Sorrow Eternal: The Bloopers, Volume 3

It is time, once again, for the worst of the worst. We have stuttered, stammered, and giggled through almost 40 episodes of the podcast. Hard to believe, I know. But along the way, we have had some moments that were far from perfect (all of them) and some that have us laughing weeks and months later. So, sit back and enjoy, Volume 3 of the Bloopers.

Note: If you listen with headphones on, you can pick up a couple extra laughs.

Download the audio from this bad boy, here.

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Your Tomorrow Alone: The Interview

After the release of their new album, '"Ordinary Lives," Italian metal band Your Tomorrow Alone sat down to answer some questions about the album itself, and their push through the Italian metal scene. Special thanks to the band, as well as Francesco from My Kingdom Music for the time and the opportunity!

First and foremost, thank you for your time, and the opportunity to ask some of our questions.

Thanks to you for the opportunity you’ve given to us, we’re honoured.

How did you come up with the album cover for “Ordinary Lives?” Is there any significant
meaning behind the image?

The idea behind the “Ordinary Lives” cover art work is the attempt to incorporate in one image both
the album title and the band name. The intention was to represent the ambiguity and the falsehood
of everyday life in which one has to wear a mask in order to withstand lies and compromises.
The mask becomes the inevitable choice to not be overwhelmed by this reality and become alone
in the end.

What do you guys like to do on your spare time when your not creating monstrous growls and
wicked guitar and keyboard riffs in the studio?

Nobody in this band is a full-time musician. When we do not rehearse or record in a studio, we
have different hobbies. Some of us like sports, others are fascinated by art, literature, photography,
philosophy, while two of us are journalists. Above all, we all listen to a huge quantity of music which is
our life companion and everlasting source of inspiration.

When writing “Ordinary Lives,” how did you go about writing the music? Was a lot of the
composing already thought up by a specific person or did you all work on it together one step at a
time?

The composition of the “Ordinary Lives” nine tracks took the last two years of our musical activity.
It was a complex and meticulous work that required our dedication to details to choose the right
arrangement for each song. Under a technical point of view, all the tracks came from guitar parts that
were completed and expanded by both the other instruments and the vocals. That’s to be considered a
team work, do you know?

While having two lead vocalists in the band, one being the clean vocals while the other being the
growls, do you find it difficult to balance them out equally?

Using both clean and growling male vocals was not a problem at all. The clean vocals allow us
to emphasize the most melodic and touching aspects of our music, while the growl is for the
darker and aggressive ones. The two vocal lines were wisely balanced and mixed during both the
recording process and the post-production work.

Songs like “Praise For Nothing” and “Agony (praeludium)“ have some beautiful strings and
violins throughout their entirety. What kind of equipment was used to get such a rich sound?

The orchestral arrangements were performed on a Yamaha Motif XS-7 and they were conceived
by our keyboard player Giovanni Costabile. We managed to get that rich sound by overdubbing
many samplings of different instruments such as chorus ensembles, violins, cellos and upright
basses. This technique allowed us to cover a wide range of musical frequencies.

On that same note, track four, “Guilty,” opens with gorgeous piano riffs and carries a very soulful
sound. Was the recording done by keyboards or a real piano?

The piano on “Guilty” was recorded using the same Yamaha keyboard.

If there was one song that you would suggest to someone that has never heard your music before,
what song would it be and why?

“Renaissence” could be a good place to start because its structure, its rhythmic pace alternating
harder parts to more ethereal ones, is a trademark of our sound and our influences. It’s a sort of
summary of all the main traits that characterize our songs.

You guys have only been together as a band for a couple of years, was there ever a time that you
didn’t think the band was going to happen?

Although our band has a relatively short history, we have always been determined to reach our goals.
Our dedication and commitment to this project in the last two years brought us to record and
release “Ordinary Lives”. We did not go through very hard times or, at least, nothing that could
prevent us from reaching our final goal. Surely, the friendship that binds all the members of this
band has played a crucial role to keep us together and proved to be a solid foundation for this
musical project. Good personal relationships and musical feeling are key ingredients of a long
lasting cooperation, especially in music.

Would you say that the metal scene in Italy has taken a liking to Your Tomorrow Alone? Are you
getting as much positive feedback from fans outside of Italy?

As far as we can say, the feedback from the Italian scene has been more than positive, even beyond our
own expectations if we consider it is our debut album. Most reviewers showed interest in what we do,
and that makes us very happy. But even more satisfactory was the feedback from outside our country.
We have a lot of international fans that follow us on our Facebook and MySpace pages, and our album
received very positive reviews in Norway, Germany, UK and USA. We’re very proud to have reached
so many people with our music.

As you grow as a band, who are some bands that you would like to tour with at some point
in your careers? Have you made any plans on touring in the near future?

We hope we could grow up as a band and, maybe one day, have the opportunity to play with some
of the bands that influenced us most. Opeth, Anathema, My Dying Bride, Paradise Lost. Not to
mention those bands that carry the flag of the Italian metal worldwide, such as Novembre and
Lacuna Coil.

With a new album out, and your popularity growing by the day, what does the future hold for
Your Tomorrow Alone? What can we expect in the months and years to come?

Our next target is to play as many shows as we are able to do to support our album. The growing
attention that surrounds our music makes feel more than determined to do so. We would be
happy to organize a short Italian tour and we’re working on this. In the next future, we are
beginning to write new material as we have many ideas that did not find their space on our record.
We still have a lot of things to say and we are ready to do it.

Thank you again for your time and honesty. We appreciate this opportunity, and wish you great
success in the coming months.

Thanks for the space and attention you gave to us. Let’s hope your wish could bring us good luck. We
hope we’ll be able to announce important news soon. Your Tomorrow Alone salutes you from Italy!
Doom on!

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Diabulus In Musica - The Wanderer (2012)

While it is easy to throw around the term "symphonic metal," as we do so often, it isn't always enough to describe the output of the band in question. For Diabulus In Musica, one of Spain's most recent musical wonders, the focus on classical composition pushes their music far past the boundaries of what we know as "symphonic." After the release of their debut album, "Secrets," they gained a worldwide following not only for their breathtaking song structure and style, but also for the often surreal vocal talent of Zuberoa Aznárez. Two years and countless shows later, this five piece looks to, once again, redefine metal with "The Wanderer."

Fittingly, the album begins with "The Journey's End," an intro track that is rich with the sound of rolling thunder and orchestrated instruments. Fluttering woodwinds dart in and out of strings and percussion, all layered atop the crashing waves. Without hesitation, you are greeted by "Ex Nihilo," which is a representation of everything the classical metal sect could be. Keyboards lock together with guitars, complimented by choral vocals. Aznárez takes the metal female vocal to new heights, with both operatic and sensual vocals. But unlike other female fronted acts, the music isn't softened in any way, choosing to keep a hard edge to play up the contrasting sounds. Even as a harsh male vocal enters, it is hard to shake the overwhelming beauty contained here. The thrashing at the hands of drummer Xabi Jareño will leave you craving more abuse, as he shifts back and forth between complimentary fills and brutal double kick segments.

The album's first single, "Sceneries Of Hope," is as unique as the band itself. The space age keyboard melody that opens the track is quickly drown in a sea of blistering drums and dense guitar riffs. And while this is easily the most accessible track on the album, it is far from watered down. The drums continue to impress, with deft and precision, while the keyboards provide an atmospheric element. But their role doesn't end there, supplying a myriad of instruments and sounds to boost the mix. Aznárez is the proverbial icing on the cake, adding her signature vocal style to each passage. The flow from one track to the next is often unnoticed, but as you move into "Blazing A Trail," it will be evident that each track is setup for the next. Once again, a growling male vocal comes into offset the powerful crooning. The guitar riffs are catchy, but also effective. There isn't a need for filler, with each note and chord finding a home in the layers. The large, hollow sound of the kick drum echos through the booming choral arrangement. The production work is stellar, allowing each subtle touch to shine through brilliantly. A short interlude track, titled "Call From A Rising Memory," soothes the savage beast, both in simplicity and scope.

The tempo and tone change for "Hidden Reality," with things slowing down in favor of blaring horns and the more crooning style vocals. For the first time, the bass sees the spotlight, adding a smooth layer amidst the pounding drums. Operatic vocals emerge, with an almost staggering beauty and clarity. The track plays out like an act in a play, with contrasting voices and emotions trading blows. The choral arrangement takes things to an entirely new level, creating a sound that is both huge and crisp. This is the perfect transition into "Shadow Of The Throne," a track that is operatic in its conception, but devastating in its delivery. The sheer weight of the rhythm section is nearly deadly. As the vocals enter, you are sure to be taken back by their power and grit. The beast has awoken, and evil is afoot. The guitars have erupted in distortion, the drums are unleashed, and the chanting that backs the main vocal is haunting. There are no subtleties to be had, this is an all out attack on your senses. Even a devilish acoustic guitar interlude is masked by whispers of unspeakable evil. Fear not, for "Allegory Of Faith, Innocence And Future" is a return for Aznárez and her angelic voice. But the multiple layers are the star here, with keyboards and orchestrated instruments controlling the ebb and flow of the track. The vocals trade off, with Aznárez providing the beauty to Mark Jansen's beast. Each new passage creates another layer of sound to partake in.

