The Podcast: Episode 40 (Mid life crisis)

So, we hit the big 4-0. This past week was the one year anniversary of when two metal heads from New York hit the "Create blog" button, and thus Sorrow Eternal was born. We look back at some of our reviews for the last week or so, recovering from the blooper reel of last Sunday. Darrell had a full plate, with releases from Barren Earth, Three Steps To The Ocean, Diabulus In Musica, and Black Ink. Justin had a productive week, as well, with reviews for Epica, Amberian Dawn, and M-Pire Of Evil making their way to the site. A few news and note later, and we call it an episode...

But not before a big announcement......

There is one part, which can be downloaded here.

There is also a second part, which you could get here.

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Drakkar: The Interview

When you have an opportunity to sit down with veterans of the power metal genre and talk shop, it is impossible to pass up. We caught up with Italian power metal band Drakkar, to talk about what it means to be a part of that genre, the ever increasing competitiveness of the Italian metal scene, and the risk and reward of writing an album that is very story based, like "When Lightning Strikes."

First, let me say that it is a pleasure and honor to have the opportunity to talk to you about your music and your work. Thank you for taking this time to sit down with us.

It's my pleasure, really.

Going back to the formation of the band in 1995, what led to the decision to use the name Drakkar? What does the name signify to you?

I can't honestly say for sure where did it come from, as the name was chosen by the original bass player and founder of the band, which I joined a few months later. However, it's a name I always liked: short, epic, easy to remember and powerful.

Before we get to the music, let's talk about the story that "When Lightning Strikes" is built on. What inspired the story itself, and how important do you think that story is for the listeners?

The inspiration came primarily from the classic American "pulp" science fiction of the '50s and '60s. Stuff like Jack Kirby's comics, Star Trek, movies like "The Day The Earth Stood Still", all those kind of things. I love the American pop culture of those years and I thought it would have been fun to work in that context for the album's lyrics and mood. Things like the spoken parts of "The Armageddon Machine" have been specifically tailored to try and recreate that kind of experience. That's why they are so emphatic, maybe a little bit corny, if you will, but that's part of the fun of it.

Unlike so many other albums, yours is really story based, with each track telling a different piece.
How difficult was it to write music and lyrics to support the story itself?

Well, it was obviously a challenge, but it all came very natural in the end. I'd say that the longest part was to research and find those touches, both in music and lyrics, that would make the experience more organic and unique. Some examples are the Russian polka in the middle of "Winter Soldiers", or the Japanese introduction for "Salvation", things that had to captivate the listener and take him to a specific place and time, make him feel part of the story. We didn't want to create just a collection of songs with intertwining lyrics, but a whole musical journey that you can sit down and take when you put the record on... a cinematic experience, if you will. Once we set our minds to this, it really was a very natural process.

Right from the start of the album, there is a strong focus on symphonics. How difficult is it to balance a strong symphonic element and the pounding drums and distorted riffs?

Well, for us it's always a matter of focusing on the songs, first and foremost. We don't consider ourselves an actual "Symphonic Metal" band; our compositions not usually revolve around the orchestra, of course there are intros and stuff like that, but ultimately, the symphonic parts are our icing on the cake, which is the song. I would say that we're pretty much focused on creating good metal songs with good melodies; then, the orchestra comes in as a mean to add a more epic, grandiose feeling. Of course the orchestral parts are important, but they are in service of the songs, not the other way around.

Not only do the lyrics tell the story, but so much of the emotion comes from the guitar riffs themselves. Tell us a little about the writing process, and how each layer of sound contributes to the overall style of the band?

Well, usually, I write the bulk of each song on the guitar, coming up with riffs, verse, bridge (if any) and chorus. Then Corrado and I work on the instrumental parts and, together with the others, finalize the structure. When the structure is done, everyone works on arranging his parts in detail. Me and Dave usually work together on the main vocal melodies, we've found we get the best results like that, and during this process I also start writing the lyrics, which are usually the last thing to be completed. Everyone of us has the chance to contribute to the sound of the band, and I love that, I think it gives us a more rich and varied palette of influences and moods, as everyone of us has different tastes.

Songs like "Revenge Is Done" and the title track, "When Lightning Strikes," really show off vocalist Davide Dell'Orto's vocal range. Who were Davide's influences as a singer?

