Dead Summer Society - My Days Through Silence (EP) (2012)

In the Shakespearean drama that is metal music, the traitor, the one that will betray the hero in the end, is the production. A poorly mixed album is the proverbial knife in the back, the devastating turn of events that leads to a downfall of epic proportions. For Dead Summer Society, a one man experimental doom band comprised of Emiliano "Mist" Santoro, this evil is constantly lurking in the shadows. For no matter how good the idea, no matter how good the musician, a poorly recorded piece of music can never reach the heights it deserves. On the new EP, "My Days Through Silence," the old villain returns to dull an otherwise brightly conceived concept. With three instrumental demos seeing vocal additions, this could be a lesson learned.

The first few moments of "The Heart Of Autumnsphere" may seem to run contrary to the above argument. Beautiful keys and synthesizers are well played and dynamic, creating an atmosphere that hard to beat. But as the vocals enter, things go horribly awry. The quality of the mix shifts, favoring an off key lyrical delivery, which is often little more than oddly spoken words. The drums, lost in the bottom layer, do little to stabilize the track, which may have done better as an instrumental, the way it was originally conceived and recorded. There is a better use of balance in the melodies of the title track, though the muffled production on the guitars only exacerbates the problems that lie here. Vocally, you are stuck between the classic rock and a hard place. A-melodic speaking clouds the majority of the track, with a few deathly screams cutting in early and sporadically throughout. The latter fits more successfully than the former, but both leave the song somewhere in treacherous limbo, unable to advance and move forward. Instead, it feels as though you are treading water. The one shining star is the keyboard work, which comes through eerily clear.

Easily the most complete of the original three tracks is "Army Of Winter (March Of The Thousand Voices)." Distorted guitars blast ahead, layered atop light plucking. Even the use of electronic effects adds an extra bit of depth to things. But in the moments where you have a full ensemble of guitars, bass, drums, vocals, and keys, there is no separation in sound or tone. Rather, you have one solid clump of sound waves huddled together. On the other side of things, the areas devoid of vocals are easily picked apart, with each piece working in harmony with the others. However, the "breakdown" portion that inhabits the four minute mark seems to take a step in the right direction. Though not completely clear, the vocals finally feel like part of the mix, rather than an oily film on top. After three hard to digest pieces, the closing track may be the icing on the cake of bizarre. "Endless," a newly recorded instrumental, takes the techno metal concept we have wrestled with to a new level. A trip-hop beat is the lead, with light synths and off time guitar chords seeing equal partnership in the mix. Fortunately, this track embodies two things that were absent earlier: it is both well recorded, and blissfully short.

Only the creator of music, such as this, can ever really know what the intention was; we are only peeking through a small window into his mind. But with production work that falls flat time and again, it becomes increasingly harder to understand the finished product. Dead Summer Society isn't a project that is predestined to fail. Santoro has the opportunity to turn this one man band into something more than nothing. But for him to realize that dream, there has to be some form of quality control; some kind of security for his music. Because, thanks to the failings on "My Days Through Silence," his next full length album, due out next year, may prove to be the twisting of the knife in his rib cage.

5/10

Facebook - http://www.facebook.com/pages/Dead-Summer-Society/140007062732886
Myspace - http://www.myspace.com/deadsummersociety

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Koboloris - Koboloris (EP) (2012)

If you're looking for some new black metal talent then Koboloris is definitely the place to start. Their self titled EP has four overwhelming tracks that send you into a whole other realm. Bone crushing drums and black metal screams will have you desperately gasping for air. Meanwhile you'll be swept off your feet by some incredible guitar work.

Ominous strings automatically fill the air in "Malign Inspiration." They are quickly joined by screeching distorted guitars and pounding snares. Cymbals echo in the background as a heavy kick begins to beat you into the ground. Wretched vocals step in with devilish tones. The energy of the instruments will have you up and moshing immediately. Some of the mix is a little unclear in the middle of the track when you come across some wild drum rolls. It seems that some of the snares are a little too over powering compared to the guitars and kick. They add an interesting flange to the drums when the vocals come back in. This adds a very unique sound to the mix. The vocals continue with their evil echoes in "Obscure Schemes Of Dominance." First come the light orchestrated strings and messy guitar riffs. The drums drop in with deafening cymbals and snares that will shatter your skull. The guitars pick up a catchy melody about half way through the track completely taking you be surprise. The vocals come thrashing through violently with demonic tones. You're even introduced to a darker growl for just a short time right before eerie spoken words step in. Then that catchy guitar solo comes soaring in with the melody as before. This will definitely have you hitting the repeat button.

The third track on the EP, entitled "Woods Of Kobolorum," starts off with an upbeat drum roll with complex fills in between. Chugging guitars take over the background as they lead you right into venomous black metal screeches. The evilness in the vocals will send chills down your spine. The verses are really stretched out in the seven minute piece. They add some unique synth sounds underneath while relentless guitars destroy everything in their way. The blaring distortion alone will knock you out of your seat. You definitely have to play this track a few times to catch all of its details but this is a must hear track.

The EP comes to a close with a five minute and 46 second track, entitled "Astral Gate To The Infernal." Haunting synthesizers start things off along with some other orchestrated instruments. This is quickly interrupted by thunderous drums rolls and monstrous guitar riffs. They chug away as cymbals crash violently in the background. The vocals come through with a sharp delivery and a few different reverb effects. You'll run into a short guitar solo in the middle of the track as it is followed up with reckless drum patterns. The snares completely beat you into the ground as they are non stop along with the kick drum as well. The double bass patterns will have you pumping your devil horns in the air constantly. This is by far the deadly track on the EP. It definitely leaves you wanting more.

The EP has some ups and downs as far as the mixing and mastering goes. It seems that some of the levels are off in certain areas. Black metal is known for its low quality recording but i think some of these areas could have been recorded better. As far as the actual music goes, Koboloris provides you with some devilish surroundings and dark melodies. The vocals are outstanding and will definitely out some fear in you. This is a band worth keeping an eye on.

7/10

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

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DarkTribe - Mysticeti Victoria (2012)

The new band DarkTribe prepares you for a wild adventure with their new debut album, entitled "Mysticeti Victoria." The French four piece soars high and low with 11 overwhelming power metal tracks. The album will have you up and moving with its tremendous energy while it also provides a softer side sweeping you off your feet with gorgeous orchestration.

After a short intro track, the album kicks thing off with "Tiaji." Blaring guitar riffs fly by as dark strings take over the background. The drums waste no time with their mind blowing double bass pedals and shattering cymbals. Bass line rumble underneath the chugging guitars as the verse enters. Epic operatic male vocals step in and completely soar over all of the instruments. Their lead singer, Anthony Agnello, delivers excellent vocals as he hits high notes and yet stays aggressive during the lower end. His range of notes are outstanding. The chorus is full of catchy lyrics and melodies. You'll find yourself singing along in no time.

"Roma XXI" gives you more of an upbeat tone with its relentless snares and jolly melodies. More string take over the background displaying a beautiful image. The vocals come in strong with more clear lyrics as the guitars blast away with heavy distortion. The synths hold a very catchy note that you won't be able to help but hum to. Later you'll come across a wicked solo that jumps up and down the scale and delivers a happy melody that you're just going to want to dance to. The speed of the notes played are absolutely incredible. You'll find more amazing solos in songs like "Lightning Guide" and "Poison Of Life." "Poison Of Life" has a lot more aggression and speed as jack hammering snares and kicks come rolling in and completely knock you on your ass. The cymbals will have you bashing your head to the beat for sure. The synths take over and hypnotize you deep into the song. The verses start out with mellow vocals and light instruments as the drums slowly become heavier and heavier. This is definitely a must hear track.

You'll run into a groovy guitar melody in the beginning of "Eyes Have You." The track takes off as a ballad but slowly turns heavier as snapping snares and operatic vocals step in. Chugging guitars surround you with catchy chords making you want to throw up your devil horns. The final track, entitled "Life, Love, & Death" runs for over seven minutes long and is a track you do not want to miss. Machine gun drum rolls rumble away along with more chugging guitar riffs and thumping bass lines. Synths sooth out the background with epic chords and melodies as the vocals step in with more high pitched notes. Towards the end of the track comes an interesting twist between a guitar solo and a breakdown. You lead into a wild guitar solo at first as they drop note after note on your from all directions however then your hit with violent chugging guitar riffs as they switch over to a heavy breakdown. It is a unique song structure and definitely gave you something to really bash your head to at the end.

DarkTribe is a pretty solid power metal band that has tons of potential. "Mysticeti Victortia" set up the perfect surroundings for great vocals. The orchestration was right on par as well as the guitar solos and drum rolls. The band definitely stills has more room to grow but this is definitely a great step in the right direction. It will be interesting to see where they go from here as they try to prove to fans why they stand out above the rest.