And while the delicate piano that begins "Sentenced To Life" may seem like a lullaby of sorts, it is so much deeper. Aznárez sings softly over the top, welcoming guest vocalist John Kelly, of Elfenthal, to the mix. The vocal duet is enchanting and ethereal, with each breath bringing you further into the song. As the band joins, they only strengthen the emotional bond being formed, taking the idea of a metal ballad to breathtaking new places. But with each dose of sweet comes a spoonful of sour, this time in the form of the growling "Oihuka Bihotzetik." Jansen plows ahead with his guttural vocals, accompanied by a choir of angels, soaring over the top of the thunderous drums. The sound of the chorus is so rich, so deep, that it brings to mind an image of thousands of people standing together. Each single voice stands apart in subtle ways, each one having a personality. The same can be said for the drum and keyboard breakdown, which shakes through your speakers from left to right.


The longest, and most ambitious, track on the album, "No Time For Repentance (Lamentatio)," is a masterpiece of writing, of concept, and of execution. From the initial buildup of strings and horns, partnered only with a lonely snare, to the first eruption of monstrous guitar riffs, this is one you won't soon forget. There are several distinct movements here, each one giving reason for applause. The verse provides the brutal, with a screaming male vocal that shakes you to your core. The chorus sees Aznárez soothing your open wounds. Her voice is delicate, yet so powerful. The guitar work is exceptional, never giving in to the idea of "filler" or generic riffs. The rhythm section does the dirty work, pounding away at the low end. An eight minute track that only feels like four minutes is a victory by any stretch, but one that concludes with a chorus of male and female voices, sans instrumental, is a delight. The album concludes with the title track, "The Wanderer." An acoustic guitar, Aznárez, and a heavy dose of melody greet you. This may be a means to an end, or it may simply be a new beginning, cleaning the slate for the next effort.

Female fronted symphonic metal. Yes, that set of words can be used to describe what Diabulus In Musica produce. But those four words, together, in that order, also describe a million other bands that are not in the same echelon. It would be so easy to dismiss them because of that careless label. But here, on their sophomore album, you have all of that and so much more. Throw out everything you think you know about "symphonic metal," because "The Wanderer" is the New Testament. With a new partnership with Napalm Records, it is not a stretch to think that it could be mentioned alongside other "Album Of The Year" contenders.

10/10

Official Site - http://www.diabulusinmusica.com
Myspace - http://www.myspace.com/diabulusinmusicaband

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M-pire Of Evil - Hell To The Holy (2012)

The new and improved M-pire Of Evil, formally known as Primevil, have released a new album, entitled “Hell To The Holy.” The former members of venom have really stepped things up with this beast of an album as you will hear nothing but bone crushing guitar riffs, dark lyrics, and explosive drum rolls throughout its entirety. The wicked melodies and thrashing tones will grab you and pull you in from start to finish.

The album opens up with murdering guitar riffs in “Hellspawn.” Thunderous drums keep the tempo fast and will have you thrashing immediately. The verses contain demonic lyrics delivered with pure violence. The vocals are shouted heavily throughout the track echoing in all directions. Later you’re hit with a hell raising solo that will knock you on your ass. This is followed by a ruthless breakdown full of heavy chugging guitars and booming drum rolls. “Metal Messiah” keeps things heavy with blaring guitars and insane double bass pedal drumming. Definitely through your devil horns up for this one. The vocals jump in and out punching you in the face with dark lyrics while melodic guitars take over the background. The double bass pedals continue to rumble away with snapping snares and shattering cymbals. This also has a wicked solo towards the end that will send chills down your spine. The wild melodic notes will have you hitting the repeat button as soon as the track is over.

“Hell To The Holy” opens with thunder and rain sound effects that slowly fade in as you wait for the music to drop in. About a minute and a half into the track come choppy guitars that jump in with thumping bass lines. The vocals are heavy but are delivered in a slower speed. The chorus however, gets louder as the vocals begin to shout “Bring hell to the holy ones!” The bridge throws blasting guitar riffs behind more shouting lyrics as they prepare you for the solo. This is definitely a track you don’t want to miss.

“Devil” starts out with a southern twang to it as groovy acoustic guitars open with catchy riffs. This quickly switches from acoustic to distorted as the drums crash in with exploding snares and crushing cymbals that destroy the background. The style of vocals are a little different then what you’ve heard through most of the album already. They’re still shouted recklessly but they have a little bit more of a melody to them. It goes perfectly with the southern tone of the song and will definitely have you rocking out of your seat.

The album ends with “M-pire (Prelude)” as dark riffs slow fade in quietly making you feel like you have to turn it up a bit. However you won’t have to once the heavily distorted guitars drop. A wall of violent riffs come in a crush you with demonic melodies and monstrous drum rolls. The double bass pedaling during the chorus rumbles beneath you as you’re swept off your feet with devilish vocals shouting “M-pire Of Evil.”

“Hell To The Holy” is a perfect thrash album that consists of that old school thrash sound and yet also carries some new techniques as well. The recording and performance of the instruments are clean with great quality making everything easy to hear. M-pire Of Evil provides you with wicked guitar solos and pulverizing breakdowns that will have you moshing around in no time. Definitely pick this album up and check it out.

8.5/10

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

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Black Ink - Reminiscence (Demo) (2012)

With the crop of great bands coming out of Italy, it would seem that everyone is trying to get a piece of the metal pie. Formed a short year ago, Black Ink are taking a stab at the throne, hoping to gain notoriety with their new demo, a five song offering titled "Reminiscence." But with such a crowded scene, it can be difficult to separate yourself from the pack, something that becomes evident early and often for this alt-metal five piece.

There is certainly promise here, especially in the opening moments of "Cold Soul." As the winding guitars become tangled in varied and eclectic keyboard melodies, you may find yourself hoping for something more than what you get. As the verse kicks in, a somewhat murky vocal line provided by frontwoman Laura Lerti enters, and the intricacies of the backing band seem to leave. What you are left with is something akin to an alternative rock band, with an affinity for keyboards. Each instrument blends together in a cloudy wall, rather than standing out as individuals. A guitar solo that seems out of place and strained tries to bring you back, but instead gives you cause for concern. It isn't until the keyboard takes command that you get back on point. From concept to complete, something seems to have been lost in translation.

An entirely different feel comes on "New Day," which, at times, sounds like a completely different band. There is a defined groove to be found, something that may remind you of Canadian standouts The Tea Party, with a electronic buzz. And while the track doesn't exactly ooze uniqueness, it does establish an identity of sorts, with a more clear focus on guitar riffs and wild drums. Lerti's voice sees more freedom here, coming through with power and grace. But the key to the overall sound is, and remains, the use of keyboards. Layered throughout, the various keyboard supplied elements take an otherwise stale musical offering and elevate it. The guitars are more inspired, though still overreaching at times. The track "Black Ink," however, takes an odd turn. The track is bass heavy, which isn't an entirely bad decision. But what is left is a half baked concoction of keys, repetitive chords, and vocals.With the numerous tempo and style changes, this plays out like a meal of leftovers, put onto a single plate. Some pieces work, and others don't, which is hard enough for a three minute track. But over the span of six plus minutes, it is difficult to digest.

Any hope of building momentum disappears as "Bitter Tears" begins, the definition of a ballad. While the piano work is top notch, the song lacks any drive, any punch. And while it may have a home on a full length album, as a respite or mood setter, it is an odd choice to plop square in the middle of a five song EP. That decision leaves all of the pressure on the closing track, "Confused," which goes back to the original formula. The guitars chug away, without much lateral movement. The keyboards come to the rescue time and again, injecting life into the lifeless with short melodic bursts and piano driven tones. Even a dynamic, jazz infused bass line gets some play. But the tendency to favor the generic hurts, leaving you with little more than a lukewarm product. And while the production isn't necessarily bad, the discerning ear may be disappointed with aspects of the mix, which seem to leave Lerti's voice falling flat far too often.

I'm not sure if it is ever a conscious choice to blend in with the crowd, or stand out from it. In fact, I would doubt that many bands ever say "hey, let's make music just like everyone else." But that doesn't mean it doesn't happen, an unfortunate side effect of a growing scene. For Black Ink, it seems to be their Achilles heel, failing to produce anything that is uniquely theirs. Sure, there are flashes scattered throughout this 30 minute offering, but they are too diluted to make an impact. The positives are few, but with only a year under their belt, there is time to grow and mature. Then they can look back on "Reminiscence" and see where it all began.

5/10

Myspace - http://www.myspace.com/blackinkreminiscence
Reverb Nation - http://www.reverbnation.com/blackinkreminiscence

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Amberian Dawn - Circus Black (2012)

2012 keeps getting better and better. Another electrifying symphonic metal album has been released by the talented Amberian Dawn. Their new album is titled “Circus Black.” The female fronted Finnish band is lead by the beautiful Heidi Parvianen and her ravishing operatic voice. The album contains fast melodic guitars and violent drum rolls surrounded by epic strings and keyboards.

Fast choppy guitar riffs open up the album in “Circus Black.” Jack hammer snares and kicks follow behind as the intro drops. More violent chugging guitars come rolling in after as they destroy everything in their way. The verse contains soft operatic female vocals with thumping bass lines in the background. A lot goes on during the build up to the chorus. You’re hit with magical keyboards and booming drum fills that jump right into the refrain. The female vocals really show off how high of a pitch she can reach. The melody isn’t really a catchy one however it is an epic one. “Cold Kiss” follows a similar song structure with the verses except they also include some phenomenal male vocals that soar high over the strings and guitars. The chorus goes back and forth between the two of them as they sing catchy melodies from left to right. The track includes a beautiful guitar solo towards the end that will completely sweep you off your feet.

