Dakesis - Trial By Fire (2011)

There is never a shortage of up-and-coming bands to discover, a fact we know all too well. Some of them fall short of expectations, and simply fade away. Others rise to the occasion, making the most of their opportunity. The latter is where you find Dakesis, the Birmingham, UK based five piece that seems to have a knack for combining the emotional with the ridiculous. This progressive power metal outfit have all the guts, all the attitude, and all of the talent to become scene leaders. On "Trial By Fire," they put all of that to good use, and move one step closer to the spotlight.

The intro track, "Shield Of Achilles I," sets an early tone, with the use of atmospheric keys and orchestrated horns and strings creating a dark, rich background. Pounding drums enter, sending the music into a rolling thunder, leading directly into the albums title track, "Trial By Fire." There is no disguising the style or influences here, with vocalist Wayne Dorman displaying tremendous range and power. Yes, the production may seem a tad muddled, failing to give that crisp division in sound. But despite that, there is no lack of bravado, with multiple solos trading blows with one another. It becomes evident quickly that this track is the weakest to be had. "Liar" is all the proof you could need that this band is for real. With equal parts Jack Black and Bruce Dickinson, Dorman delivers his unique blend of satire and charisma. Backed by keyboardist Gemma Lawler, they create a vocal duo that is both delicate and dynamic. The guitars are fast and furious, with drums filling in every available gap. The outro section sees Dorman hitting all the high notes, soaring over the top of yet another high speed solo.

The keyboard work on "After The Storm" is exactly what you would expect from a progressive power metal band, but delivered expertly. The layering of sounds is almost overwhelming, with each instrument seeing equal time as the lead. Lawler takes center stage with her vocals, also boasting a depth that is refreshing. For those looking for a straight up power metal track, "On Wings Of Steel" has been waiting. From the opening riffs, to the operatic vocals of Dorman, you have a veritable buffet of metal delights to dissect. Keyboards dart from left to right, drums shatter each moment of silence, and guitars slice through the air. There is nothing to hold you back from throwing your fist in the air, and swinging your hair (how much, or little, you have). The necessary ballad plays out in the form of "Broken," a piano and bass driven track that sees Lawler crooning with heart and soul bared. The guitar work isn't lazy, as is the case in so many half baked metal ballads. rather, it plays into the aesthetic of the song, creating and amplifying the mood.

And to say that "Into The Light" takes hold as the heaviest track on the album, is an understatement. Complete with some deep, guttural growls in the latter stages, it takes the sound to new places. A key to making this song such a standout is the bass work. Keeping up with a flurry of guitars and drums, bassist Amie Chatterley refuses to go unheard, rolling through bass line after bass with grace and skill. The dense chugging sections are welcomed, and will surely please a crowd. From the dual vocals of "Valhalla," to the harder symphonic edge on "To The End," there is simply no stopping the momentum that has been gathered by this point. The latter is a showcase of technique and skill, featuring dueling solos on guitar and keys, ones that may leave your head spinning. With a mainly instrument take in the form of "Shield Of Achilles II," the band cruise into the home stretch. This isn't a means to an end, however, as the tongue in cheek "440 King Of The Road" is your parting shot. When you have forceful grasp on your audience, even the lighter side, lyrically, can be enjoyable as well. And, let's be honest. With some ripping good guitar work, a splash of keys and some over the top vocals, you could write a song about puppies and kitties, and still keep the heads bobbing.

Through the eleven tracks, there simply is no weakness to be found in the band itself. Dakesis have crafted a blend of power and speed that will never go out of style. The only downside remains in the production side of things. Normally, it is asking a lot to ignore production values, and focus on content. But when the content is as strong and well conceived as "Trial By Fire," it becomes easy. With a master craftsmen working the knobs and levers of the mixing board, this album goes from great to an instant classic.

9/10

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

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Vinterblot - Nether Collapse (2012)

The pagan death medal band from Italy have finally released their brand new full length album, entitled “Nether Collapse.” This is following their “For Asgard” EP which was released in 2010. The new album contains a great blend of pagan guitar riffs and other instruments along with demonic death metal vocals. It’s 10 tracks long and will have you wanting to replay the entire album over and over again.

The album starts off with a “Prelude” that consists of gloomy acoustic guitars and eerie strings that float gently in the background. The guitar riffs start to become more detailed as a lead acoustic comes in with catchy melodies. This runs right into “Upon A Reign Of Ashes.” This beast of a track comes storming in aggressive electric guitars and booming drum rolls. The verse kicks right in with vicious growls that will make you shit yourself the first time you hear them. Double bass pedals step up during the refrain and deliver a jack hammer performance. Raid snares pound away as cymbals crash around you from all directions. The upbeat tempo will definitely have you pumping your devil horns. Relentless snares punch you in the face in “Council Of Trees Beholder.” You’re gonna think that someone just unloaded a machine gun at you with all the rapid snares and double bass pedals that fly at you. Dominating guitar riffs rip you open as chugging melodies soar through the air.

“Rememberance” gives off a strong Amon Amarth type of feel as Viking like guitar riffs come rumbling in with wild drum rolls that will blow your mind. Monstrous growling vocals echo throughout the track leaving you stunned with amazement. As double bass pedals take over towards the end of the song, you’re met with bone chilling guitar solo that completely destroys the musical scales. It almost reminds me of a solo from Dethklok with its high notes and catchy melodies. Murdering guitar riffs hit you hard in the beginning of “Howling Shadow.” The verse starts immediately with low growls along with thumping bass lines. Definitely make sure you pay close attention to the drum fills in this one. The detail in the drumming is absolutely phenomenal. It’ll get you bobbing your head for sure.

“Whispering To The Headless” is one of the shorter tracks on the album running a little over three minutes long. The drum rolls are literally banging away throughout every second of the song. Meanwhile deafening guitar riffs chug away with catchy melodies. The tempo is constantly upbeat leaving you no time to catch your breath. This is the same for “The Forlorn War.” The guitar riffs are constant breakdowns throughout the entire song making you want to mosh around the whole time. Devilish growls consume you into each verse as cymbals continue to splash from left to right. This is definitely one of the heaviest song on the album.