8/10

Official Site - http://darktribe.fr/
Myspace - http://www.myspace.com/darktribemetal

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Samothrace - Reverence To Stone (2012)

When a band name starts to rumble through metal publications across the world, it is always a wise move to stop and listen. So, each time the name Samothrace popped up, it was like a tiny bird, whispering in our ears. This psychedelic doom four piece, based in the grunge capital of the world, Seattle, Washington (by way of Kansas), has seen quite the buzz surrounding them, not coincidentally coinciding with the release of their new album, "Reverence To Stone." Named for the Greek island where a statue of the goddess of victory stands, half crumbled, it won't be long before these four musicians are in position to be immortalized in stone.

The first track, a mere 14 minute opus called "When We Emerged," begins in the most innocent of fashion. Building from singular guitar riffs into a much broader sound, the band infuses a dose of melody immediately. But with each crushing chord and down stroke of the drums, you can feel something else brewing. For despite the more restrained opening, a beast is on the way. Around the four minute mark, everything slows to a crawl, with a coarse scream rising from underneath it all. You are now in the middle of a more traditional doom tempo, slow and deliberate. But almost seamlessly, you erupt back into more melodic riffs, rising and falling around you. The screaming growls continue, sparingly, but they fall farther back in the mix, allowing the instrumental to grab your attention. When they do cut through to make an impact, it is in a big way. The transitions are a little funky at times, at one point delving into something akin to post rock, before moving back into doom, then sludge. There is a constant shifting that, perhaps, prevents things from getting the momentum started. But the variety keeps this behemoth from going stale too quickly.

The second and final track, "A Horse Of Our Own," embodies the same basic structure, but is far more guitar driven. From the opening whines, the guitars are the focus, winding and turning the track in whatever way they see fit. Cutting back and forth between heavy distortion and clean effects is a nice touch, though the frequency with which they execute this may be what drives it home. The quieter passages play out like a lullaby, which is a strange comparison to make on a doom album. But with their softly played guitars and light drums, the cradle could be rocked in time. However, the amount of therapy and counseling it would take to cleanse your child after the brutal screams and guitars reenter is not worth the risk. This is a far more intricate offering than the last, with some impressive solo work taking the spotlight around the midway point. To their credit, the rough recording quality only accents how great the musicianship really is. After a round of beautifully played psychedelic guitars, you can understand how well rounded this effort is, finally bookended by a doom portion so slow, it makes drone look like thrash.

Music isn't an exact science. That is what makes it so intriguing. There isn't a rule book that lays out time constraints, melody requirements, and distortion thresholds. So, what you get from Samothrace is a truly unique piece of metal, tweaked and skewed through their own vision. In 35 minutes, and only two tracks, they take you to highs and lows, and everything in between. Yes, there is room to grow. That is a given. But the positive remains; this band, playing this style, will continue to get better with each release. And where ever they go from here, whatever they put together, could be the one that gets them a place in metal lore. For now, "Reverence To Stone" will be the album that gets them noticed.

7.5/10

Facebook - http://www.facebook.com/pages/Samothrace/67987779185
Myspace - http://www.myspace.com/samothraceproject

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Arke - EP One (2012)

Manchester, UK based Arke give you so much to love. No, not in that "more cushion for the pushin'" kind of way. From their sense of humor, to their ability to craft one catchy groove metal track after another, these four deranged sociopaths can do it all. Their "Shatner" EP, one of our most listened to short form albums of the year (even though it is nearly two years old), established this four piece as a force to be reckoned with. On their new outing, "EP One," recorded live this year, they give you four more tracks of heavy grooves to make sweet love to... or pet your cats to.

The opening track, "Instrumental #1," is exactly as advertised. Despite the live recording setting, the mix is beautifully constructed, with lead guitarist Taz Dirania's unique style shining through in groove after groove. But the foundation is key here, as a rumbling bass line and steadfast drumming are the support beams for the layered guitar riffs. There is plenty of fuel for the fire, with every passing section drawing you further into the flames. Carrying an instrumental isn't a small task to undertake, but the team of Dirania and Craig Ross manage to do it with gusto. When you play well enough to make a nearly seven minute guitar based track, and make it feel like half the time, you are doing something right. Much like their previous work indicates, these four are not short on catchy riffs and foot stomping aesthetics. But more than that, they find a soulfulness in the vocals of Dirania, as is evident on "Katastrophe." Somewhere in that raspy shouting voice is a bluesy weight, even when delivering classic lines like "Fuck all your games." This is where Arke are at their best, creating an almost doom instrumental, with more invested vocals. There is something to be said for a song that is so intensely groove laden that it makes you feel as though you are standing right in front of the band, even when you are thousands of miles away.

By the time you have reached "Live Through," you have already been satisfied in every way musically possible. But right from the onset, you can be assured that this is far from over. That signature Arke stomp kicks in, no pun intended, and you will find it nearly impossible to resist banging your head to the beat. Dirania lets loose on the vocals, even brandishing a few effects laden clean passages, as well as a more deep scream and growl. Bassist Chris Wood stars throughout, with his earth shaking notes echoing for what it seems like is an eternity. But if you want a cross section to pull out and label as "Arke," it would be the two minute outro, one that gives you everything from the down tempo build up, to a freakishly played guitar solo. The science of the closing track is something Arke has mastered to this point, and "Reward" is no different. Taken from the 2010 "Shatner" EP, and played with every bit of blood, sweat and tears you could expect, this is a fitting end to a blasting outing. Even the vocals evolve in the live setting, with gritty screams carrying you from chorus to verse. And the solo that was so wildly impressive before, is taken to new heights, as only Dirania could.

In fifteen years as a rabid metal fan, digesting countless numbers of bands, albums, songs, and shows, I have never come across a band that can play a heavy groove like Arke. Take that at face value. There is nothing more you could want from this EP, or the previous one for that matter. Whether you are looking for an album to blast in your car with the windows down, or something to show off to your friends, you will find it here. And somehow, for all their talent, they remain humble enough to have fun doing it. And that is a good sign of things to come. Just think; this is only "EP One." By the time we get to "EP Ten," you may be looking at the most prolific groove metal band of all time.

9/10

Facebook - http://www.facebook.com/arkemusic
Bandcamp - http://arkeuk.bandcamp.com/

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The Podcast: Episode 57 (You have to be kidding me with this "doomwave" shit)

Darrell has a new Katatonia album on the brain. It seems like an eternity between albums. But "Dead End Kings" doesn't disappoint. On the other hand, Dammerfarben took just 15 months to craft their latest masterpiece. Justin wanted to give you reason to listen to Viter not once, but three times. And while Tacit Fury maybe be your average, run of the mill death metal band, they are far from bad. Unfortunately, a new style of music is shitty enough to keep us angry for days. Have you guys heard "doomwave"? Listen to the first single by Blood Sugar Summer, and you'll see why this new subgenre of "metal" has us really pissed off.

Part 1.

Part 2.

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Harpyie - Blindflug (2012)

Another young metal band strikes the German metal scene by the name Harpyie. This seven piece band packs a punch with all of their unique and unusually instruments and sounds. Even their image makes you do a double take. The band has released their debut album, entitled "Blindflug." Stunning bag pipes and addictive violins collide with hard hitting drum rolls and thunderous guitar riffs and solos. This will make you view folk metal from a whole other angle.

After a short introduction, the album bursts open with booming snares in "Hundertdreyssig." Wild melodic guitars blast away with distortion. The melodies are heavy and yet catchy at the same time. You won't know whether you should dance or mosh. The vocals are clean and have a strong folk delivery. Meanwhile the background is filled with jolly bag pipes and violins. The instrumentation in this album is absolutely mind blowing. "Niemand Meer" uses a solid violin riff in the beginning that will have you whistling along in no time. The tempo is a bit slower yet it still has that positive feel to it.

Towards the middle of the album you'll come across "Blindlug" which displays some gorgeous strings along with detailed drum rolls and shattering cymbals. The vocals continue to have an upbeat tone as the lyrics are delivered in German. The chorus contains some great chugging guitar riffs and catchy vocal melodies. If I spoke German I would definitely be singing along. You'll come across a short bridge where the violin really takes over the shows off some angelic notes while violent drums rumble heavily behind them. "Hexe Und Halunken" has some incredible drumming that you definitely can't miss. The insane fills hat crash right into the beginning verse beats you right into the ground and gives you no time to even breath. The melody is a very familiar one. It definitely came from a well known song and they just added their own metal twist to it. This is definitely a fun track that you don't want to miss.

