Biomortal - Breathe (EP) (2011)

Biomortal, a synth driven industrial metal band, hails from London. Started as a one man side project by Paul Theobold, the band have filled out a line-up and come back with a new EP to show off what they have created. A collection of four new songs, and a cover that must be heard to be believed, this four piece are making a play for a label with "Breathe."

Bending guitar strings and strong, calculated cymbal crashes move straight into double kicks as "Drowned Out" begins. Screams are gritty and well focused, but they quickly dissolve into whispers and off-key warbling. Background keyboards prop up the simply guitar melody, before the song crashes back into technical industrial death style. The use of the double kick is liberal, often going full passages without a reprieve. It only seems to blend together by track's end.

The band show off their softer side on the delicate "Abyss," with that effects-induced singing searching for harmony over a whining guitar and bass line. It feels like an intro, drawn out for a full three minute track. You may wait for the other shoe to drop, but unfortunately, it never does. The most successful track on the album, "Fate's Calling" shows a little versatility, with the drum beats changing pace and power throughout the song. The vocals come back, harsh and edgy, but actually find a balance with clean singing in the chorus section. The keyboards are ghostly, but too often get lost in the pulsing drum track.

On the flip side, "Ticking Timebomb" is an interesting combination of styles The vocals in the verse sections could easily be mistaken for early 40 Below Summer. The bridge/breakdown section is strong, allowing the synths to shine through it all. Even the drums take a different route, switching from the death style kick rolls, to a black metal kick/snare/cymbal assault. The grand finale of this EP is a misguided cover of Berlin classic "Take My Breath Away" (Complete with cat singing music video here). Done in the tradition made popular so many years ago, the band reinvent the song. Gone are the cheesy synth melodies, replaced with distorted guitar chords and keyboards. The vocals range from the coarse screams to the attempt and soulful, delicate crooning. The track is a novelty, and seems to be a questionable choice to include when you are seeking to cement your place in the metal community.

While this EP is certainly a jumping off point, it isn't quite a deal maker. The talent is there. The vision is there. But something has been lost in translation. The production isn't perfect, but solid in most areas. The problem, however, lies in the mix. The synths, the band signature, get lost amidst crashing drums and guitar riffs. And without that strong presence, the tracks seem hollow.

5/10

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

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The Podcast: Episode 12 (Pretenders to the throne)

Hell22 talks about the pagan metal fury of Kromlek, while Murmaider likes the "scrowls" from Asphagor. But there is a problem. The word "metal" is used too damn often, to describe bands that simply don't deserve it. Has anyone ever said to you "Disturbed is, like, the heaviest band in metal today!" Well, we've heard it all, from Disturbed to Slipknot, Nickelback to Godsmack. And you know what? It kinda makes us mad. So, rather than pay for a therapist, we use this time to let off a little steam.

Part 1 - http://www.megaupload.com/?d=V9E9PO5L

Part 2 -http://www.megaupload.com/?d=PIJI0K25

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Crimfall: The Interview

What inspired this album, lyrically and musically?

I would say lyrically my inspiration for this album came from the untold stories of folklore, the side often left in dark of heroes failing in their cause or leading legions to their hollow graves. How the tale is written on the side of those conquered and defeated. Other inspiration was northern winter as we wanted the mood to be different from the fiery debut. I know Jakke draws his music from all kinds of different sources, finnish nature, movie soundtracks and works of other talented composers.

A question we have always had is how the music scene in Finland works. In the US, Rap, pop and country are everywhere, and metal is still a smaller genre. is metal the music of choice in Finland? What is the live music like?

Here in Finland we have been living few years this weird period where metal music broke from underground into mainstream. It has always been more popular in here than some other countries but these past times have seen it dominate the music charts, summer festivals and even eurovision contests (spit). This of course brings lots of opportunities for the bands but also raises lots of mud from the bottom where people forsake their integrity to grasp out for easy money and quicker more shallow solutions in music often seen more in pop than metal. The best thing in all this is the amount of excellent bands we finally got here to play live you never expected to see in your lifetime.

How much did traditional music and folklore impact your style?

I would say somewhat but definitely not the main reason for Crimfall to exist. Traditional music with traditional instruments is often constricting and results in poor imitations or nostalgic trips rather than creating something great and unique. That being said Crimfall is very visual music and often the picture portrayed is from the old times of tradition and folklore, this means it is usually better to use the sword than the composing pen.

Do you have plans on touring in America?

It would be great but unfortunately still a distant hope. This 70.000 tons of metal thing would be interesting as it is something completely different.

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

For Jakke our small tour with Turisas was one of the big things happening for this band as he has huge respect for their music. Personally I would like to share the stage with Primordial or Eluveitie. Some more unusual combinations with more popular bands would be good as well to bring our music to wider audiences, not just folk metal.

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?

For the metal music it is not such a big problem, metal fans tend to want their music in physical concrete form along with the lyrics and artwork. Of course you can clearly witness the fall in record sales but to my understanding this is also caused by the explosion of quantity. It is so much easier to record and produce good quality sound as studio technology evolves in leaps. Back in the old days if you managed to get a record deal and release an album that was not utter shit you could count on at least decent sales. Nowadays the percentage of new bands that sell well is much smaller. Downloading can of course help in the discovery process but it won’t resolve this problem. I also think that services like Spotify will replace the downloading in the long run. In the end bands need to find new ways to cut profit from their work, live concert tickets and merchandise are all part of that, especially in metal music where they still hold their value.

What does the future hold for Crimfall?

I see Crimfall in the crossroad now; one path leads to bigger audiences and wider recognition, other leads to more underground status. We managed to get a good concert booker and are beginning to invest heavily on touring. Next year we will focus more on the third album. The direction we go with that is still in flux.

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The Best of 2011... So Far. (With Podcast)

Every year is a good year for metal. Even when some of your favorites don't release new albums, there are scores of new bands, fighting for your attention. So, Murmaider and Hell22 have compiled a list of their top 10 favorite metal albums of the first half of this year. Check out the lists, and corresponding reviews.

Keep in mind that the lists are not based on the Sorrow Eternal reviews, but rather their personal enjoyment of each album. And just think, the year is only half over! We still have new albums from Chimaira (8/16), Dream Theater (9/13), Opeth (9/20), Mastodon, and so many more.

Hell22's Top 10

1. Amorphis - The Beginning Of Times (review)
2. Draconian - A Rose For The Apocalypse (review)
3. Symphony X - Iconoclast (review)
4. Brymir - Breathe Fire To The Sun (review)
5. Arafel - For Battles Once Fought (review)
6. Hell - Human Remains (review)
7. Moonsorrow - Varjoina Kuljemme Kuolleiden Maassa (review)
8. Suidakra - The Book Of Dowth (review)
9. Crimfall - Writ Of Sword (review)
10. Tersivel - For One Pagan Brotherhood (review)

Murmaider's Top 10

1. Stratovarius - Elysium (review)
2. Within Temptation - The Unforgiving (review)
3. Amon Amarth - Surtur Rising (review)
4. Draconian - A Rose For The Apocalypse (review)
5. Burzum - Fallen (review)
6. Moonsorrow - Varjoina Kuljemme Kuolleiden Maassa (review)
7. Amorphis - The Beginning Of Times (review)
8. My Dying Bride - Evinta (review)
9. Tersivel - For One Pagan Brotherhood (review)
10. Brymir - Breathe Fire To The Sun (review)

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Tengwar - The Halfling Forth Shall Stand... (2011)

The collected works of J.R.R. Tolkien have influenced many bands over the years, all to varying degrees. The latest group to catch the Lord of the Rings bug is Tengwar, a seven piece folk outfit from Buenos Aires, Argentina. With their new concept album, The Halfling Forth Shall Stand...," they combine traditional South American sounds with Celtic and Medieval influences in a tribute to the trials and tribulations of Middle-Earth. Pack your bag, Frodo. It's time for an epic adventure.