“Nether Collapse” offers aggressive instruments with catchy melodies that is sure to grab your attention the minute you hear it. The drum fills are absolutely incredible and is definitely a “wow” factor to this album. Vinterblot is still at a very young age of their career and definitely have the potential to become known world wide. This album is a great step in the right direction. I would definitely keep an eye on this band and see what they come up with next!

9/10

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

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The Podcast: Episode 35 (Swallow the sun, choke on the moon...)

Sometimes it feels like we are on a whirlwind tour of the world, with metal as our guide. Hell22 visits Italy, for a date with female fronted symphonic metallers Winter Haze. Then, he returns home to check out Virginia's Druglord. Murmaider spent some time in the Italian peninsula as well, having bouts of nausea and diarrhea listening to the steaming pile of shit that Lacuna Coil calls a new album. Do NOT go in there.

But, as is customary, the first podcast of the month is dedicated to our Band Of The Month. This time around, Finland's Swallow The Sun dominate our voting, thanks largely to their new album, "Emerald Forest And The Blackbird." With a heavy dose of melody, these guys have taken their craft to new heights, and deafening lows. This one is easily an album of the year contender. Chester agrees, even if he doesn't have the balls to show up.

Part one of the festivities is available here.

Part two of the party can be had for the low, low price of free, right here.

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Kayo Dot: The Interview

The mastermind of all things Kayo Dot, Toby Driver, gave us a great deal of insight into his music, his thought process, and sales as an independent artist. We want to take this opportunity to thank Toby for his time, and for the loads of real information. It was an eye opener for us.

How did the avant style of Kayo Dot come to be? Did you have a clear idea in mind for the finished product, or was it more of a free flowing process?

It might have all begun with internet arguments between maudlin of the Well fans and Opeth fans, hah! Really, I remember myself and some MOTW fans on the messageboards thinking that Opeth's songs were really just a bunch of riff salad, and Opeth fans on the messageboards used to say the same thing about MOTW, and there were heated arguments. I basically decided to be more aware of that kind of perception of disconnected parts in metal songs, so with Choirs of the Eye really only set out to make a through-composed "metal" album... one without riffs or arbitrarily repeating parts. That was a pretty huge paradigm shift for me and lots of creative paths in my brain opened up.

You have had a laundry list of collaborators and contributors to the Kayo Dot catalog. How do you decide who will be a part of this project, and how did you come across so many talented musicians in the process?

Originally it was just based on who I knew and who was available. But now, I know so many great musicians that I can't have all of them be a part of the band. So, whereas in the past, I was foolishly trying in a way to mold the musicians to suit the vision, now what I do is that I shape the vision around the small group of musicians that I enjoy keeping close. And those people are friends first, collaborators second. I think the way I came across so many talented musicians was just being in environments that attract these people - universities or liberal urban settings.

Some musicians we have interviewed have adamantly denied that geography has a profound impact on their music. With your roots in Brooklyn, NY, how do you feel your home has come through in your music?

Hmm, I have definitely seen patterns in the aesthetics of underground bands that come from particular regions. I think that in the NYC avant-rock scene, for example, there's tons of subconscious emphasis on proving yourself with proficiency and newness, even if we don't want there to be. Additionally, NYC is not really a nice place to live, so pretty much everyone that has decided to be there has a very strong work ethic and single-mindedness, which, when combined with all of NYC's resources, leads to some of the most intense and unique music in the world. Indie rock bands from Brooklyn also have to prove themselves with coolness, but thankfully, contemporary prog rock is so uncool that none of us have to even worry about playing that game. :)

With so many moving parts in the form of a seemingly endless array of instruments, how difficult is the writing and recording process for each individual track and album?

I try to always push myself forward and try new things in order to become a better musician. Because of this, everything I write has many aspects which are a lot of work and very difficult to conceptualize, communicate, rehearse, and perform. Every time, we're learning new abilities in the process. It's a recipe for disaster when musicians only work with what they already know and don't make any effort to extend themselves.

Each instrument seems to find a home within each composition, without disturbing the delicate balance of sound. As a writer, when do you know that you have found the right contrast in sounds? How do you know when to say "stop"?

I always decide on the instrumentation before I even begin writing a piece. Then, I compose the music to suit the instrumentation. Occasionally, at the end, I might feel as though something is missing and then will try to find what that is and fit it in (actually it usually ends up being keyboards, which are a sort of musical glue, in my experience).

There seems to be some confusion about the recording process for the new album, "Gamma Knife." What led to your decision to record it partly in studio, and partly live?

We just had to come up with a way to record an album basically for free (it didn't end up being 100% free, but it was relatively cheap). The reason for this is that getting funding from a label to do a professionally recorded album has been impossible because album sales have been terrible. I think we'll get back to this topic below... Also, when you say it was recorded "partly in studio," I hope you know that it was actually my bedroom and I don't have any "studio" equipment other than one mic and a laptop.

We have noticed in some of your recent interviews that you are very much dedicated to the ideas and the music itself, rather than the process. Do you ever question whether people listening to your albums really "get it"? Does that question come in to play when you are writing?

I'm not sure if I have that question anymore... I just assume people aren't going to get it. Haha! I'm pretty jaded, i guess. Seriously though, lots of music in the world is audience-oriented, and that's great. But the music I write is not audience-oriented, it's internal. It's great if other people are able to see what I'm seeing and share in the experience, but it's really important for me to stay true to my own aesthetics in order to successfully exorcise the demons at hand. I think one of the worst, most unhealthy things an internal musician, like me, can do for themselves is worry about what other people are going to think, especially when writing!

The satellite bands of Kayo Dot, (a much better term than "side project"), including the recent return of maudlin of the well, in particular, are equally powerful. How have you managed to maintain all of your projects, while still keeping each one unique?

