Earthmass - Lunar Dawn (Keep, Relic & Ritual) (2012)

With a heavy, low end, progressive post metal edge, England's Earthmass are overflowing with ambition. This four piece metal act from Essex aren't confined to standard album structure, or any structure at all, for that matter. Instead, they give you a single song; one track that runs over twenty minutes long, with ever changing riffs and grungy distortion. On "Lunar Dawn (Keep, Relic & Ritual)" you may not have the joy of clicking your mouse to skip tracks, or pushing that glowing "skip" button on your iPod, but you may not need to. Buried in this epic track is everything you were looking for.

Clean guitars provide the opening, joined quickly by a sliding bass and the tap of drum sticks on one another. Unlike the drone movement that seems to be gaining popularity, no one segment runs on too long. With each passing measure, more pieces come in to play. The entire drum kit booms in, with kicks, snares, and toms filling every void. The pacing sees a step up every so often, and you can feel the impending explosion beginning to come to a head. Sure enough, that blast comes a mere three minutes in, with a wave of distorted riffs washing over you. One guitar handles the earth shaking chugging, while the other lays down a melody. The vocals, while short and sparingly used, are clean and melodic, giving just enough of a boost to the instrumental to make it a worthwhile addition. Lyrically, it reads like a cryptic warning.

"Keep them from your door...

As shifting sands reveal the keep, the mummy King and his Queen weep the blood of all who fell before; when, long ago, they stormed the door. The Relic of forgotten time is bathed in light, as moons align. A lunar dawn to resurrect a war.

...Bathed in light as moons align."

The changes in tempo and style aren't there to mask imperfections, or pad out an egotistical whim. each section has its own feel, its own purpose. From the rise, to the fall, you are always on the cusp of something else. Down tempo prog rock give way to atmospheric guitar work, complete with wailing solos and crashing cymbals. With blast after blast, only a soothing bass line can bring you down from your high, and it does just that. Layer upon layer of distortion and reverb fill the air, with each one standing out slightly from the rest, while still contributing to the whole. Even when things do eventually break down into chaos, it is an organized one, a short shift in momentum that you wade through to get back to normalcy. And if that short section was the reprieve, then the pummeling you receive in the outro is the fabled "fatality, flawless victory." The sheer strength of each down stroke is enough to beat you into submission.

Delivering one twenty minute representation of you, and your musical personality, is a tall order. Whether it is a five song EP, or a single track, the challenge is to keep it fresh and moving, without betraying your vision. For Earthmass, it would be beyond me to say whether or not this particular song is everything they wanted it to be. But for the sake of argument, it would be a stretch to need or want anything more than what you have here. You are treated to a flowing monster of a track, one that builds you up and tears you down at will. With that in mind, it would be crass of me to suggest that "Lunar Dawn (Keep, Relic & Ritual)" is anything short of excellent. All twenty damn minutes of it.

8.5/10 

Official Site - http://www.earthmassband.com/
Facebook - http://www.facebook.com/earthmass

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Lotus Circle - Caves (2012)

We've recently done a couple reviews for some great bands in Greece. Unfortunately Lotus Circle is not one of those great bands. They are considered blackened drone and doom metal however after hearing a few tracks I don't think that they are either of those genres. From their new album, entitled "Caves," the band really doesn't show any kind of creativity in their instruments or even in the structure of the tracks. The album has five tracks averaging between five and ten minutes. But unfortunately they are all just filled with nonsense.

The opening track, "To Witness Under The Stars," is a nine minute and 42 second track that puts you to sleep in multiple ways. It starts with horribly distorted guitar riffs that are drenched in effects. The worst part is that it replays the same melody for over four minutes long. Drums never come in. There are no cymbals shattering or snares blasting in your face. It just leaves you waiting and waiting. And finally, when the song does change, all it changes into is a bunch of sound effects and muffled spoken word that you can't even hear clearly. It sounds like you're a huge church with all of the reverb that is added. This goes on for about two minutes straight when suddenly guitar riffs come back in with slow patterns. They play this new riff over and over again for the final three minutes of the track with nothing else. Some drone sound effects and distorted guitars, that's it.

"Dawn Of A Dead Sun" is even worse because it literally plays the same wretched guitar riff for over six minutes in a row. No drums and vocals or anything. The structure doesn't change at all throughout any of it. "Secret Entity's" and " From The Depths" somewhat play a few more notes than the other tracks but even they become very repetitive with no interaction with any other instruments except for some futuristic space like sound effects that really have nothing to do with anything.

There is still one more song on this album but i was unable to stand listening to anymore of it. "Caves" has got to be some sort of joke. Either that or someone really untalented thinks they did a great job. Either way the recording is terrible, the structure is boring as hell, and most of the tracks are just a bunch of noise. Do not waste your time with this album nor this band. Unless you're into boring sound effects and basic song structures.

1/10

Official Site - http://www.myspace.com/lotuscircleofficial

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Halladrol - The Last Mile On Earth (EP) (2012)

Rooted in the noise style of the early 90's, Lord Heikkinen struck out on his own, leaving the sounds of Soulgrind behind, and creating a death/doom project called Halladrol. Focusing on the more blackened side of metal, with an avant garde twist, he began to craft a story of the end of the world, the end of days. But despite his best efforts, and a well conceived concept, something in this debut effort is missing. Somehow, "The Last Mile On Earth" losing sight of itself, and takes you on a journey that feels like a cross country voyage, rather than a short walk.

The title track begins with a bit of whimsy, the chirping of birds and organs. An oncoming storm comes bearing down on a circus atmosphere, crashing in one fell swoop, turning the world into chaos. Despite a rough recording, there are a lot of pieces being communicated at once. There is a constant roll of double kicks and cymbals, laying down a foundation for heavily distorted, and almost muffled guitars. There is a deathly tone to the growling vocals, helping to drive home the "end of the world" scenario. The strength of the track lies more in the non vocal sections, where the guitars are left to fester and grow. When they come head to head with the varying vocal styles, whether it be the growls or off key, eerie attempt at clean singing, the riffs are simply too muddled to enjoy, falling all the way into the background. The writing itself far exceeds the execution, which leaves this is a jumbled mess more than a viable opening.

A positive step in the right musical direction, "Black New Stars" changes the blueprint in a number of ways. First, a run time under four minutes allows no time for filler, something that the opening and eventually closing track seem plagued with. Second, there is a stronger focus on sound and structure in the instrumental. The drum tone sees a vast improvement, despite an even more aggressive delivery. Guitars are allowed to stand on their own at times, with some cleaner notes cutting through the sheer density of the chugging chords. It would be fair to say everything plays out in a more precise, methodical manner here, rather than the swirling wave we witnessed before. The vocals, however, are the only thing not to evolve from track to track, with the coarse growls leaving an oily coating on the entire duration. They fall flat, almost uninspired, despite the story they carry.

The most profound track, lyrically, may also be the most complete track, musically. "No Rest For The Holy" follows the story of a holy man, left to question his own beliefs, while the demons of the fallen world take over his mind. Here you will find the most intense use of the doom sound, with down tempo beats and crushing low end guitars rumbling through your speakers. But while the tenets of one genre may float to the surface, blackened death is still the main ingredient in the track, with high speed, machine gun drums working overtime in the breakdown sections. An unfortunate element that remains constant throughout is the poor vocal lines, rarely giving you anything more to hear, to digest. Yes, they carry a certain weight in that "brutality" realm, but minus a psychedelic clean singing fit just before the six minute mark, you get nothing more than a droning set of lifeless breaths. They do nothing to build the overall sound of the song, or the album for that matter.

There is a clear concept at play here, a well defined story that is ready to be communicated through sound and fury. But somewhere after the first note, Halladrol throw that idea away, and churn out a nearly twenty minute epic EP that goes, seemingly, nowhere. And while that foundation is in place, one of ideological thoughts, about the time and place of religious right, there are nowhere to be found in these three tracks. Sure, if you pour over the lyric sheet you may find meaning in the distortion. But with this as your soundtrack, "The Last Mile On Earth" is sure to be a long one.

4/10

Facebook - http://www.facebook.com/pages/Halladrol/297660650316540

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Burzum - Umskiptar (2012)

It feels like only yesterday when Burzum released "The Fallen" and had everybody raving with excitement. Well clearly Varg has been busy in the studio as he has now released his 2012 album, entitled "Umskiptar." The black metal mastermind has outdone himself yet again with wretched guitars, dark melodies, and ominous vocals. He also manages to really focus on his roots of atmospheric tones.

After a minute of spoken word in "Bloostokkin," the album kicks in with screaming guitar riffs in "Joln." Violent drum rolls and shattering cymbals light up the background while Varg mixes up the verses going back and forth between deathly growls and haunting clean spoken vocals. The guitar riffs are constantly delivering devilish tones and monstrous chugging that'll send a chill down your spine for sure. "Alfadanz" is one of the longer tracks on the album running for over nine and a half minutes. The gorgeous masterpiece opens up with a beautiful piano riff that quickly switches over to distorted guitar notes. Slow basic kicks and cymbals step in adding a soothing rhythm to the mix. The verses open with clean spoken words as the melody continues to play in a mellow tone. Soon comes more aggressive layered guitars as the vocals fill the air with demonic growls and dark sounds. The one thing to really pay attention to here is the amazing drum rolls that take place in the background. Each fill contains complex beats with booming toms and snares that bash your face into the ground. You're also swept off your feet by the evil and yet catchy guitar notes. This melody will be stuck in your head for days.

