Dream Theater - A Dramatic Turn Of Events (2011)

Since the release of their last album, a lot has happened in the world of Dream Theater. A world tour, including shows with the legendary Iron Maiden, another Progressive Nation run, sharing the stage with bands like Bigelf and Scale The Summit. I feel like I am forgetting something. After a long and busy two years, a new album has been signed, sealed a delivered. It is time to experience "A Dramatic Turn Of Events." Wonder where they got the name from. Guess we'll never know.

Clean guitars open "On The Backs Of Angels," which is, by all intents and purposes, a gauge with which to measure your interest in the rest of the album. The entrance of drums reassures you that despite a notable departure, there is still percussion in this band. The guitar hook leading into the verse is standard Petrucci, and the darting keyboards that follow are still Rudess. James Labrie sings well, benefiting from some crystal clear studio work. The song follows the formula that Dream Theater have written time and again. Understated verse section, a catchy hook, and a flurry of instrumental solo sessions. The constant has always been John Myung, whose rock steady bass work keeps things in time and moving in the right direction.

An electronic beat builds to a resounding rumble in "Build Me Up, Break Me Down," the first heavy burst of the album. Rudess supplies a healthy dose of symphonic keyboards, providing direct support to an energetic guitar riff. The overwhelming surprise to this point has to be James Labrie, who seems to have found his long lost voice amidst the turmoil. The track moves quickly, until a tad overblown outro that consists of a minute or more of repeated keyboard tones. The first epic of the album, "Lost Not Forgotten" sees a delicate piano intro take hold of your heart strings. This is a rock opera intro, complete with thundering tympani. As a barrage of instrumentation flies forth, you have to be wondering when the song will take shape. One guitar stomp later, you have arrived. Rudess and Petrucci have a fun exchange of dueling notes in the breakdown section, as if to remind you that this is still a Dream Theater album. They then exchange solos, shake hands, and rejoin the rhythm section to bring things to a close.

The first ballad offering on the album, the lighter igniting "This Is The Life," may begin as a ripping guitar track, but quickly turns into a piano led crooner. The light tapping of cymbals and orchestrated strings only bury Myung's bass work. The lyrics take a sugar coated turn, choosing to live life gracefully. But in typical fashion, the ballad becomes a monster with the buildup of drums and guitars. A quick run up the neck of the guitar, and the beast has awoken, albeit for a brief run of layered instrumentation. A tribal tinged moan is an odd welcome, but "Bridges In The Sky" evolves into a heavy bit of progressive metal mastery. Tracks like this are the strength of the band, with a cohesive delivery winning out over individual musicianship. Labrie seems to fall short on his end, however, holding things back in the verse. He returns to his normal self in the chorus, bringing that melodic edge back. Once again, the alternating solo sections take over and Rudess and Petrucci flex their respective muscles. And a tribal moan of satisfaction ties this one up.

Parts of "Outcry" could fit in perfectly to the "Systematic Chaos" sessions, yet somehow stand apart from the rest of this offering. It seems to be the song that best and worst represents Dream Theater, with some of the more generic rock riffs dominating the verse, and some of the more intricate musicianship highlighting the breakdown and chorus sections. Rather than a happy medium, they jump back and forth across that fine line. The shared stage of solos occupies several minutes, before the smooth jazz portion takes over, with Rudess dropping in some piano tones. This tickling of the ivories continue into the shortest song on the album, the four minute "Far From Heaven." A light violin joins with the keys to form a fragile plate which Labrie serves up his breathy vocals. This one is beautiful, if not a little puzzling in the flow of the album.
 
The jaunty opening to "Breaking All Illusions" will wake you up, allowing Petrucci to put forth some lighter guitar riffs. However, that brisk tempo dissipates as the Weather Channel jazz returns for round two. It is all well delivered, but sorely lacking any sort of continuity.The bulk of the song is traditional Dream Theater, winding keyboards tangling with the signature guitar style and a surgically precise bass. But the flow and momentum feels lopsided, and after twelve minutes, it needs to come to an end. It isn't often that you can describe anything Dream Theater does as having a minimalist approach, but "Beneath The Surface" is exactly that. This is a ballad, in every sense of the word. Light orchestrated strings, soft acoustic guitars and James Labrie. Labrie holds his own, with some sharp production giving his voice a soul that many fans sorely missed. A short keyboard melody leaves as quickly as it enters. Sappy, yes. But a fitting end to this journey.

It is hard to evaluate a Dream Theater album as a stand alone entity. Like their individual songs, each album seems to be connected to the one before it. And yes, "A Dramatic Turn Of Events" seems like the logical next step after "Black Clouds & Silver Linings." The band have leaned more towards the emotionally delicate songs, and away from the harder edge metal that they do so well. And as with all change, you just need time to adjust. I am prepared to accept this new, emotionally fragile Dream Theater. Are you?

7.5/10

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

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

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The Podcast: Episode 19 (A side of metal and gravy)

Murmaider wants you to know that metal is alive and kicking in Australia and Ukraine, and Vyrion and Sad Alice Said are prime examples of that. Hell22 knows a thing or two about the death/doom genre, but As Autumn Calls throw their own signature twist into the mix. Gorath, on the other hand, is preparing us for the end of the world.

The plague of side projects isn't a new one, but it has become a killer. Too many musicians try to sustain too many projects at once, and it leaves us, the fans, holding the bag. We talk about the good, the bad, and the insane projects of some of our favorite musical idols. And wait, what is that I hear? After a long absence, mostly due to chronic diarrhea and the craving for flesh, Chester returns to join in on the topic at hand. And he has a message for The Scenario.

Part 1 - http://www.mediafire.com/?gf9gnf03cvr2jw3

Part 2 - http://www.mediafire.com/?48hp3oftxx2o6b2

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Project Masquerade: The Interview

Guitarist Noud Smeets, mastermind of Project Masquerade, took time out of his busy work schedule to answer some questions about his work, the album, and where things go from here.


First and foremost, you are not new to the music business. You have been in many bands before, some well know and some underground. How did your experience writing and recording this Project Masquerade record compare with your previous experience?


When you work alone there's no discussion with other bandmembers. I really hate being in the rehearsal room discussing on a few notes in a song for hours . Besides that you always have bandmembers leaving the band at crucial moments and I think you can not always be best friends with all the members in a band.

So I thought, when I do everything on my own, I don't have these problems anymore. When I started I didn't have a studio or something like that. I bought a fast computer, a good soundcard, Drumkit from hell and a Pod xt and started writing and recording demos. I didnt know anything about Cubase (recording software). Frank Schiphorst (Mayan) was kind enough to be my private helpdesk for some time!

Working alone means that you are responsible for everything and you can not blame anyone else. If something goes wrong, it's your own “mistake”. If something turns out to be great, than its your own benefit.
So working on the Project Masquerade record was a great experience.


What is the story behind the name of the album, "Nothing But Everything Will Remain"?

My girlfriend came up with the album title. One important theme on the album is "finding your soulmate," represented by the two tracks: "Carve Your Heart" and "Restless Souls." When a child is born, it has a male or a female soul. Then you have to search all your life to find the opposite part. These two opposites have no power alone, but, when united they have the power to create in this world. When you die, your soul will find eternal peace or has to start all over again because you didn't find the opposite part. In October 2010, during the recording of the last track, my son Kick was born.


Describe the process of creating the artwork. What was your vision, and do you feel the finalized artwork fits that vision?

I studied visual design years ago, and I had a lot of designs already made for the album but was not satisfied. When I travel to work, I used to take the train. Once I decided to take the metro, and I saw this little church on a small hill. The Christian religion preaches that the human soul will live forever after death. Besides that, there is the black part in the front (the end of life) and the powercables from the railway, representing the never ending search for the opposite soul.

I took the image with an iPhone when I traveled back home. I think I took images of it for days and days when I passed this church but the first, the one that's on the cover, is the best.

I also wanted to make a link to the first Masquerade album, Cybernetic Empire, that was released in 2010 so I also used the dancing skeleton who's on the Cybernetic Empire cover. It represents "the end" (and that is a new beginning).

Inside the CD inlay there's something like a big star. Actually, the biggest part of it is a mechanical shutter from an old camera. I redrew it in Photoshop and made a 3D version of it, adding some extra elements and textures as well. Took me about 2 weeks or so. My daytime job is working as a photographer and teaching photography, so I wanted a link to that because it's one of the biggest passions in my life, besides music.