Dave has done such a great job on this album, it really show how mature he is nowadays as a singer. As far as influences go, he is a great fan of James Hetfield, Russell Allen, Dave Coverdale, Rob Halford, Ronnie James Dio, Phil Anselmo... But he also likes a lot of music which is not necessarily metal, and I think that helps him to find some solutions which you wouldn't immediately expect. As I told before, we work together on all vocals for the songs and I honestly think we make a great team, because Dave is not just a talented singer, he's also a great guy, always concentrated on making the best possible song, not on showing off. Ego is really not a factor for any of us in the band, and I think that's the reason why we're still together after so many years and despite all the difficulties we faced.

What does "power metal" mean to you? Musically, lyrically, emotionally, how does it make you feel?

It's a kind of music that is full of energy, the perfect blend between aggression and melody. It's a musical style that gives you a boost of confidence, of power... helps you believe in yourself and find the will to take on life, to fight for what is worth to you. I really think it elevates the soul, and that's probably the reason why it goes so well with symphonic touches/influences, because classical music has that same quality, that touch of eternity, it's uprising. At least, that's the way I feel about it.

Being a part of the power metal movement is a huge honor. Alongside bands like Blind Guardian, Rhapsody (and Rhapsody of Fire), and Stratovarius, you are helping to build the most melodic metal genre. What is it that attracted you to power metal, and why do you think it is such a beloved form of metal?

Well, you can pretty much understand it from my answer above. It's a kind of music that has so much energy, it's aggressive and powerful but without having the need to be angry and furious all the time, as it can convey a very positive message. It's power put to good use to raise your head, stand tall, proud, and believe in yourself. I know that a lot of people will always be dismissive of Power Metal because it's not as "cool" as more extreme forms of metal music, but we honestly don't care. We do what we like to do, we're just sincere and we're never gonna allow others to tell us what we must do. And that's another thing which I think is really associated with Power Metal: stubborn passion!

You are no strangers to the Italian metal scene. But recently there has been an explosion of metal bands from Italy, propelling your home country to the top of the metal world. How do you feel about the metal scene in Italy today, and the crop of bands it has produced?

I think Italy has an incredible amount of talented bands and musicians, in every sub-genre of the metal world. It's a shame that it's so difficult for Italian bands to be noticed and recognized by the big European labels and festival (with a few notable exceptions). I mean, everyone could tell you that the road to recognition for Italian bands is twice as hard as that of our brothers from the North... Germany, Sweden, Finland bands have a lot more exposure and chances, while we have to struggle for every inch. But quality-wise, I don't think Italian bands have anything to envy to more renowned musical scenes.

With a new album released through My Kingdom Music, what comes next for Drakkar? What can we expect to see and hear from you in the coming months and years? Can we expect a sequel to "When Lightning Strikes"?

Sure! Right now we're focusing on some live shows here in Italy. We are also looking to cross the border, but that is really difficult and to be honest we are not the time to sell our moms for a 15-minutes support slot where you can barely start playing and you're kicked off the stage, so... We'll have to wait and see. Meanwhile, I already started working on a lot of material for the next album, our goal is to record it in 2013. We don't want to disappear again for another 10 years, I mean, we're back and here to stay and we already lost too much time.

Thank you again for your time, and for the music you make. We look forward to what comes next!

Thanks to you for everything. Stay metal!

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LLVME - Yia De Nuesu (2012)

A lot of bands try to mash too many genres together and end up sounding horrible. Well LLVME isn’t one of those bands. They actually put together a pretty balanced sound in their new album, entitled “Yia De Nuesu.” The extreme metal band from Spain manages to combine blackened death metal sounds with folk and even Arabic tones and melodies. If that description doesn’t excite you than I don’t know what will.

The album begins with the song “1188-1230” which opens with an eerie melody that is accompanied by slammed guitars and double bass pedals. The guitars start to chug away as the verse begins with vicious growls. Booming drum rolls take over the background with echoing cymbals and detailed double bass pedals that will have you throwing your devil horns up immediately. The refrain contains seductive female vocals that hypnotize you deeper into the song as the growling vocals come through and completely destroy you. Later follows a soothing violin solo that is calm and haunting gat the same time. This runs right into a wild guitar solo that runs up and down the musical scale recklessly. The female vocals fade back in soon after with angelic tones and gorgeous melodies. The tracks closes with a beautiful piano riff. This is a perfect opening track that displays all sorts of instruments and structure and gives you a taste of what this album is all about.