"Hit Helga Tre" and "Valgaldr" take over with vicious guitar riffs and haunting bass lines. These tracks lean more towards the violent side of the album with their cut throat riffs and messy distortion. Meanwhile your hit with fiendish growls that are layered with light clean vocals backing them up. This definitely gives it that beauty and the beast type of feeling. After being ripped apart by these tracks, you'll run into "Galgvior" which contains ghostly clean singing vocals that shine with reverb. The guitars and drums play around the vocals with basic sounds letting the vocals stand out clearly above the rest. The cachy melody will definitly have you humming along for sure.

Towards the end of the album you will come across "Gullaldr." This is the longest track on the album running for ten minutes and 15 seconds long. This is definitely a must hear track. The dark gloomy guitar riffs with calm emotional vocals will have you addicted and wanting to play it over and over again. Even the growling vocals give off a strong emotional feel. His humming melodies provide atmospheric background in between verses and are also very catchy as well. You will not find any violent guitars in this song however the growls still manage to knock you out of your seat. Most of the riffs contain mellow strumming and melodic finger picking.

The recording of "Umskiptar" will impress you as you'll notcie that the album was mixed and mastered a lot better than "The Fallen." It's great to have that raw sound in the actual recordings of the instruments but its still best to always have it mixed and mastered in the end. Varg Vikernes has managed to be consistent with his work and I feel that his albums keep getting better and better. This album is a must hear album that will leave you begging for more. It's mixture of darkness and beauty will hypnotize you deep into each song. I wish Burzum would follow this up with a North American Tour.

9/10

Official Site - http://www.burzum.org/

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The Podcast: Episode 48 (A Sabbath without a Ward...)

Are you ready for some fun, and hilarious music conversation?! Well, look elsewhere pal! No, wait, stay here. We each poke around with one review this week. Darrell talks about his new discovery of an old band, Dark Tranquility, and Justin gives a little review of the latest nautical doom stylings of Ahab. Then we talk Sabbath, again. This whole mess with Bill Ward has gotten out of hand. Time to weigh in. And can someone get Guiness on the phone? Darrell may have taken the world's quickest shit... and didn't wipe.

Download it........HERE!

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Winter's Verge: The Interview

Frontman George Charalambous, one fifth of Cyprus based power metal band Winter's Verge, sat down to answer some of our burning questions about their style of music, their range of influences, and what it is like to be the center of a metal scene in a small island country. Big thanks to George for giving us the opportunity!

Download the audio here.

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Nightmare - The Burden Of God (2012)

With a career that spans three decades, starting in 1979, France's Nightmare weren't always the most tight knit unit. After two full length efforts, a long, musically induced hiatus tore the band apart, then brought them back together in 1999. With a fresh start, and a new found approach to their take on traditional heavy metal, the five piece returned better than ever. On their new album, "The Burden Of God," they tread in familiar waters, but with new twists. Classic metal tone, with a more modern dynamic, rolled into eleven booming tracks.

The short, orchestra loaded opening track, "Gateways To The Void," raises the curtain on this play, with violins darting and weaving in and around one another. Woodwinds and brass enter, forming a thunderous level of sound and fury. A deep, resounding voice calls to you, telling you that "your destiny is far worse than any nightmare," thus plunging you head first into "Sunrise In Hell." That same symphonic elements ties the two tracks together, greeted with the loud thud of kick drums. Frontman Jo Amore gives you grit and grace, all in the same breath. The way his voice carries over the battery of drums and thrashing guitars is astonishing, reminiscent of Tobias Sammet. Melodies abound, with strategically placed riffs leading the way. What follows is the title track, one that has all of the weight and power of classic thrash. High speed chugging guitars ride the wave of a methodical bass line, pounded forward by the relentless barrage from behind the drum kit. But, admittedly, all of that seems somehow overshadowed by a short, but detail oriented solo. There is something at play here that is special, a rolling gallop that keeps your head moving and your ears tingling.

It would be easy to focus on the big picture in "Crimson Empire," but the subtleties that pop in and out in the opening are enough to encourage a deeper listen. Amore's voice can carry any load, it would seem, giving you the best that he has time and again, joined at the hip to a expertly crafted rhythm and lead section. The song remains catchy, without have a watered down feel to its delivery, a victory in and of itself. With a more dense approach, "Children Of The Nation" may be a standout, for better or worse. Musically, it is a bruiser, bringing the distortion and solid percussion at every turn. There is certainly a darker edge, both to the music and lyrics, however empowering they might be. But the short vocal hook that exits the chorus is a tad strange, and its presence seems to take you back. Guitarists Matt Asselberghs and Franck Milleliri get things back on track with a brilliant solo section, just in time to coast to a finish. And while "The Preacher" relies heavily on the spoken word, this is not to say it lacks in any musical department. Instrumentals set the mood, whether it be through soft, delicately played guitars, the stray electronic input or a muzak bearing horn. This isn't an interlude, despite the lengthy opening, but a punishing track of crushing drums and ominous tones.

While "Shattered Hearts" boasts a larger than life sound in the production, this is as intimate a track as you will find in metal today. The room shrinks, and you get the feeling that every word is being delivered to you and you alone. Even in the heavier moments, ripe with double kicks, and Amore's soaring vocals, have a more connected method to the madness. And with this flow, bassist Yves Campion shines through.This is a full band effort done to perfection. A heavy dose of symphonic elements creeps back into "The Doomsday Prediction," without being overbearing or chaotic. Instead, each instrumental piece adds to the mood conveyed in the title alone. This is a track that balances darkness with light, hopelessness with hope. It harkens back to the Judas priest effort, "Nostradamus," in the subject matter, without it seeming stilted or forced as the Priest effort did at times. Even some deathly spoken words appear, only to be obliterated by a lightning fast solo. By far the longest track on the album,"The Dominion Gate (Part III)" is every bit the epic masterpiece you would expect. Featuring a guest vocal spot from Magali Luyten, the track roars through breakdowns and beautifully constructed verse/chorus segues. An addition of more rich symphonics is the icing on the proverbial cake, taking things to an entirely higher level.


An eerie opening to "Final Outcome" fades in, before a triumphant eruption of guitars and drums. There is a subdued nature to the instrumental at first, allowing Amore to build his voice, and tell the story without being overridden by a harsh backing. This is a power metal track at heart, a "fist in the air" affair that gives you that special feeling downstairs. In the pit of your stomach, that is. The combination of his voice with the mechanical precision of the guitar work ignites a fire that burns fast and bright, escaping through nimble fingers in an electric solo portion. And what better way to go out than with a bang? "Afterlife" wastes no time, exploding with catchy riffs, and, arguably, the most intoxicating vocal hook the album has to off.  For a closer, This might not hold a candle to the intricate pieces that preceded it, but it serves a purpose as the summation to everything that came before.

Usually when someone utters the phrase "age is only a number," it is to avoid statutory charges, or convince themselves that they are not too young or too old for anything. But when it comes to metal, that phrase rings true, and Nightmare are the perfect example. Some 33 years after coming into existence, they may have released an album that could be mentioned in the same breath as their seminal releases. Maybe it isn't time for the new generation to be handed the torch of metal. Hell, after hearing "The Burden Of God," you may have to pry the flame out of the collective hand of all five members of France's power metal powerhouse.

9/10

Official Site - http://www.nightmare-metal.com/
Myspace - http://www.myspace.com/nightmareofficial

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Litrosis - I Am Death (2012)

Litrosis is a solid extreme metal band from Greece. They have recently released their new album, entitled "I Am Death." Its got a solid mix of symphonic black metal tones mixed with death metal riffs. The tracks are full of complex structure and constant melodic solos. It'll definitely have you gasping for air throughout its entirety.

The album opens with a quick minute and a half introduction that contains chanting choirs and keyboard sound effect. It almost sounds like it could be part of a movie score. It definitely sets up an evil image for "Insomniac's Lullaby." This track comes rolling in with exploding drums and machine gun double bass patterns. The rhythm will have you bobbing your head immediately. Meanwhile melodic death metal guitar riffs fly in with wicked fast speed. Devilish black metal vocals take over the verse with wretched screams that echo throughout the track. The guitars are constantly in solo mode throwing wild notes at you from all directions. This track will definitely get your blood pumping. This is then followed by "Soulcide" which is has a very interesting intro. The first minute and a half is all acoustic guitar riffs played with quick speed and melodic tones. Double bass fill the background giving a violent sound to the mix. Soon after, the acoustic guitars switch over to distorted electric guitars that continue the same melody. Vicious growls come roaring in and completely tear you apart.

