Gates Of Oblivion - Mirrored Reflections (2012)

Shining brightly from the metal scene in Switzerland comes a band by the name Gates Of Oblivion. This symphonic/gothic five piece give a refreshing sound to the genre and add some interesting little twists of their own into the mix with their new album, entitled "Mirrored Reflections." Musically it is full of ravishing piano riffs and wicked guitar solos and fills. The vocals come at you in a few different forms keeping things changing and always leaving you guessing. You'll notice some of the vocals are perfect while others are just hit or miss.

The album is opened by a short intro track, entitled "Into The Mirror." Whispers fill the air as beautiful synths take over the background. This slowly fades into "Sunscript." Gorgeous piano riffs begin to play as chugging guitars blast away with quick riffs behind them. The verse starts with dark growls delivered in an evil manor. This then switches over to clean female vocals that hit operatic notes. The female vocals sound pretty solid on their own but I feel that they do not mix well with the music. She jumps out way ahead of the guitars and drums and sorta pulls you away from the music. The guitars really pick up towards the middle of the track when you come across a magnificent guitar solo that'll blow your mind. Double bass pedals rumble behind you as your hit with this minute and a half masterpiece. The last round of the chorus has both the female voice and male growls layered on top of each other attempting a beauty and the beast type of sound however the female vocals just end up distracting you from everything else. They just don't seem to fit very well.

Then you come across songs like "Before The Sunset" and "Before The Sunrise" which are solid ballads where the female vocals go along perfectly with the music. Most of these ballads are filled with angelic piano riffs and ravishing strings that float gently in the background. Her voice really captures a strong image of each song and keeps you hooked from beginning to end. They even throw in some fantastic guitar solos that really put them over the top with breath taking melodies that will sweep you off your feet every time. You'll definitely find yourself going back to these tracks constantly.

"Twilight Angels" opens with some absolutely stunning piano riffs that are combined with some impressive drum rolls using complex tom and snare patterns along with punchy double bass pedals that'll have you bobbing your head right from the get. This track runs for over nine minutes long and is definitely worth every second of your time. The female vocals fit a lot better in this song as well as you'll notice that everything is more balanced. The detail in song structure will have you hitting the replay for sure. You're definitely not gonna catch everything the first time around. The guitar solos alone are just completely outstanding.

Towards the end of the album you're going to run into a song, entitled "March Through." This seven and a half minute track will have you hooked immediately with its catchy piano intro. It is subtle and yet has a very epic feel to it. Chugging guitars build up the verses with heavily distorted riffs that follow the piano right into the female vocals. Again, I feel that the female vocals work well with their surroundings in this track as well. It seems to be hit or miss with each track. As far as the guitar solos go, your hit with another amazing solo about half way through the track. The melodies that are thrown at you are just incredible and definitely hypnotize you deeper into the track. These solos are what will have you coming back for more and more. Also the drum rolls within each verse is insane. Each fill is different and yet equally impressive. This is definitely a must hear track.

It seems that the band had some on and off issues with the female vocals towards the beginning of the album but slowly fixed everything by the end. Perhaps there isn't even anything wrong with them, maybe it's just the mix that is really off. Either way they definitely came through in the end with some powerful tracks that made "Mirrored Reflections" well worth the listen. Gates Of Oblivion seem to be heading in the right direction so make sure you keep an eye on this group.

8/10

Official Site - http://www.gates-of-oblivion.com/
Myspace - http://www.myspace.com/gatesofoblivionmetal

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Sanity Obscure - Subterranean Constellation (2012)

 

Singapore based four piece Sanity Obscure have a philosophy. They believe in their collective minds that music should have no boundaries. And that, if such boundaries do exist, they should be pushed and stretched as far as possible. On their new album, these four musicians hoped to begin that process, by combining an array of styles and sounds, ranging from thrash to death, black metal to hard rock. But philosophy is only madness without a sense of order. On "Subterranean Constellation," chaos and anarchy reign supreme, as this experimental band fail to expand our horizons, and instead push our buttons.

