Frozenbleed - Distance (EP) (2012)

All the way from Italy comes a fairly fresh band by the name of Frozenbleed. They have recently released a new EP entitled “Distance.” It’s got four track and an intro that are full of calm depressive vocals and soothing instruments. The band falls under more of a gothic rock band with post doom metal tones in between.

The album opens up with an eerie piano intro that carries depressive strings and emotional melodies. After this “Prologue,” you run into Distant Reflections” which contains mellow guitar riffs and slow drum patterns. Clean male vocals slowly fade in with the verse. Soon after the guitars build up distortion and booming drum rolls. The mood continues with sadness as the tempo slows down once again during the second verse. The guitar riffs are light and gloomy and add a dark and yet beautiful tone to the song. “Autumn Leaves” follows with soothing acoustic guitar riffs that pull you deep into the track. The music stays quiet until about two minutes later when blaring guitar riffs drop with catchy melodies and fast snare combinations. The vocals stay calm and emotional as they float over the instruments. This is probably the heaviest song on the EP.

“Absence” is the fourth track on the album. It starts out with haunting sound effects along with bone chilling piano riffs. The tempo continues to stay at a slow speed as the drums kick in. Basic drum patterns take over the background as sad vocals enter. What sticks out the most in this song is refrain. You’ll notice that the clean vocals are accompanied by a devilish growl slightly faded in the background. This definitely displays a clear sound of beauty and darkness. And if you like this effect, then you’ll love the final song, “Lost Fragments.” The vocals open with a more aggressive tone to it as the vocals switch from clean singing to monstrous growls. They even add a filter to the voice giving it a mysterious sound. The lead guitar throws depressive melodies at you almost sounding as if it were crying. As the instruments build up more and more you are eventually hit with a wicked solo about four minutes in. high flying notes are dropped on you from all directions as cymbals clash heavily in the background.

Frozenbleed has a solid delivery in “Distance” and has some interesting riffs and sound effects to offer. You definitely hear some Katatonia influences within their style of music as well. Each song flows well into the next both musically and vocally. If you’re looking for a more calm gothic sound then definitely make sure you give “Distance” a good listen.

8/10

Official Site - http://frozenbleed.bandcamp.com/
Myspace - http://www.myspace.com/frozenbleed

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The 10 New Artists You Need To Hear, The Second Wave

Time flies when you are listening to some great metal. This week, Hell22 had some great pleasure listening to new albums from Avelion and Bare Infinity, while Intervals fell a little short of the mark. Murmaider, on the other hand could do nothing but shake his head at the latest work by Black Chalice.

Now nine solid months of reviews have passed, and we have discovered many new bands that you should all hear. In our first installment, we gave you a heads up on Brymir, Tersivel, Project Masquerade, Skogen and so many more. This time, we each have five more bands to check out. Do it. Seriously, go ahead. It'll be worth it.

Part one could be downloaded here, I suppose.

Part two? Right here, guy.

Murmaider's List:

Pursuing The End (Review #1)(Review #2)
October (Review)
Illuminata (Review)
Lethian Dreams (Review #1)(Review #2)
In Loving Memory (Review)

Hell22's List:


Eumeria (Review)
Nemesea (Review)
Lapis Lazuli (Review)
Morito Ergo Sum (Review #1)(Review #2)
Kayo Dot (Review)

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Bare Infinity - The Passage (EP) (2011)

Normally, this first paragraph is filled with comparisons and descriptions. In the case of Bare Infinity, I would fail to give you any sense of what this Greek band have done. Their new, and final, EP, "The Passage," defies labels. Released in August 2011, the five track contained here are unique in their own way, yet familiar all the same. I have a feeling that this one would have made it to my Top 10 list, if only I hadn't waited this long.

You are greeted by an explosion of sound so immense that it may shake you to your core. "Father Of Wrath" is a great example of the force that female fronted music can benefit from. The combination of heavy guitar riffs, deep, rich symphonics and crushing drum beats is the perfect vessel for vocalist Angel to add a touch of beauty to the mix. Her voice is tremendous, with a depth that so few metal vocalists, male or female, possess. When her angelic (no pun intended) tones meet the deathly growls, you are sure to be moved. Not to be outdone, the bass lines throughout are astonishing, moving up and down the neck with a marksmans accuracy. From the detail oriented verse sections to the pummeling chorus, there is a home for every aspect.

Taking things to another level entirely, "Everfade" sees an increase in the sheer brutality. No head will be left still, no fist will be left hanging at your side. There is something so devastatingly beautiful to be found here, all packed into a mere four and a half minutes. The use of keyboards and synthesizers ties each layer together, allowing them all to have an effect without pulling the track in any one direction. It takes all of the Gothic styled sounds of Nightwish or Within Temptation, and throws them head first into the fire. The growls alone would be enough, but adding the pitch perfect clean vocals puts things over the top. The title track sees a heavier use of keys and piano, carving out a more atmospheric background. To call this a ballad would be short sighted, but it fits the basic criteria, especially in the vocal harmonies. Angel's ability to sing from multiple ranges is stunning, especially in the "breakdown" portion, where she truly shines through it all in choir fashion. Darting keys and drums are locked together, distorted guitars thrashing through it all.

The longest track on the album is also the most ambitious. "Letalis Malevolentia," is Bare Infinity at their very best, heavy but melodic, powerful but delicate. Synthesizers provide the sound of blaring horns and keys, with a strong bass line flowing throughout. Angel takes a more operatic approach, bringing to mind the best that former Nightwish vocalist Tarja Turunen had to offer. But the coarse growls that offset her will not be denied. With thunderous roll after roll, the drums continue to mesmerize the most casual drum fan, while also providing the solid foundation that all good music grows from. The chugging breakdown is nothing short of amazing, going from slow to lightning fast and back again. Guitars, bass, drums and keys all forming a wall that would take a million man army to destroy. There is no fault to be found, no note out of place.

The final track of the album, "Awakening Moonlight," is one final stab at perfection. Not lost among all the heavy riffs and drums, the vocals reign supreme. It is truly uncanny how many layers are present here, without a single weak link to be found. This is a veritable buffet for any metal fan to feat upon. The dense, meaty riffs are omnipresent, whether through chugging or dynamic chord shifts. The often ignored art of the bass couldn't be better represented. The drumming isn't merely heavy, but also precisely timed and executed. The keys, the soul of the band, are airy at times, but also vibrant in their melodic touches. And the dessert, the sickeningly sweet yet richly filling vocals. Separately, these would all be admirable. Together, this finale is one worth repeating.

Let's call a spade a spade. Bare Infinity is an incredible band, and this EP, "The Passage," is a testament to their talents and dedication to their craft. Sadly, as I write this review, the band have announced that they will not be continuing on together. As each musician goes their own way, one can only hope that they all find a new home in another band. But, regardless of their future endeavors, we now have the blueprint for all that female fronted metal can and should be. Fans of metal, take heed. This disc deserves not only your time, but also your attention.

