Snailking - Samsara (2012)

Another powerful three piece steps into the world of metal and show's everyone their insane talent. Swedens' Snailking has recently released their new demo, entitled "Samsara" and it is everything you look for in a stoner sludge metal band. The powerful guitar riffs alone will have you bashing your head to the melody while the drums and bass reel you right into vicious shouting vocals.

The demo opens with a 14 and a half beast, entitled "Shelter." Sludge guitar riffs come blaring in with messy distortion. A basic drum pattern starts to pick up in the background giving you a solid beat to bob your head to. It starts off pretty progressive with the same few riffs in the beginning but eventually switches up about 4 minutes in. The drum rolls begin to get heavier along with more distortion that is added to the guitars. The vocals finally drop around the fifth minute sending a chill down your spine. The lyrics are delivered in a very harsh and aggressive tone that echoes throughout the track. You'll even been taken by surprise with the short growls that jump in and out of the middle of the track. The guitars stay heavy as the drums continue to pound you into the ground. You'll definitely be pumping your devil horns in the air at this time. You'll come across even darker guitar riffs with vicious distortion and a catchy tune. Make sure you have this track on high volume the entire time.

Some interesting reverse reverb starts off "In The Wake" adding a very futuristic and psychedelic sound to the mix. Gloomy sound effects also entire drawing a dark and unclear image. The drums waste no time as they jump right in with violent snare patterns and cymbals that splash recklessly in the background. The vocals step in soon after with more harsh shouting. Monstrous chugging guitars take over the background with consuming riffs that give you absolutely no time to breathe. The structure of the song is fantastic. The guitars change direction constantly while the drum patterns are constantly mixing things up as well. The track will leave you at the edge of your seat for sure.

The final track of the demo is "Samsara." This is the shortest of the tracks running at just over nine minutes long. Right away comes bone crushing riffs that will completely destroy your speakers. The verse cut right to the chase sending overwhelming shouting vocals with harsh tones. The surprise you with a wicked guitar solo in between the verses dropping wild melodic notes from all angles. The guitars continue to chug away as thunderous snares and kicks fire away behind them. The refrain has a little more of a melody to it even though the vocals are still shouting. The notes are held out longer giving you a chance to hear the guitars switch up in between. Overall this is definitely the heaviest of the tracks and will have you playing it over and over again.

Snailking gives you over 25 minutes of amazing music in this three track demo. The guitars waste no time getting straight to the point and blast anything that gets in their way. The vocals stay pretty constant and even add a few small surprises along the way. If this is what Snailking has to offer in just a short demo then I can't even imagine what a full length album would be like. Definitely check these guys out and experience it for yourself.

8/10

Official Site - http://snailking.bandcamp.com/

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The Podcast: Episode 53 (No time for apolgisex)

This whole "undisclosed location" thing is starting to get out of hand. Tonight, we sat in a massive warehouse, metal ceilings and all, to talk about some of the metal we listened to last week. Justin is head over heels for Inborn Suffering, and perfectly content with the new album by Soundcrawler. And while Darrell wasn't blown away by the latest material from Agalloch, Minnesota's Earthrise gave him cause for hope. And so, as the latest season of Metalocalypse comes to a close, what is next for Dethklok, and for Brendon Small's brainchild?

Part 1, Skwisgaar.

Part 2, Toki.

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Gorgantherron: The Interview

The story of the Gorgantherron will be passed down through generations. The chimps, their intergalactic journey, and their new found love of all things metal. But before we start to tell the story, nay, the legend, we sat down and got some straight answers from the men themselves.

First and foremost, we want to thank you for taking the time to answer our questions. Let's get the big one out of the way. Where did the name Gorgantherron originate, and what made it the obvious choice for your band name?

Toby:
it was originally a gamertag i googled it... & it was un-used... gorgantherron has killed many skelletons.

Your bio is another story entirely. Literally. How did the three of you decide that that was the best way to introduce the masses to the story of the band, and your music?

Clint:
That came about because we had started a facebook page, to invite our friends to shows and send to clubs to get gigs locally. People that book kind of expect a bio, but most bio's are kind of dry and boring. We had finished the song “Gorgantherron” recently. So, I just kind of fleshed that story line out. I showed it to the guys at the next practice, they said they liked it, so that's what we went with. We didn't really give it a lot of thought. We plan on continuing the story, just to see where it goes.

I want to take a quick detour and talk about the album artwork. First off, what is going on on the album cover? And who created the image?