There is something scary in the opening track, a short intro called "Dreams - Manifestations." Whether it is the ominous singular chords that ring out, or the use of keys for atmospheric, and evil, purposes, a chill up your spine wouldn't be uncommon. The blood curdling screams that follow are not short on devilish tone either, only heightening the sense of evil. But as you move into "Rise Of The Machines," things get a little hectic. The opening stanza has a thrash element to it that, when combined with black metal style vocals, comes together in a fairly successful way. It is in the sections that follow that things go off course. Basic rock riffs with harsh vocals don't have the same weight, even with double kicks aplenty. The music often borders on that of System Of A Down, with intense grooves and fluttering guitar work. It, unfortunately, does little to hold your attention for the better part of four minutes.

Somewhere in the more stripped down verses of "Incarceration Divine" is the sound of a more mature band, a sound that seems to come and go with each passing measure. Even from verse to chorus, it is as if you are listening to a completely different album, if not a different band entirely. Rather than one cohesive theme, all of the pieces seem disjointed and bizarre when strung together. By the time you have reached "Synergistic Permutations," any of that initial pop is gone, leaving you with a cluttered mess of styles and tones, one that can't be easily identified. Sure, there are still some nice riffs, but they are often buried amidst clunky drums and layered vocals that don't seem to go anywhere. The latter half of the track, one that starts as straight black metal, quickly devolves into farce, with a wild guitar solo that could be mistaken for a child slapping at strings. The first positive burst in some time comes in the form of "Patient Zero" where, minus some of the space age effects, the band has settled into a groove; or so it would seem. Before you can complete that thought, a drum roll bursts through, boasting Lars Ulrich's "St. Anger" era snare sound. And, as with the tracks before, chaos ensues. Guitars crash into bass and drums, and you are left with a muddled affair.

With two thankfully short tracks following, "Doublethink" and "Hyperboreas," there is little time for all of the added nonsense that seems to creep into every track by the three minute mark. But the former still manages to introduce a fair amount of clutter, whether it be the constant wall of drums, one that is hard to get by, or a solo that, while well played, fails to elevate the track in any way. The latter, also clocking in at just over two minutes, is a mess of a track. Black metal vocals flank a constant "chug chug" pattern, with a bizarre guitar melody to follow. By this point, the music is predictable, if not completely sour. The keyboards do peek through for the first noticeable time, adding some electronic effects to an already crowded mix. If you have survived this far, then the nearly four minute closer, "Afflicted Mind," is all that stands between you and sweet, musical freedom. Cliche, messy, and poorly thought out, this eighth and final track is everything wrong with the album, rolled into one big middle finger for the listener.

A great band takes one style, and performs it brilliantly. Other bands take many styles, and perform them poorly. Sanity Obscure, for all their ambition and thought, fall squarely into the latter. They hoped to stretch musical boundaries, an admirable endeavor. However, through these eight tracks, they have done more to hurt their cause than help it, leaving a legacy of confused songs and poor execution. Every positive section, all ten seconds per song, is quickly dashed by the carelessness or pure lack of evolution that follows. If they could settle on one theme, one method, one style, perhaps there is redemption to be had. But "Subterranean Constellation" might be enough to sink them for good.

3/10

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

Facebook - http://www.facebook.com/SanityObscureSG

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Thira - The Ascension Construct (EP) (2012)

Making a go at the industrial heavy metal scene, a fairly new band by the name Thira has stepped forward to new material. The band has released a new EP, entitled "The Ascension Construct." It's got some powerful guitar riffs that chug away in your face non stop through its entirety. Explosive drum rolls and shattering cymbals is another key element that may really catch your ear.

The first track, entitled "Release," starts off with futuristic sound effects that quickly jump right into monstrous guitar riffs and wicked deep screaming vocals. The riffs chomp away at you with dominating chugging riffs while your beaten into the ground with thunderous double bass pedal kicks and snapping snares. The first half of this track will completely destroy you with its heavy riffs and beastly vocals. The second half changed up completely as it takes the distorted guitar riffs down a notch. Also the vocals switch to a few clean verses before going back to the wretched screams. The break down starts to lean a little more toward towards the hardcore side of things with heavy breakdowns that sound solid but are very basic patterns. I think a wild solo would have done the job a lot better.

