The Podcast: Has been delayed....

So, our live event took place this past week, in front of an audience of 116 rowdy fans. It was a good time, to say the least. We met a lot of metal fans, talked shop, and had a lot of laughs along the way. We are in the process of editing the recording down to a more accessible length, a process that is difficult. We would love to just throw the entire hour plus up here, but that may be overkill. So, friends, sit tight. We will return next week with either a) the live show, ready to be digested or b) our next podcast episode to keep you entertained.

Stay metal.

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Et Moriemur: The Interview

Versatile Czech death/doom monsters Et Moriemur might not be a band you have heard before. But, after Darrell sat down with vocalist, and language master extraordinaire, Zdeněk Nevělík, we are convinced that they are a band you should check out. See what makes their new album "Cupio Dissolvi" so emotional, and where they derived so much inspiration from.

First and foremost, we can't thank you enough for taking the time to answer some questions about your work. Let's start with the new album, and in particular, the artwork. What inspired the cover artwork, and how do you feel it represents the subject matter of the album?

Thanks to you Darrell and to Sorrow Eternal for giving us the opportunity to appear on your excellent web zine! We were looking for something different for the Cupio Dissolvi artwork, something unusual, and happened to find these beautiful wooden dolls carved by a woodcarver who lives in Southern Bohemia. I think these dolls represent perfectly the idea of the album, i.e. the repulsion and, at the same time, the attraction towards suicide. You can feel both the fascination and the horror of the void, of non-existence.

The album follows some true stories of suicide, which is a very dark subject. How did you come to the decision to tells these stories? Were they inspired by people you knew?

I don’t know exactly why, but the stories of these people (whom I didn’t know personally) struck me particularly. Maybe because they are packed with true suffering which admits no solutions. I have to admit that I’m quite sceptical about happy endings :) In general I think that death and the fragility of life, the fact that everything and everyone can disappear from one moment to another without leaving any trace of ever being here, are artistically very inspiring, which is of course nothing new: it has been so since the times of ancient Greeks at least.

The vocals are certainly a highlight of the album. The lyrics are done in six different languages, which is something I don‘t think I have ever heard. How difficult was it to tell your stories through the use of all these languages?

Thank you for having noticed this aspect of the record. I wanted to use quotations from world authors because they express exactly what the single stories needed and I decided to keep them in their original language so as to preserve their unique beauty. That’s why I used all these foreign languages. It’s also my homage to all these incredible writers and poets from different countries.

Throughout the course of nine tracks, you exhibit many different vocal styles, some heavy, and some softer. But what stands out is the emotion that seems to pour out in your words. Did you find yourself personally affected by making an album like this?

I think you cannot write about people’s deep suffering without being moved by it. I chose only stories which inspired me emotionally and wrote the lyrics trying to identify myself with these people and feel, at least in part, the desperation and all the other feelings they possibly went through. It’s surprising how many things you can have in common with people who decided to kill themselves. There isn’t a qualitative difference, we are talking about the same emotions, only in their case it was unbearably intense.

Musically, the album itself is very diverse. With two layers of guitars, crashing drums and the use of atmospheric keyboards, you create a much deeper sound than traditional doom. Tell us a little about the writing process, and how each of the instruments come into the final product.

For most of the songs I came with a rough version, which my bandmates completed with their own contributions, enriching the original structure. Michal (drums) was particularly helpful in this regard and came with some great arrangements and melodies. Honza (bass) came with some super riffs too. The last step was writing lyrics which matched the atmosphere of each song and this was in some cases the most difficult part :)

The style of music that Et Moriemur plays could be simplified to death/doom, but there is a large variety of sounds and styles to hear. Who were your biggest influences in the formation of the band, and how did you come to such a delicate balance of death, doom, black and melodic metal?

As a doom metal band you cannot ignore the big names of this genre and we too were influenced by classical doom, death/doom and funeral legends. But we’ve always tried to have a personal approach and a distinct sound to the highest extent possible.