9.5/10

Official Site - http://www.bare-infinity.net/
Myspace - http://www.myspace.com/bareinfinity

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Disdained - Kill My Only Enemy (2011)

Taking over the female fronted metal scene in Sweden, Disdained is well on their way to great success. The gothic metal group has released their new album, entitled “Kill My Only Enemy.” It’s powerful guitar riffs and ravishing vocals will blow your mind. Each song contains catchy refrains, head trashing drum rolls and electrifying guitar riffs. Passionate lyrics and hell raising solos will pull you deeper into the music.

Dominating horns and strings start off this epic adventure with “Prelude To A Dream,” which is basically a minute long introduction giving you a little sample of what’s to come. This jumps right into “Eternal Night” with starts with blaring guitar riffs and exploding drums that lung straight at you. The short chugging patterns will have you bobbing your head immediately. You are then met by lead vocalist Therese Thomsson and her gorgeous female voice which starts off the verse with its aggressive tones. As the chorus kicks in, Thomsson begins to show off her powerful vocals as her beautiful lyrics echo through the air on top of the heavy guitars. Later you’ll come across a breath taking melodic guitar solo that is absolutely phenomenal. Notes fall from all directions as they bury you deep into the music. “Longing For Serenity” follows with angelic piano riffs that will immediately grab your ear. Heavily distorted guitar quickly follow along with booming drum rolls and complicated fills. Thomsson displays her gorgeous vocals throughout the song lifting you higher and higher during the refrain. The melody will definitely be stuck in your head for days. Tracks like this one and “Numb” also include a brief moment of demonic growling that compliment the breakdowns perfectly. “Numb” also uses a lot of soothing strings that surround the vocals and keep all of the instruments close together.

“I Live For Your Pain” is an action packed song that really stands out from the rest for a few reasons. First of all, it opens with a fast tempo as the drum fills rumble underneath the wild guitar riffs. This will definitely make you want to throw your metal horns in the air. Secondly, The verse starts with vicious female growling vocals that will make you shit yourself. It completely catches you off guard and before you know it Thomsson is back to her regular clean singing voice. The verses go back and forth between the two styles of vocals quite frequently keeping you at the edge of your seat the entire time. The chorus holds catchy melodic tunes that will make you want to hit the replay button right away. “Redemption” comes in right after with another catchy guitar riff that is accompanied by double bass drum rolls and crashing hi hats. The guitar work in the middle of the song is quite interesting as you’ll notice the constant change in pattern along with many different drum rolls as well. This is all followed by growling vocals that echo throughout the bridge. You might actually shit yourself when you hear it for the first time.

“Trust” slows the album down with a more depressive track. The lyrics are filled with a sad love story and Thomssons performance clearly shows lots of emotion in each verse. The guitar are calm and simple as single chords blast in the background while basic kicks and snares lead the way. A little guitar solo is thrown in towards the end which really seals the deal with its beautiful melodies.

The album closes with “Dreams Never Come True” which starts with a wicked guitar solos that are heavily covered in reverb. Thunderous drum riffs take over the background and absolutely destroy everything in its path. The guitars are very impressive during the verses. They carry aggressive tones but are delivered in a very choppy way. Then chorus then takes over with angelic melodies and sad lyrics. Hearing this a couple of times will definitely make you want to hit the repeat button again. Her style of pitch towards the resembles that of Cristina Scabbia from Lacuna Coil. It’s a very powerful performance that’s for sure.

Disdained shows a lot of talent and great musicianship in “Kill My Only Enemy.” The recording quality is excellent as well as the song writing and vocal performance. The album gives you a little bit of everything. You get the gorgeous female clean vocals mixed with some interesting devilish female growls. The tempos jump up and down constantly and flow well within each song. Definitely make sure you check this album out!

9/10

Official Site - http://www.disdained.se/
Myspace - http://www.myspace.com/disdainedmetal

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Avelion - Cold Embrace (EP) (2011)

The world of metal music can't always been doom and gloom, thrash and crash. Sometimes you need something to give you hope, something to convince you to drag yourself out of bed for another day in the daily grind. Italy's Avelion, who feature in their ranks Pursuing The End drummer Alessio Massimo, have the cure for what ails you. High speed guitars, dynamic keyboard melodies and soaring vocals await you. With their own take on European power metal, this six piece are sure to inject a little fire into "Cold Embrace."

Wasting no time, the band launch themselves into the album's title track. There is a strong keyboard presence, providing the melody that the track grows from. Lightning fast notes move up and down the scales, supported by a battery of drums. The guitars, both rhythm and lead, are expertly played, giving pace and power to each passing measure. Vocalist William Verderi has all of the power and potential of some of the genres shining stars, with his passages adding an extra layer to the song. The solo portion gives you a blitz of everything, with guitars trading jabs with keyboards. The two dart seamlessly in and out of one another, sharing the spotlight. If the first track was the appetizer, "Immortals' Light" is a main course to be reckoned with. The keyboards are the clear star, hammering out melody after melody that is certain to stir some heat in your deepest reaches. The high octane guitar riffs only drive the tempo further, surrounded by a hurricane of snares and cymbals, and a rolling thunder of double kicks. The dueling guitar and keyboard harmony in the breakdown is dazzling, taking the track to a rousing conclusion.

No power metal album would be complete without the emotionally charged ballad. Avelion are no different, offering the lighter inducing "Bright Angel." Verderi holds his own, though his voice seems far too restrained at times. You may fin yourself waiting for him to unleash a flurry of higher range notes, something that never comes to be. But once again, keys and chords rule all, choosing to go against the norm and provide some more intricate work to offset the somber vocals. Not to be slowed for long, the album comes to a stirring conclusion with the amped up "Follow Me." You won't find any sappy exchanges here, with the band going full speed ahead. The keyboards bring to mind the best the power metal genre has to offer, layering each piece on top of the last. The drums are relentless, pounding and pulsing throughout the track. A softly spoken interlude leads to a wailing guitar solo, one that may warrant multiple listens right away.

It takes a lot to get to the top of the mountain, regardless of what genre you partake in (Minus pop. That shit just seems to easy). Avelion have four songs under their belt, which is a mere fraction of what their career will produce. They have all the tools, all the skills to make the climb. With a little more time, a new full length album, and some unrestrained vocals, they could find themselves at the top, looking down. And while "Cold Embrace" might not have supplanted the likes of Stratovarius, Rhapsody and Blind Guardian, it may be enough to send a single chill up their spines.

8.5/10

Facebook - http://www.facebook.com/AvelionMusic.Official
Myspace - http://www.myspace.com/avelionofficial

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Black Chalice - Submission (2012)

A small unknown band from the U.S. has recently released a new album for the new year. The band goes by the name Black Chalice and their album is called “Submission.“ It contains four lengthy tracks and has a raw recording sound. The quality takes away from music as it‘s clear that they weren‘t purposely going for the low quality recording. As far as the genre goes, the band is clearly going for that progressive doom type of sound however they kind of go about it the wrong way. Certain parts of each song are a little too repetitive and don’t really change up too often.