After the chanting introductory track, "Return Of The Shadow," Tengwar dive into the fray. Guitar shredding and dizzying drums are the foundation for flutes and pipes in "A Long Expected Fading." The tempo is intimidating at first, but as the vocals kick in, things calm down slightly. While the music carries you directly to the Shire, the vocals are a bit off-putting, delivered in a manner that is seemingly off key, and too tremulous. A chanting styled chorus redeems them, drawing attention to the lyrical content. Thumping drums and ethnic instruments consume "The Halflings Rise," another interlude, leading directly into "War Begins." This track is a realization of the vision, trudging ahead in that glorious folk way, making you choose between dancing and banging your head. The clean vocals are a struggle at times, but the harsher, screeches are spot on. The standard instruments are near flawless, delivered precisely.

The band fire through tale after tale, from the triumphant tone of "Marching South" to the emotionally charged "Snow And Defeat." Drumming is strong, almost to a point where it becomes part of the background. The tribal tinged "The Password" serves as an intro to "Dwarf Sings In The Dark," which is an epic display of instrumental prowess. The gang vocals throughout are the perfect addition to the flurry of instruments, as varied and diverse as the band itself. The darker "Fire And Shadow Defied" is immediately followed by a song that contains more acoustic styled passages than distortion, with flutes, pipes and strings coming together in a brilliant harmony. "The Pilgrim's Gone" even contains a thrashing solo that would make many power metal bands green with envy.

The more march oriented "In The Land Of The Golden" is a change of pace from the established thrash. There are still blazing guitars cutting in and out, but the drums alternate between the high tempo onslaught and a slower, more assertive thump. The raspy vocals return, briefly, in a welcomed change. An acoustic interlude, titled "Farewell," plays us off to the final piece of the album, running directly into "The Swan." A beautiful female voice gets the spotlight, lead by a stunning musical piece. The fields of Middle-Earth can be seen, waving in the winds. The visuals are stunning, as each layered piece adds new depth to the sound.

A heavy, tribal beat and flowing bassline begins "Uruks," before allowing a cloudy guitar riff to take control. the wind instruments are delicate played, yet so commanding in their presence. This may be the most complete track on the album, with the vocals taking a back seat to the music at hand. The gang vocals inspire the end of the journey on "The Bearer's Choice." Each piece of the puzzle comes together, from the steadfast guitar work, to the barrage of pipes to the rock solid drumming. As quickly as it builds, it begins to fade away, coming to complete silence as the disc ends.

Much like the battles of Middle-Earth, there are victories and defeats on this album. Musically, it is refreshing and vibrant, with each member filling a void in the sound. This isn't just standard folk with Tolkien lyrics. They have truly captured the sound of the Shire. However, the clean, almost operatic, vocals do struggle to rise to the challenge. They have certainly done the story justice, and there is cause for celebration. But if this epic is to become a trilogy in the same quality of Tolkien's, there is some polishing to be done.

7/10

Official Site - http://tengwar.com.ar/
Myspace - http://www.myspace.com/tengwarfolkspace

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Warrel Dane - Praises To The War Machine (2008)

Warrel Dane is a busy man. The versatile frontman of a reunited Sanctuary and currently crumbling Nevermore is always on the move, always working on something. So, it isn't surprising that when 2008 rolled around, and there was a break in the action, he went directly to the studio to write and record a solo album. And so, "Praises To The War Machine" was born, another notch in the belt of one of the best vocalists in metal.

There are certainly some monster metal riffs, as is evident in the opening track, "When We Pray." But this isn't Jeff Loomis, and these aren't Nevermore songs. The guitars are roughly distorted, chugging up and down scales. Lyrical content is the name of the game, with an indictment of religion at hand. From his signature classical style to haunting whispers, Dane hits all the right notes. Drums get the lead in the opening section of "Messenger," with some serious double kick work. The emotional tone of voice used in the verse is the perfect compliment to the darker work in the chorus. The solo guitar work in the bridge is astounding, backed by aggressive bass lines and cymbals.

The slower, more poignant "Obey" is eerie in it's simplicity. Precise, punching drum work pads out the track, with distorted chords ringing out. A clean guitar solo gives a reprieve, but Dane returns with a scathing view of society's flaws. He proclaims that the end is near, and we are all insane. The assault of "Lucretia My Reflection" shows off Dane's vocal range, allowing him to switch from raspy growls to his deep crooning. Keeping the lyric sheet close at hand is a must. Dane's version of a ballad is realized with "Let You Down," a song that makes the most of acoustic guitar and vocal melodies. The riffs and drum beats will leave you swaying from side to side, but this is a stripped down opus, allowing each piece to shine through.

Haunting lyrics begin "August," delivered in an almost talk-singing style, with effects adding to the mystique. Guitars come shredding in, the clang of cymbals offering full support. The tale of loss is told, while a rumbling bass line echos through. The track is a very personal piece, and you feel the overwhelming sadness in each word. In contrast, there is beauty in the acoustic guitar and string opening of "Your Chosen Misery." Lyrically dark, yet somehow powerful, he continues to show that metal doesn't have to be dumbed down to grunts and screams. Not until the final third of the song does the hammer drop, and heavy strumming and drumming cuts through.

"The Day The Rats Went To War" could find a home on a Nevermore album, with the bass heavy rhythm section locking hand in hand with chunks of guitar. But on the following track, "Brother," Dane solidifies this album as a metal masterpiece. The slow, crawling pace, combined with his delicate clean vocals builds the emotional investment. When the first distorted guitar chords come crashing down, you are now fully immersed in the material, feeling as though the lyrics are being delivered to you and you alone. The alternating fury and frailness of "Patterns" is inspiring, with layers upon layers of instrumentation to create a deep wall of sonic waves.

The album concludes with "This Old Man," a memory revisited for Dane, with somber verse giving way to thrashing bridge and back again. He proclaims in the chorus that he will, indeed, "remember the words of this old man, until my dying day." A fitting and emotional memorial. "Equilibrium" takes us to the end, with some intense, high speed chord work. This is the most aggressive beat on the album, driving the final nails into the coffin. The guitar work is fast and furious, with drums pounding each and every beat harder. Dane's vocals soar over the top, with one last burst.

Warrel Dane's vocals are a polarizing topic. The fact is, you either like them or you don't. There is very rarely a middle ground. And on an album like this, where his vocals are truly the star, detracters might be better off simply passing. But for those fans who fall on the positive side, this record was made for you. Focused, powerful and assertive, it's time to finally time to sing his praises.

