Chthonic - Takasago Army (2011)

 

It is no surprise that metal and political activism have become intertwined through the years. But the powerful message delivered by Taiwanese symphonic black metal band Chthonic, one of independence for Taiwan, has taken the entire world by storm. So much, in fact, that they have been banned from playing certain areas of China. But taking their rich, Asian heritage and combining it with the fury of metal, the band are sure to be heard the world over. On their latest album, "Takasago Army," they continue the quest for Unlimited Taiwan.

That light, beautiful Asian sound opens "The Island," in true symphonic style. The rattle of cymbals combines with immense strings, as if this is the opening to a Hollywood blockbuster. But from the airy to the intense, "Legacy Of The Seediq" roars into action. The drumming stands out from the pack, with a flurry of kicks and snares that may leave you dizzy. From the deathly growls to the screeching screams, the vocals are a kick in the face. But amidst the thrashing and whining of guitars and drums, the classical Taiwanese instrumentation, in the form of the erhu, puts a little silver lining on the dark musical cloud. The heavy handed chugging at the song's end is complimented so well by the use of keyboards and strings.

The first single from the album, titled "Takao," begins with low register chanting, placed on top of the rapid pounding of drums. The song tells the tale of Taiwanese soldiers leaving to join the war in the Pacific. The guitar work is delivered with the utmost precision, from the rapid picking to intense thrashing. Additional vocals, provided by members of Ensiferum, only heighten the experience. This is traditional Taiwanese folk, dropped into the pits of fiery black metal. The growls that lead "Oceanquake" are tremendous, in both volume and weight. That eerie keyboard and erhu melody is a contrast that highlights just how deep and layered the music is, aside from the blastbeats and heavy, chugging chord work. Just imagine the sea of people jumping and bobbing to this breakdown. A wailing solo puts the exclamation point on this strong track.

Tradition collides with thunder in "Southern Cross," a track which gives you both admiration for culture and a case of whiplash in the span of fifteen glorious seconds. The soft pipes are immediately obliterated by a kick drum from hell. The rolls used in this song are fast and furious, tying together guitar excerpts and brutal, violent vocals. The conflicted vocal styles, from death to black metal, cut back and forth. The fretwork in the guitar solo is precise and pulverizing, leading this thrasher to a conclusion. With keyboards and synthesizers layered on top of deafening drums, "Kaoru" takes no prisoners. The use of lightly whispers vocals throughout the verses is haunting, sounding as if you are hearing voices from beyond the gave. The erhu and strings become the cement that ties the band together, providing light where there seems to only be darkness. But the most inspiring moments come in the bridge section, with clean vocals taking the spotlight quickly, before handing the reins back to the brutal.

"Broken Jade" emerges as the most folk oriented track on the album, but this is not to say it doesn't have its own melodic death moments. Putting deathly growls in the same sections as plucked Asian strings and the erhu is daring, to the say the least. Daring, and successful. The short interlude, aptly titled "Root Regeneration," is little more than wood flutes and spoken passages. Relaxing, breathaking, and ominous, all at once. To say that the following track, "Mahakala," is a drummers delight is an understatement. From lightning fills, to staggering rolls, to the thumping of non-stop kicks, this is a drum clinic. The screeching vocals take over the lead, in true black metal style. But behind all of the chaos and distortion  is that ever-present cultural element.

The album's finale, "Quell The Souls In Sing Ling Temple," is Chthonic in one song. Every element of their musical background, their culture and their beliefs, finds a home in a mere five minutes of devastating metal assault. There is literally something for everyone. Thrash fans will find enjoyment in the twirling, yet crushingly distorted guitars. Death fans will get their fill of the deep, harsh growls. The native instruments shine through, once again, to feed the folk fan in all of us. Even the power metal aficionado will be happy with the instrumental portion around the three minute mark. There is so much on display at one time, that it may become hard to pick it all out on the first listen.

There must always be a balance between the music and the message. If one outweighs the other, it becomes lopsided and fails to serve the ultimate purpose. Chthonic tread this line delicately on every release, walking a dangerous path. Yet, somehow, they walk the tightrope with no problem, no missteps, not a shaky stride in sight. The music is as powerful as the message it seeks to deliver. And "Takasago Army" is an album and a movement that deserves to be heard.

9/10

Official Site - http://chthonic.org/

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

Read more ...

Blizzard At Sea - Invariance (EP) (2011)

Metal from Iowa. No. Not that masked band. Real metal from Iowa. Iowa City three piece Blizzard At Sea play a brand of bass heavy sludge that you might not be ready for. In the mood for some twirling guitar solos and operatic vocals? Then move along. Are you into a style of music classified as "djent?" Nothing to see here. Love the sultry voice of a female singer? Nope, not a chance. I think you get the picture. Good, heavy, working class metal, without a hint of irony or ego. This is "Invariance."

Deep, rich guitars open the albums first track, "Islands Of Stars." As the light tapping of cymbals begins, you can feel the pressure start to build. A single rumbling bass note echos and fades, before the band explodes into a furious wall of sound. Low, distorted bass lines clash with heavy handed drumming, opening the door for a chain of harsh screams. The tempo builds, with the solid rhythm section taking the lead. Guitar chords are played at a solid bass, moving up and down in tone, often feeling spacey. The single notes dart in and out of one another, with the solid pounding of kick and snare. Even in the more stripped down sections, the bass will shake you to your core. One last rush leads the track home, with the raspy screams leading the way.

A single guitar provided the opening melody in "Closed Universe," before it delves into a full band attack. Guitar and bass sync up together, becoming the backing for a series of harsh, coarse vocals. Moving up and down the scales, the guitar work winds away, switching back and forth between clean melodies and distorted chords. The airy vocals in the mid section are a nice change of pace, with the simple kick snare drum combinations keeping a solid beat throughout. The build up of guitars leads you back to a thrashing scream fest, with syncopated drum hits bringing it all together.

There is a definite post-metal sound in the early stages of "Simulacra," using the instrumentals to set a tone and story before the vocals kick in. Things slow down, with the bass sliding up and down the neck in support of the vocals. Things are slow and deliberate through the verse, while the guitars get more creative in the bridge. The solo is perfectly placed and executed, bringing some clean, progressive elements to the table. Drums, bass and guitar come together or a long build up, dialing it back for a darker melody. The instrumental work here would make "Crack The Skye" era Mastodon nod their heads. Even the bellowing cries are at home, leaving your neck soar and ears throbbing.

Track placement can breathe life into, or kill, an album. And the choice to finish things off with "Action At A Distance" was a good one. The light intro gives way to a low end rumble of drums and bass. The beat and flow of this early section could easily have been fleshed out to a nine minute instrumental of its own. But as the distortion hits with the force of a semi-truck, you see why this is the closer. The punch of the drums is undeniable, with every fill and roll sending your woofer into a state of shock. Each change of tempo and tone keeps you guessing, with no opportunity to lose focus. Stop and start, fast and slow, clean and dirty. You get a healthy dose of the entire scope of metal in this track, including a foray into clean, almost chant-like vocals. With all the chaos captured on this album, it is only fitting that they shift gears, and go out like a lamb.

The idea that metal must be complicated to be good was never right. It was the opinion of the elitists, who truly believed that solos and sweep picking defined the genre. Blizzard At Sea is another nail in the coffin of that theory. Good, hard-nosed instrumentals with the grit and force of a strong vocalist. Elitists need not bother. Fans of metal, "Invariance" is an album to add to your progressive sludge wish list.

8.5/10

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

Read more ...

The Podcast: Episode 15 (Lord Of The Dance)

The guys kick back and beat the summer heat by discussing some great new bands, like Powerwolf, Ogen, and Project Masquerade.  We realized that after all this time, we hadn't really given folk metal its due. Combining the fun, dance oriented beats with native storytelling and instruments, this branch of metal is as entertaining as it gets. So, put on a "Lord Of The Dance" DVD, pull out your hurdy gurdy, and join us!

Download it here!

Read more ...