There's also another link to photography on the album. The opening track "Disease," tells the story of Persian born scientist and polymath Ibn al-Haytham's life in Egypt ( known in the West as Alhazen). Alhazen made significant contributions to the principles of optics, as well as to physics, astronomy, mathematics, ophthalmology, philosophy, visual perception, and to the scientific method. He is considered as the father of modern optics.

The album itself is impressive in so many ways. The cast of musicians that appear on the album is amazing. They are established, but most of them might not have familiar names. How did you decide on Dennis Leeflang, Barend Courbois, Mark Brekelmans, Doug Odell as your fellow musicians?

The most difficult part was listening to musicians and imagining how they would sound together with my music.
I knew Dennis already when he still lived in the Netherlands, and we did a few gigs and a recording before he went to the US. We always stayed in contact. Dennis is really a mind blowing drummer and a very nice guy.
Thanks to Dennis, I got in contact with Chandler Mogel and Doug Odell. I know Mark Brekelmans as a bass player from Edge of Serenity. I played some live gigs with this band when they released their debut album on Romulus X records in 2009.

Barend "The Bear" Courbois is the most famous bass player in the Netherlands, and played with Michael Lee Firkins, Zakk Wylde, Ian Parry, Vengeance and Steve Fister, to name just a few. I always wanted  to play with Barend, so it's great to have him on the album. He came straight from his tour with Steve Fister to record 4 tracks on the album. We had a great time with a lot of food and drinks and laughs.

I also wanted some more aggressive voices on the CD, so I just sat days and days listening to tracks on myspace to find some decent growlers out there. Dmitri Konstisyn  plays with NewYork band Hung (His wife does the backing vocals on the track!) and Daniel Verbrugge is growling in one of Holland's upcomming metal bands Ethereal.

Grain is (besides my girlfriend) a singer/songwriter who released a breathtaking album “Shut your Mouth Kevin”. If your into music like Tori Amos or Kate Bush, you should really listen to her album. We've lived together now for 7 years but her voice still gives me goosebumps!

The album is very well rounded, musically. It isn't just a collection of solos. Everything came together so well. How important was it for you to create a complete album, rather than just a guitar heavy solo record?

You're right, everything came together very well.  I have a small studio of my own so its easy to rewrite, re-record and so on. I wanted to tell stories and express my feelings and not make a guitar masturbation album. Maybe "Masterplan," the only instrumental track on the CD, goes a bit into the last category. But hey, there are more than enough solo's on the album :-)

I recorded a demo version of Masterplan, having Marcel Coenen (Suncaged) play a few mind blowing guest solos, but I decided to do all the guitar parts by myself and not have another guitar player on the CD.


The vocals on the album are astonishing and very ecelectic. From the clean singing of Chandler Mogel and Michael Zanderbergen, to the overwhelming screams of Dmitri Kostitsyn, every singer contributed in a major way. Aside from your wife, how did you meet the other vocalists, and bring them in to be involved in the making of this album?

I had a lot of recording sessions with different vocalists. Some of them kept me waiting and waiting. I remember waiting for one guy (I'm not going to mention a name) for a year!! I really wanted him on the album and accepted every excuse for not showing up. But after a year I deceided to ask someone else.

Thanks to Dennis Leeflang, I got in touch with Chandler Mogel. Chandler is going to be huge in the future!
Michel Zandbergen is one of the vocalists on the Cybernetic Empire album. We lost contact with him for more than 10 years and thanks to the internet, I was able to trace him. I'm sure we are going to record some more tracks in the future.


For the other singers, I just “found” them thanks to Myspace. Just listening for weeks and weeks to recordings. When I contacted them, they all responded very positive.


The instrumental track, "Masterplan," was influenced by the 1927 movie "Metropolis." What about the movie inspired the song?

I worked for 9 years as a professional cameraman and I love a lot of movies made before 1940. Metropolis is a German expressionist film in the science-fiction genre directed by Fritz Lang. (Metropolis was an inspiration for a lot of movies I realy like like Starwars, The Matrix and Blade Runner.)

German Expressionism refers to a number of related creative movements beginning in Germany before the First World War that reached a peak in Berlin, during the 1920s. These developments in Germany were part of a larger Expressionist movement in north and central European culture in fields such as architecture, painting and cinema.

The filmmakers of the German Universum Film AG studio developed their own style by using symbolism and mise en scène to add mood and deeper meaning to a movie, concentrating on the dark fringes of human experience. In the futuristic mega-city Metropolis, society is divided into two classes. The "managers" live in luxurious skyscrapers and the workers live and toil underground.

I tried to copy Gustav Fröhlich's, (one of the main actors) acting style with the melodic guitar lines
The long solo part represents the struggle of the workers and the Machine ma.


I know you had been trying to secure a label to release the album. How has that gone thus far? What is your plan for the album release as of right now?

People only want to invest money in Idols or X-factor “stars”. That's because they can quickly make a lot of money because next year there will be a new one again. I know it's a risk for a company to sign an unknown artist. But on the other hand, I offer them a complete product, pro mixed and mastered including the artwork. They don't have to make a lot of CDs because most of the people buy digital downloads. I only need their promotion and distribution network.

I got some "offers" from companies asking me to pay to release the album! Rates between 1700 and 5000 euro!  Besides that, they wanted 30% of the publishing rights... lol. That's more of a theft instead of a   record deal.

I have two small companies now who are interested in releasing the album but.....in 2013! That's not acceptable for me because I want to have a new album ready at the end of 2012. The plan now is to release the album as a digital release on iTunes and Amazon on 10/1 but, if there's a company with a decent offer, I'm always interested.


Obviously, it would be difficult to bring the entire cast out, but what are the chances of taking this album on tour?

I'm afraid it will be to expensive. It would be cool to do a few gigs next year with some of the musicians involved .


Lastly, It took almost three years to complete the entire process for the album. After all the work you put in, I have to know one thing. Are you satisfied with the finished product? When you release this album upon the world, will you be as happy to hear it as we were?

I'm happy with the album. Being a perfectionist, I still hear things that could have done better but that's more a budget matter. I get a lot of very positive responses already and started to write for the next one.


Again, thank you so much for giving us a chunk of your time. We wish you the best of luck with the album. If people hear it, you are going to be a popular man. We are going to spread the word on this one, and I hope it pays off!

Thanx you for your time and work man, appreciate it a lot.

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Gorath - Apokalypsis (Unveiling the Age That Is Not to Come) (2011)

 

Fifteen years ago in Belgium, a man unveiled his music. Filip Dupont launched Gorath, spreading the word of an apocalypse yet to come through a series of albums. Now, years later, four men fly the banner, warning of an imminent doom. Tying together so many styles, beats, tempos and patterns,"Apokalypsis (Unveiling the Age That Is Not to Come)" is a brutal prophecy. For when the lights fade, only darkness lies ahead.

Things launch with "Before the Throne of the Demiurge," a track that is as eclectic as you could ever find. This is more than just one style at play. There are elements of thrash, death, black metal and doom here, all intertwined into a monster. The explosion of drums and guitars is devastating. The rolling of kicks and toms shakes your speakers. A short period of quiet is obliterated by pure black metal thunder, paired with the growls and screams of a seasoned death vocalist. What better way to put the exclamation point on a hard nosed thrash exhibition that with a clean, electronic tinged guitar melody. The bass line in this section is marvelous, with that light use of drums bringing it all together. Percussion certainly gets to shine through as the vocals kick back in, with one stunning fill after another. Those vocals manage to transcend any one genre, and embrace them all at once. Incredible amounts of violent emotion, pouring through each word.

The opening of "The Seven Seals" misleads you into thinking that, once again, you are submerged in a sea of pure blackened metal. But the guitar variations tell a different tale, with chords winding up and down the scales backed by a sea of wild, lightning drums hits. The vocal patterns are varied, with screeches, growls, grunts and just plain off singing sharing time. There is an element of evil present throughout, both in the music and the vocals. Low, spoken words give way to doom growls. This is pure destruction at its core, with each instrument shaking the foundation. The precision on display is uncanny, especially within the style. A short interlude, in the form of the low rumbling noise of "The Wrath Of God" cuts the tension, and starts you anew.

