Nox Aurea - Ascending In Triumph (2010)

With their recent signing to Napalm Records, Sweden's Nox Aurea have positioned themselves to be a force in their genre. With a sound that will certainly appeal to fans of Draconian, Swallow The Sun, Barren Earth and Helevorn, they take the tools of the trade, and put them to good use. This isn't your grandmother's same old doom. Then again, if your grandmother listens to doom, I certainly wouldn't argue with her.

From the first note, you are treading in familiar waters. The first and title track, "Ascending In Triumph," begins with that deep, booming kick drum that has become a signature of the death/doom genre. Guitars and drums are slow and deliberate at the onset, hitting their stride with a well placed section of chugging and double kicks. Vocally, the band diverge from the norm, with growls that touch on, but don't always sink into, the low register.

A soft layer of strings carries you into "The Loss And Endeavour Of Divinity." The first earth shattering growl shakes the track, and the sets the pace. But fear not, things are about to take a turn for the heavy. A violent attack of drums and guitars catches you off guard, paired with a glorious female vocal passage. A wonderful contrast is formed, setting off a flurry of activity from all sides. "The Shadowless Plains" provides a headbanging experience you won't soon forget. Those double kicks keep coming, sometimes at speeds that rival the guitar work. The only reprieve is a short interlude of soft, angelic vocals. Otherwise, you are treated to a full speed ahead slaughter. The growls gain strength, and may elicit a chill.

Don't let the string and acoustic guitar intro to "Mother Aletheia: Chapter II" fool you. The peacefulness is short lived. The booming kicks return to put this one in gear. A particularly aggressive midsection finds guitars, drums and bass crashing down at every available moment. A woman's voice chimes in, slowing the track. Guitars begin to crunch. Drums continue to crash. Yet somehow in the midst of this, there is still a melody to be had. "The Delight Of Autumn Passion" could be mistaken for a Draconian song, combining all of the familiar elements of the genre into a track that is unrelenting in its assault. Even with a female singer layering vocals on top of it all, the track never ceases to punish you.

The dark, violin tinged "My Voyage Through Galactic Aeons" features a kick drum barrage that would be right at home on a speed metal album, while "To The Grave I Belong" is a thunderous collaboration of all things heard thus far. The surprise of the album comes at it's climax, with the piano instrumental "Emendare." A beautiful piece, soft and delicate, tying things up in the proverbial bow. It serves as the perfect ending to a bloody journey.

Much like other bands that fall under this umbrella we continue to refer to as "death/doom," Nox Aurea continue to take the formulaic style and tweak it slightly. It speaks to the genre as a whole, and the ability of these bands to take the basic instruments and get them in sync with each other, forming something larger than any of the parts. No gimmicks. Straightforward and powerful in simplicity.

8/10

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

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The Podcast: Episode 6 (Darwin's Theory)

You may have been missing out on Skogen and Dammerfarben before, but we make sure you won't let that happen again. Chester takes the week off, so we discuss the evolution of bands, for better or worse. When a band changes their sound to fit the landscape of the industry, is that good, bad, or neither? Do you have to stay the same, musically, throughout your career? Is it really "selling out" if you evolve and grow?

Part 1 - http://www.megaupload.com/?d=KJFC16PC

Part 2 - http://www.megaupload.com/?d=SYRO7PST

Has one of your favorite bands made a dramatic change in their sound? How did that turn out? Let us know what you think in the comments.

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Arkan: The Interview

What inspired this album, lyrically and musically?

Musically speaking, we started with the premise of "Burning Flesh" then "Hilal" and "Salam" is the logical next step. Our only goal was to incorporate in a more pronounced way our oriental influences. So, "Salam" continues the direction initiated by "Hilal".

This album is more melodic and a more prominent part was given to oriental moods and harmonies. We worked on the insertion of the oriental parts within metal compositions. We really wanted that a mysterious alchemy was created leaving in questions the oriental or metal musical aspect of each part. Arkan was never intended to do two identical albums / EP. The compositions of our releases are different but follow the same connecting thread.

Concerning the lyrics, we were inspired by events around us, the geopolitical conflicts and misunderstanding between peoples who are yet supposed to be brothers. Specifically, “Salam” relates timeless and universal fears and resentments of two peoples with two different religions which coexist in the same area. Everyone feels its hatred gradually rised inside them and that the point of no return has been crossed. Cause of intellectual manipulation and propaganda, both peoples decide to make war but, exhausted by it, people are increasingly distancing themselves from their instincts of hatred. Having committed all these massacres, and cohabitation seeming the only possible way, they decided to turn their eyes towards the others. Our tour with Orphaned Land under the « Tour Against Racism » have confirmed our choice of theme of Salam.

What is the metal scene like in France? Did geography have any influence on your style?

For years, the French metal scene has suffered from a bad impression. Fortunately, things are slowly changing. I think we have some very good bands in France whose technical level is comparable to Scandinavian and U.S. Bands. Bands like Gojira or Dagoba are currently restoring the reputation of French metal scene.

I think also that the French public is looking for some musical originality and wants more cultural innovation. The mixture of cultures in the West favors this openness. Metal fans are becoming more curious and want, particularly via the Internet, new musical experience. Arkan is trying to meet this need and offering an original music.

Generally speaking, we would like to create a bridge between people from different musical and cultural backgrounds. We are facing this diversity of cultures in our everyday lives. Out of our music we create a rallying point that is representing what we stand for.

Arkan's members also reflects this culture mix. I was born in Paris, but because of my parents I have Moroccan roots. Abder, Mus and Samir were all born in Algeria and finally there is Florent, who was born in France as well and is of Italian and Greek origins. Although Florent is the only non-North African, he grew up with friends from Maghreb; so this kind of music was not new for him. The proposal was made to each musician to use the music of the countries of our descent to delight everyone, despite the fact that we are die hard fans of metal. This mixture was fairly new for a French band and our desire to tap into the cultures of our origins was naturally linked with our desire for a revival of this country's metal scene. So, I think it's a non-sense to assimilate Arkan with an unique nationality.

Your style is so varied and eclectic. How did you come to that marriage of sounds?

The idea to combine metal and oriental music in this project goes back a long way and even pre-dates the time when I joined The Old Dead Tree. I have always wanted to combine my cultural origins with the music I am most fond of.

Except a small number of bands, oriental music was not represented in the European Metal scene. I thought this project might bring a new breath in trying to mix two very different styles: oriental music including chaabi which is the musical style the most popular in Maghreb and a powerful metal with growls and hard riffs.
It is difficult to find good musicians to form a metal band but it’s even more difficult to find great musicians playing both metal and North African music. My inclusion in The Old Dead Tree helped me to build my experience in a professional band and create a social network in this scene.

In 2005, Mus and Samir, former members of an Algerian death metal band named Worth, and Florent, a former member of Whisper-X, joined me with the same desire to try something new.

Do you have plans on touring in America?

Unfortunately not yet! Even if we had the opportunity to do gigs abroad, for now we primarily focus ourselves on French territory.

However, our albums are distributed all over the world and we start to be solicited for playing in foreign countries. We have already played in Holland, Tunisia and Switzerland with bands as prestigious as Septicflesh and Orphaned Land.