8.5/10

Official Site - http://www.centurymedia.com/artist.aspx?IdArtist=196
Myspace - http://www.myspace.com/warreldane

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Kromlek - Finis Terrae (2011)

Much like in baseball, metal has its contact hitters and its power hitters. The contact hitters put out their albums, hoping to carve out a niche in their genre of choice. The power hitters try to shake the earth itself, tearing down their subgenre in an effort to redefine and rebuild it. Kromlek, an impressive new outfit from Germany, are the latter. This is not a bunt. This is not a single to left field. On "Finis Terrae," they have have blasted a ball so far it may never be found.

Beginning with the rather ambitious prelude, "Iron Age," the band showcase their desire to break free from the pagan mold. A triumphant mix of horns, strings, thumping drums and wailing guitar chords, the track is the epic introduction to the tale. But the majesty is shredded by the initial guttural growls of "Nekropolisae Fall." rarely do you see keyboards featured so brightly in music this abrasive and heavy, but they shine through the distortion and screeching black metal vocals. The spacey keys dart in and out of the thunderous drum beats, which have the mechanized precision of classic industrial metal. A guitar solo takes the stage, setting the neck of the guitar on fire, before breaking off into Middle Eastern sitar styled playing.

The blackest of the black comes through in "Angrliodh." Drums are lightning fast, and the guitars are equal to the task. The tempo slows a hair, allowing fluttering synthesized keys to break free. Screeches turn to growls, but neither one compares to the feeling of crawling skin provided by the spoken word passages. Purely terrifying. Leaning more to the uptempo death/folk side, "The Cocoon" is a lesson in contrast, with music that seems upbeat and lively, while the vocals remain steadfast and ominous. Brilliantly placed guitar and keyboard solos set the staged for a booming outro section, complete with double kicks and ear piercing vocal screams.

The band fire through "Mantikor," inducing a severe case of whiplash, without losing the integrity of each instrument along the way. Drums, guitars and keys share equal roles, forming something greater than the parts. "Manjushri Aus Mir" is a weaving, winding ride through the sublime. From effects laden guitar work in the opening, to the damn near abusive vocal patterns, it may brings chills to your body. The pitch perfect work of the rhythm section is to be applauded, keeping guitars and drums in check. Mark and Joris of Heidevolk lend some German vocals to "Moritvrvs Immortalis," a track that combines the dynamics of Thrash with the localized nature of folk. Complete with strings, this one is a neckbreaker.

The alternating shred and stomp of "Ad Rvbiconem" is a refreshing change to the flow, with the mystical keyboards on "Bastion" will leave you momentarily puzzled. But once guitars enter, and the drums pound away, you will remember where you are, and what you have in store. The abrasive screeching vocals steal the show this time, soaring over the top of the distorted chord work. But again, a well placed guitar solo breathes fire into the genre. "Creations Crowning Glory" starts as most power metal tracks do, before the evil, soul depleting vocals enter. The combination is a winner, heaven and hell, slammed together.

Equilibrium mainman Rene Berthiaume lends his vocal talents to "Metropolitan Roots," a track as diverse as the band itself. Clean vocals mingle with deliberate drum fills, descending into a full on assault of kicks, snares, cymbals and guitar notes. The glue remains the keys, keeping the mood light, even in the darker, heavier moments. A child's voice speak over delicate piano keys and guitar solos, in a way that may leave "Egophaneia" lingering in your mind for days. Uplifting, yet somehow sad, it will cut to the heart of you. The epic title track finishes your journey, hand on your throat. It forces you to gasp for each breath as speed increases to the breaking point, double kicks pounding your skull. This is an end, but not to the album. This track could bring about the end of the world.

We often speak of bands that defy conventional tags, that somehow manage to reinvent the genre that they have been dubbed. Dimmu Borgir, a perfect example, took black metal to places it needed to go. Kromlek have the potential and the talent to accomplish a similar feat. With "Finis Terrae," they have begun to change the conceptions of what pagan metal is and can be. I won't dare try to annex enough adjectives to describe what they do, but rest assured, it deserves some attention.

9.5/10

Official Site - http://www.kromlek.de/
Myspace - http://www.myspace.com/kromlek

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Lacuna Coil - Shallow Life (2009)

Usually known for their dark, gothic tones, Italian metal group Lacuna Coil has brought their sound to a whole different direction. Their newest album, entitled "Shadow Life," entails more hard rock melodies and catchy refrains. They still keep a dark image to the album but it isn't delivered in the gothic style that they've grown accustom to. It's got some really strong points that stick out and carry you through the motions. However, there's a couple of weak parts that really question what the band was trying to go for, sound wise.

"I Survive" is the opening track that starts with some monstrous distorted guitar riffs that chug away to the drums, immediately catching your attention. Lead singer Cristina Scabbia comes in the her gorgeous vocals in the verse and lures you right into the chorus. Back up vocalist Andrea Ferro sings the chorus with his raspy clean vocals. The melody is very catchy and will probably have you singing along by the second or third time hearing it. Meanwhile, heavy guitar riffs fill in the background with explosive drums and loud cymbals. Following this song is "I Won't Tell You," which has a lot of similar elements to the first song. Scabbia takes care of the verse with eerie melodies while Ferro jumps in during the chorus. Scabbia has a lot of talent, but I feel she's held back in this album, as Ferro is given a lot more parts to sing.

She's given the spotlight in the song "Wide Awake," which slows things down with its acoustic sounds. Scabbia really gets to show off some of her magnificent vocals as she belts the chorus beautifully. The piano and acoustic guitar riffs really brighten her voice and give a deep, emotional feel. The song paints a beautiful picture with its meaningful lyrics. Unfortunately the following song, "The Maze," barely has her in it at all. Other than a couple melodic chants in the beginning and a line or two in the chorus, everything else is sung by Ferro. Also, the music is pretty basic with repetitive chords strumming over and over again, layered with a simple kick-snare pattern through most of the song. This is another song really reaching for that mainstream sound.

If it wasn't for Scabbia in "I'm Not Afraid," you would think it was a Linkin Park single. The refrain is Ferro screaming "I'm not afraid" like Chester Bennington screams "Crawling in my skin" from the Linkin Park song "Crawling." This just isn't Lacuna coil. However, it's definitely a radio hit for mainstream music. "Spellbound" had great delivery in the chorus and the guitar riffs were electrifying. This song falls right in between who they were and who they are turning into. It's catchy, the lyrics have gothic tones, and the instruments are heavier and darker. It's definitely a song to check out.

Being a fan of Lacuna Coil makes it difficult to judge this album  because they've changed their style and sound, which most Lacuna fans aren't used to. It's not a bad record, it's just not the Lacuna Coil we all know and love. They definitely leaned more towards a mainstream sound with "Shallow Life." I'm curious to see where they go next.

6.5/10

Official Site - http://www.lacunacoil.it/index.php
Myspace - http://www.myspace.com/lacunacoil

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Asphagor - Havoc (2010)

Providing a newer sound of black metal music is the underground band from Angerberg, Austria known as Asphagor. They have released their new album in 2010, entitled "Havoc." The quality in the recordings are pretty decent and not purposely horrible like a lot of other black metal bands. The album is well mixed and is easy to hear all the little details without having to turn up any specific treble or bass frequencies.