Lamb Of God - Wrath (2009)

The powerful heavy metal band from Richmond, Virginia, Lamb Of God, has constantly released bone crushing albums and in 2009 they did it again with "Wrath." This is the band sixth full length album, and hit sales exceeding 68,000 within the first week. The album has massive amounts of bass as you will hear booming drums and electrifying guitars throughout the album. This is definitely something you don't want to miss!

The intro track, "The Passing," is a very calm instrumental song with soft guitar riffs but has some pretty detailed drum fills as well. "In Your Words" Follows with deafening cymbals, rapid snares, and blaring guitars. Lead vocalist, Randy Blythe, has a slightly different style of vocals in this album compared to the bands last few. Aside from his well known vicious growling, he also throws some violent yelling which echoes from ear to ear. The background contains some insane double bass pedal action and constant chugging of guitars in demonic tones. The last minute of the song is a repetitive catchy riff combined with constant explosive drum rolls. This is such a monstrous track to kick off the album with.

The aggressiveness doesn't stop here, "Set To Fail" jumps right in with machine gun snares and more speedy speedy drum fills which punch you in the face. There are wild guitar riffs that will rip through you speakers. Blythes vocals dominate the track with his vicious growls. Similar tones follow in "Contractor" which was the first single released off of the album. Although it's only three and a half minutes long, it wastes no time getting right into the destruction and violence. The verse grab you by the throat and throw you to the floor as the drums constantly pound away at you. The breakdown in the middle of the song will have you bashing you're head along with the snare drum. More crazy double bass pedaling jumps in towards the end as the growling gets more and more intense with every lyric. You're definitely going to want to replay this song a couple of times before moving on.

If you're looking for some solo work doesn't hesitate to check out "Grace." The song fades in with a quite guitar melody luring you closer to your speakers as you try to get a full ear of what is being played. You are then met with a wall of distortion as you are crushed with monstrous guitars and violent kick-snare drumming. The detailed drum fills are exploding with rage leaving you no time to breathe. The cymbals are constantly ringing from left to right. Towards the end is where you will find your note murdering guitar solos. "Broken Hands" is another one with hell raising guitar solos. These are two tracks you'll definitely want to jump on if you're a solo kind of guy. The structures are ridiculous and consist of so much detail.

The album comes to a close with the seven minute long "Reclamation." Now don't let the quiet intro fool you, this track packs a punch when the verses drop. The song structure is incredible as you'll notice the patterns of the guitar riffs changing constantly in the background throughout each section of the song. Double bass drums drill away while cymbals crash everywhere. The guitars will have you bobbing you're head for sure. As far as the vocals go, Blythe goes back and forth between growling and yelling which really keeps you at the edge of your seat as you waiting for the next verse to drop. It's definitely a solid ending to a solid album.

Overall, "Wrath" has got some destructive breakdowns and mind blowing guitar solos and really shows that Lamb Of God can balance between metal and core as they constantly throw both slow, heavy breakdowns and quick solos. The change in Blythe's vocals helped keep the album unique from their older albums even though there were some fans who were disappointed in the change. Find out for yourself and check out the album!

9/10

Official Site - http://www.lamb-of-god.com/
Myspace - http://www.myspace.com/lambofgod

Read more ...

Ogen - Black Metal Unbound (2011)

Lurking in the shadows of Italy lies an underground black metal band by the name of Ogen, a solo project by a man named Hartagga. He has written and recorded all of the music and lyrics on this EP, titled "Black Metal Unbound," which consist of five solid tracks of pure darkness.

Heavy machine gun double bass pedaling fires away in "Shattered Earth Volcano," starting off the album with a bang. Speedy guitar riffs lay on top of the drumming with devilish tones. The fiery snap of the snare controls the tempo as it will also control you're head as it bangs to the beat. Notice after the verses is an incredible little drum solo that set up the refrain perfectly. The details are insane. Wicked vocals rush in with deep, dark growls. There is definitely some strong black metal tones in Hartagga's delivery. This is nothing but a solid black metal song full of speed and aggression. A great opener to the EP.

"Black Tusk Retaliation" starts with a very interesting pattern of chords, as the first two build up with a positive feel, but are then brought down with minor chords to give it that epic yet demonic feel. The growling is down right malevolent and really sends a dark message just through the sound of his voice alone. The vocals do change up a bit in the middle of the song, with some eerie clean singing performed in a ghostly manner. As far as the drumming goes, constant double bass pedal action throughout leaving an explosive tone to the background. Violent guitars filled with distortion take over the track and provides an overwhelming background for Hartagga's vocals. Another track with lots of evil riffs is "Crest Of The Forgotten," which has got some really screechy black metal sounding guitars in between the verses. The vocals aren't as deep in this song as the others, however, they definitely have some pain in them creating great imagery to the music.

Monstrous guitar riffs take over in "As A Leaden Sun Shineth Upon" as thunderous drum rolls destroy the background completely. The are some quick melodic solos towards the middle of the song, hitting the highs and lows and making everything connect smoothly. This leads to some clean singing at the end of the song backed with some more incredible drum fills. This is probably the weakest of any of the songs, mainly because it drags out a bit in the end. I found myself skipping to the next song while the last minute of the track was still rolling.

The last track starts out with a brutal drum fill right off the get, as harsh guitar riffs attack you from all angles. This is where you will want to pump your fist in the air. This being the longest track on the EP, it's definitely got a lot to offer as it runs for over seven minutes long. The guitar work is aggressive and evil during the verses, as more vicious growling runs right over it. After about 4 and a half minutes, all instruments fade out except a quiet guitar riff. Soft notes float through the air with beautiful tones giving a whole new look to this track. This is definitely one of my favorite parts of this whole EP. The guitar runs for the rest of the song as it slowly fades to an end.

"Black Metal Unbound" has hit all of the solid elements of extreme black metal and is definitely a step in the right direction for this new born band. Ogen definitely has the potential to separate himself from the rest of the black metal bands that are just starting out. This industry is a tough one to get noticed, but as long as he keeps writing solid tracks like these then Ogen will be well on its way.

7.5/10

Official Site - http://www.kolonyrecords.com/ogen.html
Myspace - http://www.myspace.com/ogenblackmetal

Read more ...

Enslaved - The Sleeping Gods (EP) (2011)

Enslaved is a band that needs to introduction. We know them, know their catalog, know their style. So, if I told you that they have a new EP available for the glittery, twinkling price of "free," I would assume that you are as excited as I was. The folks at Scion A/V are doing something that the music industry needs to start doing more often: giving away great metal. For now, we are content to have awoken "The Sleeping Gods."

The light chugging of guitars crashes into an earthquake of bass, and the opening track, "Heimvegen," begins. Sterling clean vocals emerge in the early verses, only to be replaced by devilish growling as the track progresses. The precise, yet power-packed crash of snare and cymbal highlights each passing frame. The bass line is devastating, rolling through the rack with clean, pure low end. The use of chanting behind the lead vocals is a well thought out layer. A descending scale leads to a choreographed cymbal crash and stop.

The more aggressive "Alu Misyrki" has all of the musical makings of a true black metal piece, with guitars thrashing amidst a flood of high octane drumming. The singing, however, is harsh with a sparse use of clean, melodic vocals. A surprise solo bursts, cutting through the barrage with a twisting winding bit of fret work. The track breaks into a keyboard backed stomp, with screams aplenty. "Synthesis" is aptly titled, with the low roll of electronics occupying the entire length of the track. The thunder is constant, with softly whispered vocals popping up here and there.

The band show off their melodic sensibilities in the opening measures of the instrumental, "Nordlys," before letting distortion rule. There is something dark and sinister about the track, stemming from the loud, penetrating double kicks and blitzing snare rolls. The song switches back to an evil melody, lead by a fierce, galloping bass line. The song cuts to a single clean guitar, and fades away. The album finale, and title track, begins with pounding, almost tribal, drums. The chanting vocals that dominate the track are cold, but deep. Layers of crashing drums and cymbals are added, with synthesized notes tying the pieces together. An odd composition, but not short on creativity.

