." Double time chugging and cymbals give way to keyboard induced horns. Storytelling is at its best here, with a spoken passage delivered at the midpoint. It is culminated by the grandest of illusions. The keyboards deliver the sound of delicate strings and bells, which become the launching pad for a well timed guitar solo.

The uptempo "Kingdom Of The Sky" is an epic masterpiece. The well oiled machine that is Dotma shines in all aspects, with a performance that would bring any opera house to its feet. Flexing their musical muscles, they create a backdrop that is as sonically stunning as can be, with seemingly endless layers of instrumentation and choir style vocals. To dissect each piece would take days. The albums epilogue, "Memory Worth Dying For" is the perfect closing act. It remains gentle, but all the while forceful.

As the curtain comes down on "Sleep Paralyses," the crowd while rise to their feet. While the play has ended, this journey is far from over. This is more than a thread in the tapestry of metal. When you consider that an album of this quality, this potential is merely a debut offering, you can be certain there is more ahead. And it will only get better from here. All that is left is to take a bow.

8.5/10

Official Site - http://www.dotma.net/main.html
Myspace - http://www.myspace.com/dotma

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Blind Guardian - At The Edge Of Time (2010)

Pioneers. Visionaries. Masters. When the topic is symphonic power metal, Blind Guardian is all three. Those who doubt the connection between classical music and metal need only pick up any album by this German four piece. Flawlessly combining strings, horns and the standard guitar, bass and drums, the band has enjoyed success for more than two decades. Symphonic perfection is not common, but it seems to come easy.

Seconds after pressing play, you are treated to a flurry of strings and woodwinds, comparable to any symphony of the greats of yore. But Richard Wagner himself could not have conceived "Sacred Worlds" with such awe inspiring vividness. The orchestra does not fade, but rather melds with the band, creating a wall of sound like no other. Empowering and beautiful, the song is a story in itself, a call to action against evil.

The sonic assault that is "Tanelorn (Into The Void)" proves to be formidable. The vocal delivery is nothing short of monumental, showing both range and accuracy. All the while, drum fills blast forth, fast and furious. Guitar solos radiate outward, hitting you early and often, making it nearly impossible to sit still. A solemn drum march and chorus lead you onward, to "The Road Of No Release," an ominous warning of what lies ahead. Beautifully crafted backing vocals make it seem as though an entire choir accompanies the band on this quest. A piano melody ties the track up in a neat bow.

"Ride Into Obsession" is just that; a ride through the genre of power metal. Everything that has made this style so popular and accessible is presented for your approval. Orchestration, instrumentation, melodies both vocal and otherwise, and the pin point accuracy of each note. In sharp contrast comes the Renaissance modeled "Curse My Name," with all of its imagery sprouting forth. This offering would delight the most stubborn of kings. The quick fire tempo changes of "Valkyries" get the blood pumping, the heart beating and your mouth moving to the words. Air guitar is perfectly acceptable, and often hard to resist.

Questioning the right of ownership, "Control The Divine" is as lyrically powerful a piece as you will ever find. This could be the song of a movement, a call for freedom. It is followed by the down tempo, acoustic piece called 'War Of The Thrones." Another brilliant use of instrumentation, thinking outside of the proverbial power metal box. Since there is a noticeable lack of true metal radio, the choice of a single is often made to provide a cross section of an album prior to its release. This makes "A Voice In The Dark" the perfect choice for that honor. An unmistakable masterpiece of melody and substance, it gives just the right amount of each component to savor.

An epic adventure to close the album, "Wheel Of Time" is a movie theme waiting to happen. The fantastic use of horns takes this album to heights reached by so few. But it does not overpower, merely accents, the guitar and drum work. A string and percussion intermission creates visions of far off places, waiting to be explored. Surreal and life affirming, all at the same time.

