Dark Tranquility - Zero Distance (EP) (2012)

How is it possible to miss out on a band whose career has spanned 23 years, a longer period than the age of half of their fan base? Somehow, the name Dark Tranquility never quite made its way into our collections, despite having 18 titles in their melodic death catalog. But even in this new age of business, these veterans are making smart choices, for themselves and their fans. Enter their new EP, "Zero Distance," a collection of five songs that were tacked on to the tour edition of "We Are The Void." Rather than forcing their followers to repurchase an album for the new material, they release it as a digital EP, one that is worthy of a title all it's own.

The title track, "Zero Distance," a standard type track in the band's repertoire, gives a different spin on what melodic death is, with the melody coming from the instrumentation rather than the vocals. Lead singer Mikael Stanne pours through the mix with his gritty, almost devilish growls. This isn't a black metal screech, though, as the clarity is astonishing at times. The electronic element is a nice tough to the heavy, low end barrage of guitars and bass. The balance between distorted riffs and and endless sea of drums and cymbals is delicate, but well executed. There is a great tone to the music itself on "Out Of Gravity," with some pieces carrying the melody, while others give the mix an edge. Stanne commands the army, but the main assault comes from the guitar duo of Niklas Sundin and Martin Henriksson, with fractured, distorted harmonies taking precedent over overwhelming heaviness. While one carries the load of the rhythm, the other lays down a brilliant solo, complete with wailing harmonics. Hesitating to call this "folk metal," it certainly has an energetic foundation.
A short, two minute instrumental, titled "Star Of Nothingness," cleanses your pallet, while also giving rise to some more intricate guitar work.

Playing off of that sound, the intro to "To Where Fires Cannot Feed" builds from light guitars, into a full on rampage of percussion and distortion. Classifying Stanne's vocals as sonically abusive might be an exaggeration, but not by a large margin. He screams and growls his way through verse and chorus, with a depth and clarity that seems too good to be true in the death sect. Once again, melodic guitar parts intertwine with massive riffs, this time sharing the spotlight with a simple but effective piano piece. But the guitars remain the star, be it in the form of a ripping solo, or more atmospheric picking. With a finale like "The Bow And The Arrow," you find yourself coming full circle, musically. An electronic backing vein runs throughout, sitting just underneath the waves of guitar and drums, and a steady bass input. The way the mix is pieced together makes all the difference here, with slight differences in tone and volume bringing out the strength of each component. Thunderous double kicks come in and out, but they don't overwhelm the surging guitars, or Stanne's harsh vocal lines.

Over the course of so many years, bands have a tendency to phone it in, becoming more of a derivative of their former glory. Somehow, after 23 glorious years, Dark Tranquility haven't lost that razor sharp edge that has allowed them to be successful for so long. There aren't any throwaways here, no egotistical filler. What you get is five tracks of melodic death metal, pure and straightforward. No bullshit, no gadgets, no magical production tricks. If you are a fan, this is well worth the price of admission. If you have yet to discover this band, "Zero Distance" might just be the perfect opportunity to get acquainted.

9/10

Official Site - http://www.darktranquillity.com/
Myspace - http://www.myspace.com/dtofficial

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The Podcast: Episode 47 (This is a podcast about metal music)

God damn, we have had some great new releases over the last few weeks. What better time than now to catch up. Darrell hits home runs with Skyharbor, Fister, and Sonata Arctica, while Justin had some strong releases from Deathlehem, Winter Gate, and Several Union. Spread the word, and get on these albums right away!

One video to... inform... you.... or something.

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Scarlet Anger - Dark Reign (2012)

Scarlet Anger is a thrash metal band from Luxemburg and has recently released their new full length album, entitled "Dark Reign." They display a mean set of kick and snare patterns along with wild solos and explosive guitar riffs. The album starts out strong with the first few opening tracks but slowly sinks itself into a specific sound as you'll start to notice some of the tracks start to sound alike.

Violent cymbals splash heavily in the opening of "New God Rising." Distorted guitars quickly fill the air as monstrous bass lines fade into the background. The vocals contain harsh clean vocals full of energy and rage. The guitars switch up constantly with different chugging patterns along with melodic riffs. The drums stay relentless throughout the track with quick bursts of double bass pedal drumming and rumbling toms that lead you right into a sharp crash. You'll also come across a wicked guitar solo towards the end of the track that'll leave you stunned. Wild guitar notes hit you from every direction as you fall to the ground. "My Battlefield" picks the tempo right back up with more melodic chugging guitars and sizzling cymbals high in the background. The fills are detailed and full of complex patterns. The verses cut right into you with aggressive shouting and echoing lyrics. The build up in the kicks will have you bobbing your head in no time.

"Game Over" is another beast of a track that drowns you in distortion. The drum rolls carry a galloping tone to its kick snare combos. It'll definitely put you in the mood to mosh. You'll also notice the interesting layering of vocals. The harsh shouting vocals are mixed with devilish growls in certain parts of the song. It adds a haunting sound to the mix. "Follow The Order" will have you flinching with it's screechy guitar riffs and punishing snare work. Each roll will lead you right into another deadly crash. The double bass pedals are thrown at you with machine gun speeds. This will definitely get your blood pumping.

After a while, you'll notice a lot of the tracks start to blend together. "A Tale Of Hate" and "Prince Of the Night" sound similar to some of the earlier tracks that you've already heard on the album. A lot of the guitar riffs fall in the same chord and chugging pattern. They don't really separate themselves from the other tracks. Even "My Empire Coming Down" just starts to sound like generic thrash metal. At this point if i want to hear something vicious ill just jump over to a Slayer album.

Overall "Dark Reign" starts out with a bang but slowly falls to a repetitive state. The songs start to mash together and sound similar to one another. Scarlet Anger has a lot of potential but they need to work on some of their song writing techniques. After a while it seems like the creative process kind of just fell off. The drums are however excellent throughout the entire album. The fills will have you're jaw hitting the floor the whole time. If anything I would say to listen to the first four or five tracks and get a feel for the album. If you wanna hear more of the same riffs and style then continue with the rest of the album.

6/10

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

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Several Union - Awake From The Game (2011)

Several Union is a five piece rock band out of Italy. They have released their new album, entitled "Awake From The Game." The album contains a good mix of metal riffs and hard rock vocals. The clean vocals are delivered with aggression keeping the album fierce. As far as the instruments go, the drums are monstrous with detailed drum patterns while the guitars are constantly blaring with distortion.

The opening track, "Erase The Sorrows" opens with futuristic synths with interesting effect that fade right into distorted guitars. The riffs will have you throwing up your devil horns immediately. The verse contain clean singing with catchy lyrics that echo through the track. The refrains kicks in soon after with mesmerizing melodies that'll run through your head for days. The double bass pedals will blow your mind as quick rolls rumble underneath you. "On My Own" kicks things off with immediate vocals with catchy tones that carry you right into more blaring guitars and booming drum fills. Cymbals are constantly crashing from left to right as the snare drum is relentless with its rapid snap in every roll. The refrain comes through and completely consumes you with catchy vocals that'll have you singing along right away. This track is very addicting.

Later you'll come across songs like "Awake" and "Best Of Me" where the guitars just jump right in and completely annihilate you. Right as you're trying to recover from them, massive bass lines come through and knock you right back on your ass. Groovy bass lines keep you at the edge of your seat with their constant change in melody. The vocals continue to echo with catchy lyrics pulling you deeper into the album. "One By One" also keeps the album pumped with energy as you come across rapid kicks and snares forcing you to bob your ahead with the beat. The guitars switch up constantly between chugging patterns and melodic riffs. The track does manage to catch you by surprise with its monstrous breakdown and wicked growling vocals that layer on time of it. This little transaction will definitely have you shitting you pants.

You'll also discover a softer side to this album as well as you move deeper into the album. "Fall And Fade" opens with a slow acoustic riff and mellow vocals. The lyrics are delivered with an emotional tone as lightly distorted guitars begin to fade in. It definitely has a strong alternative rock sound to it witch may turn some metal fans but i feel that it fits the album as a whole overall. They add a bonus track in the end, entitled "Waiting For," which strictly contains acoustic guitar riffs and beautiful piano notes. The vocals are sung with a real slow emotional sound while weeping strings float gently in the background. Again, far from the metal scene but seems to really fit the album perfectly. The mixture of gorgeous strings and angelic piano riffs make this track worth hearing. Definitely check it out.

"Awake From The Game" definitely leans more towards the radio scene with its catchy hooks and melodic riffs however it definitely keeps you hooked throughout its entirety. You'll find yourself playing over and over again after the first time hearing it. It doesn't quite have enough elements to call it metal but it's definitely a solid hard rock album that is well worth your time.