"The Corroded" opens with some funky sound effects that pan left and right constantly as drums slowly fade in with light cymbal patterns. The trippy keyboards lead you right into powerful guitar riffs that blast away at you with dark melodies. The vocals definitely have the power to knock you off your seat. You'll find similar vocals in "Left To Kneel." Punishing lyrics come through and completely destroy you right off the bat. They manage to include more futuristic sound effects that blend in well with the crushing guitar riffs and thumping bass lines. The breakdown towards the middle of the track is overwhelming with bass and distortion however i feel that a wicked solo would have done a solid job yet again. The vocals start to get a little eerie when the clean vocals step in carrying an evil tone to the mix. The strings in the background add on to the haunting sounds and will leave you flinching yet wanting more.

The fourth track, "In Sinking Earth," is the shortest track on the EP running for just under four minutes long. It wastes no time jumping right back into the verses blasting harsh screaming growls at you from all directions. It definitely packs a punch with its groovy bass lines and odd sounding guitar riffs. The drumming definitely picks up as well. Each beat becomes more complex and louder knocking you on your ass. "Through The Collapse" is the final track on the EP and definitely finishes you off after being beaten into a pulp for the passed four tracks. Fast chugging guitar riffs will have you throwing up your devil horns an pumping you fists in the air immediately. The tempo of the song changes up a few different times keeping things refreshing. You'll definitely be hooked as you wait to see what hits you next. The complex breakdown towards the middle of the track makes the whole thing worth hearing. Relentless double bass pedals drill you into the ground non stop while the vocals go off on a rampage. Definitely make sure you check this track out.

Overall, Thira is pretty straight forward with their music. The have a solid sound that repeats again and again in each track. The songs are powerful and full of groovy bass lines and punchy kick drums however they never really step outside the box. They need to add a little more creativity if they plan on standing out from other bands. Otherwise people will just rather hear Fear Factory instead. Either way, this EP is definitely worth a shot.

7/10

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

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Gojira - L'Enfant Sauvage (2012)

Gojira continues to make a huge impact in the metal scene as they drop their long awaited new album, Entitled "L'Enfant Sauvage." The band manages to keep their sound where you can recognize that it's them immediately however they also get very creative with their structures and patterns along with each bridge and breakdown. You'll definitely want to get up and mosh to this one.

The album opens up with "Explosia" sendin harsh guitar riffs screeching with distortion. Booming double bass pedals roll in with complex riffs leaving you bobbing your head for sure. There's a groovy bass line in the background that will completely knock you on your ass. The tempo switches up constantly keeping you at the edge of your seat the entire time. Rough shouting growls pick up the verses with an aggressive delivery. Chugging guitars take over during the bridge as they throw bone crushing riffs at you from all direction. This six and and half minute track is definitely the way to open up an album.

Up next is "L'Enfant Sauvage" which starts out quiet but quickly shatters you speakers with a mixture of crashing cymbals, fast pace double bass pedals and thunderous guitar riffs. The cool thing about the vocals is that even tho they are violent and blaring in your face, they are pretty clear and easy to understand the actual lyrics. Another element that you'll definitely want to pay close attention to is the drumming in this track. Crazy patterns of toms and snares beat you into the grown with overwhelming speed and power. The guitar work is amazing as well. They constantly throw in short melodies in between verses giving it a catchy tune. Then the vocals come through and completely destroy you.