The genre of power metal, in general, is one of few true superstars. This isn't for lack of opportunity, but rather because nearly everything has been done, perhaps to death. Only few can break new ground, set the others down a new path. When a band responsible for albums titled "Nightfall In Middle-Earth" and "A Twist In The Myth" has unnatural talents at their fingertips, rest assured things will never get stale. If their worlds were to collide, I think Beethoven, Mozart and Bach would beg for an audition. Maybe that is what they are looking towards when they named this album "At The Edge Of Time."

9.5/10

Official Site - http://www.blind-guardian.com/
Myspace - http://www.myspace.com/blindguardian

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Within Temptation - The Unforgiving (2011)

The Dutch gothic band Within Temptation is finally back with a
new album, “The Unforgiving.” A lot of you were wondering
which direction the band was going to go after coming out with their
amazing 2007 album entitled “The Heart Of Everything.” Well, this new

album is based off of a comic story created by the band. They’ve released
the album as a CD/DVD collection, where you can watch some of the story
lines and the music videos that go with it. The stories are great. I would
definitely suggest checking the DVD out.

The band chose to start off the album with a short introduction, with the
narrator of the story explaining herself. Normally I wouldn’t have a
problem with this, however, it throws you off at first because
she starts talking almost in mid-sentence. They could have
chosen a better line for the album to start with, or they should have
just started off with a song. After the 36 second intro, the song “Shot
In The Dark” fades in as track 2 on the album. Lead singer Sharon
Den Adel has one of the most beautiful and unique voices I have
ever heard. The song starts out with her voice layered softly over a dark
synthesizer, kicking off the first verse. As the chorus drops, distorted
guitars fly into action which produce a catchy riff and a catchy

melody that’ll have you singing along with the lyrics in no time. I
personally really enjoyed the lyrics to this song. Especially after
seeing the short story video.

The first single released off of the album is track 4, “Faster” which

starts with heavy guitar riffs. No doubt about it, this song
definitely has radio potential all over it. However, Within Temptation
is usually known for making “radio hits.” The verses consist of basic
chords and catchy lyrics while the chorus provides overwhelming vocals
but includes simple lyrics. For instance, the word “Faster” is

repeated multiple times. Like I said, not really their usual work
but definitely offers a lot of catchy melodies ready to be stuck in
your head.

Songs like “In The Middle Of The Night,” “ Lost,” and “A Demon’s
Fate” show off a little more of the epic gothic work that we all know

and love them for. Orchestrated instruments soaring over distorted
guitars chugging away, while Adel hits the high melodic notes in the
chorus and verses. Now that’s what I’m talking about. Great song

structure and dirty guitar solos.

Overall, the album provides a little bit of everything, from fast paced
guitars to soft and canorous piano keys. “The Unforgiving” definitely

deserves a listen to. For a deeper understandingn and meaning, check
out the short story videos as well!

8/10

Official Site - http://www.within-temptation.com/
Myspace - http://www.myspace.com/withintemptation

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Elvenking - Red Silent Tides (2010)

Italy's Elvenking have done their fair share of groundbreaking in the metal world. They could easily be known as the godfathers of the folk/power metal movement. However, they are not content to rest on their laurels. With this, their 6th studio album, they look to make the next logical step, and once again reinvent the genre. Lofty goals for even the best of bands.

As we begin our journey, something seems awry. "Dawnmelting" begins as you would expect any Elvenking album. Fast paced, violin powered, folk metal mastery. Lyrically powerful and emotionally charged, your head will bob subconsciously when the double kicks begin. But somewhere along the line, the vocals take a decidedly odd turn, almost sounding like more of a later Bon Jovi song than anything else. A wailing guitar solo provides a reprieve, but immediately returns to south Jersey rock.

"The Last Hour," an anthem in every sense of the word, would lead one to check their disc to be sure you were listening to the right album. Outside of the ever present violin, it just seems like a departure from the previous works. The breakdown portion, while strong, does little to bring the song back to life. It isn't until "Silence de Mort" that we truly feel like we have discovered Elvenking. The guitar work, with all it's precise, high octane fingerings is refreshing and vibrant.