The final track, "Irrlichter," closes out the album with a slower, more emotional tone. Crying bag pipes and violins wrap around you with mellow sounds and beautiful melodies. The tempo slows down drastically compared to what you heard throughout most of the album. The vocals deliver a passionate sound and take you by surprise with the mix of female vocals as well. They layer on top of the regular vocals in the chorus perfectly and add a lot more feeling to the track. And of course to top things off, they include a gorgeous guitar solo that will completely take your breath away. Definitely make sure you check this track out.

Harpyie has a solid line up of talented musicians and "Blindflug" really shows that. The instrumentation will sweep you off your feet the minute you hear it. All of the different types of instruments and melodies really brighten up the track and keep the band sounding unique. The vocals are a little weak at times and could probably use some tuning but besides that the album is pretty well built. Definitely take some time and check out this wild adventure.

7/10

Official Site - http://www.harpyien.de/
Facebook - http://www.facebook.com/harpyien

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Dämmerfarben - Herbstpfad (2012)

It seems amazing that a mere 15 months ago, a disc titled "Im Abendrot," the first full length by German three piece Dammerfarben, slid across the desk for me to digest. What happened next was the first of many musical awakenings, opening my eyes to bands from far and wide, big and small. With three new members in tow, including the soothing vocals of Emma Björling, the six piece version has spent the past year plus growing, not just in number, but in sound. On their new album, "Herbstpfad," you get the same "beauty over beast" tones with a swelling maturity that make it all the more powerful.

In the howling wind that opens "Hoststig," a light guitar emerges match with the smallest touches of strings. As the track builds, each passing strum gets more forceful, without ever losing that delicate feel. The strings take over, with haunting melodies leading the way from here to "Im Spätherbst." The unbridled aggression of black metal styled vocals shakes you from your trance, grinding on your ear drums. But the staggering contrast between voice and music is what may stay with you. The intricacies of the guitar work have vastly improved, plowing ahead with speed, precision, and a sense of the purpose. Everything has more depth this time around, with multiple layers coming together flawlessly thanks, in part, to solid production work. Each instrument finds a place in the mix, a equal part of the whole, resulting in a dynamic wonder of a track.

Returning to the softer side, the interlude track "Vinterblekheten över fältet" once again carves out a niche as a stunning beauty. Between the clean guitars, deft and ripe with melody, and the host of secondary instruments that make an appearance, this is the purest form of lullaby. As we have learned, light can not exist without darkness, and vice versa. So, "Zu nächtlicher Stund" brings the darker side of things to the forefront, with the heavy thud of kick drums blasting through your sub woofers. This is not to say it is all gloom and doom. The screeching vocals give things a more evil tone. But, despite thunderous bursts of machine gun snares, double kicks, and rapid fire guitar work, there are folk inspired influences at play too. The manner in which they come together is the true victory, with their ability to flow seamlessly from one to the other is encouraging. Even the outro, as simple as two layered guitars might seem, is well played. A taste of the truly unique sound that this band has to offer, "Löv i höststorme" must be heard to truly get a sense of what is at play. Strings play off of one another, swaying and flowing from side to side in an upbeat mass.

Not to be outdone, the true black metal fury returns on "Und Winters Kälte kehret ein." The tempo has built to an unstoppable pace by now, rattling everything in site with a defiant blend of raucous drums and guitars. But even in the midst of all the sharp blast beats and fills, there is still room for more rich guitar work. This isn't all just mindless shredding and "fast as you can" chords. Every note seems to have a specific place in the grand scheme, especially evident here. There are times when the melodic sensibilities and coarse vocals take on an atmospheric quality, like that of Alcest. The closing track, "Vintervisa" finally unveils the enchanting vocals of Emma Björling, layered softly over beautifully played acoustic guitars. There is something in the way the strings of an acoustic squeak with each chord change that lends an added dose of magic to their sound. Captured in this not quite five minute opus is all of the rich harmony and purity that one would expect of a folk artist, and not even a metal one. It would be off base to say this is their greatest success, but outside of the box thinking should always be reward and encouraged.

It was a mere 15 months ago that Dämmerfarben made their full length debut. So much has changed over the last 450 or so days. Now six members strong, they have found their stride, making music that is as well rounded as the band members themselves. Equal parts heavy and angelic, "Herbstpfad" puts you through the entire range of emotions. Through crystal clear production, and pin point accuracy with every musical movement, the band take you to a different time and place, faraway from your desk or office. They coax you to the edge of a cliff, then pull you back gently. In an album that is a mere 30 minutes of run time, they make a much more lasting impression that you could ever have expected.

9/10

Official Site - http://www.daemmerfarben-band.de/
Facebook - http://www.facebook.com/Daemmerfarben

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Tacit Fury - Horrors From Depth (2012)

A fairly new band has begun to rise from the shadows of Moscow, Russia known as Tacit Fury. This three piece has recently released their debut album, entitled "Horrors From Depth." The album contains 5 brand new tracks and one Sepultura cover song, "Territory." The band produces some pretty serious guitar riffs along with some exploding drum rolls and double bass pedaling.

The album opens with vicious guitar riffs in "Streets Of Rage." This is followed by relentless snares and thunderous double bass pedals. The rapid beats will definitely have you up and moshing. The vocals run over you with monstrous death metal growls with a choppy delivery. Towards the middle of the song you'll come across a wicked solo that runs up and down the musical scale. The drums follow through with detail fills as you're lead to a beast of a breakdown. Chugging guitars rip you to shreds as cymbals collide in the background. "Ignorance" keeps things going smooth with more melodic riffs in the beginning. Snapping snares will have you bobbing your head from beginning to end. The vocals continue with their harsh performance as they soar over the heavily distorted guitars. The only problem with the track is that the structure of the song is fairly basic and doesn't really lead you into anything excited. You may find yourself getting bored of the track about half way through. No worries though, skipping to "Frozen Wheel" is well worth the click. Double bass pedals smash you in the face with quick speeds that'll knock you out of your chair. The drums are definitely lethal in this track. On top of that, you're hit with wicked guitar work throughout its entirety. Melodic chugging riffs cut you in half during the verses. They also throw another wild solo at you towards the end of the song.

The excitement doesn't stop there. "Nausea" starts out a bit calm in the first few seconds however introduce some powerful chugging guitar riffs about a minute in. Complex drum fill rumble beneath you as hell raising growls come through and pound you into the ground. The guitars riffs in between verses contain short catchy melodies That will definitely grab your attention. Machine gun drum rolls take over in "St. Sanitarian." Overwhelming guitar riffs completely destroy you with deafening riffs. Meanwhile jack hammering double bass pedals roll through with insane speed and detail fills. You'll notice that the vocals have two sides to them in this track. They continue with the rough death metal growls however they also hit you with some black metal screams that will send chills down your spine for sure. Definitely check it out

Tacit Fury is more or less your average death metal band. The music is absolutely insane and heavy and the growls are powerful as well however they just don't stand out compared to a lot of bands who are already out there. "Horrors From Depth" is a solid album and well written however after a few listens I think it's time to move on. Definitely keep an eye on them and see is they get more creative in the future.

7/10

Official Site - http://www.tacitfury.net/
Facebook - http://www.facebook.com/tacitfury

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Katatonia - Dead End Kings (2012)

There are bands that always leave you wanting more; from album to album, you sit back and count the days, months, and years. Sweden's Katatonia, for all of their successes, make the time between albums seem like an eternity. Three years removed from "Night Is The New Day," the leaders of the melancholic, melodic metal movement are ready to end the waiting game, and unveil a new album. With "Dead End Kings," frontman Jonas Renkse hopes to take you to the darkest corridors of the human mind, despite a noticeable light change in the album artwork, choosing to steer away from black and red for the first time in nearly a decade. Eleven tracks of modern doom with a common theme: "carry your burden with pride."

Part of the beauty of the way Katatonia writes is that their sound evolves, while still showing pieces of every previous work. Such is the case in the early moments of "The Parting." Renkse's voice has changed over the years, but only in small increments. You can still hear shades of "The Great Cold Distance" in his vocals. His lyrics, improved in leaps and bounds over the last few efforts, are on point, while the band maintains the sense of perfect order. The rhythm section, strong as ever, has become a leader here, whether it be through a booming fill, or just a smoothly played bass line. The explosion of guitars moving from verse to bridge to chorus shakes you, as only Katatonia can. The balance of melody and emotion on "The One You Are Looking For Is Not Here" is impressive, including a sullen female vocal provided by Silje Wergeland. This is the more subdued band at work, staying reserved without giving in to the pressures of ballads and folk songs. And while "Hypnone" boasts some of that same downtempo beat, it expands on the sound. The bass line comes rumbling through, along with a light synthesizer, adding a different dimension. The ability to have a depressing arc to the music, while still keeping things fresh and bright is astonishing.

