Balam - Balam (EP) (2012)

Leave it to Rhode Island could churn out a psychedelic outfit like Newport's own Balam. The smallest state in the behemoth that is the United States contributes to the metal scene in a big way with this five piece act. With influences and output ranging from blues to doom, these guys aren't short on style or substance. On their new self titled three track EP, you may hear some familiar sounds. Don't be surprised if you hear echos of Ozzy and Iommi. Floating neatly in the haze of distortion is some of the most classic metal you could hope to find in the 21st century.

The name of the game here is simplicity, but not in the dumbed down sort of way that a lot of modern metal seems to go. The first single from the band, "Soul Scour," builds from a single repetitive bass line. As the drums and guitars explode onto the scene, the aura of doom is apparent, but not overwhelming. Even in the repeating riffs and snare hits, there is a distinct groove. The vocals are airy, though melodic, bringing to mind, for some, classic era Sabbath. Amidst the changing tempos and tone, you will find something a touch to the evil side of things, without a single scream or screech. The melodies, both vocal and instrumental, are haunting, with a ghostly hint to both. The beauty of the track lies in that simple approach, allowing each riff, each bass note, each cymbal/snare combo to speak for itself. Singularly, each one may seem flat or lacking. But together, rumbling through ten minutes of down tempo metal, they carve out a sound that is worthy or a head nods or hair swinging.

Slowly down even further, "Dark Door" comes out of the gate moving as sluggishly as you could imagine, each kick and cymbal crawling through the speakers. Joined by the dynamic duo of bass and guitar, and soon by the soothing vocals line, you may find yourself lost in the bluesy wonder on display. The guitar float in and out, slightly tinged with effects. Vocalist A.C. has a sound unto himself, sounding like a throwback to early psychedelic metal. The guitars chug along, tied at the hip to the rumbling bass. But the piece that caps it off, the part that ties it all together is that voice. It sounds as though he sings from the other side, his voice coming from some otherworldly place on the other side of your headphones. The choreographed stop/start section fools you into thinking it is over, but continues on, until a chant to the dark Lord himself begins. Building from scratch again, the guitars chug and whine in unison, strengthened by the devastating low end of bass and drums. Screeching solo work seems to arise from nowhere, adding another wrinkle to a stellar performance.


The final track is also the shortest one, clocking in at a lightning fast eight and a half minutes. However, it is also the slowest one. "The Followed" starts with chaos, each piece doing whatever it is it feels like, until they meet in a loud crash. It grinds through the first half with little more than a thunder clap. The true tune kicks in shortly after the midway point, once again drawing comparison to the boys of Birmingham, UK. It isn't even that this track, or any of the others, mirror what Sabbath did. But they embody the same tone and definition. Whether it is in the ominous sounding guitars, the never flinching bass groove, or the graveyard vocals, there is something for everyone to look back on. The band is equally strong when the tempo picks up, hammering out an iron stomp that could get any pit or crowd moving. Once again, the stop/start patterns only help to build the momentum, bringing things to full tilt just in time for everything to come to a crashing finish.

Balam has done something here that is worth noting over and over. They wrote and recorded three songs that are entirely their own, a sound that is as much theirs as anyones. But they used their influences in a way that gives the album life beyond 2012. Yes, this album is, in fact, new. It was recorded in the here and now. No, really. I swear. Three tracks, over thirty minutes of epic, classic era sounding metal that could have come from some of the all time greats, from countries that are oceans away. But it didn't. It came from a five piece band from Newport, Rhode Island.

8.5/10

Bandcamp - http://thybalam.bandcamp.com/
Facebook - http://www.facebook.com/balamband

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Atoma - Skylight (2012)

Now if you remember any of my earlier reviews that I did about bands that mesh metal with techno then you’ll remember the results that I have come up with. Some bands, like Inner Fear, can pull it off perfectly while others, like Promises Lie, should be arrested for the sounds that they have created. Well there is a band that has completely mastered the mesh and not of only these two genres but many more as well. The band is known as Atoma. They have recently released their new album, entitled “Skylight.“ The band lists it as experimental post metal but they reach far beyond that. The album mixes so many different types of genres together it really cant be categorized. You’ll find everything from ambient post metal guitar and vocals to catchy techno synths to deathly growling vocals and heavy chugging guitar riffs. It’s the ultimate package.

The album opens with a four minute intro called “Atoma.” The instrumental is not your average heavy metal opener. It fills the air with atmospheric sounds and thumping toms and snares. Multiple layers of synth sound effects float on top of one another while a vibrant synth sound takes over with techno features. The music builds and builds for the full four minutes until you finally reach the song “Skylight.” This gorgeous track starts off quietly with unclear radio sound effects that quickly shift to distorted guitars and thunderous drum rolls. You’re blown away by an unexpected growl full of deep bass and haunting sounds. The vocals soon switch over to beautiful clean male vocals that echo across the constant guitars and heavy double bass pedal drum patterns. You’re then revisited by the vicious growling vocals that come through and destroy everything in its way. The orchestral instruments and keyboards are captivating as they surround you with angelic tones and allow the clean vocals to completely consume you. This track will have you head over heels for this album, and you haven’t even gotten to the meat of the album yet.

Techno melodies glide through the air softly in the beginning of “Hole In the Sky.” Distorted guitar slowly sneak in with heavy chugging riffs and destructive drum fills. The verses are full of clean vocals delivered in a loud yet soothing manner. The guitars continue to blast away throughout each verse leaving you barely enough time to catch your breath. It ends with beautiful keyboards and strings delivering epic melodies on top of violent guitar riffs while the vocals enter one last time. “Highway” slows down the mood with ravishing keyboards and slow basic kick and snare drum patterns. The vocals are almost at a whisper as they move through the track with ease. Soothing guitar riffs shine throughout the track with glorious moods and uplifting tones. The vocals awaken a bit during the refrain as they step up in volume but continue to keep their steadiness. The last minute ends with a whispering vocals repeating, “I need you” sending chills down your spine.

“Bermuda Riviera” drastically slows down the flow of the album at first with its practically silent entrance. Eventually futuristic synths fade their way in followed by a slow drum pattern slamming snares in your face with deafening snaps. The lead guitar comes in with soothing melodies acting as a vocal throughout the track, It cries to you in the most angelic tones. Things pick back up with “Resonance” as heavily distorted guitars jump back into the scene with catchy melodies and complex drum fills. The eerie synths take over the background leading you right into the verses. Soft singing vocals float through the air almost as if it were just another instrument adding a beautiful layer of sound to the mix. Cymbals colliding heavily keeps the track at an aggressive state but it still has its moments of relaxation.

“Solaris” is a short three and a half minute track that sounds like it came straight off an Armin Van Buuren techno album. The instrumental uses creative sounds and melodies to capture a catchy and unique tone. This also gives you a minute to embrace everything that you’ve heard so far. “Rainmen” sticks to the calm mood of “Solaris” with soft synths and catchy keyboards as the vocals run gently along side them. The only thing remotely close to violent are the drums that are busrting in the background. You can tell that they have been somewhat turned down in the mix however keeping its mellow sound throughout the track. The performance of the vocals are phenomenal and will have you wanting to hit the repeat button immediately. This shows the strong post metal side of the band. “Saturn & I” continues thing post metal sound with its soothing guitar melody and atmospheric keyboards. The instrumental sounds like it could be used as a score in some sort of sci-fi film.

The album comes to an end with “Cloud Nine.” the song runs for about four minutes and 40 seconds as beautiful synths pave the way for light guitar riffs to slow fade in with soothing melodies. The vocals take you by surprise as they introduce female vocals that lay gently across the keyboards and guitars. Her angelic voice delivers tons of emotion while you’re also hit with catchy strings and other orchestrated instruments at the same time. The song leaves you wanting so much more. You won’t be able to help but to replay this specific track a few times in a row before going back to the beginning. It’s just that addicting.

“Skylight” is not only unique but it is also completely different from any album I have ever heard. Atoma is refreshing with their mashed up genres and strange sounds and melodies. The album is well balance with every sing element that it has to offer. It mixes up the vocals on almost every track and throws in a few instrumentals as well. The atmospheric sound effect really pull you into a whole other world as you then come across different elements such as vicious growling, gorgeous clean vocals, violent drum patterns and futuristic sound effects. From beginning to end, this album will indeed have you hooked for a long period of time.

10/10

Official Site - http://www.facebook.com/AtomAweb
Myspace - http://www.myspace.com/atomaband

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The Podcast: Episode 42 (Behind every metal band is a woman...)

One of the bands that brought Justin and Darrell together in their love of metal was Nightwish's "Dark Passion Play." Female fronted metal, in all its forms, seems to be a perfect gateway for new listeners to experiment with heavier music. We all know about bands like Nightwish, Epica, and Within Temptation. But we wanted to take the time to talk about the next generation of female led metal bands; the ones that have caught our ears recently.

Download the full audio of our ranting here.

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Diabulus In Musica: The Interview

We, at heart, are just metal fans, giving our opinion to you, our readers, five times a week. When we have a chance to interview a band that we admire, it is a thrill for us, both as writers and fans. So, as keyboardist Gorka Elso and vocalist Zuberoa Aznárez sat down to answer some of our questions, we were like the proverbial kid in a candy store. See what they had to say about their emergence as a symphonic metal powerhouse, their classical inspirations, and where things go from here.