A second anthem appears, with a hook that will leave you wanting more. "The Cabal" shows so much promise, but fails to deliver on the scale you would expect. The violin melodies are vintage Elvenking, and so indicative of all they done for the folk metal world. But again, the song drags vocally. "Runereader" brings out the first growl of the album, and finally ignites a fire. The pace increases, guitars whine and drums come at you in a fury. Gang vocals will have you singing along for the first time on the album, and you will be grateful for the opportunity.

"Possession" is the ballad, straight out of 80's glam metal radio. Momentum comes to a stop, and the wheels begin to spin. But your savior is on the way. Despite its title, "Your Heroes Are Dead" is a crushing reminder of what makes this band the envy of so many. Speed, precision and emotion are the recipe for power metal, and the band is no stranger to this. "Those Days" keeps things on track, until the unfortunate "This Nightmare Will Never End," a song which would may have been better if it had been left off of the album.

"What's Left Of Me" is another throwaway, leaving you wondering if Bon Jovi has actually formed some sort of  Elvenking tribute band. Aside from the background presence of the violin, it could easily pass as a "Crossroads" b-side. Some degree of redemption comes with the closing piece, "The Play Of The Leaves," a song which, musically, gives you what you have been looking for.

When you are at the top of your class, it often becomes hard to keep things fresh. Elvenking has been one of the preeminent folk/power metal outfits for the better part of a decade. But in trying to take the next step to once again redefine their genre, they may have made an unfortunate error. The album is missing something. Something so glaring that it may make you wonder if "Blaze of Glory" and "Wanted Dead Or Alive" will be placed in the live set. Perhaps their dreams are truly drowning in "Red Silent Tides."

5/10

Official Site - http://www.elvenking.net/index.htm

Myspace - http://www.myspace.com/elvenking

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Opeth - Ghost Reveries (2005)

When it comes to the mighty Opeth, the only constant is change. Band mastermind Mikael Åkerfeldt is now the sole remaining member from the band's inception in 1990. But as each member passes through the revolving door of this progressive metal titan, they become part of the evolution. And on this, their 2005 offering titled "Ghost Reveries," Akerfeldt and company are redefining the world's conception of what it means to be "progressive."

Straight out of the gate, a blood curdling scream welcomes you to "Ghost Of Perdition." But this is no one trick pony. Death metal traits are combined with Akerfeldt's classic, melodic rock influences into a stunning contradiction. The band manages to jump back and forth, from devastating to breathtaking, heavy and distorted to acoustic and soft. An eerie keyboard presence and powerful bass tie each piece together into an 11 minute epic.

Blast beats and well played drum fills take "The Baying Of The Hounds" into another realm. Precision is the name of the game here, with bass and drums locking together as one. Vocal range is never in question, with Akerfeldt showing off his gifts time and time again. He screams with the best, and sings better than most. "Beneath The Mire" is cut from the same cloth. But to say it is formulaic just simply does not do it justice. Yes, you will find intermingling moments of brutality and pure emotion. But there is no overused structure, no time signature rule. Just when you think you know what will happen next, it changes.

The classic groove of "Atonement" catches you off guard. Have we gone back in time? Is Opeth touring with Pink Floyd or Deep Purple? Oh, not quite. "Reverie - Harlequin Forest" will remind you what year it is. Intermittent chugging over the background whine of a guitar, layered with off time drumming form an almost "follow the leader" moment, winding down to the end of the track.

But now something changes. Don't worry. This is still the same album. But "Hours Of Wealth" is simply to beautiful for words. A masterpiece in every sense, you will find yourself lost in the soundscape. Keys take a starring role, from the background synths to the piano-style lead, all breaking off to reveal Akerfeldt's emotional crooning. It is as lyrically stunning as it is musically. Ending with a guitar work that would make Santana jealous, you have mere seconds to catch your breath.

Serving as the first single, "The Grand Conjuration" finds the band back at their crushing best. Topping the ten minute mark, you get a little taste of everything. As you would expect from it's name, you get a sense of evil and darkness through vocal chants, as well as the screams and growls. The heaviest moments on this disc come here, with high speed double kicks giving way to pure death metal breakdowns.