Let's face it, free music is just that: free. So, while it may seem easy to complain that this isn't Enslaved at their best, it is still better than so many albums you had to pay for this year. The band have branched out slightly, trying their hand at some different styles. Everything presented is strong, in it's old right, but not in that gritty, progressive black metal way that we may have come to expect. That said, the album is perfect for the price. Sold!

7.5/10

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

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

Read more ...

Project Masquerade - Nothing But Everything Will Remain (2011)

The pressure of major labels leads so many bands to write and record entire albums in weeks. They work tirelessly to put out the best product possible, but the strict deadlines and "dollars & cents" nature of the industry lead to albums being released prematurely. Mediocre albums, too much filler, and the collapse of a business all hang in the balance. That is why now, in 2011, when someone dedicates almost three years to one album, one dreams, one vision, it is time to take notice. And when Noud Smeets completed work on the Project Masquerade album "Nothing But Everything Will Remain," rest assured, it was ready for you to hear.

There is no rush in getting to the meat of "Disease," and you will be thankful for each note. The intro is broken into two pieces, with the first feature a softer, acoustic guitar and a outrageous, rumbling bass line. Each drum hit will rattle your beverage of choice. The guitar distortion kicks in, signalling the countdown. The tempo peaks as the cleanly delivered vocals enter provided by Chandler Mogel. Their strength builds as the song progresses, gaining power and momentum with each verse. The beauty of the guitar work is in the variation. Lightning fast crunching notes dominate the verse, but more melodic styles take the chorus and bridge sections. The contrast is key, especially over the span of eleven minutes. The rhythm section is not to be taken for granted, holding down the sonic fort as guitarist Noud Smeets explores with some intricate fret work. The more subtle fingerings give way to a blazing solo, with the thunderous low end accenting every note.

The concept of finding your soulmate is explored in a pair of tracks, beginning with the drum clinic on "Carve Your Soul," which is impressive, with the flurry of double bass pedal work shaking your eye sockets. As fast as the kicks and snares are delivered, Smeets' climbs up and down the guitar neck, delivering scales of a intense nature. The periods of intermittent chugging and thrashing are perfectly timed, carving out a place for a stirring vocal performance. Amidst the crashing of drums and guitars, the combined vocals of Dmitri Kostitsyn and Suzy Silversteim are otherwordly. His coarse, bitter screams and growls are paired with her sweet, angelic voice in a daring mix.

The atmospheric keys and electronics begin part two of the duo, before the whine of Smeets signature guitar sound screams through it all. The track is a slow, distorted stomp, with the glorious low end presence that is so often lacking in modern metal. The smooth, melodic vocals of Michel Zandbergen are the perfect match. The light tap of cymbals shines through, before the power is unleashed. Zandbergen shows his vocal range, with his voice soaring over the top. Smeets cruises up and down, before igniting a groove of staggering proportions. The continued heavy handed drumming is a worthy platform for the solo work, before allowing the vocals to re-enter and complete the sound.

Lightning fills launch "Killer Of Life," with the soft whisper of vocals building to the screams of Daniel Verbrugge. This is a thrash track, pure and simple, whipping your head back and forth. The guitars are low, with distortion crushing down on each note. The accuracy of the instruments is key, with stop and start moments coming frequently. But the highlight of the track comes just over two minutes in, as the deathly screams give way to a guitar solo that has something that thrash lacks: soul. Dutch singer/songwriter Grain lends her amazing vocals talents here, as well. The contrast of her clean, heavenly voice is unreal. Smeets rattles of blistering passage after blistering passage, changing tempos at will, keeping minute seven as fresh as minute one. Verbrugge ends the assault with a grunting scream that you won't soon forget.

The completely instrumental "Masterplan" is Smeets at his shredding best. It is as if he tells a story with each note, bending the strings to conform to his musical vision. But the backing band is key here, with the deafening bass and drum beats turning this into a well rounded composition, rather than a four and a half minute guitar solo. You may lose track of time very quickly, trying to keep up with the pace set. Nothing is forced, nothing is simply thrown in. The background thrash is expertly timed, while the guitar melodies that dominate the track are pitch perfect and spot on.

The album's finale, "King Of The Wastelands," displays that ability to combine the heavy and the melodic that Smeets was known for over the course of two decades in the business. The music provides the hard and heavy punch, while the vocals of Chandler Mogel are once again utilized. He is in his element on this track, giving a stirring performance, all the while standing in a sea of harsh, distorted notes. The rolls and fills used to tie each section together deserve attention, keeping the song cohesive and flowing. The solo that brings the album to a close is a fitting end, climbing the scales to new heights.

There is something to be said for the dedication and persistence that leads to a man spending the better part of three years recording and perfecting an album. That kind of care isn't seen much in this day and age, leaving bands to cram an entire album recording into weeks. When Noud Smeets releases "Nothing But Everything Will Remain," he will have the opportunity to do something that few others can. He can hear the finished product, and say that he is happy with the scope of the album, rather than just saying it is "good enough." And that makes all the difference.

9/10

Official Site - http://www.noudsmeets.com/ (Under Construction)
Reverb Nation - http://www.reverbnation.com/noudsmeets

Read more ...

Stratovarius - Infinite (2000)

In the year 2000, well known symphonic power metal band, Stratovarius, released one of their most amazing albums of their career, entitled "Infinite." This album put them on a whole new level, and really separated them from the other bands. This being the bands eighth studio album, hit high on the charts all over the world.

The opening track, "Hunting High And Low," is one of the bands most well known songs. This gorgeous masterpiece has everything a power metal fan dreams of and more. The synthesizers and guitar riffs in the beginning immediately grab you with their catchy melody. It's fast, upbeat music that is sure to get you pumped. Constant snares will have you bobbing your head from start to finish, guaranteed. Lead vocalist Timo Kotipelto, shows off his pitch and multi-octave climbing voice as he soars higher and higher from verse to chorus. His reach for the high notes is most impressive. As the refrain hits, the lyrics that he belts will rush through your brain, triggering you to sing right along. The double bass pedaling fills the background with just enough kick to knock you on your ass.
When you do finally move on to the next track, you're going to run into "Millennium" which is booming with more double bass combined with shattering cymbals throughout the intro. The guitar riffs are filled with melodic build up, getting you ready for the symphonic chorus. By the time you're done with this album you're going to know the words to every song. They're all just so likable.

Things slow down with "Mother Gaia," as more orchestrated instruments enter quietly behind Kotipelto's soothing vocals in the opening verse. Basic piano riffs and drum rolls are accompanied by beautiful strings which really place the vocals higher to focus on. Now there is a little more to this 8 minute ballad. About four minutes in comes a cheerful little piano part that really mixes up the imagery of the song. You'll also find some amazing drum fills following this part that will blow your mind. Jorge Michael is an absolutely incredible drummer. Definitely make sure you catch all the little detail that he puts into the album. The bridge consists of crying guitars which are layered with angelic piano parts and really bring the rest of the instruments together as they all fade out in the end.

Electrifying guitars come flying back in as "Phoenix" rocks you with its energetic melodies. The vocals switch back and forth between clean and operatic all throughout the verses and refrains. The drums are like machine guns during the build up to the chorus as they shoot off rapid kick and snare patterns. There's even some heavy guitar chugging about three and a half minutes in which will really make you want to throw your devil horns in the air. This is followed by an astonishing guitar solo as lead guitarist, Timo Tolkki, shows his scale demolishing skills. And if you're looking for more of this then you'll love "Infinity." It's a nine and a half minute epic masterpiece that starts with overwhelming drums, symphonic strings, and a beautiful choir. The build up is just incredible and will have you at the edge of your seat, waiting for the song to drop. The verses start out slow, but quickly build up with speed. Its amazing to hear the kind of notes that Kotipelto can hit. He's got a very similar reach to Tobias Sammet of Edguy and Avantasia. The strings throughout the song consume you into the music as the guitar solo jumps in and completely tears you apart. You'll also notice a lot of unique drumming. The patterns change up so frequently keeping you hooked the entire time. The structure of the song is magnificent as the style changes often and yet keeps the tone similar throughout.