First and foremost, we want to thank you for taking time out of your schedule to answer some questions for us.

Thank you for the interest! We really appreciate it!

In the formative days of the band, who were your major influences in crafting the sound that has been so synonymous with your name? When did you realize that your music was... special?

Our main influences are all kind of metal and classical music, but we don’t have only a musical influence. Our music is eclectic, we like different stuff and we have no boundaries in creating music. Besides, all of us have a different musical background… You can’t imagine how many different music styles we listen to!

It sounds like a cliché but we do what we want to do and we don’t think whether it’s going to be too hard, too poppy... We only think if we like what we have done or not. I have never thought our music is special, but what I can say is that is ‘honest’ if you see my point. Music is above all ‘expression’, and you don’t feel always in the same mood, so does happen with our music…

We are lucky that the five of us are very open-minded in this matter. We all like to experiment with music and sounds and you easily can see that when you are listening to ‘The Wanderer’.

In my particular case, I like Early Music, folk and world music a lot, so it is easy to find some ethnic winks in some of the songs. I actually played some Celtic whistles and the baroque flute in this album too.

The name of the band carries a lot of weight. What led to choosing this name, Diabulus In Musica, for your project? And what do you think the name conveys to your listeners?

‘Diabulus in Musica’ is a Latin mediaeval music term that means ‘the devil in music’. It was like that as they called the triton or the interval of the augmented fourth in the Middle Ages. The medieval ear was used to hearing perfect fourths and perfect fifths. The augmented fourth, being halfway between these two most common intervals, was about the worst discord imaginable. That’s why they thought that the devil was inside the triton.

As Early Music is my favourite style in classical and actually is what I usually sing, I chose this name. It was perfect for us not only because of the meaning it has to me, but also because it sounds a bit dark, as our music sometimes. We like this ‘dark romantic aesthetic’ as well as Early Music, so we thought Diabulus in Musica was the name that fit us the best. 

All of you made the decision to make Diabulus In Musica your main musical focus, leaving other bands to stay together full time. What was it about the music you were making together that led to that decision?

For me it was clear, because in the band I sang before I didn’t have the chance to write songs. I had to adapt my voice to the songs that were already written for a male voice. I wanted to express my own ideas so I started to write my own songs in the style I really felt like. Gorka played with me in that band and also with Adrián in another different one, but the future of both bands wasn’t clear. Also, the way they worked wasn’t the best, so we decided to create something more serious. We immediately saw that together the songwriting process flowed better and that we complemented each other very well. We have grown together as musicians and realized that we are in the same way even if we are very different also in our music tastes! There is a kind of magic among us!

How do you think your sound and songwriting evolved from the release of "Secrets," to your new album, "The Wanderer"? How have you all grown as musicians in the span of two short years?

I think we learned a lot during the recording process of our first album. Even before Secrets was released we started to talk about the following album. We were very happy with the result of Secrets but it had been recorded more than a year before it was released, so we were looking forward to develop new ideas and improve some things.

One day we sat all together and started to think about the new album. We wanted to write a conceptual one, because we didn’t want to record just a collection of songs. It was challenging and exciting to work that way, also like an experiment. We enjoyed the experience a lot, I think that feelings express themselves much better through music if you have something clear to tell before. We also had a very clear idea about how the songs should sound. That’s why we decided to do the production by ourselves and I think it turned out really well! We are very happy with the result.

In short, we wanted to create something more like a ‘soundtrack’. Music had to fit what we want to tell in each song, it had to recreate the atmosphere we had in mind in each ‘scene’. I think ‘The Wanderer’ is a very passionate album. All the feelings are perfectly captured. I would say that ‘The Wanderer’ is denser, more bombastic… but also more refined than ‘Secrets’. To achieve all this we have worked a lot on the arrangements, we introduced new instruments and even folk or ethnic touches. It has been a very enriching experience and for sure we have grown a lot musically wise!

On both albums, you had the services of some huge names in the metal community, from Sascha Paeth (On "Secrets") to Epica's Mark Jansen (On "The Wanderer") to name a few. How did these collaborations come to be, and how do you feel they put their unique stamp on the work?

In the case of Sascha, it was Ad Sluijter (who mixed ‘Secrets’) who contacted him. They know each other very well and Ad was sure he would do a great job in the mastering process so he proposed him and accepted. Both did a great job! For the Wanderer we decided to work with Jacob Hansen because we wanted to have a more aggressive approach in the sound that fitted better the new songs. He has done an amazing job too!

As for Mark, we wanted to have a collaboration of a “grunter” because all the collaborations until then had been “melodic”. We thought about him because we like their music and also because of our friendship with Ad. I sent Mark the whole song to ask him if he would like to sing and he immediately accepted. We felt honoured as he said he only does this when he really likes the music, so it was a honour for us and we are very happy to have him!

One of the more intriguing aspects of your music is the way you blend classical and metal music into one singular sound. To an outsider, that combination seems odd. But how difficult was it, really, to come to that balance of old and new?

It’s not easy, as you have to equilibrate all the elements and let each instrument have its own “space”, underlining what you think it’s the most important sequence in each song. Anyway, it’s kind of a natural thing for us to do. I mean, Gorka and I are metalheads since teenagers but both come from the classical field, so symphonic metal is the style we like the most and we feel comfortable with. We have grown listening to both styles so the combination was clear when we started with the band. I love metal because I think it’s a style you can blend with many different sounds, the same happens with classical music. As you say, the combination can be odd, but at the end, classical music and metal are not so far away from each other and both are so passionate!

On the new album, vocalist Zuberoa Aznarez comes into her own, often times commanding the tracks in a way few singers can. What is it like working with a singer with her talents, and her unique style?

It’s really a pleasure. I think that a big percentage that makes people likes a song is the voice, because it’s what you could hear more clearly and what gives you the bigger difference among other bands. It’s a pity that some singers try to imitate other singer, but Zuberoa has and wants to show it’s particular “color”. Also her voice can express a wide range of emotions that helps a lot to achieve the right sound on each song.

The new album features some of the most ambitious songwriting the five of you have been a part of. With only two years between albums, how did you manage to write 12 more intense tracks, and create such rich soundscapes?

Thanks for the compliments! I’m not sure… as I said before we changed the way of working in the moment we decided to write a conceptual album. After we decided the story and the kind of songs we needed to tell it, each one of us started to work on a song or two by our own. When we finished it, we forwarded the song to the other band-members and then started to work together on the final arrangements when needed. We all had to feel that the song was completely finished and that it really expressed what we wanted. It is not easy when we are 5 people with different points of view, but fortunately we all agreed! We make a good team hehe

I was surprised that sometimes the song came itself, maybe it’s because it’s easier to find the inspiration after feeling or believing on what you try to tell…

As you tour and play the festival scene (the Metal Female Voices Festival being a prime example), the response has been overwhelmingly positive. What has the experience been like for you thus far, and has there been any single show that stands out from the rest?

Playing MFVF was an amazing experience, we shared many great moments with fans, organizers, stuff and other bands. We are very grateful that Phil, promoter, gave us that chance. There is a very special atmosphere there, a very direct contact with the audience and everybody at Oktoberhallen is so lovely! We cannot wait to come back for the 10th anniversary this year, it will be blast!

Every show is special, but I have very good memories from our show in Mexico. The audience was so warm! I remember they started to shout a lot when we went on stage and I thought that something bad was happening haha but it was only the way they enjoyed the shows!

In an interview a few months ago, American symphonic black metal musician Dan Klyne asserted that metal musicians should be looked as "composers" instead of just guitarists and song writers. Based on the music you make, would it be safe to say that you agree with that contention?

Haha, well somehow yes, but, I wouldn’t say that I’m a “composer”. I feel that “compose” an opus is something more complex and reserved to a few people, if you see what I mean. But I totally agree that we are not just players or song writers, we have to be also arrangers and sometimes sound engineers, producers… we have to know about musical aspects that are not exclusively from our instrument. We write music for orchestra or choir and this is something that not all the bands do. Maybe in every “symphonic metal” style you need to have a clear overview of what you want to write, otherwise you are in risk of writing a mess! I mean, it’s not only take your guitar and play a riff and then add the voice and the drums, you have to be more careful as there are lot more instruments.

To that point, you have worked with some of the most prestigious choirs and orchestras along the way, something that few true metal bands can say. For a group that specializes in classically influenced symphonic metal, what did those collaborations mean to you on a personal level? How did they inspire your work?

We have studied music since years and for me, a lover of metal and classical music, it was like a dream that becomes true to have the opportunity to work with such a professional musicians. I wouldn’t say they inspired our work, haha, they just play what we have written. Seriously, it’s really important to record with so talented musicians because they understand and can express perfectly what we expect from them.

With the new album out everywhere music is sold, thanks to the folks at Napalm Records, and shows booked throughout the year, what comes next for Diabulus In Musica? What can we expect from the next album?

For the moment we are focused on playing as much as we can. “The Wanderer” is still too recent and we haven’t think anything about the next album, but you could expect anything ;-)

Thank you so much for taking this time out for us. We appreciate it greatly, and can't wait to see what comes next.