Then their is a song like "Burn The Sun" which just completely switches up the bands style and sound as they add dark clean singing and ominous spoken word to the mix. The guitars continue with the relentless melodies and background chugging while the drums go off on a rampage with booming double bass pedals that go on throughout the entire track giving you no time to even breath. Cymbals shatter high in the background while snares are constantly beating you down with each and every hit. "Countless Wounds" continues the slaughter with hell raising guitar riffs and wicked solos. The haunting screams take over the track with a violent performance. They kept this track short as it runs for just over two minutes but it leads you right into "I Am Death" which beats you into the ground with its rumbling double bass patterns and constant snares that hit you in the face. The vocals are also non stop with monstrous growls that'll make you shit yourself. Definitely make sure you check this track out.

The one song that may throw you off a bit is "In The Grave You Go Alone." The first minute is a mixture of catchy piano riffs and strings that play in a soothing tempo. Its angelic melodies will rock you right to sleep. The comes in calm drum rolls and mellow guitar riffs. Clean singing vocals take over with calm clear emotional lyrics. Eventually distorted guitars come blasting through the background with slow chugging chords. The track is good however it just doesn't seem to fit the album very well. The entire time you hear wicked black metal screams and fast melodic guitars and then out of no where you come across this track. I understand some albums need to a have a good ballad or two but the album should have done without it.

"I Am Death" has a lot to offer with all of its different elements. The guitar work is absolutely phenomenal and that alone is why you should check this album out. On top of that, the growls and screams stayed very consistent and the recording quality was just right. As I said before, they could have done without "In The Grave You Go Alone" but besides that their isn't one track you want to skip.

7/10

Official Site - https://www.facebook.com/Litrosis

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Sam Locke - Crossing The Barrier (2012)

Through our reviews, we have explored the continent of Australia many times. And no one act has resonated with us as much as Sam Locke has. Through the razor sharp riffs of his initial EP, "Era," we were introduced to a musician that wasn't content to sit back and let the world find him. Soon after, the opening track to that offering became the first track on our sampler. And now, not even twelve months later, a full length album has begun to cross the globe. With nine tracks of inspired, sweat inducing guitars, drums, and keys on "Crossing The Barrier," this Aussie export is ready to go global.

The opening track, "Preface," is exactly that, a foreword to the impending book. Locke brings a noticeably grittier touch to his riffs this time out, without losing any of the feverish pacing and delivery. The drums have come back tighter than before, with the slight imperfections of the "Era" EP worked out. Case in point, the all out assault you hear in "Divide And Resolve." Rapid kick snare combos are the fitting partner for the lead melody that he lays down, one that touches on near blackened tones throughout. The continued theme is being uptempo, without sacrificing tone or his deadly accuracy. The solo section shows a tremendous evolution, with a controlled, but intricate piece of layered shredding. Even as he works from bridge to outro, there isn't a slip up in sound or flow, with Locke changing easily back and forth between the low end chugging and the more intense picking.

With songwriting like that on "Secondary Fires," you get to see a more focused musician. His guitars take over the lead vocal position, screeching and wailing through verse and chorus. There are different styles and time signatures at play, all merging into one solid form. The track is like multiple personalities, learning to get along and play nice. One moment, you are buried in syncopated chords, distorted and heavy, and the next minute you are floating on a bed of smooth melody. The addition of a soft, choral chant in the opening measures of "Prelude To Nothing" is a welcomed surprise, a key bit of versatility. Short bursts like this one are keys to either gaining, or throwing away, momentum. With the structure in place, the almost folk pacing is the perfect welcome to the sludgy "Inconsequential." Winding picked melodies sit atop distorted guitars, followed so closely by a sweet piano that it may catch you off guard. There are so many tiny intricacies to take in, whether it be in the muted guitar picks, or the blitz of drums. With each shift, you are hit with elements new and old, but arranged and pieced together in such a way, that they always come out sounding fresh and vibrant. The latter half of this track most closely resembles his previous work, but taken well beyond where he left off, including the tickling of the ivories in the outro.

That piano feature makes it's way into "A Descent Into Winter," and provides the foundation for the entire track. This might be the best showcase of Sam Locke, the growing musician. He takes a track in the five minute range and continually turns it upside down, adding and removing puzzles pieces, and replacing them with others. The stop/start parts work to perfection, especially with drum fills going into and coming out of silence. And despite the more upbeat tone that may inhabit the majority of the track, there is definitely something for fans of heavy guitars lurking in the second half. It's as if Locke took the tenets of thrash, and threw them into a blender with a spoonful of melody, and a dash of futuristic keys. He takes it up a notch on "Squared," giving you something to swing your hair to, while, at the same time, building up the more atmospheric sections with little effort. He transitions seamlessly into a solo that reminds you that this guy is a guitar player extraordinaire, running the neck of his guitar like starving man picks a chicken bone clean.

The final two tracks are parts of the same whole, both bearing the "Crossing The Barrier" name. Part 1 begins with a light, airy piano piece, one that calms the nerves while simultaneously building the mood. The slight electronic touches are surprisingly noticeable, and well conceived. But the low rumble that leads you into part 2 is an axe through that baby grand, complete with machine gun snares and thunderous kicks. This finale sees Locke at his punchy best, with each riff, every note pouring from the speakers with pin point precision. The beauty is in his ability to craft multiple layers, stacked together, in a distorted harmony. As his rhythm guitar keeps the tempo at a blazing pace, his lead riff kicks it into overdrive. The drums are absolutely tenacious, programmed or not. Locke repeated climbs the scales over a sea of percussion. A short clean, melodic passage starts the process all over again, allowing things to build from scratch back to the red hot gun barrel.

Being a musician is about writing, creating, and performing. Yes, those three things seem simple enough in theory. If you are AC/DC, you wrote once, and just stayed the course for 25 years. But that isn't what Sam Locke has done. The "Era" EP  was a masterful piece of work at the time, especially for a one man band. But what he has done here is discarded the very notion that he is a single man. Through his music, the many layers of sound he has developed, he is doing the work that six piece outfits could never achieve. In short, Sam Locke has taken the next logical step with "Crossing The Barrier": he got that much damn better.

9.5/10

Bandcamp - http://samlocke.bandcamp.com/
Facebook - http://www.facebook.com/samlockeproject

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Ahab - The Giant (2012)

Good news for all you ocean loving metal fans out there! Ahab is finally back with a new full length studio album, entitled "The Giant." They have really outdone themselves with this one. They've gone above and beyond their usual sound that were used to from their two previous albums, "The call Of The Wretched Sea" and "The Divinity Of Oceans." The funeral doom metal band from Germany pulls out all kinds of new tricks that'll throw you off your seat for sure.

The first track, entitled "Further South," opens with mellow guitar riffs and light cymbals that shine in the background. The first five minutes of this nine minute track has zero distortion effects as you are hypnotized by psychedelic guitars and slow melodic bass lines. Gorgeous clean vocals open up the verse with a soothing atmospheric tone. The lyrics echo with beautifully with long held notes and catchy melody. The second half of this magnificent track comes in with massive amounts of distorted guitars blaring in your face with monstrous riffs. This is followed by exploding drums and shattering cymbals. Dark demonic growls fade into the verse and will absolutely rip you to shreds. The chugging guitars continue to play, the vocals switch over to soft clean singing with depressive tones. This track is a must hear track. And you're only one song in!

The second track, "Aeons Elapse," is the longest song on the album and starts off with whisper vocals that completely consume you deep into the track. The guitars hold off on the distortion again as smooth melodic riffs begin to weep. About to minutes in, heavy distorted guitars come blasting their way in with booming drum rolls to connect with them. The vocals change to a harsh yelling sound that reminds you of a sludge metal type of vocal. The song structure is phenomenal as it constantly changes both style and tempo keeping you at the edge of your seat at all time. Each transition runs perfectly into the next. "Deliverance" is another incredible track that will have you wanting to replay again and again. The guitar work in this track is absolutely gorgeous. They continue to blend the soft angelic riffs with beastly chugging guitar riffs that shake you violently with every aggressive note. The vocals jump around from depressive clean singing to more vicious growling that'll make you shit yourself for sure. You'll even come across a beautiful guitar solo towards the end adding a solid beauty and the beast type of feel. The instrumentation is just stunning.

The final track, entitled "The Giant," contains some punishing guitar riffs that slam away with violent chords. The tempo will have you bashing your head and throwing up your devil horns immediately. The vocals deliver a powerful blend of deep devilish growls along with more depressive clean singing that kind of reminds you of the vocals from My Dying Bride. They're performed in a very slow emotional tone full of depression. However some of the clean singing towards the middle of the track leans a little more towards the positive side as beautiful melodic guitar riffs begin to shine with repetitive riffs. Slow thumping toms and snares build up to final two minutes of the song as they slowly fade in and begin to get louder and more violent. Even the cymbals go from light taps to full splashed. Meanwhile the bass is rumbling beneath you as it followed the melody of the guitars. The sound blend together and become louder and louder until you hit the very last seconds of the track and everything just drops. Make sure the album is on repeat because you're gonna be begging for more.

Ahab has managed to pull off another spectacular album. "The Giant" may arguably be their best work of their career so far. They've really extended their sound to a whole new level with their complex song structure and large variety of vocals. This is an album that you can listen to over and over again never be bored. Each track is unique and powerful in their own way. This is easily a top ten album of the year. Definitely make sure you check this record out.