7/10

Official Site - http://www.severalunion.it/public/Several_Union_official_website.html
Myspace - http://www.myspace.com/severalunion

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Sonata Arctica - Stones Grow Her Name (2012)

With a style that remains distinct, yet wholly accessible after sixteen long years, Sonata Arctica aren't about to change for anyone. One of Finland's proudest exports, this keyboard-led melodic metal five piece has accomplished damn near everything you could want to in a career, with legions of fans across the world hanging on every note. But even more important than that is their ability to stay true to the dream. And on "Stones Grow Her Name," there may be new wrinkles to the signature formula, but the flavor is still the same.

With an opening that kicks into high gear immediately, "Only The Broken Hearts (Make You Beautiful)" sees the band at their emotional best, combining an uptempo musical assault with frontman Tony Kakko's poignant lyrical talent. The harmony of melodic guitars with a constant booming kick drum drives the track forward, while fluttering keys add accents throughout. Kakko's vocal delivery, his flow if you will, has always been a bright spot and this is no different.With seemingly endless layers stacked atop one another, you have a tremendous depth of sound to take in. What follows is a track with a name that may seem a tad curious, but a track that is anything but. "Shitload Of Money" isn't the most subtle title, but the sound is a new take on the classic heavy metal, done in a way that is unique and refreshing. Guitarist Elias Viljanen gives you some strong riffs, with a flourish of keyboard produced tones pad out the mix. Kakko takes his voice to new places, touching on glam metal before laying down his own brand of hook. This is a track that will stick for hours and days.

If you have been feeling the lack of a strong keyboard presence so far, "Losing My Insanity" will rectify that. A beautifully played intro, classically inspired, leads into a raucous guitar lead. There is a definite similarity to the "Unia" sound of 2007, mainly in the vocal and drum contributions. With a relentless battery of percussion, there is nothing holding Viljanen back from delivery finger licking solos and catchy chorus riffs. It would be crass to say that this track oozes anything but pure Sonata Arctica. But with a heavier edge, "Somewhere Close To You" will open your ears in a different way, with guitars that will carve you in new ways. Even the breakdown and solo sections have an eerie sort of feel, with the keyboards filling a hole with ominous whines. It is both beautiful and bold, especially when thrown in the middle of two much different tracks, as "I Have A Right" quickly shows. This boasts the most straight forward message, one that could be summed up by saying "I should be allowed to be me." And while this might not be the standard metal message, it works here, thanks largely to the execution on all fronts. Musically, the keyboards are clincher, with a dazzling melody rolling from start to finish.

A soulful, acoustic opening launches "Alone In Heaven," a song that sees Kakko delivery a very clear story in lyric form. And inside that message is an almost disturbingly good question: "How can this be Heaven if my best friends burn in Hell?" It carries the musical weight of a ballad, but the lyrical weight of something more, something that may invoke a thought or two. Some of that carries over into "The Day," with a combination of twirling guitar riffs and winding keyboards. There is something almost triumphant in the way Kakko delivers his lyrics, as simple as they may be. The way the song is constructed has so much to do with the end result, as layers and layers of sounds come together in a perfect mix of sour and sweet. Now, the southern twang that seems to find a place in the opening riffs of "Cinderblox" may leave you in shock. It's as if the most popular jug band has enlisted a drummer and guitarist, and released a crossover effort. Granted, that feeling only lasts a short time at first, but the emergence of a banjo style playing from time to time is a bit of a curveball. This is not to say it doesn't work on some level, but it may not have the result that you wanted. Let the Finnish hoe-down begin!

Slowing things down, "Don't Be Mean" sees Kakko taking a more sullen approach, paired with light keys. This is the rest track, the one that gives you a chance to recoup your thoughts without killing the pace of the album. Instead, they follow it with two epic tracks, "Wildfire, Part II" and "Wildfire, Part III." The former builds up from silence into a chugging fury. The band is back in full swing, with dazzling keyboard backing. Encased in this eight minute offering a little bit of everything you have come to expect. Rolling double bass, blazing guitar riffs and a method of singing that is unique to Kakko alone.The latter track is an assault of the senses, with things picking up steam for one final launch. You may detect a more power metal edge to this one, as the drumming shifts into high gear. But when things slow down, and the keyboards take over, there is something much more enticing to enjoy. The composition that inhabits the middle portion is subtle, but beautiful, in a way that warrants a few repeated listen of that piece alone. One final burst, and nature takes you to an end.

The name of the game is, and has always been, evolution. rather than going back and remaking the same album year after year, Sonata Arctica grows. Every effort shows off a new aspect of their sound, while still retaining the elements that have made them a fan favorite for the better part of two decades. So, while you can certainly pick out pieces that remind you of "Unia," or even "Winterheart’s Guild," these eleven tracks will become synonymous with this album. If you have been fortunate to bear witness to the constant shifting of what "metal" is, then you can appreciate even more of what this band does. With "Stones Grow Her Name," they have given you a lot to hear, and even more to think about.

9/10

Official Site - http://www.sonataarctica.info/
Myspace - http://www.myspace.com/sonataarctica

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Fister - The Infernal Paramount (EP) (2012)

Breaking your bones with a mixture of doom and sludge, St. Louis, Missouri  based three piece Fister aren't new to us. Months ago, Justin gave you an opportunity to get on the bus with his review of their last effort, "Violence", one that left his ears ringing for days. Only three months later, they are poised to release a new EP to their growing throngs of rabid fans. And while "The Infernal Paramount" may only be two songs, and just under twelve minutes long, the howling that you will endure in your inner ear will last for days. After all, with chunky riffs this heavy, you simply have to play this one loud.

Humming distortion and a rumbling low end demand to be heard as "Deaf Wish" fades in. The mix is murky, but in the best way possible, melding all of the elements together in a singular wave form. The slow, sludge filled beat is worthy of a head nod, while the guitars and bass lock together in a deep chugging, accented by flurries of riffs. Even the vocals, as harsh and coarse as ever, seem to come to the party with an extra edge. In a flash, the tempo shifts from crawling doom to up tempo post metal blasts, picking up momentum with every chord and cymbal crash. But as quickly as it put the pedal down, the foot comes off the gas, and they coast to a feedback filled finish.

After the assault of the first track, it would only make sense to slow things down to a brutal grind for track two, which is exactly what you get at the onset. To say that "River Coffins" pounds you into a haze wouldn't do it justice. Every down beat is crushing, especially when added to the weight of a distorted chord that seems to linger forever. As the track shifts into second gear, a great choreographed stop/start section rings through the air, setting the table for some of the most inspired, and horrifying, screams you will find on a sludge or doom effort. But even more impressive than that is the sudden outburst of a screeching guitar lead, one that rears its head for just long enough to make an impression, but not long enough to derail the anvil crushing you from above. Chaos breaks out, with noise emanating from your speakers, almost enough for you to think the invasion has begun. Don't be surprised if the looped spoken phrase at the end haunts your dreams.

A two song offering is always a dangerous one. What if one song, or both for that matter, doesn't measure up? Is it long enough? What if they don't make a big enough impact? But here, Fister can put those worries to bed. These two tracks, separately and together, carry with them the weight of all three members; the blood, sweat and tears that undoubtedly went into every second, every note. This isn't an exhibition on how to play faster than the other guys, or how to overuse effects like so many other bands. "The Infernal Paramount" covers the two criteria that you will never go wrong with: simplicity and substance. Isn't that worth every ounce of sweat?

9/10

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

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Midnight Realm - Polarissima (2012)

Midnight Realm is a brand new band shining light on new melodic death metal. They have just released their debut EP, Entitled “Polarissima.” The six piece band from the U.K. shares their violent riffs and catchy refrains in this explosive five track demo. They give you everything from growls and clean singing along with acoustic guitars to messy distortion.

The EP starts out with a short minute and a half intro, entitled “Polarissima.” It contains gloomy acoustic melodies that open into a beautiful melody. Captivating keyboards surround you with angelic sounds that lead you straight into “Abstract Connections.” This is where your hit with an avalanche of fast chugging guitar riffs and relentless double bass pedal drumming. The lead guitar throws constant melodic riffs that will have you bobbing your head throughout the entire track. The verses take over with violent screams and growls that’ll knock you on your ass the minute you hear them. The vocals switch over to a clean singing vocal that glides through the air with catchy tones. You’ll come across a gorgeous piano solo towards the end of the track that mixes itself with a reckless guitar solo as well. This track definitely gets your blood pumping.

“Solaris” comes out swing with booming drum patterns and wild double bass pedals. Meanwhile wicked guitar riffs throw rapid notes running up and down the musical scale sending a chill down your spine. Monstrous growls rip through you like a dagger as machine gun snares run wild with rumbleing kicks underneath. The chorus contains catchy lyrics that’ll have you singing along in no time. The melody will be stuff in your head for days. “Mystic Revelations” wastes no time as aggressive growls jump right in with the verse as more vicious guitar riffs chug away with quick speed. The upbeat tempo keeps you up and moshing throughout the whole track.