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Jeff Loomis - Plains Of Oblivion (2012)

The death of Nevermore, or so it seems, played out in public, with half of the band departing. Among the leaving faction was guitar great Jeff Loomis, a man who is no stranger to fans around the world. Wasting no time, he wrote and recorded his new album, the follow-up to 2008's "Zero Order Phase," and embarked on a tour to showcase his work. Featuring numerous guest appearances from the likes of Ihsahn and former Megadeth guitarists Marty Friedman and Chris Poland, "Plains Of Oblivion" is loaded with a lot more than just names. This is a solo album to remember.

Like the lead in to a Hollywood action blockbuster, "Mercurial" screeches and whines into existence. As the guitars explode, there is little doubt as to who the man behind the strings is. Loomis' sound is one unto himself, with a striking balance of technical ability and writing prowess. Paired here with one time Megadeth axeman Marty Friedman, the two form a dynamic duo of shred and melody. And while the main focus is, clearly, the winding solo work, Dirk Verbeuren steals the show at times with his battery of kicks, snares and cymbals, often going note for crash with Loomis himself. And while the racing scales are impressive, the sense of melody and cohesion is key, especially on "The Ultimatum." With an assist from solo guitar wizard Tony MacAlpine, the track is an exhibition on balance and speed. Whether they are trading passages or dueling together, the guitar work never shows any sign of weakness, nor slowing down. Even during the later portions, when Verbeuren falls into a nearly impossible black metal tempo, Loomis and MacAlpine soar over it all with amazing prowess.

As the speed builds, "Escape Velocity" takes its fitting place in the order. It is often harder to tell who is playing at a higher tempo, Loomis or Verbeuren. The two have a report that results in some of the most fluid playing either has ever exhibited. But in the breakdown, there lies a sweetly touched melody that is the perfect counterbalance to all of the aggression. The first guest vocal spot comes on "Tragedy And Harmony," courtesy of Christine Rhoades, who lent her talents to the classic Nevermore tune "Dreaming Neon Black." And while it would be impossible to downplay her strength, the vocal line never seems to fall in place here. Her tone, the lyrics, the delivery are all spot on, but they feel tacked on in parts. Not to be slowed down, Loomis commands the track full speed ahead, carrying the load on his frets. Helping to shoulder the weight on "Requiem For The Living" is Attila Voros, who played live guitar in the recent Nevermore era. This is the most stripped down track on the album, something that is, obviously, relative. The drumming takes a back seat to the guitar work, a combination of high powered riffs and dazzling notes. The outro portion almost plays like a classical concerto, something that is both intriguing and mystifying.

And with one former Megadeth guitarist on the album, why not go for two? Chris Poland lends a hand on "Continuum Drift," a song that is beautifully written and performed. This might be the long lost instrumental ballad that so few have accomplished. The story is told through clean and distorted guitars, both carrying a lyrical quality in their delivery. In some aspects, they are more successful than the real vocals present on the album, sans for the Ihsahn led performance of "Surrender." One of the more imposing voices in the progressive black metal movement, Ihsahn takes Loomis' composition into a dark new place, screeching ahead as only he can. Even the clean vocals have a tinge of evil, making the most of every layer of guitar, drum, and bass. Verbeuren shows his mettle, rolling through double kicks with an ease that is unsettling.

But as Ihsahn bows out, and Rhoades rejoins for "Chosen Time," things change in numerous ways. The tone is quiet and subdued, and the vocals are more sultry than before. Loomis squeals with harmonics, but this is a down tempo affair. This is the softer side, the more plush side of the man, choosing to go with grace over power. The short, but amazingly sweet, "Rapture" is a chance for Loomis to show off some of that aforementioned technical ability. It isn't all about speed and brutality; there is a subtlety and emotion to guitar that gets lost in reverb far too often. His clean chops are just as good as his more electric ones, floating up the neck in a blitz of finger movements and bending strings. Take a breath. Exhale, and let "Sibylline Origin" wash over you. The sliding riffs and sizzle of cymbals are only the beginning. This final track takes in to account everything Loomis has done throughout his career, and brings it all into one flowing journey. This is where the evolution of the musician becomes evident, with so much more than solo after solo.

There are many things that set Jeff Loomis apart from his peers, both technically and creatively. But his ability to be two men, one solo musician and one (now former) band member, is a feat in itself. These weren't the scraps from "Obsidian Conspiracy," and these certainly weren't half baked solos fleshed out into an album. His thought process isn't lost in a sea of recycled nonsense, but rather spotlighted in ten tracks of mastery. With a little help from his friends, Loomis has fired the first shot, post-Nevermore. Your turn, Mr. Dane.

9/10

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

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Locus Neminis - Weltenwanderung (2012)

Locus Neminis is an unknown band from Austria that is stirring up a beast of an album. Their new album, entitled “Weltenwanderung,” brings bone chilling black metal screams and growls straight to you served on a platter of evil guitar riffs and wicked fast double bass pedal drum patterns. They consume you with dark synths and strings destroy you with heavy chugging guitar riffs at lightening speeds.

The album opens with eerie atmospheric sounds that glide gently through the air in “Spiegelbild Der Vergangenheit.” After about a minute into the track comes flailing guitar riffs at top notch speeds and overwhelming kicks and snares. The guitars scream with demonic chords while jack hammering double bass pedals crush you into the ground with booming energy. Horrid black metal vocals enter in the verse with devilish tones and aggressive sounds. Later you’ll also come across another set of vocals only this time its more of a deep deathly growl that rumbles heavily beneath you. In between verses the band adds haunting piano riffs that are evil and gorgeous at the same time. As the song fades you’ll run right into “Weltenwanderung” which has a mix of wretched guitars and creepy piano riffs that are meshed together. Deeping heaving growls join in knocking you straight to the ground. The instruments even out a bit as the piano steps forward and plays a dark catchy riff. Wild guitars follow running up and down the scales with quick speeds and eerie melodies. Meanwhile the drums are constantly beating you down with relentless double bass pedals and shattering cymbals that echo throughout the track. The speed of the double bass pedals are absolutely astonishing. This is definitely a track you’ll wanna really play a few times.

Later you come across another chilling track, entitled “Wanduhr.” Machine gun double bass pedals and chugging guitars plow through you with vicious melodies as the keyboards come in the more eerie notes as the frightening deep growls come back in delivering large huffs are devilish lyrics. The high pitch screaming joins with more ominous sounds. The double bass pedal drums blast away with complex details and violent rolls. Towards the end comes an intense guitar solo full of high string action and hell raising melodies. “Totes Licht” follows up with rumbling guitars and double bass pedals with relentless snares that snap away in the background forcing you to throw up your devil horns and bash your head recklessly. The high black metal screams continue to stab at you with sharp screeches and aggressive tones. The guitar riffs deliver high powered melodies that seem as if they were written by the devil himself. Don’t be surprised if your speaker burst in this one.

The closing track on the album is called “Die Begegung” and it shows a few more elements then the rest of the album has. The keyboards play a much bigger part as well. Immediately you come across a wall of vicious guitar riffs that are surrounded by evil strings and pulverizing drums. For a brief moment, all of the instrument drop except for a calm acoustic guitar when suddenly distorted guitars rip right through them with electrifying riffs. This reminded me of an Opeth sort of style. Booming drum fills completely destroy the background with detailed rolls and explosive energy. The vocals stay wicked and demonic with devil growls and poisonous screams. The detail in structure keeps this ruthless track unique as it constantly throws different melodies and instruments at you from all different angles. Definitely make sure you follow through this fully loaded masterpiece.

Little is known about the symphonic black metal band Locus Neminis however the album shows just how vicious and relentless they truly are. “Weltenwanderung” reaches all aspects of black metal and gives you a taste of multiple set of vocals leaving you hooked and always waiting for what’s next. Perhaps it’s too soon to tell where this black metal band will go but I would definitely keep an eye out for them in the near future. This is just the beginning for this young talented band.

7/10

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

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Cyclopian - Cyclopian (2012)

London based four piece Cyclopian don't seem to be interested in showing you how fast they can play, or how high their voices can go. None of the frills of modern metal even cross their mind. So, as they prepare to release their debut album, a self titled affair, is it any wonder why they are compared to the glory days of Isis? With simplistic, well conceived songwriting, and a focus on emotionally heavy, but honest, tracks, this post-metal outfit seems to be rooted in the pure truth of making music: it is done for yourself. And, for better or worse, not everyone will appreciate what you do.

Despite the more airy beginning to "Of Raven And Snake," the crushing growls that follow take the music down a decidedly heavier road. But that aside, the more ambient middle passages are inspiring, creating light soundscapes to ride along the way. The unfortunate side effect of being so diverse is that the flow is, at times, hard to handle. The segue from screams to rich, melodic guitars is not evident, making it feel as though there were two separate tracks, chopped up and pieced together. Each section does, however, stand triumphantly on it's own, giving you the view from both sides of the divide. The buildup of sound in the last two minutes of this behemoth gives you the perfect blend of both, with massive distortion and density cruising to the finish. For a track that spans over nine minutes, time flies.

