Agalloch - Faustian Echoes (EP) (2012)

For some reason, that stigma of American metal leaves homegrown bands at a disadvantage. Somewhere along the line, it was decided that bands from the US couldn't make music that was brutal enough, atmospheric enough, or heavy enough to be compared to the bands of Europe and beyond. Our answer has been, and will continue to be, Agalloch. This four piece, based in Portland, have been tearing down the stereotypes of American metal for nearly two decades. On their new EP, "Faustian Echoes," they can redeem us from our sins of Slipknot and Disturbed, and give rise to the black metal of the Pacific Northwest.

As the cold winds blow, a spoken word portion opens the lone track. The first shots are fired, blowing you back with high speed snares and blasting guitars. You may have the sense that evil is lurking somewhere close, and that suspicion is confirmed with the first appearance of the devilish vocals. They screech forward, as if you are being lectured from the pits of Hell. There is something in the way you are buried in heavy distortion that heightens that vocal style, makes it seem more powerful. This isn't to say the guitars are a one trick pony; rather, they give you the density of chugging one measure, and erupt into more deft solo work immediately after. The more downtempo sections stand out from the rest, whether it be because of the layered guitars, or the more forward use of melody. Even when things break down and descend into a traditional doom beat, you are left waiting for something to tear you down.

A lightly recorded spoken word keeps you on the edge of your seat, waiting for the next drop. Unwittingly, you may have stumbled into a black metal assault, thrashing ahead with lightning drums and unearthly screams. But while each individual section has its own distinct feel and sound, there are times when they drag on for a minute longer than necessary, leaving you wanting to shift gears, but unable to do so. The beauty is in the contrast though, as you go from the most punishing sections, right into clean guitar passages that soothe the savage beast. The ability to make these drastic changes in such short times is key, without which the entire track would crumble. But they maintain the flow, building it up and tearing it down again and again, until their last breath is spent in a final barrage of guitars, drums, and screams. As things fade away, the voice that started it all takes you to your end.

There is something in the way that Agalloch crafts their music that transports you to another time and place, one of darkest nights and coldest winds. And yet, people always seem surprised to hear that this juggernaut is not Scandinavian, but from the American Northwest. In a recent Pitchfork interview John Haughm and Don Anderson remarked that "Having grown up in the Northwest and on the Columbia River Gorge, I saw nothing that couldn't easily compete with the images of Norwegian landscapes on so many black metal albums." Without a doubt, they have done just that on this EP. This one song, 21 minutes in length, gives you a glimpse into their world; one that you won't soon forget.


8/10


Official Site - http://www.agalloch.org/
Bandcamp - http://agalloch.bandcamp.com/

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The Podcast: Episode 52 (A long time ago, on a podcast far, far away...)

As we mention, we have been busy as shit. With two "Best Of" lists in the can, we come back to talk about more reviews that you need to hear. Justin talks symphonic black metal with Sinister Frost, the terrible vocals of Bonded By Blood, and the eighth studio album by Sweden's Vintersorg. Darrell, on the other hand, raves about the new look of Luca Turilli's Rhapsody, the space inspired stoner doom of Gorgantherron, and our favorite quadrophonic act KONG. Then, the guys come together to talk about an album that surprised and impressed them. The two discs of "Yellow & Green," the latest album from Baroness, weren't what we expected. But hot damn, they are awesome.

Part 1, which we will call brown.

Part 2, which shall be known as black.

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In Mourning: The Interview

After the release of their latest opus, "The Weight Of Oceans," our interest in Sweden's In Mourning couldn't get much higher. With the sheer density of their music, it is hard not to get yourself wrapped up in it. So, we sat down with bassist Pierre Stam to talk shop, from their careers, their label home, and how the album came to be.

First and foremost, we want to thank you for taking time out to answer some questions about your work. Your efforts are greatly appreciated.

Pierre:

Thank you very much, its our pleasure!

What was the inspiration behind the title of the new album, 'The Weight Of Oceans'? And how do you feel the album artwork represents the meaning of the album?

Pierre:

The title of the album comes from the conceptual story that all the lyrics on this album is about. It's a mythological-inspired concept that me and Björn came up with when reading some old stories from different ancient cultures, so we just let our imagination flow and created this concept of a man's journey to conquer his fears of the great unknown, the ocean. The album artwork represents the concept well, it captures the overall feel of the album and of course it contains the seamonster wich is included in the story, so I think its a very fitting artwork for this album.

What inspires your writing style, lyrically? Where do you find the inspirations for the lyrics and melodies of your music

Pierre:

I think the last answer tells you that, as I said we got the inspiration from reading a lot of old stories and diving in to a lot of mythological stories about seamonsters and astrology. The melodies is a lot Tobias work, he has a really strong sense of melody and atmosphere in his musical writing, and melodies have always been very important for us, music without melodies tends to get boring I think.

From melodic keyboards in “Colossus” to violent breakdowns in “A Vow To Conquer The Ocean” you clearly display multiple genres in your music. What brought you to these diverse mash ups of styles and instruments?

Pierre:

Actually there are no keyboards on the album except on the instrumental song ”Sirens”, the stuff on ”Colossus” are guitars with a synthish sound. About the different styles in the music, that kind of comes naturally for us because of what we listen to and get inspired by, we all listen to a lot of different music. I listen to a lot of Jazz and Progressive Rock, Björn listens to a lot of Post-rock and stuff like that, Tobias listens to a lot of melancholic pop and more modern metal, and so on, so its a lot that gets in the music making.

The Swedish metal scene seems to be getting more crowded, which must make it hard to get noticed. How difficult is it to build a following in your home country, and how have your fans embraced you so far?

Pierre:

It's hard to get recognition in Sweden, we have a very small following in our home contry. There are a lot of good bands in Sweden but a lot of them are bigger outside of the country. You have to be really successfull to get accepted in Sweden, so basicly you have to be popular outside of Sweden to be popular on the local scene, and that's a shame. But we have nothing against playing in other countries, more of the opposite, it's more fun to get to see different places and cultures and play to people abroad.

We all accept that our favorites metal musicians don't exclusively listen to metal. So, what are you guys listening to right now, when you aren't performing or recording your own music?

Pierre:

Oh that's a lot of different stuff. At the moment I listen to a lot of Miles Davis, and I have had a period for quite a time where I listened a lot to Iron Maiden. Now I'm waiting for the new The Flower Kings album wich comes out very soon, they are one of my favourites. I can't really answer for the other guys though.

With shows scheduled throughout Norway and Finland, and well as Sweden, are there any plans to take your live show farther abroad?

Pierre:

We´re trying to get to more countries in the autum or winter, so hopfully we will cover some more territory later on this year.

Around the time of its release, "Monolith" was featured as a spotlight download on one of many torrent community sites. With your music being downloaded and traded freely on the internet, what is your opinion on how downloading affects the growth of bands and musicians across the world?

Pierre:

That is not an easy subject. For a band like us the downloading is just a good thing i think, it helps us getting across to more listeners. But for a bigger band, especially if they are in the stage where they are trying to live on just the profits from the band and the music, that's when it gets hard when you depend on record sales to stay alive as a band. For us it's a different thing because we dont have the band as our main income, we have our day jobs to make a living.

To that same point, your new album was released and distributed via Spinefarm Records. How has your relationship with your new found label helped to expand your name?

Pierre:

It has been really good so far, they are aasy to work with and they are a bigger label with a lot of input and contacts in the business so that's really helpful for us.

Working in and around the music business, we have noticed a sharp rise in the sale of vinyl, and the desire for bands to support the return of it. How do you feel about vinyl as a medium?