“Crimson Flower” really reaches out and grabs you with its ravishing intro containing catchy keyboards and upbeat drums. Epic strings surround them as distorted guitars guide you to the verse. High flying female vocals enter soothingly while the drums keep a basic kick snare pattern. They include passionate piano notes right before the refrain giving an emotional feel to the song. A wild solo heavily covered in reverb shines toward the middle of the track throwing gorgeous note after gorgeous note with intense speed. Definitely make sure you check this track out. It’ll have you hitting the repeat button immediately.

You’re awaken with “Fight” and its reckless guitar solo that opens up the song. It’s nothing but non stop action as the guitars run up and down the musical scale with ease. The upbeat tempo of the drums keep you bobbing your head throughout the entire track. Pay close attention to each fill as they become more and more detailed through the song. More operatic vocals float over the relentless guitar riffs as cymbals collide heavily in the background. A wall of double bass pedaling and guitar solos hit you hard at the end and will knock you on your ass.

Later you’ll come across a jaw dropping instrumental, entitled “The Rivalry Between Good And Evil.” The lead guitar plays as the vocals and will have you humming along the entire time. Meanwhile symphonic strings take over the background while the drums go insane with splashing cymbals and rumbling double bass pedals. “Guardian” slows things down as the mood becomes more dark and emotional. This definitely reminds me of an old school Nightwish song with its Tarja like vocal deliver and angelic strings and keyboards. The drums stay at a slow tempo while guitars chug away slowly with heavy distortion. They do manage to fit in another incredible guitar solo that throws its melodies in all directions. This is another one of those “must hear” songs. Don’t miss out.

“Circus Black” has all the right elements for an awesome power metal album however their isn’t anything too unique about it. Its got solid male and female vocals with great range and pitch but they don’t really deliver as many catchy melodies as you would expect from a symphonic power metal band. The musician ship is excellent though as they display wild guitar solos in each song along with exploding drum fills that really pack a punch. It’s definitely worth checking out if you’re looking for some clean power metal.

8/10

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

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The Podcast: Episode 39 (That's all folk)

From an undisclosed location somewhere outside the headquarters, Justin and Darrell record their weekly rant. This week, Justin talks about the latest release from Xandria, then gushes and raves about the new Freedom Call album. Darrell is not impressed. He is stuck on two offerings. The first comes from Czech band Et Moriemur, and the second from Italy's own Valkiria.

Time again to name a new band of the month. This month, we were in the mood to dance and sing along. So, what better way to spend the month of March than with the kings of modern folk metal, Eluveitie. We talk about their new album, and how that style of music makes you feel.

Download it right fuckin' here.

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Xandria - Neverworld's End (2012)

It’s been five long years since Xandria has released a new album. The symphonic gothic band from Germany has finally returned with their fifth full length album, entitled “Neverworld’s End.” The album is breath taking with its gorgeous orchestration and well composed material. It offers beautiful operatic vocals along with ravishing strings and keyboards and monstrous guitar work.

“A Prophecy Of Worlds To Fall” opens this mystical story with dark synths and gorgeous violins and chanting choirs. Heavily distorted guitars come blaring through with aggressive riffs while the double bass pedals begin to shake the ground recklessly. The verse starts with angelic vocals from lead singer, Mauela Kraller. Her operatic voice reaches high a low octaves with ease as she draws you deeper into the music. A thumping bass lines joins her in the verse along with a beautiful flute that jumps in and out at times. The refrain contains more chanting choirs as Kraller's voice soars high over the guitars and drum rolls. It delivers a very epic and symphonic feel to the beginning of the album. You’re also met with a wild guitar solo that runs up and down the musical scale as soothing strings wrap around it giving off gorgeous tones. This song gives you a little bit of everything in its 7 minutes and definitely gives you a small taste of what’s to come.

Calm keyboards set the mood in “Forevermore.” Kraller’s voice lay gently over beautiful piano notes with catchy melodies and emotional lyrics. Chugging guitars slowly fade in half way through the verse along with rumbling drums as they set the refrain up perfectly. The chorus shows great range in the vocals as she jumps from low to high octaves very quickly. The melodies very catchy and will be repeat in your head for days. Kraller seems to have really poored her heart out in this one. “Euphoria” follows up and takes the tempo to a more aggressive speed. The guitars deliver quick chugging riffs while the drums explode in the background. Another catchy refrain comes through and sweeps you off your feet in this one. They even include a dark heavy bridge with lots of violent chugging and booming bass lines. They later follow it up with a wicked guitar solo. You’ll be hitting the repeat button after hearing this for sure.

“Call Of The Wind” opens with interesting string melodies that up are upbeat and melodic making you almost want to dance along. Operatic vocals come soaring in for the verse as monstrous guitars slam away in the background. The drum patterns will have you throwing your devil horns up in the air as soon as the chorus hits. Meanwhile Kraller’s voice floats perfectly on top of the melodic strings as they layer on top of each other. Wild cymbals shatter heavily in the background while snapping snares carry the instruments into the final refrain. This definitely keeps the album upbeat and exciting.

Another track that really sticks out is “A Thousand Letters.” This open with a beautiful flute melody as the verse begins in a slow motion. The drums stay basic with a back and forth kick and snare pattern. This allows you to really focus on the vocals and not get too distracted with insane drum fills. The chorus hits you hard with operatic vocals that reach high above the guitars and strings giving off that Tarja type of sound. Strings weep in the background as your destroyed by blaring guitar riffs that are slowly slammed over and over again. This is another emotional track that continues to show the dark gothic side of this album.

It’s clear that “Neverworld’s End” is heavily influenced by bands like Epica and Nightwish and yet Xandria manages to keep their sound unique and enjoyable. The production of the album is fantastic as well as the performance of the instruments throughout each track. The band has come along way and keeps improving with every album. Definitely check them out and I guarantee you wont be disappointed.

8.5/10

Official Site - http://xandria.de/
Myspace - http://www.myspace.com/xandria

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Valkiria - Here The Day Comes (2012)

After making great strides over the course of the last 15 years, Italian gothic doom two piece Valkiria are poised to take the next big step in their career. After signing with Italy's own Bakerteam Records, the duo are set to release their fifth studio album, titled "Here The Day Comes." Broken down into seven tracks which, not coincidentally, identify the different stages of day, the album is their first to feature live drums, provided by heralded Novembre drummer Giuseppe Orlando. Throw in some rich, dark tones, and you have an album that is as unique and varied as the day itself.

The soft, atmospheric tones that open "Dawn" fit the ideology perfectly, giving you the feeling of that early morning moment. The buildup involved here is key, allowing the layers and the sound to grow naturally. The use of live drums immediately pays off, with each booming kick pouring through your speakers. The vocals aren't one dimensional, either, with deathly growls slamming head on into blackened screams, only to end with clean crooning. The doom metal influence is apparent, with a slow, deliberate tempo dominating the track. As the day progresses, we come to "Sunrise." With the sun now peaking out over the horizon, the music kicks into a new gear. The melodic passages are stunning, creating great imagery. Offset by the heavier moments, the track is ripe with a more dynamic guitar lead than its predecessor. Even including a small piano melody does wonders for the overall arch of the song, which plays out as an instrumental, with the rare scream from frontman Valkus.

But as "Morning" begins, we come back to the death/doom style that the band executes so flawlessly. Orlando's drums are key, pounding and pulsing throughout. The density of the guitars grows, along with the vocal layers. An interesting component that comes into play is the fractured harmony that comes from the vocals themselves, with two distinct deliveries on top of each other. Atmospheric keyboards cut through the mix, adding an eerie feel to the overall sound. That darkness penetrates into "Afternoon," drawing a sharp contrast from one passage to the next. Clean, echoing guitars fade in, then erupt into a flurry of distortion and drums. The storm passes, making way for another melodic section. Here, the band's strength is apparent, crafting numerous melodies, and bringing them together in a cohesive and effective way. Playing the harshness of the vocals of the richness of the music is a bold move, one that pays dividends over and over. It also allows for an equal split of the focus between the vocal line and the musical story.

As we turn from day into night, beginning with the track "Sunset," there is a decidedly darker feel to the music itself (no pun intended). It is often overshadowed by the devastating guitars, but the bass shines through here, adding a depth to the music. the ability to move back and forth between a more post-metal oriented attack and the traditional death/doom sound is impressive, and allows the band to show off multiple facets of their work. Never is this more evident than on "Evening," where contrast and compare is the name of the game. One moment, you are thrashing away with speed and power, and the next you are immersed in a delicate piano melody. It may seem like second nature to be able to make those pieces fit, yet so many bands pass on that, looking to simply bludgeon you to death with riff after riff. As we fade into "Night," there is one last assault to muster. With a three headed vocal monster, you are treated to everything this duo has to offer. This is a standout track, and could be the one to turn head across the world. With a mix so crisp, musicianship that is so clean, and writing that is deeper than many others, this track speaks volumes. The haunting outro will stay with you after the music has stopped.

With influences ranging from Katatonia to My Dying Bride, it is no wonder Valkiria have created such a diverse and inspired sound. Sure, you may have heard albums like this in the past. Perhaps even recently. But rarely does an album follow it's story arch so well, and yet not find itself stale by the midway point. With each passing time of day, you are treated to something slightly different than the offering before it. The subtleties encapsulated in these seven tracks are numerous, and it would be a travesty to only listen once. "Here The Day Comes" would be a welcomed soundtrack to any day of the week.