Standing out from the rest of the album, "The Racing Heart" might be one of the most accessible songs in the Katatonia catalog. A light beat and sparing electronics make up the verse, before heavier guitars take over in the chorus. The subtleties that Renkse has in his voice are what makes tracks like this possible, with fluttering melodic passages lifting you in the air. It gives a complexity to the mix that few bands have been able to match. But with an absence of many crushing moments thus far, "Buildings" is a necessity to even the score. A blasting opening is interrupted for a short vocal passage. but the subsequent explosion get louder with each snare stroke. Choreographed stop/start sections, while not a major part of the back catalog, work well here, giving you cause to put your fist up. The piano that opens "Leech" may be a surprise. Honestly, the entire first thirty seconds may be cause for concern. But how the band goes from a jazzy piano/vocal opening into the meat of the track makes it all worth it. Renkse takes a softer approach early, and a more forceful, yet melodic, one later on. The strength of the track lies in the instrumental, moving from soft to loud, delicate to heavy, all with little to no effort whatsoever.

if there is one track that could be seen as the bridge from one album to the next, "Ambitions" would be it. Still maintaining some of the sound that "Night Is The New Day" had, while still adding in an extra dose of new found guitar melodies, this five minute track (coincidentally the longest on the album) gives you everything you could have expected. In that sea of drums and guitars, Renkse stays afloat, delivering some of the more powerful lyrics that album has to offer. One such line, "I'm left to believe that things would change if I go away," is simple on the surface. But its delivery, and tone of voice it comes with, makes it all the more rich. To complement the vocal performance, you also have one of the more layered musical passages. You are treated to a surprise, again, in the opening to "Undo You." Strings and keys fill the air, leaving you wondering if this is a long interlude. Instead, they are setting the stage for a beautiful, if not overly melancholy, offering from Renkse and company. The track barely reaches a simmer, for better or worse, and relies heavily on atmospheric elements to carry it through. This is not to say it drags, however, as the quality of the writing makes the lack of a knockout punch.

What happens in "Lethean" may be what you had been waiting for. The rhythm section takes over, giving you a heavy dose of low end power. Buried nine tracks deep is a gem that is one of the most well rounded tracks Katatonia has to offer. There is a noticeable groove in the verse sections, one built on a foundation  of bass and guitar. Every kick drum hammers the beat farther into your head, setting the table for a building distortion level. A wild guitar solo steals the show, if only briefly, bringing the album to a high. It continues well into "First Prayer," a track where Renkse croons about not being able to find the right words. This is his most heartfelt track, with every word and every note dripping with rich, deeper meaning. What remains evident is the greater use of keyboards and synthesizers to create mood. This may not be their first foray into that field, but it has certainly seen an increased role here. The closer, also serving as the first single from the album is "Dead Letters," easily the heaviest track on the album. As each verse comes and goes, the bridge becomes the calm before the oncoming storm. The first chords of the chorus light the match, and suddenly explode. The guitars riffs could be called catchy, or could just be called awesome. This is the one that will become engrained in your mind, coming back day in and day out to get you through the day.

The evolution of Katatonia over the years could be taught in universities across the world. From their days as a blackened, death metal dominated band, to their more recent domination of melodic metal, they have redefined themselves numerous times, without ever turning their backs on what got them here. Sure, there are those narrow minded fans, much like those of Opeth, who will see this album and all its melodies as the end of the band they once loved. But what it should signify, rather, is the maturity of a band that has been in existence for two decades. Despite this album being an exploration of those dark corridors, this is anything but a dead end. Instead, this is an open door to the next evolution. And now the waiting starts again.

9.5/10

Official Site - http://www.katatonia.com/
Facebook - http://www.facebook.com/katatonia

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Viter - Springtime (2012)

Coming out of the blue with a very unique sound and mix of genres is the band Viter from the Ukraine. The band uses many different instruments and effects that really help them stand out from other bands. They just released their new album, entitled "Springtime." The album mashes folk melodies with industrial sounds that actually come out sounding rather pleasant.

The album opens with "Wool Fish Love(Mountain Valley, Mountain Hills)" which starts with soothing strings and acoustic guitar riffs. Distorted guitars take over when the verse begins. The vocals have a very strong medieval delivery while tons of unique instruments play behind them. The drums have a very upbeat tempo giving off a jolly sound. The chorus has a catchy melody and lyrics and will definitely have you humming along the first time you hear it.

"The Night Is So Moonlit" has a little more of an aggressive side to it. It opens with blasting guitar riffs and violent drum rolls that'll have you pumping your fists immediately. The vocals have a solid delivery especially in the verses as the the clean singing sweeps you off your feet with gorgeous melodies. The flutes in the background are absolutely ravishing as well. You can find more of these beautiful instruments in "For The Fire." It jumps right into a slow mellow verse with barely anything in the background. The vocals rock you to sleep with angelic lyrics. About a minute and a half into the track come exploding drum fills and electrifying guitar riffs. Captivating strings surround you with beauty as well. Later you even come across a magnificent flute solo that is absolutely stunning. You'll definitely find yourself going back to this track.

The album becomes even more epic with "Diving Deep" which sounds like it could be used in a score to movie. The strings that build up in the beginning sound absolutely amazing. They cross with short flute melodies that go along perfectly. Then distorted guitars come in adding more build up to the beginning. Eventually the instruments drop as a mellow vocal steps in with a gentle delivery. Flutes slowly back them up with the same melody. The refrain comes in later with epic strings that soar high in the air. The vocals jump into a higher octave as well. You won't be able to help but sing along with them.

"Cold And Frozen" gets your blood pumping again with fast pace chugging guitars and wild flute melodies. Booming drum rolls rumble heavily beneath you with vicious fills. The vocals step in with more clean singing vocals that have a little more aggression to them. They include some awesome keyboards and synths in the chorus that'll take you by surprise as well. The strings in the middle of the track are absolutely stunning and definitely hypnotize you deeper into the track. Towards them end of the album you'll come across "Day Eats Day." This track is definitely a must hear track. The beginning opens with more beautiful strings and guitars that immediately pull you in. The vocals have a somewhat haunting sound them at first as you'll notice that they are layered with dark guitar riffs. The upbeat flutes add the more cheery side to the track. You won't know whether you should mosh or dance to this one.

I must admit when I first listened to "Springtime" I wasn't very impressed however after listening a few more times I started to see the beauty in the album. Songs like "For The Fire," "Diving Deep," and "Day Eats Day" definitely pull you closer to the album every time you hear them. Viter definitely has a unique sound that makes them well worth checking out. Keep an eye on what this creative group does next.

8/10

Official Site - http://viter.org.ua/
Myspace - http://www.myspace.com/viterofficial

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The Podcast: Episode 56 (Sorrow Eternal Rises)

After a prolonged absence from the audio world (one week, to be exact), our heroes return to discuss heavy metal music. Justin is a lazy douche sometimes, proven by the fact that he waited this long to review a new Gojira offering, one that he knew would be awesome. Darrell, on the other hand, got in on the ground floor of a great new melodic death metal band called Lyceum. Then, it's a RESPECT issue. No, nothing to do with Emmure and their shitty music. But when a festival combines bands both old and new, there has to be a level of respect for those who came before... right? Justin's experience at the New Jersey date of the Mayhem Festival seems to indicate otherwise. Slipknot and Asking Alexandria sharing a stage with Slayer and Motorhead?

Part 1.

Part 2.

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Earthrise: The Interview

Minnesota's Earthrise may not be a household name... yet. But with their new album, "Eras Lost," out and getting some serious attention, you might want to get on board now. Guitarist Rug sat down to talk shop, from topics about the humble beginnings, to what the future could hold.

Let's start at the beginning. What brought the four of you together, and what made Earthrise the perfect name for what you were about to do?

Earthrise:

Earthrise started off as just something for me to goof off and pass the time with, as well as push myself outside of my comfort zone. My main band (of whom Jimmy - drums, and Smallz - bass were also members of) really wasn't practicing or playing much and I was just getting bored and needed something to keep me busy. I originally wanted to play with other people, just to make it easier to keep the two bands/projects separate, but Jimmy liked drumming along to the stuff and decided to be the drummer. One day, Smallz came to band practice early to hear Jimmy and I jamming on some Earthrise material, and immediately said he wanted to play bass for it. 

From there, we decided to get a bunch of material written before looking for a singer. We'd all kind of known Tom just from seeing him at local shows, and we saw him just do some fill in vocals for a random show and were very impressed. We didn't end up talking to him about it until months later when we had things a little more fleshed out. It was pretty painless though...there weren't really any tryouts. Everyone just really fits well together and gets along - it felt really natural.