9/10

Official Site - http://www.ahab-doom.de/
Myspace - http://www.myspace.com/ahabdoom

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Dark Tranquility - Zero Distance (EP) (2012)

How is it possible to miss out on a band whose career has spanned 23 years, a longer period than the age of half of their fan base? Somehow, the name Dark Tranquility never quite made its way into our collections, despite having 18 titles in their melodic death catalog. But even in this new age of business, these veterans are making smart choices, for themselves and their fans. Enter their new EP, "Zero Distance," a collection of five songs that were tacked on to the tour edition of "We Are The Void." Rather than forcing their followers to repurchase an album for the new material, they release it as a digital EP, one that is worthy of a title all it's own.

The title track, "Zero Distance," a standard type track in the band's repertoire, gives a different spin on what melodic death is, with the melody coming from the instrumentation rather than the vocals. Lead singer Mikael Stanne pours through the mix with his gritty, almost devilish growls. This isn't a black metal screech, though, as the clarity is astonishing at times. The electronic element is a nice tough to the heavy, low end barrage of guitars and bass. The balance between distorted riffs and and endless sea of drums and cymbals is delicate, but well executed. There is a great tone to the music itself on "Out Of Gravity," with some pieces carrying the melody, while others give the mix an edge. Stanne commands the army, but the main assault comes from the guitar duo of Niklas Sundin and Martin Henriksson, with fractured, distorted harmonies taking precedent over overwhelming heaviness. While one carries the load of the rhythm, the other lays down a brilliant solo, complete with wailing harmonics. Hesitating to call this "folk metal," it certainly has an energetic foundation.
A short, two minute instrumental, titled "Star Of Nothingness," cleanses your pallet, while also giving rise to some more intricate guitar work.

Playing off of that sound, the intro to "To Where Fires Cannot Feed" builds from light guitars, into a full on rampage of percussion and distortion. Classifying Stanne's vocals as sonically abusive might be an exaggeration, but not by a large margin. He screams and growls his way through verse and chorus, with a depth and clarity that seems too good to be true in the death sect. Once again, melodic guitar parts intertwine with massive riffs, this time sharing the spotlight with a simple but effective piano piece. But the guitars remain the star, be it in the form of a ripping solo, or more atmospheric picking. With a finale like "The Bow And The Arrow," you find yourself coming full circle, musically. An electronic backing vein runs throughout, sitting just underneath the waves of guitar and drums, and a steady bass input. The way the mix is pieced together makes all the difference here, with slight differences in tone and volume bringing out the strength of each component. Thunderous double kicks come in and out, but they don't overwhelm the surging guitars, or Stanne's harsh vocal lines.

Over the course of so many years, bands have a tendency to phone it in, becoming more of a derivative of their former glory. Somehow, after 23 glorious years, Dark Tranquility haven't lost that razor sharp edge that has allowed them to be successful for so long. There aren't any throwaways here, no egotistical filler. What you get is five tracks of melodic death metal, pure and straightforward. No bullshit, no gadgets, no magical production tricks. If you are a fan, this is well worth the price of admission. If you have yet to discover this band, "Zero Distance" might just be the perfect opportunity to get acquainted.

9/10

Official Site - http://www.darktranquillity.com/
Myspace - http://www.myspace.com/dtofficial

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The Podcast: Episode 47 (This is a podcast about metal music)

God damn, we have had some great new releases over the last few weeks. What better time than now to catch up. Darrell hits home runs with Skyharbor, Fister, and Sonata Arctica, while Justin had some strong releases from Deathlehem, Winter Gate, and Several Union. Spread the word, and get on these albums right away!

One video to... inform... you.... or something.

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Scarlet Anger - Dark Reign (2012)

Scarlet Anger is a thrash metal band from Luxemburg and has recently released their new full length album, entitled "Dark Reign." They display a mean set of kick and snare patterns along with wild solos and explosive guitar riffs. The album starts out strong with the first few opening tracks but slowly sinks itself into a specific sound as you'll start to notice some of the tracks start to sound alike.

Violent cymbals splash heavily in the opening of "New God Rising." Distorted guitars quickly fill the air as monstrous bass lines fade into the background. The vocals contain harsh clean vocals full of energy and rage. The guitars switch up constantly with different chugging patterns along with melodic riffs. The drums stay relentless throughout the track with quick bursts of double bass pedal drumming and rumbling toms that lead you right into a sharp crash. You'll also come across a wicked guitar solo towards the end of the track that'll leave you stunned. Wild guitar notes hit you from every direction as you fall to the ground. "My Battlefield" picks the tempo right back up with more melodic chugging guitars and sizzling cymbals high in the background. The fills are detailed and full of complex patterns. The verses cut right into you with aggressive shouting and echoing lyrics. The build up in the kicks will have you bobbing your head in no time.

"Game Over" is another beast of a track that drowns you in distortion. The drum rolls carry a galloping tone to its kick snare combos. It'll definitely put you in the mood to mosh. You'll also notice the interesting layering of vocals. The harsh shouting vocals are mixed with devilish growls in certain parts of the song. It adds a haunting sound to the mix. "Follow The Order" will have you flinching with it's screechy guitar riffs and punishing snare work. Each roll will lead you right into another deadly crash. The double bass pedals are thrown at you with machine gun speeds. This will definitely get your blood pumping.

After a while, you'll notice a lot of the tracks start to blend together. "A Tale Of Hate" and "Prince Of the Night" sound similar to some of the earlier tracks that you've already heard on the album. A lot of the guitar riffs fall in the same chord and chugging pattern. They don't really separate themselves from the other tracks. Even "My Empire Coming Down" just starts to sound like generic thrash metal. At this point if i want to hear something vicious ill just jump over to a Slayer album.

Overall "Dark Reign" starts out with a bang but slowly falls to a repetitive state. The songs start to mash together and sound similar to one another. Scarlet Anger has a lot of potential but they need to work on some of their song writing techniques. After a while it seems like the creative process kind of just fell off. The drums are however excellent throughout the entire album. The fills will have you're jaw hitting the floor the whole time. If anything I would say to listen to the first four or five tracks and get a feel for the album. If you wanna hear more of the same riffs and style then continue with the rest of the album.

6/10

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

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Several Union - Awake From The Game (2011)

Several Union is a five piece rock band out of Italy. They have released their new album, entitled "Awake From The Game." The album contains a good mix of metal riffs and hard rock vocals. The clean vocals are delivered with aggression keeping the album fierce. As far as the instruments go, the drums are monstrous with detailed drum patterns while the guitars are constantly blaring with distortion.

The opening track, "Erase The Sorrows" opens with futuristic synths with interesting effect that fade right into distorted guitars. The riffs will have you throwing up your devil horns immediately. The verse contain clean singing with catchy lyrics that echo through the track. The refrains kicks in soon after with mesmerizing melodies that'll run through your head for days. The double bass pedals will blow your mind as quick rolls rumble underneath you. "On My Own" kicks things off with immediate vocals with catchy tones that carry you right into more blaring guitars and booming drum fills. Cymbals are constantly crashing from left to right as the snare drum is relentless with its rapid snap in every roll. The refrain comes through and completely consumes you with catchy vocals that'll have you singing along right away. This track is very addicting.

Later you'll come across songs like "Awake" and "Best Of Me" where the guitars just jump right in and completely annihilate you. Right as you're trying to recover from them, massive bass lines come through and knock you right back on your ass. Groovy bass lines keep you at the edge of your seat with their constant change in melody. The vocals continue to echo with catchy lyrics pulling you deeper into the album. "One By One" also keeps the album pumped with energy as you come across rapid kicks and snares forcing you to bob your ahead with the beat. The guitars switch up constantly between chugging patterns and melodic riffs. The track does manage to catch you by surprise with its monstrous breakdown and wicked growling vocals that layer on time of it. This little transaction will definitely have you shitting you pants.

You'll also discover a softer side to this album as well as you move deeper into the album. "Fall And Fade" opens with a slow acoustic riff and mellow vocals. The lyrics are delivered with an emotional tone as lightly distorted guitars begin to fade in. It definitely has a strong alternative rock sound to it witch may turn some metal fans but i feel that it fits the album as a whole overall. They add a bonus track in the end, entitled "Waiting For," which strictly contains acoustic guitar riffs and beautiful piano notes. The vocals are sung with a real slow emotional sound while weeping strings float gently in the background. Again, far from the metal scene but seems to really fit the album perfectly. The mixture of gorgeous strings and angelic piano riffs make this track worth hearing. Definitely check it out.

"Awake From The Game" definitely leans more towards the radio scene with its catchy hooks and melodic riffs however it definitely keeps you hooked throughout its entirety. You'll find yourself playing over and over again after the first time hearing it. It doesn't quite have enough elements to call it metal but it's definitely a solid hard rock album that is well worth your time.

7/10

Official Site - http://www.severalunion.it/public/Several_Union_official_website.html
Myspace - http://www.myspace.com/severalunion

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Sonata Arctica - Stones Grow Her Name (2012)

With a style that remains distinct, yet wholly accessible after sixteen long years, Sonata Arctica aren't about to change for anyone. One of Finland's proudest exports, this keyboard-led melodic metal five piece has accomplished damn near everything you could want to in a career, with legions of fans across the world hanging on every note. But even more important than that is their ability to stay true to the dream. And on "Stones Grow Her Name," there may be new wrinkles to the signature formula, but the flavor is still the same.