8.5/10

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

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Freedom Call - Land Of The Crimson Dawn (2012)

The symphonic power metal band, Freedom Call, is back with another amplified album, entitled “Land Of The Crimson Dawn.” The German outfit delivers monstrous guitar solos and catchy refrains throughout this epic adventure of an album. It contains 14 tracks that you won’t be able to get enough of after you hear it.

The album opens with the energizing “Age Of The Phoenix.” The verse kicks right in with powerful clean vocals that fly high over blaring guitar rifts and fast double bass pedal drumming. Layered vocals build up the chorus as cymbals constantly smash in the background. The refrain holds catchy lyrics and guitar riffs and will have you bashing your head to the melody throughout the track. Wild guitar solos follow after each refrain throwing melodic notes at you that will remain stuck in your head for days. This leads right into “Rockstar” which starts with rapid chugging guitar riffs with epic layered guitars on top. Strings and synths float in the background consuming you deep into the song. The verses are delivered with aggressive singing vocals that slowly turn into layered vocals that chant into the chorus. This refrain will grab you the minute you hear it. I played this song over and over again the first few times I heard it. It’s just that damn good. They include insane guitar solos that will knock you on your ass. Meanwhile the double bass pedals and snares come through and beat you to the ground.

“Crimson Dawn” jumps in with gorgeous piano riffs and hell raising guitar melodies. The verses contain galloping bass lines and soaring vocals that make you want to throw your devil horns into the air. The chorus comes through with more catchy lyrics and guitar riffs as wicked drum fills rumble beneath you. Violent cymbals destroy the background through most of the song as they relentlessly shatter away. The bridge consists of a gorgeous piano riff that is accompanied by soothing strings and light vocals. It then runs right into heavy chugging gutiars and dark growling vocals. Yes that’s right I said growling vocals. It through me off as well but you’ll find that it goes perfect with the track.

Another powerful track on this album is “66 Warriors.” It opens with a creeping synth sound effect as they chant, “Warrior Oh Warrior” in the background. The verses are filled with fast guitar riffs and quick double bass pedals as cymbals echo behind them. The chorus delivers super high pitched vocals that really put the “pow” in “power.” The guitars stay aggressive throughout the song as they mix it up between melodic chords and beastly chugging riffs. The song ends with a mind blowing guitar solo that has wicked noted thrown in every direction. This is definitely one track you do not want to miss.

After playing these four songs for the first time you might find yourself restarting the album. That is just how good these first four tracks are. Each one is unique and catchy in their own way and definitely become stuck in your head for a while. However don’t stop listening here. There’s still a couple awesome tracks to hear. “Hero On Radio” reminds me of an Edguy song the way its got a corny title and lyrics but is catchy as hell. The chorus contains soaring vocals with simple lyrics that you’ll start singing to right when you first hear it. The track has a very uplifting mood and seems like it would be fun to see live.

Towards the end of the album you will come across a song called “Eternity.” It opens with heavy strings and ravishing piano riffs. Double bass pedals destroy the background as punishing guitar riffs come flying in. The verses are calm and begin to layer with more vocals. This builds up the chorus perfectly as double bass drumming continues to roll through while catchy guitars and bass chug away in the background. You’ll be humming along in no time. This is one song you don’t want to miss.

Freedom Calls has been up and down with past albums like “Dimensions” and “Legends Of The Shadowking” but neither compare to “Land Of The Crimson Dawn.” This is a phenomenal album from front to back giving you catchy riff after catchy riff and upbeat lyrics that will have you singing along throughout its entirety. This is definitely gonna be on everyones top 5 for best power metal album of the year. Make sure you pick it up and check it out!

9.5/10

Official Site - http://www.freedom-call.net/
Myspace - http://www.myspace.com/callforfreedom

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Et Moriemur - Cupio Dissolvi (2011)

From the majestic city of Prague, in the Czech Republic, comes a band that is putting their own spin on the death/doom style. Et Moriemur have a clear purpose, a very distinct content to present. Contained in the nine songs of their new album, "Cupio Dissolvi," are true stories of suicide. The darkest of endings is not lost in the most dire of musical styles, but rather brought to life through the music and lyrics. And while this isn't your typical death/doom offering, it does embody all of the more prevalent keystones of the genre. Throw in the use of six different languages, and you have yourself a worthy change of pace.

The somber tones that open "Deliverance" are exactly what an album of this nature demands. Immediately, you are greeted with two completely opposite vocal deliveries, jumping from the clean singing into deathly growls. Singer Zdeněk Nevělík dominates the low register, shaking you to your core. His presence, whether it be during the heavier portions or the light, clean guitar passages, is undeniable. And while his vocals are sharp, his keyboard entries are precise and well crafted. The layers of sound that emerge are crisp, even when the mix is not. The follow up, "Deep," takes a similar route, building from light melodies into something much larger, much more dense. The keyboards add a demented fun house feel, tying together the pounding of drums. But contained here are stories of sadness, the overwhelming feeling of helplessness felt by the people who lived the stories. The explosive chorus sections cut through the tension like a knife, even unleashed a flurry of double kicks. Nevělík's voice takes on another facet, a raspy, harshly delivered scream. The thrashing guitars and drums disappear, leaving only a piano melody to carry the breakdown. The air of beauty comes through, even when all is bleak. The quiver in the vocals is all the proof you need of the emotional weight being carried here.

A more conventional track, "Insatiable Wrath" brings to mind some of the best of the genre, from Helevorn to newcomers As Autumn Calls. The dueling guitar parts are perfectly intertwined, with one playing slow notes over the distorted chords of the other. The flood of atmospheric keyboards syncs perfectly with the rumbling of drums and guitars. It isn't often that one 30 second clip can give you chills, but you may find just that in the breakdown here. The vocals remain dark, growling ahead over clean guitars. The title track to the album, "Cupio Dissolvi," has the most innocent of beginnings, with  xylophone sound echoing through the air. But by the time Nevělík's blackened vocals enter, all of the purity of those sounds has gone. The drums are seemingly endless, and the guitars gain momentum with every chugging chord. But a break in the distortion reveals a keen sense of melody and morose. There is a more traditional doom feel to this track, finding a romanticism of sorts in the dark subject matter. It is hard to convey in a lifetime all of the sadness that the band pours into each note, and there is no better representation of that than in the waning moments of this track.

The longest track, "Cross And The Rose," brings back the dynamic mentioned earlier, throwing Nevělík's growling style over clean music, this time including a melodic bass line that may seem to come from nowhere. The constant changing of tempos and patterns keeps the flow fresh without disturbing the delicate balance of harsh and heart breaking. The return of atmospheric keyboards hammers home the sorrowful lyrics, while the constant thunder of drums, guitars, and bass keeps the track on point. As clean guitars take over, whispered vocals float by, only to be dashed to bits by the oncoming storm. But with each gray musical cloud comes a silver lining. In this case, "Vanity In Vain" is just that. The xylophone sound returns, with screeching, but whispered vocals layered on top. There is a simplicity to the construction, but a clear sense of timing and melody as well. It would be hard to deny a similarity to My Dying Bride, especially in the latter stages of the song. And by no means is that an insult in any way. The doom elements on display are impressive, and the extreme contrasts take the song to a different arena entirely.

The more heavily played "Abstain" jumps back to the deathly side of things, erupting from the opening moments with more of Nevělík's deepest growls. Double kicks fly by you from all angles, enveloped in rapid chugging guitars. And while things do slow down, musically, the torrential rains of emotion never stops. From the clean vocals to the growls, each word seems to take you deeper into the stories of these lost souls. The beautifully constructed and aptly titled "The Last Poem" builds from a solemn piano, backed by light keys. Even as the guitars enter, distorted and crunching, the piano continues on, adding in a layer that is rarely utilized in this style of music. This variation on the traditional formula opens the door for more instruments to come through. After building to a boil, the track comes back down in a heap of strings and piano tones. Without breaking stride, "ªal" begins. If the previous eight tracks haven't moved you, this one will. Light, clean guitars and synthesizer produced woodwinds accompany softly spoken words. A fitting end to the album, and a fitting end to the story.

The common misconception that metal is devoid of emotional investment rarely seems to be challenged by the more mainstream metal acts. But Et Moriemur have proven that metal, in any form, can be more than blasphemous stories and Satanic undertones. They are heavier in places than a traditional doom band, but more heartfelt at times than death metal usually allows. The combination of the two results in an album that is powerful in so many ways. And while it is nearly impossible to convey all of the sadness, hopelessness, and sorrow that surround the thought of suicide, "Cupio Dissolvi" is successful in bringing the darkest days to light.

9/10

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

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The Podcast: Episode 38 (Rocket ride to Planet Piss)

No need for introductions this time. We jump right into the fray to discuss some of our reviews. Justin sticks to the flat 50 this time around, with two American bands in Fister and Spiral. Darrell wanders abroad once again, visiting Russia to check out Svartby, and France to get his first listen of Kells. But we are preoccupied tonight. We were once told that the Metalocalypse had begun. Well, a new wave is coming. Season 4 is on the way, accompanied by a new album by Brendan Small's Galaktikon. What the hell? Well, we know very little, but we have a lot to say about the man, the band, and the show.