Pierre:

I love vinyl, it's a fantastic format to experience music with. That's why we have put out our past releases on vinyl and we are working on a release for the new record as well. I am a vinyl freak myself and buy a lot of old vinyls with good music, so I try to push that we will get every release out on vinyl. So hopefully we will see The Weight Of Oceans on vinyl too.

With the album release now a month ago, and shows on the horizon, what can we expect from In Mourning in the coming months, and into the future?

Pierre:

We will focus on doing some live shows, we are not able to do a lot of touring because of familys and dayjob-commitments so we try to do ”the good ones” that we come across and those that we can fit in our schedule, but we love playing live so we try to get out as much as we can. And of course we will start writing new stuff soon so we can make another record in the not so distant future.

Thank you again for your time, and your answers. We are looking forward to what comes next.

Pierre:

Thank you very much!

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Vintersorg - Orkan (2012)

Just judging by the amazing art work it's pretty clear that you're in for an adventure. Vintersorg is back yet again with an even more incredible album than the last. Their new album, entitled "Orkan," is the bands eighth full length studio album and contains 8 magnificent tracks. These tracks contain tons of complex instruments, gorgeous clean vocals, and growls that'll make you shit yourself. The band only consists of two members however they list a bunch of names of session musicians that helped out along the way.

The opening track, "Istid," wastes no time with the verses as epic clean vocals rush in combined with violent guitar riffs blasting in the background. These switch back and forth with devilish growls that send chills down your spine. The chorus contains both vocals layered over one another giving that beauty and the beast type of tone to the music. Meanwhile the guitar riffs jump back and forth between dark melodic riffs and vicious chugging riffs. Double bass pedals run right over you with booming bass tones and shattering cymbals in the background. They also include some jolly stringed instruments that make you want to get up and dance and yet mosh at the same time. The keyboards towards the middle of the track are absolutely phenomenal. This is definitely the perfect track this powerful album.

Later you'll come across song by the name of "Polarnatten" which is a seven and half minute masterpiece. The beginning opens with some melodic strings that have a very catchy ring to them. Then you are completely blown away by monstrous growling vocals that come in and knock you right on your ass. Meanwhile haunting guitar riffs run over you with evil melodies and stomping drums. The refrains turns into a more upbeat catchy song with clean vocals that will have you singing along in no time. Fast pace chugging guitars are accompanied by jolly keyboards and then drops right into the violent verses that are full of monstrous growls. The track has you leaning in all directions when it comes to emotion. One minute its dark and vicious and the next it's all happy and catchy and makes you want to dance.

"Myren" has some really catchy strings in the beginning that will have you hooked immediately. Wicked growls jump in about a minute after. They give off a strong black metal feel to track. Of course they manage to fit in the higher pitched clean vocals as well throwing you into a whole other direction. The structure in some of these tracks are absolutely astonishing and will definitely have you at the edge of your seat the entire time. "Havets Nad" opens with ocean waves and catchy guitars. The vocals start out by ripping you apart with violent growls while a beautiful violin plays in the background. Then comes soaring clean vocals that take over the refrain with catchy melodies and guitars. They layer the vocals a few times in the chorus giving it a fuller sound. The violins in the background truly add beauty to the mix. You'll definitely find yourself going back to the track again and again.

Vintersorg has really outdone themselves with this new album. "Orkan" hits you with all sorts of elements from catchy melodic orchestration to monstrous guitar riffs and relentless growls that pound you into the ground. The complex drum rolls have you up on your feet from beginning to end giving you no time to rest. I can only imagine what kind of spectacular show they put on live. Definitely take some time and check this album out.

8/10

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

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Baroness - Green (2012)

There is something in the artwork, something in the style that always let's you know that a new Baroness album has landed. With the release of "Yellow & Green," Georgia's four piece outfit have given us all a reason to widen our horizons in metal, and in life. As Justin pointed out in his breakdown of the first disc, "Yellow," this isn't the blisteringly heavy metal album he was expecting. And as we continue on into the second disc, "Green," there is little doubt remaining. These guys aren't just a juggernaut of riffs and yelling vocals. They have become so much more.

With a whining distortion in the background, soft, clean riffs open "Green Theme." They are joined soon by a light tapping of drums, and a smooth bass line. But the impending explosion wastes no time, with a full blast of snares and cymbals coating a grooving guitar riff. What results is a massive sound, one that seems so much larger than the sum of its parts.Even cutting back and forth between the punch and the subtle, the wheels are already in motion, which helps to flow seamlessly into "Board Up The House." Once again building from silence, there is a much quicker turnaround at play here, diving right into the main body of the track. It may be hard to feel the initial impact of the vocal line, one that seems to be equal parts soulful and mesmerizing, but it will come as the track progresses. This may not be their heaviest work, or even close, but there is something to the way it is all delivered, something to the tone of not only the vocals, but the guitar work underneath it, that makes it bury itself so deep in your skull.

To say that the opening moments of "MTNS (The Crown & Anchor)" has a feel that could be classified as "indie" may seem worthy of a lynching, but the tone is there, with deeper melodies taking center stage. This is a more focused Baroness, a band that is showing off how rich their music can be. Whether it be the clean guitar riffs, or the constant sizzle of cymbals throughout, you may find something entrenched here that you didn't expect. That same foundation is used to form "Foolsong," which sees the dueling vocals each taking a very soulful approach. There is an emotional investment to be made here, both from band and fan standpoint, something that is often asked for but never required. But in this three minute track, you have to give a piece of yourself to really enjoy it, something so worth the pain. If you are looking for something am little more intricate, "Collapse" may hold the key for you. From the subtle drum touches, to the light picking of an acoustic guitar, there are so many small layers to digest, all beneath a sullen vocal. Even the sparse use of electronic effects can't derail the arc of the track.

There is something overtly positive in the sound of "Psalms Alive," something you might not have been completely prepared for. With an electric piano accompaniment, you seem to be slipping in and out of consciousness, into some dream world of dream-pop beats and hoarse vocal melodies. But for the first time since the disc opened, you are rewarded with a backdraft of distorted guitars and heavy snare rolls. Two voices combine into one harmony, pounded home by two guitars melding into one singular wave of fluttering riffs. As if taken straight from a driving scene in your favorite drama, "Stretchmarker" bends and winds into action. multiple acoustic guitars tangle up inside one another, with a softly played drum beat backing it all up. There are no vocals, and rightfully so. The guitars do the job here, telling a story with each pick or slide.

The longest track on the album, barely topping the five minute mark, "The Line Between," is a different sort of animal from the rest. This is the raucous affair you may have expected from the onset. Immense guitars riffs and pounding drums open the track,blasting through your speakers with the aid of a deep bass line. As the vocals in the verse kick in, there will be comparisons to the Foo Fighters. The multitude of different guitar sounds and structures keep things moving and fresh, while also providing you with fodder for the shower singing sessions you have planned for later. This may be the most complete track, depending on your point of view. The closing track, "If I Forget Thee, Lowcountry," is predictable in the best possible way. After the album you have just be treated to, it would only make sense to finish things off with a soft, acoustic based track. The effects are ethereal, as if you are floating in the air, surrounded by notes.

Standing alone, "Green" is an album that would warrant all the praise you could possibly heap on it. This is unique in so many ways, without being pretentious or preachy. Instead, Baroness have taken a step out of the pigeonhole they get shoved into by the mass media, and given us all something unexpected and delicate. Combined with the first disc, "Yellow," this becomes a sprawling soundscape of riffs, melodies, and well crafted songs. In a day and age where releasing one album of new, fresh material has become a chore for lesser bands, Baroness give you two full albums worth of inspired tracks. Now that, my friends, is a bargain.