We're booking an European tour scheduled for the last quarter of 2011 and several dates following the release of Salam begin to be planed.

Do you have any bands (big or small) that you would want to tour with?

At this time, we made two French and European tours with the two bands mentioned above for which we have a big respect. It was a very rewarding experience musicaly and humanly speaking. We had the opportunity to work with people passionate by their art. The atmosphere of harmony and mutual respect between these bands and us has generated a lot of good times and the worst of its was the time of the separation.

There is a lot of bands we would like to tour with like Behemoth, Opeth or Anathema. But we must not forget that the most important thing during a tour is the contact with our fans and the emotions shared with the public and this situation doesn't only depends on the band you tour with.

What are your thoughts on the downloading of music? Do you see it as a problem, or is it helping to spread great music across the world?

It's a very complex problematic. I think the situation is different depending on the notoriety of the band.
It's true that a little band which wants to become known needs to spread its music in particular via Internet. In this case, this media is a fantastic vehicle for broadcasting the composition of a young band.

Conversely, downloads of very famous artists' songs does not shock me. The biggest music major companies which own copyrights on these songs have collected a lot of money. So, the downloading of this tracks doesn't jeopardize the economic health of the musical industry. Morever, we must have in mind that of lot of this famous songs has just been downloaded for fun and the downloaders would never buy this albums.

However, the situation is more critical for bands which begin to be well-known but doesn't succeed to generate sufficient money to live through their art. For them, the impact of downloading is very harmful. Musicians which succeeded to modestly live through their art before the expansion of downloading must now seaching a job in order to live.

I don't want to be too sanctimonious but I think that this situation is sad and is not beneficial for the musical diversity.

What does the future hold for Arkan?

Regarding "Salam”, I think I can say that the hardest part is behind us.

So, we are working on upcoming gigs and in particular on a gig on headlining in Paris. The changes in the performance of our new album due to the departure of Abder require an adjustment period in order to give our best on stage.

Several dates following the release of “Salam” are being booked and we're going to plan an European tour scheduled for the end of 2011.

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Iced Earth - The Crucible of Man (2008)

In 2008, epic power metal band Iced Earth released their newest album entitled "The Crucible of Man." This completed the magnificent trilogy of the "Something Wicked Saga." "Framing Armageddon" being the second part to the saga, was released in 2007 and "Something Wicked This Way" being the first part which was released back in 1998. Make sure to read up on the lyrics to find out what happens in this epic adventure.

Following the minute and a half intro, the album starts off with blaring distorted guitars and a mix between clean singing and almost "operatic" vocals in track two, entitled "Behold The Wicked Child. Jon Schaffer and Troy Steele show off on the guitars as they chug away with aggressive melodic riffs all throughout. The lyrics in the refrain are powerful and very catchy. This is definitely a great way to start things off.

Songs like "Dimension Gauntlet" and "I Walk Alone" offer some heavier headbanging guitar riffs throughout that are very complex and catchy. Even the lyrics will have you singing along immediately when the refrains enter. Brent Smedley's drum fills are insane, and give so much heaviness to the album. "The Revealing" is another incredible song full of Smedley's brilliantly talented drumming.

It's incredible how the album is so fast and full of energy, yet they still manage to slow things down once in a while like track 5, "A Gift Or A Curse." The song consists of beautiful guitars with the perfect effects on them to give complete emotion to every note. Matt Barlow, their singer at the time, leaves soothing vocals during the beginning verses, and as the song picks up, delivers more aggressive and dominant clean singing. Everything runs together so smoothly you hardly notice the transition between the slowed tempo melodic parts and the lightening fast bursts of distorted guitars and monstrous drums and cymbals.

The album ends with a bang! The song "Come What May" has everything from soft verses with melodic vocals, to pulverizing drums and overwhelming guitars mixed with high pitch singing and extraordinary lyrics. The refrain will be stuck in your head for days with its angelic melodies. The guitar work is absolutely astonishing. This is followed by the final track, "Epilogue," which is a 2 minute and 20 second instrumental that includes orchestral strings, beautiful violins, soft guitars and Congo drums.

Iced Earth continues to impress everyone with there electrifying performance and skill in song writing and story telling. "The Crucible Of Man" stands to be one of their best albums released in years. Unfortunately, Matt Barlow is no longer their lead singer however they have managed to pick up Stu Block to replace him. Block is also the lead vocalist for the Canadian band Into Eternity. I guess we'll see where Schaffer and the guys plan to go from here.

9/10

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

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Dämmerfarben - Im Abendrot (2011)

Germany's Dämmerfarben are cut from a different cloth. Started as a solo project, and developing into a full blown band, they have formed a style that separates them from the rest. For despite being classified as everything from black metal to ambient, doom to acoustic, they have managed to be all of them without favoring one.

"Wandernd," a short, string driven introduction is an appetizer for the forthcoming feast. The chirping of birds gives way to a simple, but enchanting guitar harmony. An effects tinged guitar melody breaks into distorted riffs on "Nebel und Regen," slowing to a near halt before the tempo picks up. The constant thumping of the kick drum is like a rolling thunder, clearing the way for a violin to enter the fold. The bass shines through, taking the lead. After a lengthy instrumental, black metal styled vocals cut through the air. But the ever present strings keep the song grounded, all the way to its conclusion.

The folk metal influences come out in "Graues Land," with a jaunty musical lead, uptempo and bright. Vocals enter, as abrasive as any you have heard from the Norwegian black metal masters. They will grind on your ears, but in the best possible way. A stunning acoustic outro takes up the better part of two minutes, and will leave you impressed, if not a little bewildered. The beautiful musicianship carries over to "Oktobersturm," which wastes little time before bringing out the big guns. High tempo kick/snare/cymbal drumming bcks a driving distorted guitar. Screeching and deep screams echo throughout, fading away to yet another soft outro.

"Einsamkeit" is a work of art and simplicity. The violin returns, joined by soft guitars. The delicate patter of raindrops bookends an endearing acoustic track. "Regen in der Dammerung" brings the thunder back, in both bass and drum form. The earth shaking low end provides the perfect backdrop for the entrance of synthesizers. A winding guitar melody shares time with distorted riffs, punctuated by the tortured screams. The title track, "Im Abendrot" plays out like an epic love song. Once again, violin takes the fore, allowing each piece of the puzzle to join. The wall builds, forming an all out assault of sound. The more aggressive moments of the album come here, with high speed guitar picking and strumming, slamming head on into the clang and sizzle of cymbals and snare. The song hits its high point, then is deconstructed, ending where it began.

The opening half of "Nachtgedanken" is the closest you will to come to pure black metal on this disc, with the harsh vocals taking command. But, as with all of the tracks on the album, it quickly changes. Acoustic guitars duel, playing off of one another in a beautiful battle. The hard and heavy return, only to fade away in a simple outro. Piano keys catch your ear to begin "Hinaus in die Nacht," playing a dark melody. Ringing distortion comes, but does not lead to the explosion you may expect. It is merely a background to acoustic picking. Keys and guitars unite for the finale.

There is no easy way to classify what you will hear on this offering. Well executed and, at times, atmospheric in delivery, "Im Abendrot" is a musical journey that might not be fully understood after the first listen. You, like many others, may find yourself waiting for the hammer to drop, and the shredding to begin. But the band accomplish something intriguing. They make an album with clear black metal aspirations that is more beauty than beast.