Track one, "Agony," slowly fades in with quiet, eerie strings with wind sound effect flowing through the background giving off a dark vibe. Perhaps that stretched this intro a little too long, however. About a minute and a half into the song enter one of the most wretched and disturbing growls I have ever heard. The evilness echo's through the air producing haunting tones. This is accompanied by rapid double bass pedals mixed with detailed snare and cymbal action. Deafening guitar riffs are hit over and over, surrounding you with pure darkness. As the verses kick in, wicked black metal screaming comes blaring in. The song has great structure as it changes up the tempo frequently from the fast, energetic snares, to the slower fist pumping kicks. Be prepared for a rude awakening when blasting this opening track.

The band loves using exploding toms and snares in the beginning of a lot of their songs. You'll hear this in "Absurd In Death" and "Mountainthrone." It's definitely a great way to build up the track and get the listener pumped. The verses are full of vicious screaming accompanied by tons of thick bass lines and fast distorted guitar riffs. Heavy chugging in certain parts really help fill in any gaps between verses and even give a powerful background during them. They also do a lot of layering with separate guitars playing similar parts only in different octaves giving a wide range of sound to the mix.

If you love these wicked vocals and cannot get enough, you should definitely check out "The Dead Old Tree" and "Soul Of Winter." The verses contain such evil sounding screams and growls. The delivery of the vocals are on point every time and are performed with such energy in every lyric. Also, the drum fills are so explosive and mind blowing. They will definitely keep your head bobbing through every track.

The final song on the album is called "A New God." It immediately opens up with fast pace guitar action and insane double bass drumming. The loudness of the smashing cymbals will make you flinch every time. The bridge slows the tempo down a little giving you a chance to catch your breathe but picks up again shortly after with more violent vocals and electrifying guitars. This is one of those songs that gives you that "I want more" feeling as it fades to the end. So get ready to play the album again!

For being in such an earlier stage of their career, Asphagor has really shown their true talent and potential with "Havoc." Not too many black metal bands can pull off such a strong album right off the start. Impressive drumming and overwhelming vocals took charge and really pounded you to the ground. Let's hope they keep things up. Definitely looking forward to more music from these guys.

8/10

Official Site - http://www.facebook.com/Asphagor
Myspace - http://www.myspace.com/asphagor

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The Best of 2011... So Far.

Every year is a good year for metal. Even when some of your favorites don't release new albums, there are scores of new bands, fighting for your attention. So, Murmaider and Hell22 have compiled a list of their top 10 favorite metal albums of the first half of this year. Check out the lists, and corresponding reviews.

Keep in mind that the lists are not based on the Sorrow Eternal reviews, but rather their personal enjoyment of each album. And just think, the year is only half over! We still have new albums from Chimaira (8/16), Dream Theater (9/13), Opeth (9/20), Mastodon, and so many more.

Hell22's Top 10

1. Amorphis - The Beginning Of Times (review)
2. Draconian - A Rose For The Apocalypse (review)
3. Symphony X - Iconoclast (review)
4. Brymir - Breathe Fire To The Sun (review)
5. Arafel - For Battles Once Fought (review)
6. Hell - Human Remains (review)
7. Moonsorrow - Varjoina Kuljemme Kuolleiden Maassa (review)
8. Suidakra - The Book Of Dowth (review)
9. Crimfall - Writ Of Sword (review)
10. Tersivel - For One Pagan Brotherhood (review)

Murmaider's Top 10

1. Stratovarius - Elysium (review)
2. Within Temptation - The Unforgiving (review)
3. Amon Amarth - Surtur Rising (review)
4. Draconian - A Rose For The Apocalypse (review)
5. Burzum - Fallen (review)
6. Moonsorrow - Varjoina Kuljemme Kuolleiden Maassa (review)
7. Amorphis - The Beginning Of Times (review)
8. My Dying Bride - Evinta (review)
9. Tersivel - For One Pagan Brotherhood (review)
10. Brymir - Breathe Fire To The Sun (review)

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Novembers Doom - Aphotic (2011)

Chicago's Novembers Doom has released a monstrous new album this year, entitled "Aphotic." This is the band's eighth studio album. It's pretty clear what kind of genre they are, seeing as how it's in the their name. The band is known for its slow and depressive doom style mixed with death metal tones. It's full of electrifying guitar solos and thunderous drum patterns as tempo's constantly fluctuate from quick and aggressive to slow and melodic.

"The Dark Host" jumps from dark and demonic to fast and violent with tremendous double bass pedaling. The drumming in this track is absolutely bone crushing as each fill is played with such detail and perfect timing. It is impressive to hear the vocals go from harsh and devilish to mellow and depressive all without notice within the transitions. So much energy is put into the lyrics as they are full of anger and rage. This is definitely the perfect track to set the mood to this dark album.

Tracks like "Harvest Scythe" and "Buried Old" offer murdering guitar riffs that surround you with pure evil right off the get. Clean singing is mixed with deep growling all throughout. Lead singer and founding member, Paul Kuhr, has come along way with his aggressive doom growls and was really able to establish a solid sound in this album. As harsh as they are, its great to be able to clearly hear and understand what he is saying as well. This definitely pulls you closer to the songs. Even his clean vocals are outstanding. He hasn't really shared to much of this aspect of vocals in any of Novembers Doom's older albums. It adds a great mix to the album and keeps each song diverse.

Taking a break from the explosive drumming, "What Could Have Been" glides through the shadows with dark acoustic notes, eerie strings, and magnificent vocals from Annake Van Giesbergan, who is the former lead singer of the Dutch progessive metal band The Gathering. Her angelic voice moves through the air with impeccable performance. Its great how the band is able to include such a beautiful song in the album while it is surrounded by deafening riffs and heavy drumming in the other songs. "Of Age And Origin" follows afterwards and goes right back to the ominous guitar melodies and crashing cymbals. This song is actually split up into two parts, track 5 and 6. "Part 1: A violent Day" has more of an edge to it with its rapid kick and snare actions mixed with growling and clean vocals. The double bass work is phenomenal. "Part 2: A Day Of Joy" slows things down to a single guitar in the beginning with catchy riffs and blaring distortion layered over top. The vocals are clean and sung beautifully but Kuhr still keeps it depressive and mellow at the same time. These two parts together definitely give you that "beauty and the beast" feel.

Overall, "Aphotic" has so much diversity as it throws all different types of elements at you from all angles. This is definitely one of Novembers Doom's best album of their career and I cannot wait for a live show.

8.5/10

Official Site - http://www.novembersdoom.com/ND3/
Myspace - http://www.myspace.com/novembersdoom

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Kivimetsän Druidi - Betrayal Justice Revenge (2010)

Following the release of their 2008 debut, "Shadowheart," Kivimetsän Druidi toured endlessly. They took their own brand of Finnish Celtic Folk metal to all corners of the globe, tallying more than 140 gigs worldwide. Two years of travel later, the band return with an effort looking to silence the talk of the dreaded "sophomore slump." On "Betrayal Justice Revenge," they not only better themselves, but they open eyes, turn heads, and leave mouths hanging open.

Immediately, a distinct beauty pours through on the piano intro, "Lament For The Fallen." Multiple guitar tones come over the top, along with a delicate bass line. It all culminates in a perfect bridge to "Aesis Lilim." High speed guitars chug away, while keyboard provides the atmosphere. The female vocals of Leeni-Maria Hovila enter, far more polished than on their previous effort. A chanting, symphonic chorus is punctuated by growling screams. A crash of cymbals starts a heavy hitting breakdown, filled with expert rolls. Those hoarse screams break through, welcoming the end.