The album opens with the song “Deluge” which is a four and a half minute intro that contains multiple guitars with gorgeous strings of melodies that flow together perfectly. You don’t really hear the first few riffs until about a minute in as they fade in as slow as possible. More and more layers of soothing guitars enter little by little as they give off an ambient sound. As the guitars continue to build, after hitting their peak, they quickly drop as you meet the next track. “Regret” comes in with basic drum patterns in a slow moving tempo as a calm guitar riff takes over on top. This melody kind of drags out as nothing changes until about two minutes into the song. This is when relentless guitars come roaring in with fast chugging riffs and loud snares snapping in the background. You will also run into a demon of a growl as the vocals finally reveal themselves. Large heaving lyrics rumble under the guitars shaking you violently. After the verse is done, the guitars go on a rampage of more reckless chugging as double bass pedals start to pick up the tempo. This is where you’ll want to start bobbing your head. The only issue with this track is that some of the guitar riffs are a little too repetitive. The song is over eight minutes long and half of it carries the same couple of chords over and over again. This might make some listeners want to skip on to the next track. Perhaps a little more creativity in this song structure would do the trick.

The third track on the album, “Cornea,” starts out with static guitar riffs that give off a strong depressive vibe. This repeats for about a minute and a half. Unfortunately, that’s over a minute too long. Finally the drums enter with a slow tempo as chords continue to be slammed in the background. The vocals fade in with deep demonic growls delivered with aggression. The starts to pick up speed about five minutes in as the guitar chugging becomes constant and the drums rolls start to explode. But right as the song starts to progress you start to realize again that they are just gonna continue to play this same riff over and over again. The drum pattern may occasionally change but that’s about it. The song has got so much potential as you’ll find tons of energy in the last few minutes. The only issue is that nothing changes. The melody, the instruments, and the tempo all kind of just stay the same.

The final track, “In Submission,” is an 11 minute track that starts out with a soothing guitar melody that has the same issue of being played way too many times in a row with absolutely no change what so ever. The one interesting thing about this track is that the vocals change up as you hear a soft clear voice enter with depressive lyrics. It’s nice to hear something a little different than the other tracks. Unfortunately this is the only difference. About half way through the song enters a specific guitar riff in which they decide to play for the rest of the song. Feel free to turn off the album because at this point the riff that you’re hearing just plays all the way through. So save yourself some time and move on to another album.

“Submission” has got a lot of ups and downs throughout each track. There are times you can really start to get into it and want to bob your head to the beat, however there are other times where you just want to skip to the next track because of how bored you’ve become with the same repetitive riff. The eight and ten minute long songs would be a lot better if they were trimmed down by four or five minute. Besides the opening track, the rest of the album turns into a let down with its constant repeats of basic guitar riffs. Black Chalice definitely needs to add some creativity to their music if that want to separate themselves from other bands.

2.5/10

Youtube - http://www.youtube.com/watch?v=Q87dSr7kMdo

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Intervals - The Space Between (EP) (2011)

There is always a style of music on the rise, a trend that many will pounce on and take it for all it's worth. Case in point, the current derivative of Messhugah's signature style, also known as "djent." And while many have throw their name into the ring, Toronto based Intervals are the latest to ride the wave of sheer terror into the abyss. On their new five track EP, titled "The Space Between," they shuffle their feet all the way to the edge of the cliff, teetering on the brink of disaster. Yet somehow, they escape to fight another day.

We begin with the opening track, "Begin." Guess that makes sense. A low rumble gives way to a very synthetic set of tones, very futuristic in nature. Drums explode from underneath, and a chugging guitar bursts onto the scene. The chords are repetitive, but thankfully short, as electronic bits come in and out, taking this brief opener to a close. The real talent is showcased on "Still Winning," which may or may not be a nod to the ever popular Charlie Sheen. The sheer density of the rhythm guitars, along with a booming rhythm section, is almost too much to bear. But the dazzling fret work still manages to come through with the utmost clarity and effectiveness. The syncopated beats and heavy riffs are straight out of the Meshuggah playbook, though not quite as deftly played.

"Duality" expresses exactly that, a duo of styles and deliveries. On one hand, you have that which has been shown already, a desire to combine hard nosed metal riffs with virtuosic soloing, a match that can spell success or disaster. Let's face it, sometimes it works. Sometimes it doesn't. And there examples of both outcomes contained here. The portion surrounding the three minute mark is genius at work, with a great flow being exhibited along with the ability to play loud and fast. The segment that immediately follows is a miss, coming off like a muddled mess, rather than a cohesive breakdown. The same can be said for the following track, "Sonar." The use of synthesizers cuts through the chunky mass of distorted guitars and bass. But as the tempo slows, and melody comes together, you are greeting with much more than a muscle car. The bass line is epic, and the guitars come together into a harmony of sorts.

The album cruises to a conclusion with it's longest track, the nearly seven minute "Inertia." The appearance of some clean guitar will instantly make this song stand out in your mind. The groove on display in the early stages is encouraging, showing off a side of the band you may not have known existed. It isn't long before the ceiling comes crashing down, and echoing distortion reigns supreme once again. A small electronica break gives way to the more down tempo chugging. But the high pitch shriek of guitar that rolls over the top is just enough to keep the pieces together.

There is a conflict to be settled on these five tracks. Intervals clearly have all of the talent and skill to write solid instrumental metal tracks. But the real question is whether they can continue to make music that is a reflection of who they are, without sacrificing structure and form. Following the djent trend is going to work for some, and fail for others. But great guitar work is universally accepted. Maybe this band needs a little more of that Van Halen sensbility, and a little less Messhugah thrash. "The Space Between" may prove to be too much.

7/10

Bandcamp - http://intervalsmusic.bandcamp.com/
Myspace - http://www.myspace.com/thisisintervals

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The Podcast: Episode 33 (Songwriters write songs)

No rest for the wicked, folks. We are back with another installment of the podcast, despite fighting off vicious colds in this warmer than usual winter. Murmaider really enjoys In Loving Memory, and has some pretty strong things to say about their new album "Negation Of Life." Hell22 took some advice from his fellow writer and checked out Lethian Dreams. Needless to say, he was not disappointed with what he heard on "Season Of Raven Words."

"Drake is the greatest songwriter of this generation." These words were actually spoken by a real person, to us. We didn't know what to say then. But we sure know what to say about it now.

You can download the first part here.

And part 2? Right here, bro.

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Lamb Of God - Resolution (2012)

The infamous groove metal band Lamb Of God is back with a brand new album, entitled “Resolution.” This is the bands -- studio album and it might just be their most intense album yet. The tempos constantly run at high speeds with quick reckless guitar riffs and detailed drum rolls. The album contains 14 songs of nothing but relentlessness and overwhelming excitement.

Deafening screams open up the album in the song “Straight For The Sun.” Slow groovy guitar riffs blast through your speakers with thumping drum fills behind them. Lead vocalist, Randy Blythe, throws hell raising growls at you from all directions hitting both low growls and high screams. This little two minute intro runs right into “Desolation” where the tempos pick up quickly. Reckless guitar riffs run right into the verse the Blythe comes in with monstrous growls that will beat you to the ground. The double bass drumming is absolutely mind blowing as it rumbles heavily beneath you. The energy from the song will have you bobbing your head in no time.