8/10

Official Site -http://www.facebook.com/pages/D%C3%A4mmerfarben/155853494442698?sk=wall
Myspace - http://www.myspace.com/daemmerfarben/

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Megadeth - United Abominations (2007)

In the spirit of the "Big Four" phenomenon, as well as our review of Slayer's heavy hitting "God Hates Us All," it seems fitting to include the mad genius of Dave Mustaine. Despite the revolving door of band members, Mustaine has managed to stay relevant, churning out his last two politically charged albums to critical and commerical acclaim. On this 2007 opus, "United Abominations," Megadeth pull no punches and take no prisoners.

From the opening bass line in "Sleepwalker," you know that this is Megadeth on an entirely new level. You get everything you expect, from the pounding, bludgeoning drums to the pitch perfect guitar solos. Mustaine's vocals, often a point of contention, are top notch, delivered in his own raspy style. "Washington Is Next," the first major political statement of the album, features tangled guitars and bass, winding in and out of one another. Drumming is fast and furious, with well placed fills and rolls. There is simply no margin for error when playing behind one of the truly great guitarists of modern metal. A bold prediction of the fall of the American empire, under the watch of George W. Bush.

The aptly titled "Never Walk Alone (A Call To Arms)" follows, with a bridge and hook that will implant itself in your brain. Mustaine proclaims "I loved you when you still hated me." A whining, wailing guitar interlude leads to rewind of that hook, driving the track home. "United Abominations," the title track and masterpiece, begins with a spoken word piece, a scathing indictment of the world organization. Guitars, drums and bass come to a head, chugging ahead. There is no hiding Mustaine's opinions, as he steps onto his soapbox. A rare bit of vocal melody highlights the track, alongside the expected guitar mastery. A spoken word outro, only fitting for such a powerful track, is layered over a drum heavy breakdown.

A theme song for a video game, and yet so much more than that, "Gears Of War" chimes in. Chugging guitars and Mustaine's whispers bring your fist into the air, chanting along. Brilliant guitar work is only enjoyable when it fits into the form of a song, and Megadeth proves that time and again, using bass, drums and vocals as a launching pad for epic solos. "Blessed Are The Dead" and "Play For Blood" are traditional Megadeth tracks, giving you a taste of what the band has been doing for so long. The most talked about song on the album, the rehash of "A Tout le Monde," features Lacuna Coil's stunning Christina Scabbia. They have taken the original, given it some sparkling production values, sped things up a touch, and given Mustaine the beautiful vocals of Scabbia to balance his style. Like it or not, it is an anthem that is hard to forget.

Intentions are clear on "Amerikhastan," a track where we get speculation of a new American empire, starting with the takeover of the Middle East. "Hey, Jihad Joe, we're coming to get you," becomes the battlecry. Guitar work is at it's finest, despite being pushed to the background to deliver the message. The momentum of the album seems to fade slowly, with the angry "You're Dead" and "Burnt Ice" tacked on to the end of an otherwise stellar offering.

Far too often, people let their opinion of Dave Mustaine as a person affect their view of Megadeth, as a band. Like him or not, it is damn near impossible to deny his talent. Not only is he a great guitarist, but he is an excellent song writer and lyricist. This is not to say you have to agree with his platform. Just sit back and enjoy the ride. You are bound to find something to enjoy from Dave and his bandmates... whoever they may be at the time.

8.5/10

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

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Moonsorrow - Varjoina Kuljemme Kuolleiden Maassa (2011)

 

Endless touring can prove to be the defining achievement of your career. For Moonsorrow, tour after tour helped to build a loyal following of rabid fans, thirsty for more. For those people, three years was simply too long to wait for the next album to see the light of day. On Varjoina Kuljemme Kuolleiden Maassa, the ninth release by this Finnish epic metal ensemble, every day spent waiting is rewarded.

Pounding drums and lingering distortion cut through the air, as "Tahdeton" comes to life. There is no shortage of fuel on this fire, as the band weave their way through eleven minutes of signature changes and countless arrangements. The vocals carve out a niche, falling somewhere between the typical black metal harshness, and screaming. Viking chants find a home, as do plentiful keyboard melodies. Guitar harmonics whine over the top, with no shortage of power. "Havitetty," a short interlude, brings visions of a wounded run through a snowy forest, breathing heavy.

Catch your breath when the opportunity arises, because "Muinaiset" will immediately knock the wind from your lungs. The drums are like thunder from the heavens, leading the way for a tremendous bass line. Keyboards and guitars are in sync at first, before the guitars break away in fast strumming flurries. Double bass kicks lay the bricks of foundation for the signature vocal stylings. The harshest of screams fill the track, interrupted only by instrumental breakdowns.The outro portion will have your first in the air, chanting along.

Your journey through the snow and cold continues on "Nälkä, Väsymys Ja Epätoivo," before the full on assault of "Huuto" comes crashing down upon you. The most powerful track the band have done to date, it is as well rounded as the band itself. The drums are dynamic, as always, with each kick/snare combo complimenting each cymbal sizzle. Keyboards and synths are highlightedat , taking over the melody. This allows the guitars to play backup, creating an atmospheric feel. The deeper growls emerge, seemingly from nowhere. An acoustic guitar pads out the layers, mixed with utmost perfection into the heavy structure.

Breathing gets heavier now, with "Kuolleille" taking you to the end of your path. Dropping to your knees, you let our an ear shattering scream. And "Kuolleiden Maa" begins. This is Moonsorrow at their epic best. The bass melodies will surprise you, while the double bass beatdown batters you. Once again, keyboards are the backbone of the track, clearing a path for crunchy guitars and startling vocals. The chanting found midway will bring a chill. The song breaks down, drums pounding away, the high pitch whine of a guitar feeding back. Until, finally, silence.

One tour after another, Moonsorrow reassert themselves in our consciousness. With this album, they have brought the energy and relentless attack of their live show into the studio, and managed to capture it on a disc. Each second of the seven track, hour long opus is well planned, well intentioned and well executed. The term "folk metal" simply does not do this justice. Epic heathen metal has a nice ring to it.

9.5/10

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

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

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Slayer - God Hates Us All (2001)

Slayer, the infamous thrash metal band from Huntington Park, California, has released one of the most influential yet controversial albums ever in their whole career. I am talking of course, of their 2001 album, entitled "God Hates Us All." The title alone defines that album down to a tee as it screams anger, hatred, and rage. The original album artwork was suppose to be a picture of a bible covered in blood with "Slayer" burnt across the front of it.

The lyrics play a huge roll in the album as they entail the idea of murder, revenge, death, and anti-religious themes. The first song on the album, following the short introduction track, is entitled "Disciple" and contains plenty of these descriptions. The lyrics "God Hates Us All" is shouted all throughout the refrain by the singer, Tom Araya, and will remain stuck in your head for days as I'm sure you'll be replaying this song often. The guitar work is violently heavy with massive distortion on every riff. There is a solo that enters half way through the song that is fast and explosive as detailed notes clash together rapidly. This is an incredible opener for the album.