That knack for the atmospheric is well represented in "Pyramids," a track that layers those same brutal screams on top of a bed of post-metal guitars. The combination isn't quite "sludge" in nature, but it elevates what the band does so well. Amidst the bending of strings and bruising drums, there is an inherent beauty to the sound, compounded by short, clean guitar passages. Wandering back into the more epic, "The Dark Rift" could easily be tagged as the soundtrack to a gloomy day, one complete with a hail storm. From the opening guitar melody, directly into the crashing cymbals and coarse screams, it seems to be the representation of some of our darkest, most sullen emotions. The droning riffs that inhabit this track are minimalist, choosing to ride the power of each singular note, rather than flooding the mix with unnecessary additions. The simplicity of it all is amazing, especially when paired with the sheer length of the track. Within those bouts of distortion and grime is a world of subtleties at play.

The shortest effort on the album, the not-quite seven minute "Radiant Sea," is a stand out of its own right. The drumming is a little more intricate, leading the way in the intro portion. The guitars shift from heavy to heavenly, with clean picking and slides at work, over top of a beautiful bass line. It is all shattered in an instant with one blood curdling scream, but one that starts a separate wave into motion. Like the work of Isis, the depth of field is so important hear, even aside from the aggressive vocals. The sound is layered in such a way to give each piece just due, but bring them together in a single tide. The ambitious "Eventide Void" brings every facet of their sound into one devilish long opus, with the whine of a guitar providing the perfect opening stanza. What evolves from these simple patterns is a prime example of what melodic post-metal can be, building from nothing to a solid mass of guitars, bass and drums. If there was ever a place to call this style "artsy," it would be here, with some areas reminiscent of bands like dredg. And while every second of this track seems well conceived and well put together, the staggering fifteen minute duration could be enough to sway listeners away from it.  

For a debut offering, there is a lot to celebrate and commend. Cyclopian have done themselves proud with this album, despite several shortcomings. The band may be a little rough around the edges, but not in a irreparable way. Hell, I think it would be crass for anyone to say they need to change what they do, or refine how they sound. What you have here is an album that gives you a sampling of many of the "post" elements, without leaning on any one too often. And when your first album draws comparisons to the density of Isis, the atmospherics of Rosetta, or the sensitivity of dredg, you are doing a lot of things right.

7/10

Official Site - http://cyclopiansounds.blogspot.com/
Bandcamp - http://cyclopian.bandcamp.com/

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Futility - The View From Here (2012)

Deep in the heart of Australia, comes a young death doom band by the name of Futility. You don’t really hear of too many doom metal bands from Australia but this wicked group is taking over in the underground scene. The band has recently released their new full length album, entitled “The View From Here.” They provide dark surroundings with depressive guitar riffs and harsh vocals. This all follows vicious drum patterns and bone crushing drum rolls.

The album starts out slow with “Drowning” which has haunting keyboards and a calm guitar melody that floats softly in the dictance. This fades in little by little over the course of the two minutes. Then comes the violence. In come heavily distorted guitars slam with demonic chords in a slow tempo. Double bass pedals quickly introduce themselves with thumping kicks and shattering cymbals. Snares follow with explosive patterns as the vocals begin to chime in. The verse releases a frightening growl that runs right through you with its low heavy tones. Depressive melodies set around you consuming you deep into the track. The drum patterns are exciting as they constantly change with unique drum rolls in between certain vocals. This will keep you at the edge of your seat at all times. The tempo picks up towards the middle of the song as muddy guitars begin chugging away with monstrous riffs. This forces you to bash your head to the rhythm. This ten minute monster is an awesome way to start off the album.

This is followed by another ten minute track by the name of “Another Black Day.” It starts with ominous guitar riffs that blast away at you with heavy distortion. The drums jump in and out crushing you with each and every deadly fill as the vocals begin to rip you apart with its harsh tones. The track contains some violent breakdowns towards the middle of the track as a wall chugging guitars surround you with evil chords. Later a lead guitar comes in with hypnotizing notes completely grabs you and pulls you deep into the music. Pay close attention to the drum rolls also. Their complex fills explode at the end of every vocal knocking off you feet. High cymbals collide over the chugging chords completely filling the background with sharp spikes. Towards the end you’ll come across guitar mellow guitar part where all other instrument drop out leaving you with this soothing melody. Drums fade back in but stay with a basic pattern allowing you to focus on the beautiful guitar riff. The transformation that this song takes throws you in a completely different direction. It gives you a side of darkness and violence and at the same times, a side of passion and emotion.

Heading towards one of their shorter songs, “Nothing,” which runs for about eight minutes and 50 seconds, fades in with a booming entrance as a light guitar riff plays repeatedly as mesmerizing drum rolls fill the air with pulverizing fills and complex patterns. The double bass alone will have you hooked. After about into the song comes blaring guitar riffs full of screechy wretchedness. The vocals have sort of a different approach as they are performed in more of a melancholy cry that turns into a scream. It took me a few listens before it finally grew on me. You won’t be able to help but want to hear more of the eerie guitar melodies that fill the air with miserable tones. This is some solid doom at its best. Let the vocals grow on you and follow through the entire track. The final few minutes are absolutely incredible. A little before the six minute mark comes a rush of demonic yet gorgeous guitar riffs that chug away violently as cymbals begin to smash together recklessly in the background. The catchy riff will have you wanting to hit the repeat button immediately after the song ends. Dominating growls come back towards the end striking you with fiery tones. The song continues the catchy riffs as the some begins to fade to an end. The drum is well delivered all the sway to the final seconds mixing up toms and snares in rumbling fills. You don’t wanna miss out on this track.

Towards the end of the album you come across a cover of the song “Comfortably Numb” by Pink Floyd. When I first saw this I thought they were just going to completely change their style and try to play and sing the song like Pink Floyd but I was completely wrong. This cover absolutely blew me away. Monstrous guitars dive in with wicked distortion sweeping you right off your feet. Cymbals are constantly crashing as the kick and snare jump back and forth repetitively. Then the verse starts. Vicious growls echo into the air sending a chill down my spine. The deliver in this song is just phenomenal and will absolutely blow your mind. Definitely make sure you check this cover out.

“The View From Here” is an extraordinary album that takes you to a whole other world of darkness and beauty. Each song is loaded with tons of melodies and detailed drum fills and runs anywhere from eight to 15 minutes long. Each song has a specific feel to it separating them from each other and yet constantly delivers the death doom sound you know and love. Definitely make sure you check out Futility!

8/10

Official Site - http://metalworx.com.au/futility/

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Borknagar - Urd (2012)

Creeping up on their 20 year anniversary, Norway's Borknagar have a sound unto themselves. Taking all of the heavy elements of black metal, and combining them with progressive and melodic touches, there are few bands who can even touch this signature style. Having been rejoined by former member, and Dimmu Borgir alumnus, ICS Vortex, and adding talented young drummer Baard Kolstad to the fold, this six piece is as tight as ever. On "Urd," they make a strong statement, and assert themselves into the "album of the year" conversation.

Without ever being told who was playing, the opening moments of "Epochalypse" would be a dead giveaway. The combination of extreme metal speed guitars and clean vocals is Borknagar at the core, a sound they have helped to create and evolve. The drums are absolutely unbeatable, with speed and precision coming together in a painfully excellent way. The vocals can switch seamlessly between screeching and almost psychedelic crooning, something that is never out of place. The same could be said about all the components at play here, with songs like "Roots" showing off the delicate balance of keys and symphonics. There is a stark contrast between the aggression in the drums, and the subtle beauty of the synth and guitar melodies. Sandwiched together with vocals as diverse as the band itself, and you have a winner time and time again. The pure simplicity in the beginning of the outro is amazing, with a clean vocal passage taking center stage.

The flow from track to track deserves mention, as well, with a seamless bridge to "The Beauty Of Dead Cities," a track that on it's own could shock a room of metalheads. The vocal melody in the verse almost holds an air of The Beatles in the delivery. Strange, but true. This is the softer side of Borknagar, which is entirely welcomed. The writing and execution of tracks like that should be celebrated, especially as part of an overall arc of an album. And yes, while these progressive elements do take the spotlight often, there are still pure black metal portions to be had, as is evident in "The Earthling." But rather than stick to one or the other, they combine both without skipping the proverbial (or literal) beat. The rhythm section is the driving force, but the guitar work stands out, whether it is in the speed riffs, or a harmonic filled solo. But in the more subdued moments of "The Plains Of Memories," the band gives a lesson in restraint. A silky smooth bass line cuts through, followed closing by beautiful strings. This four plus minute instrumental takes you to a new place, entirely.

Don't let the overflow of perfect harmonies fool you, tracks like "Mount Regency" exist in all of their harsh glory. The lightning quick kick drums return, hand in hand with screeching vocals and deathly growls that incite fear. The clean vocals offset some of the brooding hate, but this is a darker side of things, backed by an evil symphony of keys and strings. For a song of six minutes, this touches on every peak and valley of the metal genre, ending with a fading note. The psychedelic touch on "Frostrite" is just enough to induce awe. The melodic vocals are absolutely stunning, raising your eyebrows each time the higher register is touched. But underneath it all lies a battery of percussion that is endless in scope, a barrage of snares, cymbals and kicks that may leave you dizzy when all is said and done. The space age keyboards that enter in the outro portion are a nice touch, providing the melody for a more stripped down guitar and bass approach.