After a short count off, a southern guitar melody flies in during “Ghost Walking.” Blythe really mixes up the vocals back and forth between the high screaming and deep growls. Meanwhile, cymbals are constantly splashing in the background as relentless snares snap away in between kicks. The chorus contains a constant heavy breakdown which will have you bashing your head to every drop. Then you run into a wild guitar solo that twists notes into a violent mix of melodies. “Guilty” takes their guitar work to whole other level as the riffs are constantly changing patterns and speed throughout the song. Vicious growls are delivered by Blythe as he continues to change up his vocals. More insane guitar work destroys your speakers in “The Undertow.” The guitar structure is a little more direct as a constant melody runs recklessly in the background. Thunderous bass lines will begin to shake every bone in your body. To top things off, the double bass pedal drumming is absolutely incredible. The detailed patterns in each roll is amazing. Definitely get ready for some intense breakdowns in this track.

“The Number Six” shows some interesting vocals towards the end where they mix screaming with chanting that echoes loudly over the electrifying guitars. It goes back and forth between that and deep heavy growls. The switch really keeps you at the edge of your seat throughout the song. Another song that really jumps out with different types of vocals is “Insurrection.” The first verse sounds like something off of a Chimera album. It’s like clean singing but at a low tone giving off an eerie sound to the track. This of course changes later in the song as Blythe comes through with vicious growls destroying everything in sight. Musically this song is one of my favorite ones on the album. Double bass pedaling is in and out while kicks and snares rumble through heavily with detail. The guitar riffs are catchy and aggressive as they whip their way though each verse. You’re hit with another astonishing guitar solo towards the end that will absolute crush you.

Another track that really stands out on the album is “Terminally Unique.” The guitar work is full of melodic riffs that hit you verse after verse giving you no time to breath. The vocals are powerful as hell as Blythe delivers excruciating screams and growls throughout the verse. Meanwhile the drums are constantly pounding you into the ground with their complex double bass work along with exploding cymbals and shattering snares. The is definitely a track that makes you want to hit the replay button immediately afterwards.

Lamb Of God has continued to change and improve for the better with each and every new album. “Resolution” shows a good mix of their old style of groovy guitar riffs along with new and old styles of vocals. Each song runs into the next with a pretty smooth flow leaving no interrupted pauses or disruption. From front to back this album is an intense rush.

9/10

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

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Sons Of Liberty - Spirit Of The Times (EP) (2011)

With many politicians already riding high on the campaign trail for the 2012 election, Iced Earth mainman Jon Schaffer has taken his political side project Sons Of Liberty off the shelf for another go. These songs were conceived during the latest Iced Earth sessions, that which became their last album, "Dystopia." I guess when your main band is so prolific, you will always something left over for whatever you choose. On "Spirit Of The Times," Schaffer once again wears his views on his chest, for better or worse.

For a release headed by Shaffer, the opening clean riffs on "Alive" and accompanying melodic vocals may come as a surprise. He has honed his vocal skill noticeably, despite keeping his more raspy delivery. Lyrically, it is exactly what you would expect from the Sons Of Liberty moniker, seeking to empower the "little guy" against big brother. This is a call to arms, far more powerful than anything from his initial offering. It is a rock anthem, complete with chanting gang vocals and heavy, bass driven guitars. The heavier side comes out on "Full Spectrum Dominance," with a pummeling at the hands of an aggressive drum track. Screw polish, Shaffer's vocals are as raw as can be, yelling at full speed ahead. This certainly could be confused with an Iced Earth b-side, minus the vocal range of a Matt Barlow, or even Stu Block. There is a lack of subtlety here, which may or may not be a good thing. There is something to be said about being up front and honest, and Shaffer has that in spades. But the true star of the track is the dynamic guitar work on display. But the chugging, thrashing verse to a ripping solo, this is a well rounded assault.

The musical effort on "Molon Labe" is equally impressive, though the same can not be said for the vocals. There is a fine line between emotional, aggressive delivery and a pure struggle, and this one seems to fall more into the latter. Shaffer is, as you may remember, not a true singer. And his weaknesses show here. Though, to be fair, he has never claimed to be the second coming of David Lee Roth. The "300" samples layered into the solo are somewhat inspiring and well thought out, making the Spartan references that much more applicable. The parallels being draw between the Greek struggles and those of the American working class are a stretch for some, but not wholly fictional. If you are looking for one track to take away from this effort, "Mind Control" could be the one that sticks with you. The riffs are as catchy as ever, and the simple, effects laden vocal track is straight forward. No twists, no turns, just a great hook and heavy handed drumming. And despite the slander of the almighty television, it is hard to say that Schaffer's heart is in the wrong place.

The EP finishes with the title track "Spirit Of The Times," a final rallying cry to these who are in harms way. It begins softly, but comes out swinging shortly thereafter, with Shaffer proclaiming "my soul is not for sale," an attack at so many government agencies and entities who may or may not have sold out our future. The bass line is tremendous, with a glowing groove that could excite a jazz man of any generation. With some deft guitar work, both in chord and fret form, the song cruises to an end with one last burst of freedom.

Side projects are what they are. Jon Shaffer has worked long and hard in the musical industry, and has built himself into a successful guitarist and mastermind. So, if Sons Of Liberty is his way of being open and honest with his fans, then so be it. "Brushfires Of The Mind" came off as heavy handed and pretentious to some, including myself. His stint opening for himself on a string of Iced Earth dates seemed egotistical and a bit off-putting. But in the context of this five song EP, it actually seems as though he has grown as an activist and a singer, all at the same time. "Spirit Of The Times" may actually serve a purpose for those who listen.

8.5/10

Official Site - http://www.sons-of-liberty.net/
Myspace - http://www.myspace.com/meettheshackles

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Pursuing The End - Withering (EP) (2012)

After much success from their previous EP, “Dawn of Expiation“, the Italian symphonic band Pursuing The End is back with a few brand new tracks from their up coming EP, entitled "Withering." We have been fortunate enough to get a first look at three of the unreleased tracks.

The intro track, entitled “Overture,” opens with overwhelming orchestrated instruments that will immediately open your ears. Heavy toms are surround by flying strings layered heavily with many different chords. It sounds like a score written for an epic film. Rolling snares soon fade in with thunderous energy as the song builds up and prepares you for “Withering.” Your immediately hit with soaring operatic female vocals as they fly over distorted guitar riffs and booming drum fills. Clean male vocals take over the verse as relentless snares bash away in the background. Wild synth melodies consume you as you run into the gorgeous chorus. Quick double bass pedals keep the tempo high while the female vocals come back in and sweep you off your feet. They are accompanied by devilish growls that follow her every lyric giving off a beauty and the beast type of sound. Soon after comes a breath taking piano solo during the bridge. All of the guitars and drums fade out while you hear nothing but angelic piano riffs and soothing strings behind them. This is quickly taken over by an incredible guitar solo that completely destroys the musical scale. Notes go flying by from every direction with electrifying excitement. This is a fantastic track that really shows of the talents of this band.