"God Send Death" is one of the only songs on the album that consists of the violent screaming that you're already used to, mixed with some clean singing in a demonic tone. The melody is catchy, with lyrics that are full of violence and destruction as it relates to disturbing images of death. Track 7, "Exile," is another great song containing lyrics like "Get out of my face, get out of my life," and "I just want you to die." The song has layers and layer of brutal guitar riffs, insane drum fills and double bass pedaling. The structure of the song switches constantly between bloodthirsty verses, complex solos and dominating break downs, which keep your ears glued to the speakers from start to finish.

The song "Seven Faces" starts off dark and mysterious as the drums enter and the guitars drop. Araya releases a wicked, death-like scream that will make you cream your pants and will haunt your unborn children years before they are even born. Demonic guitar riffs chug away as the snare and cymbals are thrown in your face. This song will definitely make you want to pump your fist. Another aggressive headbanger is track 12, "Here Comes The Pain." It's full of deafening guitars blaring angry devilish chords. Rapid double bass action will absolutely blow you away while drum fills within the break down will pull you with detail timing and structure.

Slayer has shown their overwhelming talent time and time again. "God Hates Us All" is a bone crushing, skull smashing masterpiece that will echo in the heads of millions. If there is one Slayer album you wouldn't want to miss, it's this one. Enjoy the raining of vicious guitar riffs and fierce solos combined with elaborate drumming and intense vocals throughout. You will bob your head from start to finish. I guarantee it!

10/10

Official Site - http://www.slayer.net/us/home
Myspace - http://www.myspace.com/slayer

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Skogen - Svitjod (2011)

Skogen is one of Sweden's newest black metal bands to hit the stage with their newly released album entitled "Svitjod." The album consist of ghostly melodic riffs, frightening vocals, and overwhelming drumming. The atmospherically raw recording sets up ghoulish imagery and ambient surroundings.

The first track, entitled "Dighra Dodh," opens with evil screeching guitars and monstrous vocals that will capture your ear immediately. The vocals are grim and full of black metal undertone. "Haxsabbet (Crimen Laesae Divinae Majestatis)" follows with soothing guitar riffs and eerie strings. They are mixed with violent drumming that will have you relaxed, yet hyper at the same time. The guitar work is truly remarkable, as they fill the song with an emotional vision of darkness. Also the drum fills after the verses are full of quick detail and really build excitement and energy as the song continues.

Harsh growling combined with demonic guitar melodies blast throught the 7 minute masterpiece entitled "Midnattens Gilmrande Stillhet." Be prepared to thrash your head to the drumming, as the double bass pedal action takes complete control over your mind. Halfway through the song enters haunting chanting vocals between the verses that present a similar sound to that of the Norwegian symphonic black metal outfitters Dimmu Borgir. The song structure is absolutely magnificent as the tempo changes back and forth. The opportunity for rest is minimal in the epic performance.

The album slows down with the epic "Vinterriket," which runs for over 11 minutes. The instrumentation is astounding as they incorporate ominous synthesizers, heavy guitars chugging dark minor chords, and gorgeous melodic acoustic notes all in one. Even the vocals switch between deep monstrous growling to calm depressive clean singing. A beautiful acoustic guitar solo enters about 4 and a half minutes in. This is filled with both melancholy emotion and an angelic feel. "Storm" is another similar epic beauty that definitely deserves some attention. The tempo stays slow and dark, but contains tons of distorted screechy guitars and more incredible vocal power throughout.

Things pick up speed with the electrifying "Blodornshamnd." Blaring guitar rifts come flying at you carrying dark melodic tones. Wrecking cymbals sour over the rapid double bass predal drumming while devilish sounds consume the atmosphere. This is definitely a "must hear" song you will not want to skip!

The album is well balanced with terrific structure and terrifying vocals. "Svitjod" definitely has the potential to set Skogen apart from other black metal bands. Although they are still fairly new, this is a great step in the right direction.

8/10

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

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The Podcast: Episode 5 (Double Trouble)

This episode is our favorite so far. We give you a heads up on Arafel, Cathis Ord and Moonsorrow. But then, the conversation begins. Why does it seem like bands don't get the huge following they did 10 and 20 years ago? Is the saturation of every sub genre hurting each and every band? Is this all just another sign of the collapse of the music industry?

Side note: There was a verbal typo in part one. The violin player from Arafel is from Germany, not the guitarist. Said it right the first time, wrong the second time.

Part 1 - http://www.megaupload.com/?d=4O4NVYO1

Part 2 - http://www.megaupload.com/?d=C65I368E

What do you think? Let us know in the comments!

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Dethklok - The Dethalbum II (2009)

After the staggering success of first offering, The Dethalbum, it was only a matter of time before Metalocalypse creator Brendan Small returned to the studio for a second session of brutality. Two years later, he has returned, but something is different this time around. The laughs are still present, but this is not the same Dethklok. This is the album we, as metal fans, had been waiting for.

Instantly, you can hear a much more crisp production on "Bloodlines." Tribal drumming leads into shredding guitars. Nathan Explosion's deep, coarse screams are more powerful than ever. An intermediate breakdown leads into a blood curdling, high intensity scream, never heard before on a Dethklok track. Gene Hoglan is once again behind the drum kit, showing us in every way why he has been dubbed "The Machine."The next track, "The Gears," is a call to arms for all Dethklok fans. You are told that "you're here because/you're one of us." And this could not be more true. Intertwined guitar scales, dipping in and out of Hoglan's uncanny speed and precision are a deadly combination.

The starting gallop of "Burn The Earth" is an instant headbanging classic. Lyrically dark and yet somehow amusing, Explosion plows through the song with gritty interjections; "Pour the gas, light the match, burn." The guitar work of Brendan Small is at its best, one blazing solo after another. "Laser Cannon Deth Sentence" takes no prisoners (literally), pressing forward with just a hint of keyboard fueled brutality. The music has evolved, beyond the jokes and the tongue-in-cheek humor.

"Black Fire Upon Us," the song from the season 2 finale, has been hashed out into a six minute masterpiece. While it comes in as one of the slower songs on the record, make no mistake about it. This is Dethklok at its best. From the growling vocals, to the deliberate chugging guitars, everything we have come to expect from Small is present here, and so much more. "Dethsupport" brings the tempo back up, shredding through a 2 and half minute plea to pull the plug. Explosion pours out a list of illnesses, with each line followed by a demand to pull the plug. After all, it's costing too much.

"The Cyborg Slayers" and "I Tamper With The Evidence At The Murder Site Of Odin" are both strong, with Hoglan's drumming really seeing the spotlight. A familiar whine takes you head first into "Murmaider II: The Water God," a sequel to a track from The Dethalbum. It takes everything the original had to offer, and builds more on top of that foundation. You have committed murder, and you now live knowing you are being tracked. But you proclaim, "I am the water god."

Destiny comes at full force in "Comet," complete with what may be the best guitar solo the album has to offer. You are treated to an almost Pantera-esque stomp in "Symmetry," a song about physical perfection and jealousy. The song contains a serious southern groove, accenting Explosion's vocals. The band concludes with "Volcano," which contains a group of background singers, chanting along. Again, something you would not expect to find in a Dethklok offering.