The finale, "Isolation Years," is a story of loss. Again showcasing Akerfeldt's melodic sensibilities, the song will make your heart beat a little slower. "In isolation/She talks about her love/And as I read/"I'll die alone"/I know she's aching". Beautiful. Well written and well thought. The album fades to an end. The special edition version of "Ghost Reveries," released a year later in the typical Roadrunner Records fashion, also contains a brilliant cover of the Deep Purple classic "Soldier Of Fortune." Akerfeldt has never been shy about his influences, and it is really on display here.

As each album is recorded and released, the revolving door turns again, with more members coming and going. Oddly enough, as I write this, the band has just announced that keyboardist Per Wiberg has left the fold, and a replacement has been found. But that said, the constant isn't always change. The constant is vision. Evolution. Eclecticism. The constant is Mikael Akerfeldt.

9/10

Official Site - http://www.opeth.com

Myspace - http://www.myspace.com/opeth

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Barren Earth - Curse Of The Red River (2010)

From the frozen hotbed of all things metal, Finland, comes a band whose name is misleading. There is nothing barren about the land the band hails from, nor the members. Featuring former and current members of Moonsorrow, Amorphis, Kreator, as well as heralded Swallow The Sun vocalist Mikko Kotamäki, this offering is more than just a "who's who" in the metal world.

"The Curse Of The Red River," the album title and opening track, is as bountiful a harvest as you could ever hope to witness. From a prog rock guitar intro, directly into Kotamäki's signature death metal growls, the song mixes so many styles into one strong outcome. The chorus finds the deep screams combined with clean, melodic singing. A strong guitar solo, which is not merely for show, paves the way for Kotamäki to scream his way home. And what better way to end an epic masterpiece than a flute solo that would make Ron Burgundy proud.

The formula is present throughout the album, with crushing guitars leading the way into melodies almost reminiscent of classic rock of the 70's. Never is this more evident than in "Our Twilight," where synths and keyboards bring out the nostalgia, before tearing it down in a crash of double kicks and screams of emotion. The range contained here is simply mind boggling. A piano laden intro takes you head first into "Forlorn Waves". The precise guitar work, and flawless execution of the rhythm section are a constant, but combined with a strong piano presence, they take this track to another level, with a main riff that will stick in your head for days.

"Flicker," an Opeth-style composition, jumps back and forth across the line that separates beauty from sorrow, hope from devastation. A guitar sound akin to the spanish flamenco style jumps in to accompany the smoothest of bass lines. "The Leer," on the other hand, has no such identity crisis. It drives forward at a faster tempo, using Kotamäki's gutteral screams and a syncopated drum beat. Wailing guitar solos slam the exclamation point on this all out assault.

Taking a short step to the folk side of metal, "The Ritual Of Dawn" provides a great contrast between the harsh vocals and the melodic, marching music. The classic rock vocal stylings chime in for another appearance, only to be joined by growls and the complete synth experience. "Ere All Perish," arguably the darkest track on the album, and "Cold Earth Music" show the off the bands versatility again, with seemless transitions from heavy to delicate.

"Deserted Morrows" brings the sledgehammer down for the final time, chugging through a 6 minute denouement that reminds you what you came for. The gloom and doom return in all forms; vocally, lyrically and musically. Oddly enough, the track and the album seem to end on an emotional high, with a triumphant musical outro that empowers that most fragile of listener.

With such a strong pedigree, Barren Earth are deserving of any and all praise they accumulate. But beyond that, they have earned their status as rising stars in the death/doom world. Despite the seemingly hopeless, ominous name, there are only lush landscapes awaiting this band in years to come.

8/10

Official Site - http://www.barrenearth.com/
Myspace - http://www.myspace.com/officialbarrenearth

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Draconian - Arcane Rain Fell (2005)

From the darkest grounds of Scaffle, Sweden comes Draconian with
“Arcane Rain Fell.” This, their second studio album, is a concept

album about Lucifer falling from heaven and creating Hades. An epic
story for this doom masterpiece.