“Requiem” shows a little more of a progressive side to the EP. This seven minute rollercoaster takes you up and down through gorgeous riffs and devilish breakdowns. It’s tough to keep up with the constant change in tempo. The song structure definitely keeps you at the edge of your seat the entire time. Booming drums destroy the background as cymbals shatter left and right. The vocals constantly switch between growls and clean singing and will leave you wanting more and more. By the time this Epic track is over you’re gonna be hitting that repeat button immediately.

“Polarissima” is a well balanced EP that displays a good amount of both growling and clean singing. They provide you with just enough of each to really attract all who listen. The guitar work is phenomenal and will definitely blow your mind with all of the exciting guitar solos they have to offer. Midnight Realm is still fresh to the underground metal scene and definitely have a lot of potential.

7/10

Official Site - http://midnightrealm.bandcamp.com/album/polarissima
Myspace - http://www.myspace.com/midnightrealmuk

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The Podcast: Episode 46 (International House Of Metal...IHOM?)

The longer we do this site, the more we realize that metal truly is the global musical genre. Sure, Italy has supplied a great number of bands to our ears. Same goes for Finland, Sweden, and Germany. But the reach of metal music has gone so far beyond that. With bands coming out of Canada, India, Cyprus, Australia and Belgium, you never know where the next big stars could come from. We invite Chester back to talk global metal. To Antarctica and beyond!

There can be only one.... part.

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Winter’s Verge – Beyond Vengeance (2012)

Yes, some of the greatest metal acts in the world come from countries like Spain, Italy, Finland and Germany, to name a few. But the tiny island nation of Cyprus, off the southern coast of Turkey? Add them to the list. Winter's Verge has been on the cusp of stardom for years, with a brand of progressive power metal that is accessible, as well as intriguing. Fronted by the vocal talents of George Charalambous, it would be easy to find yourself lost in the grit and grooves that "Beyond Vengeance" has to offer. But don't be fooled; there is a lot more to this album to meets the eye.

Sweet symphonics open "Cunning Lullabies" before a whispering voice joins the fray. An organ plays in the background as guitars explode forward. Charalambous' voice commands your attention in traditional heavy metal style, showing range and power with every vocal passage. The multiple layers meld together into one, with squealing guitars joining with raucous drums and a smooth bass line. Things quiet down for what seems like a moment, and then come to a head with an explosion of distortion and crashing cymbals. Before you have time to breathe, a fast and furious guitar solo bursts through the wall of sound, followed quickly by a keyboard solo that matches it, note for note. Light piano keys fade out, and give way to "Paper Is Blank," which boasts some persistent percussion. Charalambous exhibits a strong grasp of the storytelling element that the music demands, without sacrificing strength for story. Sitting in between the grinding guitar work and the pulsing drums is an emotional investment, a dedication to the craft. And while another ripping solo may steal the show, the lyrics won't be lost.

There is a classic sound to "Unto The Darkness," one that brings to mind Judas Priest in the verse, and iron Maiden in the chorus. The tempo is fast, but always changing. An addition of a more harsh vocal to Charalambous' normal style does wonders, especially when it collides with an operatic high note. The haunting synths are the glue, as always, tying instrument to instrument, and stanza to stanza. Fear not, guitar lovers, squealing harmonics await you on "Not Without A Fight." Simplicity can be an asset, as is demonstrated here with a more basic guitar gallop taking you through the verse sections. The kicker is in the way the keys and chords mix together, forming a pretty formidable unit. This is not to say the guitars are completely hindered. There is still a whirlwind of a solo to contend with, one that cuts and slices you in ways you should prepare for. To the more melodic side, "Bleeding Heart" sees a mix of darting keyboard notes and uptempo bass lines taking center stage. Charalambous shows his range and melodic mettle, soaring through verse and chorus with ease and grace. There are portions of the track where the drums feel like a lead, trading off with the guitars in a quid pro quo relationship. Not to be denied, the keys take charge and lay down a futuristic hum. A quick vocal harmony? Fitting.

There is certainly a more dire feel to "Dying," whether by intention or not. The lyrical content is worth mentioning, especially here. Charalambous' words are intelligent as well as charismatically delivered, something that should be celebrated. Doing double duty as front man and backing vocalist, he gives quite the performance. But through the twirling guitars and endless sea of percussion, the band tells their own story, one that is as poignant as the main tale. What would power metal be without that one ballad to sooth the savage beast? Predictably, based on the title along, "One Last Night" is that track. The tempo slows, and the band restrains themselves for a five minute piece. Charalambous wears his heart on his sleeve, pining for lost love. But in the emotional rain storm, a lightning solo flashes into frame, one that gives life to the track. Guitarist Harry Parri gives you that extra element to make things a success time and again, and "Threads Of My Life" is no exception. A gang vocal chorus is a nice touch, but the true strength here lies in the occasional burst of riffs and distortion. Paired with light keyboard work, you have a combination that needs to be perfect to drive home the nail.

Sometimes the shortest track has the most to offer. "Angels Of Babylon" may be the perfect example, giving you a three minute burst of high speed riffs and drums. The vocals are clean and bordering on epic, with Charalambousshowing tremendous care with each note, fitting every syllable into tight spaces, without crowding the message. Parri again shreds away over top of a blasting drum fill. From the shortest to the longest, "Semeni" is a far cry from the quick burst of energy. Building from a solemn acoustic guitar and synth pairing, it is part ballad and part triumphant march. The sea of snares and battery of toms are assertive, but not overwhelming. It allows for the subtleties of the vocals but in solo and gang form, to shine through. There is something to be said about a track that causes you to sway back and forth in your chair, something this track does numerous times. Conversely, "A Dream For A Dream" seems out of place. This five minute closer seems like it could have been the opening track, or even an interlude. Stripped down and moody, it doesn't seem to fit the role as the finale. To be fair, the track itself is strong, but the placement isn't.

Geography most certainly plays a role in the development of music, and musicians. But more than that, it can also help or hinder your exposure to the world. Hailing from Cyprus, Winter's Verge don't necessarily have the benefit of a large scene to be a part of. In fact, they are their own scene. But they are overcoming the geography as a hinderance, while embracing it musically. Yes, this is a power metal album. But it isn't just your run of the mill effort. Charalambous and company go beyond the restrictions and traditions and give us something that can be enjoyed over and over. "Beyond Vengeance" is a crowning achievement in a budding success story.

8.5/10

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

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Skyharbor - Blinding White Noise: Illusion & Chaos (2012)

The future of Indian metal is here. Evolving from a bedroom studio project into a full fledged ethereal tidal wave, Skyharbor is fast becoming the talk of progressive metal community. Guitarist Keshav Dhar has garnered some serious attention from musicians the world over, including former Megadeth guitarist Marty Friedman and former Tesseract vocalist Dan Tompkins, who both lend a hand on the album the independent metal scene in India is riding on. With a mix of sounds both heavy and distinct, "Blinding White Nose: Illusion & Chaos" is the first step from underground to headliners.

The heavy riffs that open the first track of the "Illusion" movement, titled "Dots," are not a mistake. Pounding drum beats thump through your speakers as Dan Tompkins, whose voice graces all seven pieces of this arc, lets his voice simply rest atop the distortion. In his airy segments, the guitars are shockingly aggressive, but that is nothing to the machine gun assault that comes just before the bridge. Lightning fast guitars riffs and double bass pedaling lock together. The light electronic effects that guide you from bridge to outro are welcomed, as are the sparing screams from Tompkins. The seamless flow into "Order 66" ties the two together, but they are distinctly different. The tempo has changed slightly, from blazing to merely simmering, but there is an added dose of melody to be had here, both in the guitars and vocals. Dhar is a master craftsman, something that comes through in his playing, but even more in his writing. Taking in the riffs that control the later stages of this track, there is a depth of sound to be had that is difficult to achieve and maintain.

Tompkins vocals are strong throughout, but particularly on "Catharsis," where his voice provides an atmospheric element to the song. he show great range, from the more coarse style to the high, clean notes. The drumming is incredibly tight, consistently moving a mile a minute, without missing a beat. The downside to such a powerful percussion performance, is the way it tends to hide the lower register guitars and bass, as it does here. The movement back and forth from quiet to booming seems to take a seven minute track and make it feel like four. Fading into "Night," a short, calming affair, Tompkins shows his softer side amidst an electronic beat and clean guitars. The build up that follows shows off some more dynamic bass work, perhaps for the first time on the album, then cuts out before leading ahead into "Aurora." It would be fair to say that this is the most straight forward track on the album, sticking to a more traditional structure. This is far from a bad thing, as the band execute with the utmost care and intelligence. The bass groove is enough to get your head nodding, and the mellow vocal line will have you leaning back in your seat to take it all in. One last blast of power takes you home.