The longest track on the album, and also the most ambitious, is the nearly nine minute "The Winter Eclipse." If there is a track that could convert passers by to rabid fans, this would be the one, with an intense use of black metal tenets and symphonics. It plays out in such an epic way that it demands multiple listens. Layer upon layer assaults your ears, with each separate piece forming a pillar that holds up the mix. There is no need for extra, meaningless additions. Every note is well placed, every fill has a purpose. There is no filler here, despite the length of the track. Contained here is a perfect blend of clean and dirty, light and dark. The finale is a contradiction in and of itself, at times pairing black metal vocals with clean guitars. The dynamic created on "In A Deeper World" isn't completely new, but it is one that Borknagar have done more often and with more success than any other band that comes to mind. The synthesizers provide a richness to the mix that is undeniable, without sacrificing the mood of the song. Throw in a brilliant bonus track, a cover of Metallica's "My Friend Of Misery," and the album closes with a bang.

The metal market in the US seems to have forgotten about Borknagar. Despite their long running career, and the pedigree of the members, their name rarely, if ever, comes into the conversation for the shallow American fans. We fawn over our metal heroes, like Opeth, Mastodon, and Ghost (conveniently touring together). But albums like "Urd," with its rollercoaster melodies, savage screams, and haunting synthesizers, should be enough to achieve a greater success in the West. Look through the overwhelmingly black metal font, and you will be treated to a form of progressive metal that only these Norwegians truly know how to play.

9/10

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

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The Podcast: Episode 41 (Back to the...past?)

The live show went off without a hitch, but left us a little behind on our normal wacky conversation. We return to the headquarters to talk about the albums that have been consuming our time over the last few weeks. Justin has a lot to say about Screaming Savior, Fall Of Eden, Massive Pain, and Meshuggah. Darrell is excited to look back at his reviews from The Massacre Cave, Sunpocrisy, Akoma, and the new EP from Pelican. We are so close to the release of Brendon Small's Galaktikon, and the new season of Metalocalypse. Are YOU ready?

Download part 1 of that bad boy right here.

Part 2? Download here, my friends.

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Potergeist - Muddy Murmaids (2012)

Swamp metal. This is what the southern metal band Potergeist lists themselves as. This five piece rock group from Greece has recently come out with their new album, entitled “Muddy Murmaids.” The album is an interesting mix of blues, stoner metal, and southern rock. The vocals stay pretty consistent with rough clean tones that occasional switch to a form of violent yelling. The album is full of energy and will definitely have you up on your feet rocking out at all times.

The first track, “Forgiven,“ opens with a man speaking “Forgive me god, but I’m about to rock again” as sounds of rain fall in the background. Crashing cymbals give a count when the guitars fall in with wild melodies and thumping bass lines. The verse comes in with clean singing vocals with a spark of aggression. The vocalist has an interesting southern tone to his voice that of Phil Anselmo of Pantera. His raspy lyrics send a strong rock and roll kind feel to the song. “The Next Man” picks the beat right back up with catchy riffs and booming drum rolls making you want to bob your head to the beat. The vocals continue to flow smoothly until a small clip of screechy screaming interrupts things for a moment. This compliments the song and keeps things unique. The screaming is brief but that’s all it really needed to add a different kind of spark to the mix. Later you’ll come across a bluesy guitar solo that hypnotizes you with its wild melodies.

“Rivers And Oceans” steps in with wild guitar melodies as back up guitars distroy the background with violent chugging riffs. The cymbals collide high above the snapping snares and kicks while the bass rumbles heavily beneath you. The verse contains their aggressive lyrics that they’ve been providing however the chorus consists of some heavy growls that’ll knock you flat on the ground. Again helping the sound stay refreshing and different. While “Beggar” takes you to an even faster speed of drums and uplifting guitars, “Smokestack Lightnin’” leans strongly towards the blues with its calm groovy guitars and catchy melodies. The lead guitar definitely must have had some fun with this one as you’ll hear him go off in his own little world of melodies every once in a while. The vocals are a bit lighter in this song not stealing the show as much as they do in some of the earlier ones. This is the time to really pay close attention to the impressive guitar work. Even the solo near the end is off the wall. You’ll find yourself playing this one over and over again.

The album closes with “Muddy Mermaids” followed by “Rebel.” “Muddy Mermaids” gives a whole different sound altogether with its eerie clean sing that has mellow tones to it. They’re layered with female vocals as well giving mixed emotions. Meanwhile the guitar riff floats lightly in the background as it waits for the verse to be over. Then comes the heavily distorted guitars slammed violently in a slow tempo follow the simple drum patterns underneath. The vocals come back in as la couple again only the male vocals pick it up with the aggressiveness. Together they give off this eerie southern sound that really paints a clear image of the track. The second verse picks back up with more soothing vocals and calm guitar melodies. Detail bass lines begin to rumble in as wicked guitar begin to chug away again. This track leaves you wanting more and more you wont be able to help but hit the repeat button. When you do finally manage to move on to “Rebel” you’ll be rudely awakened by relentless guitar riffs that fly by you with rapid speed. The drums are intense with complex drum fills and hell vocals. You’ll find the album definitely goes out with a bang. Before you know it you’re back to the beginning of the album, fist in the air and head rocking out to the whole album all over again.

“Muddy Mermaids” has got some catchy southern sounds to it and definitely keeps your head bobbing constantly throughout the album. The recording quality is excellent as you’ll find everything to be crystal clear in each mix. Some of the songs in the beginning start to blend together as they contain similar structure and twanginess in the guitars but that shouldn’t stop you from enjoying yourself and rocking out to a good ol' southern metal album. Plus the last couple of track really step things up. Potergeist definitely has a lot of potential in their music and is a band that you’ll want to keep an eye on in the future.

8/10

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

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Pelican - Ataraxia/Taraxis (2012)

With some time away from the road, Pelican have given themselves an opportunity to breathe. Having toured at a grinding pace in support of their last full length, "What We All Come To Need," it was time to step away. From four separate studios, the members wrote and recorded their pieces of the larger whole, and the new EP, "Ataraxia/Taraxis" became the end result. Taking their talent for post-metal grunge, and adding in a healthy dose of acoustics, these four songs have come to represent the band at this stage in their career. And the maturity on display here gives us hope for the future.

Taking a more subtle approach, the opening track "Ataraxia" builds slowly from nothing. As layers of bass, keys, and clean guitars enter, you sit back and brace yourself for the explosion that always seems imminent with any disc that bears the Pelican name. But while the low rumble of the bass is ever increasing, this track serves as the pre-meal beverage, wetting your lips for the main course to come. And "Lathe Biosas" is exactly that entre, blowing through your speakers with wailing distortion and a rousing stomp that is sure to leave you feeling satisfied. The guitar melody, in and of itself, would be enough to call the track a success. But the bass work is too clean, too crisp to leave out. Even the oft criticized drums seem to have found their stride here, filling every gap with a snare or cymbal. The changing of tempos and time signatures keeps you off balance, but in the best possible way.

The slow groove of "Parasite Colony" is a very different style from its predecessor, more moody and dark. The band reinforce the low end, even in the guitars, while still moving forward with a rich melody. Whether it is in the deep, sludge sections, or the more atmospheric clean ones, the guitars have found new focus. Combined with the sheer strength of the united rhythm section, and you are witness to a monster of a sound, as fierce as anything the band have put out before. The track chooses to stay at home, not swaying too much away from the comfort zone, and avoids any unnecessary lateral movement. But again, a dramatic shift in sound comes as soon as the first strum of "Taraxis" kicks in. Clean, acoustic guitars and a constant tap of drums are the main attraction. A slightly twangy melody comes through, but so subtly, so softly, that it barely pokes its head out of the mix. The heavy, metallic edge that is so often the focal point of their music has taken a back seat to something that could easily come from an "Unplugged" set. That is, of course, until the rattling distortion rears its ugly head. As the earth shaking sound builds, this is the Pelican you know and love.

There is not a single man or woman in the music industry who could ever accuse Pelican of being lazy, or anything but "road warriors." The grueling touring schedule could have killed a lesser band. They earned every minute they took away from it all. With that distance put between themselves and the music, each member had a sense of clarity that may have faded away otherwise. With the powers of the internet lending a hand, and some new ideas in mind, they manage to, once again, give their fans something to cheer about. One can only wonder what's next.

8.5/10

Official Site - http://www.hydrahead.com/pelican/
Myspace - http://www.myspace.com/pelican

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Gothmog - Aeons Of Deception (2012)

Searching deep through Spains underground heavy metal scene, I have come across a vicious group by the name Gothmog. The band lists themselves as black death metal but they definitely have a lot of keyboards and strings that also put them into a darker gothic sound. They have just released their new album, entitled “Aeons Of Deception.” You’ll find nothing but devilish guitar riffs and booming drums filled with complex patterns. The vocals jump all around from black metal screams to deathly growls to even clean singing and chanting.

The album opens with gothic strings that fill the air with haunting sounds as jaw dropping drums quickly enter with exploding fills. Cymbals are crashing left and right as you’re beaten down by toms and snares. Devilish black metal vocals consume you during the verses with demonic lyrics. Strings continue to float softly in the background as monstrous guitar riffs electrify you with intense melodies. The include a small piano solo in the middle of the song throwing a softer dark side at you. The notes hypnotize you deeper into the song until you’re greeted with more evil screams. And if this doesn’t knock you on you’re ass then the beginning of “Escape To Nowhere” will. It’s wall of detailed drum rolls blast heavily from all directions with relentless snares that snap rapidly along with deep double bass pedals that rumble heavily beneath you. Evil keyboards take over the background providing a more symphonic black metal sound. Meanwhile the vocals come in with screechy screams that’ll have you shake with fear. They include a thrashing breakdown full of fast melodies and yet heavy chugging chords at the same time. This will have you up and moshing for sure. It definitely holds out to be one of the most violent ending on the entire album.