But we don’t listen only to doom or only to metal either and you can count among our influences such different artists as DIMMU BORGIR, CRADLE OF FILTH, BURZUM, the darkwave bands referred to as NEUE DEUTSCHE TODESKUNST, NICK CAVE, JOY DIVISION, BAUHAUS, classical music and composers like DES PREZ, GESUALDO, DVORAK, CRUMB, BARBER, PROKOFIEV, BARTOK or SCHONBERG, the French chansons, the traditional Moravian music and even bands coming from the hardcore scene like NEUROSIS, GODFLESH or THREADBARE, as well as some industrial and noise bands.

It is very rare that we have a chance to hear a band from the Czech Republic, let alone a metal band. What is the metal scene like right now in and around Prague?

I think there is a thriving metal scene here, there are many amazing, top quality bands and we have some very good extreme metal festivals. Unfortunately there are no big labels to support these bands at home and abroad, almost everybody who is active on the metal scene does it for passion which is fantastic, but simply cannot match foreign labels with more financial possibilities. And of course there are people who don’t care about promoting local bands at all and prefer to support foreign established acts. As far as doom is concerned, there are very few bands indeed. I think we are the only doom band in Prague plus there is a couple of other doom bands in other areas of the country.

You have shared the stage with some great bands over the short history of Et Moriemur, from Helevorn (one of our favorites) to Saturnus. And this year already, you have dates booked to play with Esoteric and Ahab. If you could put together your ideal tour, with any set of bands you wanted (past or present), who would you choose?

That’s a good question :) I think that sharing the stage with BAD RELIGION, SICK OF IT ALL, BLUT AUS NORD, GOBLIN, OBITUARY, GRAVEYARD DIRT and EVOKEN would definitely make my day :)

One thing that stands out is your open support for animal rights organizations. It isn't often than metal bands take such a hard stance on those, or any, issues. How important is it for you to stand by those organizations, and what led to that open discussion?

As you said, taking a stance on anything is not common among metal bands. But I grew up not only on metal but also on punk/hardcore where these issues are quiet common. I have been vegetarian for 16 years now and I think that there are things which we just can’t pretend to ignore. Many metalheads don’t see eating meat even as an issue, not to mention those who consider killing animals as „cool“, „true“ or „natural“. And we try to do more than simply talk: Et Moriemur send ten percent of the price of each sold copy of Cupio Dissolvi to a Czech animal rights organization, we distribute pro-animal rights information leaflets at our gigs and organize a doom festival here in Prague called “Patior Ergo Sum” during which we offer strictly vegetarian/vegan catering.

With your new album out, tour dates scheduled, and a full band locked and loaded, what comes next for Et Moriemur?

We are working on new material which we hope to record later this year and will see if there is any interest from labels to release it. But as the economic situation is dire and labels prefer to invest only on established acts we could as well decide to release it by ourselves, that won’t stop us, we are used to doing things by ourselves. Plus we are already planning our December edition of Patior Ergo Sum and our gigs next year.

And I have great news: Et Moriemur have just ranked second as "New Artist of the Year" 2011 in Břitva awards (Czech rock/metal publicists awards). We are extremely happy with this result!

Thank you again for taking the time to do this interview, and for sharing your work with us. It has been an honor and a pleasure.

Thanks most of all to you Darrell for your very good questions and for your support, we truly appreciate it. Keep up your excellent work with Sorrow Eternal and hope to talk to you again soon!

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Fall Of Eden - The Warrior (2012)

Coming from a small town in Illinois, a death folk metal band by the name of Fall Of Eden has stepped forward with a brand new album. “The Warrior” takes you into a world of heavy pagan riffs, monstrous growling vocals, and incredibly fast double bass pedal drumming. The album contains 11 powerful tracks in which you’ll find something unique and electrifying in each of them.

The opening track, “A Call For Blood,” kicks off with wicked guitar riffs that screech from left to right as booming drum rolls rumble behind them. The verse starts with machine gun double bass pedal drumming that will blow your mind. The speed of theses kicks are outstanding. Meanwhile reckless cymbals and relentless snares pound away as fast melodic guitar riffs carry you through the song. The vocals are a mix of vicious pagan growls that switch to clean singing in between certain riffs. A wild guitar solo hits you during the middle of the song with intense melodies with high speed. The solos run for almost two full minutes of the track. This will definitely get you hooked to the album right away, and you haven’t even heard the whole thing yet.