The third track is called “Glimpse Of Forbidden.” This starts out in a dark tone as haunting female vocals open with eerie synth effects in the background. Her ability to hit such high notes is absolutely mind blowing. Monstrous guitar riffs chime in soon after with heavy distortion. They are joined by exploding drum fills that carry much detail. The double bass pedaling towards the middle of the song makes you want to throw your metal horns up. Both male and female vocals share the stage through most of the song while they even manage to include a few growls in between. The high female chanting during the pre chorus really gives off an old school Nightwish feel it reminded me of Tarja’s style of vocals. The song structure amazing and the orchestrated instruments definitely keep you hooked throughout the entire track.

Pursuing The End has clearly taken their musical talents to a whole other level. The layering of vocals is right on cue and fits perfect with the instruments around them. Musically, the orchestrated instruments will amaze you as soothing strings and beautiful piano riffs hypnotize you deep into each track. Definitely check these songs out. We cannot wait to hear what’s next!

9/10

Facebook - http://www.facebook.com/pursuingtheend
Myspace - http://www.myspace.com/pursuingtheendofficial

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In Loving Memory - Negation Of Life (2011)

Showing off their deathly tones all the way from Spain is the band In Loving Memory. The melodic doom five piece have released their second full length studio album, entitled “Negation Of Life.” It’s nine destructive tracks that will leave you stunned with its depressive riffs and beautiful melodies. Crying solos will hypnotize you deep into the album as you will be rudely disturbed by vicious growls and bone crushing drum rolls.

This album starts out with a violent and powerful track, entitled “Even A God Can Die.” Screeching sounds poor into your ear with sharp frequencies leaving you flinching for the first few seconds of the song. Meanwhile eerie bass lines follow shortly after. Muddy guitars begin chugging away with soft strings floating in the background. The vocalist wastes no time as he begins the verse with a deep heaving growl that will knock you on your ass. Towards the middle of the track enters an interesting combination of guitars and piano riffs that play back and forth giving an evil yet beautiful tone to the music. Also the vocals switch on and off between growling and eerie whispers as the guitar chugging begins to get even heavier. It ends on an upbeat tempo with booming kicks and snares that are sure to leave you head banging for the rest of the song. You’re even hit with a melodic solo which really tops off this awesome track.

The next song, “Skilled Nihilism,” comes out of left field with its futuristic synth effects that sound like you’re walking into a dance club. This is quickly interrupted by mean distorted guitar riffs and catchy melodies. The drum fills in the track are very impressive and will have you throwing up your devil horns immediately. The mood calms down in the beginning of “Adversus Pugna Tenebras.” Non distorted guitars come rolling in smoothly while low clean vocals lay gently on top. The drums stay upbeat with interesting fills and crashing cymbals as the tempo starts to pick up. The vocals soon switch over to demonic growling along with distorted guitar riffs that blast away. The guitar work towards the middle of the track gets even heavier with its wild, melodic breakdowns and fast double bass pedal drumming. This calm down again for the bridge as a gorgeous guitar solo takes over and plays angelic melodies for about a minute straight. This is definitely a track that you’re gonna want to replay a couple of times.

A couple of song later comes a seven minute masterpiece, entitled “Shimmering Divinity.” It manages to combine melodic riffs with short breakdowns in between where the drop is just incredible. The bass alone will not only knock you down but also beat you into the ground recklessly as relentless growls roll over top of you with its vicious lyrics. The solo guitar work is astonishing as it will pull you deep into the music as the drum fills surround the background and capture for the rest of the track. You do, however, get a chance to catch your breath with the next song, entitled “Through A Raindrop.” It opens with a simple little acoustic melody that shortly after switches to electric. The cymbals are clashing hard in the background but the drums stay basic for the most part at first. The whispering clean vocals enter with eerie tones. Distorted guitars begin to take over with heavy chugging chords and thumping bass lines. The tempo stays steady throughout the song, however the vocals switch back to devilish growls that rumble across the guitars and drums perfectly. Definitely an awesome combination.

The album ends with “Nulla Religio, Solum Veritas” which carries a lot of emotion. Slow tempos of sad guitar riffs open the track as the drums deliver exploding rolls. The vocals enter with thunderous growls that will shake you violently throughout the track. It definitely has a strong doom feel to music. Strings play a small part as well as they consume the background during the middle of the song. Gorgeous melodic guitars keep the track catchy as the growls continue to deliver dark, depressive tones. By the end of this track you will be reaching for the replay button for sure.

In Loving Memory really goes above and beyond the death/doom genre as that provide dark melodies along with violent, yet gorgeous tones. “Negation Of Life” takes you into a whole other realm of demonic sadness and beauty. Each track runs smoothly into the next as the song structure is also well balanced between the vocals, solos, and other instruments. This is definitely an album worth picking up. It leaves you wanting more every time you listen to it.

9/10

Official Site - http://inlovingmemory.es/
Myspace - http://www.myspace.com/inlovingmemoryband

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Lethian Dreams – Season Of Raven Words (2012)

It would seem that the French have cornered the market on the new wave of doom metal. Alongside fellow countrymen Grey November, Lethian Dreams are carving out French doom that is as melodic as it is crushing. Among the heavy riffs, there lies a depth of despair, all fronted by Carline Van Roos. On their new album, "Season Of Raven Words," they expand on their original formula, and forge an even more complex sound. When atmospheric music meets heavenly vocals, what is left to want?

Fitting than an album should be with a track titled "Dawn," which in its early moment gives the imagery of a sun rising over the hills. But as the crash of cymbals enters the fold, there forms a bitter haze. The guitars echo for seconds after each chord is struck, allowing for Van Roos to spin her somber tales in a tone that is both angelic and forlorn. By the midway point, you will feel as though the weight of the world has come down squarely on your shoulders, leaving your heart as heavy as each booming kick drum. The tempo, slow and deliberate, may induce a slight swaying in your shoulders, but not of the aggressive variety. The drumming is more explosive on this effort, as is evidence in "Wandering." Each kick and accompanying cymbal and snare punch through your speakers with an emphatic push. Each riff, each strum of a shaking chord fills the air around you, shielding you from any outside interference. But as a platform, it does wonders, as Van Roos cuts deep into you with each melodic vocal passage. The strength and vulnerability that you find here will astonish you.

As a reprieve, you are treated to a minute and a half interlude, titled "See," consisting of nothing but piano keys and Van Roos, a combination that brings chills to your skin. The soft, sullen chords that follow are a perfect go between, leading you gently into the dense guitars and bass of "Raven." The vocals remain the constant, tearing you apart at the seams. The distortion cannot drown out the beauty, instead coming together in a stark contrast of grayish hues. Once again, the drumming shines through, with double kicks and sizzling cymbals filling your ears. There is no dead air, but rather a bounty of doom musicianship on display. Clean guitar tones take the early spotlight on "White Gold," a dramatic change from the previous tracks. But don't get too used to the light on light mix, as an eruption of distortion and battering drums awaits you, coming to and fro, underneath expertly delivered vocals. Not to belabor the point, but Carline Van Roos has a voice that could stop the world from turning. When layered on top of the more aggressive guitar tones that inhabit this piece of the album, the result is simply awe inspiring.