Chris:
The artwork, entitled "Leonid Meteor Shower", was painted by E. Weib in 1833 for an astronomy guide. We're inspired by science fiction and actual science, so what better way to mix science and doom than a portrayal of nature's fiery death in all directions? The Gorgantherron creature artwork on the disc itself was created by Keith Seifert of forbiddenzombie.com.

The new EP shows off a lot of different styles throughout, from blues and doom, which go hand in hand, to more punk based passages. Who were some of your biggest influences in creating your signature sound, and how did this evolve into what we know as Gorgantherron today?

Chris:
I grew up in the 90s, so most of my influences came from those days. There's some Jimmy Chamberlain, Dave Grohl, Matt Cameron, etc. I've also always been in love with Led Zeppelin, so that can't help but peek through. Joining Gorgantherron has actually opened me up to a whole world of music I didn't know about. I can't get enough doom!


Clint:
Jimi Hendrix Experience(the whole band, I love Mitch as much as Jimi), Dead Kennedys, Melvins, 50's chicago blues, 60's psych, 70's blues-rock and prog, 80's hardcore punk. Toby: Black Sabbath, Iron Maiden, Sleep.

"Cemetary Shoes" quickly became our favorite track on EP. Clint's guitar work on this track is the best on the album. What do you think separates your playing from your peers, and how does that come out in this song in particular?

Clint:
That's a tough question, because I'm my own worst critic. I can't shred, so I feel like I have to focus on melody and phrasing. I don't know if that sets me apart because there are so many players out there that blow me away. It's interesting that your favorite is Cemetery Shoes, because there are several spots in that song where I didn't quite get what I was reaching for.

There seems to be this misconception that to play heavy music, specifically anything doom inspired, your tracks have to be ten minutes long. Your track times vary, from three minutes up to six or so. How do you know that a track is enough, and have you ever felt that something could ever been "too short"? Do you even look at the track times when you write or record?

Toby:
As much as i love the drone... i like songs that can be a little more to the point... most of ours are 4 or under on purpose... but we may have some longer songs on the horizon...

As best we can tell, Evansville, Indiana is home to lot of up and coming, or dreaming, metal bands. What is the overall music scene like in your home town, and where does metal fit in?

Chris:
Evansville is definitely friendlier to cover bands than to originals. If you can get enough people to go wild when you play "Crazy Bitch" you'll be invited back. There is, however, a strong presence of passionate original bands and quite a few venues that are willing to let us play. There are a lot of mind-blowing metal bands in Evansville who really put a lot of time into their songs and it shows. At any given metal show there will be a crowd made up of mostly people from other metal bands, so we're a very supportive lot.

You are active on Facebook, obviously, but how has the social media world affected you guys, as a band? Do you think your shows lead to a better online presence, or does your online presence bring more people to the shows?

Toby:
Facebook gets a few more people in.. I'm pretty happy it's around.

Along that same line, Bandcamp has become the primary method of up and coming bands to promote and distribute their music. How do you feel about the way that portion of the music industry is functioning, and what has your experience been in selling your merchandise through Bandcamp?

Chris:
I'm thrilled to be playing and recording in a time when distribution is possible without the aid of a record company. We're able to reach fans in Sweden, Australia, or wherever we happen to get noticed. The minor downside is that it's just as easy for every other band, so sites like Bandcamp and Reverbnation are very crowded, making it difficult to stand out. Bandcamp has overall been a very good experience. It leaves the control in the hands of the artists, which is never a bad thing.

It is hard to avoid the topic at this point, so I will ask. The Randy Blythe story has gotten some major lip service throughout the metal world. So, if/when a fan comes at you on stage, what do YOU do?

Clint:
I played in a band where shows would regularly get out of hand. Our singer, on many occasions, shoved people off stage. I've pushed people out of my way, but I don't think they ever hit the ground. My thoughts are, if you're going to get in my way while I'm trying to play for people that paid to get in, you should expect a negative reaction. There's a difference between stage diving and interfering.

So, the new EP is out and ready for purchase over at your Bandcamp site, along with two T-shirt designs. You have shows booked, including Indiana's Kaos Fest next month. The question is... what's next?

Clint:
We're working on getting out of town more. Playing for new people. We're always working on new material. This whole thing has just kind of happened, we're really just making it up as we go along. Toby and I started playing together, just to play. And we still are, but now Chris is on board and people are responding to what we're doing. It's very gratifying, but mostly it's just fun. So that is our plan: Have More Fun.

Thanks again for giving us some of your time. We are looking forward to the next album, and the next part of the story.