The first track, “A Scenery Of Loss,” is 9 minutes of pure doom metal.

It starts with depressing drizzle of rain behind a melodic guitar
intro. A few short words are followed with a roaring growl that may,
literally, make you shit yourself. However, a beautiful female voice is
introduced about 5 minutes in. Lisa Johansson is an amazing vocalist
and fits as a perfect piece to Draconian.

Other tracks like “Daylight Misery” and “ Heaven Laid In Tears” have
great hooks, that include heavy double bass pedal work and more
powerful growling. Unfortunately, they are two of the shorter tracks on

the album. You may end up having to replay the songs because they leave
you wanting so much more!

The last song on the album, “Death, Come Near Me” is one of the

most epic and amazing song you will ever heard. It is 15 minutes and 22
second of pure Doom greatness. It opens with piano and
strings that create a great image for the listener. It then drops into

heavy guitar rifts, both depressing and beautiful. After a little
over 3 minutes, Johansson comes in with the first verse. This song
carries such powerful lyrics. As the chorus begins, she is accompanied

by Anders Jacobsson’s growling. They sing the lyrics together,

giving a “beauty & the beast” feel. Jacobsson’s growls are so low and
dark, yet they are so clear and understandable. This is a “must hear”
song that must be heard to be appreciated.

This album is great from start to finish. Definitely check it out. You
won’t be disappointed!

9.5/10

Official Site - http://www.draconian.se/
Myspace - http://www.myspace.com/draconianmusic

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Ihsahn - After (2010)

Mind-blowing. Eccentric. Genius. All of these things describe Ihsahn, former vocalist and guitarist for Emperor, one of the preeminent black metal bands in the world. Now on his own, he has a bonafide "album of the year" candidate in this, his third solo record.

The album was Ihsahn's first experimenting with 8 string guitars, which he described as being "both challenging and inspiring." The hard work seems to have paid off in the material included, a collection of some of the most varied, eclectic songs you can find in metal today.

Unlike the two albums before, "After" is a much more polished effort. It still contains all of the high speed, punishing double kicks, black metal screeching vocals and blistering guitar work that you have come to appreciate. All of those things are used as a disclaimer on the albums opening track, "The Barren Lands." But what makes them stand out is the use of well placed, clean vocals. Ihsahn has created a wonderful contrast here.

"A Grave Inversed" may sound like the standard black metal screamfest at first. But there is something odd. Do you hear it? It starts off as an accent, but soon the saxophone solo blindsides you. I am sure John Coltrane and Charlie Parker never envisioned their craft being developed into this. But, surprisingly, it not only fits, but flourishes. The presence of the saxophone is welcomed. It could be the next evolution of metal.

A melodic turn approaches, with Ihsahn showing off his vocal diversity on the title track, "After." Don't worry, the double bass and layered guitars are still here. "Frozen Lakes On Mars" is a well written metaphor, comparing blue eyes to the lakes on the now dry red planet, both lifeless and empty. Ihsahn continues to tear down the assumptions of what black metal is about.

The true fusion of jazz and metal is found in "Undercurrent," which places the saxophone at the lead of the band, and lets the entire track build around it. A smooth bassline ties it all together in a perfect musical marriage. Things slow down considerably for "Austere," an atmospheric, bass driven outing. Mainly an instrumental, it allows for Ihsahn's musical prowess to be heard, join by his friends, drummer Asgeir Mickelson and bassist Lars K. Norberg, both of the band Spiral Architect.

"Heavens Black Sea," aptly named, brings the darker side back. Intertwined guitar work, all performed by Ihsahn, joined with sporadic double bass, provides the platform to jump from screams to singing, and back again. It clears the way for the epic closer, "On The Shores," which at times breaks down into an jazz improv, before slamming back to black metal glory. The entire album, summarized in one all-over-the-place jam session.

Black metal musicians are often dismissed as satanists, with black and white face paint. Double bass, distorted guitars, screams. Ihsahn is proof that there is so much more to be had. When you see where he has been, what he has done in the past, what would you expect? Would you have believed that this album ends with a saxophone solo?