Clocking in at over eight minutes, "Le Porteur de Lumière," begins with low, slow chugging guitars. But after a short passage, a blood curdling scream cuts through it all. But this is a melodic piece unlike any other you will find on this album. The eerie cold of the guitars, layered with the sizzle of cymbals is a solid three minutes of glory. Light synthesizers provide the backing, creating a dark imagery. Even as things take a decidedly heavier turn, there remains a feeling of sadness and depression. The melodies highlight the hopelessness, with each making the other more powerful. The air of loss is evident, even as the track fades to a close.

The epic "Beasts From The Earth And The Sea" is a puzzle waiting to be deciphered. The vocals that we have come to expect from the album take a break, and we are left with sludge-esque singing. Not quite a scream, not quite a discernible note, but somewhere in between. That subtle use of electronics with clean guitar returns, if only to clear your mind for the slaughter that lies ahead. Again, there are borrowed bits from all of metals subgenres, with the deathly growls taking center stage in the midsection. But the highlight of this monstrous, thirteen minute track comes later, with light ambient noise crashing into a violent burst of guitars and drums. It wouldn't be a complete stretch to say that a few minutes could have been chopped off, but the musicianship is never in question.

Another interlude track, "The Whore Of Babylon" plays through with more "oomph" than its earlier brethren. Distorted guitars actually take part, amidst the flow ambient waves. But this is just a set up for the finale, the blackened thrash of "Millennium (Thousand Years of Darkness)." The drumming is airtight, with rolls and fills played with surgical precision. While there may not be any revelations to be had on this last effort, everything is where it should be. The track is guitar driven, laying the brick and mortar for a barrage of evil growls. Compared to the rest of the album, it may even seem one dimensional, which is less of an insult to this track, and more of a compliment to the diversity of the album.

Gorath is not a band of subtle thoughts and messages. They have, after all, been proclaiming the apocalypse since the turn of the 21st century. So, to think their music would be any less bold would be pure imagination. There is simply no way to pigeon hole this album into any one, or three, genres. But if "Apokalypsis (Unveiling the Age That Is Not to Come)" is an album to signal the end of existence, then the Four Horsemen might as well be Death, Doom, Black and Thrash.

8/10

Official Site - http://www.gorath.be/

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As Autumn Calls - An Autumn Departure (2011)

Canada can't really be all Bryan Adams and Justin Bieber.... can it? Not anymore. At the base of the new wave of Canadian metal is As Autumn Calls, a death/doom three piece from Ontario. Formed in 2005, the band have revamped their original album, titled "An Autumn Departure," and released it to the masses. With a new album in the works, this is merely an introduction to hopelessness this band has to offer. But what a cold, dark one it is.

The intro track, "Initium," gives you a glimpse into what the band is about, filling the air with soft, clean acoustic guitars. It may seem odd for a band of this style to begin with the sublime, but when the first kick drum bursts in, it all makes sense. The force behind each bass note is blinding. The song returns to the delicate beginnings, before fading to black. The true style is revealed in "Closer To Death," a song that is every bit as bleak as the title indicates. The low and slow chugging of distorted guitars underneath harsh growls is a combination we know all too well. Short melodic guitar interludes pop up, cutting the track into pieces. The contrast of dark growls and clean guitars is one that isn't used very often, but perfected here. Even as the hammer drops, and distortion returns, a hauntingly beautiful violin dominates the melody. The harmonies of guitar and violin build to a fever pitch, almost making you forget the song had vocals at all. They do return, if only to take the track home amidst distorted chugging and beautiful acoustic picking.

A short bass intro welcomes you to "The Shadows Follow." It follows the formula for good death/doom, but adds a healthy dose of melodic guitar riffs to the mix. The vocals remain impressive, destroying the old stereotype of cookie monster, barely intelligible lyrics. Even as chaos reigns, the clean vocals have their turn to shine, paired with deathly growls. Every second is used wisely, culminating in a fading screech. The melodic sensibilities are evident in "The Demons Therein," with tangled bass line and guitar plucks that result in a stirring harmony. The vocals have an air of evil and darkness, often sounding as though they are actually emanating from the deepest part of your soul. This track will stick with you for a while, haunting your dreams.

The violin and acoustic guitars take the lead on the early moments of "Wither Away," a song that has a terrifying keyboard sound backing those lead growls. Over the course of seven minutes, melodies and riffs combine into a frenzy of activity. But oh, that eerie keyboard. It leaves the imagery of some demented, evil carnival. I'll be damned if I can shake it. Things drop into a prog rock acoustic interlude, complete with clean vocals and acoustic guitars, before building back to dominance with the thunder of rolling drums. The softer touch of "In The Emptiness" is a good pallet cleanser, refreshing your ears. Light strumming and the patter of drums, lead by clean vocal passages to let you breath. Until, that is, the growling begins. A sea of bells sets the table for an unearthly trail of screams while the pace increases. A short but powerful burst.

There is more intricate guitar work found on "Without You," in the form of some darting notes and twirling riffs. The drums take a more powerful lead on this one, with snares, kicks and cymbals filling the air from all directions. Things build, with layer upon layer of distortion and reverb, until finally things stop, allowing the soft strumming of an acoustic guitar to enter. This isn't the end, but merely a clean slate to build from again. Clean vocals lead the way, on top of a smooth bass line. More traditional death/doom is on display on "Unearth My Sorrow," with that slow chugging returning. This is the track that most closely resembles the titans of the genre. This is not to say you will lose sight of who you are listening to, as they keep their own twist on the formula. The vocals remain the focal point, with deep growls sharing time with some more grating screams. Things drop off to noise, and coast to the finish.

If there is a band that would be considered "dangerous" cover, it would be none other than Katatonia. With such a magnificent catalog, you could be dooming yourself with a bad interpretation. Or it might just not live up to the original. High risk vs. high reward. As Autumn Call choose to play with fire on "Murder," a track taken from "Brave Murder Day." Good choice, and well executed. It won't soon replace the original in anyone's mind, but a worthy effort. The title track and album finale are one in the same, with "An Autumn Departure" tying things up in a neat little bow. It brings things full circle, returning to the first track in its formula. Things begin soft, with clean guitars. Delicate spoken words enter, setting the scene for distortion and intense drums to complete the story.

In a clouded genre like death/doom, the trap is always set. Bands try to mirror the sound of those who came before, rather than staying true to what their music entails. As Autumn Call have sidestepped the iron jaws, and veered off on their own. The liberal use of acoustic guitars on an album of this nature may seem odd at first, but it only manages to further the sound. One of the keys to this style of music is the creation of contrast. And on "An Autumn Departure," it truly is as simple as black and white.

8.5/10

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

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Sad Alice Said - Clock Of Eternity (EP) (2011)

Stepping into the world of gothic metal comes a female fronted band called Sad Alice Said. They are from the Ukraine and consist of a total of 7 musicians. Besides your average bass, guitars, drums, and vocals, they also have someone on the keys and viola as well. They have recently released a new EP, entitled "Clock Of Eternity." The music is absolutely beautiful. You can hear so much emotion from Alisa Shakor, the lead vocalist, as she swings from high notes to lower octaves with her angelic voice and deep lyrics.

The first song on the EP is "Clock Of Eternity" which begins with soothing string synths covered with reverse reverb giving an interesting and futuristic feel to the music. Soft drums enter as Shakor starts with the verse. As it builds to the chorus, heavily distorted guitars come in chugging away slowly in the background. The refrain has got some double bass pedal drumming that will have you bobbing your head immediately. As the vocals fly over the instruments, the guitars become more aggressive as the riffs pick up in speed and add more detail in the patterns. Gorgeous piano riffs follow and fill in between the chorus and the next verse. The piano also comes back towards the end as you hear a soothing solo with ripping guitar riffs behind it. "Tomb-like Silence" is the next track to follow. The piano is constantly running through the background with soft riffs as guitars jump in and out throughout the song. Shakor delivers amazing clean vocals that will send a chill down your spine. The harmonization during the refrain is terrific and well performed. In between verses come some melodic riffs shared between the guitars and the piano giving an aggressive yet calm sound. Definitely check this track out.