If you're new to the power metal scene than "Infinite" is definitely the album to start with. Stratovarius has come along way since this album and have been consistent in releasing phenomenal albums year after year. This is, however, one album that will always stand out above the rest. So make sure you check it out!

10/10

Official Site - http://www.stratovarius.com/
Myspace - http://www.myspace.com/officialstratovarius

Read more ...

Powerwolf - Blood Of The Saints (2011)

 

Germany's Powerwolf are bound to grab your attention. One look at the album cover, and you will make a judgment. You might say they are another gimmick band looking to snatch up fifteen minutes of fame. You may wonder, for a moment or so, what kind of music they make. In your haste, you will decide, "It is probably a power metal band with songs written about werewolves." Well, on that you are correct. And on "Blood Of The Saints," the pack are on the prowl, looking for blood!

From the ominous organs and spoken passages of "Opening: Agnus Dei," you get an idea of what is to come. Walking the line between traditional heavy metal and more modern power metal, "Sanctified With Dynamite" is ripe with headbanging string work. The guitars shred along, up and down the neck, backed by the thunder of kick drums. With each passing cymbal crash, you become more invested in the track, lost in the groove of it all. Capped by the catchy, classically trained vocals of frontman Attila Dorn, this is everything you need to convince you to listen further. The vocal delivery is on point, especially on "We Drink Your Blood." Dorn manages to be forceful without being over the top, the slight raspy nature in his voice complimented by the choir of voices behind him. The keyboards are dazzling, creating landscapes of orchestrated instruments throughout. This is a guitar rock anthem, one to chant along to with your fist high above your head.

Deep, rich vocals initiate the action on "Murder At Midnight," before guitars fly into your frame. Dorn's range is on display, alternating between the dark crooning and the higher octave chorus. Fast and furious, the drums are as accurate as an atomic clock, never skipping a beat. The chanting of the breakdown portion is equal parts eerie and grandiose, setting up the finish. Church organs cry out, with classical styled vocals soaring over the top. A distorted guitar cuts in, and "All We Need Is Blood" is upon you. Based on the werewolf legends of yore, this track oozes an element of fun. The guitars chug along, amidst a sea of fills and rolls. The keyboards are omnipresent, keeping mood cold and dark. The choir vocals return, before dropping out to the thrashing of guitars, bass and drums.

The all out thrash of "Dead Boys Don't Cry" may leave you with a sore neck and a bruised forehead, but that will all be solved with "Son Of A Wolf." The symphonic elements are on display, with the haunting keys creating a cold mist. The 1-2 punch of drums and the more coarse, yet melodic, vocals is excellent. A dueling guitar solo blazes through the meat of the track, setting up a crashing finish. There is certainly restraint on display here, as well as excess. "Night Of The Werewolves" is a perfect example of both, from the understated keyboard and guitar in the intro, to the winding vocal patterns that emerge as the song progresses. Dorn's power metal chops get a workout here, and they pass the test with flying colors. On the whole, this is a track that fires on all cylinders, giving you a taste of what the band is capable of.

And whether it be the fires of "Phantom Of The Funeral" or the alternating stomp and thrash of "Die, Die, Crucified," the band marches through with expert delivery. Every aspect is larger than life, leaving you feeling as though this is more than just a power metal record. One of the more memorable tracks present in the finale, "Ira Sancti (When The Saints Are Going Wild)." It blends together the gritty and the sublime. The keyboards and orchestra are not added just for the sake of having them, but rather they star in the song. And, keeping with the theme of the album (and band, for that matter), the organ lead track ends in the darkest night, with the sound of a distant pack of wolves howling.

At first glance, Powerwolf may seem like nothing more than a gimmick band. And while you will, ultimately, make that decision for yourself, I was left with two distinct feelings. First and foremost, this is a band that needs to be seen live. The spectacle that would be attached to the music on "Blood Of The Saints" promises to be outstanding (the pyrotechnics of Rammstein meets the musical show of Stratovarius?). Second, these songs are well written and catchy, without being overly cheesy. No one ever said that metal couldn't be fun, and these guys make me want to join the pack.

8/10

Official Site - http://www.powerwolf.net/

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

Read more ...

The Podcast: Episode 14 (The POW in Power Metal)

So, here we are again. Hell22 wants to shed some light on The Howling Void and Echoterra, and the gang fawns over Alcest once again. Murmaider gets all warm and fuzzy talking about the new Mastodon track, "Black Tongue," and we wonder if the rumors are true.... is there really no growling or screaming in the new Opeth album? "The Devil's Orchard" seems to indicate exactly that! Near and dear to our hearts, we feel the need to talk about power metal. Whether you love it or hate it, power metal is the gateway to so many other things. Murmaider wouldn't be the metal maniac he is today without the symphonic, operatic, and empowering themes. Right? Right.

Part 1 - http://www.sendspace.com/file/nj5usk

Part 2 - http://www.sendspace.com/file/fden4l

Read more ...

Slayer - World Painted Blood (2009)

For those of you wondering if Slayer still has it in them to deliver a monstrous album, well "World Painted Blood" screams "hell yes." After getting some negative feedback from a lot of fans about their previous album, "Christ Illusion," Slayer has really bounced back with this 2009 release. It's the bands 11th studio album and they've gone through a lot of different styles to get to where they are today. This album has a little bit of everything, yet still offers their original sound keeping everyonem both new fans and old, satisfied.

The album starts off bursting with massive amounts of bass in the song "World Painted Blood." This is over five minutes of Slayer doing what they do best. The build up in the beginning introduces the song perfectly as it quickly picks up the tempo with violent guitar riffs and fast vocals. The chorus will ring in your head for days as the lyrics are followed by a catchy melody of distorted notes. There is barely any rest between kicks as they are constantly pounding away in the background. The bridge does, however, slow down for a brief second as lead singer, Tom Araya, speaks in an angry tone as he delivers some harsh lyrics. The final verse picks up as the song speeds up again. The chorus gets louder and more reckless each time its repeated. Such a solid way to start off this monster of an album.

The next couple of tracks will completely knock you on your ass as "Unit 731" is nothing but blaring guitar riffs layered with shattering cymbals and rapid kick/snare action. This is two and a half minutes of pulverizing thrash metal. And the great thing is, it's followed by "Snuff" which starts off with a hell raising guitar solo keeping the structure unique and mind blowing at the same time. The verse fly through the song like a tornado lyrically destroying everything in its way. Repetitive lyrics like "Murder in my future" just gives you a chill down your spine yet a smile on your face at the same time. So much anger and hate is felt in the delivery of the vocals. Also, be prepared for a couple more solos towards the end. Each one climbing higher and higher on the scales. Very impress guitar work, I must say.

One of my favorite songs on the album is the following track, entitled "Beauty Through Order." It's got so many different elements involved as far as tempo, vocals, and mixture of melody. The song starts out slower with a catchy guitar riff built up by rolling double bass pedals. Araya's vocals have a little more melody. They are still delivered in an angry tone, yet it's got more of a melodic touch to it. This, of course, changes as the song goes on. The violent thrash vocals come out when the explosive drumming picks up. Electrifying guitars fill the air giving a more demonic feel to the song. This is definitely some great head banging music. And the solos are just flying everywhere. Get that "repeat" button ready!

"Hate Worldwide" goes right back to the monstrous thrash metal. The drum fills are incredible, as you hear so much detail within every roll. The vocals go back and forth with short little solos which really keep you attached the entire time. Wicked notes layered with deep bass lines will consume you as you are crushed by constant snares in the track. "Americon" is another powerful track with lots of energy. Slayer shares strong lyrics about the government and basically how they're fucking everything up. The vocals are, again, delivered with such passion and anger which draws a great picture of the message they are trying to get across. Definitely get ready to pump your fists to this one.