Thanks! Well, everything is circumstantial. Most of the time, stuff I'm working on is dictated by what's happening in my life, such as concerts that I'm invited to participate in. Often, people will ask me to do a show, and if I think the venue is special enough, I'll write something new for that upcoming concert. Then, if it ends up being a cool idea, I'll spend time developing it further. Tartar Lamb 2 came out of this type of thing. MOTW's Part the Second really only came out of its circumstances as well - fans were interested in funding a record. I'm super-pliable; I want to do tons of different things and music and really it only ever comes down to whether the opportunity is available (venue, funding, time, whatever). Regarding how to keep them unique, well, each one of those projects uses a specific kind of compositional method, so that's how I know which project something fits with. For example, MOTW uses time-tested devices of rock music and traditional harmony. Tartar Lamb doesn't use rock drumming, and also is all about a sort of modular type of composition (small bits). Kayo Dot is basically through-composed rock and has an avant-goth aesthetic. I'm starting to do some other stuff now that doesn't fit into any of those, though. Some more classical type stuff.

With all of the recent SOPA and PIPA hoopla, it would seem silly of us not to ask about your personal feelings on the matter. How do you think the world of piracy has affected your life, as a musician and otherwise?

Yeah ok, so you were asking above about how/why Gamma Knife was recorded live and in my bedroom. It's great that we have listeners and fans, but people don't seem to realize that if they keep only stealing the music they're listening to, then the music ends up suffering. We couldn't get any funding to do the record because people hadn't bought the last few records. What's happening is that we're now in a world where all the most unique music (read: unmarketable) is forced to be recorded shittily. I thought it was so ridiculous when we released Gamma Knife and people were complaining about the recording quality. It's like, Dude! It's YOUR fault!!!

On a related note, "Gamma Knife" was self released, which seems to be an increasingly more common route. Without a label involved, do you see any difference in the sales of your album, and, more specifically, the willingness of people to pay for your work?

Yeah, the sales are much much much less, but our total monetary profit has been greater ONLY because he production cost was so low and we got to keep 100%. With labels, the production cost has been so high and sales so low that the albums never recoup their losses and the band never sees any money. Now, basically the problem at hand is figuring out a way to do an album with high production value but still not lose money on it. Anyway, just for transparency's sake, I'll tell you that in the month it's been releases, Gamma Knifehas only sold 350 copies, but according to the bandcamp stats, has had like 30,000 streams. So, something is wrong there. I think a lot of time there's a misperception that bands are selling tons and making bank, so people think the band is really famous and rich and doing well, so they think they don't need to buy the album. It's fucked up.

Toby, thank you again for your time, your honesty and the music you create. We look forward to what comes next.

Thanks for your support!!!!!!

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Jormungandr - Jormungandr (2012)

How many adjectives and subgenres would it take to describe Portland, Oregon based Jormungandr? This band, named after the serpent son of Loki, call themselves "Ambient Neo-Folk Doom Metal," which is a mouthful that may not actually say all that much. Featuring former Agalloch member Chris Greene, the two piece are ready to unleash their self titled effort upon the world. Will this album, which was three years in the making, help the band, like their namesake, become large enough to surround the earth?

The opening track, "Sorrow's Infinite Wisdom" is a puzzling start, taking you on a mono-melodic ride through modern doom. The repeated distorted chords are joined by very eerie vocals, but without any sort of structure. If imagery is being formed in your mind, it would look something akin to a dark room, with a group of long haired zombies swaying from side to side. "Ebb Of Tides," conversely, stays to the more delicate side of things. Acoustic guitar riffs repeat for minutes on end, joined only by subtle chanting and the sound of the crashing waves. Stretched out over nearly seven full minutes, it could easily serve as a new age sleep aid. The third track, "This Age Of Fire" does anything but ignite a flame, choosing a more downtempo and minimalist approach. Again, repeated plucking is the only musical accompaniment, with a few quiet, yet devilish words spoken at random intervals. The sounds that might emanate from the pits of Hell come in and out, giving this one a little demonic flavor. But, aside from the clanging of bells in the outro, there is simply nothing more to be had.

The first real ambition seems to come from "Our Children Die In Winter," which takes on the drone style of metal made famous by bands like Sunno))). Despite being a very straightforward and slow moving piece, the level of distortion and grit that pours through the guitar track is enough to warrant a repeated listen. The vocals, though unpolished and a tad offputting at times, actually make an impact. But, unfortunately, the poor recording quality turns the layered approach into a murky mess, with little more than feedback making it to your ears. A low, rumbling interlude, aptly titled "Interlude," takes you from this track to the next, a full on metal track titled "The Wind In Our Sails, The Fire In Our Hearts." With the presence of guitars, bass, and drums together, and a slightly fine tuned mix, you can finally get a feel for the true passion entrenched in each note. The machine gun drums and blistering guitars may have you wondering if you have skipped to an entirely different album. This is a raucous affair, punishing and loud. But, alas, the best track is also short, standing at a mere three minutes. The outro track, "Abcess I" is pained groaning, with bass filled ambience. The groaning turns to moaning, then chanting, just in time for it all to fade away.


All the words in the lexicon couldn't help you to sort out the album that you just endured. Is it a bunch of little pieces of a million genres, or a big piece of something altogether it's own? Either way, this isn't going to be your sunny day driving music, or even a work out assistant. Lost in the muddy waters of this offering are a few standout moments, but they are too few and far between to notice. Jormungandr may bare the name of a serpent, but the album more closely resembles a slug.


3/10


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

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Hordak - Under The Sign Of The Wilderness (2011)

Looking for some awesome pagan black metal? Well you’ll find it in Spain that’s for sure. The pagan metal band Hordak has recently released their new album entitled “Under The Sign Of The Wilderness.” The album has got powerful Viking guitar melodies along with some vicious black metal screams that will haunt you for days. All ten tracks are filled with upbeat excitement and electrifying guitars.