9/10

Official Site - http://www.baronessmusic.com/
Myspace - http://www.myspace.com/yourbaroness

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Baroness - Yellow (2012)

Baroness has finally finished their third studio album, entitled "Yellow & Green." The four piece from Savannah, Georgia take on a bit of a different sound with this new album. It leans more towards the psychedelic rock genre with mostly clean vocals throughout the album. However you still get your insane drumming and wild guitar solos along with a few other instrumental surprises along the way. The band has broken up the album into two discs. This review is for the first disc.

The album starts with a short minute and a half intro instrumental including soothing keyboards and calm guitars. This fades right into the second track, "Take My Bones Away." Hard hitting drum rolls and distorted guitars come blaring in. The vocals start the verse off immediately with harsh clean tones. Wild melodies fly through the air while groovy bass lines take over the background of the song. The chorus has catchy lyrics that'll have you singing along in no time. The track has a very upbeat sound overall and leans a little more towards the hard rock genre. The band includes a reckless guitar solo towards the middle of the song that will blow your mind. Make sure you pay close attention to the drums as well. Each fill is complex and different from the next.

"March To The Sea" follows with a mellow entry. Clean guitars float in with catchy melodies. They switch over to fast guitar picking during the verse as relentless double bass drum patterns rumble heavily in the background. The vocals continue with an aggressive clean delivery that really defines this sludge metal band. Fast melodic riffs take off during the refrain while violent cymbals are splashing away along with rapid snares and kicks. Another wild solo takes over towards the name dropping notes left and right. You'll definitely find yourself replaying this track a few times.

Another catchy melody opens up "Little Things" as a detailed bass line rolls through with another groovy tone. The vocals in the verses are a lot more calm than the last few tracks. They basically just leave out the harshness and get a little more melodic with the lyrics. The beat of the drums will definitely have your head bobbing throughout the track. Later you'll come across a trippy song called "Cocainium." The beginning contains psychedelic guitar riffs and sound effects while a thumping bass line steps in with a deep tone. The kick drum is constantly hitting along with light cymbals behind them. The verse picks up about two minutes into the song and continues with soft clean vocals layered on top of one another. Distorted guitars fade in later as you'll notice some parts of the vocals begin to get a little more aggressive. Overall the mellow clean vocals carry you through the song while the guitars and bass do all the work. A lot goes on in the track so you might have to replay it a few times to get the full experience. "Sea Lungs" pick things up again with fast upbeat drums rolls and distorted guitars. The vocals get there harshness back with loud shouting vocals with a bit of melody on the side. They add some interesting filters to the vocals as well giving off a real "underwater" tone to the mix. The track definitely reminds me of Mastodon. I had a hard time moving on from this one.

The final track, entitled "Eula," opens with mellow acoustic guitars and strange keyboard sounds. The verses contain calm clean singing vocals with catchy melodies. Meanwhile futuristic guitars continue to float lightly in the background with gorgeous melodies. As the song moves on it becomes more and more violent. The vocals deliver a heavy tone of clean sing. Meanwhile the drums are go absolutely crazy. Cymbals are shattering from all directions while distorted guitars take over the background with blaring riffs. The detail in the drum fills are astonishing and will definitely have you bobbing your head in this last track. The band really ended this first disc with a bang!

The first disc to "Yellow & Green" isn't as heavy as i expected but a terrific album none the less. The drums rolls are mind blowing and the guitar solos will hypnotize you and pull you deeper and deeper into the album. The constant clean vocals are a nice change up and will definitely have you wanting to sing along more often. This is a must hear album for 2012 so don't miss out.

9/10

Official Site - http://baronessmusic.com/
Myspace - http://www.myspace.com/yourbaroness

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Bonded By Blood - The Aftermath (2012)

The four piece thrash metal band, Bonded By Blood, continues to make an effort with their new album, entitled "The Aftermath." These Californians have got some wicked talent on their team that can deliver mind blowing guitar solos and complex drum rolls. The vocals on the other hand not so much.

The album slowly fades in with "I Can't Hear You," which goes right into distorted guitars that grab you with their melodic tones right from the get. Relentless snares and cymbals crash away in the background with double bass pedals rumbling heavily beneath you. The vocals come in with aggression however sound very similar to the vocals from the band Death Angel. This becomes a huge downer as you get deeper into the song. There's nothing wrong with Death Angel's vocals but if i wanted to hear them then i would just play them instead. What worse is that the delivery is sort of weak. The lyrics are very choppy and are delivered in three or four syllables at a time. "Shepherds Of Rot" continues this horrible performance with more choppy lyrics. Musically, the guitars are pretty wild. They are constantly throwing melodic riffs at you making you want to get up and mosh. They even include a reckless guitar solo that will absolutely blow your mind. It's the verses and refrains that puts a damper on this track.

"Crawling In The Shadows" has a real up beat tempo to eat making you want to throw your devil horns up immediately. Galloping bass lines followed by rapid double bass pedal drum patterns gets your blood pumping right away. The vocals however, start to put you to sleep. I feel like they're trying to hard to be aggressive and melodic at the same time. If you can't pull off both at once then you need to just commit to one or the other. And again it feels like you're listening to Death Angel instead. They do manage to throw in another powerful guitar solo that saves the song. Unfortunately the solo and the drum rolls are the only things worth hearing.

Later you'll come across a groovy melody in "Show No Fear." The guitars in the beginning definitely pull you in. Some of the vocals are pretty decent as well. They switch from their regular singing to a more aggressive type of growl. It's very refreshing regardless of whether or not you like it. I think more change ups like this would help the album out a lot. Unfortunately they still lean back towards their usually delivery in The final song, "Left Behind." They do add a little surprise at the end of the album though. There is an 11th track on the album and it happens to be a cover of Rage Against The Machine's "Killing In The Name Of." The guitars seem a little more heavier than the original recording but that's expected. The vocals were actually decent for this song however this is clearly a whole different genre that they're in. Overall I'd just stick with Rage Against The Machines recording instead. This cover is nothing too special.

Overall "The Aftermath" was a bit of a disappointment. This was my first real encounter with Bonded By Blood and it's probably gonna be my last as well. The vocals are very unoriginal and delivered in a very plain and boring way. Perhaps if they dropped their singer and tried something new I would then maybe give them a chance. The guitars and drums were the only things that sounded decent and definitely have a lot of potential.

6/10

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

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Sabhankra - Swords Of The Night (EP) (2012)

Evolving from a one man side project into a full band, Istanbul, Turkey's Sabhankra aren't short on epic song structures, and flowing symphonic elements. This five piece have built their following thanks to a foundation of melodic death, folk, and power metal. And while finding the proper proportions has proven to be a difficult task, it has also been a fruitful one, garnering praise from around the world. But with a new EP released to the masses, it is time for this Turkish powerhouse to move to the next level, and secure a label home for their art. The four songs on "Swords Of The Night" may have the right idea, but a less than stellar finished product may lessen the impact.

The cinematic feel to the opening of the title track is vast in scope, and gives you a wide open view of what is to come. As the full band enters, you are greeted with blistering double kicks and raging guitar riffs. The production values, though, don't necessarily match the intensity of the music, leaving the drum levels to drown out the other elements. The aforementioned folk influences are clear in the guitar work, with whirling, twirling notes blasting through. As you crash head on into the verse, your first taste of the vocal lines awaits. Screeching ahead, singer Savas Sungur gives your ears all they can handle with his abrasive tones. Around the midway point, you come to a section that feels disjointed, at best, with each member seemingly playing their own way. Taken separately, all of the pieces make sense. But together, it does so much to hurt the momentum, that even a promising breakdown section can't regain all that was lost. The overwhelming volume differences leave the subtleties of the guitars and keys wasted far too often behind the massive drum sound.