"Playing With Dolls" starts with a basic guitar riff layered with clean vocals as the drums slowly enter. "Die in front of me" is shouted in the refrain making this another one of my favorite song on the album. Lyrically, it doesn't get any more metal than this. The drum fills get a little more light as most of the song is a basic riff repeated with little distortion giving a clearer view of the drum rolls. Certain parts do pick up a little with layered guitars towards the end, but for the most part the tempo runs at a slower speed than most of the songs. However, things do pick up yet again with the final track "Not Of This God." Immediately intrigued by the title, the song follows with a solid punch. It's got a heavy breakdown towards the middle of the song where the bass and drums just explode through the speakers. The guitars are fast and aggressive throughout leaving you bobbing you're head constantly. This is a great way to end the album.

Of course after hearing this album, you're going to want to replay it from start to finish. There is definitely a lot of shit going on that you might miss the first time through. Being known as one of the kings of thrash metal, I can only imagine how tough it is to stay unique yet sound the same album to album. Clearly this isn't an issue for Slayer as they prove yet again that they still have what it takes. Hopefully they will release another incredible album soon!

9/10

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

Read more ...

Alcest - Le Secret (2011)

 

The quiet, clean guitars tones that open "Le Secret" are soothing, leading to the sizzling of cymbals and the addition of the kick/snare drumming. The bassline is not overstated, yet powerful all the same. This is progressive rock, played beautifully, in the same realm as Porcupine Tree. But the aural assault is soon to follow, with guitars ringing out distorted tones, and the light tapping of drums building to a thunder. Soft vocals enter nearly five minutes into the song, yet keeping the same rapid fire drumming that has come to be synonymous with black metal.

You may feel as though you have spaced out, because time is simply not important anymore. Everything flows together perfectly, and you may find yourself lost in the haze. The instrumentation is fragile, with each pillar standing, delicately, on it's own. But the strength of all these pieces together is unreal at times, with the thumping of kick drums propping up a melody, or a high energy bass line forming the glue between kick and snare. An interlude of almost punk fervor comes dashing to an end with an acoustic tinged portion. The full band sound reenters, but with little more than a whisper. The gasp of vocals peeks through, but only to guide the song to an end.

The second track, "Elevation" is aptly named and well performed. The heavenly sound of keys may bring a tear to your eye, as the darkened clouds part and expose a shining sun. This passage would be as at home in a church as it would in a garage studio. But with the greatest beauty, comes the strongest crash. With the ringing of a cymbal, the high speed drumming begins, complimented by distorted, yet clear, guitar chords. The sparkling low end of the bass is enough to tie it all together. The screeching, hoarse vocals enter, in such a sharp contrast to the music being performed. They scream forward, over top of the building energy. As the distortion fades, clean guitars return. But not for long.

The effects build, the thump of a kick drum sends your woofers in motion, a some fancy string work leads you into a post-metal blitz. To say the music is "atmospheric" does not to it justice. It surrounds you. The layers and layers of distortion and low end rumbling form a wall around your head. Even as the harsh vocals take command again, you can't help but feel relaxed. The crashing of cymbals only strengthens the emotions that will run through you. It all fades away, and those eerie keyboard tones return, laying you down amongst the clouds. And as quickly as it began, it all fades away.

This re-imagining of the original work was well executed, and much needed. Included on this re-release are the original versions, recorded in 2005. Contrary to the early recordings, these have a production value that allows us to see the vision. I find it hard to describe the imagery created. In fact, I struggled to stay alert during this album, choosing, rather, to slip into a state of consciousness where only the music existed. The first time you hit play, don't read. Don't drive. Don't eat. Just Listen.

9.5/10

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

Read more ...

Arch Enemy - Doomsday Machine (2005)

Looking for Hell raising solos and constant melodic riffs with monstrous lyrics delivered by a chick? Then look no further, as Arch Enemy is the band for you! In 2005, the Swedish melodic death metal group released their sixth studio album, entitled "Doomsday Machine." This album hit the metal scene hard as everyone was talking about it. Pure flawlessness.

"Enter The Machine" is the intro to the album and it is such an electrifying way to open up a killer album. This intro had me hooked from the start as it built up the suspense to the rest of the album. Following this is "Taking Back My Soul." Voilent drums come rolling in with sharp cymbals smashing from left to right. The guitar riffs are extremely wild and will blow you away. Angela Gassow enters in the verse with her haunting growls and completely destroys everything. The double bass work, by drummer Daniel Erlandsson, is incredible as his destructive rhythms knock down anything in its way.

"Nemesis" starts off with speedy guitar riffs as Gassow releases an evil growl that might make you crap yourself. Her aggressiveness gives so much more feeling to the song and will really pull you into the music. The refrain is very catchy with its melodic riffs and solid lyrics. You'll be singing along in no time that's for sure. The Amott brothers to all the guitar work in Arch Enemy and this is song really shows off their talent and song writing skills. The guitar solo towards the end its absolutely beautiful.

This next one, entitled "My Apocalypse" is one of my favorites. Gassow's wicked vocals soar over the rapid double bass pedaling. The guitar riffs are demonic and full of anger. The song later breaks down to just bass, drums, and melodic guitars with no distortion. This is where the solos come in. After hearing these angelic solos. Gassow comes back in with more violent vocals as the guitars get louder. This is definitely one of those songs that will make you bob your head from start to finish. You may want to prepare to hit replay as well.

"Hybrids Of Steel" has got some crazy guitars right from the get as high flying notes come soaring in. The constant kick and snare will have you rocking your head to the beat the entire time as the Amott brothers tear up the musical scale over and over again. "Mechanic God Creation" is another song towards the end that you won't want to miss. Distortion constantly fading in towards the beginning will have you at the edge of your seat as you're waiting for what's next. Gassow releases some devilish growls that make you wonder just how a hot chick like her can produce such evil sounding vocals. The guitar riffs are just as vicious as Gassow's lyrics are. Also the solo at the end is insane and will definitely blow your mind.

Arch Enemy has never failed us as they always deliver fast, aggressive guitar riffs with moving lyrics carried by the amazing Gassow. "Doomsday Machine" is, by far, one of their best albums that the band have ever released. As long as their solos continue to be explosive and their guitars stay melodic and heavy, Arch Enemy fans will always be waiting for more!

9.5/10

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

Read more ...

Echoterra - Land Of The Midnight Sun (2011)

Something special happens when the right pieces come together. Formed in 2007 by guitarist Yan Leviathan and keyboardist Jonah Weingarten, Minnesota's Echoterra were a progressive symphonic metal puzzle missing a center piece. When Melissa Ferlaak (Visions Of Atlantis) replaced original vocalist Suvi Virtanen in late 2009, things changed, leading the band on the path to greater success than ever before. With the coming release of their second full length effort, first with Melissa at the lead, there are bright skies ahead in "Land Of The Midnight Sun."

The darting of keyboards leads off, welcoming in a screeching guitar and the powerful thud of kick drums of "After The Rain." The vocals, bordering between gothic and operatic, enter. There is no denying the power possessed by Melissa, bringing to mind Nightwish's former songstress, Tarja Turunen. The orchestrations are deep and rich, culminating in an impressive solo. The majestic keyboards remain the outright star in "The Best Is Yet To Come." They remain versatile, whether it be providing the lead melody, or simply atmospheric tones in the background. The headbanging guitar chords are the perfect fit. Together, it provides a clean slate for the vocals. And though the lyrics may fall short, the delivery is clean, crisp, and emotionally charged. The outro section has all the flare and energy of Dragonforce, but with the intelligence and skill Stratovarius.

Melissa's operatic talents shine through in the early verses of "Midnight Sun." The tempo has seen a jump, with guitars and drums racing one another. The breakdown shows the heavy side, guitars chugging away while the haunting vocal tones climb over the top. A keyboard solo of epic proportions steals the stage, running up and down the scales, precise and powerful. The sound of delicate keys somehow carries weight over distorted guitars and the crashing of cymbals, a theme for "The Ghost Within My Heart." The use of ethereal synths is perfect, creating a mood that would otherwise be lost. Another lightning fast solo leads this one to a ghostly finish.