Part 1, son.

Part 2, dawg.

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Svartby: The Interview

Alexander "Giftsvamp" Ostanin, keyboardist, concept creator and lyricist for Russian brutal folk metal band Svartby gave us some great insight on the band, the music, and what it feels like to be lumped into that same old folk metal genre. Great info, great read, great band.

First and foremost, thank you so much for giving us this opportunity. We are grateful for the chance to discuss your music.

Giftsvamp: Hi! It's not very usual to us, to give an interview to the guys from across the ocean :)

You make it a point, via your bio and your Facebook page, to separate yourself from some of the more cliche sub-sects of folk (Viking, Pagan, etc). Throughout your career, have you found that being lumped into the folk movement has had an impact on how people perceive your music?

Giftsvamp: Now, come on! When people see us tagged as folk-metal they expect much of the common folk stuff from our music. And all the trve-folk stuff is indeed dull. When the next “folk”-band you listen to sings about the same old “battle”, “viking”, “axe”, “sword”, “beard” and every boring thing like that, you think that it's not better than power metal cliches with all of their emerald dragon swords of the trve elvish glory of the angel's wing of death of the throne. Same shit. You're just fapping for the other object like hundreds did before you. So we're just happy when this or that band has enough balls, brains and sense of humor to do something unusual. Like Trollfest did – I didn't like much their arabian motives on the latest cd, but they're to be respected for that, it's just incredible. So are we, since Svartby's founded in 2004, we try to invent smth. unusual every time.

The world of "folk metal" is getting crowded and stale, as more and more bands release albums. Somehow, you manage to stand out from the rest. What is it about what you do that makes your sound so unique?

Giftsvamp: It's keyboards I think. I'm always (always) playing solo-parts, and I'm trying to keep the sound not serious. Being a fan of 8-bit and eurodance music (among everything else), I'm always trying to make it bouncy, playful, not true-folkish or true-symphonic. While other guys insist on and promote the hard metal sound, it reminds how several people pull one blanket to each one's side :) The blanket becomes stretched as a string :) So this thin balance makes the point.

The new album, "Elemental Tales," contains so many rich synthesizers, in the form of orchestral instruments, that keep the music light, even when the music around it is so heavy. How did you come across that balance?

Giftsvamp: Well, each member participates in music making process. Someone brings some theme (a pair of riffs or a keyboard tune), and upon it we are building a song slowly, and everyone invents his own parts. When we have arguing, we vote what is to be expelled from the song or what shall we let be.

Can you give us a little insight into the lyrical content, and, in particular, the magical creatures that the songs follow throughout the album?

Giftsvamp: Each Svartby's album is conceptual to some extent. We have the main theme, that is “Svartby”, a mystical imaginary “Black Village” where mischievous and merry creatures dwell. They're playing dirty and evil tricks on human villages (just for lulz), regaining the rights of nature from them (it happens to be a side-effect actually). And every new album is devoted to another magic folk doing so. First one was about witches, second one was about dwarves, and for the third “Elemental Tales” we chose elemental imps. Obviously we have Water, Earth, Air and Fire imps. Wood is more or less classical too, met in few concepts. And we added Mushrooms. Our spoiled generation thinks about psylocybe ones at once, but we mean every mushroom in the forest. As for ourselves, we use only edible ones in our common lifes :)
 
The song "Sleepy Devils," for one, stands out as a strong track on the album. With clean, acoustic guitars, and a great synth-supplied melody, you have found a great contrast between heavy and light. What is the writing process like for you, and how do you go from an idea to a finished track?

Giftsvamp: Thank you! Well, I've already unveiled few things. The process looks like this: someone brings a cool riff or a keyboard tune. We have many of them in cellars, but song is usually built upon a fresh one. We work in Guitar Pro program, it's the most convenient to change ideas. I have even forgotten the common piano notes, but I fluently play keys on guitar tabs :) So each one adds to the song, we discuss and when everyone is pleased, we learn the song and come with it to rehearsal. There we usually do drums and some necessary changes. And then I write lyrics, working with vocalist.

You are very open with your opposition to ACTA, PIPA, and SOPA. You even offer your music up for free, hoping to spread the music across the world. Why do you think people are so stuck on the "old ways"?

Giftsvamp: It's always a challenge to change your way of thinking. But the world is changing rapidly. Our kids will not know the connection between an audiotape and a pencil (do you?)), they'll scratch their heads when someone mentions “bootable floppy disc” and so on. How can you use the same old rules to the new world? They don't really have new convenient ways of purchasing music, so until they do, free spreading and sharing of information must stay free. Music is information. When you come to the library, it costs you nothing, and thousands of readers can read one and the same copy of a book or watch a movie, but no one pays for it. Society thinks it's ok, but when you download an album to get acquainted with it, you're a criminal. What's the big difference between libraries and music sharing? It's very convenient now to deliver ideas, to share things through the internet, and if you're opposing the progress, you're an idiot.

And while those movements haven't impacted Russia to this point, how do you think they have affected your rise, as a band?

Giftsvamp: They didn't. I've just thought about an idea that every official at the customs can ask me to show my phone and when he finds illegal tracks, he can sue me. Damn it, how can he know, whether I downloaded it from the web or ripped from my own cd? It makes me feel bad when I think about it. So we just want you to have as many Svartby's tracks in your mobile devices as you want. No one can sue you for them, and we support sharing our music.

In that same vein, how do you think your use of social media sites like Facebook has helped to spread your music, your message, and your story?

Giftsvamp: Every social network helps in promotion, it's the most great instrument to share and communicate. Though we deleted our first foreign profile, MySpace, recently :) The site is NOT convenient, it's very clumsy and it makes me sick. We didn't update it and finally got rid of the profile. By now, Facebook (and its Russian equivalent Vk.com) are our main playgrounds :) Well, Last.fm too.

The most interesting aspect of our work is the ability to hear music from all over world, and get insight on how the local scene affects bands. That said, what is the metal world like in Russia in 2012?

Giftsvamp: Lots of bands, and practically every style possible. But it may vary from city to city ) For example, Moscow is most known for its heavy/power, pagan and black metal bands. Our St.Petersburg tends to brutal death/mdm, grindcore, metalcore and scandinavian folk-metal. There are lots of perfect bands, you just only start listening to them in style you like most. The latest trend in Russian metal world is somewhat enormous popularity of stoner rock and groove metal.

Finally, a question of language. Your songs are done in Swedish and English. What led to the decision to use those languages, in particular, on the album? And how important do you think those lyrics are to your popularity in English speaking countries?

Giftsvamp: From the very beginning we sang in Swedish. When we started Svartby, I've been learning Swedish, and when you are excited by anything new, you put it everywhere: your social network status, your mottos, you put some words in you common speech. New band's lyrics were not an exception :) And ton the third album I've just wanted to write lyrics easily, to do some wordplay. My level of Swedish doesn't let to do that yet, it's always a bit an effort. So we did this album in English. I don't know about popularity. We publish translations for all of our Swedish songs at our official homepage, so everyone can get the point. Though it may be easier to sing along now :)

What can we expect from Svartby in the months to come? With a new album out, and an ever-growing fanbase, what comes next?

Giftsvamp: The main goal now is to start playing live. We have few gigs planned for Summer, so we rehearse hard these weeks – moreover, we have new band members, and we can't wait to test their skills on stage :) As for a new release, we must relax a bit and think where to go next.

Thank you again for your time, and your insight. We appreciate your efforts, and we look forward to what is next!

Giftsvamp: Thank you for the interesting questions! It was a real pleasure to answer.

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Eluveitie - Helvetios (2012)

Eluveitie, the masters of folk metal, have finally returned with a brand new album, entitled “Helvetios.“ The album contains an outstanding 17 tracks and gives you everything you want and more in a pagan folk metal album. They include wild solos from unique instruments such as the flute, the violin, and even the hurdy gurdy. You’ll also find violent guitars, dominating drum rolls, and beautiful piano riffs throughout this pagan masterpiece.

It all begins with a “Prologue” of a man telling a story while ocean sound effect drift in the background. This fades into “Helvetios” which storms in with melodic riffs by the infamous hurdy gurdy and monstrous guitars that chug away violently. Thunderous drum rolls accompany this epic sound as female vocals chant loudly in the background. The first verse comes in with roaring growls and fast guitar riffs. The chorus contains fast pace double bass pedal drumming and aggressive growls as female vocals chant in the background. Later you’re met with a wild solo by the hurdy gurdy. This solo will absolutely knock you on your ass. It’s melodies make you want to get up and dance while the guitars and drums make you want to bash your head recklessly.

One thing that you can always count on with Eluveitie is how clear their growling vocals are. Usually it’s so hard to understand what death and black metal growls and screams are actually saying, but with growls as clean as these you can pretty much hear everything that is said. Songs like “Home” and “Santonian Shores” are some perfect examples.

Towards the middle of the album you will come across “Meet The Enemy” which jumps at you immediately with heavy chugging guitars and exploding drum fills. The verse starts off right away with demonic growls that echo throughout the entire track. Meanwhile a little flute melody jumps in the background giving an uplifting feel to the song. You’ll run into this flute again in the middle of the song as it delivers a mind blowing solo that will make you want to replay this song for sure. Double bass pedal drum rolls rumble heavily in the background keeping an upbeat tempo. The end ahs an interesting surprise and female vocals step in with spoken word. This spoken word quickly turns into a bone chilling growl that will definitely make you shit yourself. More female vocals show up in “Neverland” as well only this time they are in the chorus and accompany the male growls giving a strong beauty and the beast type of sound. Later you’re met with a catchy violin solo that will have you dancing in circles in no time. Double bass fills shake from underneath you with detailed rolls and shattering cymbals.