Some high octane shredding kicks off "The Seawitch And The Sorcerer," followed by glorious orchestral melodies. The clang of a cymbal keeps the beat, while the divine voice of Ms. Hovila combats the aggression of music and male vocals. Her voice manages to sooth, while her counterpart commits acts of vocal violence. The speed and precision continue to build, as "The Visitor" showcases the bands evolution. The synthesizer element is essential here, setting the scene for the developing vocal contrast. Drums are crashing from all directions, cymbals flying from left to right. Guitar and bass unite in a distorted attack.

Do I detect the sound of xylophone? Yes, complimenting a distorted guitar, it opens "Manalan Vartija." The soft, operatic storytelling is compelling, layered on top of keys and crunching guitar riffs. Even a solo is unleashed upon you, in between ever darkening screams. "Tuoppein Nostelulaulu" is a work unto itself, with several distinct pieces, ranging from masterful acoustic picking, to harsh screams, to an all out folk blitz, it ties together so many styles and structures. In comparison, "Chant Of The Winged One" is straightforward. From the onset, you feel the rumble of distortion over the punch of the drums. Vocals switch from sublime to obsurd, and hit every part of your inner ear along the way.

For a taste of the heaviest the band has to offer, look no further than the well thought out "Of Betrayal." Resembling the raw thrashing of Moonsorrow, the band plunge you into a stomp of pure violence. This is what volume knobs were invented for. Turn it to eleven, and let the track screech forth and surround you. Again, the band execute a perfect contrast, slowing to a chanting folk ballad in "Desolation: White Wolf." Keyboards regain their starring role, filling the orchestra with strings and horns. Lingering screams have their place but only to accent the soaring operatic vocals. Further proof that you simply don't need nine members to execute deep music.

Medieval strings play cat and mouse with chugging guitars to begin "Veljet," a compact metal opera. Frontwoman Leeni-Maria Hovila manages to stay crystal clear and powerful amidst the sea of riffs and rolls. A dazzling drum solo leads us into the final track, "Where Hope And Daylight Die." The keyboards are equal parts haunting and empowering, playing with strength and restraint. The track sees the highs and lows of emotion, beauty and sorrow.

In the end, Kivimetsän Druidi have taken all of the necessary steps to make the jump from newcomer to contender. The production is impeccable, the music is sharp, and the vocal delivery is astonishing on both fronts. They provide the perfect example of evolution without losing vision. They have smoothed the rough edges, and released a staggering album, all without changing their signature sound. Now we wait to see what follows 'Revenge'.

8.5/10

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

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Leaves' Eyes - Meredead (2011)

Get ready for another mystical adventure as the symphonic Leaves' Eyes have done it again. The German-Norwegian gothic metal group have released their fourth full length studio album, entitled "Meredead." Full of unique sound and beautifully crafted structure, the album puts together magnificent epic tones for all to enjoy.

Subtle "marching band" like snares start at the beginning of the first track, entitled "Spirits' Masquerade," which is followed by a chanting choir and smooth orchestrated strings. A short melodic burst of bag
pipes jumps in and out in between the chanting. The lead singer, Liv Kristine, lays her angelic vocals softly over the melody as the verse kicks in. Bass and snares are constant, giving you no time to rest
along with high cymbals that glide over the rest of the instruments, setting up a gorgeous image of bright sounds. There is a ravishing flute that later enters the song with hypnotizing notes which pull you
deeper. Kristine layers her voice on top of the flute flowing perfectly up and down the scale. You can barely tell that it is her voice as it is used more as an instrument at the time.

Another beautiful waterfall of strings fade in on track two, “Etain.” The album gets a little heavier in this one as the guitar levels are cranked up with high distortion giving the song a full sound. The chorus is layered with multiple vocals singing marvelous lyrics with great harmonization. Incredible instrumentation thoughout. There is also an interesting use of the xylophone in the beginning of “Velvet Heart,” combined with first pumping drum fills, dark piano, and a remarkable violin. The unique mix of instruments are truly fascinating. An electrifying guitar solo comes in following the bridge, making this song an epic masterpiece.

“To France” opens with calm acoustic riffs immediately grabbing your attention. Its got a likeable melody to the verse and the refrain is full of catchy riffs and lyrics. Don’t be surprised when you start singing along after only a listen or two. Another great guitar solo enters towards the end, really pushing the song over the top. Running for only 4 and a half minutes, it is definitely going to leave you wanting more so make sure you get this track set to “repeat.”

To change things up a little bit, you will come across a mixture of clean vocals and ominous growling in “Sigrlinn.” This sets up the beauty and the beast feel perfectly, as you will even hear the two vocals singing on top of each other at certain parts of the song. Instrument wise, the double bass pedaling is outstanding, mixing
multiple patterns of heavy blast beats while monstrous guitar riffs come crashing down over the verses. More gorgeous violins follow through the middle of the song which lead right into the bone shattering guitar solo. You will also notice heavy amounts of orchestrated strings surrounding the solo providing a full background of energy.

A machine gun of guitars shoot off in the beginning of “Nystev.” The song quickly quiets down as string slowly fade in accompanied by Kristine. The verses are absolutely beautiful and are sung with such passion. As the song builds up, the mood becomes more upbeat and jolly almost making you want to dance. A fast violin jumps in after the lyrics giving strong positive tones to the song. The structure is insane as it keeps going from fast to slow teasing you with heavy riffs but the relaxing you with soothing verses. The track is a real rush overall and keeps your ears locked in from start to finish.

From mellow acoustics to deafening distortion, “Meredead” provides different sounds from all angles and reaches out to all kinds of genres. Leaves’ Eyes has grown and improved so much throughout each
album. Clearly, after hearing this record a couple of times, they have developed their own sound and really set themselves apart from a lot of the other symphonic goth metal bands that are in the metal world. Definitely pick this album up as soon as possible!

8.5/10

Official Site - http://www.leaveseyes.de/
Myspace - http://www.myspace.com/leaveseyespage

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Symfonia - In Paradisum (2011)

Sometimes, when it comes to heavy metal bands, members must come and go. Sometimes for better and sometimes for worse. Not every line up stays the same. But don't think that those who leave are not busy stirring up new projects of their own. The power metal band Symfonia is made up of four guys who all had their share of success and, for whatever reason, are no longer with those bands. Including Timo Tolkki, former guitarist and songwriter in power metal favorites, Stratovarius. They have combined their musical skill and talent to create a new name in the power metal world and they have released their first studio recorded album entitled "In Paradisum."

The album begins with "Fields Of Avalon," which contains deafening guitar riffs that are full of screeching distortion. Booming drum fills follow through with rapid snares and deep kicks. Lead singer Andre Matos comes flying into the verse with symphonic clean vocals, hitting some impress high notes. The melody of the refrain grabs you immediately, as the speed of the guitar riffs will blow your mind. You will even notice the wicked double bass drumming flowing smoothly underneath the cymbals. This leads to a hell raising solo towards the end of the song that completely demolishes the musical scale.

"Come By The Hills" is track two on the album and has a very catchy little introduction. This leads to heavy guitars chugging along to the melody. It is very fast and upbeat in the beginning but calms down at the start of the verse. Things slowly build up to the chorus which keeps you at the edge of your seat while your waiting for it to drop. The structure of the song is great and really keeps you guessing from start to finish.