When it comes to success in the music business, you are often confined to your sales numbers and Billboard chart positions. Brendan Small has been able to count success in more ways than one. Yes, The Dethalbum II sound 45,000 copies in the United States in its first week, placing it at #15 on the Billboard Chart. But more than that, he has created a loyal following of fans not unlike the ones that Dethklok encounters in their show. With the release of the first album, we found ourselves wanting to do anything for Dethklok. Now, we are truly gears.

9/10

Official Site - http://www.adultswim.com/shows/metalocalypse/index.html

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

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Burzum - Fallen (2011)

Burzum is only one of few bands that can really pull off the low budget sound recordings when putting out an album in today's hi-tech world. "Fallen," the 8th studio album, is a well written and well performed piece of black metal art however be prepared for the lack of quality in the recording. Some bass lines and guitar riffs are hard to pick out especial over the violent vocals and drumming in specific parts. The good thing that this quality has to offer is that the guitars sound more evil and more screechy than most recordings now-a-days. This fits well for the fact that it is black metal and evil and screechy is what black metal fans look for. And for those of you who are not familiar with Burzum, Varg Vikernes is the only member of the band. He did everything from writing to recording and even producing "Fallen" and most of his earlier work as well.

The album contains more of an ambient sound as you'll hear in certain tracks. The intro, "Fra Verdenstreet," creates a dark sinful image as it is filled with eerie sounds and ghostly whispers. "Jeg Faller" is the following track that runs just under 8 minutes. The opening verse is pummeled by venomous growling and deathly guitar riffs played in between. The refrain is melodic and memorable as Vikernes clean vocals sing in a low key. It will have you humming along instantly. Others verses include eerie lyrics which are delivered in a satanic like voice. Punchy bass lines fill gaps between the chorus and provide poisonous beauty to the song.

Depressive guitar riffs consume the atmosphere in "Valen." The use of growling and gloomy clean vocals combined during the refrain gives off an emotional yet violent feel. The guitar work throughout the song is absolutely remarkable. This is 9 and a half minutes of sheer beauty. Devilish screaming and evil growling is followed in "Vanvidd." The song carries a solid back-bone to the album as it contains layers and layers of ominous guitar riffs blaring with distortion. There is tremendous amounts of rapid hi-hats and loud crashing cymbals. Vikernes also manages to include chanting vocals in the middle of the song right before the demonic screaming comes back in. This adds a great Nordic feel to the track.

The song "Budsikken" is ten minutes of skull crushing guitar riffs played in rapid minor chords. The vocals vary between viscous screaming and demonic spoken word which give off wicked fiery undertones. There is also lots of various drum patterns and tempos with detailed song structure This leads to the final track. The album comes to close with "Til Hel og Tilbake igjen" which translates to "To Hel And Back Again." The song is a dark outro that is full of quiet, eerie instrumentation. This includes unusual drum sounds, low, creepy whispering, and haunting guitar notes that fill the air creating a dark environment for the listener. Incredible imagery for this ominous adventure.

"Fallen" leans more towards "Belus" which is Burzum's previous album released in 2010. There is a lot more ambiance all throughout, however it also contains some newer influences as well. The lyrics contain more personal issues yet also include a mythological background. Despite the low recording quality, Vikernes has displayed a well range of variety throughout the record and continues to show his talent and passion towards black metal.

8/10

Official Site - http://www.burzum.org/
Myspace - http://www.myspace.com/burzumofficialpage

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Cathis Ord - The Far Shore (2011)

 

Storytelling in music is no secret. From the smallest punk bands to epic viking outfits, everyone has something to say. So how do you tell your story with minimal vocal work? Cathis Ord, hailing from the stormy UK, are doing just that. A refreshing fusion of progressive rock and post-metal elements, partnered with sparse vocal passages, plays out like a book written in musical form.

The buildup is the key to "Rider On The Dawn," before a four stick count brings in the heavy bass drum action and atmospheric guitar work. The theme is evident, with the lead guitar work taking the place of vocals in most areas. The track features short burst of growls and screams, but the story is told through darting guitars, both acoustic and electric. The changes of tempo and tone are impressive, and keep things fresh for the duration. "Beyond These Gates" starts as a simple post-rock piece before being joined by clean, and slightly off key singing. The drums start to get heavier, and the voice gets progressively more coarse. Before you know it, you are assaulted with high speed double kicks and epic, uninhibited solos. A screaming outro provides the bookend to the track.

Arguably the catchiest track on the album, "As Winter Lays Its Siege" takes an electric guitar foundation and mixes it with acoustic sections. The back and forth provides a marvelous contrast of styles, punctuated by a growling bridge. Guitar melodies are at a premium here, playing off the thunderous drums. Footsteps lead us out of the track, and into the next, "From The Far Shore." A soft drum beat, simple bassline and acoustic guitar are the framework, with a light whine of electric heard faintly in the background. A lone drum and the cold wind are the finale.

Heavier moments are to come, with both "The Palace Without A Name" and "Fire On The Horizon" bringing the sky down. Stunning guitar work drives both to familiar places, with a tremendous set of creative drum fills steering the ship. Acoustics are used well, both as a cool down and a scene setter for the final act. The vocals border on violent in nature, cutting through the wall of guitars, bass and drums to the core of you. Piano keys ring out, and the journey comes to an end.

While vocals can certainly tell a story in a myriad of ways, telling the same story through instrumentation could prove to be more profound. And when you manage to combine both styles in a flawlessly executed work of art, you are doing more than telling your story. You are taking us all along for the ride.

10/10

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

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Amon Amarth - Surtur Rising (2011)

After 2 and a half years of waiting, the viking metal gods, Amon Amarth, are back with another explosive album, entitled "Surtur Rising." This is the Swedish death metallers' 8th studio album. Just looking at the album cover, you can already tell what is about to be thrown at you. Everything from vikings with swords to fiery flames and volcanic death! True epic pagan metal delivered in the heaviest way possible.

To start this epic adventure, the album begins with a violent opener entitled "War Of The Gods." It's packed with quick double bass pedals and viscous guitar solos that are both melodic and catchy. You will also find the riffs during the chorus to be irresistibly addicting and they run through your head for hours on end.

"Destroyer Of The Universe" is another magnificent song that is full of deep rocky growling. There is also a very catchy refrain accompanied by wicked roaring and incredible blast beat drumming. This is followed by an impressive melodic solo ripping up and down the scales. Johan Hegg also shows off his deep, monstrous growling in "Slaves Of Fear" and "The Last Stand Of Fire." They are full of passion and violent emotion giving off so much feeling from the album.

Also, "Wrath Of The Norsemen" has deathly breakdowns that will have you rocking your head and throwing up your metal horns. The only issue I have with this song is that it is 3 minutes and 44 seconds too short. being such a powerful song it would nice if it was a few minutes longer. Not to worry though, the repeat button fixes this problem. You will find your self hitting this button more than once, that's for sure.

There is also a special treat that is incorporated with "Surtur Rising." If you buy the album Amon Amarth offers you a free download of their version of System Of A Down's "Aerials." I must say, they really take the cake with this electrifying cover. The instruments are right on point. As for the vocals, If they don't make you shit yourself, I don't know what will. Hegg's growls are deafening and full of rage. This is one cover song you won't want to miss!