If you like the use of female vocals so far then you’re gonna love the song “A Rose For Epona.” It opens with gorgeous piano notes and angelic flutes and hurdy gurdy melodies. The female vocals take full control of this song as you‘ll find only short clips of growling lyrics. The chorus is filled with ravishing vocals and aggressive guitar riffs. Make sure you pay close attention to the drums on this one because that are insane. Constant double bass also opens up the song “Havoc.” This is followed by relentless snares and cymbals that constantly smash away in the background. Monstrous growling vocals step back into the picture and completely pound you into the ground with its viciousness.

“Hope” is a short piece that is strictly instrumental. Gorgeous flutes soar high over bag pipes and acoustic strings. The melodies are catchy and definitely leave you wanting more. Two and a half minutes just isn’t enough. Of course, you’re reawaken by the devilish growls in “The Siege.” This is one of the more violent song on the album for sure. You greeted by both male and female growls throughout the song and booming drum rolls as well. They include an upbeat violin solo that carries jolly melodies that really mix up the mood of the song. “Alesia” is another track you don’t want to miss. Beautiful female vocals open the first verse as the reckless growling vocals follow. The chorus contains both vocals layered on top of one another. Meanwhile quick kicks and snares beat up the background and carry heavy distorted guitar along with them. Another flute solo steps in during the bridge forcing you to get up and dance. This is another one of those “must play again” kind of songs.

Over the years Eluveitie has used the female vocalists more and more through each album. They really play a big part in this album and it definitely adds more diversity and balance to the band and the music. As far as the instruments go, everything mixes together perfectly. Refrains are catchy, guitars are heavy, and the drums are punishing. There are times you will want to dance and times that you will want to mosh. When an album gets you moving as much as this one does you know you’re in for a treat!

9/10

Official Site - http://eluveitie.ch/
Myspace - http://www.myspace.com/eluveitie

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Kells - Anachromie (2012)

Living in the United States poses problems for the avid metal listener. We often miss out on some of the best and brightest new acts, who seem confined to touring and releasing albums in Europe, thanks to our crumbling recording industry. Case in point, France's Kells. This female fronted band has already gained notoriety across the pond, touring with and opening for the likes of Tarja and Apocalyptica. Led by Virginie Goncalves, whose vocal talents have all the grace of Simone Simons, with all of the grit of Angela Gossow, this French four piece has us curious. "Anachromie" is waiting, and we are ready.

The sound of a music box opens "Bleu," a sound so delicate that you feel as though breathing might disturb it. But before long, distorted guitars chug into frame, and drums pound ahead. Goncalves' voice, singing in French, hits you on a such a profound level, with an outpouring of emotion. The light sound of bells echos through the background, creating a stark beauty and beast contrast. This approach finds a home anywhere and everywhere on the album, as you find in "Se Taire." This time, however, it is Goncalves herself that provides the differing styles. In one breath, she is screeching in an evil tone. In the next, she is serenading you with all the beauty and grace you could ever expect in a metal track. The musical approach is standard, but not watered down. There is no shortage of riffs, no lack of destructive fills. The only downside becomes evident in tracks like "Illusion d'une Aire," where the nu-metal influence in the guitars becomes a little cumbersome. And while the vocal performance is enough to lift up the instrumental, it can be a tricky balance. A ethnic inspired interlude breaks up the density, with Goncalves chanting softly over the top, before the music explodes anew.

Some more intense and inspired guitar work inhabits "L'heure Que Le Temps Va Figer," a track that embraces the light vs. dark intricacies that make this style so effective. A sliding bass line takes the spotlight in the verse, giving way to some deft chord work and vocal patterns in the chorus. The blood curdling scream that Goncalves lets out leading into the second verse is enough to elicit chills. A short break comes in the form of "L'asphalte," a simple guitar melody, drum beat and vocal track. Enjoy the chance to relax, because "Emmures" is prepared to squeeze the breath out of you. A dynamic burst of riffs and rolls, the track is the most complete offering on the album, including some keyboard action to round out the mix. Each scream is unexpected, even when you seemingly know it is coming. The beauty in the verse leaves you with a false sense of security, only to have it torn away. And while "Quelque Part" may seem like a safer track, one that is easily accessible to fans of female fronted rock and metal alike, that is not to say it doesn't have its moments. It is stripped down, a bit more simplistic.

The unfortunate return of nu-metal comes with "Le Manege Dechante," boasting an opening riff that could have come straight from a Korn song in the last five years. And while Goncalves' voice is as enchanting as ever, even she can't be a crutch for the unfortunate backing music. Aside from some interesting piano work, there isn't much else to celebrate here. The moshing guitar breakdown and scream fest that follows can't save it. It is too far gone. Immediately taking a more melodic approach, "Cristal" hopes to redeem the prior track, and does so with some success. It scales back some of the band performance, and allows the vocals to shine through more clearly in key spots. Some of that unnecessary riffing remains, cluttering parts of the chorus, unfortunately. But Goncalves manages to salvage the track with a vocal melody. Cloudy and convoluted, "Addictions" is only as successful as the vocals can make it. With a guitar lead that is one dimensional and oddly timed drum patterns, there isn't much left to talk about here.

A surprising use of strings catches your ear, only to be dashed to bits by more nonsensical chugging. "L'Autre Rive" has the lateral movement you have been waiting for, with keys and strings sharing time in the mix. But the monotone guitars simply don't do their cohorts justice. The riffs sound recycled, as if you have heard them before on songs past. This becomes the story of the latter trio of songs on the album. Even the deep, rich screams that begin "Nuances" seem lost at this point. There is just no change in the action, no reason to keep listening outside of the desire to hear Goncalves do her best to carry the band. Her scat rap into scream in the breakdown hear might be enough to hit the stop button. But, if you do press forward, the closing track, "L'Echo" may give you reason to try again. From the more delicate, melodic opening to the more aggressive later sections, there is something inherently moving to be had, especially given the emotionless performance of the previous tracks. The string accompaniment is well placed, and helps to hammer home the movement.

A band's worst nightmare is when their music becomes predictable. And Kells has fallen victim to that very fear, with track after track of the same old thing. And while some bands have built an entire career over the power of a single, charismatic frontwoman (see Lacuna Coil, Evanescence), they actually do themselves a disservice by covering her talents with an overflow of distortion and dysfunction. If there is a lesson to be learned from the now defunct Luna Mortis, it's that you need to build around your star, not try to build under her. And while "Anachromie" isn't a complete failure, it needs a breath of fresh air.

6.5/10

Official Site - http://www.kellsofficial.com/
Myspace - http://www.myspace.com/kellsgaia

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Spiral - The Traveler (2012)

Step into a unique and odd mixture of sounds in the album, “The Traveler,” which is by an ambient group known as Spiral. The album leans towards a psychedelic post rock genre with very ambient progressive tones. It’s got four tracks total but each track is pretty lengthy averaging at over 12 minutes a song. The band consists of two musicians, however they have listed a couple of different guests on this album as well.

The album opens with warm bass lines in “The Red Giant Stirs.” The song itself runs for over 15 minutes long and has tons of different transitions throughout. Scratchy melodic guitars layer of the bass in a calm, soothing way. As the drums come in, distortion kicks in on the guitars and will have you bobbing your head in no time. Shouting spoken word fills the air and shows off an interesting style of vocals. These vocals are short as most of the song is all instrumental. Progressive guitar riffs take over as double bass pedals jump in and out of the background. Snares and cymbals are constantly crashing to the beat as the riffs change melody. About six minutes in, all of the instruments drop as you hear a faded synth floating in the background. Wind sound effects draw you in as you’re waiting for what’s coming up next. Eventually calm organ notes and other synths come together and give an atmospheric tone to the song. The aggressive guitars and drums don’t pick up until about 12 and a half minutes in. In the end you are met with more wild vocals that are followed by upbeat guitar melodies that are very catchy and groovy.

“An Epiphany Near Vega 9” is a very psychedelic track that opens with gorgeous keyboards and light guitar riffs that will take your breath away. The vocals are completely different from the first track. They consists of soft clean singing with captivating reverb effects. The verses start out nice however there are a few parts that are a little pitchy as his voice occasionally falls off key. Progressive guitar riffs take over in between verses and play over a catchy drum pattern. The last few minutes of the song contain a lengthy guitar solo that sounds amazing for the most part however just like the vocals lean a little off key to the rest of the instruments at time. It’s an emotional track that you will definitely enjoy as long as you can get over the one or two vocal and guitar errors.

The third track on the album, entitled “The Caves Of Anamnesis,” is the longest song on the album running at over 19 minutes long. It starts out slow with a light guitar riff and whispering vocals for the first two minutes. As synths start to fade in, they also add some whistling sounds that sound pretty relaxing. Eventually distorted guitars come rolling in with a catchy lead solo on top. The drums rolls start to become explosive as each fill becomes more aggressive and complex. Vocals return later in the song as the music slows back down. This time they are shouted with interesting effects adding a futuristic tone to the song. A lot more electronic sounds and synths enter towards the end as they go hand in hand with the distorted guitars that blare along side them.