“Beyond The Mist Of Time” and “Deathbringer” continue to crash down on you violently with fierce guitar work. The tempo of the guitars keep you on you’re heals at all time. They even switch up the lyrics in certain areas giving you some clean singing vocals and also some death metal growls. It definitely adds some flare to the tracks. You’re met with a chanting choir in the song “Aeons Of Deception” as you’ll find the tempos to be slow and calm. Demonic growls mix back and forth with blackened screams as the verses are kept in a steady pace with the slower double bass pedal patterns. Wicked guitar riffs join in later with wild melodies and the drums begin to pick it up with detail in each riff. There are a few spoken words towards the end of the track continuing the story they tell. The it goes right back to venomous growls as the some comes to a close.

The unique thing about “The Bargain Struck” is how the song stays dark and aggressive with dominating double bass pedals and vicious forms of black metal screams and death metal growls and yet completely changes the mood of the song in the guitar solo towards the middle of the track. This really catches you off guard as you’re greeted with a soothing emotional guitar solo with gorgeous melodies as the wild double bass pedals continue to pound away in the background. The structure alone will have you hitting the replay button as you slowly embrace all of the different elements that it offers.

Another must hear track is the magnificent “Nirnaeth Arnoediad (Unnumbered Tears).” This six minute and forty second masterpiece surrounds you with eerie strings and punishing drums rolls throughout the entire track. The guitar riffs chug away with incredible fast speeds following the complex drum fills that follow in between. The verses fill the air with fiery black metal screams and evil growls that’ll make you shit yourself. The middle of the song turns into this epic track as the strings take over with dark gorgeous sounds. They are quickly accompanied by haunting chanting vocals that’ll send chills down you’re spine. This song is both vicious and beautiful at the same time with its constant aggressive screams and ravishing strings and keyboards. You definitely don’t want to skip this track.

“Aeons Of Deception” is full of dark surprises as you come across mixed vocals, perfectly performed in every way, and well balanced instruments. Between the pulverizing guitars and breath taking drum patterns you wouldn’t think there’d be any room for gorgeous piano solos and angelic strings and keyboards. Gothmog manages to give you everything and more. This is definitely an album worth checking out.

8.5/10

Official Site - http://www.gothmog.es/
Myspace - http://www.myspace.com/gothmog666

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Aceldama - Aceldama (2012)

 Not to be confused with the album by metal band The Faceless, Aceldama are an up and coming outfit from Birmingham, in the ever-rainy UK.Following the success of their single, "Metal And Beer," the band have set out to play live shows whenever, and wherever, they are allowed to plug in. But capturing the flash and energy of a gig is often hard, and the transition from stage to studio isn't always a smooth one. On their new, self titled album, this female fronted five piece are reaching for the stars, but not quite making it work.

The energy that rises from the opening moments of "I Am" is certain to peak your interest in the tracks that follow. Frontwoman Leanne is a perfect fit for the style of music being played. With heavy distorted riffs and the constant rolling of bass, her voice is the rudder that steers the track down the right path.You won't find anything out of the ordinary in the instrumental itself, but the band holds their own. Rather than  stretching things out for a five minute or more epic, they keep it short and sweet, a victory in and of itself. A little more confusing than cohesive, "Chapter 2" lacks the same punch and continuity of its predecessor. The main vocal almost seems disjointed, in both flow and the mix itself. The downside to a song like this one is that it can take a promising beginning, and make it quickly look watered down and ineffective. Sans the ripping guitar solo the track is a throwaway, lacking anything that will make it stand out from the crowd.

Quick to try to redeem themselves, the band launch straight into "Faith In Me." The drumming becomes more intense, with crashing cymbals sitting atop a solid foundation of guitars and bass. Leanne, once again, seems more in her element. Her lyrics, on the other hand, never seem to find a groove, falling back on some rock and metal cliches to pad out a shaky vocal line. The lack of true content makes her stretch her talents to hold bigger notes, and find additional melodies. The outro portion is the perfect example, with her voice failing to match to power of her bandmates. The punch of the kick drum opens "What Has Gone Before," with some more intricate guitar work chiming in early. It seems like the instrumental portion of the track hits a great stride, delivering a product that is easy to digest and get behind. But, unfortunately, the vocal lags behind, as it did in the previous track, sounding overproduced and under performed. This takes a solid effort and makes it fall flat.

With an opening segment that certainly plays out as the heaviest moment on the album, "I Tried" sees the band explorer some serious metal action. Machine gun drums and blazing guitar work take over, with each screeching harmonic bringing to mind (though only faintly) the great Zakk Wylde." Leanne makes a comeback in many ways, holding her own amongst the bruising riffs and damaging rhythm section. This is, in addition to being the darkest track, the most well rounded one. As the pieces finally fall into place, things run directly into "Collision," for one final burst of energetic guitar rock. There is something odd in the vocal mix, something that may be difficult to put your finger on. But the vocals sound as though they aren't mixed with the music, but are rather sitting on top of the band, drowning out all of the little touches to the guitar work. Case in point, as the flows from verse to breakdown, the guitars become so much clearer, so much more powerful. As the vocals return, the weight is too much for the drums to hold, and the juicy riffs are sandwiched.

Some bands are meant to be heard live. With these six songs, Aceldama seems to be one of those bands. There is no denying that they have all the potential to pull off successful female fronted metal. The evidence is there. But as the sound emanates from your speakers, each track seems to be missing that special something that would warrant repeated listens. Whether that something lies in the writing, the performance, or the mix remains to be seen. I guess seeing the energy the band plays with live would be the only way to know for sure. Until then, this one might not be a desert island disc.

6.5/10

Official Site - http://www.aceldama.co.uk
Myspace - http://www.myspace.com/aceldamabham

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Accept - Stalingrad (2012)

The infamous Germany metal band Accept has risen once again with an electrifying new album, entitled “Stalingrad.” This is the bands 13th full length album following their 2010 album “Blood Of The Nations.” Lead guitars Wolf Hoffmann and his heavy metal crew set off to deliver another powerful piece of work.

The album opens with “Hung, Dawn, and Quartered” where catchy melodic guitars fly through the air accompanied by blaring distorted chords and exploding kicks and snares. Lead singer Mark Tornillo rushes in with aggressive clean vocals. The chorus fills the air with catchy upbeat lyrics that’ll have you singing along in no time. Meanwhile the drums come through and pound away with complex drum fills that are absolutely jaw dropping. And it doesn’t stop there. The second track, “Stalingrad” continues with monstrous drum rolls while thunderous guitars chug away making you want to throw your devil horns in the air and rock out recklessly. The chorus is guaranteed to be stuck in your head with its memorable lyrics and uplifting melodies. Later comes a wicked guitar solo that throws wild notes from all directions as various speeds. By the end of it you’ll be exhausted and out of bread only to run into “Hellfire” and “Flash To Bang Time.” Both delivering booming snares and heavy kicks that rumble violently. Relentless distorted guitars jump at you wave after wave constantly knocking you to the ground. The fast tempos will have you up and moshing immediately.

“Shadow Soldiers” slows the tempo down a bit with slower chugging riffs and basic kick and snare patterns that’ll have you bobbing your head. Powerful clean vocals come through in the verses pulling you closer into the music. Tornillo shows off his range in the refrain as he swings his pitch high in the air hitting notes you though he could no longer reach. Multiple vocals join in as they all chant “Shadow Soldiers” in a catchy tone. This is followed by another mind blowing guitar solo that’ll knock you out of your seat. “Revolution” gives you a short moment to rest as it takes a few seconds for it to completely fade in with its monstrous guitar riffs and violent drum fills. Tornilla becomes a little more raspy in the verses as you feel a lot more emotion coming from his voice. Shouting high pitch lyrics in the chorus keeps you amped and ready for more.

Definitely make sure you check out “The Quick And The Dead” as you head towards the end of the album. A wall of vicious guitar riffs are waiting to crush you with electrifying melodies. Meanwhile the snares and kicks fire away with deafening fills and detail rolls that’ll have you bashing your head recklessly. The vocals continue to hit you with harsh clean vocals and catchy lyrics in the refrain. The best part is the wild guitar solo towards the middle of the track. The drums are thrashing in the background while wicked melodies fly through the air with hell raising sounds that’ll send chills down your spine. You’ll definitely find yourself jumping to hit the replay button by the end of the song.

For a band that’s been around since 1968, Accept has come through with some pretty incredible new material. Unlike Van Halen, they’ve stuck to what they do best and delivered another great heavy metal album. “Stalingrad” stays pretty well balanced and yet has a little something different in each track. The solos are phenomenal and the guitars are heavier than ever. Definitely check this album out!

8.5/10

Official Site - http://www.acceptworldwide.com/
Myspace - http://www.myspace.com/accepttheband

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The Podcast.... Live!