"The Son Of Nightmare And Pain" jumps right into the verse as guitars are blaring and double bass drumming jumps in and out behind them. The vocals pull you in as you are hypnotized by the passionate lyrics and Shakors ravishing voice. The viola takes over in the middle of the song carrying you deeper into the music. The chorus is ridiculous catchy as you will find yourself singing along the entire time. This fades right into "Door In Autumn." This six and a half minute masterpiece is loaded with melodic piano riffs and harsh guitars. The verses have heavy chugging riffs layered with soothing vocals on top. The song structure is great the way it constantly changes tempo and gets heavier and softer in different parts of the track. The instruments are very well balanced giving the spotlight to each band member at different times. Later enters a wild guitar solo that really lights up the song with its electrifying melodies and notes. The viola towards the end gives such an emotional sound and almost sounds as if it was crying.

The final track on the EP is "Open Your Eyes." The piano melodies are astonishing and very catchy. Basic kick and snare drums kick in when the verse beginnings. Here you are surrounded by piano and viola riffs. The chorus comes in strong with gorgeous vocals that soar high over the distorted guitars and rumbling drums. Shakor really shows off her reach in pitch in this one. Later on comes another incredible guitar solo that flies by towards the end of the song striking each note perfectly.

At such a young stage of their career, Sad Alice Said have proven that they have a lot to offer. "Clock Of Eternity" has so much potential both lyrically and musically. The recording quality was well done and the mix sounded great. This is definitely a band you need to keep an eye on. In the meantime pick up the EP and enjoy.

8/10

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

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Brymir - Breathe Fire To The Sun (2011)

So often, the combination of youthful energy and endless ambition leads to watered down nonsense, miles apart from the initial vision. In the case of this Finnish six piece, the final product is one with the dream. What began as a fun project, evolved into something as massive as it is affirming. For on one disc, one piece of plastic, Brymir ask you to breathe fire into our dying sun.

From the opening track, the orchestral introduction, straight into "Unconquerable," Brymir show that their style is the proverbial "melting pot." Elements of folk guitars, the keyboards of power metal, and vocals that share the grit of pagan or viking metal with the vocal melodies of symphonic metal are all brought together in an astounding end result. The song manages to be heavy, but not overbearing, with the drums being played at lightning speeds.

"In Silence" is a victory of epic proportions. The woodwind opening, building into a masterful drum beat, culminated by horns and the intertwined guitar riffs is unreal. The lyrical content and concept is awe-inspiring, asking the rhetorical question of life's purpose. Every moment captivates your ears, through the fading distortion, directly into "Free Man's Path." The opening pipes will come as no surprise by now, but that doesn't make them any less powerful. The guitars are fast and furious, in both verse and solo form, with well placed horn arrangements providing the perfect counterpoint.

Speed is the name of the game in "Burning Within," a track as satisfying as it is fast. Track length provides no handicap, however, as the band manages to incorporate limitless instrumentation and depth into three glorious minutes. "Withering Past" is a symphony of aggression in all facets. Blazing guitar solos and the coarse angst of the vocals are merely players on a larger stage of strings, horns and drums. Even a brief piano piece adds layer after layer to the work. The pounding march of "Cycle Of Flame" is fuel for the flame of life, urging us to move forward in our quest. Dueling distorted guitars play perfectly off of drum blasts and the backing of triumphant horns.

Brymir continue the symphonic assault, with an assist from Mahi of pagan metal juggernaut Ensiferum, who contributed to epic choir vocals on "Ragnarok." Guitar work is at its peak here, with solos that must be heard. The track slows to a conclusion, horns providing emphasis. After a build up of synths and keys, "Retribution" assaults you with overwhelming vigor. The guitar stomp is punctuated with airy vocals, desperate to be heard. The epic conclusion to this journey comes in the form of the eight minute cry for help, titled "Breathe Fire To The Sun." Atmospheric, melodic, and yet somehow boundlessly aggressive, it is the punctuation at the end of the most powerful speech.

Ambition is not the enemy. At least not in the case of this work of modern metal brilliance. They have assembled a message that is as righteous and empowering as the music they have set it to. Brymir reignited the flame, both in the figurative and the literal. And I have a feeling it won't go dim again.

9.5/10

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

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Vyrion - Vyrion (2011)

Stirring up an interesting twist of progressive metal and black metal, Vyrion gets the job done. The Australian four piece performs with fierce melodies and heavy drum patterns. They have recently released their new self-titled album through Rockdale Recordings which I must say, the quality is pretty well done. This isn't one of those black metal bands that use raw recordings to create their image but instead deliver a mixture a vicious vocals and demonic chords.

The 30 second intro to the album contains gorgeous yet depressive piano riffs as rain sound effects fall in the background. This leads right into "Ever Rising Platform" which starts off loud distorted guitar riffs at a slow pace with booming drums. The first verse opens with harsh yelling vocals with similar tones to Troy Sanders of Mastodon. About a minute in the vocals change to devilish black metal growling that are delivered with perfection. The guitars stay screeching throughout the song while non stop snares and cymbals shatter behind them. This is definitely one of those tracks that will have you bobbing your head and throwing up the devil horns.

The next track, "Mortal Flame," comes flying in with hell raising guitars and violent drums. The wretched screeching riffs go along perfect with the lead vocalist, Dale J. Williams, as he delivers evil screams and low muddy growls in the verses. There is also some aggressive clean singing in the middle of the song giving a different tone to the music. Later follows a wicked guitar solo that destroys the musical scales as cymbals crash recklessly in the background. The echoing growl at the end is insane and will completely knock you on your ass. The performance is absolutely incredible.

"Winter Vector" starts off with some catchy guitar riffs that'll have your head bashing immediately. More demonic growling enters in the verses while the drums pound away in the background with crazy detailed fills. The refrain has some clean sing that is layered with the dark growling at the same time creating an eerie and catchy sound. The second verse gets a little more quiet as the instruments drop and all you here is angry lyrics that start out low and get louder as the guitars eventual fade back in. These guitars are, of course, combined with relentless drumming and heavy bass lines.

Later in the album you'll come across "The Decision" which has some amazing song structure as you'll find everything from destructive breakdowns to soft eerie guitar riffs with dark haunting vocals on top of them. The black metal tones come right back in with more wicked screaming. The guitar work is amazing as it provides dark devilish riffs but also include a sense of beauty in some of their notes. Meanwhile the drums are rumbling on and on with rapid double bass pedaling and snapping snares.

For a young black metal band just starting to stand on there feet, Vyrion has some impressive sounds to offer. The album is very diverse both instrumentally and vocally. The change from evil screaming to low wicked growling along with some clean singing keeps you hooked through each track as you're waiting for what is coming next. Definitely check these guys out if you're looking for some solid black metal music.

8/10

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

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The 10 New Artists You Need To Hear

After six months of writing for Sorrow Eternal, Hell22 and Murmaider have come across some amazing new bands. These new groups are the future of metal, so it was important for the guys to reiterate how great they are. Get on board now, because we truly believe each and every one of these bands are going to be huge. After the jump, find the lists and reviews for each of the bands mentioned.

Murmaider's List

Tersivel (Review)
Ghost Brigade (Review)
Black Sun Aeon (Review)
Skogen (Review) (Interview)
Hinsidig (Review)

Hell22's List

Brymir (Review)
Infinita Symphonia (Review)
Project Masquerade (Review)
Kromlek (Review)
Arafel (Review) (Interview)


Download it here.

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Echoterra: The Interview

We are honored and delighted to have Melissa and Yan sit down to answer some questions about Echoterra, "The Land Of The Midnight Sun," and all sorts of music related thoughts!

Land Of The Midnight Sun, available on October 17, 2011! Check it out!

Or download the audio here.

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Adrenaline Mob - Adrenaline Mob (EP) (2011)

A good, ol' fashioned supergroup. That is the best way to describe the amalgamate that is Adrenaline Mob. When the line-up is unveiled, you would think you had died and gone to prog metal heaven. Mike Portnoy, now former Dream Theater skins man and mastermind, on drums. Russell Allen, singer of Symphony X, on lead vocals. Rich Ward, guitarist extraordinaire for Stuck Mojo, Sick Speed and Fozzy, tackles the strings. Throw in guitar superstar Mike Orlando and bassist Paul DiLeo, and you have a band with the potential to take over the world.

The opening stomp of "Psychosane" is an encouraging sign of things to come. It has the classic metal sound that is hard to find in modern bands. The guitars are crunching, drums are pounding. All of the pieces fit. But the vocals are so unlike Russell Allen's normal output. They come off as forced at times, particularly in the verses. The melodic pieces are tight, as expected, but not exceptional by any means. The low speech vocals before the breakdown are simply worthless. "Going psychosane, mother fucking psychosane." Wow. The solo is precise and dazzling, before the talk box enters. Too much crammed in to one track, rather than doing what they all do so well.