The first chords of "All The Lies" may catch you off guard, giving off a dark, heavier energy than the previous tracks. But as Melissa's voice takes hold, you will find yourself soothed by her warmth. The keyboard work in this track is top notch, providing every necessary piece of the puzzle, all the while remaining fresh. The drumming is steadfast, though lacking a real change of pace. The robotic precision of the opening drums on "Unleash The Flood" is welcomed, opening the door for the winding operatic vocals to build. The slight grit of the guitars is much needed, allowing the keys, chords and voice to play off of one another. The piano melodies are astonishing, and will leave you in awe.

The most well rounded track, "A Different Story," offers a little piece of the spotlight to each member of the band. The guitars come through, a little stronger than before. The orchestrated pieces are perfect, locking together with the enchanting vocals. A strong bass presence helps to accentuate the drumming, something you may have been searching for earlier. The gray beauty of "Welcome My Friend Of Misery" and the spacey keyboards of "Memories Of Another Time" are the perfect one-two punch; so different, yet fitting together so well.

The vocals are ambitious on "From The Gutter To The Throne." The shackles are off, and Melissa takes a more aggressive approach. Her voice echos the melody, with wonderful tone and accuracy. It shows its greatest strength when paired with the clean piano, voice and ivory coming together in a glorious harmony. The rapid kicks and snares are flying about, shrouded in cymbal crashes and keyboard rhythms. The album ends with a bang, the symphonic thrashing of "Genes Of Isis." This is operatic symphonic metal at it's finest, with every element playing their role to perfectly. The keys remain the backbone, with layer upon layer of sounds. Vocals are glass shattering, with range and restraint. The drums are unleashed, providing that low rumble we yearn for. The light guitar distortion is just enough. And the piano outro is a classic, fluttery and airy.

The world of symphonic metal is a crowded one, with so many artists trying their hand at the genre. But Echoterra has something that so many others do not. They have a keyboard virtuoso in Jonah Weingarten. He is the vessel through which the music must flow. And with the proper pieces in place around him on "Land Of The Midnight Sun", Echoterra has a course set for success. With a light coat of polish, and a few edges smoothed, the pride of Minnesota could become the symphonic kings of the nation.

8/10

Official Site -  http://www.blindingforcerecordings.com
Myspace - http://www.myspace.com/echoterra

Read more ...

Avanstasia - The Wicked Symphony (2010)

Here's some true symphonic power metal at its best. Avantasia, the side project of Edguy's lead singer Tobias Sammet, has released "The Wicked Symphony" which is his fourth studio album. This album is the second part of the "Wicked Trilogy." The first part being "The Scarecrow" and the third part being "Angel Of Babylon." Each of these albums have amazing lineups as far as guest musicians go. This truly is a metal opera!

The first track, entitled "The Wicked Symphony," starts out quiet with soft orchestrated strings that build up to the chugging guitars. The verses are deep with moving lyrics. Tobias Sammet shares the mic with Jorn Lande, lead singer of Masterplan, and Russell Allen, lead singer of Symphony X. Together they form an angelic sound in vocals that will blow you away. The chorus is stunning with its symphonic build up and echoing lyrics that are hit in the highest of notes. Such powerful deliver in every word. Get ready to learn the lyrics because you are going to be singing along often. And that goes for the entire album. "Wastelands" is another amazing track full energy as the drums are constant following the heavy chugging of guitars. The solo towards the end of the song is electrifying as it runs up and down the scales rapidly. The vocals are shared between Sammet and Michael Kiske, ex-vocalist of Helloween. The amount of talent on this album is just astonishing.

"Scales Of Justice" starts off a little more aggressive with rough guitar riffs being slammed against booming drums. The vocals are done by Tim "Ripper" Owens, former lead singer of Iced Earth and, more famously, Judas Priest. Strong lyrics that are well delivered. Also pay attention to some of the drum fills in the song. So much technical detail and impressive double bass pedal action. One of the first singles released off of this album was "Dying For An Angel" which featured Klaus Meine, lead singer of the Scorpions. Together they created a powerful mix, using reverb and flange effects in certain parts of their vocals giving off sort of a futuristic sound. The chorus will grab you with its catchy melody and memorable lyrics. The soaring guitar solos are phenomenal and smoothly copy the melody of the refrain in a detailed way. This is definitely a song that you are going to want to put on repeat for a while.

Another track with pure epic tones is "Runaway Train." This eight and a half minute masterpiece is absolutely stunning. It starts with soft piano and soothing vocals. About one minute in enters wild guitars and rapid snares blasting away. The vocals are split between Sammet, Lande, Kiske, Allen, and Bob Catley who is the lead singer of the rock band Magnum. The lyrics in the chorus just take you into a while other world. The break down in the middle of the track with rapid piano riffs is pretty awesome as the instruments build louder and louder. This all leads to an incredible solo that will completely take your breath away. Following the solo comes a small verse with just the piano and vocals with beautiful lyrics. As this fades, Sammet comes back in with the chorus as it is repeated for the last minute of the song. It's going to be the fastest eight and a half minutes of your life, so you're probably going to want to replay it.

Catchy synthesizers open "Crestfallen" as heavy guitar chug along with the melody. The chorus to this song is huge and really blows up when it drops. Distortion is everywhere, while the drums pound away at the snare and shattering cymbals. Together, Sammet and Lande take care of the vocals. Lande also contributes to the following song, "Forever Is A Long Time." This song has got some overwhelming guitar work. Ripping guitar riffs screaming with distortion. Double bass in the chorus will have you bobbing your head for sure.

And if you like this track then you'll love "States Of Matter." The vocals in the first verse are done by Allen and he really shows of his talent in the chorus with his high notes. Sammet takes over in the second verse for another magnificent performance. The solo is perfect, the verses are solid, and the refrain is catchy as hell. The only problem with this song is that its only four minutes long! But don't worry, your greeted with "The Edge" as the album comes to a close. Sammet delivers the vocals alone in this one. Gorgeous lyrics fly though the air in this one. The verses are soft with a smooth bass line and a couple guitar riffs. The chorus build with deafening distorted riffs and constant kick-snare action. The melody of the chorus will be stuck in your head for days.

Keep in mind that "The Wicked Symphony" is only one of three amazing albums put together to form this epic trilogy that the musical genius Tobias Sammet has created. With the help of his friends and other talented musicians, these albums will be known and listened to for a very long time. Now all we need is for Avantasia to do a U.S. tour!

9.5/10

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

Read more ...

The Howling Void - Shadows Over The Cosmos (2010)

 

Hailing from San Antonio, Texas, The Howling Void is more than just another funeral doom band. Having been (self) described as a "glacial, wandering meditations on Chaos, Time, and Light," you are surely not in for a metalcore scream fest. This is truly doom at it's core; low, slow, and depressive. Throw in a healthy dose of symphonics, and you have "Shadows Over The Cosmos."

Those stunning symphonic elements are on display in the opening to "The Primordial Gloom." Keyboards are a featured instrument, playing a soft melody over the reverb of guitar and the slow crashing of drums and cymbals. Unearthly growls overflow the low end of the spectrum, a staple of traditional doom. The atmospheric syntesizers contribute to the ever darkening mood. While the track remains heavy, it somehow seems delicate. After the repeated bangs of drums, things fade away, leaving only keyboards and running water.

The albums title track is similar in scope, relying on the predictable, albeit powerful, percussion to keep your head moving. The ringing distortion of guitars comes and goes, each strum bringing it back. There are few words to describe the tempo at which the song flows, leaving only "creeping." The piano keys are well used, providing a melody for an otherwise somber affair. The deathly roars will leave you questioning whether you are, in fact, still among the living. Clocking in at nearly 15 minutes, there is little variation, leaving things feeling stale by the halfway mark. While the length may be a typical trait of the genre, it is unwarranted in this case.

The formula remains the same throughout the second half of the album. "Wanderer Of The Wastes" sees a short burst of aggressive from the drums, before falling back into the aforementioned sludge. The use of orchestrated synths leaves an ethereal mark on "The Hidden Sun," a welcomed interlude. The delicate tingle of piano, coated by organs and the sounds of nature is soothing, findng beauty in the wasteland. However, the beauty is immediately burned to ash by "Lord Of The Black Gulf." While it remains formulaic, the guitar does see a brief change in direction, delivering some clean, single notes as opposed to the chugging norm. The rain enters, and the keys take you home, through the dark and desolation, into the light.