If you're looking for something a little more calm, track four, titled "Alayna," is a beautiful ballad for all to enjoy. Soft acoustic guitars accompany gorgeous vocals and are followed by a hypnotizing electric guitar solo that really captures you in the middle of the verses. Another solo also enters toward the end with electrifying energy. As the chorus keeps you at ease, the song slowly fades into the song entitled "Forevermore." Blaring guitars jump out in front as they are backed by relentless drum fills and terrific bass lines. You will also hear some impressive synthesizer melodies in the background that is constantly hitting note after note giving the song more fullness and a brighter feel. Organs take over towards the end giving off great orchestral tones. This, of course, is followed by another insane guitar solo. Lots of feeling and emotion in the lyrics as well.

Get ready to pump your fist for this nine and a half minute masterpiece. Track number seven, "In Paradisum" is full of heavy rock and roll guitar riffs combines with epic strings and a choir creating an interesting atmosphere. This all builds up in the intro, but quickly drops to a quick moment of silence as Matos slowly enters with the first verse using a soothing angelic voice. It quickly picks up again with reckless pounding of the drums and monstrous guitar riffs. There is a chanting choir in the middle of the song that gives it a real symphonic feel. Catchy guitars keep your ears glued to the speakers all the way through. And the guitar solo follows right behind it, pulling you in even deeper. Make sure you check this one out.

It's amazing to see what happens when members from different bands get together and put out a monster of an album. "In Paradisum" is excellent, exciting, emotional, and breath taking. The use of different orchestrated instruments in each song keeps the music refreshing through every track. It's a good mix of music and unique sound. I am definitely looking forward to more albums from Symfonia in the future.

8/10

Official Site - http://www.symfonia.fi/
Myspace - http://www.myspace.com/symfoniamusic

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Draconian - A Rose For The Apocalypse (2011)

When last we left Sweden's Draconian, they had blown Murmaider away with their 2005 offering, "Arcane Rain Fell", and left me with a heavy heart after 2008's "Turning Season Within." Now, staying on their "every three years" schedule, the band are set to release their newest and most complete album to date. And with "A Rose For The Apocalypse," the band take their sound to new heights, and your emotions to dark, new lows.

The apocalypse begins with a double bass attack, something "The Drowning Age" carries throughout. Dark, distorted chugging accompanies the otherworldly growls of frontman Anders Jacobsson. But, as with past releases, he is so often offset by the beauty of Lisa Johansson. The music slows to a doom styled crawl, with ominous spoken words layered on top of whining guitars and a booming kick drum. Following the solid writing and structure, we end where we began, and acoustic guitars fade out.

Dialing back the aggression slightly, "The Last Hour Ancient Sunlight" leads with Johansson's angelic tones, before drums build and Jacobsson takes over storytelling duties. His screams have grown in depth, cutting through the heavy drums and guitar work. He takes the track into the depths of Hell with each growl. A guitar melody brings you to "End Of The Rope," guided by blasting snares and rapid kicks. Dueling guitars form the body of the verse, allowing Jacobsson to deliver his lyrical power. Don't get lost in his harsh presentation, for their are well crafted lyrics contained therein. Johansson soothes your sonic wounds in each of her divine passages. A soft, echoing keyboard carries you out.

Johansson voice, too, has grown in power and passion, as is evident on "Elysian Night." Adding some effects to her backing vocals proves key, creating a ghostly feel when combined with keyboards and synths. Layer after layer, coming together in glorious, evil harmony. Drums continue to hammer away, clearing a path for deafening growls. A soft interlude featuring lightly spoken words caps things off. "Deadlight" does something you rarely see throughout the bands catalog. It pairs both harsh and clean female vocals together, on top of one another. The contrast is breathtaking. Blistering double bass work and high speed bass lines enter in "Dead World Assembly," coming to an abrupt halt when vocals enter. The tempo drops, the volume evens out, and Johansson leads. Like a dance, she then allows Jacobsson to spring forward with a thundering build of instruments and violence.

Acoustic strings introduce "A Phantom Dissonance" before the guitars tear down the walls. The band balance beauty and brawn, cutting back and forth flawlessly time and again. The song builds to a fury, then cuts back to a flowing work of art. There is an ethereal haze created in "The Quiet Storm," a track with a most fitting name. Acoustic strums are all Johansson needs, as her effects-tinged voice comes through like old time radio. Even as the destructive voice of Jacobsson enters, the music slowly descends to madness. he welcomes the oncoming storm, as do you, knowing that gritty guitars will aid you.

The album moves to a finish with the chugging work on "The Death Of Hours," a track that combines the dirty, sludge guitar work with darting melodic picking. The harsh male vocals are at their devastating best, destroying everything in sight. That low, hollow kick drum that has become a Draconian signature is always there, like thunder before the lightning. Brilliant, depresssing spoken words hand off the outro to a guitar solo. A fitting end to a emotional journey. Unless, of course, the digipak version of the album is in your hands. In that case, "Wall Of Sighs" will be your finale, with a beautiful violin solo that is as impressive as it is saddening.

Once again, Draconian assert themselves at the head of the class. One crushing track after another, the band prove that this is not a stale genre. They have honed their skills, developed their craft, and come back better than ever. There is always a shared concern among fans when bands take so much time between albums, especially when there is limited touring in between. But is simply not a problem for these Swedes. If this is what the apocalypse has in store for us, then bring it on.

9.5/10

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

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Alestorm - Back Through Time (2011)

What do you get when two crazy Scots and two Irishmen get together to form a band? You get true Scottish Pirate metal. No, this isn't a joke or a gimmick. This is Alestorm. You get all the energy and catchy tunes of folk metal, but with a nautical theme. And with this, their third full length album, the drunken crew travel "Back Through Time" to kill the Vikings. Avast, ye landlubbers!

The album's title track, "Back Through Time" sets sail this journey of metal. With shredding keyboards and guitars intertwined with lightning quick drum fills, these are no messy riffs. Unique instrumentation accentuates everything this band has to offer. Catchy chanting choruses will bring a smile to your face, while the punishing blast beats keep your head moving. Lyrical content is hilarious, but well written. The Vikings best beware. Evil guitar shredding launches the first single, "Shipwrecked". An accordion plays the melody while distorted guitar chords ring out. Raspy, accented lyrics are unleashed in droves, telling the tale of a shipwreck on a far island. Keyboards provide horns and synths, which are the perfect addition to this folk piece. The band showcase heavier moments with a chugging, thrashing, chanting breakdown.

"The Sunk'n Norwegian" is a track that would delight fans of the pure folk stylings of Korpiklaani. A jaunty tune, giving you something to do a jolly dance to. Gang vocals in the chorus could be a karaoke night gone wild. All the while, guitars crunch through verse and chorus, lead by pipes and horns. The dangers of drinking are clear! Leave it to these crazy pirates to work in a song about little people with the drum heavy "Midget Saw." These drums rolls and beats could fill in any thrash band across the world. Winding guitar chords and slamming bass highlight the uptempo stomp. A blazing solo ties it all together, putting a bow on this tiny tale.

The band powers through punk thrash tracks, like "Buckfast Powersmash," as well as the epic sea tale of "Scraping The Barrel." They kick through their favorite topic in "Rum," a song that is, in fact, about the drink itself. Guitars chug away through the horns, drum fill after drum fill. They proclaim, "The time has come, the time for a drink!" This is the type of song that could fill the pirate bars of the world. Guitar licks of the highest order take the spotlight on "Swashbuckled," with some boldly melodic results. The song has an air of triumph, of victory. Upbeat, uptempo and fun.