“Wargasm” will knock you off you seat with its wall of monstrous guitar riffs that open up the track. Monstrous screams echo into the distance as the verse comes rolling in with devilish growls. The guitar riffs are relentless with their melodic notes running up and down the scales constantly while the bass follows with similar groovy lines. Definitely make sure you check out the drumming on this track. Jack hammering double bass pedals will beat you into the grown while snares and cymbals come through and destroy you with bone crushing patterns. “Blooded Dawn” continue with aggressive guitars that have screechy tones that’ll make you flinch and yet throw your devil horns up at the same time. Rapid cymbals splash away in the background while deep growls lay on top of the guitars. The bass lines are performed with tremendous speed as they follow the guitar riffs with quick tones. Right when you think you have some time to catch your breath, “Dying Breed” steps in with more relentless snares and drums that will keep you moshing away. The growls continue with the same vicious performance hitting you harder and harder with each lyric.

Later in the album you’ll come across a track, entitled “The Legion,” which starts out with heavily distorted chords blaring in your face. More demonic growling vocals come through and sweep you off your feet with dark muddy tones. The guitars are going insane with their wild melodies that will have you constantly bobbing your head. This is definitely one those tracks that you’ll go back to again and again. “Day Of Solace” is the final track on the album and it definitely ends with a bang. Gorgeous guitar riffs float through the air with calm sounds. Soon after come the distorted riffs with thunderous drumming underneath them. The vocals have a mixed sound of shouting and growling tones. They layer these vocals together giving off an interesting sound to the chorus. The drum patterns are punishing throughout this entire track. It’s nothing but shattering cymbals with rumbling double bass pedals and snapping snares. The fills in between the verse and chorus are absolutely mind blowing. The track leaves you wanting so much more, so be ready to replay this beast of an album.

“The Warrior” is full of wild energy that will keep you moving throughout its entirety. Each track fires away with ruthless guitar riffs, hell raising solos, and explosive drum patterns that’ll pulverize your speakers. Fall Of Eden show us their talented musicianship and songwriting skills in this death folk metal album. If you’re looking for something new and refreshing definitely check these guys out.

8/10

Official Site - http://www.purevolume.com/fallofeden
Myspace - http://www.myspace.com/fallofedenrock

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Sunpocrisy - Samaroid Dioramas (2012)

Evolution. That word, alone, describes the career arc of Italy's Sunpocrisy. Formed a short five years ago as a four piece progressive death metal band, they were not satisfied with the music they were producing. After adding two members and focusing on more complex sounds and expressions, they return to unveil their new album, titled "Samaroid Dioramas." A merger between progressive death and melodic post metal, this is a  concept album of the highest order. This collection of eight tracks is as ambitious and far reaching as anyone could have imagined.

As distortion and effects fade in on the opening track, "Apoptosis," it almost feels like you are being drawn in to something bigger than yourself. The frequencies build and fade, swirling around you. As it leads into "Apophenia," the progressive death metal influences are apparent, in both musical and vocal aspects. While the guitars chug and thrash, there is also a focus on small intricacies in the sound, It isn't a one dimensional approach, but rather a multifaceted attack. The drums, while disturbingly huge, fill all of the smaller, more subtle gaps in the action. The mix of clean and harsh vocals provides a dynamic contrast of light and dark, represented in the album artwork as well. As some of the aggression steps back, you are left with a more melodic, atmospheric passage. With such crystal clear production, each instrument can come through in its own way, forming a massive arc of sound. The more intriguing aspects come in to play when the harsher, grating vocals are layered atop the more note oriented guitar parts, a fractured harmony that seems odd at first, but quickly becomes enjoyable.