It would seem that some of those production woes are fixed in the early stages of "It's All A Lie," a far more thrash oriented song. The guitar work cuts through clearly, a sure fire way to get the long haired listeners swinging. This a victory, through and through, with the band locking together in a powerful gallop, one that pounds at you from all angles.The breakdowns sets the table for a simple, but effective solo, one that may have you finally seeing the talent you are witnessing. That feeling carries right through into "I Leave My All," which sees the return of that strong keyboard element. It sets not only the tone for the track, but adds so much to the overall mood. But the recording and mixing come into play again, with the vocals feeling flat, and the overall track lacking the punch that a solid mix would give. It takes away from the music at hand, a damn shame, given the emotional weight on display. It all comes full circle on "The Moonlight," a beautiful piece from start to finish. Maybe it is the absence of vocals that rings so triumphantly here, or maybe the synthesizers just hit their stride. But this sees the band at their best, heavy yet delicately constructed. The melody is deeper than before, with a richness that makes you crave more.

It is so hard to separate the idea from the finished product. Through the course of these four tracks, there is very little doubt that Sabhankra have all of the talent, the creativity, and the desire to craft track after track of metal goodness. But when you hear these songs, the way they are presented here, there may still be lingering doubts. It's hard to blame the band for a poor mix, or an unbalanced one. But when it directly affects the result, it is simply impossible to ignore. Engineering skills not withstanding, "Swords Of The Night" is promising. And if you can look past the somewhat stale exterior, you will be treated to a juicy center that will leave you feeling satisfied.

7/10

Facebook - http://www.facebook.com/SabhankraOfficial
Myspace - http://www.myspace.com/sabhankra

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The Best EPs of 2012... So Far

Sure, full length albums were all we included in our Top 10 lists. But there have been a ton of great EPs this year that really deserve mention. We sit back and discuss some of the best and brightest, new bands and old, who put out some great short form records in 2012.

Part one? Yes, we can.

Part two? Yes, we can.

The List...

From Beyond - One Year (Review)
Fister - The Infernal Paramount (Review) (Interview)
Arke - Shatner (Review)
The Massacre Cave - The Ninth Wave (Review) (Interview)
Druglord - Motherfucker Rising (Review)
Pursuing The End - Withering (Review) (Interview)
Balam - Balam (Review)
Dark Tranquility - Zero Distance (Review)
Deimos - TerminUs (Review)
Winter Gate - Disillumination (Review)

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KONG - Merchants Of Air (2012)

It is nearly impossible not to be intrigued by Dutch groove metal band KONG. Through all of their line-up changes, they have managed to retain not only their intricate take on metal, but also their signature live setting, with each band member occupying a different corner of the venue. This "quadrophonical" set up creates a completely unique experience for the audience. And while that can't be captured in album form, there is certainly more than enough to keep every listener coming back for more. With only one remaining member from the old incarnation, bassist Mark Drillich, "Merchants Of Air" tries to live up to the name, and legacy of KONG.

There is no sense making you wait to hear those slaying guitar riffs, as "El Pilar" gives them to you in droves. When layered atop sliding bass lines, they pull you in, planting you firmly in the middle of the sonic rush. Guitarists Tijs Keverkamp and David Kox sound as if they were separated at birth, coming together with force and ferocity. The electronic additions are subtle, but well used. What stands out time and again here is the precision in all aspects of the song, with drummer Mandy Hopman doing the lion's share. And while "Astral Calls" doesn't come out of the gate with the same pacing, it carves out a sound that may seem surprising. With synthesized horns and strings pouring through your speakers, this symphonic kick takes you on an entirely different ride. It isn't a complete departure from that classic KONG sound, as the immense grooves are still the leader of the pack, but it strengthens the foundation of the track. It all sounds larger than life, sometimes even too big to make the movie score comparison.

Being an instrumental band, there is more pressure to create memorable melodies, sans vocal. So the backbone for "Steamtrucking" does exactly that. With small pieces of programming as an aid, the band forms a growing wall of sound, one that feels like a tidal wave with each passing "verse." Hopman leaves a trail of sizzling cymbals, as dueling guitars screech and wail forward. That same approach fills the opening of "The Gates Of Exception," giving you an unforgettable set of riffs. The combination of two guitars with catchy riffs and Drillich's rumbling low end, this is one track that may find itself buried in your brain for days. Even the short, but profoundly enjoyable organ melody does just enough to pull you in farther. And while it may take nearly three minutes for the explosion to come on "Same Meaning, Different Worlds," it comes with a vengeance. You are moved from very downtempo, electronic tinged bass lines into a full blend of distorted guitars and drums. Things get spacey at times, floating through the air with the beat, waiting to be pulled back to earth. You may get there, but it wears on you, making each return a little bit rockier.

Drillich takes the lead on "Wahnsinn, Baby" withn a rumbling bass groove that gets things moving in the right direction. The synthesized sound and beats occupy the early stages, but are pushed aside by some guitar riffs that may start your head moving. They try to share the stage and play nice here, with each aspect coming together for prolonged passages, but end up forming something that is not quite a sum of the parts. In the early stages of "Stug," Hopman takes center stage, so to speak, rattling your rib cage with her booming kicks. But this isn't an all out affair. There are a lot of smaller pieces to enjoy, from the light tapping of cymbals to the flowing bass line. There is an ethereal quality to the middle portion, one that leads directly into perhaps the most memorable melody on the album. It wouldn't be a stretch to say that "Vapour Lock" packs a wallop in its 4 minute run time, with some of the more aggressive guitar chugging. The use of both guitars in separate ways is highlighted in this track, with one providing the melody, and the other sticking to the rhythm. The outro alone is worth the price of admission.

A heavy handed intro launches "No Strings Attached," with each band member adding to the massive pile of notes and riffs. With some pieces, this sound like a heavy metal porno at play, but not in an entirely bad way. It may seem off putting at first, but it grows as the track progresses, each additional layer gives breath of fresh air to the track, and takes some of that staleness that may have developed. Much like the earlier tracks, "Blue Couch" has a very push and pull relationship with the listener. Certain chunks push you away, giving you a little cause for concern. But they manage to pull you back in at just the right times, whether it be with a dazzling set of drum fills, or just the right guitar riff to remind you why you started in the first place. Sure, "Back Into The Trees" has the tone of an off beat poetry slam. Sure, it seems wholly out of place. But it becomes increasingly harder to turn it off with each listen, with a sort of hokey appeal that keeps you coming back for more. The major down side comes in the track length, clocking in at well over seven minutes. And with few changes or variations, it can become tiresome, especially as a finale.

We have argued many a time as to how music is written, whether it be for the live stage, or for studio enjoyment. For KONG, there is no doubt that these songs, along with their entire catalog, would be a super sonic experience in the confines of your favorite music venue. But there is something missing on this album, something that is hard to identify. Sufficed to say, the musicianship is top notch, the writing is off the wall, and the sheer enormity of it all is mind-blowing. But in the drawn out song lengths, and the possible overuse of electronic elements, some of the raw power has dissipated. And, unfortunately, "Merchants Of Air" seems to have blown off course.

7/10

Official Site - http://www.kong.nl/
Bandcamp - http://kong1.bandcamp.com/

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Krake - Conquering Death (2012)

Norway is quite relentless when it comes to giving birth to amazing black metal bands. Krake steps into the metal scene with their new album, entitled "Conquering Death." This symphonic black metal band gives you everything you want and more in this new album combining ravishing orchestral instruments with devilish growling vocals and murderous guitar riffs. Even the drumming will completely blow your mind.