Another interlude, this one titled "Invisible," sees soft whispers over a delicate arrangement of guitars and synths. Nothing more, nothing less. It is a jumping off point for what follows, a track titled "Satyrs" that boasts some interesting drum work in the front end. Off time beats and oddly timed cymbals punctuate the early stages, allowing Van Roos to enter with her verse. There is a dynamic blend of beats and chords to be had here, witheach corresponding earthquake of distortion and low end fury driving you further into your ethereal haze. The latter half of the track is a drum clinic, slamming and swaying you back and forth with blast beats and the rolling thunder of non stop kick drums. The display of musical proficiency would make the most seasoned doom musician envious. Everything comes full circle in "Roads," which borrows from each of the previous seven songs, giving you a fresh reminder of what had you so captivated for the last 40+ minutes. There are no weaknesses, but so many strengths. Van Roos, once again, paints a bleak but somehow hopeful picture with her words, backed by a crushing, harsh melody. The added use of synths creates an even more impressive atmospheric tone, and takes the album to a conclusion that may seem too early.

There has always been a beauty in darkness, and darkness in all that is beautiful. Lethian Dreams manages to bring out both qualities equally, track after track. There aren't many bands who can capture all of the sorrow the world has to offer, and make it seem so much less terrifying. Through every riff, every snare, every kick, "Season Of Raven Words" delivers a subtle sadness. When death comes to take me, I hope that the voice of Carline Van Roos is waiting in the light at the end of the tunnel.

9/10

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

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The Podcast: Episode 32 (Different strokes to move the world)

It's a new year, and there are plenty of albums for us to review! This week, Murmaider takes a good, long listen to the new album by Aquilus. Hell22 had a mixed bag, with a flat effort by M.A.I.M. and yet another stellar outing by office favorite Alcest. Then we revisit a previous topic, from way back in episode 19. Side projects can be both good and bad. But we take a few minutes to applaud those who make their side project different from their main act. Diversity is the key to a great metal year, and these guys get it done.

Download the first part of this here.

And the second part can be had here.

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Kayo Dot - Gamma Knife (2012)

By now, it would be safe to assume that many people far and wide have seen and digested the movie "Inception." Well, friends, it may be time to experience the concept in a new way. On their latest album, the far reaching Brooklyn, New York based Kayo Dot have drawn you into a dream world. With massive woodwind sections, rumbling guitars and bass, and a taste for the theatrical, "Gamma Knife" may leave you with a feeling that you are listening to a song within a song, which is inside another song, which is on an album which is in your wildest dreams.

The choir of bells emerges through the silence, joined soon by layers of strings. And while this opening track, known as "Lethe" is both haunting and beautiful, it is merely a precursor for what is to come. A light voice is added to the mix as the strings begin to twirl and flutter onward. There is something inherently calming about the choral sections, with voice upon voice coming together in a wave of harmony. But as the heavens part, an odd roar begins to cut through. "Rite Of Goetic Evocation" finds distorted guitars becoming entwined with woodwinds and percussion, in an immense wall of sound and fury. The heaviness of the background is offset perfectly by the variety of instruments used to construct this foundation. It provides stability for the building to sway and shake with aggressive screaming vocals. At first, it may seem like muddled chaos. But beneath each layer is a sound all its own. As they crash and merge together, it becomes clear that they are pieces of the same whole.

Eclectic as the track before it, "Water Mirror, Lightning Night" begins with a frantic burst of instrumentation. From guitars to saxophone, bass to snares, the tornado of musical curiosity spins. There is an undeniable groove in each sax melody, each passing note taking you to different places. There is a soul, a flow to the way the music is presented, with each drum fill and distorted chord finding a home nestled in the sprawling landscapes of horns and strings. And while there is certainly a more structured "sludge" feel to "Ocellated God," it isn't long before this track, too, goes upside down. Bitter screams and growls fill the air, drawing some of the focus away from the music itself, allowing it all to boil, and ferment. Finally, at the most opportune moment, it all explodes in a thrashing of musical instruments that some may not have survived. The album ends on the most odd of notes, with the beautifully performed "Gamma Knife" containing little more than a piano melody and some light strings. It is played to perfection, sung to a heavenly accord, and left to fade into the night.

Those familiar with music as a whole have surely heard the term "avant garde" used to describe many an artists, from jazz to blues and so on. But it has never been more fitting a title than when applied to the stylings of Kayo Dot. And while the mix of standard metal instruments and big band classics comes off as an odd choice, it is beginning to become a proven formula, one that Kayo Dot execute to near flawless brilliance. They wind and weave through five tracks of sheer intelligence, carving out sounds and spaces the likes of which you may have never heard. "Gamma Knife" is as sharp as its title conveys, but as smooth as Coltrane ever played.

9/10

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

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Mare Infinitum - Sea Of Infinity (2011)

Defining themselves as atmospheric black metal, Mare Infinitum brings you depressive sounds and demonic growls in their new album, entitled “Sea Of Infinity.” It’s five tracks of magnificent composing blackened by devilish vocals and overwhelming guitar riffs. They balance this well with a mix of gorgeous strings and angelic piano keys. The tracks run anywhere from nine to twelve minutes long so prepare yourself for this lengthy album.

Thundering drums rolls and mean guitar riffs blast into the first track, entitled “In Absence We Dwell.” Rumbling toms and snapping snares shake violently for the first two minutes of this 14 minutes masterpiece. Short clips of low demonic growling jump in and out between riffs as the distortion hits you in the face. Eerie string lay gently in the background while evil melodies continue to blare through the verse. The drum fills towards the middle of the song are absolutely mind blowing. Definitely make sure to check them out. The strings play more of a role as the song progresses to the five minute mark. Uplifting chords lift you for a slight moment as they layer them over the chugging guitar riffs. The dark growls take over with a devilish delivery. Soon after, everything becomes silent except for a light wind sound effect that lingers in the distance. As the wind whispers quietly, it begins to draw you in closer and closer as you are curiously waiting for what is next. Slowly enters a melancholy guitar riff full of depression and darkness. You are then surprisingly hit with clean vocals about nine and a half minutes in. This is followed by an eerie yet beautiful guitar solo that sweeps you off your feet with its gorgeous melodies. What a way to start off the album.

“Sea Of Infinity” is another lengthy track that runs for a little under ten minutes long. It starts with screaming guitars blasting from left to right. Each chord crashes right into the next as cymbals collide in the background. A light chant of clean vocals fade in for a short period of time but is then taken over by demonic growls. The two sets of vocals go back and fourth throughout the track as they are accompanied by a beautiful piano riff that adds light to this depressive scene. A melodic guitar solo rocks you to sleep towards the end of the song as soothing strings accompany them in slow depressive tempos.

Swampy guitars come rumbling in with heavy distortion in “Beholding The Unseen.“ The snare slams heavily in between each thumping kick in a very slow motion. More monstrous growls open up the first verse. Deep guitar chugging consumes the background. Halfway through the song, the growling vocals are mashed together with the clean vocals as they perform the same lyrics together giving clear and yet monstrous tones through the refrain. The delivery is phenomenal. “November Euphorio” develops a little more slower than the last track as depressive strings open up the song. About two minutes later enters piano riffs, booming drums and echoing guitars. Crying guitar solos take over most of the song as they are backed up with destructive minor chords and soft strings. The song goes back and forth from dark and depressing to absolutely beautiful.