The band manage to a seven second song, titled "Rumpelkombo." This is a one breath affair, leading right into "Barrett's Privateers." This is pirate folk at it's best with gang vocals, precise drum beats and flowing guitar riffs. But, above it, it is a song to raise your drink to, in the style of so many brilliant folk pieces before it. A heavier midsection, complete with blistering guitar solo, makes this more than just a pub favorite. "Death Throes Of The Terrorsquid" starts as if it were a Blind Guardian track, blaring horns and shredding guitars first. But this is an epic tale of a deep sea beast, complete with the Scottish accent. Storytelling is a delight, albeit a farfetched kind of story. Keyboards are the star, providing everything from horns to strings.

Bands like Alestorm are often dismissed as a joke taken too far. But there is more than meets the eye here. You just have to be willing to hit play, sit back, and enjoy a different side of metal. For as heavy and emotional as death, doom, or black metal can be, there is still a place for the lighter side. And, every now and then, it is worth taking the time to enjoy a good yarn about wenches, brew, and beasts.

8.5/10

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

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The Podcast: Episode 11 (Here waits thy DOOM)

Murmaider gives us his take on Ghost Brigade, and Hell22 talks about Odd Dimension and October Tide. The gang discusses the elements of Doom metal, and some of the bands you have to hear. Plus, Chester realizes his worst fears: a doctor inserting multiple fingers into his rectum. Don't miss out on this one!

http://www.megaupload.com/?d=DH90MAD0

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Edguy - King Of Fools [EP] (2004)

Straight from Fulda, Germany, Edguy is one of the most epic power metal bands to hit the metal scene. The band has released eight full length studio albums so far and are planning to release their ninth album this coming August. As awesome as these albums are, this review is actually on an EP that they released back in 2004. The EP is called "King Of Fools" and as amazing as it is, it could probably stand as an album by itself.

The first song, entitled "King Of Fools," kicks off the album with catchy synth notes which are quickly taken over by monstrous guitars that are full of reckless distortion. Lead singer Tobias Sammet jumps into the verse with aggression as his lyrics deliver a solid punch. This leads right into the chorus which has tons of energy. Cymbals are crashing everywhere while the guitar riffs are being slammed in the background. Sammet takes his vocals to an impressive operatic style and really helps the song hit its max. You will be singing along in no time!

Epic strings take over in the beginning of "New Age Messiah" which almost sounds like a score to a movie. The beautiful orchestrated stings are soon interrupted by booming snares as guitar riffs follow immediately after. The fast rapid chugging really keeps you moving. The guitar solo towards the end is electrifying and very impressive. The vocals echo throughout the verses in an up beat tempo. Your going to want to read up on the lyrics for this one as you will find them to be entertaining and at times, very funny.

They get a little more serious with "The Savage Union." Melodic guitar riffs hit the beginning layered with relentless drumming. One major part I would like to point out is a piece of the lyrics. Sammet sings the words "We don't give a fuck" in such a beautiful manor that you don't even notice that he's cursing. He's done this before in a song from his side project, Avantasia, as well. It's great how he can make curse words sound so epic and angelic. Music wise, the instruments are great. There is another magnificent solo that really destroys almost every note in the book. As the song fades, "Holy water" comes in with catchy guitar notes followed by layers of distorted chords and explosive kicks and snares. The verse breaks down into a drum and bass combination while vocals soar over them. The refrain is very likeable with its symphonic reach to the higher operatic notes and thumping bass lines. You'll be whistling the melody for days.

The final song on the EP is "Life And Times Of A Bonus Track" and yes, the title is quite literal. Jolly piano riffs are played throughout while Sammet puts tremendous passion into the song as he sings about what it is like to literally be a bonus track. The lyrics are hilarious and after hearing this song I now know exactly what it's like to be a bonus track. Gotta love that good old Edguy humor.

When a band releases an incredible EP such as this one, it goes to show the kind of talent and dedication that the group puts into their music. Edguy gets better and better with every new project that they release, whether it be a short EP or a full length album. From front to back, you will be rocking out and bobbing your head to the beat. This is definitely "must hear and repeat often" material.

9.5/10

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

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October Tide - A Thin Shell (2010)

During a temporary Katatonia break-up, singer Jonas Renkse and guitarist Fredrik Norrman launched October Tide. After one album together, and a second which saw Renkse replaced on vocal duties, the group disbanded. But in 2010, they rose from the ashes, with Norrman as the sole founding member remaining. Surrounded by a new band, including two members of progressive death metal outfit In Mourning, October Tide has returned to unveil "A Thin Shell."

With the pacing of strong death/doom, "The Custodian Of Science" wastes no time getting your head moving. A low, raspy growl builds from the fog. Even when the music fades back, those screams continue at their deafening best. Distorted plucking and the repeated thud of a kick drums are the car, the distressed vocals are the driver. A short, ethereal interlude offers a breath of fresh air, before having it crushed from your lungs. The aggression does not fade in "Deplorable Request," with guitars taking a chugging route through the verse. Sometimes lost in the overwhelming distortion is the intricate chord work, which becomes more evident in the more delicate midsection and the rare solo. The screams range from the guttural to the abrasive, with thunderous drum beats giving support.

Changing things up, "A Nighttime Project" plays to the more restrained side, allowing some of that impressive writing to shine through in a brilliant dual guitar intro. One plays an acoustic progression, the other whines over the top. The light tapping of drums enters, creating a noticeable groove. The beauty fades, and "Darkness Devours" begins, which is definitely a fitting flow. The slow, deliberate chugging returns, and the vocal abuse takes a hold of you. There is a detectable pain in the lyrics, delivered in a powerful manner here. The music explodes as the chorus begins. The violent pairing of screams and growls draws you in, while scaring you senseless.

The tempo increases on "The Dividing Line," letting the guitar drive the music forward. The drumming is rock solid, but never wavers from the pattern. Only an occasional roll or fill stands out from the rest. The vocals seem to grow more deafening with each passing track. Some blistering solo work sets "Fragile" in motion,  a track that is anything but. Even during the lighter portions, there is nothing delicate about this. Guitars chug through with distortion, but are not restricted to the lower registers. Smooth bass work gets a starring roll during down times, while guitars command attention.

The closing track, "Scorned" is death/doom at it's core. The drum beat is slow, almost crawling along. Kick, snare, cymbal combinations are all you need. The guitars are dreary, sucking the emotion out of you with each note. Vocals enter, every bit as draining to hear as they are to deliver. These are not songs of happiness and life. These are songs of depression, songs of loss and pain. And delivery is key to conveying that. It is a down tempo, torturous style. And "Scorned" embodies all of those things. Bang your head, but not for pleasure.

It is certainly possible to read the history of this band, and think you will be getting a Katatonia clone. But that could not be farther from reality. With Norrman no longer in Katatonia, and Renkse no longer in October Tide, the similarities are simply nonexistent. With this album, the band have entered the death/doom fray, one that seems to be growing in popularity. And among the titans of the genre, they may seem to fall short. But, I hope, we can crack through "A Thin Shell" and be treated to something more substantial.