Far too often things sound like recycled rock and nu-metal riffs. Such is the case on "Believe Me," which is about as straight forward as a rock track can be. Aside from some swift and sweet pick action on the solo portion, there is simply nothing to keep you coming back. Catchy, yes. But until the disturbingly heavy outro, there just isn't a solid foundation. On the contrary, "Hit The Wall" features some fairly intense guitar and drum work. It has that edge that the other tracks so grossly lack. Portnoy's signature style shines through, with rapid double bass pedals flying from left to right. Allen's vocals come off as overproduced and trite, lacking his normally brilliant lyrically and vocal aptitude. Were it not for his name in the liner notes, you may be hard pressed to identify him as the lead singer of Symphony X. Making things worse, a strong performance is dragged out to fill over six minutes of time, throwing in solos and blast beats that do nothing for the song itself.

The harsh distortion that opens "Down To Floor" leads you into a song that could be taken from a Powerman 5000 or Rob Zombie collection. The futuristic sound effects in the background, as well as the overemphasized vocal effects are disheartening. This is the kind of track that becomes the undoing of a true melodic metal band. It lacks in every possible way, from uninspired guitar chords to failed lyrical power. The lone bright spot, a short but blazing solo, is buried under layers of cheesy rock fantasy. The final track, a cover of the Black Sabbath classic 'The Mob Rules" is as good an effort as you can find on this EP. And though Dio may have passed on, his power can be felt in each word. Allen does an admirable job staying true to the sound.

There is a reason that true supergroups never develop into more than a fun side project. It's because they never equal the sum of their parts. Adrenaline Mob is no different. People come, searching for the sounds of those other bands. But you won't find them here. They have taken some of the best aspects of their respective sounds, and watered them down into a dull paste. They took what made each of them unique as musicians, and traded it in for an EP of mediocrity. After this five song helping, I will pass on seconds.

6/10

Official Site - http://adrenalinemob.com/

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Demonaz - March Of The Norse (2011)

There is no way to separate a man from his previous work. In the case of Demonaz, former guitarist and principle song writer for black metal legends Immortal, truer words have never been spoken. With the release of his first official solo album, "March Of The Norse," he looks to continue on his path of success without treading in all-to-familiar waters. But is it possible to take the man out of Immortal, or years of Immortal out of the man?

Opening with the soothing acoustic guitar track, "Northern Hymn," the album immediately shows off a melodic sensibility. It clears the way for "All Blackened Sky," a track that is as crisp as it is invigorating. The guitars thrash away while a consistent drum patterns builds behind. As the vocals enter, it is difficult to describe their delivery, hovering between clean and raspy tones. The bridge riffs are energetic and thrash worthy, leading to a dynamic bass line in the breakdown. The guitar solo displays that melodic side before descending back to head banging fare.

The heavy, down tempo chugging that opens the title track, "March Of The Norse" will ignite your fire, and start your hair (or lack thereof) swinging. The vocals will be the polarizing element of the song, depending on your reaction to them. They lack the finesse of purely clean singing, but lack the grit of a screaming style. They fall somewhere in that gray area, which may lead to you ignoring them in favor of the musicianship. The precision with which each note is played is astounding, from the grinding bridge sections to the driving outro. That same familiar formula dominates "A Son Of The Sword," which could be perceived as a second part to the previous track. The tempo and tone are very similar, with a healthy dose of chanting vocal for good measure. A brisk solo makes this track stand apart, though, with an oddly catchy outro section capping it off.

The gallop of "Where Gods Once Rode" keeps things moving at a fast pace, Norse chants occupying the background. The vocals do possess a little more grit this time around, giving more punch to the more melodic guitar chords. The deft drumming is a constant, with fills and rolls masterfully completed. The power of a well placed acoustic portion can be felt here, with deep, layered chants taking the lead. It only strengthens the darting solo work that follows. "Under The Great Fires" takes things to a new level, adding in a heavier element. The drums are harder and more punishing, with flurries of double kicks accompanying the snare and cymbals. The guitars pour forth, chugging away through drop tuned chord after chord. This is the band at its best, layered instruments creating an unstoppable assault of clean and distorted. Clean, blitzing solos break down into a soft, frail acoustic outro.

The momentum gained is immediately thrust into "Over The Mountains." The most complete track, lyrically speaking, it sees a well delivered story of fire and flame unfold. Everything falls into place, with the vocals only growing in strength as the seconds tick by. The darting guitar riffs pull you into the story, taking time to unleash a clean, melodic solo that will stick with you for days. The short interlude, "Ode To Battle," is the perfect set up for the albums closing track, "Legends Of Fire And Ice." You won't find anything here that you haven't already heard on the album, but the conclusion is a worthy one. Each pounding drum takes you one step closer to the end, distorted guitar chords ringing out over it all. And then, suddenly, distortion fades to silence.

There isn't a single piece of this album that could be called "bad". Demonaz has done this time what he has always done in the past. He has written a crafted an album of metal riffs and lyrics that few others could do over and over. However, the lack of variation on this disc does a disservice to the individual tracks, running them together, more often than not, into a long thread of reused riffs. There are bright spots, and they do more than enough to redeem the album on the whole. But "March Of The Norse" is more ice than fire.

7/10

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

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Dead Elephant - Thanatology (2011)

Attacking from all angles of genres, the experimental sludge band Dead Elephant has released a brand new album, entitled "Thanatology." This is the bands third studio album and has a lot of unique characteristics. Here you will find dark and eerie sounds mixed with monstrous chugging guitars and vicious growling vocals. They somehow manage to fit all of these elements into four lengthy tracks.

The first track on the album is "Bardo Thodol," which runs for just under 13 minutes long. Distorted sounds fade in as you're waiting for the music. One repetitive chord enters as it is constantly being hit over and over again. This is accompanied by haunting clean vocals that almost sounds like a priest praying in a very plain, monotone voice. Slowly, the drums start to roll in with snapping snares and shimmering cymbals in the background. This is interrupted by harsh growling that echoes over the guitars and bass. You will also notice some interesting effects used on this section of growls where a lot of the high frequencies have been cut leaving a staticy and unclear sound. The structure changes frequently keeping you hooked the entire time. There are some slower gloomy parts in between that may turn boring at first but give the track time as you will see that it is all used to set up a creative and dark image to the music. When the drums come back in, they are followed with exploding chugging guitars as distortion fills the air quickly. The riffs will have you bobbing your head. There is also more demonic growls with a lot of power that follow as well. The quiet breaks in between were definitely worth waiting for once you get to these magnificent parts of the song.

"On The Stem" is the next track on the album and plays for a little over nine minutes long. Eerie synths take over the atmosphere as guitar notes are picked at little by little. This definitely takes you more towards the quiet, calm side for the first half of the song. Similar to the first track, you need to be patient as you'll find it becomes heavier towards the middle of the song. Booming bass lines and demolishing guitar riffs come plowing in over the drums. The vocals go from soothing spoken word to violent and relentless growls and screams in the matter of seconds. The time signature is interesting later in the song as the instruments change up their timing. You'll also notice that there are two types of vocals going on at the very end. There is a lower heavier vocal which is combined with a louder and more destructive scream on top

The shortest song on the album, "Destrudo," has a lot more action and excitement to it. You are immediately hit with dirty guitar riffs and ground shaking drum fills. The growls are insane as they constantly beat you down with rapid lyrics. Meanwhile, cymbals are crashing all around you as you are lead by hell raising guitars. Also the bass lines are absolutely ridiculous. This is definitely the heaviest track on the album.

This brings us to the fourth and final track, entitled "A Teardrop On Your Grave/ Downfall Of Xibalba." From the way the title is split, it seems like this was, at one point, two separate pieces. The overall total length is 16 minutes and 22 seconds long. The first 8 minutes of the song is mostly dark dreary sounds and synths. After that comes violent guitar riffs blaring with distortion while deafening drums blast away with snare and cymbal combos layered with heavy kicks. Later, you will also hear some more devilish synths in the background as the guitars continue chugging. The only issue with this track is that there are no real solid vocals like the other tracks. There are one or two small clips of muffled growls that sound more like instruments that vocals. I'm not sure if this is what they were going for or if the vocals just weren't well mixed. Either way, it would have nice to hear a little more of the reckless growling vocals that were delivered earlier in the album.