Things become heavier with “Helmantica.” The tempo picks up with quick speeds as relentless snares pound away at you while double bass pedals rumble violently beneath you. The growls waste no time as they quickly rush in from the beginning. They are layered with monstrous guitar riffs and surrounded by keyboard strings. Definitely make sure you pay close attention to the drumming because the fills in this track are phenomenal and will blow your mind. Later comes a song, entitled “Conceyu” which contains soothing strings and violins throughout the track giving off both light and dark tones. Powerful guitars blast away in the background as more pulverizing growls take over with wicked lyrics. This track continues to show how diverse they can get with all of the different uses of different instruments and distorted effects. You’ll find yourself hitting the repeat button in no time.

Warm strings fill the air in “Purtiellu De La Llialta.” Beautiful guitar riffs slowly fade in almost playing as a vocals. Distorted guitar come in on top with heavy distortion as they chug slowly as the drums jump in with exploding snares. The verse has an interesting build to it as you will find melodic bag pipes floating in the background while monstrous guitar riffs and drums shake you. Violent growls are thrown at you giving off a realy beauty and the beast type of feel. Meanwhile the strings continue to surround you with their relaxing presence. Later comes another guitar solo with calm melodies and catchy notes. This is definitely a song I find myself going back to again and again.

“Llibacion Nu Alborecer” has a great mixture of distorted guitars and beautiful piano riffs that carry clean male vocals gently throughout the track. Of course you are later met with monstrous growls that will knock you off your seat. Meanwhile demonic violins begin to take over surrounding you with dark devilish tones. You run into these ominous violins a couple of times throughout the track. The song structure was set up perfectly to give you a little bit of everything.

“Yia De Nuesu” has a refreshing sound with it’s unique elements and its use of various instruments. Each track is well designed and leaves you guessing as far as where their sound will lead next. LLVME creates an intense atmosphere of weeping violins, thrashing guitar riffs and warm bag pipes and strings. It’s all connected in perfect time with their thunderous drum fills and relentless double bass pedal rolls. This is definitely a work of art that you don’t want to miss!

8.5/10

Myspace - http://www.myspace.com/llvmedoom/photos

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Rogue Sounds - Jupiter And Beyond The Infinite (2012)

Anaheim, California's Rogue Sounds are creating immense soundscapes that simply cannot be contained. Following in the footsteps of some of the titans of their genre, they are taking the art of post-metal, and making it easy to understand, and even easier to enjoy. And while this three piece offer their work up for little to no cost, rest assured the quality far surpasses the asking price. But eliminating the cost means you have no reason not to hear what "Jupiter And The Infinite Beyond" has to offer.

From the first blast of "Wormsign," you can get a sneak peek of what you are in for. Relentless drumming stands out, never missing a beat. The guitars provide the atmosphere, the bass provides the driving force. Falling somewhere between the unbridled aggression of Isis and the smooth, polished flow of Junius, there is plenty to digest. This isn't a one dimensional instrumental, but rather an ever changing, ever evolving composition. The addition of synths to the background is a subtle, but very effective, touch. And while subtleties are such a large part of what makes this music enjoyable, it is the obvious pieces that make it so easy to listen to. Evident in every drum stroke on "25th Parallel North," there is an assertiveness that, if it was missing, would create a gaping hole in the mix. Instead, every gap is filled, making each section unique, yet connected. The groove provided by the bass line, combined with the airy synthesizers that accompany it, counteract the heavier guitars and drums. It leads to a tug of war, where both side pull, keeping the rope precisely centered.

If, somehow, you aren't sold on the merits of electronics in the post-metal movement, "Mission To The Sun" might hep to sway you, one way or the other. Beginning with programmed horns and beats, it lays the groundwork for a space age feel. What you are greeted with at the beginning is all you get, with the band choosing to use this as an extended interlude, rather than the foundation for a building guitar track. For better or worse, it fades into "Solar Nebula," which immediately brings things back to life. The drums are massive in sound, from each kick to every passing snare. The track is a perfectly formed take on atmospheric post-metal, with an intense wall of sound following you throughout. Guitar chords are strummed, echoing for seconds afterwards. Once again, use of synthesizers brighten the mix, elevating every guitar fueled note to new levels.

The short interlude, titled "Continuum Storm," is short and to the point, break beats included. Walking the fine line between electronic interlude and techno homage, it finishes the arch that "Mission To The Sun" began, this time fading right into the closing track, "LV-426." Gone is the house vibe, and returning is the low end provided by a true rhythm section. Rock solid, like a concrete foundation, they keep the tempo and give the melody a starting point. With layers of guitars and synths building up over the course of over five minutes, you are slowly surrounded by the distortion and crashing snares. There is some degree of immersion that must follow, allowing yourself to be swallowed whole by the mix, only to be washed ashore minutes later.