7.5/10

Official Site - http://octobertide.net/
Myspace - http://www.myspace.com/octobertideband

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Enslaved - Axioma Ethica Odini (2010)

 

 

They say Rome wasn't built in a day. The same goes for Enslaved, the ever present progressive metal band from Norway. Formed in 1991 by then teenagers Ivar Bjørnson and Grutle Kjellson (13 and 17, respectively), the band has certainly dealt with their fair share of growing pains. But with the release of their eleventh album, Axioma Ethica Odini, the band show that all of the trials and tribulations were worth it. Produced by the now legendary Jens Bogren, the album is the crown jewel of the Enslaved discography.

The sounds of an oncoming storm approach, and before long, you are thrown head first into the fires of "Ethica Odini." Drums are unwavering, blasting forward with cutthroat precision. The guitars strum rapidly, and black metal shrieks break through the wall. The band waste no time is showing you what they have to offer this time around, from the crystal clear production to the dramatically improved clean vocals. Beautifully sung refrains are reminiscent of Opeth, demolishing any preconceived notions that Enslaved are one dimensional. Brief periods of soft bass work compliment the harsh shredding.

There is no mistaking this for an album by any other band. Chord progressions and the thunder of well played drum fills are Enslaved staples, and both are featured heavily on "Raidho." The vocals grind away in the verse, before becoming sublime in the chorus. The bridge sections are atmospheric in nature, with a strong bass groove leading the way. Diversity strengthens the whole, and a ripping solo in the outro is the icing on the proverbial cake. A deathly scream opens "Waruun," before double bass rolls take over. The band stomp away with pinpoint accuracy. Delicate acoustics and the light patter of cymbals introduce deep crooning. But, before you get carried away, the band come right back with damning screams and growls. The grit and emotion poured into every word is astonishing.

"The Beacon" is a black light in the darkness. High speed slashing and pounding lead off, providing the foundation for the screeching vocals. A short melodic piece in the middle turns down the heat, only to be burned to a crisp in the ending fury. This is progressive death at it's finest. It manages to be brutal without sacrificing talent and skill. Keyboards and an almost robotic spoken word haunt the short interlude "Axioma," a short respite before "Giants" crushes you. The intro is heavy and dark, painting the sky black. Even clean vocals can convey a sense of sorrow and dismay, and they do exactly that as the verses move forward. Deep, gutteral growls awaken the sleeping beast, and the drum patterns accelerate to match the chugging guitars. The brilliant back and forth tempo changes put an exclamation mark on each vocal passage, be it clean or dirty.

The vocal styles collide in "Singular," playing a call and response roll. The screams call out, and the clean, airy singing answers. The headbanging highlights rest here, with guitars strumming away from chord to chord, up and down the scales. The kick drums will shake your rib cage, especially when paired with a daring bass line. This rhythm section is to be reckoned with. The band shred away, setting the mood with each note, each cymbal crash. They show off raw power, with beautifully polished restraint.

"Night Sight" starts as if it came from the seventies progressive rock movement, with soft, smooth vocals and guitar melodies. The hammer drops, and peace and love give way to harm and death. Inner peace descends to unbridled aggression. The crushing wall of sound builds up anew, only to be torn down time and again. As important as an opening track is to an album, a fitting closer maybe more so. And this one is no exception. "Lightening" is a firestorm of blast beats, relentless guitar work, the low rolling bass lines and a combination of vocal deliveries. This song is the complete package of progressive metal goodies, giving you everything you came for, and more. The contrast created is inspiring.

Enslaved isn't a new band. This isn't their first rodeo. But they have managed to do something on "Axioma Ethica Odini" that many would argue they haven't done in more than a decade. This album is strong, start to finish, and everywhere in between. They have created a balance of power. This is not to say the album is half heavy and half mellow. But they found the proper percentages to make it flow. That is an accomplishment on it's own. But throw in excellent song writing and structure, and you have yourselves a winner.

9/10

Official Site - http://www.enslaved.no/

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

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Odd Dimension - Symmetrical (2011)

Hailing from Italy, Odd Dimension have made a bold statement with this, their first album. "Symmetrical" is a foray into the world of progressive power metal, taking a Dream Theater approach to a Stratovarius album, in a way. The band has all the talent necessary to make a splash. But in this game, momentum is the key. Can this Italian five piece keep up the pace, or will they lag behind?

A snare roll gives the cue for guitars and keys to wind their way up and down the scales. "Farewell To The Stars" is the promise. It makes a statement from the first note, one that is built around the fundamentals of progressive power metal: high speed drumming, powerful guitar licks and a bass line to drive it all home. A darting keyboard pokes through the foundation to provide extra melody. All the while, a slightly limited vocal range is on display. An acoustic midsection leads the way to a barrage of solos, from guitar to keys. Orchestrations provided by the synths are a focal point, carrying the melody to it's conclusion.

Standard rock riffs and a bass line that would make any jazz musician jealous kick off "Rising Through Light." But the strings must step aside and let the keyboard do it's work. The low kick drum provides the beat, with sizzling cymbals punctuating the count. The slowed tempo allows for some heavy chugging and drum combos before reintroducing the keyboard for some brilliant melodies. The vocals are hit and miss, sometimes failing to match the power delivered by the instruments. Slick guitar work takes you to the finish, and right into "The Ecstasy Of Hopes." Beautifully played piano leads off, submitting to the will of shredding guitars. Precise drum fills introduce the vocals, mid range and slightly raspy. Double kicks reveal themselves later on, each meeting of mallet to drum letting out a solid punch. Few delicately played keys serve as the outro.

"Another Shore" dips into some heavier moments. More drum fills, more distorted guitar work, but not in the dominating way. A soft interlude breaks in, slowing the pace to a slow crawl. When the beats picks up, you hear the first of the growls. They will catch you off guard, and will be immediately followed by screeching vocals. They serve as a bump in the road, throwing you off the trail, only to be jolted back with some tremendous solo work. "The Day Meets Night" may feel like a speed metal track at the start, but quickly loses steam. It goes from guitar thrash to a piano infused ballad, back into the keyboard driven progressive power metal style you expect. The clean vocals struggle to not be outdone by the music, but they thrive in the acoustic pieces, such as the breakdown portion found here.

"Lightspeed Journey" is a keyboard and guitar clinic that seems to slip and fall into an uptempo ballad. Multiple time signatures play off of one another, changing things up at the perfect time. The major issue is the vocals feel tacked on. The track feels as though it was written to be instrumental, but had a change of heart at the last moment. This only hurts the flow of the song. "I'll Be Back Once More" is a fitting ending to the journey. Jaunty and upbeat, it is a fulfillment to the promise made at the beginning of the album. Keyboards are atmospheric and spacey, padded by a thumping bass line. Drumming is spot on throughout, without ever stealing the spotlight away from the blazing solos.

Despite the occasional misstep, Odd Dimension manage to hammer out a dynamic mix of progressive and power metal elements. Guitar and keyboard work are stellar, and the rhythm section is precise, almost to a fault. There is so much to celebrate on the album, which unfortunately serves to highlight the lack of vocal polish. A slight tweak of the singing style and pattern made be needed. But I certainly do hope that, as the album's finale promises, they'll "be back once more."

7/10

Official Site - http://www.odddimension.it/
Myspace - http://www.myspace.com/odddimension

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