Packing a psychedelic punch of mixed sounds, "Thanatology" is by far one of the most unique albums that I have heard all year. The song structure is genius and the image that the album produces is dark and strange at the same time. Dead Elephant did a terrific job on twisting and mashing different tempos and melodies together while being able to put calm, eerie, and destructive tones in as well. Whether you like this style of music or not, this is definitely an album to check out.

8/10

Official Site - http://www.deadelephantband.com/
Myspace - http://www.myspace.com/thedeadelephant

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After Forever - After Forever (2007)

Unfortunately for most bands, good things must come to an end. And in 2009, the symphonic Dutch metal band After Forever split up. The last album that the group released was their self titled effort in 2007. The band was lead by female vocalist Floor Jansen and her high pitched and powerful voice. The album is a mixture of symphonic and gothic tones that have a dark yet beautiful sound to it.

The opening song is called "Discord." This starts with very heavy strings and other orchestrated instruments. Slowly creeping behind them are monstrous distorted guitars that come fading in violently. As the verse starts, guitarist Sander Gommans comes in with low demonic growls. Jansen follows with her angelic vocals as the two go back and fourth. The drumming is upbeat and will have you rocking your head immediately. The chorus comes blaring in very strong as epic strings soar threw the air guiding the vocals through the deafening cymbals and snapping snares. The last verse has some destructive double bass pedaling and detailed drum fills. You're definitely going to want to listen to this track a few more times before moving on to the next track. When you finally do, you will run into "Evoke" which has a very consistent refrain that has catchy lyrics and loud guitars chugging away. Jansen really shows off her reach in pitch as she flies high over the distortion and swoops down low over the calm piano riffs. The song structure is constantly changing leaving you sitting at the edge of your chair not knowing where the music will go next.

"Energize Me" is one of the most memorable songs on the album. The chorus is very catchy and easy to sing along with as you'll find yourself joining right in. The guitars are heavily distorted and the drums are booming. You will also here some interesting synth sounds that give a futuristic effect during certain parts of the song. The electrifying guitar solo towards the end of the track that will shock you with its rapid melodies. The only issue with this song is that it only runs for about three minutes. Hitting the repeat button will have to do.

Another big song off of the album is "Equally Destructive." The beginning has tons of energy as you are met with vicious guitar riffs and explosive snares and kicks. This also has unique synth sound effects which in this case, help build up the verses. The refrain has Jansen belting gorgeous lyrics as the drums continue to beat you down with the heavy guitar riffs. "Withering Time" follows with chanting vocals layered over one another as symphonic strings pull you into the verse. Jansen delivers operatic vocals in this one. You'll also be hit with Gommans bone crushing growls in between the verses and refrains. The demonic guitar riffs give great imagery to the song as the melodies run along side the devilish grunts. This song definitely has that Nightwish feel to it. "De-Energized" is similar in the beginning with its orchestrated instruments. It sounds like part of the score from the movie "Lord Of The Rings." the verse kick in with relentless growling filled with anger and evil. The kick and snare pound away as a wall of guitar riffs fall on you. There is an awesome guitar solo later in the song as it is accompanied by a groovy bass line and more detailed drum rolls.

Things slow down with "Cry With A Smile" beautiful strings and calm guitar riffs during the verses. Jansens vocals will hypnotize you as you fall deeper into the track. Blaring guitar riffs follow later during the refrain. The strings gently carry her voice higher and higher with each note. The piano catches you at the end as the rest of the instruments drop.

Towards the end of the album you will come across a beautiful masterpiece, entitled "Dreamflight." The song runs for over 11 minutes long with an interesting story to tell. Definitely check out the lyrics to this one. You'll find clean vocals not only from Jansen but also guitarist Bas Maas. Together they create an angelic sound. Of course there is also some wicked growling that follow later in the song. The mood of this track constantly changes from happy to sad and light to dark leaving a mixture of incredible tones and melodies.

Even though the band is no longer together, "After Forever" is still an amazing album both musically and lyrically and will always stay in my library of metal albums. For those of you unfamiliar, definitely take the time to listen to this album and check out the bands earlier work as well. As far as some of the band members go, Jansen has a new band called Revamp and Gommans started a project called HDK. It would be awesome if After Forever got back together though!

9/10

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

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No Mercy - Epic (2010)

As much as it pains me to say, bands like Slayer, Megadeth and Metallica won't be around forever. Hell, some may say that Metallica disappeared four albums ago. We need the younger generations to step up to the plate, and craft a new metal legacy. For North Carolina three piece No Mercy, their home spun brand of melodic thrash could be the answer. After sharing the stage with several major label acts, the band look to take the next step with "Epic."

The opening track, the Metallica-esque "Awake," has all of the promise and potential you would expect. The thrashing verse sections are headbanging delights, despite the murkiness of the production. The trouble lies in the lyrics and their subsequent delivery. Too many words, too quickly. Each vocal passage seems forced, as if the lyrics took precedent over the flow of the song. It is truly unfortunate because, musically, this is the strongest track on the album. The guitar solo seems natural, even when the vocals do not.

This remains a constant throughout, especially on "Fall Into The Sky." The Hetfield-style delivery in the verse is weak, whereas the more down tempo bridge and chorus lyrics fit. The band execute the slower portions with true precision, which would be a victory of massive proportions if this were not a thrash record. Unlike its predecessor, the guitar solo here feels tacked on, as if it was an afterthought. The outro portion, however, is well crafted, allowing a powerful bass line to make an appearance.

The production issue is most evident on the opening drum fills on "Cold Shoulder." The one dimensional thud of toms is disheartening. But even more troublesome is the lack of quality control on the vocals. Even the heaviest of thrash bands have powerful singers, from the aforementioned Hetfield to Slayer's Tom Araya. Screams, grunts and coarse singing all require in depth thought into tone and tempo, something that is sorely lacking here. The choreographed chugging stops in the breakdown section seem to reveal some missed editing and volume touches, which unfortunately only succeeds in burying a worthy solo.

The album ends with two songs, each clocking in at over six minutes each. "Under Dying Eyes" has some of the best musical work on the album, with a repeated clean section that features a crystal clear bass line that somehow was lost before. Minus an ill placed solo, and struggling vocals, this would be an instrumental nugget of gold. The closing track, "Eye Of The Storm," is the most complete piece on the album. From the heavy intro to the hair swinging guitar riffs, this one is the realization of musical potential. The soft, clean riffs in the breakdown are refreshing, even if the clean singing is not. This is the track to hang their hat on, a sign of good things to come.

Unfortunately, the album feels more like a handful of thirty second riffs and vocal ideas hashed out into full tracks, without any thought or care. There is very little cohesion, both within the tracks, and moving from one to the next. The lack of core production values only exacerbates this problem, highlighting the flaws rather than the victories. A dedicated vocalist and a trip to the studio may be just what the doctor ordered. But for this young group of metal hopefuls, "Epic" was anything but.

5/10

Official Site - http://www.nomercyband.com/
Myspace - http://www.facebook.com/NoMercyBand

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The Podcast: Episode 18 (A fist pumping Scenario)

Murmaider and Hell22 are proud to welcome another guest to the headquarters this week. Ladies and gentlemen, please welcome The Scenario! We had some great new albums to discuss this week. Hell22 had a good week with ICS Vortex and An Autumn For Crippled Children. Murmaider was blown away by Edguy... then torn down by Promises Lie. Techno and metal... together? This just doesn't make much sense. So we bring The Scenario in to discuss techno, and all the shit that just doesn't mix with metal. Stumpf fiddle? Yeah. YouTube it.

Part 1- http://www.mediafire.com/?f3stifmfz8nvu05

Part 2 - http://www.mediafire.com/?5zb4te2rtvd8dss

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Arafel: The Interview

Helge Stang, lead singer for Israel-based Arafel, took some time to answer a few questions for us.


What inspired this album, lyrically and musically?

The musical background of "For Battles Once Fought" is old death metal combined with slavonian folk music. One might expect some middle eastern or arabic stuff since most of the band lives in Israel, but you won't find that. The lyrics on this album are mostly about old russian history and sagas ... which have quite often something to do with war.

In the US, very few Israeli bands are truly well known. Orphaned Land seems to be one of the biggest. So, what is the metal scene like in Israel? Is metal a growing genre?