9/10

Official Site - http://www.ihsahn.com/
Myspace - http://www.myspace.com/ihsahnmusic

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Katatonia - The Great Cold Distance (2006)

Sweden's Katatonia is different. They simply cannot be confined to a single musical label. The material stirs such diverse emotions, often at odds with one another. How can one song be both empowering and thoroughly depressing? How can a band be so heavy and yet so sensitive at the same time? Only the members of this five piece can know for sure.

"The Great Cold Distance" doesn't wait to draw you in. "Leaders" is well placed at the top of the tracklisting, with the opening riff grabbing your attention immediately. Flawless execution, smooth transitions, and top notch production all take the fore. The melancholy, yet staggeringly powerful vocals of band frontman Jonas Renkse are offset with background screams, creating a beautiful contradiction.

"Deliberation," which served as a single from the album, starts off somewhat delicately, with splendid drum fills moving the song into the heavier chorus. Renkse's dark, somber lyrics are constantly highlighted. Each song seems to be part of a larger story, with this one begging the question; "Will you wake us up before it is time?" Seamlessly, it flows into "Soil's Song," which is a reminder that the end is always near. A smooth bassline unites drum and guitar together in a singular wave.

The albums strongest effort, "My Twin," is the song that has turned many people on to this album, and this band. As powerful as it is emotional, it will make the hair on your arm stand. Musically, the band outdo themselves. They create a haunting soundscape, providing a suitable canvas for the vocal melodies. The lyrics, telling a story of love and loss, leave you breathless. "I think of love/I let it pass/ It feels like fire/But it won't last." And as suddenly as it begins, it ends.

"Consternation,"  with it's deep guitars and strong, driving drums dries your tears and convinces you to move forward. "Follower" walks the line between heavy and beautiful with uncanny precision, even providing a "breakdown" of sorts to provide head bobbing material. "Rusted" completes the trio, with synthesizers and effects used to furnish a ghostly sense, leaving the crushing guitars to push the track forward.

Combining both the heavier side, as well as a touch of the electronic, "Increase," follows. Renkse reveals more of his seemingly tortured soul, telling us that "There won't be a time when I'm at ease." The ability to stop and start, fade in and fade out is something Katatonia has perfected. Guitars can cut, leaving a second to highlight a single word, and return to drive the point home.

A darker, heavier track, "July," leads the tail end of the album. This could be the anthem for your depressed summer months, though decidedly different from the "good weather, roll down your windows and blast it" type of music. "In The White," with a first verse akin to a lullaby you may have known, is a love song of a much different color. Gray, perhaps. Renkse croons "And now that you're here/It becomes so clear/I have waited for you always." The words of a broken man.

After traveling through an album that seems to navigate the months of the year, "The Itch" and "Journey Through Pressure" are excellent closing efforts, finishing the story.

This album is a departure from what the band had done before. It is focused, fine tuned to perfection. Maybe you can share in Jonas' woes. Maybe you can't. But you simply cannot find another band that embodies so much pain, and so much power. Katatonia is different.

"The sky moves faster at this time of year."

10/10

Official Site - http://www.katatonia.com/
Myspace - http://www.myspace.com/katatonia

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Avantasia - The Scarecrow (2008)

The pride of Germany, Tobias Sammet, is not short on ideas and imagination. After all, you don't come up with the idea for a duo of albums titled "The Metal Opera" without a true concept in mind. So, for the Edguy frontman and rock superhero, Avantasia was a way to showcase his vision. And The Scarecrow is a masterpiece for the ages.

Featuring a laundry list of guest appearances, from the likes of Alice Cooper to Michael Kiske (formerly of power metal masters Helloween), Eric Singer (Kiss) to Amanda Somerville (female frontwoman extraordinaire), this is truly a fantasy come to life. The album delivers more variety than the "Metal Opera" series, straying from the all-out symphonic power metal, and delving into many different arrangements.