A point that is often forgotten is the ability of an album to flow, not only from track to track, but as a whole set. As you run directly into "Celestial" you may become very aware of the path you have taken to this point, with each song seeming like an extension of the song before it. Tompkins provides the common thread in everything to this point, with his clean and gritty vocals often taking the spotlight, as they do in the choruses here. But for every winding riff that Dhar lays down, there is a corresponding and equally impressive roll or fill from Anup Sastry. A bluesy guitar solo occupies the portion normally reserved for breakdowns, adding another beautiful twist. As the "Illusion" segment of the album ends, culminating in the track "Maeva," you get exactly what the arc dictates. A fitting mix of aggression and melody, Tompkins carves out a flowing vocal line that can't be forgotten, easily. Falling somewhere between Chino Moreno of the Deftones and 30 Seconds To Mars frontman (and actor extraordinaire) Jared Leto, he seems to possess equal parts of tone and tenacity. The ethereal haze that builds around you may seem odd, given the previous six tracks knack for sledgehammer force.

Moving into the "Chaos" passages, Tompkins hands the baton off to Sunneith Revankar, who adds a much more industrial edge to the sound of "Trayus." Living up to the name, it is pure chaos in the percussion world, with drums flying at you from all directions at all volumes and tones. This is the kind of track that places the album squarely in that ever growing djent subdivision, with heavy vocals and heavier blast beats occupying every second. And the eruption of "Aphasia" is the proverbial hands around your throat, choking the breath from you with every chugging riff. if you were sold on the heavier side of their musicianship, this would be the track to sway you. Rolling double kicks and nonstop, dense guitar work will surely incite a riot in your living room. The album closes on the track "Insurrection," one that begins calmly before crushing you underneath wave after wave of brutality. It is a completely unrestrained effort, choosing to go with unbridled aggression over the more distinct songwriting they exhibited earlier. This is not a track of subtleties, but one of in-your-face destruction.

Coming from a country that isn't necessarily known for their metal can easily put extra pressure on you to succeed. Nothing is ever a certainty, and nothing is ever guaranteed. But what Skyharbor have done here is given themselves the best chance to not only be successful, but to stay true to what they know. There is no compromise, no consolation. This is every bit the album that Dhar and company wanted. With help from Tompkins, Revankar and Friedman, "Blinding White Noise: Illusion & Chaos" might open the eyes of the world to the rumbling from India. They are on the map now. Who is next?

8.5/10

Official Site - http://www.basickrecords.com/bands/skyharbor
Myspace - http://www.myspace.com/skyharbor7

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Deathlehem - Epic Of Creation (2012)

A new melodic death metal band by the name of Deathlehem begins to shines in the metal world. This five piece group out of Montreal has recently releases their new EP, entitled “Epic Of Creation.” With clear quality of recording and well written tracks, it’s easy to hear why this EP is worth your time.

The first track, “Epic Of Creations,” opens with a fast melodic riff with monstrous guitars chugging in the background. The vocals light you up with a heavy grunt that echoes over the everything. The verses contain thrashing death metal growls that will knock you on your ass. Double bass pedals drill through you with wicked fast patterns combined with punishing snares and crashing cymbals. The complex fills are absolutely breath taking. The middle of the track has some dark spoken word as eerie guitars set up the background. You’ll also come across a groovy bass line that takes you right into the final verse. Destructive drums and chugging riffs fill the air as the vocals continue with overwhelming grunts.

“Bludgeon The Cortex” jumps right in with more monstrous growls. Double bass pedals become relentless as they rumble heavily underneath you throughout the entire track. Catchy melodic guitars consume you forcing you to throw your devil horns up and begin to mosh. You’ll find the bass to jump in and out of the background with more groovy melodies that run up and down the scales. Towards the final two minutes of the track, you’re hit with an insane guitar solo that drops melodic notes from all directions. This is followed by muddy guitar riffs that chug away with devilish tones while the vocals come in and just destroy you.

An upbeat double bass pattern kicks in with “Suffocation By The Hands Of Man.” This track holds more of a thrash feel with its constant kick snare patterns mixed with aggressive growls that are thrown at you with quickness. The guitar riffs are interesting as they constantly switch up from melodic riffs to mashed up chugging riffs. Meanwhile the drums are constantly throwing more double bass in your face. “Apocalyptic Spawn” jumps at you with tons of energy as exploding drum rolls and snapping snares pick up a fast tempo. Melodic screeching guitars hop right on board with catchy riffs layered with more chugging riffs underneath. The growls echo throughout the entire track with vicious lyrics and a solid delivery. By then end you’ll be left begging for more.

“Epic Of Creation” provides you with a wicked blend of melodic bass and guitar riffs while sending sharp guitar solos over monstrous chugging riffs as well. The EP packs and punch and is sure to keep you at the edge of your seat throughout its entirety. The vocals give a solid performance in each track and will definitely send chills down your spine. Keep in eye out for Deathlehem, the band has got lots of potential.

8/10

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

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Winter Gate - Disillumination (2012)

A progressive death metal band of India has made its way to my speakers and after reading this review it should quickly make its way to your speakers as well. The band goes by the name Winter Gate. The band has released a short EP, entitled “Disillumination.” It consists of three tracks, two of which contain some wicked guitars and exploding drum patterns. The other being more of just a short intro. The EP displays some overwhelming growls and ravishing clean singing that will definitely blow your mind.

The opening track, ”Beyond The Light,” is a gorgeous instrumental that displays soothing and relaxing piano patterns. Heavily drenched in echoing reverb, the melodies paint an emotion picture that completely consumes you as you are carried to a whole other realm. As the piano riffs fade, you will run into the second track, entitled “A Wreath Of Mist.” This twelve minute masterpiece takes full control with dominating guitar riffs and catchy melodies that will get stuck in your head for days. During the verses comes a wicked set of vocals that deliver massive growls that’ll have you shitting yourself immediately. The guitars keep the background bursting with energy with their monstrous chugging patterns layered with overwhelming lead guitar melodies that hypnotize you deep into the song. You even come across a scale murdering solo about half way through the track. The notes alone will have your jaw dropping with amazement. The drum rolls are constantly changing with a mixture of double bass patterns and relentless snares. This song shows a strong resemblance to that of Opeth as the structure of the track turns out to be really complex and unpredictable. Towards the last three minutes of the song you will run into mellow guitar riffs and ominous clean vocals that set up a dark depressive mood.

“Death’s Embrace” is the third and final track on the EP. It continues with jack hammering double bass pedal drumming and a constant mix of cymbals that shatter violently throughout the track. The growling vocals step up with a violent delivery that is sure to knock you on your ass. The track has a good mix of regular and distorted guitar riffs that play back and forth perfectly throughout the track. Both tunes are captivating in their own way. The drums will have you bashing your head to the beat throughout the second half of the song as things pick back up with vicious vocals and punishing guitar riffs. Booming kick patterns pound you into the ground while a solid snare comes in with a constant snap. The song comes to an end with addicting guitar riffs that are layered on top of each other perfectly. This is definitely an epic ending.

Winter Gate displays a great balance of melodies and song structure. They have a very strong progressive side to their music that keeps you addicted and wanting more. “Disillumination” contains very impress vocals both growling and clean singing. For only being a three track EP, these songs really pack and punch and have lots of different elements to throw at you. You’ll definitely find yourself playing the entire EP over and over again. It’s well worth the time.

9/10

Official Site - http://www.facebook.com/WinterGate

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Chernobyl - Chernobyl (2012)

Named for the nuclear disaster that forever changed the landscape of the world, Italy's Chernobyl aren't quite as groundbreaking. The ever increasing number of post metal bands coming out of the woodwork make it exponentially harder to craft a unique style, let alone get noticed by the world at large. But with a touch of atmospheric post-hardcore, mixed into a flurry of heavy riffs and pulsing drums, this four piece might not be far away from an explosion. Figuratively speaking, of course.

In no time, you are surrounded by a see of distortion and gloom, as "Red Forest: Day 1" commences. With each downstroke, a crashing of cymbals cuts through the air. The guitars chug away, but not without restraint. It isn't as if they are completely devoid of melody, though it does lose some of its luster in the crushing mix. Standing as the rock, the pillar of strength is the bass line, steady and constant. A crashing end leads right into the second part of the trilogy, "Red Forest: Day 2." Despite bearing the same name, the similarities between parts one and two are non existent, minus both tracks containing drums, guitars and bass. There is a more focused attention to melody here, building a harmony between each instruments that results in a more well rounded sound. The production isn't perfect, often leaving small details to pass, but it succeeds in creating a mood to the music that might have been lost with a better mix. But the subtleties are there, and they work wonders.