It is almost amazing how easily Rogue Sounds transition from beats to hard edged, guitar driven metal. The cohesion between all three members results something that is both engaging and accessible. They have taken the ideas of some of their biggest influences, and made them into something uniquely their own. And, with this being a work of art rather than a business venture, they can do what they choose. By offering up the music itself for free, it is an invitation. It reads: "This is our new album, 'Jupiter And Beyond The Infinite.' Sit back, and enjoy." So, what are you waiting for?

8.5/10

Official Site - http://roguesounds.net/
Facebook - http://www.facebook.com/pages/Rogue-Sounds/176567164423

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Barren Earth - The Devil's Resolve (2012)

Finnish six piece Barren Earth have a style all their own. Blending 70's psychedelic rock with modern progressive metal, this outfit is more than the sum of it's members. Featuring current and former members of Moonsorrow, Amorphis, Kreator and Swallow The Sun, this is one "super group" that has lived up to the hype so far. Their first full length, "Curse Of The Red River" was widely heralded as a work of metal genius, by fans and critics from around the world. But with the dreaded sophomore slump looming over them, can they make "The Devil's Resolve" better their the previous effort?

The band wastes no time in getting into the meat of things, with "Passing Of The Crimson Shadows" picking up where they left off. They find a striking balance between melody and distortion, both in the vocal tracks and guitars. The trade off of clean singing in the verse, and the devilish growls of the chorus is always a factor, building momentum with each pass of the baton. But the guitars share a similar aspect, with acoustic picking leading the way for devastating chugging and wild solo work.The progressive rock vibe is furthered by the use of keyboards, always extending the reach of the track, always laying in wait behind the drums. In "The Rains Begin," you have the song that best represents the mission statement of the band. The psychedelic tones are undeniable, with a great growling hook to seal the deal. But the transition from atmospheric to heavy is where the real skill comes, flowing seamlessly from enchanting folk guitars into dense thrashing ones. The breakdown section is a keeper, pairing harsh vocals over melodic, and 70's inspired, guitars and keys.

The pacing picks up on "Vintage Warlords," but the diversity is still at a high, choosing to keep the mix varied, as opposed to focusing on just one style. This becomes a mash-up of Finnish folk, progressive, and the death/doom genre they know so well. The crashing of cymbals cannot be contained, sizzling throughout the track. But as you get to the midway point, you are greeted with an interlude that would make Deep Purple proud, showing that melodic sensibilities have a place in the heaviest of metal outputs. The melodic fades, and the masterful growls return to finish the job. Perhaps the most inspired track on the album comes in the form of "As It Is Written," which sees use of the bagpipes, and very intricate keys. The guitar riffs, bending and sliding, will root themselves in your brain for days. The vocal contrast sees use again, but moreso here than anywhere else. When backed by the shredding and groove that comes from the guitar side of things, you have evidence of a band that is more focused, more complete than any time before. Combine that with "The Dead Exiles," and you are going to have something to hang your hat on. The air of evil is incredible, with a slow, deliberate barrage of drums and guitars. But just when you think you are hearing a straightforward death/doom track that may have been left off a Swallow The Sun release, the melody makes an appearance, cutting through the thick fog of riffs and rage.

Amidst all the heavy riffs and eclectic vocal combinations, the drums may become a background, instead of a leader. That changes on "Oriental Pyre," allowing each kick, every single roll and fill to shine through with surgical precision. The melodic vocal passages are layered so delicately atop a bed of drums and guitars that it is only fitting to have it all torn to shreds by a single scream. Again, you find a strange mix in the breakdown, with guitars and keys twirling and winding over wild drums, syncing back together for a final push to the finish. It would be hard to pinpoint the dark wave of music that you are treated to on "White Fields," where even the more emotive sections have an eerie tinge to them. Whether it be the keys in the melody, or the pacing of the riffs, it all just leaves you feeling slightly uneasy, perhaps even looking over your shoulder. Fittingly this stories end with "Where All Stories End," a summation, of sorts, of the work this band has achieved thus far. Though it clocks in at under six minutes, there is so much on display here, including everything you picked up on along the way. The guitar work is the true star, with some great solo work leaping over the mix. The perfect harmony is struck as the track starts to fade to a close, seeing layered melodic vocals set atop a thunder of drums and distortion. And, as you would expect, a light, clean guitar plays you out.