Jimmy came up with the name Earthrise. He wanted something simple, instantly recognizable, and a name where we could integrate *everything* together - the music, overall story/lyrics, art, you name it. If I'm not mistaken, Earthrise was also the first name he suggested, so that was pretty easy as well!

Tell us a little about where the album title came from, and, along with the artwork, what you wanted to convey to the people discovering your music? 

Earthrise:

Jimmy came up with the title as well, after the story and all the lyrics were finalized. We really wanted the artwork to really complement the songs and overall story of the album, and our friend Paul Friemel did an incredible job with the artwork and layout - we couldn't be more pleased with how it turned out. As far as what we want to convey to the people discovering our music - there are a few layers to what we do and how people take that is up to them. There's no right or wrong way to interpret a song, it's just whatever you want to make of it. There's an overall theme and story to the album, but there is certainly room for additional interpretation on these songs as well. We knew it was a good sign when we were discussing the lyrics to one of the songs, and each of us had a different take on what a particular phrase meant, in context with the song and overall story. 

One of the elements of metal in general that gets overlooked far too often is the lyrical quality. You manage to create a musical style that is punishing, but infuse a lot of deeper, almost poetic, content. Where did some of the story of the album come from, and how important was it for you to make the lyrics more than just random grunts and three syllable phrases?

 

Earthrise:

It was very, very important to us to spend the time to make the lyrics stand out. We're playing pretty simple stuff, musically, and most people are drawn to the lyrics anyway - we wanted to make sure we had something that was coherent, intelligent, and well written. The four of us went through SO many different approaches and themes during the writing process. We all had these different ideas and there was a lot of revision along the way - sometimes a story element that would occur in a later song that wouldn't make sense with what happened in an earlier song. We all worked together to make sure that the overall message was consistent, and Tom really did a fantastic job of inserting different messages and meanings in the lyrics so that there's a lot more to them than just what's on the surface. Plus, one of the things that immediately stood out to us was his ability to write "catchy" vocal patterns when it comes to his screams. 

Your musical style is very broad, with elements of sludge mixed in to a predominantly post metal edge. How did you come to the middle point of sound that you have on "Eras Lost," and who were some of your biggest influences in the early stages?

Earthrise:

When we first started, my main band played very space-y, layered sludgy rock. We had three guitars, three vocals, keyboard, bass and drums - there was a lot going on, to say the least. With Earthrise, I just wanted to do the opposite of that to try and keep the two projects very separate and distinct. Only writing for one guitar and bass certainly made for a different writing style, but it was a lot of fun because we were doing things that we wouldn't gravitate towards otherwise - it was fresh and exciting, and challenging to try to do things differently than what was natural for me. I'm just hardwired to play space-y, pretty parts with a ton of delay, and play a bunch of notes in riffs to make them fun, challenging, and complicated. Smallz and Jimmy really acted as a big filter - they decided what was good enough to be Earthrise material. For example, the verse tapping part in Challenger Deep was pretty different before they got to it. Originally, I'd come up with a fun tapping lick that was roughly the same speed as the solo for Titan. When I showed it to them, they just kept saying, "Slower...slower, dude. Even slower." It's tough for me to write heavy stuff so we depend on them to turn my complicated stuff into something simple. And what we've found is that typically the stuff that we just stumble upon ends up being far better than anything that we try to plan out. 

With tracks like "Relentless," which has a more melodic approach, and "Mirovia," which kicked our ass pretty soundly, coming back to back, how difficult was it to find a sense of balance between heavy and melody, and stay true to what you wanted to do?

Earthrise:

That goes back to the push and pull between what I instinctively play, which is pretty and melodic, versus the slow and crushing stuff that Jimmy and Smallz go for. There were a lot of things that end up not making the cut because they are too pretty or whatever - we just try to keep very focused in what we do. We can usually tell what sounds like Earthrise material and what doesn't at this point. That same sort of focus we applied to the lyrics as well, as mentioned above - just because we don't end up using something doesn't mean it's bad...it just doesn't fit with the scope of what we're trying to do. There's definitely give and take though - we keep things very democratic and try to not get too attached to parts, which isn't the easiest thing to do - I'm definitely the worst offender when it comes to that. As long as we continue to stay focused on what we're aiming for I think we'll end up with something that we're happy with. There will always be some form of inherent heaviness, but there are a lot of things we can do to keep things interesting within that umbrella. 

How has Bandcamp worked for you, as a tool for spreading your music, but also as a way to support your musical habits through digital sales?

Earthrise:

Bandcamp has been incredible, to say the least. It's hard for us to overstate how much that website has helped us out in terms of spreading our music. All of the money that we've received from people purchasing our music on the website has gone directly back into pressing the album for cd and other merch which will be coming out shortly, I hope. That kind of support has been very great and surprising to see, as a new band, and it will just allow us to snowball all of that into more fun designs, shirts, posters, and all that. We've got a lot of cool things already in the works!

Where do you think Minnesota falls in the pecking order of American metal? What is happening in the local "scene" that has allowed you guys to find a niche there? 

Earthrise:

You know, I honestly have no idea where Minnesota falls in the pecking order for American metal, it isn't anything I've ever thought of. Minneapolis has a lot of great bands in the rock and metal scene though that you can go see pretty much whenever you want - all you have to do is head out to a couple shows and it'd be pretty hard *not* to find something good. There are a lot of really great metal bands right now, and one recurring theme with those bands is that a lot of them recorded with Adam Tucker and Steve Henningsgard at Signature Tone - bands like Morality Crisis, Nerves, Blue Ox, The Crinn, Orwell...I could go on and on. Those guys just really know what they're doing and are great at putting bands in contact with one another to play shows together. We're all just regular dudes that like to drink and play metal, so everyone has a lot in common.

The biggest question in metal today is about the entire Randy Blythe fiasco. So, let me ask you: When was the last time a fan jumped on stage at one of your shows, and what happened? Is it safe to assume he/she live to tell the tale?

Earthrise:

The last time it happened was a few weeks ago - it was actually the singer and guitarist for our old band, before Earthrise. Both of them did some guest screams on the album and they came up to scream along on a song or two. I think Tom ended up in the crowd at several points, our old guitarist was mashing the cymbals with his hands for some "extra" percussion, and I got Silly String in the face after the song was done. Despite that, everyone is alive and well!

Now that "Eras Lost" is ready for consumption on your Bandcamp site, what is next for Earthrise?

Earthrise:

The physical copy of Eras Lost should be coming out shortly - we will hopefully have it back from pressing soon, and have a release party planned for September. From there, we just plan on playing out as much as possible in the Midwest and beyond! As time permits we'll continue to work on new material - we already have some ideas to play around with, so we'll just have to flesh things out and see what really grabs us. Additionally, we're all really looking forward to getting some limited edition vinyl copies of the album as well, we're all really excited to see if we can make it happen!

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Sound Storm - Immortalia (2012)

One look at the album artwork for Sound Storm's latest album, "Immortalia," and you may find yourself pulled into a different time and place. Created by Felipe Machado Franco, who has contributed images for the likes of Blind Guardian and Rhapsody, the otherworldly design is, indeed, an indication of the music therein. But unlike some of their Italian counterparts, this five piece doesn't focus solely on power metal riffs and structures, choosing to aim for something much deeper, much richer. On this new album, their first in three years, they bring baroque music to the ears of metalheads the world over.

From the opening intro track, the album's title track, there is to be no confusion about what lies ahead. Soaring choirs sit atop a bed of rich symphonics which, when paired with a shattering percussion effort, could bring your walls down. The rich theatrics that blast through in "Back To Life" are the perfect example of what can set bands apart from one another. Vocalist Philippe D'Orange has a unique sound to his voice, one that is both versatile and powerful. But the true highlight at this early stage is the one that instrumental comes together, tangling the lightning snares with a strong keyboard presence. Guitarist Valerio Sbriglione plays not only dazzling leads, but gives a sense of balance with distorted chords. That balancing act is key going forward, especially in tracks like "The Curse Of The Moon," where light and darkness are at war with one another. With the speed of the song, there is no room for error, let alone a misplaced note or stroke. Through all the tempo changes, and there are many, you find flawless transitions. The only downside to be had is in small pieces of the vocal, almost as if D'Orange gives so much of himself that he strains his voice. But amazing keyboard and piano word fills in that gap time and again, with Davide Cristofoli leaving you dizzy.