The opening track, "A Murder Of Crows," is a short minute and a half introduction that paints a very dark and cold image. The instrumental uses all sorts of instruments and sounds that really pulls you into the album as you curiously wait to see what comes next. It fades right into punishing guitar riffs in "And A Colder Breed." A gorgeous synth soars into the air as monstrous double bass drum rolls rumble heavily beneath you. This will definitely have you bobbing your head immediately. The verses soon follow with wicked black metal growls that completely run right through you. These haunting vocals along with beautiful keyboards really gives you that beauty and the beast type of feel to the music. Massive amounts of double bass pedals demolish you with each and every heavy hit. Meanwhile relentless cymbals crash violently behind them. This is the perfect opener for this album.

"Hearts Blood" keeps the tempo going with more wild cymbals splashing while catchy melodic guitar riffs scream over them with beastly distortion. The vocals come in with more aggressive lyrics that will knock you on your ass. The ravishing strings and keyboards keep the song sounding clean and organized while the guitar riffs blast away with many different chugging patterns and melodic riffs as well. I had a hard time getting past these first few tracks. You'll become friends quickly with the repeat button after hearing these songs.

Songs like "Ed" and "The great Leviathan" keep the album going with upbeat tempos that will have you up and moshing right away. The vocals stay dark with monstrous growling yet give a sort of viking like tone in the delivery. The way they display some of these evil growls remind me of songs from the viking metal band Amon Amarth. Blaring guitars fly by while thunderous drum fills completely take over the background with deep bassy kicks and powerful snares. Later you'll come across an 8 minute masterpiece by the name "Victorious, I." The song structure alone will have you hypnotized. Guitar riffs are constantly switching back and forth between quick double bass pedals to complex drum rolls with rapid toms and snares. Meanwhile light strings float in the background throughout the whole track providing just enough atmosphere to enjoy the melodic guitars and bass at the same time. The mixtures of instruments flow perfectly and before you know it the eight minutes are up and you're on to the next track.

Another epic track that really stands out above the rest is "The Gatekeeper." The drums in this track alone with have you in complete shock. The double bass pedal patterns are absolutely insane beating you into the ground with machine gun speed and overwhelming power. The track starts out slow with mellow synths and gorgeous melodies but don't let that fool you. Soon after comes jack hammering double bass pedals along with relentless guitar riffs and booming bass. The vocals stay constant verse after verse leaving no time to breath. I guarantee that this track will have you up and moving right from the get.

"Conquering Death" is a well written album that displays 10 epic tracks that fit together perfectly. Krake gives you everything from wild guitar solos to dominating drum rolls and double bass blast beats. The vocals have a different feel to each track making each one unique and powerful. This album is well worth your time so make sure you check it out.

8/10

Official Site - http://www.facebook.com/Kraakeofficial
Myspace - http://www.myspace.com/krakelegion

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Luca Turilli’s Rhapsody - Ascending To Infinity (2012)

Since the well publicized, but amicable, split between founding members and long time collaborators Luca Turilli and Alex Starapoli, their fan base was left to wonder what each one would be without the other. Turilli held on to the Rhapsody name, while Starapoli will continue on with vocalist Fabio Leone under the Rhapsody Of Fire moniker. The first release carrying the banner alone, "Ascending To Infinity," sees Turilli continuing down the path he has been a part of for nearly 15 years. With his signature guitar riffs, his hands on the keys and a new line-up ready to make history, this legendary power metal master hasn't skipped a beat.

The booming symphonic intro, "Quantum X" is like a teaser for an upcoming sci-fi blockbuster, complete with dire spoken voice. A wide array of images will fill your head, from special effects explosions to large scale battle scenes. As the choir of voices builds, everything goes silent. That is, until the title track comes bursting onto the scene. A reckless array of keys and wild guitar work tangles together in an energetic flash. New vocalist Alessandro Conti wastes no time asserting himself into the mix, his voice, different from that of Leone, is dynamic but somehow soft. The mix is perfectly balanced, allowing the keys and guitars to drive the track forward, but in a perfect harmony with one of the tightest rhythm sections you'll hear on a power metal album. This sets the stage for Turilli and a winding keyboard solo to set things on fire. Those same intricate keys and orchestrations take the lead in "Dante's Inferno," a mechanically precise track that expands on the Rhapsody formula. The choral passages are simply brilliant, taking everything to another level of operatic power. But the shining star is that daring symphonic element, in the form of strings and keys. Sure, Turilli's guitar is the conductor, but the layers of classical infused instrumentals that he rest upon make everything seem more vibrant.

Taking things to the lighter side, the opening of "Excalibur" is sure to warrant even the quickest jig of happiness. What follows is a song of triumph and empowerment, done in a way that defines the genre. The instrumentation paints a picture that is as bright and colorful as anything you've ever seen, and the vocal passages set everything into motion. It's as if you are sitting in the middle of a room, as the notes fly by you, hovering in the space above your head. Conti delivers a dynamic performance, both as the main vocalist, and as one of several voices, joined in a beautiful harmony.The final minute of the track would bring any theater to their feet. For those die hard fans who weren't convinced that the music would be as effective with Starapoli, the opening to "Tormento E Pasione" may swing you to the right side. This is a well orchestrated piece, done in Italian, that will tear down the language barrier. The layers of vocals are stunning, even more-so with the way they are balanced with a rolling bass line and thunderous drums. Whether it be in the fully realized, boisterous operatic sections, or the delicate, romantic pieces, this will be a highlight for anyone who demands perfection in symphonic metal.

Blaring horns open "Dark Fate Of Atlantis," with a single female voice chanting. But it isn't long before Turilli pulls out a piece of guitar work that defies time and space. This is the Rhapsody  that has been setting audiences on fire for so many years, with a speed at the drum kit that would be difficult to tap along to. The vocal passages leave you floating somewhere between an angel and a dream, lighter than air above it all. But with each pick of a guitar string, you are pulled back down to the ground, spinning in circles by the ever increasing flurry of notes. And when it appears that keys and riffs may be enough to send you to heaven, a wild bass solo blasts through you. The challenge then becomes to resist the sultry voice that opens "Luna," a track that defies everything you know about power metal. Through the music and the soulful vocals, you may find a track you could share with your Italian grandmother, one that could inspire you to put your feet up and sip from that glass of wine you have poured. Conti is at his absolute best here, showing that he is every bit the vocal wizard he was purported to be. His voice is low and full when need be, but loud and commanding when the time allows.

Unlike the cheesy 1981 classic, and the lackluster remake, this version of "Clash Of The Titans" is inspiring. The soundtrack element that starting in track one has carried all the way to this point, giving rise to a more complete sound. Turilli does an incredible job fusing his guitar with the keyboard leads, forming one solid mass of fluttering notes. Not to be forgotten, bassist Patrice Buers gives a performance worthy of praise, keeping pace with both Turilli and the lightning fast percussion. The finale, a fitting characterization, is the sixteen minute "Of Michael The Archangel And Lucifer's Fall," which is broken down into three distinct pieces. While the album carries the weight of a film, this track IS a film all unto itself. From a soft beginning to a completely unrestrained crescendo, Turilli lets loose here, creating and crafting a masterpiece of ungodly proportions. With sections ranging from keys and bells, to soft, yet ominous pianos, he hits on every facet of classical metal.This must be heard to be believed.