The flow from track to track keeps momentum at a constant high, even when cutting from a heavier portion to a more subdued one, like that of "ϕ - Phi." Harsh vocals blanket distorted chord changes, with ever present drumming beefing up the overall mix. The layers of guitars and bass seem to lock together in harmony at all times, each note expertly placed. As the bass steps out in the melodic areas, you get to have a taste of the talent level you are dealing with. The more ethereal post metal riffs that emerge here are incredibly intricate, both in delivery and reception. Drummer Carlo Giulini puts on a clinic of tempo, timing, and power, rising and falling with the building mix. His playing mirrors the mood of each section, rather than dominating it with overaggressive work. And, in an odd move, the track ends with a vocal solo that will make the hair on your arms and neck stand up. A track that starts as another interlude, "Vertex" grows into so much more. From roots of distortion and chaos, an otherworldly keyboard melody emerges, helping to create a post metal inspired masterpiece. gently sung words complement delicate guitars, a perfect combination that is eventually shattered by screaming vocals. For a track that spans four and a half minutes, it ends in a flash.

The true interlude, "Trismegistus," is a much more minimalist approach, with light guitars and synths backing spoken words. The last few seconds see the addition of pounding drums, which roll headlong into "Samaroid," and it's brutal vocal attack. But the true star here isn't the screaming, but rather the ambitious musical accompaniment, one that could knock you on your ass without hesitation. Guitars become intertwined, drums shake the room, and the bass covers everything in a low end coating. The multiple changes in sound and speed leave you dizzy, all leading up to a grand singing chorus, tying all of the pieces together. What would likely be called the breakdown portion erupts, feeding fuel to the fire. The flames rise up, then die down just long enough to bring the track to a blistering close. The intermediary track, "Samaroid/Dioramas," grows from the ashes of the previous track, rebuilding itself with pulsing drum beats and synthesizers. Clean vocals keep things moving ahead to a climax, with each passing moment leading you closer to the impending explosion.

Even as the filthy, gritty vocals reenter, the decidedly melodic groove does not vanish. Lead by the bass line, smooth as ever, and some fine tuned guitar work, you get to see, side by side, the contrasting and competing styles at play. This is where the strengths of the band become most apparent, darting back and forth between the two sides of the coin, taking your breath with a heavy punch to the stomach, then allowing you to regain in during a drawn out melodic portion. From one to the other, everything in between, and back again at the flip of a switch. A seamless transition welcomes you to the final track, "Dioramas." It is highlighted by very understated guitar work, building on moods, rather than distortion. That isn't to say it is all lamb, and no lion. You can always feel the heavier aspects coming, and they always come right on time. And while the melodic may dominate the early portions of the track, it returns to to its heaviest, with grizzly screams taking control. As the last agonizing scream fades away, the music breaks down, and all becomes quiet.

Albums like this one are truly the best of both worlds, taking the heaviness of death metal vocals, and sprinkling them liberally onto compositions that might otherwise be completely clean. In the case of Sunpocrisy, it is hard to tag them as one genre or another, because they embody so many, all in one.  They fleshed out a concept, but not just on paper. They put it into action, vocally, musically, and visually. When you have visions of divinity and complexity in mind, you can't just play a few solos and call it a day. "Samaroid Dioramas" is the audio representation of an idea. The realization of a concept.

9/10

Facebook - http://www.facebook.com/sunpocrisy
Bandcamp - http://sunpocrisy.bandcamp.com

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Summoner - Phoenix (2012)

A four piece band by the name of Summoner has released their new album, entitled “Phoenix.” The band is from Boston, MA and lists themselves as a stoner rock band. The album is eight tracks long and contains heavily distorted chugging guitars and deep bass lines and intense drum rolls.

The album starts out with a groovy guitar riff in “The Interloper.” It’s upbeat bass lines and melodies will have you bobbing your head immediately. The vocals kick in with harsh yelling lyrics providing plenty of sludge tones. The chorus is simple and melodic planting its memorable sound in your head for days. A wicked guitar solo jumps in towards the end with high pitch notes that fly across your speakers with electrifying sounds. “Winged Hessians” picks up right after with similar guitar riffs and similar speed keeping you rocking out from song to song. The guitars continue to chug away blaring heavily distorted chords in your face while the vocals constantly throw violent lyrics at you. The guitar solos shine with gorgeous melodies that really draw you closer to the music. The song runs for a little over five minutes but for the amount of times that they play the same few riffs over and over again they could have easily shortened it to three minutes like the first track.