With spotlight tracks like "Blood Of Maiden," you have a beautiful cross section of what Sound Storm does so well. Getting an assist from soprano Ilaria Lucille De Santis, the operatic nature of the music truly shines through. The keyboard takes the lead role in the bridge and chorus sections, while ripping guitars rattle through the verse. The constant is the drums, as Federico Brignolo lays down everything from traditional power metal beats to blazing rolls and fills. Even the delicate string and keys outro strikes the perfect chord. The flow from one track to the next aids in building the mood, as is evident moving into "Faraway." There is a darker take at play here, with a more harsh vocal peeking through here and there. This isn't to say they give up on the beauty of symphonics, but they add a devilish mood. The building wave of keys and guitar solos is joined by a slapping bass line, one that elevates the sound greatly. For the more guitar driven side, "Promises" delivers a punch. Sbriglione squeals and blasts his way through screaming riffs at every turn. But more than that, the band finds a tremendous groove here, with D'Orange realizing his full potential. As he hits every note, he is joined by a massive wall of voices delivering emotional charged lyrics.

Clocking in at over six minutes, "Call Me Devil" is not short on sound or substance. The choirs return, but this is the act of the opera you have waited for. Soaring vocals pair with the rolling thunder of drums, but they are led by a seemingly simple guitar lead, one that flows so smoothly. Even the solemn piano piece that cuts in is so well crafted, that you hardly realize you aren't in the theater. It's the total immersion that makes this so powerful, pulling you into the story and the visual. Out of nowhere, a middle Eastern opening unveils "Seven Veils," a sound that is produced through multiple keyboard changes. By far the more diverse offering on the album, the band does well to expand their horizons without compromising what they have built thus far. D'Orange's voice gathers so much momentum throughout the album, hitting an emotional high here, trading verses with De Santis. An obligatory guitar/keyboard standoff ensues, with both giving their best dueling efforts. A far more docile intro starts "Watching You Fading," with acoustic guitars dominating the mix. This is a ballad, without a doubt, but it doesn't have to be boring. With a daring bass line, courtesy of Massimiliano Flak, you don't lose any momentum. And despite a five minute run time, there is no lag, no filler to be had here, thankfully.

If one softer track was simply too much for you, "Wrath Of The Storm" more than makes up for it. This is the heavier side of the band, and of symphonic power metal in general. This is a game of speed and force, moving at the speed of light, and coming down on you with the weight of a bus. The band holds nothing back, coming at you with every element they have at their disposal. The drums, in particular, are completely unrestrained, blasting through every open gap with a kick drum roll. D'Orange soars to new heights, his voice breaking through time and again. Coming to a conclusion, the album falls squarely on the nine minute shoulders of "The Portrait." As if the previous ten tracks weren't enough, this metal opera finishes with a bang. The keyboards that factored so heavily throughout the alb um are back with a vengeance, not only driving the music but creating an air of symphonic bliss. With a massive push out of the rhythm section, the tracks bends and weaves forward, tying itself in knots with all of the guitar work at hand. But just as you find yourself completely submerged, it all fades away in a light rain of strings.

We are fickle creatures. There are times where, admittedly, we base what music we want to hear by the silliest of criteria, be it album artwork of the name of the band. Maybe it is because we are shallow; or maybe there is truth in our ignorance. The name Sound Storm may seem cheesy at first, but when the music echoes the name, you can't go wrong. You truly have a hurricane of strings, keys, and guitars, swirling in every direction around you. Eleven tracks come and go, leaving only destruction in their wake. Hidden in the red tinted artwork, and the name "Immortalia," is an album that is worth far more than our eyes could ever understand. You have to hear it, get lost in it, to understand.

9/10

Official Site - http://www.powerofsoundstorm.com/
Facebook - http://www.facebook.com/powerofsoundstorm

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Dopethrone - III (2012)

Following up with their third full length album, Dopethrone has stepped up from the underground metal scene from Canada and delivered a bang. The trio have come up with "III" which contains five monstrous track filled with destructive guitar riffs and wicked drum rolls. They offer devilish death metal growls along with groovy southern melodies.

The album opens with a dark spoken word in "Hooked." The title fits the track perfectly because you'll become hooked right when the guitars drop. They have a very southern flow to them making you want to bob your head immediately. Soon after come the drums which shower you with bright cymbals and crisp snares. Although they list themselves as stoner metal, the vocals have a more harsh tone to them giving off a deeper growl. It definitely has a more demonic feel to it. Most of the tempo stays the same throughout the song along with similar riffs, however the they pick up things up with a very catchy groovy melody towards the end that makes this track well worth it.

"Reverb Deep" follows with ten minutes of pure violence. It also opens with some spoken word which shortly gets cut off by wretched distortion and punishing chugging guitar riffs. Cymbals splash away recklessly in the background while booming kicks and snares rumble behind them. The vocals enter about a minute in with ominous screams that'll send chills down your spine immediately. The bass delivers the same melody backing up the guitars as you continue to bash your head to the chugging patterns. Towards the middle of the track you'll come across a calm and insane guitar solo that'll will definitely sweep you off of your feet. The only problem with this track is that after a whie it gets a little repetitive with the same guitar riff from the beginning. This song could have only been five or six minutes long and still would have gotten its point across.

"Storm Reefer" also opens with spoken word and then jumps right into groovy guitar riffs. The distortion scream down you throat with wicked tones. This seven minute piece of work follows similar structure to the one before it however it changes up towards the last two minutes as a magnificent guitar solo steps in with a real blue like feel to it. It's drenched in sound effects and filters giving it a very psychedelic tone. "Devil's Dandruff" is the shortest track on the album running for a little under four minutes long. I think it could have easily been blended with "Storm Reefer." The tempo steps up a little while the guitars become a little more violent and loud. The drums continue to beat you into the ground with thunderous fills and relentless snares and cymbals. The growls jump in and out keeping you add the edge of your seat the whole time.

The final track, entitled "Cult Leader" wastes no time with spoken words as it jumps right into a slow guitar riff that is soon joined by another distorted riff. This track definitely has a doom feel to it. The tempo is slow and the riffs are dark and progressive. eventually they do add some spoken word on top of theses riffs but then cut it off with more wretched screams that come in over top. The distortion on the guitars are very muddy and give a solid stoner feeling to the mix. They give you an early solo abut two and a half minutes in with more trippy sound effects and groovy tunes. The end of the track gets a lot louder with exploding drum fills and wild cymbals that collide in the background. This is definitely the way to end this beast of an album.

Dopethrone has a very unique sound in their guitars making it crystal clear tell them apart from others. The distortion has a very distinct sound to it in each song. "III" may only have five tracks but these track will definitely have you wanting more. So be prepared for the replay button. You won't be able to help yourself.

8/10

Official Site - http://dopethrone.bandcamp.com/album/iii

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Apathy - Ghost Light (EP) (2012)

Calling something "progressive" doesn't always mean something. It has become a word that musicians use, far too often to prove to their fans that they understand musical evolution. Sometimes, it is even used as a way to disguise that their music has changed, for the worse. But for Swedish multi-instrumentalist Viktor Jonas, the word is so much more than a tag line for his music. His creation, a project that bears the name Apathy, is using progressive elements to further his craft. On his new EP, "Ghost Light," Jonas tries to rewrite the definition of that oft used word, and once again give it meaning in the ever changing world of metal music.

Even in the first few measures of "Broken Horizon," you get a sense of cohesion between guitar, bass, and drums. In his chord progressions, Jonas creates a tremendous sense of melody and balance, on that is only amplified by the light use of keys. The vocals, provided by Claudio Lousada, are outstanding, both in clean and harsh form. With the use of both styles in such close proximity, the stark contrast between light and dark comes forward. Each segment flows flawlessly into the next, carrying you along for the smoothest ride possible. The lone track that could be classified as "epic" in length, "The Immense Seas of Nothingness," may bring to mind the more recent work of Opeth in its construction. But the true beauty is that Jonas has a style all his own, a refreshing take that cannot be pigeonholed as a clone or sound-alike to any band. Deathly growling vocals are the perfect complement to the sweeping melodies that buzz from his guitar strings. But even as everything cuts away, leaving only a layered clean guitar melody, your foot continues tapping. The impending explosion has you on the edge of your seat, and never disappoints. Through a staggering thirteen minutes, you ride a rollercoaster of beautiful and terrifying metal arrangements, all executed with flawless detail.