Songs like "The Axe" and "Planned Obsolescence" will completely sweep you off your feet with the damaging guitar riffs and ridiculously fast double bass pedals. Each track runs through you faster than you'll even realize. They give you absolutely no time to breathe as they stay relentless throughout their entirety. There is also some haunting clean vocals in "Planned Obsolescence" with strange filters on top adding a very odd sound to the voice. They then switch right back to the brutal growls they you know and love. The track will definitely get your blood pumping. "Mouth Of Kala" is another must hear track. This one pounds away at you with constant double bass pedals while messy distorted guitars take over the background with beastly riffs. The vocals rip you to shreds with more wicked shouting growls. Don't be surprised when you find yourself hitting the repeat button multiple times.

Gojira has continued their diverse art work giving you tons of strange and unusual sounds with their guitars and other instruments. It seems that they get better and better with every new album. "L'Enfant Sauvage" definitely goes above and beyond their previous work. The song structures are complicated and filled with surprises as the music constantly knocks you down and picks you up again. This is definitely an album you don't want to miss.

9/10

Official Site - http://www.gojira-music.com/

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Lyceum - Demo (2012)

The common stereotype of metal musicians, and fans, hasn't really changed much over the years. Stupid, meat head, uneducated. We've heard it all before. But with a new wave of American metal rising, all that is about to change. Concord, California based five piece Lyceum are ready to inject a healthy dose of intellect and thought into metal, beginning with a newly released demo. The band name, referring to the academy of Aristotle, is only the beginning. through the course of three songs, the band take you on a journey of epic proportions, one that is as remarkably written as some of the classic literature of the finest universities.

The thunderous gallop of drums launches you into "Armada," pushing you head first into a rib shaking growl. For a guitar riff so heavy, there is a lighter side, a folk inspired groove that may elicit a nod of the head immediately. The vocals are harsh, but they use grit and abusive power to deliver lyrics that are not merely throwaways. Hidden in the deathly roars and blackened screams are tales of heroism and battle, ones that must be read to be appreciated. As with so much melodic death before it, this burrows its way into your brain, leaving a mark that won't soon fade away. But the true power of the instrumental comes in the outro portion, where an intricate, darting bass line becomes entwined in the melodic guitar riffs. This explosive ending is only the beginning.

And while "Exiled" may start out like a black metal opus, that is only a small cross section of what is to come. Machine gun snares and cymbals start a flurry of percussion, a whirlwind of toms and kicks that leaves you dizzy. But before long, you find yourself lost in a crashing wave of guitars and bass. Vocalist Blake Peterson has quite the story to tell, and he delivers it with gusto, and a healthy dose of devilish screams. And while the midpoint may seem like a fight with chaos itself, it is an organized one. Rising from a quick solo, the band returns to form. The sheer strength at play in the final two minutes of this track is almost overwhelming, both lyrically and musically. It is otherworldly the way the music carries the sound of struggle and triumph, while the lyrics give you a play by play of the entire tale. Lost in the casual writing of the melodic death/folk movement, tales of battle don't need to be one dimensional to bring a crowd to their feet, as is clear here.

Over him the white sun rose as he departed for the mountain pass
Many days he traveled into the windswept heights

But on the seventh day as the sun passed the northernmost peak
He descended upon the forsaken city.

The final track, "Dominion," doesn't take the normal "full circle" approach that so many albums typically do. Instead, it opens the story, gives it a broader stroke, one that can carry on from here. There is no shortage of momentum to be had either, with the constant building throughout the album. In the duel guitar attack of Sean Siino and Vince Avitto, you get the perfect balance of dense chugging and fret acrobatics. And, thanks to a crystal clear mix, there is an equality to all pieces, which allows each one to shine in their own right. The four musicians stand as pillars for a vocal delivery that can shake you to your core, while also giving you reason to read along.

We will restore balance with rivers of blood.
Send out the riders of the throne,
They will seek the lion's crest throughout our lands,
And I will await their word.

Lyceum is only an infant in the lifespan of a band (at least I hope so). This demo is like the first steps; except instead of stumbling and wobbling forward, they came out running. There is an intelligence to the way they write, the way they craft heavy, yet rich tracks. It would be easy to fool someone into thinking that this is a three song EP from one of the established titans of melodic death. Slap a different band name on it, and the metal community would be shocked that "Band X" or "Band Y" have finally taken it to another level. But this isn't a veteran act. This is Lyceum. And if this is what they can do now, wait until the teenage years.