After the split with Starapoli, Luca Turilli said that he was excited to cease being himself, and to embody anything and everything Rhapsody. Well, that is exactly what he has done. With every note, every drum, every press of the keys, you have a piece of the man himself. There is not a moment where you feel like he took a shortcut, or even settled for anything less than perfection. The compositions on "Ascending To Infinity" could dominate the soundtrack for any Hollywood blockbuster, but have that subtle beauty that could make the most cynical critics smile. And in Alessandro Conti, a new star is born in the metal scene. Even Pavarotti himself would be proud.

9.5/10

Official Site - http://www.ltrhapsody.com/
Myspace - http://www.myspace.com/rhapsodyoffire

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Overkill - 6 Songs (EP) (2012)

The all mighty Overkill give you a taste of what is to come with their new 6 song EP. It actually only contains 2 new songs while the other four are live songs that were recorde at the Rock Hard Festival in 2011. Whether you like lives recorded tracks or not you should definitely check out the two studio recorded track anyways. The will blow your fucking head off!

The first of the new released tracks is called "Electric Rattlesnake." The song throws chaotic riffs and blast beats right at your face. Fast pace guitar melodies completely smother you with beastly distortion and relentless chugging. The drums kick right off with insane complex patterns. Snapping snares fly over your head as they collide with shattering cymbals over and over again. The vocals soar high over the instruments with an aggressive performance. The track runs for over six minutes long constantly changing tempo and melody. The reckless guitar solos will have you begging for more as soon as they fade out. Lead guitarist, Dave Linsk, plays some tremendous guitar solos that will absolutely blow your mind.

The second track, entitled "Wish You Were Dead," opens with some incredible drum rolls as short quick chugging guitars start to step forward. Lead vocalist, Bobby Ellsworth, lets out a wicked high pitch scream that echoes high over the guitars sending chills down your spine. The verses pick up with more aggressive and yet high octave singing as monstrous guitars blast heavily in the background. You'll find yourself throwing your devil horns in the air immediately. The constant snare drum pound away at you while double bass patterns rumble violently underneath you. Once again you are hit with another godly solo by Linsk. By the end of this track you will be up and moshing. These guys definitely know how to get your blood pumping.

The live songs are "Give A Little," "Bring Me The Night," "Death Rider," and "The Beast Within." I'm usually not crazy about listening to live records but I have to say that these four tracks sound like they were recorded and mixed in a studio. Minus the crowd noise of course. The quality is very impressing and sounds crystal clear. Even the sound effects like reverd and delay came out just right. These are definitely tracks worth checking out. For now, Overkill fans will have to stay satisfied with this small taste of the future. I can only imagine what their next full length album is going to be like.

8/10

Official Site - http://wreckingcrew.com/Ironbound/
Myspace - http://www.myspace.com/overkill

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Gorgantherron - Gorgantherron (EP) (2012)

The story of Evansville, Indiana three piece Gorgantherron is like something straight out of the Twilight Zone. Three chimps are launched into space. Three men return in their place three decades later, having been educated in the ways of metal by a race from a distant galaxy. After all, according to the Gorgantherron, from the Andromeda galaxy, metal was the only thing the human race had gotten right (They must have not heard of Godsmack, Disturbed or any of the other bands calling themselves "metal" these days). Whether their story is true remains to be seen. I don't have the security clearance to know for sure. Regardless, their debut EP is spacey doom, and that says a lot.

The opening track, simply titled "Mothra," builds from a single guitar riff into a full fledged experience. It would be hard to classify the vocal style being utilized here, falling somewhere between singing and yelling, but it works. The gang chanting in the chorus, or what would be considered a chorus, is surely enough to get your fist up. But the true star is in the instrumentals, with guitarist Clint Logan (if that is his real name) delivering groove after groove in the lead role, while bassist Toby Richardson and drummer Chris Flint do the "rhythm section" moniker proud, doing far more than just keeping time. Unlike the previous track, "Lost In Space" is an all out punk-styled ride. The bass work only gets tighter as you move along, locking in with the guitars to form a solid wave. While the lyrical content may seem tongue in cheek, that doesn't make it any less entertaining. Logan doe the dirty work with his guitar, whether it be with intricate picking or a sliding chord. Further proof that you can pack a punch, and writing a coherent tune in a three minute frame.

Things get a little down in "Assimilate," as of the band has suddenly gotten a case of the blues that they are having a hard time shaking. But in the first choreographed explosion, they shows signs of life. The downtempo verse sections are all about delivering the story, while the chorus brings the thunder. If there was any doubt as to how talented these guys (or chimps, either way) are, this track should give you an idea. The creativity in both the lyrical and instrumental writing is enough to turn this into the shortest six minutes you might find on a metal record this year. The slow chunks set the mood, and the blazing guitars tear the place down. But don't stop there, as "Cemetery Shoes" launches immediately into full on destruction. Sharing a common sound with UK band Arke, there is something so intoxicating about the music on display. Every riff, every bass line, every snare and cymbal comes together in a way that may lift you out of your seat. With an axe man the caliber of Logan at the helm, you are sure to pull out your air guitar in a feeble attempt to rock out. Don't be ashamed.

The story expansion comes in the form of the track "Gorgantherron," a more subdued piece than any before it. But coming to right the wrongs of mankind, maybe the beast can swing by Canada and put an end to the Bieber fever plague. As silly as you might think the song is, there is still a lot to enjoy in the music itself. The final minute is a devilish groove, backed by a perfectly executed bass and drum composition. Following down that same path comes the final track, titled "Andromeda." The gang chanting that endeared itself so well in the opener returns, with all three band members yelling out "Andromeda" in each chorus section. The only downside to this track is that you may find yourself waiting for the true groove to kick in, something that only happens for a short while just before the conclusion. Unlike the other five, this one never quite gets to the pinnacle, instead just treading water.

Maybe they are those brave chimpanzees, returned to Earth from far away reaches of space. Or maybe they are just three guys who love metal. Whatever the origins of this three piece (I am sure the information will be declassified one day), I would keep a close eye on them. There is something in the way they play, something in the way they write that may come in handy some day. Now, I am not saying that the world will one day be overrun with Bieber fans. Nor am I saying that faux metal may one day replace true metal in the eyes of the senseless masses. But it could happen. And if that day comes, I want to make sure the Gorgantherron are on our side.

8/10

Bandcamp - http://gorgantherron.bandcamp.com/
Facebook - http://www.facebook.com/Gorgantherron

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The Top 10 Albums Of 2012... So Far

So, the first half of the year is over. And yes, like every other year, 2012 has been a great year for metal. Without further ado, here are our Top 10 albums of the first half of the year. Keep in mind, this has nothing to do with ratings or reviews, but everything to do with our personal enjoyment of each album. No EPs, only full length albums. Go ahead and bitch, motherfuckers. These are our lists.

Part 1 goes here.

Part 2 goes right about here.

Part 3? Damn, this is long. Right here.