After one year of rambling, expressing strong opinions, and really just fucking around, we look back on all the things that made the first year of Sorrow Eternal one for the ages. Justin, Darrell, and Chester took to the stage of the beautiful Fye Auditorium to discuss their favorite moments from the site, the podcast, and the bands we have encountered along the way. A special thanks to all of the awesome fans and friends who attended, and for all of the bands for helping make this site a whole lot of fun for us.

A note: Justin suggests headphones for the best listening experience. Audio snob.

Part 1 is hosted by the fine people at Sendspace here.

Part 2 is hosted by the fine people at Sendspace here.

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Nimbatus: The Interview

It has become increasingly rare for metal musicians to pour their emotions into the music they create. For Nimbatus, one of the most mysterious and captivating one man bands we have encountered, it comes so naturally. We were lucky enough to have some time with the man, the composer, the enigma. Find out what goes into writing a Nimbatus EP, where his inspiration comes from, and why you are unlikely to ever see a live show.

First and foremost, thank you so much for this opportunity. We appreciate you taking the time to answer our questions about your work.

Thank you very much for having me. Nimbatus is only a small and not well known project and I am glad you're giving me the opportunity for this interview.

Being in a solo band project, I imagine that there are a lot of ups and downs when it comes to writing and recording an album. What would you say are some key advantages and disadvantages to being a one man band?

The biggest advantage is certainly being able to work on your music whenever you find the time. Especially when you're doing your art at a non-professional basis. It is sometimes very difficult to fit your hobby into your normal life schedule that comes with a regular job. Another point is the ability to do whatever you want to do without any arguments with other band members. You simply do what you think fits the actual song or what your mind or heart tells you. There are no real limits to what you are creating and only your own creativity limit the actual outcome of your work. The debating process within a band can be very creative when you do it in an open minded brainstorming style, but mostly it only leads to endless and tiresome discussions that might only kill any creativity. But please don't get me wrong, when you work on your own you always have to debate with yourself and watch your outcome with a critical eye to ensure a certain quality. That might sometimes lead to the point where you get frustrated because you're not sure about the direction a song you work on might take.

It’s interesting to have to find you’re lyrics through the notes you play. Where did you come up with some of the track titles from your new EP “Transitions?”

At the time I was working on “Transitions” I went through a really hard and emotional time in my life. There were many ups and downs and a lot of uncertainty about the events that took place during the writing and recording process. All four songs were conceived while I was struggling with these emotions, good and bad ones at the same time. When you listen to the songs, you can certainly feel and hear the mood changes. Actually all the songs were recorded in exactly the same order as they appear on the record. And the titles depict the events and thoughts I had at the time I recorded them. For example the song “Enter the Path” emerged when I was about to enter the path that in the end lead to the new life I now live.

In that same vein, have you ever considered adding vocals to your music? Do you have any vocal experience yourself?

Actually I have considered it. That's when the collaboration with Malinconica from Sicily started. Unfortunately we were only able to record one song together so far. I didn't hear from her in a while now and I hope she's fine. Sometimes I feel like vocals might be able to enhance the listening experience at certain parts of the songs. But then again I think to record songs only as instrumentals is somehow unique in the metal genre and many people encourage me to keep on going without any vocals. This way you can really focus on the lead guitar and whoever is listening can put their own thoughts and emotions into the songs.

A lot of your melodies follow a dark set of patterns however are also brightened by calm gorgeous riffs. During the writing process, where do your inspirations come from?

I never really thought about that. Usually I just sit down, take my guitar and start to play. As my mood has certainly an influence on how and what I play, I'd say the biggest influence is my actual life at that point. Plus something I listened to before might have inspired me. Most of the times after playing for a while I come up with something that seems to be listenable and I start to record that idea as a rough demo to prevent myself from forgetting about it. From that on I start to develop the song around that certain idea, starting with the drums to set the rhythmic character of the song. With the drums recorded I can totally focus on the final guitar tracks. I use a lot of layers to get a dense sound with a lot of harmonic and sometimes disharmonic content. I never had any education in music theory, I have the sound I want in my head and I play around and add stuff until I am as close as possible to that idea.

You sell your new EP “Transitions” as a downloadable MP3 through your Bandcamp site. Have you considered making physical copies, or is the cost vs. reward just too hard to work out?

Unfortunately these days I don't think there is any reward for small bands in offering physical copies anymore. As much as I love to buy albums from my favorite bands as a CD with a real artwork and booklet and maybe even as a limited edition containing additional material, I can't afford to produce physical copies that almost nobody would buy. I know of some bands who tried to sell there small scale batches of 200 to 500 physical copies that cost them a lot of money. But they usually ended up with the costs not getting covered by the sales. It is hard enough to sell your music when you're known to some extent, but it's almost impossible when you are as small as Nimbatus. The investments needed to record my music are big enough without any further money I'd have to put into the production of physical copies. Furthermore besides MP3 Bandcamp offers the music in FLAC format with lossless compression. FLAC files are a bit by bit representation of the master files, so the listener doesn't have to deal with any sacrifices in audio quality in comparison to an actual CD.

If it isn't too forward to ask, what kind of sales/download numbers have you seen for your albums to date? Have you seen a growing support of your music, even in this the age of piracy?

Honestly, despite all the positive feedback I received, sales are disappointing. The first three albums are available as free downloads. I changed that with the new EP “Transitions” though the price is so low it would still almost count as a free download. I thought I would be able to cover some of my expenses by doing so. But it seems like many people prefer to download my music through “alternative” channels. I started Nimbatus without any intentions to make money. The whole project is based on my personal motivation on making music. The feedback I receive from fans is what keeps me going. But really, I guess I would continue making music even without one single person listening to it.

Have you considered touring at all this year? Would you be able to put together a touring band?

Nimbatus is and will ever be a studio project. I would consider myself as being a bit restraint and I don't like to be the center of attention. I like to work in the studio on my own. I don't want to see my personal self in the picture and prefer the music to speak for itself. This being said, as I do all of this in my free time while having a regular life with a regular job it would be almost impossible for me to tour at all. Plus I'd need to find the right people to be able to perform the songs on stage. I know there are some people who would like to see my music performed live and try to encourage me in doing so. I am sorry to tell them that it is highly unlikely to ever happen. On the other hand, I often hear that the whole project seems to be kind of mysterious because I don't give away many details about myself. I'd like to keep it that way.

You list that you do all of your own writing, recording, mixing, and mastering. How long have you been working with music, engineer wise? Have you ever mixed or mastered other artists work?

For me writing music was always combined with the recording process. I was always very interested in the whole technical aspects and I always wanted to achieve good sounding productions. So I started to record my own songs many years ago. It seems like I developed some skills over the years that are good enough to record my music. But I never recorded other artists though sometimes I think I should at least try it. So, if you're reading this and want to get your track mixed feel free to contact me.

How long have you been a musician? Would you say that you play a certain instrument best or do they all come pretty natural to you?

I'm now actively into music for more than 25 years. At the time I started to develop a certain interest into writing songs I only used synthesizers and computers to create the sounds I had in my head. Later on I realized that I am much more into handmade music though I still use keyboards until today to make the overall sound more interesting. So I started to learn the guitar and that is when it all began. Years ago a friend of mine and I tried to found a band. It never really worked out, but at that time I had to replace the drummer a few times and it came to me pretty naturally. But until today the guitar is my main instrument and sometimes I wish I'd be able to find the time to practice some more.

If you had to name three guitarists that have influenced you the most who would they be and why?

There are certainly many influences in the way I'm playing the guitar and I am confident that every single piece of music that you ever heard and liked in your life will leave an impression of a various degree. But I never really tried to copy the style of any guitarist out there, though I often heard that I sometimes sound a little bit like I listened a lot to Joe Satriani. Well, I certainly don't because my playing skills are much lower than his and I would never compare myself to him. If I had to pick one guitarist I'd say it's definitely Mikeal Akerfeldt. I love the way he plays especially because he is not into playing as many notes as possible in a given time frame but tries to feel the music and every single note he picks. And in my opinion that is exactly what music is all about... emotions.

With your new EP out now, what is next on the horizon for you and the Nimbatus project? What can we expect in the coming months?

For the last few weeks I was working on the sound for a new album. I never use mixing templates that I would reuse for every album. That would only lead to albums that sound too similar. Instead every album I start from scratch before I get into the writing and recording process itself. Only a few days ago I started recording a new song and so far the outcome is satisfying. So I guess I'm right in the middle of the production of a new album that will most likely be released later this year. I'm still debating if I should stick to the EP concept, so people wouldn't need to wait for new material to be released for long. But I haven't decided on that yet and I will see how the recordings develop over the next months. If everything goes well, the new album will have the biggest sound of all and will show a new side of Nimbatus and some new elements never to be heard in that extent before. There might be some surprises!

Thank you again for being a part of this, and for sharing your music and insight with us. We are looking forward to your next release!

Thank you for this interview and your support! I really appreciate your interest in my music!

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Akoma - The Other Side (2012)

In 2004, Demark's latest heir to the symphonic metal throne was formed. The brainchild of vocalist Tanya Bell and guitarist Morten Harboe, Akoma is a band that is the sum of their many influences. Soothing, seething, and emotional, their music isn't just a basic, female fronted approach, but a more in depth and complex one. On their new EP, "The Other Side," they reach out to the global metal community, offering delicate keys, ravishing guitars and a voice that could move mountains.