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Vesperia - The Swordsman (EP) (2012)

We do our best to seek out new and exciting bands to review. We do this, of course, not only for ourselves, but for you. But every now and then, a band or album lands squarely on our laps, sent to us by a band, fan, or label. Such is the case for Vesperia, a Canadian band that classifies their style simply as "Symphonic Celtic Death Metal." Yes, this Ontario based four piece is pushing the boundaries of metal once again, evolving from the brainchild of bassist and vocalist Morgan Rider. Released as a follow-up to their 2011 debut album, "Voyage From Vinland," this new four track EP will only serve to solidify what we already know. And "The Swordsman" is exactly as advertised.

Riding a cold wind, and one slide down the neck of the bass, the title track comes into frame. The rolling double kick drums are fast and furious, driving you deeper into the mix. In the guitars, you get speed and precision, but not mindless heaviness. Each segment runs perfectly into the next, with smaller melodies coming together to form one big one. Rider's bass work is electrifying, joining with drummer Cory Hofing in a dynamic rhythm section. The vocals are a highlight, switching from pure death growls to airy chant and clean singing. Even the light keyboard and piano effects do wonders for the mix. Following the same basic formula, "Huntress" finds itself built on a foundation of neverending drum fills and guitars, but with a twist. There is a folk tone to the way the music is played, something akin to Ensiferum, but with a decidedly death edge. The snare drum has a metallic sound, one that might make even Lars Ulrich cringe, a slight imperfection to a booming kit. It does, unfortunately highlight small problems in the recording process, but ones that are easy to overlook when you pay attention to the fluttering folk instrumentals at play.

A crackling fire welcomes you to "To End Times We Ride," joined soon by dueling guitars. Guitarists Tim Ferriman and Casey Elliott form the lead here, joined by rich strings. As a Viking styled chant emerges, you may find yourself pulled into the middle of the music. The faster paced opening gives way to a slower, more pounding segment, where Rider delivers his growls expertly. Everything from here seems to take an upbeat approach, almost victorious in scope. The Celtic influences are apparent, even though they are only used sporadically here. You can pick them out in the guitars, as well as the smaller use of ethnic instrumentation. A more delicate intro opens "A Silence Prolonging (In Longing)," with beautiful clean guitars forming a melody. There is a softer side, to both the band and the music, with Rider laying down a set of clean vocals atop of this newly found sensitivity. As the gang style vocals enter, there is the aura of chanting to behold, something that fits so well with the backing music. And an album that began with such a thunder ends with a whisper.

The folk metal genre is flooded with bands doing the exact same thing, at the exact same time. This, unfortunately, takes one of the most inspired genres, and makes it stale and unappealing. But Vesperia, with all their eccentric instrumentation and added influences, have the potential to reinvigorate things in a slightly new form. The balance of sound is what makes this EP so successful, putting out a pie that is divided equally among death, folk, symphonic and traditional heavy metal. The end product, despite the somewhat clouded production, should be enough to reignite a flame in some folk fans of yesterday. Canada damn near has it all, with free health care and "The Swordsman" under their belt.

8/10

Bandcamp - http://vesperia.bandcamp.com/
Facebook - http://www.facebook.com/VesperiaMetal

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Soundcrawler - Sandcrawler (2012)

Listing themselves as stoner metal, the band Soundcrawler has recently released their new album, entitled "Sandcrawler." The album consists of six solid tracks however i wouldn't quite call them stoner metal. They may have a few minor stoner influences but they definitely aim more towards a southern hard rock type of sound. Regardless what they are, the album is pretty solid.

The opening track, "A Truck On The Blazing Sands," starts with monstrous chugging guitars blaring with heavy distortion. The deliver a groovy southern sound to the mix and definitely get you pumped right off the bat. Crashing cymbals and relentless snares get you bobbing your head while smooth bass lines follow the guitars through the verse. Clean singing vocals come in with an old school type of feel. They're calm and yet direct and add aggression as the track goes on. "The Sandcrawler" starts out with wild guitar riffs and constant cymbals that blast away in the background. The upbeat tempo will have you throwing your devil horns up immediately. Towards the middle of the track comes a wicked bass solo that is followed by a melodic break down. The guitars have you leaning in all directions as they send powerful riffs at you from left to right. The drums pick up detail towards the end as constant toms and snares rumble heavily beneath you.

Things slow down drastically in "My Mind Is Going Away." Acoustic guitars take over with mellow tones and catchy melodies as soothing clean vocals step in. You'll definitely find yourself singing along after the first few minutes. About two and a half minutes in enters a wicked bass melody that completely hypnotizes you deep into the track. Eventually this relaxing track turns into an aggressive monster. The distortion comes roaring in with overwhelming drum rolls that pound you into the ground. By the end of the track you'll have forgotten all about the acoustic kick off.