With an opening that kicks into high gear immediately, "Only The Broken Hearts (Make You Beautiful)" sees the band at their emotional best, combining an uptempo musical assault with frontman Tony Kakko's poignant lyrical talent. The harmony of melodic guitars with a constant booming kick drum drives the track forward, while fluttering keys add accents throughout. Kakko's vocal delivery, his flow if you will, has always been a bright spot and this is no different.With seemingly endless layers stacked atop one another, you have a tremendous depth of sound to take in. What follows is a track with a name that may seem a tad curious, but a track that is anything but. "Shitload Of Money" isn't the most subtle title, but the sound is a new take on the classic heavy metal, done in a way that is unique and refreshing. Guitarist Elias Viljanen gives you some strong riffs, with a flourish of keyboard produced tones pad out the mix. Kakko takes his voice to new places, touching on glam metal before laying down his own brand of hook. This is a track that will stick for hours and days.

If you have been feeling the lack of a strong keyboard presence so far, "Losing My Insanity" will rectify that. A beautifully played intro, classically inspired, leads into a raucous guitar lead. There is a definite similarity to the "Unia" sound of 2007, mainly in the vocal and drum contributions. With a relentless battery of percussion, there is nothing holding Viljanen back from delivery finger licking solos and catchy chorus riffs. It would be crass to say that this track oozes anything but pure Sonata Arctica. But with a heavier edge, "Somewhere Close To You" will open your ears in a different way, with guitars that will carve you in new ways. Even the breakdown and solo sections have an eerie sort of feel, with the keyboards filling a hole with ominous whines. It is both beautiful and bold, especially when thrown in the middle of two much different tracks, as "I Have A Right" quickly shows. This boasts the most straight forward message, one that could be summed up by saying "I should be allowed to be me." And while this might not be the standard metal message, it works here, thanks largely to the execution on all fronts. Musically, the keyboards are clincher, with a dazzling melody rolling from start to finish.

A soulful, acoustic opening launches "Alone In Heaven," a song that sees Kakko delivery a very clear story in lyric form. And inside that message is an almost disturbingly good question: "How can this be Heaven if my best friends burn in Hell?" It carries the musical weight of a ballad, but the lyrical weight of something more, something that may invoke a thought or two. Some of that carries over into "The Day," with a combination of twirling guitar riffs and winding keyboards. There is something almost triumphant in the way Kakko delivers his lyrics, as simple as they may be. The way the song is constructed has so much to do with the end result, as layers and layers of sounds come together in a perfect mix of sour and sweet. Now, the southern twang that seems to find a place in the opening riffs of "Cinderblox" may leave you in shock. It's as if the most popular jug band has enlisted a drummer and guitarist, and released a crossover effort. Granted, that feeling only lasts a short time at first, but the emergence of a banjo style playing from time to time is a bit of a curveball. This is not to say it doesn't work on some level, but it may not have the result that you wanted. Let the Finnish hoe-down begin!

Slowing things down, "Don't Be Mean" sees Kakko taking a more sullen approach, paired with light keys. This is the rest track, the one that gives you a chance to recoup your thoughts without killing the pace of the album. Instead, they follow it with two epic tracks, "Wildfire, Part II" and "Wildfire, Part III." The former builds up from silence into a chugging fury. The band is back in full swing, with dazzling keyboard backing. Encased in this eight minute offering a little bit of everything you have come to expect. Rolling double bass, blazing guitar riffs and a method of singing that is unique to Kakko alone.The latter track is an assault of the senses, with things picking up steam for one final launch. You may detect a more power metal edge to this one, as the drumming shifts into high gear. But when things slow down, and the keyboards take over, there is something much more enticing to enjoy. The composition that inhabits the middle portion is subtle, but beautiful, in a way that warrants a few repeated listen of that piece alone. One final burst, and nature takes you to an end.

The name of the game is, and has always been, evolution. rather than going back and remaking the same album year after year, Sonata Arctica grows. Every effort shows off a new aspect of their sound, while still retaining the elements that have made them a fan favorite for the better part of two decades. So, while you can certainly pick out pieces that remind you of "Unia," or even "Winterheart’s Guild," these eleven tracks will become synonymous with this album. If you have been fortunate to bear witness to the constant shifting of what "metal" is, then you can appreciate even more of what this band does. With "Stones Grow Her Name," they have given you a lot to hear, and even more to think about.

9/10

Official Site - http://www.sonataarctica.info/
Myspace - http://www.myspace.com/sonataarctica

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Fister - The Infernal Paramount (EP) (2012)

Breaking your bones with a mixture of doom and sludge, St. Louis, Missouri  based three piece Fister aren't new to us. Months ago, Justin gave you an opportunity to get on the bus with his review of their last effort, "Violence", one that left his ears ringing for days. Only three months later, they are poised to release a new EP to their growing throngs of rabid fans. And while "The Infernal Paramount" may only be two songs, and just under twelve minutes long, the howling that you will endure in your inner ear will last for days. After all, with chunky riffs this heavy, you simply have to play this one loud.

Humming distortion and a rumbling low end demand to be heard as "Deaf Wish" fades in. The mix is murky, but in the best way possible, melding all of the elements together in a singular wave form. The slow, sludge filled beat is worthy of a head nod, while the guitars and bass lock together in a deep chugging, accented by flurries of riffs. Even the vocals, as harsh and coarse as ever, seem to come to the party with an extra edge. In a flash, the tempo shifts from crawling doom to up tempo post metal blasts, picking up momentum with every chord and cymbal crash. But as quickly as it put the pedal down, the foot comes off the gas, and they coast to a feedback filled finish.

After the assault of the first track, it would only make sense to slow things down to a brutal grind for track two, which is exactly what you get at the onset. To say that "River Coffins" pounds you into a haze wouldn't do it justice. Every down beat is crushing, especially when added to the weight of a distorted chord that seems to linger forever. As the track shifts into second gear, a great choreographed stop/start section rings through the air, setting the table for some of the most inspired, and horrifying, screams you will find on a sludge or doom effort. But even more impressive than that is the sudden outburst of a screeching guitar lead, one that rears its head for just long enough to make an impression, but not long enough to derail the anvil crushing you from above. Chaos breaks out, with noise emanating from your speakers, almost enough for you to think the invasion has begun. Don't be surprised if the looped spoken phrase at the end haunts your dreams.

A two song offering is always a dangerous one. What if one song, or both for that matter, doesn't measure up? Is it long enough? What if they don't make a big enough impact? But here, Fister can put those worries to bed. These two tracks, separately and together, carry with them the weight of all three members; the blood, sweat and tears that undoubtedly went into every second, every note. This isn't an exhibition on how to play faster than the other guys, or how to overuse effects like so many other bands. "The Infernal Paramount" covers the two criteria that you will never go wrong with: simplicity and substance. Isn't that worth every ounce of sweat?

9/10

Official Site - http://fisterdoom.com/
Bandcamp - http://fister.bandcamp.com/

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Midnight Realm - Polarissima (2012)

Midnight Realm is a brand new band shining light on new melodic death metal. They have just released their debut EP, Entitled “Polarissima.” The six piece band from the U.K. shares their violent riffs and catchy refrains in this explosive five track demo. They give you everything from growls and clean singing along with acoustic guitars to messy distortion.

The EP starts out with a short minute and a half intro, entitled “Polarissima.” It contains gloomy acoustic melodies that open into a beautiful melody. Captivating keyboards surround you with angelic sounds that lead you straight into “Abstract Connections.” This is where your hit with an avalanche of fast chugging guitar riffs and relentless double bass pedal drumming. The lead guitar throws constant melodic riffs that will have you bobbing your head throughout the entire track. The verses take over with violent screams and growls that’ll knock you on your ass the minute you hear them. The vocals switch over to a clean singing vocal that glides through the air with catchy tones. You’ll come across a gorgeous piano solo towards the end of the track that mixes itself with a reckless guitar solo as well. This track definitely gets your blood pumping.

“Solaris” comes out swing with booming drum patterns and wild double bass pedals. Meanwhile wicked guitar riffs throw rapid notes running up and down the musical scale sending a chill down your spine. Monstrous growls rip through you like a dagger as machine gun snares run wild with rumbleing kicks underneath. The chorus contains catchy lyrics that’ll have you singing along in no time. The melody will be stuff in your head for days. “Mystic Revelations” wastes no time as aggressive growls jump right in with the verse as more vicious guitar riffs chug away with quick speed. The upbeat tempo keeps you up and moshing throughout the whole track.

“Requiem” shows a little more of a progressive side to the EP. This seven minute rollercoaster takes you up and down through gorgeous riffs and devilish breakdowns. It’s tough to keep up with the constant change in tempo. The song structure definitely keeps you at the edge of your seat the entire time. Booming drums destroy the background as cymbals shatter left and right. The vocals constantly switch between growls and clean singing and will leave you wanting more and more. By the time this Epic track is over you’re gonna be hitting that repeat button immediately.