From the onset of "Bittersweet Memories," there is a decidedly folk inspired tone to the music, mainly in the keyboards. As they build up, adding a pounding drum beat and bass line, the whimsical sounds draw you in. Vocalist Tanya Bell, whose style is something akin to Tarja meets Sharon den Adel, commands the tracks, soaring above the mix with an edge. The strength of the song lies in the instrumental balance, with each piece coming together in a perfect symmetry. While each may have an aura of simplicity, the depth of sound seems far richer. It becomes the basis for Bell to tell her story, in a gentle, but powerful way. The less restrained opening to "Your Sacrifice" sees an increase in aggression from all sides, taking the distorted guitars for a chugging ride. Despite the heavenly vocal tone being set, the backing instrumental is a lesson in contrast. The guitars chug forward, while the drums fill every waiting gap with a fill, roll, or double kick. The keyboards, airy and ethereal, tie it all together in a neat bow. Bell shows her talents time and again, whether as a vocal solo, over just piano, or over the assembled mix.

An emotionally drenched song, "My Love" has elements that could fit right in to a modern opera, with Bell's voice tickling your inner ear with grace and beauty. Single piano keys and light synths combine, if only as a vessel for her soothing words. As the drum beat rumbles in, welcoming the full band, the picture is complete. Bell croons ahead, leaving nothing behind, a single note taking you to the end. In that same stratosphere, "Without You" is equally heavy, in the weight of the lyrics alone. Once again, the distortion returns, with guitars echoing throughout the track. A constant thud of drums remains, before erupting into a full on battery of beats and crashes. The more bruising side emerges, with a collision of chords and kicks. Even in these more aggressive moments, nothing is out of place, nothing is overlooked. Every note is perfectly timed, powerfully blended together in a symphony of chaos.

A reworked version of "Guardian Angel," which appeared on the original promo EP "Angels Of Revenge," falls into place. Clean guitar tones accompany Bell's voice, this time in a far more accessible way than other parts of the album. Her vocals seem to be utterly flawless, on their own or part of the mix, with every breath, every word flowing from her lips with perfect pitch and accent. Songs like this are the perfect example, with no distortion or heavy guitars to hide imperfections. A song that spans over three minutes, yet it seems to end as quickly as it began. The finale, "Immortal Love,"  is, by far, the strongest track on the EP, with every tenet of the symphonic metal genre coming into play throughout five minutes of pure goodness. From the devastating stamping of drums, to the soaring, operatic vocals, and everything in between, Akoma hit all the right spots. The song is as powerful as the title conveys, giving you something to bang your head to, while also finding yourself overtaken by the beauty of it all. The vocal portion of the breakdown is enchanting, raising your eyebrows as bell hits the highest highs with accuracy and grace.

The fact of the matter is, this is a can't fail sort of endeavor. Akoma embody all the right things, from a angelic frontwoman, to a talented band dynamic. These aren't just six songs that were thrown together hoping to make a quick buck. Woven into each piece is an emotional tagline, one that represents everything the band has seen, heard, and accomplished over the course of their nearly eight year career. There is a frankness, an honesty to the music as well as the lyrics, one that makes it so easy to let yourself go while listening. Call it what you will, but "The Other Side" sounds like a great place to live.

8.5/10

Official Site - http://www.akoma.dk/
Myspace - http://www.myspace.com/akomamusic

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Meshuggah - Koloss (2012)

Meshuggah, Meshuggah, Meshuggah! They have returned. The extreme heavy metallers from Sweden have finally returned with yet another murderous album, entitled “Koloss.” You get a full 54 minutes and 32 seconds of non stop brutal riffs and thunderous drum rolls that will leave you bleeding out your ears while you scream for more. We have all waited pertinently for a solid four years and now it is here. Where should we begin?

Well the opening track “I Am Colossus” starts things off with punishing vocals that echo above screechy guitar riffs. The riffs are short at first but open up with massive distortion shortly after. Furious drum patterns light up the track with a burst of double bass pedals and cracking cymbals. Eerie synths enter towards the last minute of the song while the guitars throw monstrous riffs at you from all directions. This lead into “The Demon;s Name Is Surveillance” which blasts opening with jack hammering double bass pedaling and pounding snares that punch you dead in the face. Aggressive growling comes through murdering everything in site while you bob your head violently.

“Do Not Look Down” throws violent waves of wild bass lines and groovy tones with booming drum rolls. Cymbals crash constantly in the background while the snare beat you down with its relentlessness. Meanwhile Kidman comes in a completely destroys you with his wicked vocals. His harsh screams will echo in you head for days. Good luck trying to sleep.

A soft guitar riff plays gently at the beginning of “Behind The Sun” Don’t let this mellow sound fool you, behind it comes demonic guitars that chug away with dark melodies. The vocals continue to spark with devilish growls that are full of rage. The tempo of the song stays at a slow pace but that doesn’t stop the drum fills from going crazy. As you fall deeper into the track, you’ll find the drums becoming more and more vicious. Double bass pedals rumble recklessly underneath you knocking you on the ground. You won’t be able to help but mosh with the way these drum rolls fly at you. “The Hurt That Finds You First” picks up speed with fast chomping guitar riffs and relentless snares. The drums will drown you in bass waves with it’s overwhelming kicks and toms. The vocals scream with violence and anger as they rip your head off.

Songs like “Breaking Those Bones Whose Sinews Gave It Motion” and “Demiurge” stand as the backbone to this album. Hard hitting guitar riffs and thunderous drum rolls destroy your speakers at high volumes. They provide you with haunting tones along with hell raising growls and lyrics. The unique structure of the tracks keep you at the edge of your chair while you constantly bash your head to the drums. These are two tracks that are sure to have you hitting the replay button consistently.

Meshuggah continues with their madness as they come out with another outstanding piece of work. “Koloss” beats you into the ground track by track until there is nothing left of you. Then of course, you’re gonna want to play it again and again. The album is addicting as it is heavy. It’s eerie melodies will haunt you night after night as you find yourself playing this album day after day. This is definitely top ten of 2012 material.

9/10

Official Site - http://www.meshuggah.net/
Myspace - http://www.myspace.com/meshuggah

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The Massacre Cave - The Ninth Wave (2012)

As we stated recently on our Facebook, we are honest men, if nothing else. Our reviews are an honest assessment (albeit subjective) of the music we hear. So, regardless of how we came across an artist, rest assured that we are giving you a straightforward opinion on the music. In the case of The Massacre Cave, a four piece band from the tiny island of Eigg, which resides off the coast of Scotland, a white label CDR shipped across the ocean blue was all it took. Within seconds of pressing play on "The Ninth Wave," the method of delivery no longer mattered. Rooted so firmly in their homes and heritage, this folk tinged thrash speaks for itself.

As the guitars kick in on "Winds Of Death," they immediately lodge themselves into your frontal cortex, bending and winding through rapid fire notes. The drums are equally as catchy, coming fast and furious. The vocals are less polished, often coming through the style of raw yelling. It may be off putting at first, but you soon realize that you wouldn't want it any other way. The intricacies that come into play, through bass and guitar progression, are dazzling. The melodies and tempo are what draw the folk comparisons, with the high speed riffs tangling themselves into the bass line time and again. The solo that emerges in the latter stages is proof of the talent you are dealing with. The energetic assault of "Long Time At Sea" could even be called sludge, with the harsh vocals drowned in a storm of endless kick snare combos and darting guitar notes. The layer and volume build up in the pre-chorus sets the table perfectly for a vocal hook. But again, they don't settle for one sound or style. Instead, they throw you a change-up, literally, in the form of a power shift. Don't lose track of the lyrics, as they ring with honesty and truth, despite their raw delivery.

There is no more poignant example than on "Behemoth," scattered with audio from news outlets. Helping the lyrical message catch fire is a barrage of drums that rings out from left to right. The guitar riffs that fill the verse are intoxicating, and easily entrenched for days. The Cormack brothers, Ben and Joe, have no shortage of blistering fret work, as is evident with each new melody that comes to the service. You won't find any recycled riffing here, no monotone chugging. Instead, you are treated to some good thrash guitars, with a heavy dose of finger wizardry. Combined with a twisting bass line, and you have a winning team. The closing opus, "The Prey Approaches," is right at home anchoring the EP. If you thought you could escape cleanly, this six minute track will draw you back in, starting with a maniacal laugh. Between the machine gun drums and the wild guitar riffs, there is enough fire here to bring a city to the ground. Everything before was fast, but this is faster. The previous songs were catchy, but this one clings onto every part of your ear canal. The vocals hit their stride at the perfect moment, taking on a strength that may have been lacking in the earlier efforts. The cohesion between all the moving parts is the star, and this is their trophy track.

After a few listens, it's fairly easy to see why The Massacre Cave has earned rave reviews from those who have heard them. They play a brand of thrash that may sound raw at times, but one that is beautifully crafted and finely tuned. While it would be a stretch to call them folk/thrash or even folk at all, those elements come through here and there, just enough to have a home and a purpose. There isn't a stray drum hit, or a single string out of place. Don't let their humor fool you; these guys are top notch musicians. On "The Ninth Wave," they harnessed every bit of energy the sea had to offer, and burned it onto a piece of plastic.

8.5/10

Facebook - http://www.facebook.com/themassacrecave
Myspace - http://myspace.com/themassacrecave

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