The album opens with a two and a half minute “Intro” which contains angelic acoustic guitar riffs along with majestic flutes that float gently on top. Its such a beautiful opener that it’ll make you wanna replay it before you even move on to the rest of the album. When you do move on to track two, you are hit hard with jack hammering guitar riffs and double bass pedal rolls in “722.” The guitar work is insane as the verse consist of fast chugging riffs mixed with groovy melodies that will make you throw you’re metal horns up and rock out. Double bass pedals beat you down throughout the track while thunderous bass lines accompany them. The vocals are full of rage as they are delivered in a screechy demonic growl. You’ll run into a wicked guitar solo towards the end of the track that is absolutely mind blowing. Whipping melodies run left and right surrounding you with gorgeous notes. When this fades off, upbeat guitar riffs pick right back up in “Spreading The Firewings.” A fast pace pagan melody comes roaring in sweeping you off your feet as you bob your head quickly to the beat. Relentless snares pound you into the ground while double bass pedals rumble heavy beneath you. The excitement and energy in this track will surely awaken you.

Machine gun drum fills fire away in “Under The Sign Of The Wilderness.” The melody is fast and the guitars chug away in speedy patterns. The vocals rip through you with their dark screechy lyrics. The song structure changes up drastically throughout the track as the tempo picks up and slows constantly. The drum patterns are hard to keep up with so make sure you play this one back a couple of times. “Monoliths” contains some interesting guitar parts. The use a solo like melody in between certain parts of the verses that really hypnotize you deeper into the track. Blaring guitar riffs continue to chug away while detailed drum fills control the tempo behind them. Get ready for some more intense double bass pedal drumming.

Later in the album you’ll come across “The Rising Of The Warhammer.” It immediately starts out with wicked guitar work throwing melody on top of melody in a fully distorted blaring mix of chaos. These guitar riffs alone will have you throwing up your metal horns and bashing your head to the beat. The drum rolls are phenomenal. Each fill is packed with snapping snares and colliding cymbals that echo off into the background. Meanwhile you’ve got double bass pedaling punching you in your face in each and every step. The bridge especially. All you hear are cymbals exploding on top of booming double bass pedals.

Hordak shows a more darker side of pagan metal as they deliver their demonic black metal screams and growls to accompany these upbeat melodic guitar riffs. “Under The Sign Of The Wilderness” is full of non stop catchy guitar riffs and thunderous drum fills which constantly draw you back to wanting to hit the replay button again and again. You definitely have to check this album out. It’s one you don’t want to miss!

9/10

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

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Druglord - Motherfucker Rising (EP) (2012)

The American doom metal scene is evolving and changing, becoming an amalgamation of so many styles. Case in point, Richmond, Virginia's own Druglord. Forming a twisted mix of traditional doom and stoner vibes, this three piece is on the verge of exploding into the sea of distorted riffs and echoing drums. And with music that has all of the subtlety that the title implies, this four song offering, "Motherfucker Rising," may leave you with blunt force trauma. Better bring a helmet.

The opening track, the aptly titled "Motherfucker Rising," is a statement of intent. The sheer weight of the riffs, the bending of strings, and the crawling tempo is pure doom. Don't hold your breath waiting for a sudden burst of speed or precision. What you hear is what you get, right down to the echoing, airy screams. There is a resemblance to the signature Black Sabbath darkness to be had, though faint. An effects laden solo cuts through the murky mess, taking the track to a muddy conclusion. That brutal distortion continues right through into the second track, "Cleansed." It almost feels as though the room has filled with smoke by now, as a dusty melody may become lodged in your head. The riffs are simplistic, minus a bit of impressive solo work later in the track. But the groove of it all, the flow of the bass and drums, it all comes together. A track that stands at five minutes seems to coast by in seconds, a true test of songwriting.

A song that sounds like a doom jam, "Eternal Grave," is a standout. The vocals take a decidedly sludge orientation, with the raspy growls coming through the clouds. Each chord, each strum of the bass seems to reach lower and lower on the scales, until the density of each note begins to hold you down. The eruption of sound to close out the track is sure to be a crowd pleasure, taking downtuned guitars to near breakneck speeds. It's hard to call the lead guitar in this song a "melody," but it serves the purpose. The closer, "Whores Of The Reich," is everything you would want it to be. After three bruising tracks, this one may elicit the cry of "finish him!" The output could be mistaken for an unpolished early Sabbath demo. The tempo is slow, but the mode is dark. This is certainly the most versatile track, with a clear division of verse and chorus, each one having a distinct flow and feel. Don't wait to be amazed with musicianship here, but rather sit back and enjoy the hazy riffs and drum beats that follow.

As we have addressed before, metal doesn't need to be complicated to be good. And when you set foot into the realm of doom, you can leave your "look what I can do" shredding at the door. Druglord have taken traditional doom, added a healthy dose of the classic metal sounds, and made it into something entirely their own. Sure, they aren't going to reinvent the genre as we know it. But they have done enough to earn multiple listens, at the very least. Who knows, maybe they will catch on enough for the cry of "dead man walking," to be followed with "Motherfucker Rising."

8/10

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

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Lacuna Coil - Dark Adrenaline (2012)

Once known for their dark and yet gorgeous female fronted gothic metal, Lacuna Coil has taken an even bigger step in the wrong direction than any fan has ever feared. The Italian outfit has released their sixth studio album, entitled “Dark Adrenaline.” We were able to put up with the reckless off key vocals of male singer Andrea Ferro in their previous album, “Shallow Life,” however the new album just goes too far.

“Trip The Darkness” was the first single that the band released from the album. It’s also the opening track on the album. The music starts out pretty decent as thunderous drumming accompanies heavy blaring guitars that make you want to bob your head. But just as you get comfortable with the melody, Ferro comes in with his sour voice and ruins everything. Cristina Scabbia does her part to aid the chorus but it’s too late. The damage has already been done. The only difference between this song and songs like “Against You” and “Upsidedown” is that the band felt that Ferro’s vocals need delay and echo effects instead. So not only do you get to hear his god awful vocals but you get to hear it echo around you and ring in your head for days.