I wouldn't say "growing". It's there and it  gets neighter smaller nor bigger. But like almost everywhere Metal is not well accepted by "normal" people. Talking about the band scene, there is a huge potential of extreme death & grind bands there. Dammit, if they would start playing here in Europe they would conquer the whole continent within a night.

Your style is so varied and eclectic. Would you say that geography and your roots helped to mold your style?

Naa, geography does not help anybody. Its your roots, your family and friends, the people and their mentality that influence you. No matter weather it's next to a palm tree or a snow man. And of course a big part
goes to all the bands we listend to, when we started ... and what we listen to today of course. Never stop learning, never stop playing!

How did you come to join forces with the band? And how has working with Arafel differed from your work with Equilibrium?

In fall 2008 I got an email from our violin player Nasha, which I knew before, she told me that Arafel is looking for a singer. I said by myself "hmm, why not, sounds cool, sounds like adventure:" I'm on board!

The work inside the band is similar to Equilibrium, but not that dictatorship like. The music comes much more from the all people, not like the Equilibrium One Man Army. I like that very much.

Do you have plans on touring in America?

Hmm, not yet. The jump over the big lake is always kind of ... expensive. But we will see!!

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

Of course: Spinal Tap!!  All the other bands have a "checked" next to their name already!

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?

Good question: I think if you wanna hear a song more than once than you should buy it instead of loop it on youtube or just download it. I mean, in the old days we checked out new records at the store (the player only had a Forward button, no pause, no backwards). Why not bring that system into a modern shape? If I like a  song I mostly buy the whole record. But I also "tried" stuff I really did not like.

BUT: What people should know: it barely helps a band to sell records. If you wanna support a band: buy a t-shirt!!

What does the future hold for Arafel?

Chicks & beer I hope!!! (you see ... I have no clue!!)

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Infinita Symphonia - A Mind's Chronicle (2011)

This is an album of European symphonic power metal. Wait. Don't stop reading because you think you've "heard it all before." Infinita Symphonia may sound like "just another band" doing "the same old thing." But for a band that is merely three years of age, it isn't safe to assume anything. This Italian four piece sound like masters of the genre, and they have two guest vocal spots that may have you believing "A Mind's Chronicle" is a power metal album for the ages. Don't let your preconceptions fool you. Just listen.

The album opens with strings and horns aplenty, in the short but blaring "Intro(verted)." The melody could be torn straight from a movie score, each measure building into the next. It leads directly into the double kick beatdown of "Lost In My Own Brain." The guitar riffs are immense, paired alongside a tight bass line. The soaring vocals of frontman Luca Micioni are operatic when necessary, but containing the proper amount of grit and power. The keyboard melody in the breakdown is the perfect compliment to the screeching guitar chords. The air of triumph scattered throughout the outro is breathtaking.

What asserts this album into your consciousness is the ability to be versatile, as in the opening moments of "Mighty Storm." A rather blackened scream accompanies the normal winding guitar parts and thumping drums.Then all is quiet. Short bursts of bass, drum and guitars are the foundation for a vocal melody. Micioni's vocals are daring, bringing to mind the best the genre has to offer. His finesse is remarkable. Layered guitars and keys come together in a charging breakdown, driving the tempo into overdrive. The taste of the melodic comes full circle in "The Illusion," a track that begins with an acoustic passage so delicate, you would expect it from masters of folk rock.

There is something so invigorating about the precision the band displays on "Planet Universe." This is the progressive splash you have been waiting for, with syncopated drum beats and dodging keyboard solos. The vocals are rich with harmonies, all placed on top of the bed of guitar mastery. Nothing pretentious about a good, rocking solo. A pair of incredible features await in the next two tracks, the first by vocalist Fabio Lione of Rhapsody of Fire fame. His signature tone graces "Here There's No Why," a stunning vocal duet that will bring chills. This is pure power metal, stacked on top of power metal. The unity of keys and chords is dazzling, the perfect background followed by the perfect lead. The second track, featuring Tim "Ripper" Owens, is a lesson on the heavier side of power metal. Owens voice, honed from years with Judas Priest and Iced Earth, tears the track to shreds, with his high pitched screams and raspy growls shattering your preconceptions of the genre.

Things slow down, an inspiring piano and keyboard solo opening "Lost And Found." The use of pure emotion is what sets the good bands apart from the mediocre, and Infinita Symphonia have that in spades. Micioni's talent is clear, especially here, when his voice stands alone. No distortion to hide flaws. As the track builds again, you may feel a slight sensation in your heart. Don't worry, that is normal. This is what ballads were meant to sound like. An acoustic guitar makes the transition to "From Earth To Heaven," another soft reminder of the beauty this band has to offer. Even as the drums come crashing back to life, it is the delicate guitar and keyboard tones that command your interest. A ripping electric solo erupts, driving this piece to a close.

Don't be fooled with the early orchestration on "The Equation Of The End," this one will not be a quiet affair. Guitars and drums roar in, and we are taken back to the power. The fills in this track will leave you dizzy, with kicks, toms and snares getting abused with the sheer thunderous blows. Underneath it all, the tickling of the ivory keys keeps the track from getting out of hand. However, the ridiculous drum roll that leads to the guitar solo may leave your hair standing on edge. All good things must come to an end, and "I Believe In You" is the perfect way for it to happen. Driving guitars, pulsing drums, and those staggeringly power vocals are here to take you home. The undercurrent of keyboards is just enough to be impactful.  In a mere seven minutes, you are treated to everything you need.

Sitting here in the Sorrow Eternal headquarters is like sitting at a veritable buffet of music. We digest so much, so often. But when a band like Infinita Symphonia comes along, it becomes clear that we need to push ourselves away from the musical table, and just enjoy. "A Mind's Chronicle" is satisfying in so many ways. It goes beyond cookie cutter power metal, and dances in the realms of symphonic glory and progressive punch. It isn't enough to say this one is good or bad. This album is special.

9/10

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

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Edguy - Age Of The Joker (2011)

 

After releasing their greatest hits album, entitled "The Singles," Edguy has released a new album with fresh power metal material that we've all been waiting for. The name of the new album is "Age Of The Joker." It's got symphonic refrains with flying vocals and beautiful melodies mixed with a twist of interesting lyrics and of course, electrifying guitar solos.

"Robin Hood" opens the album with over eight minutes of pure energy and excitement. Organs and deafening guitar chords start it off as uplifting string glide up and down behind them. Lead singer Tobias Sammet wastes no time, as he jumps right into the verse with gorgeous clean singing. The chorus is full of catchy riffs as the lyrics carry you deep into the story of the adventures of Robin Hood. There is a quick scene in the middle of the song as epic strings take over with light guitars rocking underneath. A narrating voice enters briefly while sound effects of arrows and running footsteps are played in the background. Meanwhile the guitars and strings build up louder and louder until Sammet comes flying back in with high vocals as booming drums fill the air. A monstrous solo comes spinning its way in with wild guitar notes going in every direction. Before ending, the refrain repeats one last time pretty much guaranteeing it to be stuck in your head for days. Honestly, it took me four or five replays before I finally moved on to track two. I'm sure you'll be stuck for a while as well.

"Nobody's Hero" means business, as the beginning starts with blasting guitar riffs and rapid kick and snare action. This is when your head will bob as your devil horns rock in the air. The guitar riffs are very bright and soar high next to Sammets incredible vocals. You'll find similar elements in "Rock Of Cashel." A destructive guitar solo starts this one off as cymbals crash heavily after every drum fill. The guitars cut out when the verse starts as the bass and drums carry the lyrics. You will find the verses to be very catchy and you aren't even near the refrain yet. You definitely won't be able to help but to play this one over again.

You might be a little thrown off by this next one but hey, what more do you expect from these guys. "Pandora's Box," surprisingly enough, actually starts with a southern twang type of tone in its guitars. This quickly gets heavier after the first verse as blaring guitars chug away with aggression. The country melody comes back in each verse after this. The refrain has a great build up as Sammet soars over the instruments with his powerful voice delivering a likable melody that grabs your ear and pulls you close. The guitar solo towards the end is absolutely phenomenal as the southern country tones take over the background gently. When you hear the vocals in the last section of the song, you are going to be blown away with the notes the Sammet holds and the pitch that he reaches. It's truly remarkable.