As we have seen so many times before, the so-called "super groups" fail for two basic reasons. First, they are ego stroking bores. Second, they sound exactly like one or more of the main bands involved. Barren Earth have managed to avoid both pitfalls, creating a sound that is all their own, without a trace of ego or entitlement. From one album to the next, they have fine tuned and honed their sound, finding a more defined space to inhabit. What makes this even more incredible is that it is all accomplished in a limited "side project" schedule. "The Devil's Resolve" is exactly what you want it to be, exactly what you thought it would be, and exactly what it should be.

8.5/10

Official Site - http://www.barrenearth.com/
Myspace - http://www.myspace.com/officialbarrenearth

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Epica - Requiem For The Indifferent (2012)

As we waited patiently, Epica has finally returned with a new symphonic masterpiece, entitled “Requiem For The Indifferent.” It’s 14 tracks of gorgeous orchestrated instruments and stunning vocals with wild performances of electrifying guitars and beastly double bass pedal drumming. The album will have you surrounded with ravishing melodies and breath taking lyrics that are sure to be stuck in you’re head for days.

The album opens with marching snares rolls and soothing strings in “Karma.” The two and a half minute intro contains epic choirs and orchestrated strings to help build up “Monopoly On Truth.” This song comes rumbling in with wild guitar riffs and insane drum fills that will wake you up immediately. Relentless snares punch you in the face while melodic guitars wrap you in circles completely surrounding you with destructive riffs. Simons take over the beginning of the verse with her operatic voice while detailed drum rolls shake beneath you. She is then met with the wicked growls of Mark Jansen which completely rip through the verse. You’ll immediately start to see the difference in this album as you’ll notice that Jansen’s growls are used a lot more often than the bands previous work. Each verse jumps back and forth between the female singing and monstrous growls. The chorus has calm vocals delivered by Simons with gentle tones. Later in the song you’ll come across the first solo of the album and yes it’s a bomber. Each note rips through you with gorgeous sounds while double bass pedals pound away in the background.

“Delirium” opens with soft chants and slow piano riffs that really capture a beautiful image. Simons steps in for the verse with angelic lyrics while piano notes continue to shine in the background. The chorus is mellow and is carried out by Simons’ soothing voice as she delivers catchy melodies. A light choir chants along with her during the refrain giving the song a more full sound. Later enter drums and strings adding more rhythm to the music but yet still keeps the mood calm. As the track builds and builds, electrifying distorted guitars fade in for a short while as the chorus is repeated with reckless energy. This is a ballade you don’t want to miss.

Arabic tones open up the song “Requiem For The Indifferent“ as it really puts together a different sound than we‘re used to with Epica. The verse jumps at you with a few grunts before Simons comes in with her operatic voice. Meanwhile galloping drum rolls run rapid through the background as vicious guitar riffs chug away violently. The chorus reminds you a little more of their older material as Simons soars over the guitars with high pitch melodies shattering the musical scale. This runs right into more wicked growls that are filled with demonic tones. The drums are definitely something to play close attention to in this track. The patterns are constantly changing along with the tempo while each fill is explosive and unique. After a short rest with the instrumental, “Anima,” the song “Guilty Demeanor” comes in with punishing guitar riffs that’ll knock you out of your seat for sure. Blaring chugging guitars are accompanied by dark strings and fast double bass pedals. These monstrous guitar riffs carry through the verses into the refrain which Simons provides you with catchy vocals and clear lyrics. “Deep Water Horizon” is a little more subtle on the intro as quiet acoustic riffs play gently as Simons hypnotizes you with her attractive voice. Distortioned guitars fade in towards the end of the verse building up the chorus perfectly. Theses mesmerizing lyrics will have you hitting the replay button immediately.

Later you’ll come across “Avalanche” which starts out slow with gloomy strings and angelic violins. Simons shines in the verse which she is accompanied by acoustic guitar riffs and light strings. Her operatic tones send a chill down your spine as you feel the emotion in her voice. However just as you become comfortable, Jansen swoops in with deadly growls that’ll make you shit yourself. Blasting guitar riffs echo in the background with catchy melodies and thumping bass lines. A chanting choir chimes in during the middle of the track as a rush of violins speed by with captivating sounds. Jansen steps back in with more vicious grunts destroying everything in its way. The chugging guitar riffs will have you throwing your devil horns in the air towards the end as a mind blowing solo comes through and sweeps you off your feet. This leads right into the final song, entitled “Serenade Of Self-Destruction.” This epic masterpiece runs for over nine minutes long and contains everything from soft piano intros to hard hitting guitar riffs backed with pulverizing drum rolls filled with detailed patterns that’ll have you bobbing your head recklessly. The tempos change in speed constantly leaving you with no time to guess what is about to happen next. The song itself is a real experience and you’ll want to replay it a couple of times in order to catch everything.