"Twisted Mind," the albums opening track is the perfect appetizer. It is a sampler plate of everything that is to come. Layers of sound coming together, creating a sonic assault. The song pushes forward with numerous tempo changes, all the while adorned with a great vocal presence from Sammet and Kamelot frontman Roy Khan.

The title track, "The Scarecrow," is the 11 minute epic that fans of the genre are expecting, this time seeing Sammet share the microphone with the aforementioned Kiske, as well as Jorn Lande. It becomes a challenge to try not to sing along. The orchestration is simply mind blowing, adding in strings, keys and horns. All too soon, the track ends, giving way to high speed "Shelter From The Rain," a showcase of the musical prowess of the all-star backing band.

"Carry Me Over" serves as a "ballad before the ballad". The tempo slows and Sammet handles the song on his own. Perhaps this track is the one that lets you enjoy his lyrical genius. "And now I might as well be the man on the moon/I am watching but you don't seem aware." All else fades, as Tobias delivers one last line, and you are now fully immersed in one of the most beautiful ballads you may come to hear in metal, "What Kind Of Love." Amanda Somerville and Sammet weave their vocals together, on top of a beautiful arrangement of strings and percussion.

"Another Angel Down" kicks in with a fury, full speed ahead. Empowering and awe inspiring, it begs for you to chant along with the chorus-leading line "We rock the ball!" It leads to a noticeable turn in the albums sound. The Alice Cooper fronted "The Toy Master" has a darker tone. Cooper is at his creepy best, bringing back memories of his "Welcome To My Nightmare" performance of the early nineties.

"Devil In The Belfry," another uptempo rock track, provides some of the albums best guitar work. Sascha Paeth, guitar virtuoso, shines throughout. Secondary ballad, "Cry Just A Little," follows as a breather of sorts, allowing you to have one last somber moment before all hell breaks loose. Bob Catley (Magnum) lends his voice to the piano-laden love song.

"I Don't Believe In Your Love" delivers a signature Sammet moment. He manages to sing the word "fuck" in an almost acceptable way. He makes it sound like a word we should all be using all the time. And it all leads into the closing masterpiece, "Lost In Space," which had been released as a two part CD single almost a year before the album emerged. Signature Avantasia, it gives you a little bit of everything. Musically and lyrically, it finishes the story, driving it all home.

This album, which is later joined by "The Wicked Symphony" and "The Angel Of Babylon" to form what has been dubbed "The Wicked Trilogy," is almost too good to be true. Tobias Sammet has brought his vision to life, all with a little help from his friends.

10/10

Official Site - http://www.tobiassammet.com/
Myspace - http://www.myspace.com/tobiassammet

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Gojira - From Mars To Sirius (2005)

Looking for something to snack on? “From Mars To Sirius” is some excellent ear candy.

The album opens up with “Ocean Planet,” delivering large amounts of bass and incredible drum fills. Then followed by “Backbone,” which I would say is literally the backbone of this album. It consists of constant, heavy chugging through out the song, which will leave your head nodding from start to finish. Wicked fast double bass petals and powerful guitar riffs clashing together to form a beast.

Things calm down for bit with the instrumental, “Unicorn,” which I feel really gave some structure to the album. It gives you a chance to catch up and embrace the first 3 hard hitting tracks.

But then, of course, things pick up again with “Where Dragons Dwell” and “The Heaviest Matter Of The Universe.” Heavy distorted guitars and bone crushing vocals. You might want to turn your speakers up for these two.

The last song on the album, “Global Warming,” brings a little bit of everything to the table. It starts out dark and slow, with some clean singing and repetitive guitar riffs. However, it then drops into some heavier chugging and aggressive vocals. A good 7 minutes and 50 seconds of pure dirty guitar work. It’s great when you can incorporate all of this creativity into one track. It really leaves a solid imprint in the back of your mind.

Out of all of Gojira’s albums, I have to say this one tops them all, but who knows what they have in store for us next!

8/10

Official Site - http://www.gojira-music.com/
Myspace - http://www.myspace.com/gojira

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