"Escape" throws a quick bass line at you as hi hats follow and lead you right into monstrous chugging guitars. The heavy tones will have you up and stomping around for sure. The drum fills become more complex while the guitars get louder and louder with distortion. This three and a half minute instrumental leaves speechless and gives you no time to breath. The final track, "Redesign," opens with some funky bass lines followed by melodic guitar riffs and thunderous drums. The vocals continue to have a strong southern tone to them and fit perfect with the instruments around them.

Overall, "Sandcrawler" is a solid hard rock album with great recording quality and awesome structure. The track run perfectly into each other and each hold a unique sound separating them from the rest. This isn't going to reach anyone's top ten of the year list but it definitely has potential and makes Soundcrawler a band worth checking out.

7/10

Official Site - http://soundcrawler.bandcamp.com/album/the-sandcrawler

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Earthrise - Eras Lost (2012)

The scales of metal are starting to shift, with some of the most talented bands falling on the side of sludge. With this subgenre becoming one of the most popular, particularly in the United States, you can now find your fair share of great acts spread across this great nation of ours. From Iowa's Blizzard At Sea, to St. Louis' Fister and The Lion's Daughter, the bass heavy, distorted art form can't be stopped, even in the frozen north. Minnesota's Earthrise are no different, playing a brand of post metal that may leave you seeking out a lawyer for a personal injury suit. On their new album, "Eras Lost," this drunken four piece may give you a nasty case of whiplash.

After a brief spoken word, and crashing, distorted chord opens "Challenger Deep," resonating for seconds afterword. A rumbling bass line comes through, joined by the sizzle of cymbals. As heavy as the music is, there is always an underlying sense of melody to be had, even beneath the grating vocals. Every drum hit is deliberate, every down tuned chugging chord is not without purpose. Despite the ferocity of the lyrical delivery, there is substance to the screams, almost taking on the characteristics of free form poetry. Though, to be fair, it would be easy to lose sight of that amongst the bruising kick drums. It would be safe to call  "Titan" one of the heaviest tracks on the album, with a drum piece that is devastating. Once again, the grating vocals tear down any chance you had of surviving unscathed. And while the song may be one of the more simplistic pieces on the album, it is by no means a sleeper. A short, but equally enjoyable solo pops up, giving you one last push before the crashing end.

You get lost in the smooth instrumental of "Suspension," with a minimal vocal addition, in a way that has become synonymous with the post metal genre. The music isn't overly complicated, but intensely rich. It elicits a slow head nod with each blast beat, a visual approval. Almost a continuation, "Former Worlds" begins with that slow melody and an atmospheric blast of distortion. The vocal passages remain sparing in comparison to the multiple layers and waves of instrumentals, but this time they have a dimming effect on things. The screamed lyrics don't evolve, leaving them stagnant in an ever changing musical landscape. But the rhythm section comes to the rescue, through sliding bass lines and surgically precise drum fills. Alternatively, "Polar Low" is a more complete affair, with the vocals doing their part to elevate the track, rather than bring it down. They find a stride here, allowing the band to lead, while the words follow suite. The true disappointment is how the vocal style itself will distract from what is a fairly impressive lyric sheet, full of poetry and wordplay. That aside, the distorted riffs at play are at war with the crashing cymbals, in a battle where everyone wins.

Standing out from the rest of the album, "Relentless" gives you a more melodic approach to the formula, with guitars, bass, and drums finding a comfort zone somewhere between solid and explosive. The drumming, in particular, is at a high point, with amazing detail put into every passing measure. More than anything, this feels like an extended interlude, a transition from one half to the next. And with that, "Mirovia" breaks through. There is a density at work that, while present in the earlier tracks, is taken to a new height here. Every down beat is a joining of a massive chord, and a thunderous array of drums. if you can prevent your brain from turning to complete mush under the weight of all of the pummeling of the outro, you will be handsomely rewarded with "Eighteen Hundred." Throwing melody to the side, this is a heavy exhibition of tempo changes and pure, unadulterated destruction. Don't hold your breath waiting for a dazzling solo or clean vocal lead. Much like the leaders of the sludge movement, this is the sonic beatdown you deserve.

After the assault and battery you have endured, "Transmission" gives you a few moments to breathe, with whining guitars echoing throughout the four minute piece. This is drum lead, with electronic elements coming in and out, mingled with radio transmissions. The final descent begins with "Exhale," a track which thankfully exhausts all of its lyrical and vocal load in the first half. The second half is a flowing instrumental, simplistic but powerful in its delivery. Once again, the drums take center stage, with each cymbal and tom finding the perfect place in the mix. Sure, the guitars set the tone, set the mood. But the way they bounce and kick off one another is the true strength of the band. To close it all out, "Frame Digging" becomes the song of submission to the new regime, accepting that the life you once new is over. Through the most intense screams, the band take you through one more walk of flames and fire, beating you down with kick snare combos and raging riffs.