Amon Amarth has shown that they can, and will, continue to do what they do best, and that is to make epic viking metal. They somehow manage to out do themselves with each and every album. "Surtur Rising" is everything expected by them and even more. For victory or for death!

9/10

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

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Arafel - For Battles Once Fought (2011)

Soviet born youngsters. Folk influences. Black metal elements. Death metal style. Viking metal vocalist. Those five things could easily be used to describe an entire tour's worth of bands. But in this case, all of them come together in one Israeli monster, known as Arafel. Derived from the Hebrew word for "fog," this five piece will certainly leave your vision blurred, and your ears ringing with their own brand of epic war metal.

Pounding drums and the sounds of war build to a fever pitch, and "Sword's Hymn" has begun! Lightning quick drumming and guitars pave the way for an array of vocal styles. Low end growls alternate with blackened screams. Viking chants enter, while a soft violin adds another texture to the fold. This is headbanging music at its finest, through verse and chorus to a dizzying breakdown section. "Kurgan" enters as a folk piece, with a well constructed intro, allowing the violin to duet with a distorted guitar. Harsh, grating vocals are the norm, treading with a heavy foot over time signature changes and flowing guitar hooks.

An acoustic guitar riff, beautiful and brief, leads you to "The Siege." Uptempo drumming forms a gallop of sorts, before descending into pure chaos. Roll after roll, leading to thunderous crashes. Cutting through the dark is a guitar solo that will bring you to your knees. Even at high speeds, instruments stay in sync, locked with dooming vocals. As catchy a guitar melody as you will ever hear highlights "1380: The Confrontation," contrasted by the depth and power of scream after scream. With growls and screeches in bunch, often delivered together, you may feel as though Satan himself is calling out to you. Strings, horns and crunchy guitars reiterate the opening melody as the track closes.

Whipping winds fill the background of "The Last Breath Of Fire." The folk influences are evident here, though kept in a darker reality. Chants rings out over the flurry of drums and guitar riffs. "Im Feld" is a slaughter of epic proportions, with soaring scales and drums that continue to punish you, from kick to snare, tom to cymbal. A brilliantly executed stop and start breakdown are sure to earn a nod, preparing you for a down tempo stomping outro.

"Wolf's Hunt" offers a short reprieve before grabbing you by the throat. Violin and keyboards get a starring roll, playing the melody through the major sections, with beautifully orchestrated chants and choirs filling  the air. The raspy screams lead the way, stopping only to insert a true death growl. "Death Of Archaic World" is the epitome of a closing track. The band are now at full throttle, with every influence present and accounted for. Everyone gets a turn, from a heavy handed, hammering drum beats to a dance inducing violin. You will both fear and look forward to the war.

What more can be said about a band, and album, that seem to have it all? Arafel have become something more than death, something more than folk, something more than viking or black metal. Through the years, they have evolved into a genre unto themselves. Maybe they can become the founding fathers of Israeli blackened Viking folk death metal. Consider it done.

9.5/10

Official Site - http://www.arafel-band.net/
Myspace - http://www.myspace.com/arafelmetal

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The Podcast: Episode 4 (Hurdy Gurdy Hijinx)

Forth time is a charm, right? Sons of Seasons and Helevorn are on the "new artist" agenda, while Suidakra finally gets some respect. Chester has fallen into a folk metal induced coma after being introduced to Eluveitie's stunning album "Everything Remains as It Never Was." Time for a 'hurdy gurdy' education!

http://www.megaupload.com/?d=QFZA4ETB

Download it, listen and let us know what you think. We want to hear from you!

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Meshuggah - obZen (2008)

Coming from the depths of Sweden, Meshuggah has released their sixth studio album in 2008. This experimental metal band has taken their sound to a whole new level. The album, entitled "obZen," features massive amounts of fast heavy riffs, speedy drumming, and immense breakdowns.

The album starts off with "Combustion" immediately showing off their unique guitar and bass riffs, as they clash together heavily with intense drumming. The song holds a screeching guitar solo towards the final minute. This is followed by "Electric Red" which carries devilish guitar riffs and haunting synthesizer.

"Bleed" is a 7 minute masterpiece that has one of the most insane intro's I have ever heard. It is filled with destructive drum patterns and rapid bass playing throughtout. The vocals are loud and violent as well. The incredible breakdowns will leave your head bobbing from start to finish. Ominous synthesizers enter about 4 minutes into the song, which then lead to a monstrous bridge consisting of rapid double bass pedal action and a melodic synthesizer layered on top.

Track 4 entitled "Lethargica" offers a very different type of sound as violent guitar riffs fill the air. This is then combined with jaw dropping bass lines that create such an amazing godly sound. Meanwhile, there are songs like "This Spiteful Snake" which contains dark metaphorical lyrics, which you will definitely want to look up as you are listening to it. The lyrics are, of course, told through Jens Kidman's demonic and deafening growling. Their is also an eerie solo in the middle of the song which you will find most impressive.

If you are into constant beastly breakdowns then track five, "obZen" is definitely one to check out while searching through the album. It keeps a constant groove throughout the song leaving you once again, headbanging constantly. Bone crushing guitars chug away to reckless snares and cymbals while detailed bass notes knock you out of your seat.

Overall, the album is very intense and interesting. It stands strong and keeps you hooked the entire time, thanks to the phenomenal song structures and the consistent heavy drumming. Kidman's vocals keep the album dark and gloomy while the guitars you destroyed with their violent minor chords. This is definitely one of their greatest albums yet.

8/10

Official site - http://www.meshuggah.net/
Myspace - http://www.myspace.com/meshuggah

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Helevorn - Forthcoming Displeasures (2010)

Innovation isn't always the key to excellence in the metal world. There is something to be said for simply doing right by your sound. For Helevorn, a six piece from Palma de Mallorca, Spain, it has been beneficial to master their craft, rather than try to reinvent the wheel. On "Forthcoming Displeasures," their third disc of material, the band take the death/doom structure to familiar places.

Delicate strumming and a simple bassline greet you, joined by a spoken passage, introduce "From Our Glorious Days." Booming kick drums and deep screams come from nowhere, tempered with sparse keyboard melodies and off-key, yet powerful clean vocals. The tempo is slow and deliberate, remaining at a constant. A quick bit of prose moves you into "Descent," a track which proves to be a chugging clinic. A single guitar riff cuts through the thunder, creating a path for well placed keys. The vocals are harsh in their delivery, but not overpowering, allowing room for melody and synths to cut the tension.

A beautiful piano piece leads the way in "Two Voices Surrounding," a track that is about as close to a ballad as you will find in this style. The vocals start clean, though touched with effects, before descending into darkness again. Simple guitars and drums keep the song moving forward without imposing. Suddenly, a deep, guttural scream arises, welcoming you to "To Bleed Not Suffer." The pace changes from a slow, somber beat, to a more aggressive one, but always ends up back where it started. Through all the time signature and instrument changes, there is always a pronounced, calculated drum tone, giving you perfect head nodding material.

"Revelations" kicks things into a higher gear, with guitar scales ripping through the bass, drum, vocal wall. Signature growls are revealed, syncing up precisely with kick drums blasts that are sure to rattle your rib cage. But beauty is ever present, with keyboards providing accents along the way. We fall back into the depressed abyss of  "Hopeless Truth," using spoken word to dim the lights. A guitar riff that almost seems to be one of light chimes in, before crashing down to earth in a heap of eerie keyboards, devilish screams and drum earthquakes.