When you have a talented female singer in your band, you need to let her sing. “I Don’t Believe In Tomorrow” allows her to show off some of her gorgeous vocals in the verses but once the refrain kicks in it’s all Ferro the entire time. You’ll go from bobbing you’re head to the monstrous guitar riffs and rumbling drum rolls to shaking your head in disgust of such horrible male vocals.

Tracks like “Kill The Light” and “Intoxicated” are fine. They lean more towards a more rock type of feel but they contain catchy melodies in both the verses and the refrains. They also have little male vocal parts in them. Scabbia is able to take control of these songs and guide the instruments with her melodic vocals with no interruptions. Unfortunately “The Army Inside” goes right back to Ferro opening the first verse and hitting you with some terribly flat vocals that will make you skip to the next track immediately. If you end up making it through this track you will run into a nice little guitar solo towards the end with notes that destroy the musical scale. But is this solo worth the pain?

For all of you R.E.M. fans out there, you’ll find that Lacuna Coil covered “Losing My Religion.” Scabbia sings all the verses and she does a great job as well. Sorry to disappoint you but Ferro does that catchiest part of the song, the chorus. His raspy whining completely destroys this song. You will never listen to that track the same ever again.

The only track that I would say to definitely listen to before you dismiss this album all together is the final track, entitled "My Spirit" The verses are sung by Ferro and it's terrible but that's not important. Get pass that and listen to the refrain. Scabbia's vocal performance is absolutely ravishing and stunning in every way. This track proves that Scabbia still has it even with all of the flashy lights and distracting fame that has been around her.

From the looks of things, it seems like the band has really forgotten about their original sound and what people really liked them for and instead focused to much on the fame and attention that they’ve been getting. If it weren’t for Scabbia looking as good as she does, no one would want to listen to this band any more. They let Ferro do way too much singing in this album and it hurt them. I really hope that the band wakes up soon and starts putting out that good old Lacuna sound that we once knew.

4/10

Official Site - http://www.lacunacoil.it/
Myspace - http://www.myspace.com/lacunacoil

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Winter Haze - Silent Deception (EP) (2012)

This all seems so familiar. Female fronted metal from Italy, with powerful vocals, and a strong mix of guitars and keys. The beauty of it all, when it comes to Winter Haze, is that this isn't the same old song and dance. A little heavier than current Lacuna Coil output, with a touch more opera than Nightwish can muster in the post-Tarja era, and a dose of growling that the likes of After Forever could be proud of. Frontwoman Giorgia has all of the vocal range necessary to paint the town red. In four songs, and a mere 17 minutes, "Silent Deception" gives you plenty to look forward to.

Despite the pedigree, the last thing you would expect to open a symphonic power metal track like "Cross The Sea" would be a smooth saxophone. The light synthesizers tie together the down tuned chugging guitars, with the sizzle of cymbals. Giorgia's voice is versatile, as is evident in the first switch from verse to chorus. She can change from standard register singing to a more operatic style, flawlessly. The track is straightforward, without any major twists or turns, but executed so well. Even the guitar solo is understated, but spot on. Unlike it's predecessor, "Vacuum" skips the subtleties, with a vicious attack springing from the gate, punctuated with a fierce growl. The trading male and female vocals sit so gently atop a pulverizing burst of drums. Even as she slips into the soprano register, a deathly growl chills you to the bone. The solo work here is excellent, adding another dimension to the overall soundscape. It transitions smoothly back into high speed, finishing with a flurry.

The title track to the EP, "Silent Deception," begins with a light use of electronics. Giorgia enters, her voice soaring over the top of an increasing bass line. This is the track that best displays the use of keys and synthesizers, a haunting element when used properly. The vocal mix has a slight crack in the armor in the middle sections, with the combined male and female vocals drowning out much of what goes on underneath. A blistering solo brings the track back to even, allowing for a strong finish. The building trio of vocals at tracks end, male, female, and growling, does wonders. The finale, a track titled "The Watchmaker," is as precise as the craft itself. Layers upon layers of sound come together, with the keyboards seeing a starring role. As with previous songs, the multiple vocal tracks come together in a beautiful harmony of opposites. A thunderous roll of double kicks and snares builds the density to near backbreaking weight. The solo, again, is light but effective, carrying a certain level of soul from start to finish.

All of the pieces are in place, and Winter Haze will only improve with time. There is a lack of lateral movement, choosing to stick with a formula that works. And while this isn't entirely a bad thing, it can lead to a full length album that may prove to be a touch too predictable and safe. As an exhibition, this is a collection of four songs that says, "this is what we can do, make sure you listen." And with an EP that takes less time to listen to than it takes to make a frozen pizza, it makes a statement: put away the DiGiorno. "Silent Deception" is far more satisfying.

8/10

Official Site - http://www.winterhaze.it/
Myspace - http://www.myspace.com/mywinterhaze

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The Podcast: Episode 34 (Random shit with Chester)

After battling illness for weeks at a time, Murmaider and Hell22 are feeling fine and fancy free. Murmaider has some great new stuff to point out, with the new EP from Finland's Frozenbleed, and an old EP from his favorite artists.... Mastodon. Hell22, on the other hand, went to familiar territory. When a new Swallow The Sun album is released, you know the headquarters is buzzing with activity. "Emerald Forest And The Blackbird" is everything we had been waiting for.

But wait, do you hear what I hear? Who is that voice? It sounds so.... familiar. Yes, folks, Chester has returned. After some time away to direct the new movie "The Dugout," as well as penning "Heaven Help Us,"  he is back to join in our roundtable discussion of some random shit. From Lacuna Coil's cover song, to the rise of vinyl, we are all over the place. And damn, does it feel good.

SOPA be damned, part one can be downloaded, legally, here.

PIPA can suck a dick, part two is also available for legal US download here.

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In Loving Memory: The Interview

Juanma, lead singer from Spain's very own In Loving Memory, sat down to answer questions from our very own Hell22 and Murmaider. Here's his take on songwriting, the new album "Negation Of Life," and touring.