The final song on the album is called “R.I.P. Rip.” Ambient guitars and keyboards surround you as gentle vocals slowly fade in. The lyrics carry a depressive tone in the vocals going perfectly with the keyboard melodies. A guitar solo steps in shortly after destroying the musical scale with beautiful notes from left to right. After the second verse comes some basic acoustic guitar riffs and more synth sounds. The next verse comes in more clearly as if someone turned the vocals up in the mix. Heavy guitars are slammed in the background while kicks and snares rumble beneath you. Later you’re hit with another impressive guitar solo and detailed drum rolls. The song closes out with acoustic guitars and clean vocals as light keyboards play in the distance. A short guitar solo plays as the track fades to an end.

Although “The Traveler” doesn’t really fall under the heavy metal genre, the musicianship is outstanding and definitely keeps you hooked throughout its entirety. It’s calm and emotional and yet it carries some incredible guitar riffs and catchy bass lines. Although the songs are so long, the music changes up so much that you won’t even notice that you’re listening to the same song. Definitely check this album out if you’re looking for something new and different.

7/10

Facebook - http://www.facebook.com/pages/Spiral/
Bandcamp - http://thespiral.bandcamp.com/

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Svartby - Elemental Tales (2012)

The reach of folk metal knows no bounds. Saint-Petersburg, Russia based band Svartby are doing things a little differently, which is a blessing for those who are sick of the same ol' grind. With a touch of synth and orchestral tones, they have branded themselves a "brutal folk metal" outfit, with not a single song about trolls. And while the lyrical content does follow the goings on of imps, dwarves, and witches, there is a merry melody to it all. On "Elemental Tales," this five piece do things their own way, an idea that pays off in spades.

That air of merry mayhem leads of "Impby," a jolly little tune that takes the sounds of nature, and pairs them with a mischievous laugh. Throw in some synth powered melody, and you have a track ready to burst at the seams. And, I assure you, the seams are torn apart in the opening moments of "Scum From Underwater." The first blood curdling screams cut through the mix, heavier than anything the traditional folk metal branch has ever given us. The drums are pure insanity, crashing from every speaker. The riffs are thrashing violently, while the keyboards paint a completely different picture. The dainty tones keep the track lighthearted, somehow, amidst all the musical chaos. An unexpected, but very welcomed, guitar solo cuts off the keys, and puts an exclamation mark on a three minute chainsaw of a track. That stunning contrast between dense, thunderous metal and the almost circus melodies behind it continues through "Boulder Massacration."  Who knew hard edged folk metal could be so... fun? Even the guitars take on a lighthearted tone in the breakdown, only to erupt again in a devastation flash of chugging riffs and solid drumming.

The appearance of acoustic guitars to open "Sleepy Devils" sets the track up for success. Even as the full band joins in, complete with whispered, raspy vocals, the layers of the mix each have their own distinct sound. The vocals don't stay quiet for long, but rather build to a chant, and then further into deep growls. There is definitely something to be found in the lyrics themselves, which may require some side reading to fully understand, but it will be time well spent. The short xylophone style interlude that splits the track up is as enchanting as anything you will hear in the realm of metal. Followed by another deftly played solo, this is the track that could get anyone hooked. It is immediately followed by "Mushroom Rings," with a lyric video here,a track that caught many an ear since it was released. This is a story track, with an eighties feel to the synths. It may be difficult to sit still during this one, as the riffs and rhythm may get you moving very quickly. The drums are relentless, always pounding out a perfect tempo for the flurry of guitars and bass. The keys tickle your ears while the pure metal output keeps you wanting more.

The stomping madness of "Done With The Wind" is a showcase of what this band can offer that so few others can. The organized chaos that you find here is a force to be reckoned with. The guitars are huge in scope, switching from fret work to chugging in no time. The drums are heavy, but not in the normal sense. They are captivating with every roll or fill. The keys are airy and light, and the vocals continue to grind through you. Separately, they are good. But smashed together in a track like this, and they are gold. In sharp contrast, "Ash And Dust" has that delicate feel that may catch you off guard. The keyboard supplied woodwinds and strings are delightful, barely coming to a low roar. This is a well conceived and wel executed break in the action before "Flaming Balls" comes flying your way. Much like the name suggests, this one is pure fire. Raging forward with high speed and high levels of aggression, it quickly becomes the proverbial bull in the china shop. The whirlwind of keys and synths take the lead role, backed by a hurricane of wild drums. The vocals are chock full of devilish growls and screams, grating on your ear drums.

With a twirling, winding melody leading the way, "Morning Wood" begins your landing on the final tracks of the album. If you haven't begun to dance by now, this is the time, with the synths alone eliciting a toe tapping response. But make no mistake, friend. With the combination of distorted guitars, low, rumbling bass and equally abusive drums, this isn't a teeny bopper type of dance party. In the span of 210 seconds, you may find yourself slamming into things with all of your might. And what that track started, the title track, "Elemental Tales" will finish. The slamming of the kick drum finally breaks the sound barrier, coming down on you with a massive thud. The keys mimic an accordion sound at times, arguably the jolliest of all instruments. The track builds and builds, until everything explodes into an outright beatdown of musical proportions. The closing track, "Imp Slam" is... well, the track should speak for itself.

I never knew it was possible to headbang with a smile on your face. Svartby have crafted an album that makes you feel good, without removing the best elements of metal itself. But this isn't one dimensional, musically, unlike some of the more widely known folk bands. There is a focus on songwriting, but also creating a diverse depth of field. Adding multiple synth sounds turns this into some more than "folk metal,"a fact that is apparent by the time you get halfway through the album. No trolls, no vikings, no problem. "Elemental Tales" stands up on its own.

9/10

Official Site - http://www.svartby.com/
Facebook - http://www.facebook.com/pages/Svartby/

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Fister - Violence (2012)

Falling under a mixture of doom and sludge metal tones comes a band by the name of Fister. They are a three man band from Saint Louis, Missouri and have released their new album, entitled “Violence.” The album consists of five gruesome tracks that throw everything from vicious screams and muffled growls to monstrous guitar riffs and exploding drum rolls all into one big mess of sound.

The album starts off with “Violence I: Forced Extinction.” It fades in with a screechy sound that makes you want to skip the track immediately, however, you should continue to listen through because it’s worth it when the music kicks in. About 30 seconds into the song comes muddy distorted guitars that rumble in with heavy chugging patterns. They are accompanied by relentless cymbals that smash in the background while booming kicks and snares keep the tempo at a slow speed. Vocals soon follow as the lead vocalist delivers reckless and unclear lyrics that are full of rage and fly high over the distortion and bass. After six minutes of violent punishment you run into “Violence II: The An Lushan Rebellion.” The vocals pick right back up with rough growls that are layered with swampy guitar riffs that chug away with tremendous distortion. The tempo stays at a slow speed but with guitar riffs like these you’ll be bashing you’re head to the melody immediately.

“Violence III: Trail Of Tears” is nothing but three and a half minutes of calmness. You don’t really hear much but gloomy sounds and haunting effects. Although the quietness is nice to take in, the track doesn’t really serve any point to the album. If anything it breaks up the flow and momentum of what was heard in the first two tracks. “Violence IV: Global Nuclear Annihilation” however jumps right back into a chaotic mess with aggressive guitar riffs and wicked melodies and chugging patterns. Cymbals shatter heavily in the background while thumping kicks and bass lines roll recklessly underneath. The vocals come shouting in with raging delivery and maniacal lyrics. The guitars will completely destroy you with their heavy dosage of distortion as they are constantly slammed giving your ears not one second to rest.

The final track on the album, “Violence V: Megabolide (Returns To The Heavens)” jumps in with strange sound effects and eerie synth noises. The monstrous guitar riffs don’t actually start until about two minutes into the song. That’s already half of the song which kind of bums you out since you’re looking forward to a powerful ending. Not to say that this track isn’t powerful, it’s just shorter than you’d hope for. The final two minutes are basically nothing but brutal chugging guitar riffs that will have you bashing your head all the way through to the end. Constant cymbals are blaring in the background as you’ll come across some interesting snare and kick fills. They’re tough to hear so you might have to replay this track a couple of times. Before you know it the album is over and you’ll be looking to hit the repeat button.

“Violence” has an outstanding mixture of doom and sludge metal tones that collide in a thunderous way. The recording quality is clear instrument wise however the vocals seem to be a bit muddy throughout the album. This actually works out great though as it gives that dark stoner type of sound to the mix and really gives the album that unique sound that separates the band from others. I would definitely check this album out. It leaves you wanting much more.

8/10

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

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The Podcast: Episode 37 (We march to the beat of a different drummer...)

Back again for another round! This week, Darrell and Justin sit down to talk about Chester, and his latest medical issue.... then some new reviews, as usual. Justin has some things to say about Your Tomorrow Alone, as well as some praise for Opera IX. Darrell was lucky enough to stumble upon a hidden gem with Arke's new EP, "Shatner," and the latest effort by Italian power metal band Drakkar.

But this time around, we wanted to talk drums. Not the physical drums themselves, but the guys who sit behind the kit and do the dirty work. We all know there are some beasts out there, but these guys are the ones that we can call our favorites.

If you want part one, click here.

If part two is what you seek, your cursor goes here.