“Polarissima” is a well balanced EP that displays a good amount of both growling and clean singing. They provide you with just enough of each to really attract all who listen. The guitar work is phenomenal and will definitely blow your mind with all of the exciting guitar solos they have to offer. Midnight Realm is still fresh to the underground metal scene and definitely have a lot of potential.

7/10

Official Site - http://midnightrealm.bandcamp.com/album/polarissima
Myspace - http://www.myspace.com/midnightrealmuk

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The Podcast: Episode 46 (International House Of Metal...IHOM?)

The longer we do this site, the more we realize that metal truly is the global musical genre. Sure, Italy has supplied a great number of bands to our ears. Same goes for Finland, Sweden, and Germany. But the reach of metal music has gone so far beyond that. With bands coming out of Canada, India, Cyprus, Australia and Belgium, you never know where the next big stars could come from. We invite Chester back to talk global metal. To Antarctica and beyond!

There can be only one.... part.

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Winter’s Verge – Beyond Vengeance (2012)

Yes, some of the greatest metal acts in the world come from countries like Spain, Italy, Finland and Germany, to name a few. But the tiny island nation of Cyprus, off the southern coast of Turkey? Add them to the list. Winter's Verge has been on the cusp of stardom for years, with a brand of progressive power metal that is accessible, as well as intriguing. Fronted by the vocal talents of George Charalambous, it would be easy to find yourself lost in the grit and grooves that "Beyond Vengeance" has to offer. But don't be fooled; there is a lot more to this album to meets the eye.

Sweet symphonics open "Cunning Lullabies" before a whispering voice joins the fray. An organ plays in the background as guitars explode forward. Charalambous' voice commands your attention in traditional heavy metal style, showing range and power with every vocal passage. The multiple layers meld together into one, with squealing guitars joining with raucous drums and a smooth bass line. Things quiet down for what seems like a moment, and then come to a head with an explosion of distortion and crashing cymbals. Before you have time to breathe, a fast and furious guitar solo bursts through the wall of sound, followed quickly by a keyboard solo that matches it, note for note. Light piano keys fade out, and give way to "Paper Is Blank," which boasts some persistent percussion. Charalambous exhibits a strong grasp of the storytelling element that the music demands, without sacrificing strength for story. Sitting in between the grinding guitar work and the pulsing drums is an emotional investment, a dedication to the craft. And while another ripping solo may steal the show, the lyrics won't be lost.

There is a classic sound to "Unto The Darkness," one that brings to mind Judas Priest in the verse, and iron Maiden in the chorus. The tempo is fast, but always changing. An addition of a more harsh vocal to Charalambous' normal style does wonders, especially when it collides with an operatic high note. The haunting synths are the glue, as always, tying instrument to instrument, and stanza to stanza. Fear not, guitar lovers, squealing harmonics await you on "Not Without A Fight." Simplicity can be an asset, as is demonstrated here with a more basic guitar gallop taking you through the verse sections. The kicker is in the way the keys and chords mix together, forming a pretty formidable unit. This is not to say the guitars are completely hindered. There is still a whirlwind of a solo to contend with, one that cuts and slices you in ways you should prepare for. To the more melodic side, "Bleeding Heart" sees a mix of darting keyboard notes and uptempo bass lines taking center stage. Charalambous shows his range and melodic mettle, soaring through verse and chorus with ease and grace. There are portions of the track where the drums feel like a lead, trading off with the guitars in a quid pro quo relationship. Not to be denied, the keys take charge and lay down a futuristic hum. A quick vocal harmony? Fitting.

There is certainly a more dire feel to "Dying," whether by intention or not. The lyrical content is worth mentioning, especially here. Charalambous' words are intelligent as well as charismatically delivered, something that should be celebrated. Doing double duty as front man and backing vocalist, he gives quite the performance. But through the twirling guitars and endless sea of percussion, the band tells their own story, one that is as poignant as the main tale. What would power metal be without that one ballad to sooth the savage beast? Predictably, based on the title along, "One Last Night" is that track. The tempo slows, and the band restrains themselves for a five minute piece. Charalambous wears his heart on his sleeve, pining for lost love. But in the emotional rain storm, a lightning solo flashes into frame, one that gives life to the track. Guitarist Harry Parri gives you that extra element to make things a success time and again, and "Threads Of My Life" is no exception. A gang vocal chorus is a nice touch, but the true strength here lies in the occasional burst of riffs and distortion. Paired with light keyboard work, you have a combination that needs to be perfect to drive home the nail.

Sometimes the shortest track has the most to offer. "Angels Of Babylon" may be the perfect example, giving you a three minute burst of high speed riffs and drums. The vocals are clean and bordering on epic, with Charalambousshowing tremendous care with each note, fitting every syllable into tight spaces, without crowding the message. Parri again shreds away over top of a blasting drum fill. From the shortest to the longest, "Semeni" is a far cry from the quick burst of energy. Building from a solemn acoustic guitar and synth pairing, it is part ballad and part triumphant march. The sea of snares and battery of toms are assertive, but not overwhelming. It allows for the subtleties of the vocals but in solo and gang form, to shine through. There is something to be said about a track that causes you to sway back and forth in your chair, something this track does numerous times. Conversely, "A Dream For A Dream" seems out of place. This five minute closer seems like it could have been the opening track, or even an interlude. Stripped down and moody, it doesn't seem to fit the role as the finale. To be fair, the track itself is strong, but the placement isn't.

Geography most certainly plays a role in the development of music, and musicians. But more than that, it can also help or hinder your exposure to the world. Hailing from Cyprus, Winter's Verge don't necessarily have the benefit of a large scene to be a part of. In fact, they are their own scene. But they are overcoming the geography as a hinderance, while embracing it musically. Yes, this is a power metal album. But it isn't just your run of the mill effort. Charalambous and company go beyond the restrictions and traditions and give us something that can be enjoyed over and over. "Beyond Vengeance" is a crowning achievement in a budding success story.

8.5/10

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

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Skyharbor - Blinding White Noise: Illusion & Chaos (2012)

The future of Indian metal is here. Evolving from a bedroom studio project into a full fledged ethereal tidal wave, Skyharbor is fast becoming the talk of progressive metal community. Guitarist Keshav Dhar has garnered some serious attention from musicians the world over, including former Megadeth guitarist Marty Friedman and former Tesseract vocalist Dan Tompkins, who both lend a hand on the album the independent metal scene in India is riding on. With a mix of sounds both heavy and distinct, "Blinding White Nose: Illusion & Chaos" is the first step from underground to headliners.

The heavy riffs that open the first track of the "Illusion" movement, titled "Dots," are not a mistake. Pounding drum beats thump through your speakers as Dan Tompkins, whose voice graces all seven pieces of this arc, lets his voice simply rest atop the distortion. In his airy segments, the guitars are shockingly aggressive, but that is nothing to the machine gun assault that comes just before the bridge. Lightning fast guitars riffs and double bass pedaling lock together. The light electronic effects that guide you from bridge to outro are welcomed, as are the sparing screams from Tompkins. The seamless flow into "Order 66" ties the two together, but they are distinctly different. The tempo has changed slightly, from blazing to merely simmering, but there is an added dose of melody to be had here, both in the guitars and vocals. Dhar is a master craftsman, something that comes through in his playing, but even more in his writing. Taking in the riffs that control the later stages of this track, there is a depth of sound to be had that is difficult to achieve and maintain.

Tompkins vocals are strong throughout, but particularly on "Catharsis," where his voice provides an atmospheric element to the song. he show great range, from the more coarse style to the high, clean notes. The drumming is incredibly tight, consistently moving a mile a minute, without missing a beat. The downside to such a powerful percussion performance, is the way it tends to hide the lower register guitars and bass, as it does here. The movement back and forth from quiet to booming seems to take a seven minute track and make it feel like four. Fading into "Night," a short, calming affair, Tompkins shows his softer side amidst an electronic beat and clean guitars. The build up that follows shows off some more dynamic bass work, perhaps for the first time on the album, then cuts out before leading ahead into "Aurora." It would be fair to say that this is the most straight forward track on the album, sticking to a more traditional structure. This is far from a bad thing, as the band execute with the utmost care and intelligence. The bass groove is enough to get your head nodding, and the mellow vocal line will have you leaning back in your seat to take it all in. One last blast of power takes you home.

A point that is often forgotten is the ability of an album to flow, not only from track to track, but as a whole set. As you run directly into "Celestial" you may become very aware of the path you have taken to this point, with each song seeming like an extension of the song before it. Tompkins provides the common thread in everything to this point, with his clean and gritty vocals often taking the spotlight, as they do in the choruses here. But for every winding riff that Dhar lays down, there is a corresponding and equally impressive roll or fill from Anup Sastry. A bluesy guitar solo occupies the portion normally reserved for breakdowns, adding another beautiful twist. As the "Illusion" segment of the album ends, culminating in the track "Maeva," you get exactly what the arc dictates. A fitting mix of aggression and melody, Tompkins carves out a flowing vocal line that can't be forgotten, easily. Falling somewhere between Chino Moreno of the Deftones and 30 Seconds To Mars frontman (and actor extraordinaire) Jared Leto, he seems to possess equal parts of tone and tenacity. The ethereal haze that builds around you may seem odd, given the previous six tracks knack for sledgehammer force.