First and foremost, we want to thank you for your time, and the opportunity to conduct
this interview. Your efforts are greatly appreciated.

First of all we want to thank Sorrow Eternal for the opportunity of being interviewed by you.

When the band was formed, it was initially a female fronted act. What led to the decision to go away from that style?

Because we always liked guttural male vocals but never had a chance to get them because in our area is difficult to find a guttural singer that suited well with our style, so we decided to try with female. But after some time we went back to the original idea but had the same problem: inexistence of male vocalist capable to carry the heavy duty of singing, so after a long search Juanma took the vocal work teaching himself to sing in the proper way for our style and now there’s no turn back.

In the formative process, as well as the current line-up, who were some of your influences, musically? What is the writing process like for In Loving Memory, from idea to finished song?

We always liked classic doom metal bands such as My Dying Bride, Anathema and Paradise Lost, but scandinavian melodic death ones as well such as In Flames, Dark Tranquillity or At The Gates, so we tried to guide our music in that way. Of course these examples are a narrow line to follow because we also like tons of diverse bands, from brutal death metal to symphonic rock, so I think we can say that all the music we
hear is suitable to be influence for us in some way.

The writing process usually goes in this way: Juanma comes to the rehearsal room with a riff, a bunch of riffs or even a whole song. When this happens, Jorge and Juanma start jammin’ to create a second guitar line and sometimes a song structure. When it’s finished both “J”s teach the song to Raul and Igor and when its done, Jorge and Alberto create the keyboard lines and arrangements. We play the song several times and when
we decide it has the right structure and melodies, Juanma writes the lyrics and start rehearsal with vocals. That’s the normal process, but sometimes we just start jamming for fun and play something interesting that we can use to create a riff or a song.

There is some tremendous songwriting on the album. Specifically, the song titles are very powerful. What inspired the lyrical content of the album and how personal are the songs to you?

Well, Juanma is the one that put the names to the songs as well creates the lyrics, so when he’s in the songwritting process he tries to adecuate the lyric to the emotion that he feels when listening to the music and names the song acordingly. Of course the title of each song must be unique and powerfull, because is the “trademark” of the song.

The themes that inspire Juanma’s visions written in words for this album come from the idea of the good and evil duality, God and Devil, religion, pain, love and suffering. Almost every powerful feeling can be described in ambiguous way but with a simple words in order that can be understood easily.

"Shimmering Divinity" is a song that Murmaider is singing the praises of. Which song would you pick out as your favorite, and which song best summarizes your style for a new listener?

For me, Juanma, would be “November Cries”, a complex a rich evolution-structured song with double guitars soloing, catchy and syncopated rythms, a break in the middle of the song to create a new scenario, both whispering and guttural vocals and a pure doomy theme, like the death of a son and a wife and the desperation of husband for continue with his life. The first part of the song, before the break tells the history of the life loss and in the second part the efforts for being gathered again in death.

I think the best song for a new listener could be “Negation Of Life”, because it contains all the elements we usually introduce in our songs as acoustic parts, double guitar melodies, clean and guttural vocals and heavy rythms full of emotion. It’s a good showroom of our style mixing doom and death parts.

The album artwork is both simple, but very powerful. What inspired the image, and who provided the picture itself?

Well, is not as simple as it seems like our music. We always do things with a double sense: complex work inside a simple carcass . The cover artwork looks simple because the use of the famous crying angel statue that stands the pass of time at Lakeview Cemetary in Cleveland, Ohio, but it’s not the unique image you can find in the double-size cover. The image that is not shown due booklet fold is a mix of a church and an industry. The angel represents the pure, good and divine creation and the church and industry the bad, sick and mankind creation, that rejects the gift of life given by superior beings, which is also the title of the album, “Negation of Life”.

Also inside the booklet, every song has a different image under the words that represents the meaning of the song. We invite everyone to read the lyrics while listening to the music and watch the images of the booklet in order to better comprehension.

Last year, we conducted an interview with fellow Spanish death/doom band Helevorn. When asked about the metal scene in Spain at that time, they said that the genre had really begun to explode, with tons of great new bands gaining notoriety. How would you classify the current metal scene in your home country?

Yes, there’s a lot of new promising bands emerging from spanish underground. Some of them as Angelus Apatrida or Diabolus in Musica are now well known due contracts with first line record labels, but still a bunch of good others waiting for be known.

We are always interesting in knowing who our favorite musicians are listening to when they aren't writing or recording themselves. So, what bands, artists, singers, rappers, etc have you guys been stuck on recently? With 2011 just passed, could you pick an "album of the year" from those you have heard?

I, Juanma, am listening pretty much to Sybreed, Gojira, Orphaned Land, Abigail Williams, Decapitated, Fleshgod Apocalypse and Amorphis. Mmmmm. Album of the year?. Probably Decapitated’s “Carnival is Forever”

The major label part of metal is a puzzle to most. You seem to have found a good home with Solitude Productions, which is also the home of some of our favorite new bands (Mare Infinitum, Fading Waves, Tears Of Mankind). How did your partnership with Solitude come to be, and what do you think of their growing stable of artists?

Well, we send our job to some labels, big and small and after some answers, we decide that the best suiting record label for our music should be and small specialized one such as Solitude Productions. We are not in this bussiness for the money, but for reaching the biggest portion of people, that can be interested in our music, that is possible and with a doom based record label is easy to get this than with a biggest label with more diverse bands.

Solitude Productions has a good number of bands with them, such as Echo or Helevorn that we like very much

Touring plans for the band seem to be few and far between. What has lead to the sparse shows thus far and do you have some bigger plans in the works?

We perform live shows as much as we can. Our jobs and personal situations make the option of touring a lot very complex and difficult, so we gig as much as possible.

With the new album out, and some positive reviews coming in, what is next for In Loving Memory?