After the emotional investment in the previous track, the short, clean guitars of "Sleep" are welcomed, soothing your pain before the completely instrumental second half of the EP, recorded years before, begins. And while beginning with "Journey's End" may seem strange in title, it makes perfect sense in scope. Vaulting from delicate riffs to a full blown wave of distortion and double kick drums, Jonas pours every ounce of himself into every movement, pulling you into his mind and soul. The drums, whether they are programmed or not, are musical dynamite, crashing through with explosive precision. A dazzlingly sweet outro fades away, and an equally glowing intro comes into being on "Shadowdance." While the mix isn't as clean on this side of the middle, each elements still shines brightly on its own. Layered guitars sit atop a wall of drum action, telling every bit of the story, sans vocal. A track that stands under four minutes, this is one that will not soon be forgotten. The melodies are intoxicating, especially in the presence of heavier elements. The final track, "Beyond Salvation," is a means to an end, one that could be a trophy for a musician of any upbringing. The immense sound of the opening is crushing, giving new meaning to atmospheric. Guitars whine and cry above a rumbling bass and thunderous drums, a simplistic yet powerful means of closure.

It isn't often that someone describes their music with a set of words, and captures everything that he or she does so perfectly. Viktor Jonas has done just that with his "Progressive Doom/Death Metal" tag. His Apathy project embodies what progressive music can be, taking the doom and death metal genres in a different, more melodic and well constructed direction than his contemporaries. Viktor Jonas isn't a rock star. He is a musician. With every strum of the strings, press of a button, touch of a key, or twist of a knob, he is giving of himself for your enjoyment. And "Ghost Light" is the man himself, written into musical form.

9/10

Bandcamp - http://vjonas.bandcamp.com/
Facebook - http://www.facebook.com/pages/Apathy/116709615006241

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Gates Of Oblivion - Mirrored Reflections (2012)

Shining brightly from the metal scene in Switzerland comes a band by the name Gates Of Oblivion. This symphonic/gothic five piece give a refreshing sound to the genre and add some interesting little twists of their own into the mix with their new album, entitled "Mirrored Reflections." Musically it is full of ravishing piano riffs and wicked guitar solos and fills. The vocals come at you in a few different forms keeping things changing and always leaving you guessing. You'll notice some of the vocals are perfect while others are just hit or miss.

The album is opened by a short intro track, entitled "Into The Mirror." Whispers fill the air as beautiful synths take over the background. This slowly fades into "Sunscript." Gorgeous piano riffs begin to play as chugging guitars blast away with quick riffs behind them. The verse starts with dark growls delivered in an evil manor. This then switches over to clean female vocals that hit operatic notes. The female vocals sound pretty solid on their own but I feel that they do not mix well with the music. She jumps out way ahead of the guitars and drums and sorta pulls you away from the music. The guitars really pick up towards the middle of the track when you come across a magnificent guitar solo that'll blow your mind. Double bass pedals rumble behind you as your hit with this minute and a half masterpiece. The last round of the chorus has both the female voice and male growls layered on top of each other attempting a beauty and the beast type of sound however the female vocals just end up distracting you from everything else. They just don't seem to fit very well.

Then you come across songs like "Before The Sunset" and "Before The Sunrise" which are solid ballads where the female vocals go along perfectly with the music. Most of these ballads are filled with angelic piano riffs and ravishing strings that float gently in the background. Her voice really captures a strong image of each song and keeps you hooked from beginning to end. They even throw in some fantastic guitar solos that really put them over the top with breath taking melodies that will sweep you off your feet every time. You'll definitely find yourself going back to these tracks constantly.

"Twilight Angels" opens with some absolutely stunning piano riffs that are combined with some impressive drum rolls using complex tom and snare patterns along with punchy double bass pedals that'll have you bobbing your head right from the get. This track runs for over nine minutes long and is definitely worth every second of your time. The female vocals fit a lot better in this song as well as you'll notice that everything is more balanced. The detail in song structure will have you hitting the replay for sure. You're definitely not gonna catch everything the first time around. The guitar solos alone are just completely outstanding.

Towards the end of the album you're going to run into a song, entitled "March Through." This seven and a half minute track will have you hooked immediately with its catchy piano intro. It is subtle and yet has a very epic feel to it. Chugging guitars build up the verses with heavily distorted riffs that follow the piano right into the female vocals. Again, I feel that the female vocals work well with their surroundings in this track as well. It seems to be hit or miss with each track. As far as the guitar solos go, your hit with another amazing solo about half way through the track. The melodies that are thrown at you are just incredible and definitely hypnotize you deeper into the track. These solos are what will have you coming back for more and more. Also the drum rolls within each verse is insane. Each fill is different and yet equally impressive. This is definitely a must hear track.

It seems that the band had some on and off issues with the female vocals towards the beginning of the album but slowly fixed everything by the end. Perhaps there isn't even anything wrong with them, maybe it's just the mix that is really off. Either way they definitely came through in the end with some powerful tracks that made "Mirrored Reflections" well worth the listen. Gates Of Oblivion seem to be heading in the right direction so make sure you keep an eye on this group.

8/10

Official Site - http://www.gates-of-oblivion.com/
Myspace - http://www.myspace.com/gatesofoblivionmetal

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Sanity Obscure - Subterranean Constellation (2012)

 

Singapore based four piece Sanity Obscure have a philosophy. They believe in their collective minds that music should have no boundaries. And that, if such boundaries do exist, they should be pushed and stretched as far as possible. On their new album, these four musicians hoped to begin that process, by combining an array of styles and sounds, ranging from thrash to death, black metal to hard rock. But philosophy is only madness without a sense of order. On "Subterranean Constellation," chaos and anarchy reign supreme, as this experimental band fail to expand our horizons, and instead push our buttons.

There is something scary in the opening track, a short intro called "Dreams - Manifestations." Whether it is the ominous singular chords that ring out, or the use of keys for atmospheric, and evil, purposes, a chill up your spine wouldn't be uncommon. The blood curdling screams that follow are not short on devilish tone either, only heightening the sense of evil. But as you move into "Rise Of The Machines," things get a little hectic. The opening stanza has a thrash element to it that, when combined with black metal style vocals, comes together in a fairly successful way. It is in the sections that follow that things go off course. Basic rock riffs with harsh vocals don't have the same weight, even with double kicks aplenty. The music often borders on that of System Of A Down, with intense grooves and fluttering guitar work. It, unfortunately, does little to hold your attention for the better part of four minutes.

Somewhere in the more stripped down verses of "Incarceration Divine" is the sound of a more mature band, a sound that seems to come and go with each passing measure. Even from verse to chorus, it is as if you are listening to a completely different album, if not a different band entirely. Rather than one cohesive theme, all of the pieces seem disjointed and bizarre when strung together. By the time you have reached "Synergistic Permutations," any of that initial pop is gone, leaving you with a cluttered mess of styles and tones, one that can't be easily identified. Sure, there are still some nice riffs, but they are often buried amidst clunky drums and layered vocals that don't seem to go anywhere. The latter half of the track, one that starts as straight black metal, quickly devolves into farce, with a wild guitar solo that could be mistaken for a child slapping at strings. The first positive burst in some time comes in the form of "Patient Zero" where, minus some of the space age effects, the band has settled into a groove; or so it would seem. Before you can complete that thought, a drum roll bursts through, boasting Lars Ulrich's "St. Anger" era snare sound. And, as with the tracks before, chaos ensues. Guitars crash into bass and drums, and you are left with a muddled affair.

With two thankfully short tracks following, "Doublethink" and "Hyperboreas," there is little time for all of the added nonsense that seems to creep into every track by the three minute mark. But the former still manages to introduce a fair amount of clutter, whether it be the constant wall of drums, one that is hard to get by, or a solo that, while well played, fails to elevate the track in any way. The latter, also clocking in at just over two minutes, is a mess of a track. Black metal vocals flank a constant "chug chug" pattern, with a bizarre guitar melody to follow. By this point, the music is predictable, if not completely sour. The keyboards do peek through for the first noticeable time, adding some electronic effects to an already crowded mix. If you have survived this far, then the nearly four minute closer, "Afflicted Mind," is all that stands between you and sweet, musical freedom. Cliche, messy, and poorly thought out, this eighth and final track is everything wrong with the album, rolled into one big middle finger for the listener.

A great band takes one style, and performs it brilliantly. Other bands take many styles, and perform them poorly. Sanity Obscure, for all their ambition and thought, fall squarely into the latter. They hoped to stretch musical boundaries, an admirable endeavor. However, through these eight tracks, they have done more to hurt their cause than help it, leaving a legacy of confused songs and poor execution. Every positive section, all ten seconds per song, is quickly dashed by the carelessness or pure lack of evolution that follows. If they could settle on one theme, one method, one style, perhaps there is redemption to be had. But "Subterranean Constellation" might be enough to sink them for good.

3/10

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

Facebook - http://www.facebook.com/SanityObscureSG

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Thira - The Ascension Construct (EP) (2012)

Making a go at the industrial heavy metal scene, a fairly new band by the name Thira has stepped forward to new material. The band has released a new EP, entitled "The Ascension Construct." It's got some powerful guitar riffs that chug away in your face non stop through its entirety. Explosive drum rolls and shattering cymbals is another key element that may really catch your ear.