The air fills with dark swampy guitar riffs in “Conjuring” as the bass line gets right to work with catchy melodies that lead the way to the verse. A heavy snare guides you through the song along with shattering cymbals and booming kicks. The guitar riffs are catchy in between each verse leaving you rocking your head back and forth throughout the track. The vocals are solid but sound very similar to the tracks before this one. You may start to feel a bit bored by its delivery. “Let The Light In” slows things down with its soothing bass lines. The track runs for a little over nine minutes long but again, with all of the similar riffs that are repeated over and over, I don’t think it was necessary to keep the track running for that long. The vocals finally change up as they deliver a more softer tone of lyrics over the groovy bass line. The drum rolls are basic and help keep the verses running smoothly. The track definitely offers some emotional feelings with its light guitar riffs and mellow vocals. “Reclaimer” also contains soft vocals that have some interesting filters on them as the verses are belted out with catchy tones. The guitar riffs are a little more punishing as they blast away with heavy riffs full of mean distorted sounds.

The album ends with a seven and a half minute track, entitled “Dead Moon.” The beginning guitar riffs have somewhat of a southern twang to them as you’ll hear the same melody for the first full minute of the song. The verses start out with more light singing vocals that sound layered together. The verses become more aggressive later as the vocals switch back to their harsh yelling tones. The southern melodies continue to play throughout the track as the bass started to follow their every riff. The one thing that really steps up at the end of the album are the drum rolls. Each fill becomes longer and more detailed with every new riff. Toms and snares clash together forming a strong mix of rumbling bass waves that’ll knock you on your ass. Even though the tempo of the song is slow, the speed of some of the drum rolls are incredible quick and heavy. I wish they gave this kind of performance throughout the entire album. If there’s one song you should definitely hear on this album, it’s this one.

“Phoenix” has an average stoner metal sound to it that isn’t horrible but at the same time, doesn’t really stand out from other bands. A lot of their riffs end up being repeated over and over again with no room for creativity. The vocals are solid but could have definitely been turned up a little in some of the tracks. The recording quality is at a somewhat low end as you might have a difficult time hearing certain instruments at certain times and muffled distortion in certain areas that probably shouldn’t have had it. If you come across the album, fine, but don’t feel the need to go out of your way to hear it.

5/10

Official Site - http://www.summonerboston.com/phoenix.htm

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Horse Latitudes - Awakening (2012)

Outside of the realm of the "same old doom metal," you will find Finnish three piece Horse Latitudes. They have thrown away the rule book, as it were, and ventured off into new territory. Comprised of two bass guitars and drums, with sparse vocal passages, they are taking doom to a much deeper place... literally. On their new album, "Awakening," they traverse the plains of doom, pass through the forests of drone, and do so without a six string in sight. Now that is some good "out of the box" thinking.

It seems only fitting that the opening track, "Preparation," is exactly that. It is a welcoming to a style of music that may seem foreign to you. Immediately touching on the low register, you are greeted by a rumbling harmony of bass guitars, with a consistent drum beat. It isn't until the following track, "Dissolution," begins that you get the full spectrum of sound. The slow, deliberately bludgeoning bass passages don't introduce a whole lot of lateral movement, if any at all. The constant vibration of cymbals is like a haze over the music. The vocals aren't the main focus, but merely another layer in a very shallow mix. The problem lies in the track length, with this one clocking in at over seven minutes of the same riff, the same structure, the same unchanging pattern. It struggles to get from point A to point B, often sounding lopsided and dragging.

The opening pounding of the drums on "Profane Awakening" isn't an explosion waiting to happen, but rather a bomb that remains dormant. Before long, you are thrust back into a very similar wave of low end shaking. The highlight here comes in the form of the vocals, rising above the mix in a style that Peter Steele may have appreciated. But even his dynamic choice of singing style can't inject any true life into the instrumental, with an occasional fill cutting across the channels. Even as things start to change and evolve, they rarely get to little more than a simmer. There is little difference from one movement to the next, even as "Decline Of The Ages" takes on a more traditional doom feel. To their credit, they do manage to blur the lines between bass and guitar here, almost making you forget that there isn't a "guitarist" involved. The density of the bass lines, and the level of distortion echoes that of a drop tuned guitar. The moaning and wailing vocals are certainly a mood setter, though the mood than portray may not be immediately clear. Again, a ten to twelve second fading bass note is all that leads you out.