“In The Name Of My Sin” is the closing track that runs for over twelve minutes long. They continue with their slow opening starts as repetitive guitar riffs take over the first three minutes of the song. Exploding drum fills collide in the background as monstrous growling vocals enter. More crying guitars enter shortly after as they surround you with sadness. The drum fills begin to get more detailed as well. Definitely make sure to listen closely. Ground shaking guitar riffs beat you down constantly throughout the rest of the song as the vocals destrioy you one last time.

Mare Infinitum does a tremendous job with the delivery of “Sea Of Infinity.” You’re able to capture every depressive detail with their slow tempos and melodies. The vocals are performed well throughout the entire album as they continued to knock down everything in their way. There were a few elements that really reminded me of the band Ahab. They carry a very similar style in their guitars and song structure. Definitely check out “Sea Of Infinity.” It’s an album you won’t want to miss.

8.5/10

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

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Alcest - Les Voyages de L'âme (2012)

After reimagining the original EP, "Le Secret," and launching yet another side project, Old Silver Keys, Neige has returned to his main attraction, atmospheric post-black metal band Alcest. And oh, the pressures of releasing an album in the first week of a new year. In eight tracks, and some 51 minutes, he controls the fate of the metal world for 2012. Ok, maybe not. But... he could. On "Les Voyages de L'âme," or "journeys of the soul" for the uncultured like myself, Neige and company wander through the world of sound and color, discovering endless forests of sadness and beauty. Happy New Year, indeed.

The decision that most bands face is which song best fits the "lead" role, with so much momentum hanging in the balance. The first single from the album, "Autre Temps," fits the bill to perfection, beginning with softly played notes, evolving into clean strumming. It is enough to welcome you, while also catching your ear with the melody. After a sweetly delivered verse, the chorus erupts with a flurry of drum fills and beautiful chanting vocals. The layered soundscapes that are created here are vintage Alcest, with a bittersweet combination of purity and melancholy seeing you through the haze. This isn't a b-side from "Ecailles de Lune," but rather a step in a more emotional direction. The more atmospheric "Là Où Naissent Les Couleurs Nouvelles" follows, with a strong focus on distorted, but manageable, guitar riffs leading the way. The emergence of a smooth, flowing bass line takes things to a new level. The drumming has been elevated as well, with a myriad of fills, rolls, and precisely timed cymbal crashing sizzling through your speakers. The more raw black metal style makes an appearance, but with a noticeable difference. The vocals have less of effects laden take, with Neige's scream coming through in the most dynamic form, rather than coated with delay and reverb. The driving riffs that dominate the second half of the track will surely burrow into your mind, lingering for days after.

The title track to the album,"Les Voyages de L'âme," emits a blue glow from it's down tempo verse section. But the double kicks roll through the bridge and chorus sections with all the fury of a perfect storm. The build up is incredible, from simple notes to an immense wall of sound and sadness. The emotional weight carried in Neige's voice is tremendous, even for those of us who simply do not have the mental capacity to speak French. It is as if, at times, language is a state of mind. One that, when absorbed can change your mood without any idea of "understanding." Ahem. Sorry. Got a little sidetracked there. Moving on to "Nous Sommes L'Emeraude," a track which finds Alcest at their melodic best, the rich layered guitars take a spotlight all their own. Lightly strummed clean notes fall together with rapid distorted chords in a fractured harmony. Once again, the drums deserve mention, whether it be for the simple things like keeping time, and playing each portion with deadly precision, or for the more intricate fills that tie verse and chorus together. This is a band, a sound, that has evolved into something far beyond previous efforts.

A delicate chanting female voice opens "Beings Of Light," with light synthesizers taking up the rear. The beauty of the intro isn't truly seen until the bands erupts from inside, rapid drumming and chords tearing through the fabric. There is no relaxing from this point on, with this tempo keeping up for nearly the entire six minutes of the track. High speed distortion, paired with chanting, melodic vocals, all forming a perfect match. It seems to fade away far too soon, despite an extended playing time. But stumbling right into "Faiseurs De Mondes" is a piece of planning that should be commended. The music remains melodic and moving, while the vocals descend into a dark place, taking a raw approach in the verse. But, as is the norm, there is a give and take between harsh and heavenly, with the latter seeing it's fair share of time here. The clean guitar work is refreshing after the assault of the previous nine or so minutes. There is a relaxing quality to be found, putting you at ease, but feeling somehow empty at the same time. The pairing of dark and light isn't limited to one style, but there is a flip side as well. The heavy, demonic music can just as easily split time with lighter vocals, as it does here. Rattling drums and guitars can add to the atmospheric tone. The soft, clean interlude "Havens" gives you a moment to breathe and reflect on the previous six tracks, while preparing you for the closing track, "Summer's Glory." There is an understated, simple beauty in each and every note, chord and snare. One that defies description, and simply must be heard to be enjoyed.
 
Neige and his work with Alcest are not easily pigeonholed into one style or genre. He walks a path that, in my experience, has yet to be explored. The ability to somehow juxtapose the differing styles is what keeps you listening, and what keeps the album flowing from one track to the next. And while this album is certainly a lateral movement from the previous work, they do share common ground. Everything you loved about "Le Secret," "Souvenirs de Autre Monde," and "Ecailles de Lune" can all be found in the shades of blue and gray that the "journeys of the soul" have to offer. But doesn't it just sound better to call it "Les Voyages de L'âme"?

9.5/10

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

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M.A.I.M. - The Frozen Pass (2011)

Hailing from Belluno, Italy,  Celtic folk six piece M.A.I.M. are wandering a slippery slope. they have taken all of the dance-inducing melodies of new wave folk metal, and slammed them face first into the punk scene, causing some sort of musical fender bender. And while those two styles may not seem entirely different, there are subtleties to each that must be addressed and appeased. On "The Frozen Pass," this group of newcomers better watch their step, or risk sliding down the icy path.

With an intro like "...And The Journey Begins," you are left with a feeling that this will be an epic and grandiose offering. Some lightly played synthesizers and pianos are all that greet you, but they are performed with a touch of grace and power. Unfortunately, the sparkling clarity of this intro does not carry over into the rest of the album. Immediately upon entering "Dark Wings Over Me," you notice a distinct problem in the mix. There is a uneven nature to the sound, with rhythm guitars barely making a splash. It sounds more like a drum and bass track with vocals over it at the onset. And while the lead guitars do emerge later, they rarely make a true impact on the music, sans for the wailing solo section. However, the fiddle and gang vocals do exactly as intending, maybe even bringing you to your feet for a quick jig.

That same condition unfortunately befalls the following track, the uptempo "Four Kings." If ever there was a home for the punk sound in the metal world, Celtic folk would certainly be the place. The band take on all of the characteristics of a strong folk metal band, while somehow channeling the energy of the Dropkick Murphys. The fiddle is the lead, driving you every inch of the way. Once again, the gang attack on the vocal chorus is refreshing, as simple as it may be. This is the strongest track on the album, offering some of the more glowing musicianship in the later half of the song. With a burst, "Beyond The Horizon" finally gives a little kick to the sound quality, seeing a noticeable jump in the levels. That punk sound is still present, perhaps even taking the lead. The vocals bring to mind the latest, and only, album by the band Hell, coming through with a shrieking tone that will easily command your attention. But oddly enough, despite the improvement in sound, this track sees the least effective guitar work, with the solo portion falling flat.