Earthrise have a solid handle on making music that is both punishing, but also rewarding. They manage to offset their rage fairly well, without lessening the impact. But with a vocal attack that seems to be one dimensional, it is hard to differentiate one song from the next, despite lyrics that are far more inspired than one might think from the way they are presented on tape. That said, these eleven tracks are well rounded, balanced with melody and mayhem, and have every opportunity to grow. The question is whether "Eras Lost" will be the start of something big, or the just another piece of sludge lore.

7.5/10

Bandcamp - http://earthrisemn.bandcamp.com/
Facebook - http://www.facebook.com/Earthriseband/

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Inborn Suffering - Regression To Nothingness (2012)

After six long years, Inborn Suffering has finally reawaken with the release of their new album, entitled "Regression To Nothingness." This is the bands second full length album six years was well worth the wait for it. The atmospheric death doom metal band from Paris, France, gives you everything and more. The recording quality is excellent, the growls are breath taking, the drums and double bass are overwhelming, and the guitars are fucking brutal.

The opening track, "Slumber Asylum," kicks off with monstrous chugging guitars and heavy drum rolls that'll rattle your sub woofers immediately. The progressive build up in the beginning of the song really has you on your toes as you're waiting for what's about to hit. The verse comes in with vicious growls that echo through the dark melodies sending chills down your spine. More punishing drum rolls rumble in with overwhelming detail in pattern. The vocals switch between dark growls and wretched screams. The gorgeous strings that float in the background really give you that beauty and the beast type of feel to the track. And if you think that this eight minute masterpiece is amazing than just wait til you get to the next couple of tracks. Most of them average to be about 12 to 13 minutes long.

"Born Guilty" comes in with roaring vocals and demonic guitar riffs that chug away violently beating you deep into the ground. The constant double bass pedal drumming will have you throwing up your devil horns and bobbing your head immediately. Reverb and delay effects linger on the growling vocals leaving them ringing in your head for days. The vocals also switch over to slow depressive spoken word. The mood stays the same however as you'll notice that the drums rolls and bass lines are non stop in the background. They constantly pound away at you giving you no time to even breath. Later comes more wretched screams that run right through you.

Slow haunting guitar riffs start off "Grey Eden." Mellow depressive spoken words take over the first verse a double bass drums slow start to fade in. This quickly switches the vocals over to monstrous growls that soar over the soothing keyboards and thumping kicks and snares. This is only for a brief minute as the spoken word comes back in only this time with distorted guitar blaring in the background. The drum fills get more and more ridiculous although the tempo stays the same. The drummer manages to fit insane blast beats into such a slow tempo'd part and yet it fits perfectly. You'll find more incredible drumming like this in "Regression To Nothingness." The slow progressive guitars chug away with demonic chords and depressive tempos however the drums add some pretty detailed rolls to the mix throughout the track. Meanwhile haunting keyboards take over the background with spooky melodies. Spoken word continues back and forth with the devilish growls keeping you at the edge of your seat at all times. The beat does start to pick up towards the middle of the track as the guitar riffs begin to get more demonic and gain more distortion.You'll notice that the song changes so much that you might lose track as to when you actually go into the next song. That's when you know an album is doing what it's supposed to do you definitely can get lost in a song like this. Then you'll come across the final track, entitled "Self Contempt Kings," which closes the album with nine minutes of raw, depressive metal with progressive builds that lead you right into thunderous drum rolls, cut throat guitar work and ominous vocals both growling and spoken word. Beautiful keyboards fade in and out revealing ravishing melodies in a calm mellow delivery as guitar riffs continue to rip you a new one along with relentless double bass pedal drumming and reckless cymbals that shatter from all directions. This ending track definitely leaves you begging for more.

Inborn suffering has really shown the metal world what they are made of with this new album. "Regression To Nothingness" contains some incredible material that will absolutely blow your mind. Progressive guitar riffs lure you into a whole other dimension full of atmospheric keyboards, sharp drum patterns, and violent growls that relentlessly pound you into the ground all at once. The vocals paint a beautiful image of dark depression and sadness that carry you throughout the entire album. The detailed structure of each song is outstanding connects the album perfectly. This is definitely a must hear album.

9/10

Official Site - http://inbornsuffering.bandcamp.com/
Myspace - http://www.myspace.com/inbornsuffering

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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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