Ending the three part affair is the smashing attack of "Red Forest: Day 3." The rule book has gone out the window, in favor of some of the more bruising percussion you will find on a post metal album. Things do regain a bit of control shortly thereafter, settling down into a noticeable structure. The drums have taken on a somewhat hollow thud, for better or worse, leaving the overall sound feeling a little flat. Some interesting guitar effects cover the outro portion, a tin echo carrying it to an end. Building a track from nothing into a nearly eight minute opus can certainly take time, as is the case here. It is a full minute of the same riff before "Fukushima Sunrise" changes. And this is where things go awry. The production seemingly dips, and the tempo is lost. There is a much more minimalist approach at play here, though it may not be intentional. Like many of the newer post and sludge metal bands, Chernobyl seems to lose sight of the goal here, droning on with the same basic chords for far too long. There is a clear division between segments, and this could have easily been divided into two separate, and wholly different, tracks. The latter portion sees an improvement, with the addition of some clean guitars and slides.

A robotic buzz opens "Kursk," while also welcoming back those rare clean guitars and light tapping of drums. Rather than trying to overpower you right out of the gate, they instead choose a more calm approach, building with each measure. Things build to a head, and finally boil over with a burst of distorted riffs and crashing drums. Repetitiveness is a problem again, however, as the band settles in for another marathon of the same basic format. The truth shame is that as a three minute effort, this track would be a standout. But adding an extra two minutes just kills the momentum. And with that, "Vostok Lake" takes over for the home stretch. Clocking in at over eight minutes of feedback laden distortion, this is a perfect microcosm for the album as a whole. The noise that emanates from your speaker at this point could be perceived as self pandering, with a constant drum beat and bass line sitting underneath a never ending wave of grating guitar.It never really falls into line, instead puttering out.

With new albums, especially by new bands, there are two sides to the coin. First, concentrating on the positives. Chernobyl exhibit an ability to write riffs that make sense, that flow together nicely albeit in an extremely chaotic environment. There are standout moments in five of the six tracks, great ideas that simply didn't come to fruition. But as you turn to the negatives, you begin to forget all that was good. Extended track lengths repeatedly kills any sense of movement. Rather than aiming for that eight minute behemoth, sometimes it's more important to know when to stop. And while this isn't a second disaster bearing the Chernobyl name, changes may be necessary to avoid a premature meltdown.

6/10

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

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The Podcast: Episode 45 (Galaktikon? I barely know her!)

Another month has gone by, and we have done enough reviews to choke a camel. This week, we have something on our minds. And that something, ladies and gentlemen, is our new band of the month for May, 2012. I am getting ahead of myself. First, Justin wants to say a few words about Cannibal Corpse and Teodasia. Darrell, on the other hand, has some things to say pertaining to Storm Corrosion and Brendon Small's Galaktikon. But who, then, will be the band of the month? Oh, the suspense!

Part 1? Yes, we can!

Part 2? I guess so.

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Grey November: The Interview

When we first heard the new album by French band Grey November, we were blown away. A take on the Edgar Allen Poe story of the same name, "The Fall Of The House Of Usher" was an astonishing blend of French romanticism and traditional doom. It would only make sense to track down those responsible. Through vocalist Marieke Delanghe's enchanting voice, she and mastermind Cedric Seyssiecq answer our questions about the ambition, the scope, and the result of such a massive undertaking.

Download the audio here.

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Dehuman - Black Throne Of All Creation (2012)

Lurking from the shadows of Belgium comes a new death metal band by the name of Dehuman. The group has recently released their new album, entitled “Black Throne Of All Creation.” The album contains nine hard hitting tracks that are sure to shatter skulls. The recording of some of the guitars are a little muffled but the drums and vocals are perfect. I hope you like punishing drum rolls and relentless growling vocals.

The opening track starts off with scratchy guitar riffs and demonic tones in “Apocalypse And Perdition.” Harsh growling vocals kick in along with hammering double bass pedals and snapping snares. Moshing is your only option.During the bridge you are murdered with monstrous guitars chugging away while a wicked solo steps in with reckless notes. The snare becomes relentless as it drills into you along with shattering cymbals. This six minute track will definitely break some bones.

“Monstrosity In The Hands Of God” continues the slaughter with immediate growls jumping right in. Melodic guitars fill the background with ominous sounds while the drum rumble heavily beneath you will complex fills and insanely fast double bass pedaling. The tempo changes up so drastically so often you won’t be able to keep track of when to bob your head. It definitely keeps you at the end of your seat throughout its entirety. Later you’ll come across another six minute monster, entitled “Spiral Of Loss.” The beginning delivers a wicked growl that will send chills down your spine. It echoes with reverb and sends you right into jack hammering double bass pedal drums that are just waiting to obliterate you. A vicious breakdown enters after the first verse throwing devilish chugging guitars in all directions. This is where you throw your devil horns in the air.

Muddy guitar chugging riffs roll at you in “Harvest The Sun.” The groovy melody gets you on your feet immediately. As the drums come in with booming patterns, the vocals jump in on top with demonic growls delivered in fast chomping tones. They definitely rip a whole right through you. The final minute contains wicked double bass patterns along with more monstrous chugging as you hear a man screaming for his life at the very end.

The album comes to an end with “Black Mamba” and “Path To Oblivion.” The first track consists of wild melodic guitars all through the verses while heavy kicks and snares explode in the background. Dominating growls completely destroy you with their vicious lyrics. Make sure you check out the drum rolls towards the last minute of this one. The drum fills are most impressive. The final song opens with sinister guitar riffs that chug away in slow patterns as detailed drum rolls send you into another world with their wicked fast speed. Snares rolling into toms and back into snares all within seconds. The haunting growls enter after about a minute and a half in. The verse contain barking growls that chip away at you little by little. Machine gun double bass pedals come back in with insane speeds that completely pound you into the ground.

The drumming alone will easily have you coming back to “Black Throne Of All Creation.” You won’t be able to resist the incredible double bass patterns and detailed snare to kick rolls. The vocals are overall average for a death metal band however they do manage to deliver a solid sound throughout the album. If you’re looking for some new death metal with violent tones that’ll blow your speakers then definitely give Dehuman a chance.

8/10

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

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Brendon Small's Galaktikon - Brendon Small's Galaktikon (2012)

Mastermind of the two fastest selling death metal albums of all time, Brendon Small has spent years as the man behind the music. As the writer and creator of cartoon band come to life, Dethklok, he has sought to please rabid fans the world over. Finally, he steps out from their immense shadows to release an album that not only bears his name, but also reminds us that he was a wizard of heavy music long before Skwisgaar Skwigelf came into existence. This "high stakes intergalactic extreme rock" album takes you away from the guttural growls and into a world of swirling melody that is as infectious as it is daring.

Leading with strength, "Triton" starts the album off with a bang. This is one of the few songs that carries a Dethklok vibe, musically. But Small's melodic vocals are excellent, transforming the track into something entirely different. The vocal hooks get you singing along, while the surgical precision of Gene Hoglan's drums will have your feet tapping in no time. As a pace setter, the song works wonders, flowing neatly into "Prophecy Of The Lazer Witch." Rolling double kicks are only the beginning here, with an intense groove coming out of left field. The bass lines that echo through the background, provided by Dethklok live member Bryan Beller, tighten the whole production. And while the music is as perfect as one would expect, the lyrics are a highlight. Things slow down a touch for "Beastblade," seeing Small take a lighter approach in his singing. To call it crooning would be misplaced, but the depth in his voice is encouraging. From the pure clean vocals to the raspy side, he hits the right notes, even eliciting a sing along "woooo ooooo ooooo" in the hook. The bass line that guides the track to a close is a killer, running up and down the scales.

if you have waited this long for a stomp, you are in luck. "Deathwaltz" touches on that southern metal style that made Pantera so famous, without dumbing down the track as a whole. The verse sees a heavy, crushing set of riffs, while the chorus cuts back to melody and magic. The appearance of a violin rounds things out, just in time for Small to unleash a ripping, but perfectly sensible, solo. It is more about precision, rather than pure speed, though he exhibits both. Bizarrely titled, "Truth Orb And The Kill Pool" rumbles forward with a big assist from the dynamic rhythm section. The lyrics here are surprisingly poignant at times, without being pretentious. It is easy to focus on one piece or another, but the way all the elements come together in this particular track speak to Small's ability as a songwriting. On that same note, "You Can't Run Away" may be the catchiest song he has done to date.A fluttering guitar riff inhabits the verse, partnered with a heavy dose of kicks and cymbals. That dichotomy of vocal styles is never more apparent and celebrated than here, with the smooth clean vocals meshing perfectly with aggressive ones. Even as the hammer drops in the breakdown/solo section, the harmony of all the pieces is stunning.