Well, now we’re planning a new album, so currently we’re writing new songs. We’ve two of them finished yet. The last year, 2011, has been complicated because we change drummer so we need to re-arrange some songs to the new drummer habilities but at the end of 2011 we were forced to hire a new drummer, so we started again with that process and the time for writing new songs was terrible limited as you can imagine. But
now that the matters go in the right direction we’ll go faster.

The new songs are stronger in terms of rythmn structure and riffing but with sensible and emotionful melodies as well, which is very important in our music.

Thank you again for taking time out to do this with us. We appreciate your time, and the music that you have crafted. We are looking forward to seeing a successful career for you guys!

Thank you for giving us the opportunity of this piece of written history! We’ll meet again for sure, so you know you have here a collection of friends! Stay metal!

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Indecadence - Elephant (2012)

Indecadence is a seven piece metal band from Badalona, Spain that list themselves as a death/doom band. They have released a new album, entitled “Elephant.” You will hear a lot of industrial tones in this album as well as you come across some interesting synth sound effect in some of the tracks. It’s got some intense growling vocals and vicious guitar riffs so you’re definitely in for a treat.

The album starts out with “Diario De Un Difunto” which opens with slow moving futuristic synthesizers that introduce soft acoustic guitar riffs. This two and a half minute introduction really paints an interesting image as you continue to the next track. “Tryouts” fades right in with sharp snare patterns and double bass pedals. They are surrounded by more synths and string sound effects as distorted guitars slow make their way to the front of the stage. The verses contain monstrous growls that crush everything in its way. Later you are also met with gorgeous clean vocals that echo across the guitars and synths. They use interesting sound effects on their instruments during the bridge that really give an outer space type of sound.

Punishing Guitar riffs come rumbling in along with crystal clear synth melodies that grab your ear immediately. The constant double bass pedal drumming will keep you head bobbing throughout the entire track. The guitars are relentless with their heavy chugging performance. Meanwhile you are completely knocked down by the wicked growls that fly straight towards you. They use delays are certain parts of the clean vocals that give off a unique sound as well. This is definitely one of the more powerful tracks on the album. You’re met with a ticking clock at the beginning of “Lost again.” Blaring guitars soon enter with splashing cymbals and booming drum rolls. The detailed fills are very addicting when first hearing this song. You’re definitely going to have to re listen to this track a few times to catch everything. An eerie piano riff floats in the background while the verse are filled with more terrifying growls. The synthesizers really draw you in closer with their catchy melodies. The only thing that through me off was the clean vocals towards the end. They sound completely off key and off tempo with the beat. I’m not really sure what they were trying to go for with this clean vocal noise. Besides that the track is pretty fucking heavy.

Another interesting song that will really catch your attention is the song “Elephant.” It’s an instrumental track that runs for over six minutes long and constantly changes in structure. This track really shows off the bands musical talents. It starts with angelic piano riffs which creep in slowly. Soon after comes synth sounds that give off strong industrial tones. The drumming sounds programmed as you will hear constant high hats at fast speeds. The strings float harmlessly in the background as you are swept off of your feet with relaxing piano melodies. You could definitely picture this as a score to a movie.

The final track on the album really goes above and beyond with everything that it consists of. The song is called “Inside” and it’s got everything from soothing strings and calm clean vocals to rocky drum rolls, machine gun kick drums, and deep demonic growling. The drum fills are constantly changing pattern as they add a layer of chugging guitars on top mixed with a light piano riff that carries over perfectly. The guitars roar recklessly in the middle of the song as they are followed by beastly growls and rapid double bass pedal drumming. By the end of this song you’re going to be rushing to hit the replay button for sure!

Overall “Elephant” contains some strong song writing and jaw dropping drum rolls throughout the album. The growling vocals stand strong and give you a solid performance every time they come rolling though. The clean vocals however are sort of a hit or miss. Sometimes they fit perfect with the track while other times they just sound completely off. A lot of the riffs come off as a type of chugging breakdown but manage to keep a groovy melody from verse to verse. Also the synth melodies are phenomenal and will definitely keep you at the edge of your seat. Make sure you give this album a listen.

8/10

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

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Swallow The Sun - Emerald Forest And The Blackbird (2012)

Swallow The Sun is a band that needs no introduction. If you have perused this site once or twice, or even listened to one of our 30+ podcasts, you are certainly familiar with the band, their catalog, and the months of anticipation that we have endured before the release of their new album, "Emerald Forest And The Blackbird." Boasting some of the most well rounded and profound song structure to date, along with an album cover that will haunt you in your dreams, this Finnish death/doom band may have outdone themselves... again.

The level of storytelling has seen a dramatic improvement, with the opening track serving as the prologue to the story. Contrast is the name of the game, with soft female vocals teaming up with keys and orchestrated strings. But, just as perfectly, the signature screams and growls of frontman Mikko Kotamaki crush all traces of beauty. The sheer density of the guitars will overwhelm you at times, but as they fade out to reveal clean guitar tones, it is easy to forget the brutal thrashing you just survived. "This Cut Is The Deepest," not to be confused with the 1967 Cat Stevens song of a similar name, starts with completely clean vocals, something that may seem out of sorts. The use of atmospheric keyboards ties together the verse and chorus, which sees a more melodic musical approach as well. Even as the track fades out into a haunting haze, you are waiting for the hammer to drop.

That hammer sees plenty of work on the more dynamic and straightforward "Hate, Lead The Way!" This is Swallow The Sun in their deathly glory, with Kotamaki screeching his way through verse after verse. Guitars shred and rip through it all, with drums crashing from all angles. This is sure to be a crowd pleaser in the live setting, with plenty to pump your fist to, with each rib shaking drum fill inducing incremental bouts of whiplash.  The cohesion in the track is what remains the most impressive, with a flow from piece to piece at all times. The first single, "Cathedral Walls," is a collaboration with Nightwish's own Anette Olzon, and may be the greatest display of evolution a band of this genre could show. Olzon's voice takes a starring role, opposite the clean vocals of Kotamaki in the early stages. The tone is somber, but in a very subtle way, choosing to tell the story through understated and minimal guitar and bass work. Light synthesizers well devilish growls to the fold at the half way mark, with rolling double kicks and sizzling cymbals dominating the mix. But as Olzon reenters, they strike a perfect balance between profound and pummeling, switching back and forth between the two at will.