Justin's Top 10

1. Sonata Arctica - Stones Grow Her Name (Review)
2. In Mourning - Weight Of Ocean (Review)
3. Brendon Small's Galaktikon - Brendon Small's Galaktikon (Review)
4. Ahab - The Giant (Review)
5. Freedom Call - Land Of The Crimson (Review)
6. Cannibal Corpse - Torture (Review)
7. Burzum - Umskiptar (Review)
8. Fister - Violence (Review) (Interview)
9. Atoma - Skylight (Review)
10. Epica - Requiem For The Indifferent (Review)

Darrell's Top 10

1. Brendon Small's Galaktikon - Brendon Small's Galaktikon (Review)
2. Swallow The Sun - Emerald Forest And The Blackbird (Review)
3. Atoma - Skylight (Review)
4. Diabulus In Musica - The Wanderer (Review) (Interview)
5. Nightmare - Burden Of God (Review)
6. Ihsahn - Eremita (Review)
7. Alcest - Les Voyages de L'âme (Review)
8. Sam Locke - Crossing The Barrier (Review)
9. Borknagar - Urd (Review)
10. Jeff Loomis - Plains Of Oblivion (Review)

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Aldebaran - Buried Beneath Aeons (EP) (2011)

It's rare to find a good funeral doom metal band from the states. Fortunately I've come across an awesome band by the name Aldebaran. They released an EP in 2011, entitled "Buried Beneath Aeons." The EP consists of only one track but don't think that it's a quick listen. Besides the fact that it's funeral doom with ridiculously slow tempos, the one track runs for over 27 minutes long.

"Buried Beneath Aeons" starts out with mellow strumming guitars with barely any distortion on them. The slows riffs linger with reverb effects giving a dark and atmospheric tone. Gentle drum patterns slowly enter about three minutes in. Light cymbals splash in the background as kicks and snares go back and forth in a very depressive tempo. The track starts to get heavier about four and a half minutes in as more aggressive distorted guitars come in blaring monstrous chords in the background. Meanwhile the vocals step in with a deep demonic growl holding long notes in a very slow speed. The drums also begin to get more aggressive as they start to produce more detail fills and louder cymbals and snares.

The track starts to change up about 12 minutes in as thumping toms and snares march through the blaring distortion. The guitar riffs deliver a more sinister melody as the track gets darker and darker. The growls come back in the second half of the song and display a more constant delivery. At this point distorted guitars are everywhere, blasting wicked chords and devilish melodies. The drums continue to pound you into the ground with their detailed rolls and snapping snares. The cymbals become more and more relentless as they light up the background shattering left and right. The tempo starts to pick up about 20 minutes in as double bass pedals come rumbling in with thunderous beats. Meanwhile the the vocals just keep at it ripping right through you lyric after lyric. The track calms down towards the last few minutes of the song with light bass and guitar riffs. Toms are at a constant rumble with light shimmering cymbals floating in the background. The song slowly fades to an end. This is where you quickly jump to the replay button.

Aldebaran has clearly put a lot of work into this EP. The song structure is unique and complex keeping you glued to your speakers the entire time. The vocals were delivered perfectly and were well produced. If you're looking for some new funeral doom metal than definitely take some time and check this EP out.

8/10

Facebook - http://www.facebook.com/pages/ALDEBARAN/137090346304944

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The Lion's Daughter - Shame On Us All (2012)

Take a good, long look at the album artwork to "Shame On Us All," the new album by St. Louis three piece The Lion's Daughter, and you won't have any doubt of what you are getting yourself into. This isn't a cookie cutter pop album, or the next installment of smooth R&B. This sludge covered, blackened death machine haven't come to whisper sweet nothings in your ear. They would much rather destroy your eardrums with a crushing blend of screams and overwhelmingly heavy instrumentals. Through eight tracks, these three men may have grown adults looking for monsters under the bed.

This isn't a subtle offering by any means, as the early moments of "Eaters Of The Sun" will prove. Instead, you are immediately pummeled by a tidal wave of guitars, bass, drums and harsh vocals. No waiting for the hammer to drop, no wondering what kind of album you've gotten your grubby mitts on. The deathly vocal lines may be enough to coax the shit right out of you. If not, the thunderous low end will surely do the trick. The outro, which doubles as a breakdown, is just plain scary. Wasting no time, "Deadbeat At Dawn" continues the gang beat down you already began. It's the small touches that make this track special, mainly in the guitar riffs. Whether they are darting out on their own, or tangled in the murky web of the bass line, they feel like hands around your throat, choking the air from your lungs. Oh, and "fuck you too."

You definitely get the black metal tone in "Heavenless, Far From Earth," both in the sheer speed of the drumming, and in the raw mixing quality. Vocalist Rick Giordano isn't one to lull you to sleep with a dreamy melody, when he could just as effectively pound your skull to a pulp with his fear inspiring screams. A slower, downtempo section emerges, surprisingly, changing the entire mood of the track, with rolling drums filling most of the void. Drummer Erik Ramsier pounds you with snares and toms, and Giordano passes his pain along to you with every word. Despite the fact that "The Signal Was Lost" comes in with a more restrained approach, don't be fooled. The feedback and pulsing drums are merely a vessel for the next track, "World Ender: Buried In Dust." The blackened death metal sound has come full force here, with every moving piece locking together in a brutal sweep of riffs and rage. A murky assault of distorted chords follows, with vocals that seem to get more abusive as they go on.

If you thought you had heard the heaviest this three piece has to offer already, you were sorely mistaken. The four minute topping "Shifter" is mind blowing in its density, packing more punch in every note than you could have imagined. Something to take notice of is the way they manage to give you more of what you want, that being heavy handed instrumentals, without sacrificing the songwriting process. This isn't just repetitive chords and cliche drumming. There are clearly defined melodies, for lack of a better word, that bassist Scott Fogelbach leads with grace. In a devilish game of "peek-a-boo," the band starts their version of the Nine Inch Nails song "Mr. Self Destruct" with feedback and a drum beat, before screaming directly in your face. They make the song their own, but in a way that would make Mr. Reznor proud. The longest track on the album is the closer, "The Bringers Of Shame." Coincidentally, it is the most complete offering as well, with each instrument coming through with a clarity that only increases their strength. Through the bevy of double kicks and piercing snares, Giordano shakes your very skeleton in ways that may leave you frightened long after the music has faded away. There is a distinct possibility that he is the monster that has been hiding under your bed all these years.

We often ask, rhetorically, what they put in the water in various cities that makes their men so big, their women so beautiful, or their kids so stupid. But never have we asked that question of St Louis, in reference to how their metal got so damn nasty. The Lion's Daughter, along with fellow St. Louis sludge lords Fister, are starting to give cause for concern, that the home of The Gateway Arch may be the last place you ever visit. The frighteningly good, yet wholly punishing, tracks on "Shame On Us All" have left me feeling one thing. If this is what the lion's roar sounds like, I am not going anywhere near him... or his daughter.

8.5/10

Official Site - http://thelionsdaughter.blogspot.com/
Bandcamp - http://thelionsdaughter.bandcamp.com/

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Sinister Frost - Cryotorment (2012)

I was immediately hooked when I first saw the album art work of Sinister Frost's new album, entitled "Cryotorment." And it turns out that this album had a lot more to offer than just a gorgeous cover. This symphonic metal band from the Russian Federation has some incredibly dark and ominous riffs and vocals that is sure to blow your mind. On the other had, they also deliver some beautiful orchestration and piano riffs that will sweep you off your feet.

The album starts with eerie sound effects and haunting keyboards that surround you with dark images in "Cryotorment." This gloomy intro carries you right into "Mystery Of Sinister Forest." Orchestrated instruments fade in as they are quickly taken over by a deep demonic growl that'll make you shit yourself. Meanwhile jack hammering double bass pedals blat away with wicked speed. Snare rolls are relentless as violent cymbals shatter in the background. The vocals deliver a solid death metal tone throughout the track. Aggressive riffs take over the background with wild melodic notes while keyboards stay busy with gorgeous sounds. The bridge has a powerful breakdown that throws galloping guitar riffs at you wave after wave completely knocking you off your seat. The structure is refreshing as it is constantly surprising you with new melodies and tempos.