Once again achieving that space age feel, "Arena War Of The Immortal Masters" opens with a futuristic guitar riff. A robotic voice effect sees time in the chorus section, hammering home the galactic thrill ride. This, more than the others, is the "fist in the air" entry, complete with a bass line that might be bedroom worthy. There is something inherently empowering in the lyrics here, with Small chanting "we will defy the laws of gravity, they will behold our majesty." All of this comes just in time for the lone instrumental piece, the aptly titled "Dangertits." As one of the tracks that had been released prior to the album, it seemed odd on its own. But sandwiched in the eighth slot, it all comes together. And with a closer like "On My Way," you have a completed saga. The tempo picks up again, seeing Small fly through riffs at a nauseating pace. The beauty in the vocals is in the sheer simplicity of it all, cutting from clean to gritty and back again, but not attempting to do anything outside of realm of reason. Instead, they leave that to the budding breakdown that follows, with Hoglan pounding away at every piece of his kit, with Beller rolls ahead at full steam ahead. The chemistry on display is unreal.

Small has outdone himself here, and given his fans, and metal fans in general, nine songs of high energy, high speed, rocket fuel. Between the blazing guitar work, the machine-like drumming of Gene Hoglan, and Bryan Beller's top notch bass lines, this space age piece of metal madness has everything you could want. Sure, the screams and growls are absent. But that is a good thing. The next Dethalbum can wait. Every second of Brendon Small's Galaktikon is like a zero gravity punch in the mouth, keeping you on the edge of your seat, and the edge of your sanity.

9.5/10

Official Site - http://www.brendonsmall.com
Facebook - http://www.facebook.com/brendonsmallgalaktikon

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Teodasia - Upwards (2012)

Get ready as a new epic sound begins to spark. Italy’s talented Teodasia has taken over the ears of many while releasing their new album, entitled “Upwards.” This glorious album contains twelve ravishing tracks that are filled with violins, keyboards, uplifting strings and heavy guitars. And to top it all off, the band is led by the beautiful Priscilla Fiazza and her captivating vocals.

A set of uplifting strings and slightly distorted guitars open up this album with “Intro-Spection.” This three minute instrumental draws a clear picture of fantasy and adventure. It sounds like it could be in the opening credits of a Sci-Fi film. This slowly fades into “Temptress” which is a four and a half minute masterpiece. It’s got upbeat piano melodies and blaring guitar riffs. The drums roll at a basic tempo keeping you head bobbing throughout the track. A beautiful clean female vocal steps into the light with ravishing tones and catchy lyrics. The refrain is catchy as all hell as you find yourself singing along immediately. High powered strings consume the background as the kicks and snares become more heavier along with catchy distorted guitars. You can’t help but notice how perfect the vocals go with the strings as they almost play as an instrument them selves. Already Fiazza shows off her operatic reach. She has a solid ranch of high and low octaves. You’ll find more of this in “Revolutions” as she continues with low end vocals during the verses then kicks it up a notch during the epic chorus. The band even mixes her vocals up with male vocals layered on top in the song “Lost Words Of Forgiveness.” The keyboards take over when the vocals rest carrying you through the bridge. Theses catchy melodies will have you whistling along in no time. There is also some chugging guitars and exploding drum in the mix as well. This shows more of the bands aggressive side.

The album also jumps through a few ballads. “Close Call” and “Aurora” Slow things down with gorgeous strings and piano melodies while the band lets Fiazza take over with her ravishing vocals. “Close Call” uses more piano and strings with a few acoustic guitar riffs in between. Meanwhile “Aurora” sounds like it could be found in a score from Final Fantasy with it’s angelic sounds of mixed keyboards and shining piano notes. You’ll also come across a song called “A Powerful Life” which is quite a ballad but starts out like one. It opens with calm piano riffs and soothing female vocals. Later come the upbeat guitar riffs full of distortion. The drums take over the background with basic kick and snare patterns that occasionally end with a detailed fill. This is definitely another catchy track that you won’t want to miss.

“Eulogy” is a track that stands on its own. It’s the second to last song on the album and it is phenomenal. Aside from a few short humming melodies from Fiazza at the end, the track is a full instrumental. It combines many different strings and violins along with shimmering cymbals high in the background. The song takes you to a whole other world. It breaks down into many different parts as you’ll come across an aggressive side with chugging guitars and booming drum rolls and yet it also has many areas of calm violins and soothing keyboards. You won’t be able to help but play this song over and over again.

“Upwards” is an amazing album that shines from all aspects. From the uplifting strings and violins, to the hypnotizing from Fiazza, the album grabs you and pulls you deep into the mix. Each song is well written and well recorded and keeps each track refreshing in its own way. Teodasia is definitely a band that you’re going to want to keep an eye out for.

8/10

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

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Storm Corrosion - Storm Corrosion (2012)

The long awaited collaboration between a pair of musical geniuses has finally come to fruition. When the news hit that Opeth mainman Mikael Akerfeldt and Porcupine Tree mastermind Steven Wilson were set to record an album together (originally including Mike Portnoy), the metal world salivated, speculating about the sound and scope of such an endeavor. Performing under the moniker of Storm Corrosion, the dynamic duo of progressive music are ready to put the questions to an end. With the release of their self titled debut, Akerfeldt and Wilson hold nothing back.

Serving as the first single from the album, "Dragging Ropes" is a drawn out affair that fades in with strings and synths. With a more ambient soundscape than either of their main bands would project, it allows for a not too drastic departure from those acts. While each  has his own vocal style and delivery, Wilson and Akefeldt come together seamlessly. The track barely gets to a simmer in its ten minute run time, and this is in the best way possible. Vocal cannons, layered guitars, keyboards, and light percussion inhabit the entire piece, building into a beautiful frenzy of activity. It all plays out in a light, but strangely eerie way. The title track follows, with a bounty of flutes and acoustic guitars in tow. Wilson lays down his delicate vocal melody, as only he can. The winding, fluttering guitar parts become entwined in one another, forming a perfect harmony of smooth sound. The light tapping of drums is minimal, but effective. As the track descends into madness, a crying, whining air raid siren of mixed noise, a lone guitar cuts through to bring you back to the main path. Wilson's vocals return, restoring peace and calm as the track floats to a close.

A pulsing bass line leads "Hag," which, in the early stages, is about as minimalist as one could expect from a duo this dynamic. Wilson provides the vocals again, accompanied shortly after by sweet piano keys. You may find yourself falling into a short, psychedelic trance as a result of the haunting synths to come next. Akerfeldt's signature guitar playing comes through nicely, with a short burst of distorted riffs and rattling drums. Don't be fooled, this isn't a descent into death metal of any sort, but rather an outburst of avant experimentation. Clocking in under five minutes, "Happy" is easily the shortest track on the album. With little more than acoustic guitars and electronic noise coming in and out over, there isn't much to hang your hat on. Wilson's voice fits perfectly in all the airy instrumentation, though with an approach as stripped down as this one, it would be nearly impossible not to mesh well. The piece seems somewhat incomplete, as if one elements never made it to the final cut.

Finally giving a dose of structured tempo, "Lock Owl" begins with an acoustic piece that may elicit a nod of approval. Coming together as a true band piece, all of the role players are involved. From a low, rumbling bass line, to the synthesizers that have occupied many an Opeth tune, to a host of sound effects and electronic additions, every singular element forms a mass of sound. The tingling of a bell welcomes the second half, a more evil sounding affair... accompanied by a basic clap chorus. It seems a strange addition, truthfully. Things fall apart, and build up again from the beginning. As the album closes, "Ljudet Innan" is the final offering to be displayed. After a short vocal passage, the mjusic returns to what amounts to nothingness. Light guitars and keys are all you get, building and fading over and over. Light chorus vocals peak through but not enough to make a full impact. Even the short bursts from Wilson fail to resonate for long. Light kick/cymbal/snare combos seem distant. And after ten minutes, everything just fades away.

This album has been years in the making, waiting for a synchronized break in their schedules to finally piece this together. So, after sitting through this six track, 47 minute opus, you almost have to wonder what took so long. Yes, the music is beautifully crafted, and richly organic, something that jazz combos can boast of day in and day out. It must have been a smooth writing process, just letting each instrument flow from within, piling one on top of another. And while it would be unfair to expect "The Incident 2" or "Heritage, Too," it seems as though combining two men of such talent and creativity would result in a more involved piece of music. But while its members may be older, Storm Corrosion is young. And, hopefully, this album is only the beginning.

7/10

Official Site - http://www.stormcorrosion.com/
Facebook - http://www.facebook.com/pages/Storm-Corrosion/187831801312141?ref=ts

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Cannibal Corpse - Torture (2012)

With their trashing guitar riffs and deathly vocals, Cannibal Corpse is at it again with their new album, entitled “Torture.” The five piece from Buffalo, New York have continued to show off their wicked talents with this twelve track massacre. From deafening solos to muddy chugging guitars, the album hits you from all angles.