Moving into the "Chaos" passages, Tompkins hands the baton off to Sunneith Revankar, who adds a much more industrial edge to the sound of "Trayus." Living up to the name, it is pure chaos in the percussion world, with drums flying at you from all directions at all volumes and tones. This is the kind of track that places the album squarely in that ever growing djent subdivision, with heavy vocals and heavier blast beats occupying every second. And the eruption of "Aphasia" is the proverbial hands around your throat, choking the breath from you with every chugging riff. if you were sold on the heavier side of their musicianship, this would be the track to sway you. Rolling double kicks and nonstop, dense guitar work will surely incite a riot in your living room. The album closes on the track "Insurrection," one that begins calmly before crushing you underneath wave after wave of brutality. It is a completely unrestrained effort, choosing to go with unbridled aggression over the more distinct songwriting they exhibited earlier. This is not a track of subtleties, but one of in-your-face destruction.

Coming from a country that isn't necessarily known for their metal can easily put extra pressure on you to succeed. Nothing is ever a certainty, and nothing is ever guaranteed. But what Skyharbor have done here is given themselves the best chance to not only be successful, but to stay true to what they know. There is no compromise, no consolation. This is every bit the album that Dhar and company wanted. With help from Tompkins, Revankar and Friedman, "Blinding White Noise: Illusion & Chaos" might open the eyes of the world to the rumbling from India. They are on the map now. Who is next?

8.5/10

Official Site - http://www.basickrecords.com/bands/skyharbor
Myspace - http://www.myspace.com/skyharbor7

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Deathlehem - Epic Of Creation (2012)

A new melodic death metal band by the name of Deathlehem begins to shines in the metal world. This five piece group out of Montreal has recently releases their new EP, entitled “Epic Of Creation.” With clear quality of recording and well written tracks, it’s easy to hear why this EP is worth your time.

The first track, “Epic Of Creations,” opens with a fast melodic riff with monstrous guitars chugging in the background. The vocals light you up with a heavy grunt that echoes over the everything. The verses contain thrashing death metal growls that will knock you on your ass. Double bass pedals drill through you with wicked fast patterns combined with punishing snares and crashing cymbals. The complex fills are absolutely breath taking. The middle of the track has some dark spoken word as eerie guitars set up the background. You’ll also come across a groovy bass line that takes you right into the final verse. Destructive drums and chugging riffs fill the air as the vocals continue with overwhelming grunts.

“Bludgeon The Cortex” jumps right in with more monstrous growls. Double bass pedals become relentless as they rumble heavily underneath you throughout the entire track. Catchy melodic guitars consume you forcing you to throw your devil horns up and begin to mosh. You’ll find the bass to jump in and out of the background with more groovy melodies that run up and down the scales. Towards the final two minutes of the track, you’re hit with an insane guitar solo that drops melodic notes from all directions. This is followed by muddy guitar riffs that chug away with devilish tones while the vocals come in and just destroy you.

An upbeat double bass pattern kicks in with “Suffocation By The Hands Of Man.” This track holds more of a thrash feel with its constant kick snare patterns mixed with aggressive growls that are thrown at you with quickness. The guitar riffs are interesting as they constantly switch up from melodic riffs to mashed up chugging riffs. Meanwhile the drums are constantly throwing more double bass in your face. “Apocalyptic Spawn” jumps at you with tons of energy as exploding drum rolls and snapping snares pick up a fast tempo. Melodic screeching guitars hop right on board with catchy riffs layered with more chugging riffs underneath. The growls echo throughout the entire track with vicious lyrics and a solid delivery. By then end you’ll be left begging for more.

“Epic Of Creation” provides you with a wicked blend of melodic bass and guitar riffs while sending sharp guitar solos over monstrous chugging riffs as well. The EP packs and punch and is sure to keep you at the edge of your seat throughout its entirety. The vocals give a solid performance in each track and will definitely send chills down your spine. Keep in eye out for Deathlehem, the band has got lots of potential.

8/10

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

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Winter Gate - Disillumination (2012)

A progressive death metal band of India has made its way to my speakers and after reading this review it should quickly make its way to your speakers as well. The band goes by the name Winter Gate. The band has released a short EP, entitled “Disillumination.” It consists of three tracks, two of which contain some wicked guitars and exploding drum patterns. The other being more of just a short intro. The EP displays some overwhelming growls and ravishing clean singing that will definitely blow your mind.

The opening track, ”Beyond The Light,” is a gorgeous instrumental that displays soothing and relaxing piano patterns. Heavily drenched in echoing reverb, the melodies paint an emotion picture that completely consumes you as you are carried to a whole other realm. As the piano riffs fade, you will run into the second track, entitled “A Wreath Of Mist.” This twelve minute masterpiece takes full control with dominating guitar riffs and catchy melodies that will get stuck in your head for days. During the verses comes a wicked set of vocals that deliver massive growls that’ll have you shitting yourself immediately. The guitars keep the background bursting with energy with their monstrous chugging patterns layered with overwhelming lead guitar melodies that hypnotize you deep into the song. You even come across a scale murdering solo about half way through the track. The notes alone will have your jaw dropping with amazement. The drum rolls are constantly changing with a mixture of double bass patterns and relentless snares. This song shows a strong resemblance to that of Opeth as the structure of the track turns out to be really complex and unpredictable. Towards the last three minutes of the song you will run into mellow guitar riffs and ominous clean vocals that set up a dark depressive mood.

“Death’s Embrace” is the third and final track on the EP. It continues with jack hammering double bass pedal drumming and a constant mix of cymbals that shatter violently throughout the track. The growling vocals step up with a violent delivery that is sure to knock you on your ass. The track has a good mix of regular and distorted guitar riffs that play back and forth perfectly throughout the track. Both tunes are captivating in their own way. The drums will have you bashing your head to the beat throughout the second half of the song as things pick back up with vicious vocals and punishing guitar riffs. Booming kick patterns pound you into the ground while a solid snare comes in with a constant snap. The song comes to an end with addicting guitar riffs that are layered on top of each other perfectly. This is definitely an epic ending.

Winter Gate displays a great balance of melodies and song structure. They have a very strong progressive side to their music that keeps you addicted and wanting more. “Disillumination” contains very impress vocals both growling and clean singing. For only being a three track EP, these songs really pack and punch and have lots of different elements to throw at you. You’ll definitely find yourself playing the entire EP over and over again. It’s well worth the time.

9/10

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

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Chernobyl - Chernobyl (2012)

Named for the nuclear disaster that forever changed the landscape of the world, Italy's Chernobyl aren't quite as groundbreaking. The ever increasing number of post metal bands coming out of the woodwork make it exponentially harder to craft a unique style, let alone get noticed by the world at large. But with a touch of atmospheric post-hardcore, mixed into a flurry of heavy riffs and pulsing drums, this four piece might not be far away from an explosion. Figuratively speaking, of course.

In no time, you are surrounded by a see of distortion and gloom, as "Red Forest: Day 1" commences. With each downstroke, a crashing of cymbals cuts through the air. The guitars chug away, but not without restraint. It isn't as if they are completely devoid of melody, though it does lose some of its luster in the crushing mix. Standing as the rock, the pillar of strength is the bass line, steady and constant. A crashing end leads right into the second part of the trilogy, "Red Forest: Day 2." Despite bearing the same name, the similarities between parts one and two are non existent, minus both tracks containing drums, guitars and bass. There is a more focused attention to melody here, building a harmony between each instruments that results in a more well rounded sound. The production isn't perfect, often leaving small details to pass, but it succeeds in creating a mood to the music that might have been lost with a better mix. But the subtleties are there, and they work wonders.

Ending the three part affair is the smashing attack of "Red Forest: Day 3." The rule book has gone out the window, in favor of some of the more bruising percussion you will find on a post metal album. Things do regain a bit of control shortly thereafter, settling down into a noticeable structure. The drums have taken on a somewhat hollow thud, for better or worse, leaving the overall sound feeling a little flat. Some interesting guitar effects cover the outro portion, a tin echo carrying it to an end. Building a track from nothing into a nearly eight minute opus can certainly take time, as is the case here. It is a full minute of the same riff before "Fukushima Sunrise" changes. And this is where things go awry. The production seemingly dips, and the tempo is lost. There is a much more minimalist approach at play here, though it may not be intentional. Like many of the newer post and sludge metal bands, Chernobyl seems to lose sight of the goal here, droning on with the same basic chords for far too long. There is a clear division between segments, and this could have easily been divided into two separate, and wholly different, tracks. The latter portion sees an improvement, with the addition of some clean guitars and slides.