Both "Yellow" and "On Shores (Of A Dying Sea)" are masterpieces of doom, creating a perfect ending to the album. They are instruction manuals on how to make music that is both dark and powerful. Guitar melodies, clean vocals, coarse screams, heavy drum fills and the light addition of cymbal all melt together in a profoundly simple way, before fading away to a piano outro.

Not every album needs to be a revelation. Bands try so hard to set themselves apart, but often in ways that detract from the music itself. The key to improving your standing in the music industry isn't always another vocalist, odd instrumentation or a half-baked concept album. Sometimes, the answer is as simple as perfecting what you already know how to do.

8.5/10

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

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Insomnium - Above The weeping World (2006)

Ready for some kick-ass melodic death metal? Coming from the dark shadows of Finland is the incredible Insomnium. Their third official studio album, "Above The Weeping World," is an aggressive, melodic masterpiece. Nine tracks filled with screeching guitar solos and brain splattering drumming and bass picking. Not to mention the consistently brutal growling that will make you shit your pants!

The intro track alone will blow you away with its epic buildup from calm beautiful piano keys to heavy destructive guitar riffs. "The Gale" immediately gets you hooked as its catchy melodies jump out and grab you by the throat. This is just a taste of what this killer album has to offer.

"Mortal Share" is the first full song on the album. It opens with dirty guitar work as you are first introduced to the vocals. A sudden "roar" breaks through the guitars smashing every frequency in sight. The verses are sharp and to the point, which lead to heavy chorus's and ripping guitar solos. And if you're looking for some more great solos, "Drawn To Black" and "The Last Statement" contain melodies that will wrap around your head and drown you as guitar notes fill your ears.

"The Killjoy" has an interesting structure, as it starts with fiery guitar chords and reckless growling through the verses but incorporates soft, angelic acoustic guitars layered with ominous spoken word towards the end. The various changes in tempo will keep you at the edge of your seat. Also enjoy the ripping guitar solo that is thrown in the middle of the track.

Track four entitled "Change Of Heart" offers rapid bass pedal action with epic verses as they consist of aggressive growling vocals accompanied by layers of demonic guitars. They are then followed by a beautiful melody that will stay stuck in your head for days, as I've found myself humming the tune while at work. You will also find catchy guitar notes in the song "At The Gates Of Sleep" as they are combined with amazing double bass pedaling and booming bass lines. These are definitely two tracks you do not want to skip.

Insomium concludes the album with an epic 10 minute song entitled "In The Groves Of Death." It includes gorgeous orchestral instruments in the beginning, followed by amplified guitars and deep growls. It also includes a soothing bass line about 5 minutes in while accompanied by a ravishing guitar solo.

Outstanding song writing by Insomnium, both lyrically and musically. "Above The Weeping World" has memorable riffs and head bobbing drum patterns that deserve much attention. We will hopefully be seeing a lot more of them as they continue putting out more epic albums like this one.

9/10

Official Site - http://www.insomnium.net/
Myspace - http://www.myspace.com/insomniumband

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Suidakra - Book Of Dowth (2011)

Suidakra, a melodic death metal outfit from Germany, specialize in bringing Celtic folk elements to dark new places. No, that isn't a misprint. For those unfamiliar with the band, it is certainly strange to imagine a group of Germans bringing you to an Irish step dance infused lather. But that is precisely what happens on this, their latest adventure, "Book Of Dowth."

Taken from dark Celtic lore, the album tells the stories of the Fomor, a horde of demonic beings in ancient Ireland. Beginning with "Over Nine Waves," you are treated to the heavy, in time with the sublime. Bagpipes lead the way, over the sound of the sea and wind meeting in a powerful force. Double kicks and thrashing guitars enter, make the transition to "Dowth 2059." Classic headbanging style emerges, with high speed and heavy distortion. Harsh vocals charge into the fray, delivering the dark and dangerous tale of the book, uncovered in the future and bringing on disaster on death. The breakdowns provide reprieve from the slaughter, with somehow lighthearted Celtic guitars playing the lead.

The back and forth, give and take of guitar work continues in "Battle-Cairns," saturated with a huge drum sound, from blast beats to cymbal crashes. You will find the desire to don your armor and charge into battle against the demons, while also feeling the urge to break out in a "Lord Of The Dance" style routine. "Birog's Oath" sees the first appearance of a haunting female vocalist. Toms and acoustic guitars set the pace, before giving way to crunchy guitars at the trademarked "evil march" tempo. A soft piano outro, leading to delicate acoustic intro of "Mag Mell," otherwise known as the "plain of joy". A ballad of youth and beauty to rest your weary head.

"The Dark Mound" and "Balor" continue on the high powered journey, painting a dark portrait of the battles to come. High energy guitar work, completed by thunderous kick snare combos and growling vocals. "Stone Of The Seven Suns" showcases a uptempo chant, highlighted by marching snare drums and acoustic guitars. It is evidence that bands in this often stereotyped genre can, in fact, write a catchy hook. Vocal aggression rules the stage on "Fury Fomoraigh." With the evil book uncovered, the demons seek revenge for the years of imprisonment. The track borders on violent, bludgeoning you repeatedly with the heavy, coarse guitar work, drum rolls, and massive kicks. Endtimes arrive, and the track fades to reveal "Otherworlds Collide," an acoustic, stormy ending.

Suidakra have taken a stirring piece of ancient mythology, and done an admirable job of turning into a metal epic. And while unearthing the "Book Of Dowth" may have brought death and destruction to the world of the future, it is has certainly given the fans of this hard nosed German four piece something to look forward to.

8.5/10

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

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Opeth - Deliverance (2002)

When it comes to Opeth, it is hard to decide which album to listen to. Everything that they have ever recorded is unique, and truly amazing, in every way. One of their most powerful albums to date is, without question, "Deliverance." This is their 6th studio album and was released in November of 2002. The band has really taken Progressive Death metal to a whole different level, combining Mikael Akerfeldt's hell raising growls and subtle clean singing with tremendous changes in song structure, from fast and violent drumming to dark and calm melodic guitars and piano.

"Wreath" sets a fast, groovy melody to the beginning of the album, as distorted guitars and rapid kick-snare action blasts through your speakers. Excellent use of orchestral strings leave a perfect sound ringing in your ears. Giving off a dark and deathly feeling, the lyrics paint a clear picture of a nightmare. Definitely be sure to read them over. Another great feature to this song is that is runs just over 11 minutes. So if you're into those long, epic story tellers, this is definitely the song for you. In fact, as you continue listening through the album, you will see that 5 out of the 6 tracks are over 10 minutes long. Take "Deliverance," for example. It is 13 and half minutes long, and is loaded with creative lyrics and deafening guitar riffs. Even knowing the length of these songs, you will still want to replay them over and over.