The album opens with “Demented Aggression” sending wicked fast guitar riffs blaring in your face. Lead vocalist, George “Corpsegrinder” Fisher, wastes no time with his violent death metal growls as they chop away with a murderous deliver knocking you right on your ass. Devilish guitar riffs fly through the air with wild distortion and constant chord progression. “Sarcophagic Frenzy” keeps the motions going with exploding drum fills and massive amounts of punishing growls. Monstrous guitar riffs will have you up and moshing right from the beginning. Later you’ll come across a guitar solo that will send chills down your spine. The final verse carries you right into the deadly “Scourge Of Iron.” This is one song you don’t want to miss. The tempo slows down just a tad as chainsaw guitar riffs come through with aggressive chugging riffs as you’ll find yourself bashing your head immediately. Fisher cuts your throat with his sharp vicious growls. Meanwhile the drums jump in and out with complex drum fills and insane double bass pedal patterns. Another hell raising guitar solo comes through and completely destroys the musical scale as you hear nothing but reckless notes flying at all directions. Don’t be surprised if you catch yourself quickly hitting the replay button for this track. I had a hard time getting past it myself.

“Encased In Concrete” and “As Deep As The Knife Will Go” are a couple of powerful tracks that really provide a backbone for the album. They’re only about three minutes long but since they follow each other they fit perfect in length and are just enough of what you want. Pulverizing guitar riffs saw through you with monstrous distortion combined with booming drum rolls and non stop double bass action. Crashing cymbals fill up the background perfectly with their wretched screams. Another vicious track is “Followed Home Then Killed.” It opens with muddy guitar riffs that blast away with deafening chords. The tempo quickly picks up as the verse comes in with a wave of demonic growls. Guitar riffs are constantly changing pattern leaving you at the edge of your seat the entire time. You are then consumed by a deadly solo that contains a mixture of reckless violence and psychedelic sound effects.

The album stand strong all the way through to the end as you pass insane tracks like “Caged…Contorted” and “Torn Through.” The bass lines alone run straight through you gutting you from the inside out. Fisher’s growls echo throughout the tracks with harsh aggressiveness and sick lyrics. Meanwhile the drums continue to constantly change up double bass patterns and throw relentless snares and cymbals at you. As they beat you into the ground, you’re then eaten alive by more mind blowing guitar solos. With this album, the killing never stops.

“Torture” is a reckless bloodbath that keeps you kicking and stomping throughout its entirety. Each and every track is aggressive and over whelming. Cannibal Corpse continue to prove they are the kings of death metal with their sick lyrics, punishing guitar riffs and wicked solos. The album grows on you very quickly and you’ll find it hard to turn off. Definitely make sure you check the album out. It’s well worth it.

9/10

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

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The Podcast: Episode 44 (I don't care about reviews, I only care about guitar!)

Yes, for those of you who caught it, the title is, in fact, stolen from Brendon Small's "Home Movies." A while back, we discussed some of the drummers that stand out from the pack. And while the men with the sticks mind be the ones to drop the beat, the guys with the guitars in hand are the ones that keep us on the edge of our seats. We take this opportunity to talk about some of our favorite axe men. From Akerfeldt to Loomis, Wylde to Small, these guys know how to rip, wail, and shred their way to glory.

Download that shit right here, dawg.

And the second part of that shit is here, son.

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Valkiria: The Interview

The man behind Italian gothic doom two piece Valkiria, Valkus, has a vision for his music. With humble beginnings as a one man band, and rising to his current position over the course of a 15 year career, he has never been short on ideas or execution. He sits down to share his thoughts on their new album, "Here The Day Comes," the thought of life as one long day, and where the Italian metal scene may have gone wrong. Special thanks to Angelo at Scarlet/Bakerteam Records for setting this up.

First and foremost, we want to thank you for taking the time to answer some questions about your work.

Thank you for giving us this opportunity.

Your influences are very broad, including Katatonia and My Dying Bride. What is it about those bands, and others, that inspired you to create music, and what effect do you think they have had on your sound as it is today?

I started playing Black metal in the 90’s, the sound I used to play included melodic parts, then I started to slow down the rhythm of the songs. I am a big fan of the bands you mentioned, in a certain sense they influenced my style mostly at the beginning of the new millennium. It seems to me they lost their primordial gloom, even if they keep on doing good music, but the 90’s “doom feeling” is definitely gone. With H.T.D.C. I also wanted to resurrect those unforgettable sensations.

Your new album, "Here The Day Comes," breaks the day up into seven sections, each represented by a song. How did you come up with this concept?

I began to compose a long, unique song. After a lot of variations the song has been divided into the seven tracks you find on the cd. Therefore all songs are interconnected, so I came up with the idea any songs could represent a single moment of the day, a day that synthesize the entire life. If only we could perceive life just as one long day, everything would be easier.

The artwork for the album is a pure representation of that concept, with the sun rising over the trees. Where did the artwork come from, and who is responsible for the image itself?

Originally I created a cover by myself with a lot of images pasted together. I imagined a room in a cemetery with an old man and a young woman, but after all I wasn’t satisfied with the final result, so we decided to change it in a more impressive one. I found that picture on internet and I immediately felt in love with it, I just added a little photoshop “ice” layer on it. The photographer gave us the right to use the entire series of shoots, so you can find other amazing images like that inside the booklet.

Did you have specific ideas in mind for each stage, and how do you feel that each song fits the time that it was named for?

I used to take my guitar, I had in my mind the concept I wanted to represent, sometimes it was like entering in a sort of trance, my mind was completely separated from the rest of the world. That was all, I just knew every riffs would have created the perfect atmosphere of this strange day. The only exception is the entire beginning of dawn, I started writing it thinking consciously of a quiet introduction, somebody commented that the light break forth vigorously in the dark of night, but in my opinion the day promises to be just as gently as in my "dawn".

We often ask about the challenges for one man bands. I imagine there is a list of challenges and benefits for being a two piece, as well. What are some of the best, and worst, parts of being part of a metal duo?

I started as a one man band even though it was not my intention. I have always looked for capable musicians who could join the band, because I firmly believe that union is strength. So we are willing to add other permanent members in the band, because we believe that sometimes to be two is a limit. Obviously more thinking minds could mean possible disagreements, but I have now developed a foolproof method: in case of divergence I’m the boss, I decide and .. go to hell with democracy!

Traditionally, you haven't used the services of a live drummer for your music. What led to the decision to employ a drummer, and how did Novembre's Giuseppe Orlando come into the fold?

I always asked myself how Valkiria could play with a real drummer, so when Mike proposed to contact Giuseppe Orlando I just answered that it could be cool to have him with us. Giuseppe accepted, so the only step left was booking the studio. He is a very talented drummer, he gave each song a boost. We worked on the drums for one week, we had a drum machine demo, I realized as accurate as possible, so everything was very simple.

You are far from a new band, having been around for 15 years. How would you say labels, distribution outlets, and the pure "business" of music affected your work, from an artistic standpoint?

I've always been making music without thinking of the consequences (searching for a label, distribution, selling…), that’s the most important thing and the reason why, the previous works are downloadable for free on our official site. The opinion of people, whoever they are (fans, journalists or labels) doesn’t affect me very much. I am adamant about this, if I made music influenced by these pressures would be an extreme failure.

After enduring all of those trials and tribulations, all in the name of your music, how would you say the music industry has changed you as people over your career?

The music industry has changed a lot over the last fifteen years with the advent of Internet, that has played in our favour. We never had bonds so we didn’t tie with a label until last year.

We kept up with the promotion evolution, since Internet has spread we caught the ball. In 2001 we created our official website, which was the first step to restart, after the stop that followed the first demo in the late nineties. So far internet was our only channel of promotion, and without internet we wouldn’t never get the will to publish and promote our music, cause the old system didn’t work for us.

From our work on the site, it would seem the Italian metal scene is extremely diverse, and growing by the day. Where do you think Valkiria fits into that picture, and how do you feel about the crop of new bands that are emerging?

You define Italian scene “diverse” I agree with you, in the sense that this diversity shows that speaking of German, French or Italian scene makes less sense nowadays. No nation has its own specific style in making Metal music anymore. Certainly the temptation to divide musical styles by geographic areas is strong, but it is a phenomenon that could have meant years ago. It seems that globalization has also taken place in the music and that’s good, the music has to break down the boundaries, not create new ones. Valkiria is a band that belongs to the world.

The new album is on the way, seeing a release through Bakerteam Records on April 16th. What comes next in the world of Valkiria?

The next step will be to complete the line up and play live. We are working on this, we understand how difficult these days are, promoters that don’t pay or even ask for money to the bands, poor organization, etc. ... If there is demand, all these problems will be cleared up, so everything is on fan’s hands.

Thank you again for the time, and your honesty. We appreciate your efforts. Looking forward to whatever comes next!

Thank you for your support!

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Danny Grawbarger - Deep In Space (2012)

Sooner or later, it will come time for the old guard to step aside and let the next generation of guitarists into the spotlight. At the young age of 21, Canadian progressive metal guitarist Danny Grawbarger is already standing, stage right, waiting for his turn. With influences ranging from traditional metal to classical and jazz, he has garnered a lot of attention for someone who only has five years under his belt on the instrument. But as the eight tracks on his debut album, "Deep In Space," prove, time is all relative.