This album falls into a category that is hard to get out of. It contains so many things to celebrate, but the quantities are simply off. This is funeral doom, through and through, but it would be just as effective if the tracks were a mere six to eight minutes long. The repitition becomes hard to swallow, leaving the symphonic work to rescue each song. And while they are beautiful, sullen, and eerie all at once, that is a tall order.

6.5/10

Official Site - http://www.facebook.com/TheHowlingVoid

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

Read more ...

Spotify (An alternative to The Podcast)

Murmaider has been fighting a bug this week, so we didn't get to record our usual weekly podcast. We will return next week, of course, with more bands, more topics, and more nonsensical banter. Until then, enjoy our previous episodes, in streaming and download format. And don't forget to listen to Light & Darkness Radio, on the Live365 network, for great tracks from great bands. Every Sunday and Wednesday at 8 pm EST, you can hear our podcast there, as well.

Anyway, we suggest you head over to check out Spotify, and get yourself on the invite list. This service is going to change the music industry, hopefully for the better. Over 15 million tracks at your fingertips, at all times. For free, you can stream all you want, in high quality audio. Upgrading to a premium  ($5 a month) or unlimited ($10 a month) account basically let's you do whatever you want with their entire library.

This isn't a limited selection of pop/punk bullshit. They have entire catalogs from bands like Opeth, Mastodon, Amorphis, and so many more. New albums, EPs, singles, soundtrack appearances, and everything in between, organized and ready for your consumption. And it is only going to get bigger. Create playlists, and share them with all of your friends with the click of your mouse. Sync it up with Facebook, and see what all of your friends are listening to.

We are not salesmen. We don't work for Spotify, or anyone related to Spotify. We are audiophiles: people who love music and seek to consume everything there is to hear. And this is the best way to do just that, while also supporting the bands that we love. Do yourself a favor, and check it out.

Read more ...

Black Label Society - Mafia (2005)

The infamous Black Label Society released one of their most powerful albums, back in 2005, entitled "Mafia." This is the bands sixth studio album. Zakk Wylde and his crew really went above and beyond in the album delivering nothing but solid heavy metal music with massive amounts of distortion and bone crushing guitar solos.

The first song off the album is "Fire It Up" which really had me hooked after the first time I heard it. Nothing but heavy guitar riffs chugging away throughout the song. This is definitely that fists pumping, head bashing music that we all love. The vocals are loud aggressive yelling by Wylde. Constant kicks and snares keep the tempo even while smashing cymbals fly everywhere. The guitar solos are intense and full of energy. They will leave you begging for more. Good thing this is only the first song so you know there's more to come.

"What's In You" is the next track on the album and it holds some pretty powerful tones to it. The chorus is catchy yet simple and easy to remember. You're probably going have it stuck in your head for a couple of days. The guitar riffs are screechy and melodic. You'll find similar features in "Suicide Messiah." Detailed drum fills and constant cymbals will have you bobbing your head immediately. The heavy chugging of guitars will pull you into the song as the chorus hits. Also the guitar solos are absolutely ridiculous. Each note soars through the air, while drums provide a solid bottom to the track. The fills and rolls are godly as they follow up to each and every riff.

"Forever Down" starts off softly with beautiful piano notes. This quickly changes however, as electrifying guitars coming rolling in with a bang. The chorus is, again, very catchy, followed by a mean solo that will sweep you off your feet. The song is only three and a half minutes long, but its solid and gives you no time to rest. The following track is the popular "In This River," which was dedicated to "Dimebag" Darrell Abbott, former guitarist of Pantera. The song has mainly piano riffs with some guitar notes layered on top. You can really feel Wylde's emotion in his lyrics and performance.

The build up in the beginning of "Spread Your Wings" really keeps you at the edge of your seat as your waiting for it to drop. Melodic guitars come flying at you with heavy distortion and aggressive tones. "Been A Long Time" has some pretty dirty riffs as well. The structure is unique as the beginning goes back and forth between slammed guitars and vocals. The solo is extraordinary as each note screams with violence. Things quiet down however, with "Dirt On The Grave" which incorporates piano and acoustic guitar riffs. Another moving ballad from Wylde. You find the final song to be full of deep lyrics as well. Make sure to check it out.

"Mafia" is another incredible album that was well written and well recorded. It's got some party songs as well as some emotional ballads, and has a solid range of variety in genre. Black Label Society has had their ups and down in the metal industry, and this album was by far one of their ups. This is an album of theirs that you won't want to miss!

9/10

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

Read more ...

Midnattsol - The Metamorphosis Melody (2011)

Midnattsol has done it again. The band from Germany and Norway has released their third studio album, entitled "The Metamorphosis Melody." It's got a mix of symphonic sounds and folk tones. Midnattsol is a very diverse group and has really reached out to their listeners with this album. It's got lots of exciting riffs and drum rolls that are full of energy.

The album kicks off with a beautiful introduction, entitled "Alv," which is filled with epic strings and flutes that build up to heavier guitars and drums. It sounds like the intro to a Lord Of The Rings Movie. This quickly jumps into "The Metamorphosis Melody." Rapid double bass pedaling and catchy melodic riffs come flying into the song. Lead singer Carmen Elise enters with her soft operatic vocals. Her melody carries well with this song. However, there are a few songs on the album where it seems that her vocals just don't belong with the background instruments. For example, "Spellbound" has some amazing guitar and bass work. The guitar riffs are heavy as they chug away throughout the song. The drums are explosive and provide a solid bang to the track. The only thing that doesn't seem to really fit well is the vocals. They seem to be too soft for the track. The guitar riffs are monstrous and aggressive and the vocals seem to cover that up and put you to sleep. Definitely pay close attention to the impressive guitar work in this song. Don't let the vocals put you down.

Now, on the other hand, their are songs like "The Tide" which are perfect for Carmen's vocals. Things slow down with this song, as acoustic melodic guitars take over. The soothing, clean vocals slowly make there way to the verse and provide a gorgeous atmosphere. As the refrain kicks in, beautiful synthesizers float in the background of the distorted guitars and deafening drums. You'll also find piano and different types of string instruments in the song as well. As the ending fades, heavy melodic guitar riffs come right back in starting off the song "A Poet's Prayer." The structure of the guitars and how they are layered together is incredible. Unfortunately, this is another song in which the vocals really take away from the momentum. The chorus isn't bad, as it builds up and everything is at the same level. But during the verses, the vocals hide the music. Even "Kong Valemons Kamp" has similar issues. Listen to the mindblowing solos in this song. So much power in the guitars and bass. There is a small part in which the instruments fade out during the refrain and her voice is perfect for it. It's just her and soft guitars. However, once the distortion comes back in it just overpowers her vocals and seems like she isn't aggressive enough to keep up.
"Forvandlingen" is a well rounded song providing a little bit of everything. The riffs in the beginning add beauty while it builds up to the distorted melodic riffs. This is definitely the time to pump your fists in the air. The same issue arises with the vocals being weaker than the music, but you should be used to it by this point. The drum fills are marvelous as they constantly and change are always filled with different details. The solos hit all the high notes and really brighten up the track. "My re-creation" Is another beautiful track that starts off slower and softer with acoustic guitars, strings and Carmen's soothing voice. Awesome drumming enters and is subtle yet, at the same time, puts some bass in the song. This all builds up to louder riffs and crazy cymbals splashing everywhere. The double bass after the refrain is absolutely insane.

Overall the album is pretty impressive musically. The guitars were impressive and the drums were on point in every track. As far as the vocals go, Carmen is a great singer, the band just needs to figure out how to incorporate her soft voice in such energetic music. I feel like they try forcing her vocals in certain parts that just don't go together. To sum things up, "The Metamorphosis Melody" is a very moving album and is definitely worth having a listen to. So check it out!