The 14th track is considered a bonus track, entitled “Twin Flames.” It’s a gorgeous ballad that Simons really shows of her reach in pitch and operatic style. Soothing strings and piano notes carry you away as you’re put to sleep by Simons ravishing vocals and beautiful lyrics. The refrain will have you humming its melodies in your sleep. Before you know it, the album is back to track one and the adventure starts all over again!

Epica continues to change their sound in a unique and positive way separating each album from the one before. “Requiem For The Indifferent” jumps through their norm of classical tones and orchestrations and pushes forward to an even more aggressive sound than they’ve ever reached before. Monstrous growls and machine gun guitar riffs add a special spark that really ignites the flame for this album. This is a pure beauty and the beast style at its best.

9/10

Official Site - http://www.epica.nl/
Myspace - http://www.myspace.com/epica

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Three Steps To The Ocean - Scents (2012)

Blurring the line between sludge and post-rock, Italy's Three Steps To The Ocean aren't trying to impress you. But they might do it anyway. Combining crushing riffs with a flurry of drums, and the addition of synths to the mix, they are forging a new branch of instrumental metal. One part melody, one part massive guitars, two parts devastating drums, and one part atmospheric programming, this Milan based four piece have all the tools to make a splash on the world metal scene. Their new album "Scents" is proof that vocals are, indeed, optional.

The opening track, "Hyenas," has the band showing all their cards. From the opening bass, to the wall of guitars that follows, this is a sonic assault. The air is heavy with distortion, and the crashing of cymbals. But tying all of the elements together is the use of synthesizers, forming the glue between the individual layers. As the guitars fade, a subtle, and overall delicate, interlude cuts in. Single bass notes echo over the synths themselves, creating a hauntingly simplistic sound. Clean guitars reenter, along with a light snare. In classic post-rock style, the separate pieces begin to climb on top of one another, leading to a massive explosion of sound and fury. Following in the same footsteps, "Zilco" builds from the rubble. The pulvarizing low end forms the foundation, rumbling and shaking all that falls in its path. Softly whispered words cut through the air. But with each subsequent strum of the guitar, you know the blast is coming. A single scream ignites the blaze, and sets the track on fire. Every scream is met with chord after chord of ferocious slamming of strings. Even the softer moments that follow boast a rib cage rattling low end.

The book of subtleties goes out the window on the opening moments of "Cobram," with devastating riffs dominating the mix. Distorted chords are endless, chugging away with reckless abandon. The sizzle of cymbals lays atop the pile, clean and crisp. As the heaviness leaves, you are faced with a haunting melody of synths and light guitars. The bass reasserts itself, taking the wheel and driving the track forward. The melody crashes head on into the destruction, with all four members grinding through note after note of crushing riffs. It all builds to a head, and cuts out for a melodic outro. This leads directly into "Rodleen" which at just under five minutes, is the shortest track on the album. The presence of programmed beats doesn't take away from the task at hand, but rather adds to it. There are short bursts of clean guitars to cut through the murkiness, but this one is all about the rhythm section. The punch of the drums, and the dominance of the bass take the spotlight, giving the guitars a leg to stand on. As things fade out, the track closes.

The final, and longest track, "Collider," is a little bit of everything the band can muster. A soft beginning, with a clean guitar and the thud of the drums. But a whine of a guitar gives you fair warning that he hammer is about to drop, launching the song into distorted heaven. The eerie synths that occupy the background keep things held together perfectly, allowing each member to add his own distinct flare to the music itself. The constant shifts in tempo and time signature keep the track fresh through all nine minutes of blistering riffs. Encompassed here are all of the elements of the post-rock, post-metal, and sludge, combining them all into a single epic product. The buildup in the breakdown is dazzling, from guitars to drums and bass. The electronic element adds a fresh touch to the formula. One last boil over remains, with everything coming full circle, fading away to silence.

Aside from a handful of standouts, the post-metal scene has remained somewhat stagnant for far too long. Too many bands are content to do the same thing over and over again, rather than tweaking the composition to make something new and exciting. Three Steps To The Ocean do exactly that, adding the multiple layers of synths to give a vibrant new twist on the same old thing, a decision that pays off every step of the way. And with three albums in six years, they show no signs of slowing down. With "Scents," they may have given the post-metal world cause to wake up, and smell the future.

8/10

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

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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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