The fiddle melody that opens "Under The Winter Sun" gets things moving in the right direction, but as the band fall further into the punk realm, and farther from the metal riffs that kept the early moments alive, things seem to lose steam. There is a lack of punch, a lack of the "in your face" kind of melodies that the folk genre is so famous for. Each separate section feels like it was conceived out of necessity, rather than cohesion. Combine the lack of emotional investment with some of the sloppier instrumentals on the album, and you may come to a grinding halt. And, unfortunately for the band and the listener, "Glory Bound" is anything but. While it may finally have the right idea, the delivery just falls short of the intentions. And while the mix is once again askew, it can't be blame for the problems the finale exhibits.

M.A.I.M. seem to be in the midst of an identity crisis. To be punk, or to be metal; that is the question. And while there is certainly room for both to coexist, they must do so while sharing a common need for power and precision. The punk outbursts are energetic, but lack the balls to get your head moving. The metal portions, as sparse as they may be, lack the attention to detail to turn a meandering riff into a true song. Whether they chose to go one route or the other, it appears they slipped and broke a hip on "The Frozen Pass."

5/10

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

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Aquilus - Griseus (2011)

True classical talent is shown by the band Aquilus. The Australian outfit has released their new album, entitled “Griseus.” They manage to mix a lot of classical tones to the atmospheric black metal that we are already used to. If Beethoven were alive today, this is probably the kind of music he would be making right now. The band uses many different instruments to capture their sound and even manage to add dark devilish growls occasionally. The song writing is excellent as you will see that they clearly put a lot of time and effort in composing each track. The album is eight songs long and most of them average to about 10 minutes long. Each one unique in its own way.

Slow eerie strings come creeping in to open up the album. The first track is called “Nihil” and runs for an epic 14 minutes long. After the first minute of strings go by, you’re met with acoustic guitars mixed with electric guitars and screaming growls that will send chills down your spine. Booming drums take over the background with snapping snares and high clashing cymbals. Later enters chanting vocals as the guitars become more aggressive and begin chugging away to the muddy bass lines and bombing kick drums. Short guitar solos jump in and out throughout the track so you definitely have to pay close attention. About five minutes in all of the instruments drop except for an acoustic guitar that is layered with soothing strings behind it. The gorgeous melodies draws you closer into the song as beautiful piano notes begin to chime in. Can you believe there is all of this in one song and you’ve only gotten to the halfway point. The piano riffs start to lean more towards the dark tones as more soft strings fade in slowly. At this point, the song has taken a complete change in direction as it lean more towards the sound of an atmospheric soundtrack that you would hear on a Lord Of The Rings movie. Layers and layers of orchestrated strings come together as the track builds more and more. Soon enters these huge splashing cymbals that really help caption an image of what is going on. Even distorted guitar start to fade back in slightly just underneath all of the symphonic strings. As the instruments start to fade you come across a short outro that is filled with dark acoustic guitars and evil melodic strings.

You are then introduced to a mysterious piano riff in “Loss.” Strings slowly float in the background as you are hypnotized for the first two minutes of the track. Hell raising guitar riffs come blaring in afterwards. They are joined by more chanting vocals and simple drumming. You are then hit with a huge wall of violent riffs and drum fills that will absolutely destroy you. The song structure is incredible as you will see the constant change in melody and instrument throughout his track. The middle of the song consists mainly of stunning piano riffs wrapped in warm orchestrated strings. You will fine some very impressive piano rolls in this one. Things start to get a little heavier towards the end of the song as chugging distorted guitars come blasting back in along with demonic growls on top. You’re also met with more chanting vocals that consume the background. You really don’t get to many growls in these tracks but when you do they will knock you on your ass.

If you’re looking for an aggressive track to bang your head to, then you’ll love songs like “Smokefall” and Latent Thistle.” Right out of the gate come ripping guitar riffs with exploding drums that will have you bashing your head and throwing up your devil horns in no time. Devilish growls enter for a short period while the relentless guitars beat you into the ground. You do manage to catch a quick break to catch you breathe while soft acoustic guitars play a brief riff. Then its right back to the monstrous guitars and deep growls. “Latent Thistle,” being one of the shorter songs on the album, also starts right off the bat with chugging guitars and machine gun snares. Wicked guitar melodies are performed about a minute in that are surrounded by reckless growls and dark strings. The short guitar solos sound like they were played by Lucifer himself. The band does a magnificent job with their delivery.

I’ve only mentioned half of the songs on the album and clearly you can see I’ve had so much to say. If you like what I’ve described so far then definitely make sure you check this album out. There are still more surprises on the album that you will have to hear for yourself. I swear you won’t be disappointed. This is neo-classical metal at its best!

8.5/10

Band camp - http://aquilus.bandcamp.com/
Myspace - http://www.myspace.com/aquilusband

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The Podcast: Episode 31 (Ringing in the new year...)

Every year is a good year for metal. Those are words that we live by. And as 2011 has been put to bed, 2012 promises to be one to remember. We look at some of the big names with new albums on the horizon, with a few in particular holding our attention. Then we announce our first "Band Of The Month" for the new year. Here's a hint: their last album taught us all the French we know.

You can grab the first part here.

Still listening? The second part can be downloaded here.

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The Top 10 Albums Of 2011

Yes, that time has come. The year is drawing to a close, and Murmaider and Hell22 have compiled their respective lists. It gets harder and harder to narrow down the field, but with a lot of deliberation, thought, and tough decisions, here they are. Remember, these are our FAVORITE albums of the year. There is no point in arguing what the "best" album is, seeing as how it is all subjective. These are the ones that we kept going back to, kept putting back in rotation, and just couldn't get away from. Some big bands, some small. All great.

Download part 1 here.

Download part 2 here.


Hell22's Top 10:


1. Junius - Reports From The Threshold Of Death (Review)(Interview)
2. Falloch - Where Distant Spirits Remain (Review)(Interview)
3. Project Masquerade - Nothing But Everything Will Remain (Review)(Interview)
4. Mastodon - The Hunter (Review)
5. Draconian - A Rose For The Apocalypse (Review)
6. Myrath - Tales From The Sands (Review)
7. 3 - The Ghost You Gave To Me (Review)
8. Appalachian Winter - Appalachian Winter (Review)(Interview)
9. Nemesea - The Quiet Resistance (Review)
10. Omit - Repose (Review)(Interview)

Murmaider's Top 10:


1. Nightwish - Imaginaerum (Review)
2. Draconian - A Rose For The Apocalypse (Review)
3. Mastodon - The Hunter (Review)
4. Appalachian Winter - Appalachian Winter (Review)(Interview)
5. Falloch - Where Distant Spirits Remain (Review)(Interview)
6. Within Temptation - The Unforgiving (Review)
7. Junius - Reports From The Threshold Of Death (Review)(Interview)
8. Amorphis - The Beginning Of Times (Review)
9. Edguy - Age Of The Joker (Review)
10. Northsong - Winter's Dominion (Review)(Interview)

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