8/10

Official Site - http://www.midnattsol.com/
Myspace - http://www.myspace.com/midnattsolfolk

Read more ...

Iommi - Iommi (2000)

Tony Iommi. Anyone who claims to be a metal fan knows this name. Hell, there wouldn't be a metal genre today if not for the dark, devilish tones of this Burmingham guitar God. When the days of icons Black Sabbath had passed, and before the Dio-led Heaven & Hell had begun, we had Iommi. This ten track monster features a veritable "who's who" of vocalists. But let's not kid ourselves the star of this self titled disc is man himself.

There is no nonsense. "The Laughing Man (In The Devil Mask)" goes from 0 to 60 in seconds, with the deep, rich guitars that made Iommi famous. A punchy drum beat sets things up for guest vocalist, and punk icon, Henry Rollins. Though seemingly an odd team, Rollins' bordering on "talking" style syncs up well with the chugging chords. A true metal solo caps this one off. Skin, vocalist for alt-metal band Skunk Anansie, lends her talents to the screaming "Meat." Her voice, sultry and larger than life, is the perfect compliment to the bending strings and thumping bass. The guitars whine, but in a low roar. The signature pick work gets the spotlight, but Skin is as strong a companion as Iommi could get.

Even Dave Grohl, he of many projects, gets into the act on "Goodbye Lament." The song feels like a true collaboration, one half Foo Fighters, one half straight evil. Bass and guitar lock up, a constant kick/snare pattern padding out the background. The song is upbeat, or at least as upbeat as it can be in a dropped tuning. The aptly titled "Time Is Mine" is a mindblower. This is, by far, the strongest track that Phil Anselmo has appeared in since the glory days of Pantera. The verse finds him with a low, dark crooning. But as the chorus hits, his screeching, heavy voice is back with a vengeance. Iommi is at his hellish best, keeping it low, slow and demonic.

After tremendous success with System Of A Down, Serj Tankian penned the winding, whirling "Patterns." This is a more minimalist approach, instrumentally. More simple, stripped down guitar and bass dominate the track, allowing Tankian some lateral freedom with his delivery. The breakdown portions sees some chunky riffs crashing down amongst the pounding of drums and spoken passage. The track that seems to struggle for a place is "Black Oblivion," performed with bald-headed phenom Billy Corgan, sounding more like a Smashing Pumpkins b-side. Even the production stands out from the rest, as if recorded at a different level from the rest. The effects used on Corgan's voice are weak, and leave the track searching for a backbone.

Ian Astbury, most famously from The Cult, sees action on "Flame On." While there is certainly an electronic feel to the track, the classic metal stomp begins anew at the first chorus. It's as if Iommi has already written every heavy riff known to man, and he can dish them out at will. This is no exception. Late Type O Negative mainman, Peter Steele, won a duel with Cold singer Scooter Ward to get his voice featured on "Just Say No To Love." His voice, deep and dreary, comes to you as if delivered from the grave.

In a reunion of sorts, Ozzy Osbourne and Iommi come together on the track "Who's Fooling Who?" It may not rekindle the fires of "Paranoid" era Sabbath, but this is enough to make any metalhead smile. The ringing of church bells leads, before a roll takes you into the low end blasts of Iommi's guitars. There is no need for treble. You are in the darkest night, wandering through a graveyard. Ozzy's voice is unmistakable, in both ominous speech and acceted singing. But the uptempo breakdown section is a blast from the past, with the thumping of drums and bass providing the foundation for another classic, blazing solo.

The album's finale, "Into The Night," is everything you could want to end an album. Voiced by Billy Idol, of all people, it has all of the evil that a zombie apocalypse could offer. Lyrically, it is a gem, featuring such lines as "All the undead souls who walk the night, they can suck my dick." Gritty chords take the lead, up and down the neck. The uptempo midsection is a headbanger's dream, a clinic for up and coming bands. Iommi's guitar screeches through another solo, left to ring out pairs of clean notes, echoing one another as the album fades to a close.

The man who practically invented modern metal hasn't lost any of his bravado. This isn't a cash grab album, or a plea for attention from an aging rocker. Young or old, there is much to appreciate. It isn't just the demonic tones, or the visions of upside crossed. On "Iommi," you find nine well crafted, well thought out songs from someone whose hands should be bronzed. And decades after he created the most well known guitar riff in history, "Paranoid," his fingers haven't slowed one bit.

8.5/10

Official Site - http://www.iommi.com/
Myspace - http://www.myspace.com/iommiofficial

Read more ...

Aiumeen Basoa - Iraganeko Bide Malkartsutik (2010)

 Much like other subgenres, folk metal has seen an explosion of bands in recent years. From bands like Switzerland's Eluveitie to Argentina's Tersivel, no country has been left out. Enter Aiumeen Basoa. From the Basque region of Spain, they spent the better part of 16 years building and crafting their sound. After a split CD in 2001, the band are finally ready to make their mark on the world, with this, their debut album. And on "Iraganeko Bide Malkartsutik," they attempt to breathe new life into Spanish folk.

The call of birds launches a stunning acoustic intro to "Kantauriko Trabain Erruak." A whirling, winding violin enters, becoming tangled with the guitar plucking. A medieval melody emerges, before the full band joins. The drums are wild, crashes from all angles, descending into chaotic delivery. Vocals come scraping through, as harsh as can be, raw and violent. The clean singing is perfectly harmonized, offsetting the boorish screams. The beauty of the musicianship is clear, fading back and forth from fast paced to the more serene acoustic portions. A clean guitar solo serves as the outro, coming to a silent end.

On the opposite end is the blinding fury of "Jentil Odola," where the screams become so dangerous, they must be tamed by the smoothest bass line. The mix on the song is slightly skewed, leaving the guitar dangling amidst a sea of drums and vocals. But the addition of a keyboard melody saves the day, intertwined with bass. The female led midsection is enchanting, well sung and endearing. It is the fitting bridge to a sullen passage, filled with synths, acoustic guitars and strings. The heat is applied slowly, and eventually boils over into a black metal tinged assault of drums. The song ends as it began, fast, furious and frothing at the mouth.

The symphonic side is revealed in "Aintzinako Guduen Oroimenak" with keyboards fluttering through it all. This is a folk march at it's core, with the constant cymbal crash tied to a a background melody. Even the dirty vocals of the verse cannot derail this track, slipping right back to the cleaner side of things. The strings and flutes that end the track are outstanding, and could easily pass for classical composition. The true treat of the album lies in "Akelarrearen Sua," which is a genre bender. The airy flutes and rumbling bass somehow snap together with distorted guitar chords and thrashing drums. The choir of vocals commands the track, before passing the reigns to the instrumentals. And just when you think you have it all figure out, a jazz breakdown begins. To say that the jazz/blues/funk displayed here is anything less than surprising, would be an understatement.

There is something awe inspiring about "Ekaitzaren Begitik." The beauty and simplicity of it all just seems to transcend the music as a whole. Symphonic, operatic, classical, all rolled into one piece. The guitar work is stellar, though not overstated in any way. They seem to forgo the idea of a "lead," and merely focus on the big picture. With the combination of all of the elements resulting in a success of this mganitude, it is hard to argue with that ideal. Even the growling vocals are focused, well delivered and powerful. The album concludes with "Arlekina (Aiumeen Basoa)," a song that seems to feature the pacing of a black metal opus, but condensed into a more listener friendly folk number. The drums are lightning quick when necessary, but slow to a roll at opportune times. The constant back and forth is a lot to take in, especially when there are so many things packed into what is the album's shortest song, clocking in at just over six minutes. The bass line, however, stands above the rest, often dueling with the guitar.

With such a strong offering, it seems clear that Aiumeen Basoa are destined for something. Within these six tracks, they have displayed both a talent and a sensibility that many bands of the folk persuasion lack. They have defied conventional folk stereotypes thus far, and I would imagine intend to keep it that way. With a little polish on the production side, the band will surely deliver album after album of blackened folk chaos.

8/10

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

Read more ...