"Nightmare" comes in with dark and beautiful acoustic riffs that are followed with angelic strings that float gently in the background. The vocals enter with a very mono tone clean vocal that bring a strong deathly feeling to the mix. Ravishing keyboards keep the track moving with their calm melodies. Later you're hit with monstrous growling vocals that include a pick up in speed for the kicks and snares. The drums start to throw complex fills at you that will absolutely blow your mind. Meanwhile fast pace guitar riffs come through and completely destroy you. Towards the middle of the track you'll come across a folk like melody played by a keyboard that really catches you off guard. It would be perfect if they played it with a fiddle or violin of some sort instead. It would add a very strong folky tone to the album. Some of the guitar riffs do start to pick up towards the end with more up beat tempos and melodies making you want to get up a mosh away until your feet bleed.

The band displays a very interesting mix of sounds in "Vicar Of God Of The Death." The first minute alone will have you hooked and begging for more. Ravishing piano riffs fly into the air with soothing string in the background. In between they add a few futuristic sound effects to the instruments panning the sounds from all directions. A deep chugging guitar soon comes blaring into the picture as the piano continues to hypnotize you deeper into the track. Then, when you're not looking, monstrous death metal growls come roaring in with overwhelming energy. You'll definitely want to have your devil horns up in the air for this one. The track runs for over eight minutes long giving you plenty of time to become obsessed.

"Gomorrah And Sodom" is broken up into two parts making these the last two tracks on the album. Part I is about four minutes long and does waste anytime. Chugging guitars toss you left and right as fast pace growls rush in completely beating you into the ground with relentless lyrics. It's galloping guitar patterns will have your blood pumping as you find yourself bobbing your head to the beat. Part II slows the tempo down with a simple drum beat and angelic piano riffs that'll absolutely take you breath away. The only thing that it could use to really put it over the top is a gorgeous female vocal. The beastly growls do the job none the less. The guitars give you all the melody you need to provide both depressive and aggressive tones.

"Cryotorment" really changes up between each track showing dark and light sides. Sinister Frost really mastered the whole beauty and the beast sound. Each song is well composed and gives you a little bit of everything that your looking for in a symphonic metal band. The only problem I had with the album is that I wish it were longer. The six tracks will leave you wanting so much more. Better jump to that repeat button!

8/10

Facebook - http://www.facebook.com/SinisterFrost
Myspace - http://www.myspace.com/sinisterfrost

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From Beyond - One Year (EP) (2012)

The music industry is always doomed to repeat itself. Every artist, every sound, will ultimately come back repackaged, with a new name attached. Yes, that means you, Lady Gaga. But while most of these retro acts are simply pandering, some bring back and old style with a new hook. Houston's From Beyond are poised to bring metal back to the days of yore with their own take on psychedelic doom. On their new EP, "One Year," you will almost certainly hear shades of the past hidden in the dark corners of each track. But unlike their peers, you will never question for a minute whether this music is real, or just a throwback.

As the volume increases on "Evil (From Beyond)," there is a classic metal sound to it all, with the influence of Blue Cheer readily apparent in the building chords. Even the vocal lines have a retro tone, embodying a more bluesy style than most contemporary doom can usually muster. Through the course of a solid guitar groove, and right on down into the slower breakdown portion, all of the pieces fall into line, both sonically and in the mix. But the true psychedelia comes into play on the following track, the colorful "The Heavy Wait." Somewhere in that wave of cymbal crashes, the band find their place, a sound that is as much their own as it is an homage to those who came before. Because in this six minute piece, you have a concentrate of all things heavy. Alternating waves of fast paced riffs and down tempo chugging are the norm, but the blasting drums manage to tie them all together with deft hands.

The strongest vocal performance comes in the form of the song "Warhorse," seeing a layered vocal melody resting atop a groove laden bass line. This is the one that will get your head moving to the beat, the constant patter of snares and toms. And while this may be the most accessible and stripped down track to be had, that is by no means an indictment of it. Instead, it speaks to the quality of the writing process. As the impending solo hits, you feel like you have gone back in time to experience the earliest days of metal, all with the production and mix of modern technology. The final chord echos, rolling directly into the title track, which begins as cool as the proverbial cucumber. A  trembling vocal is so welcome, all leading up to the chorus blasting ahead. The verse is down and blue, reminiscent of Black Sabbath in their prime, while the chorus is that wave of distortion that carries you on its back. The latter half of the track is just plain heavy, with a weight of dirty guitars, bass, and drums that will bring you to your knees.

We all know that music is not a linear art form, but rather it is cyclical. The old styles will always find their way back, in the form of retro outfits. To be clear, From Beyond is not one of those acts. This isn't a four track EP of hero worship and grand theft audio. You get so much more than a new wave of old school psychedelic doom; you find a band ripe with their own ideas of what this music is, and can be. So while you hear their influences woven throughout, there is never a moment where you think, "these guys just want to sound like Sabbath or Floyd." This is the next generation of the genre, and "One Year" is a good place to start.

8/10

Bandcamp - http://musicfrombeyond.bandcamp.com/
Facebook - http://www.facebook.com/FromBeyondBand

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Merrimack - The Acausal Mass (2012)

Coming from the darkest shadows of France comes a band by the name of Merrimack. This black metal band has really stepped into the metal world with their new album, entitled "The Acausal Mass." Spreading their dark messages to the world, the band delivers nine overwhelming tracks that are full of passion and rage. Each song plays a major part in the album and flows well into the next.

Opening with a short intro by the name of "Vestals Of Descending Light," the album quickly jumps into the second track, entitled "Arousing Wombs In Nine Angles Pleroma." Wicked black metal screeching pours into your speakers with wretched tones and an evil delivery. Dark melodic guitars fill the air with haunting riffs and complex drum patterns that switch from slow thumping kicks and snares to relentless beatings of non stop double bass pedals and detailed snare rolls that will absolutely blow your mind. The drums will have you throwing up your devil horns and bashing your head to the beat. "Gospel Of The Void" continues with monstrous distorted guitars with dark and yet catchy riffs that'll have you jamming along in no time. The vocals come through and rip you to shreds with their demonic screams and growls. The drums show off tremendous talent as ridiculous double bass pedal drums rumble heavily beneath you. A dark guitar solo fades in through the middle of the song as the vocals continue shouting in the background. Wild notes are thrown in all directions as more reckless cymbals crash violently in the background. You can definitely feel a lot of dark emotions through this beast of a track.

Songs like "Hypophanie" and "Worms In The Divine Intestine" show a lot of detail in their music. Both songs start out painting a dark image with mellow instruments and demonic tones. They slowly pick up speed with detailed drum rolls and and fast pace double bass pedals. The guitars go back and forth between dark and gloomy to a fast beat down of devilish riffs. The complex structure of the tracks keeps you at the edge of your seat at all times. You never know what they're going to throw at you next.

The final track, entitled "Liminal Matter Corruption," runs for over eight minutes long and is a must hear track. They put many different elements into the track that really keep you hooked the entire time. The drums keep a constant flow of double bass drumming through most of the track leaving you no time to breath. The vocals are constantly pounding you into the ground with devilish lyrics and an ominous delivery. The structure of the track constantly changes throughout the song as if you were listening to a few tracks at once. You'll come across a few melodies that are demonic and yet very catchy at the same time. Overall the song becomes very addicting and will have you hitting the replay button right away.

Merrimack has only been around for a couple of years and already they are making a huge impact in the metal industry. "The Acausal Mass" is well balanced between melodic guitars, exploding drum fills, and punishing vocals. It's definitely an album that you can sit through the whole thing and want to hear again and again. Make sure you take some time to check it out.

8/10

Official Site - http://merrimack.satanslegions.com/
Myspace - http://www.myspace.com/merrimackofficial

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