"Two Out Of Seven" is typical Edguy, telling another hilarious story. As for the instruments, there are some catchy little synths in the beginning that come back later in the chorus as you'll find the melody of the vocals to go along perfectly with it. This is another song that I had a hard time getting away from. Definitely make sure you take some time to look up the lyrics to this one. You're going to love it. Leaning towards the end of the album, track ten, "Behind The Gates To Midnight World," has got a little bit of everything. From fast upbeat refrains to slow emotional verses. The instrumentation is interesting as you'll hear everything from pianos to organs, and distorted guitars to angelic orchestrated strings. The solo in the middle of the song is gorgeous with its soft delivery and soothing melody.

After this nine minute masterpiece comes the final track on the album, entitled "Every Night Without You." It definitely falls towards the ballad side of things as the beginning sounds like it could be part of a Disney soundtrack. It's definitely got some emotional lyrics, and you can feel the passion in Sammet's voice as he belts the chorus. You might as well get the repeat button ready because it's just that catchy. The lyrics will ring in your head for weeks. You're also hit with a beautiful solo that you're going to want to hear again as well.

For those of you who don't know Edguy, this is the perfect time to check out their material. This is another epic adventure created by none other than Tobias Sammet and his crew. With fun lyrics and upbeat melodies, "Age Of The Joker" is fit for everyone. Metal fans young and old can agree, this is an album you have to hear. It will be awesome to see Edguy perform these songs live!

9/10

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

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An Autumn For Crippled Children - Everything (2011)

Hailing from the Netherlands, post black metal three piece An Autumn For Crippled Children are ambassadors for the new school. Moving away from traditional black metal, the band are following in the footsteps of some of the more daring new acts, such as Alcest. They have created a fusion of styles, borrowing some of the best aspects of post, progressive and black metal. Somewhere in the chaos, "Everything" finds time to be surreal and ethereal.

From the soft acoustic guitar opening on "Forever Never Fails," you know you are in for something more than a dark, dreary offering. Even as the hammer drops, and the harsh screams of pain enter, there is a background beauty in the dulcet keyboard tones. Much like Alcest, the music forms a progressive post rock style, but with faster black metal drumming. Cutting back and forth between the grating and the peaceful only helps to assert the contrast. The vocals are muffled in the mix, but serve their purpose as communicators of emotion.

As the clean, serene opening of "Formlessness" commences, softly played string manage to hover around the base of each note. With each passing screech, the music builds to greater heights, in a dark triumph of sorts. The bass line commands things, with the light patter of snares and cymbals serving as punctuation. Things cut out, and a delicate melody begins, clearing your mind for one last blitz. "The Absence Of Contrast" is a song that could not be further from the truth. Contrast is what shines brightest here, with an ethereal use of instrumentation, including a piano melody that will tickle your ear drums. The guitar work is simple, yet so effective, underneath a chorus of screams. It's as if they took indie folk styles and mixed them into generous portions of blackened post metal. The result, without a doubt, is glorious. The final minute of this song is a genre bending blend of light and darkness.

That same mix of dark cloud and silver lining is in full bloom on "We All Fall," with alternating passages of acoustics and thrashing distortion. There is so much to take in, with a crushing wall of guitars, bass and drums constantly pouring forth. As guitars climb through the high, clean notes, soft, organ tinged keys shine through and set a decidedly brighter mood than the vocals convey. Those same key tones are used on "Nothing/Everything," a track that could tear the roof off of any small venue in the world. The drumming is stellar, with blasting snares and the roll of thunderous kicks. This track sees a more liberal use of the screaming vocals, but it fits like a glove in the beautiful songwriting. "Her Dress As A Poem, Her Death As The Night" pairs the sublime with the subhuman, descending into harsh screams and growls on top of that almost somber music. The tone is dark, but the execution is near flawless, cutting through guitar chords and darting clean notes.

The slow building of sound on "I Am The Veil" may bring a chill with it. But don't let that haunting opening chase you away from what is, otherwise, a more lighthearted offering. It remains uptempo, with the patter of drums coming fast and forceful. Even through the violence of the screams, the light shines. However, the opening of "Cold Spring" sees some of the heavier instrumental moments, with kick drums firing on all cylinders. The bass carries throughout the track, moving up and down the scales gracefully. Even casual acoustic strumming makes it into the meat of the track. The album comes to a close with "Rain." What can be said about a track that is so fitting, so well constructed. It is as if the song was based on the slow, falling rain. The imagery created by the distortion and percussion is amazing, leaving your body shivering. A brief interlude of bass and light drums will make you feel as though the rain has tapered off into mere drops. But a storm approaches, and guides you to the end.

It would seem that a movement is beginning. Black metal has begun to evolve, change, and find its way down paths never worn before. As progressive and post metal elements further permeate the roots of black metal, someone will need to be a voice for the new school of thought. With "Everything," An Autumn For Crippled Children show that they may not be innovators, but they are in a leadership role. With some sparkling production work, their next album might change music as we know it.

8.5/10

Myspace - http://www.myspace.com/crippledchildren2009

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ICS Vortex - Storm Seeker (2011)

 

Let me throw a few names out there. Dimmu Borgir. Borknagar. If you have your hands in both cookie jars, you must have something special to offer. So, as ICS Vortex ventures out to release his solo effort, "Storm Seeker," there are certainly high hopes around the world. But the real question is: What the hell is this album going to sound like? Dimmu Borknagar? One, both, or neither, it is sure to entertain.

Right out of the gate, you are blasted with progressive black metal. The kicks are fast and furious, while the guitars climb the scales on "The Blackmobile." The fusion of traditional black elements and psychadelic seventies rock vocals is a little strange at first, but comes into its own as the track progresses. As you come crashing into the solo in the breakdown section, it all begins to make sense. The drumming is the constant, beating down the doors of your perception. "Odin's Tree" introduces the bass into the mix, having been drown out in the opening track. The music is very one dimensional, rarely deviating from the basic chord progression. The vocals are well delivered, but lacking variation or true melody until the closing seconds.

The turn the album takes on "Skoal!" is a curious one. It's like a seventies prog rock anthem traveled forward in time to chill us out. There is a noticeable groove, and the presence of organ styled keys is truly trippy. Do I detect the twang of a mouth harp? Strange, but true. The bass line driven "Dogsmacked" is a step back to the progressive, but falls short of that fine line. The track is highlighted by the bass and guitar work in the breakdown, with darting notes flying back and forth across the spectrum. Unfortunately, the rest of the instrumental work falls flat, save for a rattling drum outro. The opening notes of "Aces" are promising, giving the darker sound to it all. And while the guitar work is precisely delivered and distorted, the vocal pattern has worn out it's welcome. The progressive, bordering on post-metal instrumentals are refreshing, taking a heavier turn with a bass backed solo. Even as the bridge harmony begins to win you over, a higher octave "wooo hooo" brings your smile back down.

"Windward" and "When Shuffled Off" do very little to reignite the flame, sounding more like b-sides from ancient Deep Purple or Blue Cheer than new compositions. There is simply no punch. The aptly titled "Oil In Water" is a track that describes itself perfectly. As we all learned in basic science, oil and water simply do not mix. And such is the case between the vocals and instrumental work, unable to blend together in a cohesive fashion. Even in the strongest of musical pieces, the vocals do nothing to help the cause. The eerie keyboard intro to the albums title track, mixed with lighter guitar tones is reassuring. As the bass joins in, you have a somewhat optimistic feel to the track. If only the track was a six minute instrumental. Gang vocals and old school prog rock harmonies dominate the track, burying the adept work in the process.

There is little more left to hear. "Flaskeskipper" is a barely tepid psychadelic jam fest. The opening riff is strong, with a sizable jump in the kick snare volume. But as the clean singing enters, the track grows stagnant, repeating the same measures over and over behind the caterwauling. The closing track, "The Sub Mariner" begins with some interesting midi-like synths. Perhaps you have, indeed, fallen into some alternate reality. But, as you soon realize, in this dimension or another, the track still goes nowhere. It builds with midi files on top of synthesizers, and more midi. It begs the question that Henry Rollins has asked of techno styled music: What came first, the drugs or the music?

To say that "Storm Seeker" is a disappointment isn't fair. For your expectations and reality are always completely separate entities. If this had come out sounding like a Dimmu b-sides release, it would be bothersome. If this was little more than recycled Borknagar riffs, it would be a travesty. So, I applaud ICS Vortex for striking out, and making an album that separates the man from his previous work. But has the apple fallen too far from the metal tree?

6.5/10

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

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

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