The first track, entitled "Release," starts off with futuristic sound effects that quickly jump right into monstrous guitar riffs and wicked deep screaming vocals. The riffs chomp away at you with dominating chugging riffs while your beaten into the ground with thunderous double bass pedal kicks and snapping snares. The first half of this track will completely destroy you with its heavy riffs and beastly vocals. The second half changed up completely as it takes the distorted guitar riffs down a notch. Also the vocals switch to a few clean verses before going back to the wretched screams. The break down starts to lean a little more toward towards the hardcore side of things with heavy breakdowns that sound solid but are very basic patterns. I think a wild solo would have done the job a lot better.

"The Corroded" opens with some funky sound effects that pan left and right constantly as drums slowly fade in with light cymbal patterns. The trippy keyboards lead you right into powerful guitar riffs that blast away at you with dark melodies. The vocals definitely have the power to knock you off your seat. You'll find similar vocals in "Left To Kneel." Punishing lyrics come through and completely destroy you right off the bat. They manage to include more futuristic sound effects that blend in well with the crushing guitar riffs and thumping bass lines. The breakdown towards the middle of the track is overwhelming with bass and distortion however i feel that a wicked solo would have done a solid job yet again. The vocals start to get a little eerie when the clean vocals step in carrying an evil tone to the mix. The strings in the background add on to the haunting sounds and will leave you flinching yet wanting more.

The fourth track, "In Sinking Earth," is the shortest track on the EP running for just under four minutes long. It wastes no time jumping right back into the verses blasting harsh screaming growls at you from all directions. It definitely packs a punch with its groovy bass lines and odd sounding guitar riffs. The drumming definitely picks up as well. Each beat becomes more complex and louder knocking you on your ass. "Through The Collapse" is the final track on the EP and definitely finishes you off after being beaten into a pulp for the passed four tracks. Fast chugging guitar riffs will have you throwing up your devil horns an pumping you fists in the air immediately. The tempo of the song changes up a few different times keeping things refreshing. You'll definitely be hooked as you wait to see what hits you next. The complex breakdown towards the middle of the track makes the whole thing worth hearing. Relentless double bass pedals drill you into the ground non stop while the vocals go off on a rampage. Definitely make sure you check this track out.

Overall, Thira is pretty straight forward with their music. The have a solid sound that repeats again and again in each track. The songs are powerful and full of groovy bass lines and punchy kick drums however they never really step outside the box. They need to add a little more creativity if they plan on standing out from other bands. Otherwise people will just rather hear Fear Factory instead. Either way, this EP is definitely worth a shot.

7/10

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

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Gojira - L'Enfant Sauvage (2012)

Gojira continues to make a huge impact in the metal scene as they drop their long awaited new album, Entitled "L'Enfant Sauvage." The band manages to keep their sound where you can recognize that it's them immediately however they also get very creative with their structures and patterns along with each bridge and breakdown. You'll definitely want to get up and mosh to this one.

The album opens up with "Explosia" sendin harsh guitar riffs screeching with distortion. Booming double bass pedals roll in with complex riffs leaving you bobbing your head for sure. There's a groovy bass line in the background that will completely knock you on your ass. The tempo switches up constantly keeping you at the edge of your seat the entire time. Rough shouting growls pick up the verses with an aggressive delivery. Chugging guitars take over during the bridge as they throw bone crushing riffs at you from all direction. This six and and half minute track is definitely the way to open up an album.

Up next is "L'Enfant Sauvage" which starts out quiet but quickly shatters you speakers with a mixture of crashing cymbals, fast pace double bass pedals and thunderous guitar riffs. The cool thing about the vocals is that even tho they are violent and blaring in your face, they are pretty clear and easy to understand the actual lyrics. Another element that you'll definitely want to pay close attention to is the drumming in this track. Crazy patterns of toms and snares beat you into the grown with overwhelming speed and power. The guitar work is amazing as well. They constantly throw in short melodies in between verses giving it a catchy tune. Then the vocals come through and completely destroy you.

Songs like "The Axe" and "Planned Obsolescence" will completely sweep you off your feet with the damaging guitar riffs and ridiculously fast double bass pedals. Each track runs through you faster than you'll even realize. They give you absolutely no time to breathe as they stay relentless throughout their entirety. There is also some haunting clean vocals in "Planned Obsolescence" with strange filters on top adding a very odd sound to the voice. They then switch right back to the brutal growls they you know and love. The track will definitely get your blood pumping. "Mouth Of Kala" is another must hear track. This one pounds away at you with constant double bass pedals while messy distorted guitars take over the background with beastly riffs. The vocals rip you to shreds with more wicked shouting growls. Don't be surprised when you find yourself hitting the repeat button multiple times.

Gojira has continued their diverse art work giving you tons of strange and unusual sounds with their guitars and other instruments. It seems that they get better and better with every new album. "L'Enfant Sauvage" definitely goes above and beyond their previous work. The song structures are complicated and filled with surprises as the music constantly knocks you down and picks you up again. This is definitely an album you don't want to miss.

9/10

Official Site - http://www.gojira-music.com/

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Lyceum - Demo (2012)

The common stereotype of metal musicians, and fans, hasn't really changed much over the years. Stupid, meat head, uneducated. We've heard it all before. But with a new wave of American metal rising, all that is about to change. Concord, California based five piece Lyceum are ready to inject a healthy dose of intellect and thought into metal, beginning with a newly released demo. The band name, referring to the academy of Aristotle, is only the beginning. through the course of three songs, the band take you on a journey of epic proportions, one that is as remarkably written as some of the classic literature of the finest universities.

The thunderous gallop of drums launches you into "Armada," pushing you head first into a rib shaking growl. For a guitar riff so heavy, there is a lighter side, a folk inspired groove that may elicit a nod of the head immediately. The vocals are harsh, but they use grit and abusive power to deliver lyrics that are not merely throwaways. Hidden in the deathly roars and blackened screams are tales of heroism and battle, ones that must be read to be appreciated. As with so much melodic death before it, this burrows its way into your brain, leaving a mark that won't soon fade away. But the true power of the instrumental comes in the outro portion, where an intricate, darting bass line becomes entwined in the melodic guitar riffs. This explosive ending is only the beginning.

And while "Exiled" may start out like a black metal opus, that is only a small cross section of what is to come. Machine gun snares and cymbals start a flurry of percussion, a whirlwind of toms and kicks that leaves you dizzy. But before long, you find yourself lost in a crashing wave of guitars and bass. Vocalist Blake Peterson has quite the story to tell, and he delivers it with gusto, and a healthy dose of devilish screams. And while the midpoint may seem like a fight with chaos itself, it is an organized one. Rising from a quick solo, the band returns to form. The sheer strength at play in the final two minutes of this track is almost overwhelming, both lyrically and musically. It is otherworldly the way the music carries the sound of struggle and triumph, while the lyrics give you a play by play of the entire tale. Lost in the casual writing of the melodic death/folk movement, tales of battle don't need to be one dimensional to bring a crowd to their feet, as is clear here.

Over him the white sun rose as he departed for the mountain pass
Many days he traveled into the windswept heights

But on the seventh day as the sun passed the northernmost peak
He descended upon the forsaken city.

The final track, "Dominion," doesn't take the normal "full circle" approach that so many albums typically do. Instead, it opens the story, gives it a broader stroke, one that can carry on from here. There is no shortage of momentum to be had either, with the constant building throughout the album. In the duel guitar attack of Sean Siino and Vince Avitto, you get the perfect balance of dense chugging and fret acrobatics. And, thanks to a crystal clear mix, there is an equality to all pieces, which allows each one to shine in their own right. The four musicians stand as pillars for a vocal delivery that can shake you to your core, while also giving you reason to read along.

We will restore balance with rivers of blood.
Send out the riders of the throne,
They will seek the lion's crest throughout our lands,
And I will await their word.

Lyceum is only an infant in the lifespan of a band (at least I hope so). This demo is like the first steps; except instead of stumbling and wobbling forward, they came out running. There is an intelligence to the way they write, the way they craft heavy, yet rich tracks. It would be easy to fool someone into thinking that this is a three song EP from one of the established titans of melodic death. Slap a different band name on it, and the metal community would be shocked that "Band X" or "Band Y" have finally taken it to another level. But this isn't a veteran act. This is Lyceum. And if this is what they can do now, wait until the teenage years.

9/10

Official Site - http://www.Lyceum.at
Facebook - http://www.facebook.com/LyceumCE

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