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Black Sabbath - Paranoid (1970)

Sometimes, a band transcends the genre that they helped to create, standing on a pedestal above the rest. For any follower of metal music, young or old, Black Sabbath is and will always be atop that pedestal. And no album will ever be as revered, as universally respected, as their sophomore release, "Paranoid." Containing some of the most iconic tracks ever written, this album defines what metal is. After all, the modern metal acts wouldn't even exist if it were not for this dark four piece.

For an amateur such as myself, it is often hard to find the words to describe things that are wholly above me. From the first drop of the needle onto that fresh vinyl album, you have every characteristic of music that would be considered "evil". "War Pigs" was the perfect beginning to a perfect album. From Tony Iommi's rich, original riffs to Ozzy Osbourne's signature vocal style, every piece is locked together in a perfect mix. The rhythm section of Geezer Butler, who is also the lyrical wordsmith, and Bill Ward can not be shaken. The title track, arguably one of the most recognizable songs written to date, is an anthem for all true metalheads. There are no tracks that surpass it, no song to challenge it as THE classic metal tune. The guitar lead is as beautifully crafted as any has ever been.

The underrated "Planet Caravan" finds itself sandwiched between a legendary track, and one that you would be hard pressed to find ears that hadn't heard it. "Iron Man" transcends the band, the genre, and music itself. From the comics, to the feature film, the song has been broadcast to the masses, metal fan and hater alike. The B-side of the album, otherwise known as the second half, is chock full of gems that may have been lost in the shuffle of greatness. From the screeching of the aptly titled "Electric Funeral," to the ominous "Hand Of Doom," there is not one ounce of filler. Every note, every skillfully prepared harmony has a purpose. Even the closing track, "Fairies Wear Boots," has its own place among metal lore.

It is certainly a challenge to put into words the impact that a single album has had on my own musical path, let alone the world. "Paranoid" has inspired so many people, young and old, male and female, black and white. On eight tracks, and a mere 42 minutes, one band changed the face of music for generations to come. Those men, Tony Iommi, Geezer Butler, Bill Ward, and Ozzy Osbourne, are true Gods among men. Every time you listen to a new album, know one thing: those riffs, those drums, those vocals would never have been possible without Black Sabbath.

10/10

Official Site - http://www.blacksabbath.com/
Facebook - http://www.facebook.com/BlackSabbath

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Opera IX - Strix - Maledictae In Aeturnum (2012)

The year of 2012 brings us another powerful album by an Italian band known as Opera IX. The symphonic black metal band has been around for quite some time now, and has just released their new album, entitled “Strix - Maledictae In Aeternum.” This is the bands seventh full length album and contains 12 violent tracks.

After a haunting intro with church bells and distant chanting in the background, “1313 (Eradicate The False Idols)” comes in with blaring guitar riffs and harsh growls filled with evilness. Double bass pedals connect each riffs while shattering cymbals clash heavily behind them. You’re hit hard with wicked solos in between each verse as the screechy melodies rip your face off. Dark piano riffs join in on the third verse adding strong gothic tones. The tempo starts to pick up towards the middle of the track as double bass kicks rumble quickly beneath you. Meanwhile relentless snares pound away at you forcing you to bob your head to the beat.

Your greeted with rapid snare rolls in “Dead Tree Ballad.” The monstrous guitar riffs will have you throwing your devil horns up immediately. Eerie strings consume the background complex double bass drumming kicks in. Violent growls take over each verse and echo loudly throughout the song. More machine gun snares are shooting in during the middle of the song where the tempo picks up. The refrain consists of growls and screams layered together giving a more fuller effect to the heavier part of the track. Things change up drastically towards the end of the song as chugging guitars and catchy melodies begin along with low muddy growls. Definitely make sure you check this song out.

“Vox In Rama” is an eight minute song that the band split into two separate tracks on the album. Part one starts out with bone chilling sound effect and light chanting in the distance as ominous guitar riffs come whipping in throwing wild solos at you right off the bat. Roaring growls shout in the background but are very difficult to hear. Evil strings fade in with dark melodies that fade into part two. This is where booming drums and more distorted guitars come in. devilish growls come in loud and clear unlike the first part. The delivery of the vocals are perfect in this one. Towards the end you’ll come across some interesting drum solo patterns that will blow your mind. Then follows low chugging guitar riffs and jack hammering double bass pedals that really end the track with a bang.

Another beast track that really stands out on this album is “Nemus Tempora Maleficarum.” It’s a six minute song that’s wastes no time getting started as aggressive guitars begin chugging away. Strings surround them with melancholy tones while double bass pedals go crazy in the background. This is where you’re going to want to start moshing. Harsh demonic growls fill the air and completely destroy everything in its way. Slow chugging riffs step in during the bridge while wild drum solos explode behind them leaving you shaken up throughout the rest of the album. The song closes out with depressive strings layered with wretched growls and minor chords blasting in your face all at once. It’s a lot to take in but after hearing it once you’ll definitely want to hear it again.

“Strix - Maledictae In Aeternum” leaves you with chills rolling down your spine with its haunting lyrics and evil tones. Scratchy guitar solos will haunt you in your sleep as the evil growling vocals play in your head over and over again. Opera IX are considered veterans in the world of metal and their new album has proven that they can still deliver incredible music.

8/10

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

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Drakkar - When Lightning Strikes (2012)

The world of power metal is a tricky one, divided into so many waves and styles. But one of the stalwarts of the genre has always been the storytelling ability to comes along with the most energetic subsect of metal. Italy's Drakkar have crafted an album that may be 15 songs in length, but the story that is unfolded in front of you is so much more than that. "When Lightning Strikes" tells the tale of fighter pilot Hal Gardner, and his face to face encounter with alien life forms that come to Earth. Call it science fiction, or call it fantasy. But tangled in the lyrics and musical backing is a tremendous story of fear, courage and hope.

Right from the onset, you are being assured that this isn't the recycled power metal that has flooded the market in recent years. "Hyperspace / The Arrival" is symphonic in the truest sense, full of orchestrated instruments and horns. Leading right into "Day Of The Gods," a song which is rich in story telling, launching the story into motion. Softly played acoustic guitar are layered in between keys and synths, allowing vocalist Davide Dell'Orto to spin his tale. Without warning, you are immersed in the pulsing drums and shredding riffs of the first full track, "The Armageddon Machine." The raspy, yet almost operatic vocals in the verse are complimented perfectly by the deep chanting in the chorus, backed throughout by triumphant keys. Double kicks are not in short supply, forming the backbone of the rhythm section. There are some monstrous riffs to be had, especially when playing tag with equally large keyboard melodies. Followed closely by a short but telling interlude, "In The Belly Of The Beast," the story begins to unfold.

Playing out like something akin to an Iced Earth song, "Revenge Is Done" is chock full of high speed guitars and drums. Dell'Orto shows great vocal prowess, keeping you wrapped up in not only his style, but the words themselves. Borrowing words from the powerful "V For Vendetta" protagonist, this becomes a rallying cry for future battles. The title track may be the most complete effort on the album, in both content and delivery. The bending of keyboard notes that accompanies the distorted chords is excellent, layered with multiple vocal tracks. The chorus reminds us of why power metal has been named as such. The music is empowering, cause for your fist to be lifted into the air, fuel for your fire. With efforts like this, and "Winter Soldiers," the band give us a taste of what power metal used to be, and what could be again. Operatic vocals take hold, and deliver words of victory, or words of fear. But tied to the ever growing rumble of the drums and the ever increasing speed of the guitars, this is an anthem for a new era of metal.

The Asian inspired intro to "Salvation" is quickly overcome with the shredding guitars of Dario Beretta. And while his work is sometimes drown out in the mix by keyboardist Corrado Solarino, both men have their say here. The song is successful in so many ways, both musically and lyrically. The same could be said for the two tracks that follow, as well. "At The Flaming Shores Of Heaven," oddly the more understated of the two, is the perfect blend of symphonics and metal aggressive. On the other hand, "We Ride" features a vocal hook that may bring to mind the work of Avantasia/Edguy frontman Tobias Sammet. Both tracks feature an excess of energy and craftsmanship, something that will not be lost in any mix. Following another short interlude, titled "The Awakening," the band launches into an even more guitar based attack with "My Endless Flight." The riffs are only growing in strength, whether they chug along with deep distortion, or while they fly above it all, screeching with harmonics. Returning to that traditional vocal pattern, Dell'Orto gives cause for hope, soaring over the top.

As the album follows its arc, two more interludes come into play. First, "Aftermath / The Departure," which is a reprise of the opening track. The march is over, and this is the summation of battles once fought. The storytelling aspect is so important here, which makes the lyrical delivery all the more surreal. The second burst comes in the form of "Engage!" which is exactly what you would imagine to be. Twirling guitars set you back into motion, building up speed and momentum for one last flight. Flowing seamlessly into "New Frontier," you are already at top speed when the tracks switch over. But Beretta doesn't stop there, he breaks the sound barrier with his finger wizardry, saying as much with his riffs as Dell'Orto can with his voice. This is the true triumph of the spirit, starting over with unity and power.

Much like some of the works of power metal godfathers Blind Guardian, "When Lightning Strikes" is heavily story based. This is not to say that story trumps style, but the focus is very clear. Through 15 tracks, you are treated to power metal standards in vocals, guitar work and drumming. And while Drakkar are certainly not yet in the upper echelon of the genre, they remind us that there are more than a handful of talented bands to be heard. If nothing else, you are almost certain to leave this album with a smile. And in power metal, that says a lot.

8/10

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

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