A robotic buzz opens "Kursk," while also welcoming back those rare clean guitars and light tapping of drums. Rather than trying to overpower you right out of the gate, they instead choose a more calm approach, building with each measure. Things build to a head, and finally boil over with a burst of distorted riffs and crashing drums. Repetitiveness is a problem again, however, as the band settles in for another marathon of the same basic format. The truth shame is that as a three minute effort, this track would be a standout. But adding an extra two minutes just kills the momentum. And with that, "Vostok Lake" takes over for the home stretch. Clocking in at over eight minutes of feedback laden distortion, this is a perfect microcosm for the album as a whole. The noise that emanates from your speaker at this point could be perceived as self pandering, with a constant drum beat and bass line sitting underneath a never ending wave of grating guitar.It never really falls into line, instead puttering out.

With new albums, especially by new bands, there are two sides to the coin. First, concentrating on the positives. Chernobyl exhibit an ability to write riffs that make sense, that flow together nicely albeit in an extremely chaotic environment. There are standout moments in five of the six tracks, great ideas that simply didn't come to fruition. But as you turn to the negatives, you begin to forget all that was good. Extended track lengths repeatedly kills any sense of movement. Rather than aiming for that eight minute behemoth, sometimes it's more important to know when to stop. And while this isn't a second disaster bearing the Chernobyl name, changes may be necessary to avoid a premature meltdown.

6/10

Bandcamp - http://chernobylcollective.bandcamp.com/

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The Podcast: Episode 45 (Galaktikon? I barely know her!)

Another month has gone by, and we have done enough reviews to choke a camel. This week, we have something on our minds. And that something, ladies and gentlemen, is our new band of the month for May, 2012. I am getting ahead of myself. First, Justin wants to say a few words about Cannibal Corpse and Teodasia. Darrell, on the other hand, has some things to say pertaining to Storm Corrosion and Brendon Small's Galaktikon. But who, then, will be the band of the month? Oh, the suspense!

Part 1? Yes, we can!

Part 2? I guess so.

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Grey November: The Interview

When we first heard the new album by French band Grey November, we were blown away. A take on the Edgar Allen Poe story of the same name, "The Fall Of The House Of Usher" was an astonishing blend of French romanticism and traditional doom. It would only make sense to track down those responsible. Through vocalist Marieke Delanghe's enchanting voice, she and mastermind Cedric Seyssiecq answer our questions about the ambition, the scope, and the result of such a massive undertaking.

Download the audio here.

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Dehuman - Black Throne Of All Creation (2012)

Lurking from the shadows of Belgium comes a new death metal band by the name of Dehuman. The group has recently released their new album, entitled “Black Throne Of All Creation.” The album contains nine hard hitting tracks that are sure to shatter skulls. The recording of some of the guitars are a little muffled but the drums and vocals are perfect. I hope you like punishing drum rolls and relentless growling vocals.

The opening track starts off with scratchy guitar riffs and demonic tones in “Apocalypse And Perdition.” Harsh growling vocals kick in along with hammering double bass pedals and snapping snares. Moshing is your only option.During the bridge you are murdered with monstrous guitars chugging away while a wicked solo steps in with reckless notes. The snare becomes relentless as it drills into you along with shattering cymbals. This six minute track will definitely break some bones.

“Monstrosity In The Hands Of God” continues the slaughter with immediate growls jumping right in. Melodic guitars fill the background with ominous sounds while the drum rumble heavily beneath you will complex fills and insanely fast double bass pedaling. The tempo changes up so drastically so often you won’t be able to keep track of when to bob your head. It definitely keeps you at the end of your seat throughout its entirety. Later you’ll come across another six minute monster, entitled “Spiral Of Loss.” The beginning delivers a wicked growl that will send chills down your spine. It echoes with reverb and sends you right into jack hammering double bass pedal drums that are just waiting to obliterate you. A vicious breakdown enters after the first verse throwing devilish chugging guitars in all directions. This is where you throw your devil horns in the air.

Muddy guitar chugging riffs roll at you in “Harvest The Sun.” The groovy melody gets you on your feet immediately. As the drums come in with booming patterns, the vocals jump in on top with demonic growls delivered in fast chomping tones. They definitely rip a whole right through you. The final minute contains wicked double bass patterns along with more monstrous chugging as you hear a man screaming for his life at the very end.

The album comes to an end with “Black Mamba” and “Path To Oblivion.” The first track consists of wild melodic guitars all through the verses while heavy kicks and snares explode in the background. Dominating growls completely destroy you with their vicious lyrics. Make sure you check out the drum rolls towards the last minute of this one. The drum fills are most impressive. The final song opens with sinister guitar riffs that chug away in slow patterns as detailed drum rolls send you into another world with their wicked fast speed. Snares rolling into toms and back into snares all within seconds. The haunting growls enter after about a minute and a half in. The verse contain barking growls that chip away at you little by little. Machine gun double bass pedals come back in with insane speeds that completely pound you into the ground.

The drumming alone will easily have you coming back to “Black Throne Of All Creation.” You won’t be able to resist the incredible double bass patterns and detailed snare to kick rolls. The vocals are overall average for a death metal band however they do manage to deliver a solid sound throughout the album. If you’re looking for some new death metal with violent tones that’ll blow your speakers then definitely give Dehuman a chance.

8/10

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

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Brendon Small's Galaktikon - Brendon Small's Galaktikon (2012)

Mastermind of the two fastest selling death metal albums of all time, Brendon Small has spent years as the man behind the music. As the writer and creator of cartoon band come to life, Dethklok, he has sought to please rabid fans the world over. Finally, he steps out from their immense shadows to release an album that not only bears his name, but also reminds us that he was a wizard of heavy music long before Skwisgaar Skwigelf came into existence. This "high stakes intergalactic extreme rock" album takes you away from the guttural growls and into a world of swirling melody that is as infectious as it is daring.

Leading with strength, "Triton" starts the album off with a bang. This is one of the few songs that carries a Dethklok vibe, musically. But Small's melodic vocals are excellent, transforming the track into something entirely different. The vocal hooks get you singing along, while the surgical precision of Gene Hoglan's drums will have your feet tapping in no time. As a pace setter, the song works wonders, flowing neatly into "Prophecy Of The Lazer Witch." Rolling double kicks are only the beginning here, with an intense groove coming out of left field. The bass lines that echo through the background, provided by Dethklok live member Bryan Beller, tighten the whole production. And while the music is as perfect as one would expect, the lyrics are a highlight. Things slow down a touch for "Beastblade," seeing Small take a lighter approach in his singing. To call it crooning would be misplaced, but the depth in his voice is encouraging. From the pure clean vocals to the raspy side, he hits the right notes, even eliciting a sing along "woooo ooooo ooooo" in the hook. The bass line that guides the track to a close is a killer, running up and down the scales.

if you have waited this long for a stomp, you are in luck. "Deathwaltz" touches on that southern metal style that made Pantera so famous, without dumbing down the track as a whole. The verse sees a heavy, crushing set of riffs, while the chorus cuts back to melody and magic. The appearance of a violin rounds things out, just in time for Small to unleash a ripping, but perfectly sensible, solo. It is more about precision, rather than pure speed, though he exhibits both. Bizarrely titled, "Truth Orb And The Kill Pool" rumbles forward with a big assist from the dynamic rhythm section. The lyrics here are surprisingly poignant at times, without being pretentious. It is easy to focus on one piece or another, but the way all the elements come together in this particular track speak to Small's ability as a songwriting. On that same note, "You Can't Run Away" may be the catchiest song he has done to date.A fluttering guitar riff inhabits the verse, partnered with a heavy dose of kicks and cymbals. That dichotomy of vocal styles is never more apparent and celebrated than here, with the smooth clean vocals meshing perfectly with aggressive ones. Even as the hammer drops in the breakdown/solo section, the harmony of all the pieces is stunning.

Once again achieving that space age feel, "Arena War Of The Immortal Masters" opens with a futuristic guitar riff. A robotic voice effect sees time in the chorus section, hammering home the galactic thrill ride. This, more than the others, is the "fist in the air" entry, complete with a bass line that might be bedroom worthy. There is something inherently empowering in the lyrics here, with Small chanting "we will defy the laws of gravity, they will behold our majesty." All of this comes just in time for the lone instrumental piece, the aptly titled "Dangertits." As one of the tracks that had been released prior to the album, it seemed odd on its own. But sandwiched in the eighth slot, it all comes together. And with a closer like "On My Way," you have a completed saga. The tempo picks up again, seeing Small fly through riffs at a nauseating pace. The beauty in the vocals is in the sheer simplicity of it all, cutting from clean to gritty and back again, but not attempting to do anything outside of realm of reason. Instead, they leave that to the budding breakdown that follows, with Hoglan pounding away at every piece of his kit, with Beller rolls ahead at full steam ahead. The chemistry on display is unreal.

Small has outdone himself here, and given his fans, and metal fans in general, nine songs of high energy, high speed, rocket fuel. Between the blazing guitar work, the machine-like drumming of Gene Hoglan, and Bryan Beller's top notch bass lines, this space age piece of metal madness has everything you could want. Sure, the screams and growls are absent. But that is a good thing. The next Dethalbum can wait. Every second of Brendon Small's Galaktikon is like a zero gravity punch in the mouth, keeping you on the edge of your seat, and the edge of your sanity.

9.5/10

Official Site - http://www.brendonsmall.com
Facebook - http://www.facebook.com/brendonsmallgalaktikon

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