A surprising burst of synths and strngs opens "Apollo Opus," a rarity for a very guitar driven album to be bookended by something other than a solo or opening riff. The immediate use of layered melody shows the song writing ability at work. But before long, Grawbarger cuts through it all with powerful, yet cohesive riffs. The beauty of his style is that is can play both sides of the genre, as an instrumental or as the backing for a vocalist (though that second option isn't tested here). The power metal atmosphere on display is invigorating, to say the least, and not wasted on lazy string work. On that same note, "Collision Course" once again sees a great deal of thought put into the synth and percussion portion. Flashes of guitar excellence come and go, with some portions more successful than others, though part of the issue lies in the mix rather than the playing itself.  Grawbarger seems to have an intuitive style, playing what feels right, rather than cramming too much into a tight space.

As things slow down, "Rising," fades into existence. This is, by no means, a sappy guitar ballad. His guitars squeals with harmonics at every turn, with a tone that would make Zakk Wydle proud. Atmospheric keyboards and synths only aid in building the mood, one that is the most restrained on the album. The melody is smooth, without being overly so. Instead, the classical influence comes through loud and clear. The first guest appearance, courtesy of UK guitarist Ben Wilshire, comes on "Conspiracy Theory." The track takes on a deeper sound, in both scope and octave. And while the rhythm section keeps it tight and to the point, the solo work takes a giant leap forward, with a wailing solo stealing the spotlight not once, but twice. The dueling guitar work is solid, with each taking a lead. The melody here may be the most catchy, running up and down the scales. And while a soft, clean guitar opens "Secret Endeavor," it isn't long before you hit the symphonic wall. With keys, synths, strings and horns all coming together in a wall of orchestrated sounds, that leaves the mix ready for a expertly crafted bit of lead work. Grawbarger gives you exactly what you need, with an almost bluesy bit of shredding that seems to fly by.

As the title track, "Deep In Space" has some lofty expectations attached to it. Serene strings welcome you to the fold, then are joined by a twisting guitar solo. The switch is flipped, and distortion comes from all angles. A rolling double kick drum pounds away with Grawbarger soars over the top of it all in true virtuoso fashion. What you end up with is a symphonic metal attack that many bands would love to achieve, with a guitar player that many would be envious of. With a little help from former Megadeth guitarist Glen Drover, "Home Bound" proves to be a space age wonder. Darting keys accompany the two axemen as they weave their notes in and out of one another amidst a wave of synthesizers. Each has their own sound, standing apart from one another, while simultaneously coming together to form an army of notes and chords. The finale, "Treasure Chest," is exactly what the name implies. A veritable bounty of flowing riffs and melodies awaits, in what could only be described as a three minute public service announcement for following your dreams.

It is so easy to look at Danny Grawbarger, and his age in particular, and think that this will just be a throwaway album. After all, what could a 21 year old kid possibly have to offer a world of aging metal guitar Gods? Well, a simple question deserves a simple answer. "Deep In Space" isn't the work of a child. Grawbarger has a talent that comes naturally to few, one that will only get better with age. He didn't record this in his garage, as a way to show off his friends or get laid. Ladies and gentlemen, it's time to think about passing the torch. And Danny Grawbarger may just be the right man for the job.

8/10

Official Site - http://dannygrawbarger.com/
Facebook - http://www.facebook.com/pages/Danny-Grawbarger/123687931080516

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The Great Sabatini - Matterhorn (2012)

Sometimes strange and weird is a good thing right? Well it is for The Great Sabatini. This four piece from Montreal keeps shows off some unique melodies and song structures in their new album, entitled “Matterhorn.” The album contains six tracks, each with their own odd melodies keeping things refreshing throughout it’s entirety. It’s tough to categories this band as far as genre goes however you will definitely find a good mix of stoner, psychedelic and progressive tones.

“City Limits” opens the album with scratchy guitar riffs overwhelming distortion. Relentless snares pound away as muddy bass lines shake up the background. The vocals consist of faded screaming growls that play more as an instrument than a vocal. The mix keeps the guitars up in front through most of the track. The slow chugging guitar riffs that blast away violently is what really makes this song worth while. You’ll find more of this in “Zacios.” Strange guitar melodies lead to even more odd sounds as you’re hit with complicated patterns. The vocals rip right through you with its wicked performance. Meanwhile you’re ran over by complex drum rolls and splashing cymbals. Unfortunately the song is only three and a half minutes long so you’re probably gonna want to hit the replay button.

Deadly chugging guitars really shake things up in “Null And Void.” Layered guitars open up the song with screeching chaos. Reckless shouting takes over the background while the snares and cymbals go insane with detailed patterns. The guitars are relentless with their chugging riffs and over the top distortion effects. Their wild slamming guitar chords share a similar sound to that of the band Gojira. “Wagons” knocks you on your ass with its wild guitar riffs and random melodies. Once the vocals come in, they pretty much suffocate you for the rest of the track leaving you no time to even catch your breath.

The album comes to an end with “Sad Parade Of Yesterdays.” This nine minute long track starts out with psychedelic acoustic riffs that are slowly accompanied by distorted guitars. This shows a strong progressive side to the album and provides you with some time to collect yourself after just being pulverized by the previous track. About three and a half minutes in is when the monstrous chugging guitars come in. They are combined with reckless muffled vocals. The drums are constantly changing patterns with thunderous kicks and high hitting cymbals. Muddy distorted guitars consume you deep into the track as you become lost in its trippy tones. Get ready to fall off you seat because the last three minutes of this track is filled with explosive drums and relentless screeching guitars that scream deafening sounds in your ear. They really end the album with a bang with this track.

Aside from the crummy recording, “Matterhorn” is definitely worth listening to. The vocal delivery is excellent and provides that stoner metal sound you love to blast. The guitar riffs are constantly destroying you with each and every wild note. The structure in each song keeps changing leaving the album diverse and unpredictable. As long as you can get over the shitty recording quality, the album can become very addictive.

7/10

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

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Heavy Metal Ninjas - Heavy Metal Ninjas (EP) (2012)

When we were in our early teens, the combination of metal music and ninjas would have been enough to send us into a testosterone induced rampage. Maybe it still can. The Heavy Metal Ninjas, hailing from New Zealand, are ready to test the "forever young" phrase. Despite a name that seems hokey and cheesy, this five piece instrumental outfit is anything but. With bonafide guitar Gods Richie Allan and Stu Kora at the helm, there is nothing silly or childish to be had here, but rather a four song offering of pure guitar metal, with some of the most eclectic riffs you could want.

While the stigma surrounding acoustic guitars in metal may never go away, the riffs that open "The Author" aren't any less impressive. A combination of picking and strumming, they come accompanied by a faint chanting voice. As the electricity kicks in, those same riffs, done with massive distortion, blow the speakers apart. With whammy bars and strings bending at their will, you find yourself floating in the sea of a surprisingly well crafted song. Sure, there are some solo portions that may seem more like showing off than playing a coherent track, but it all works as a whole. The base riff that plays throughout will easily become your soundtrack for hours to come. Lost so often is that direct correlation between blues and metal, something that "What If" puts on display. It, like the previous track, starts clean before moving into the heavier direction. Some deft finger work, in both the guitar and bass areas, contributes to what plays out as a solid track. Not to be missed, the backing band lays down the optimal tempo and sound to build upon. The guitar whines over top of it all, until the background fades away, leaving the shriek of bending strings alone to the finish.

The space age feel of "M45" isn't exactly a new one, but it works as a launching point for the most dynamic track on the EP. There is a more driven feel here, with a more clear beginning, middle and end. rather than a barrage of solos, the guitars take on the role of the vocal line, something that is easy to conceive but difficult to achieve. Compared to the other tracks, this one feels more complete, like more of a composed metal offering, instead of just guitars and a backing band. With the addition of some true vocals, you could have an instant classic. And while there is something to be said for writing a complete track, "Redshift" may boast the most intriguing guitar work, even if it is slightly disjointed. With an endless array of shredding techniques, the fourth and final track becomes a monster of metal riffs, bordering on that classic new genre of djent. The drumming takes on a life of its own, crushing and crashing through kick and snare fills that will leave you dizzy.

It wouldn't be entirely wrong to say that the music presented on this EP is the instrumental embodiment of what a ninja is: high flying, fast, flawlessly skilled. The Heavy Metal Ninjas have certainly lived up to their moniker, one that could have been disastrous. But while these four songs all held water, both on their own and together as an album, it remains to be seen if a full length effort would be as captivating. After all, sixteen minutes of guitar leads is hard enough. But constructing and perfecting forty minutes or more, that could prove to be more difficult than achieving Total Victory at Mount Modiriyama.

8/10

Facebook - http://www.facebook.com/TheHeavyMetalNinjas
Reverb Nation - http://www.reverbnation.com/heavymetalninjas

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