The album slows down with "A Fair Judgement." The first minute and a half is a soft and beautiful piano, followed with smooth, clean vocals and light drumming and guitars. The first couple of verses are used as buildups to the catchy melodic guitar notes that follow afterwards. Acoustic guitars enter the song, as more clean vocals are included. It then picks up with heavy, electrifying guitar riffs and loud cymbals and snares. Striking solos fade in and out throughout the middle of the song. The track fades with dark repetitive guitar riffs as it introduces "For Absent Friends." This is a little 2 minute song that contains mellow guitar melodies with no drumming. Almost an intermission to the album.

"Master's Apprentice" is a true masterpiece that contains quick double bass pedaling and outstanding instrumentation. The use of acoustic guitars mixed with electric guitars help create a clear image and a strong sense of emotion to the song. The vocals switch back and forth between clean singing and monstrous growling. This is one of Akerfeldt's most impressive performances ever. So much passion is shown with his deep lyrics and miraculous clean vocals. "By The Pain We See In Others" even consists of different uses of his voice. The beginning has dark, eerie vocals that almost sound like black metal.

The mixing of vocals and amazing song structure throughout "Deliverance" is absolutely extraordinary. Opeth holds so much talent and creativity in their songs. Every album, including this one, will leave you wanting more. It's music like this that has Opeth standing out above the rest.

9/10

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

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Sons Of Seasons - Magnisphyricon (2011)

Kamelot is a very well known symphonic metal band, and I can only imagine how busy they are with writing new songs and touring all of the time. However, their keyboardist, Oliver Palotai, has been making an effort to put together a side project known as Sons Of Seasons. The talented group from Germany has released their second studio album, entitled "Magnisphyricon." The album is packed with fantastic melodies and epic orchestration.

The album opens with a short melodic intro that really sets the image of the album, and prepares the listener for an incredible journey. This leads into the first song on the album entitled "Bubonic Waltz." Now of course this is not your average waltz. This symphonic track is filled with thunderous drumming and magnificent orchestral instruments. The double bass pedaling is sure to have you bobbing your head immediately. Deep strings mixed with incredible synthesizers really catch your ear. The vocals are subtle at first, but become louder as it builds into the refrain. The song even includes an organ during the middle of the breakdown, which is then followed with a beautiful guitar solo. This is an amazing song to start off such an operatic album.

If you are looking for some well balanced tracks that are both heavy and epic, "Soul Symmetry" and "Into The Void" are two songs you will definitely want to check out. They both have unique song structure and go from soft and beautiful to loud, distorted, and heavy as hell. They start out with destructive guitar riffs chugging away from chord to chord. However, as the verses enter, the tempo slows down and light layers of strings and chiming cymbals take over. This, of course, is accompanied by the marvelous vocals of Henning Basse. The chorus's consist of catchy melodies and are layered by multiple instruments, including horns and unique strings. The solos within these two tracks are quite amazing as they go back and forth between the guitar and keyboard. Certain parts being fast and deafening, while other parts are slower with more melody and emotional feeling.

Another unique song that you will want to hear is "Sanctuary." The band features the astonishing Simone Simons, lead singer of Epica, as she adds her gorgeous vocals to the track. She sings the first verse and also joins the chorus, as she and Basse sing together. The mixture of their voices will have you hooked as you'll find yourself playing this song over and over again. As far as the instruments go, violins fill the air during the breakdown as they are layered by lovely piano keys. There is also lots of depth within the bass and drums that adds great texture to the song

As the album comes to an end, it is concluded with a piano ballad entitled "Yesteryears." This is one of the most divine pieces of music, full of feeling and creates breathtaking imagery. Calm, elegant piano keys fade behind Basse's angelic vocals. The ending includes a terrific piano solo that leads to the refrain one last time. This epic masterpiece is the perfect way to complete "Magnisphyricon."

Sons Of Seasons is more than just a side project. This is true symphonic metal at its best. Tons of epic awesomeness surrounded by ripping solos and heavenly vocals. It also includes fantastic use of orchestral instruments to really give it that harmonious sound.

8.5/10

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

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The Podcast: Episode 3 (I know who you aaaaarrrrreeeee!)

Back again for round three. We open your eyes to French "oriental death metal" innovators Arkan, as well as Finnish folk metal titans Crimfall. Chester returns give us his view of Blind Guardian's latest opus, "At The Edge Of Time."

http://www.megaupload.com/?d=P8B53BDX

Download, listen and comment below. Agree or disagree, we want to know what you think.

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Nevermore - The Obsidian Conspiracy (2010)

 

Seattle, Washington, has always been known as a hotbed for all things rock. From grunge to indie, the rainy northwest is home to the hard and the heavy. But none are more unique than progressive metallers Nevermore. For the better part of two decades, they have carved out a niche, taking everything we know about thrash, and turning it upside down.

A winding guitar played atop a labyrinth of crushing drums kicks things off. "The Termination Proclamation" is a statement of intent. Guitarist Jeff Loomis ties you in knots, while Warrel Dane punishes you with his own signature vocal style. Tempos shift from the high speed chase to the headbanging mid range, accompanied all the way with double kicks and blast beats from hell. The finger and foot tapping assault of "Your Poison Thrown" is a surefire crowd pleaser. Loomis steps back, allowing the charismatic Dane to lead the charge, asking "what do you want from humanity?" The whine of a solo brings the song full circle.

The bruising continues into "Moonrise (Through Mirrors Of Death)," a double kick packed rollercoaster ride. The oft forgotten rhythm section batters the listener into a state of shock, from one staggering roll to the next. The syncopated beats of "And The Maiden Spoke" may catch you off guard, especially when delivered alongside the ominous spoken word. Dane is at his melodic best, with vocal melodies that simply cannot be duplicated. A light guitar in the chorus merely serves to harmonize, before coming back to life.

The band dial things back slightly, offering a song that begins as a standard rock song. "Emptiness Unobstructed" is a rhetorical question of life's purpose, leaving Dane searching for the answers. Verse crashes into chorus, which comes to a chugging halt, tagging the verse back in. Fear not, the mighty Loomis gets his lick in at the end, delivering a blazing solo over a chorus of toms. A dark ballad follows, in the form of "The Blue Marble And The New Soul". They slow to a crawl, delivering a lyrically powerful lesson. The poignant "Without Morals" follows, revving the engine back to speed, preparing for the home stretch with Warrel Dane's voice taking the fore.

Bass and drums unite to form the backbone of "The Day You Built The Wall," which provides the stomp of the album, without losing the lyrical power. Diverse vocal delivery, from melodic crooning to the low growls,  helps to drive things home. Even at the slower pace, Loomis still dishes out a well crafted solo, choosing to work with the flow of the song, as opposed to against it. The acoustic tinged and sexually charged  "She Comes In Colors" starts out like a lamb, but quickly changes over to a beast, with high speed riffs rolling over heavy snare work. The title track serves to end things where they began, melting faces with solo after solo. The onslaught will leave you battered, beaten and ready for more neck breaking drum work. The unit play off of one another, building to a dramatic conclusion.

Originality becomes harder and harder to come by, with each new band simply ripping off those who came before, in some twisted homage to their heroes. Yet, somehow, Nevermore's sound has gone untouched by outsiders. It seems far fetched to think that no one has tried to steal any aspect of their style. It is more likely that many have tried, and failed, to replicate it. Bravo, Nevermore.

9/10

Official Site - http://www.centurymedia.com/artist.aspx?IdArtist=39

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

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