By now, it is clear that this isn't a standard outing for Swallow The Sun. There is a new take on melody to be found here, with passages in "Hearts Wide Shut" sure to pull on your emotional strings. But, rather than replace the old with the new, they transition from one to the other and back again, turning the black and white into a shade of gray. And while it may take some getting used to, the process won't take long. In fact, "Silent Towers" might prove to be the most accessible song by the band to date. Don't misunderstand me here, this isn't a radio rock song. But there is definitely a noticeable use of more easily identifiable melodies and structure. Hell, clocking in at four minutes, it is certainly the shortest song on the album. The forth part in the "Horror" series, "Labyrinth Of London," does not stray from the path. Following in the footsteps of the previous installments, including "Don't Fall Asleep" and "Lights On The Lake," this is a heavy handed composition, ripe with keyboards and heavy guitars riffs. The melodic passages are accents to the distortion, making both sides of the coin more profound. A spoken word portion, layered on top of clean guitars, is ominous but revealing. Even the solo section is inspired, with the ringing of bells furthering the richness of sound.

The track "Of Death And Corruption" is exactly what you have come to expect at this point, with a jarring set of distorted guitars cutting through the air. Kotamaki's clean singing has so much depth, so much weight to each syllable, creating a chilling tale. And as eerily soothing as it is, it can be equally frightening when he unleashes the growls of hell. The use of clean piano tones, however sparse, is the perfect compliment. But this track is the heaviest piece of work you will find, with an devastating blast of guitars and drums taking you to new heights... or new depths. The air is heavy with sorrow in the opening stages of "April 14th," with funeral organs blaring out. A light piano and spoken verses take the track to darker places, only to be shattered by the explosion of guitars and drums. The album concludes with the aptly titled "Night Will Forgive Us," an acoustic tinged piece that takes the beauty and beast analogy to a new place. To think that a band so heavy is capable of such powerful songwriting and emotional investment is astonishing.

There are those people who, as fans of a band, hope that said band will simply remake their favorite album, over and over again. Metallica fans wish exactly that every day. But in the case of the new wave of metal, evolution is necessary to stay ahead of the pack. And no, it isn't always a bad thing. Swallow The Sun are still the death/doom titans you know and love. What they have done is simply inject a breath of fresh air into the formula, adding another layer to the mix. If you remove the melodies, you would still have enough of the classic sound to fill an entire album. Add them together, and you have something much more fulfilling. "Emerald Forest And The Blackbird" could be the next step to reinventing the genre.

10/10

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

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

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Mastodon - Oblivion (EP) (2009)

On November 4th of 2009, Mastodon, the sludge metal kings, released an EP over the internet, entitled “Oblivion.” It contained four tracks and two music videos. One video was of their first single “Oblivion” and the other was of “Diviniation” which is the second track on the “Crack The Skye” album. The first track on the EP is obviously “Oblivion.” It’s the studio version of the song and if you haven’t heard it by now then you haven’t heard shit and you should probably catch up with the times. Same with the second track on the EP, “Divintations.” This version was recorded live at Xfm. It’s a great recording with clear vocals and clean instruments.

The third track on this EP is really the main reason why I wanted to mention the whole thing. “The song is called “The Bit” and it is also live at Xfm. They have played this song plenty of times during live shows but it was never released on any studio length album. This downloadable EP is the only way to get it. The song starts out with aggressive chugging guitars with drum rolls that explode in the background. Right away you’ll be bashing your head and throwing your devil horns in the air. The melodies of the guitars are really catchy and definitely ring in your head for days. The vocals are muddy add that perfect sludge tone to the music. Make sure you pay close attention to the drum fills. They will blow your head off. The detail in the snares and toms are godly. Towards the end of the song you will run into a wicked guitar solo from lead guitarist Brent Hines. His guitar work carries you to another world as each melodic note takes over your mind. This is one of my favorite songs from Mastodon and definitely needs to be heard.

The fourth song on the EP is “Colony Of Birchman” which is also a live at Xfm version. This track was originally released on their 2006 album, entitled “Blood Mountain.” This is another popular song that I’ve noticed that the band plays fairly often. It’s got catchy guitar riffs along with heavy chugging guitars in the background. Meanwhile Brann Dailor completely tears it up on the drums with his complex fills and perfectly timed double bass pedals. Hines even hits you with another monstrous guitar solo that will knock you on your ass.

After watching the awesome music videos and listening to these four powerful tracks I have to say that the “Oblivion” EP is by far, the perfect EP. When you hear it the first time you will be blown away for sure. Don’t be surprised when you find yourself reaching for the repeat button constantly. I know I could listen to this for days at a time. I like that they include some old material, new material, and unreleased material all in one. And the art work is absolutely gorgeous. I know it’s been a few years now that this has been released but if you haven’t had a chance to download and listen to this EP, you should definitely get on that.

10/10

Official Site - http://www.mastodonrocks.com/
Myspace - http://www.myspace.com/mastodon

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Frozenbleed - Distance (EP) (2012)

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

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

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

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

8/10

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

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

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

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

Part one could be downloaded here, I suppose.

Part two? Right here, guy.

Murmaider's List:

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

Hell22's List:


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

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Bare Infinity - The Passage (EP) (2011)

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

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

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

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

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

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

9.5/10

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

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Disdained - Kill My Only Enemy (2011)

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

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

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

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

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

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

9/10

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

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Avelion - Cold Embrace (EP) (2011)

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

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

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

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

8.5/10

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

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Black Chalice - Submission (2012)

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

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

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

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

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

2.5/10

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

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Intervals - The Space Between (EP) (2011)

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

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

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

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

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

7/10

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

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