The nearly thirteen minute epic, titled "Into The Deep" is an exercise in song writing, though not in a way that you would want to copy. Contained in this massive track are very few variations on the previous tracks, with the same repetitive chugging taking the place of any actual new material. Reminiscent of the most recent album by The Howling Void, this is really a two minute piece, stretched to the breaking point. Again, the vocals give you something to point to on the positive end, conveying true emotion and depth. After the drone novel that you just heard, the thankfully short, in a manner of speaking, "Along The Circles" signals that the end is in sight. And while this track does boast some of the more creative drumming, at least in the early stages, it does little to salvage the album as a whole. It takes until the last minute of the last track for you to convince yourself these people are still alive.

It is becoming commonplace for bands to buck the trends, and try to step out on their own, doing something unlike their peers. For Horse Latitudes, eliminating the guitar from their doom soaked work seemed like an interesting concept. But in practice, it leaves so little room for creativity and subtlety. Lost in the quaking and crunching of dueling bass lines is the need for versatility. Sure, there are moments where you'll think that things are starting to come to life. But when you take six tracks, stretch them over 46 minutes without any change of pace or power, "Awakening" is destined to put you to sleep.

4/10

Bandcamp - http://horselatitudes.bandcamp.com/
Myspace - http://www.myspace.com/horselatitudesmetal

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Massive Pain - Demo (2012)

Stepping out of the shadows of Korinthos, Greece comes a vicious new thrash metal band by the name of Massive Pain. After forming in the beginning of 2011 the four piece has released their new demo this past February as they provide hell raising guitar solos and monstrous vocals that are sure to catch your attention.

The “Intro” opens up the demo with dominating riffs that chug away as thunderous kicks and snares rumble heavily beneath you. An electrifying guitar solo jumps over the top with soaring melodic notes that will spin you in circles as they wrap around you head with quick speeds. This goes on for about two minutes straight until it fades into the song “Runaway.” This wild track introduces the bands lead vocalist, Panos H. His raspy aggressive voice gives off a beast of a sound adding an angry tone to his words. Heavily distorted guitar riffs destroy the background of the verse as they are accompanied by rapid kicks and snares that beat you into the ground relentlessly. The middle of the song comes to a halt when all of the instruments fade. A single guitar continues to float with its catchy melodies. Its calm tones play alone for about a minutes straight before you are awakened by wicked guitars and a wild solo. The vocals step back in towards the end with more heavy lyrics before track fades to an end.

The third track on the demo is “Hell Is Here” and by the sound of its demonic chords and aggressive guitars that surround you, this title isn’t kidding. Dark lyrics come blaring out of your speakers as quick double bass pedal patterns collide with pounding snares and shattering cymbals. The high tempo of the guitars will have you moshing in your own home for sure. The demo is wrapped up with “At War” which opens with some incredibly detailed drum rolls crushing you with toms and snares. Fast chugging guitar riffs quickly follow with catchy melodies as the vocals step in with more vicious shouting. Each verse ends with a powerful guitar solo that will knock you out of your chair. Make sure you pay close attention to the bass in the track. You’ll find some monstrous bass lines with catchy melodies as well. Things come to an end with another explosive guitar solo throwing notes at you from all directions as the drums completely annihilate everything in its path. It’ll make you feel as if you’re watching them live as they perform a closing finale. The track will definitely have you hooked as you’ll find yourself replaying the track again and again.

The demo has a decent recording quality but could use a few minor tweaks but besides that everything is pretty clear and in the open. The vocals were a huge part to this band and will have you wanting more. There’s a lot of energy from the instruments as well as you’ll find the guitar solos quite fitting to all of the heavy riffs and relentless drum rolls. Definitely check the demo out and keep an eye on what Massive Pain comes up with next.

7.5/10

Official Site - http://www.facebook.com/pages/Massive-Pain/226124240743990

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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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