9/10

Official Site - http://www.Lyceum.at
Facebook - http://www.facebook.com/LyceumCE

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Advent Sorrow - Before The Dimming Light (EP) (2012)

Advent Sorrow is a fairly fresh symphonic black metal band from Australia that has recently released a powerful new EP, entitled "Before The Dimming Light." It contains 5 crushing tracks of pure darkness and evil. Monstrous vocals mixed with reckless double bass pedals and ravishing orchestration make this EP one to remember.

The EP opens with "Before The Dimming Light." Dark piano riffs fill the air as violent double bass pedal patterns come rumbling in from behind. Wretched guitars blast away with harsh distortion. The verses take over with vicious black metal growls that will send chills down your spine. The orchestration throughout the track is absolutely gorgeous as high string melodies float gently in the background. The breakdown at the end throws punishing double bass pedals and chugging guitar riffs that is sure to sweep you off of your feet.

"The Wraith In Silence" picks up with more beautiful piano riffs that are soon accompanied by reckless drum rolls and orchestration. The vocals take control with more devilish growls and low screams. Meanwhile double bass pedals constantly beat up the background making you want to throw up your devil horns for sure. The guitars continue to produce wicked melodies that scream through the air with speed and detail while the bass guitar follows with deep punchy bass lines. The mix up between black metal screams and death metal growls keeps the track refreshing along with the haunting strings that follow.

The EP really mixes things up with "A Porcelain Mistress" The tempo is faster along with the overall deliver of all of the instruments including the vocals. The double bass pedals and relentless as well. Then you come across the song "Insidious Memories" which starts out with dark and gloomy sound effects. This doesn't last long however, once more monstrous double bass pedals explode into the scene along with blaring distorted guitars and more harsh growls. This leads to the final track, entitled "Withered By Her Curse." It opens with soothing strings and demonic piano riffs that completely consume you into the track. Violent chugging guitars soon follow along with wicked fast double bass drums. Hell raising vocals rush in along with a relentless snare drum that constantly beat you into the ground. The wretched growls echo through the track with raging tones. The tempo of the song changes up a lot as you'll notice it jump from fast to slow constantly. This makes the track very refreshing and keeps you hooked the entire time. The song structure is very detail as well. You'll definitely find yourself hitting the repeat button a few times. It's tough to catch everything that goes on the first time you hear it.

"Before The Dimming Light" is a well balanced EP that delivers everything from fast violent drums and guitars to beautiful strings and piano riffs. Advent Sorrow manages to create that beauty and the beast type of sound in their mix and completely surrounds you with darkness at the same time. The songs are well written and flow into each other perfectly. This is definitely a must hear EP for 2012.

8/10

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

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The Podcast: Episode 55 (Take my Band Of The Month away...)

Can you believe we are in August already? Fuck. Alas, it is time to select our new Band Of The Month. First, Justin thinks he is a bad ass, and wants to talk about the new Testament album "Dark Roots Of Earth." Darrell is less of a bad ass, but still has a few things to say about the new Officium Triste and Ophis split, "Immersed." Our new BOTM, which is what we will call it from now on, just to please fans of bands like BTBAM, is upon us. Who could it be.....?

Download the first of two parts here.

And the elusive second part here.

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Maelstrom - The Passage (2012)

The rise of the one man band is something we have chronicled over the last 14 months worth of reviews and interviews. Somewhere along the way, people realized there is an "i" in team, or no team necessary for the "i". Case in point, Maelstrom, a new post metal act from beautiful Florence, Italy. Captained, in full, by Ferdinando Valsecchi, this is another notch in the belt of solo projects. Taking all of the imagery and smoothly written melodies of art rock, and tossing them into a blender with the distortion and blast beats of post metal, Valsecchi has concocted a four song EP, titled "The Passage," that will have you believing that one is not the loneliest number; but it may be the most potent.

From the first chords, right into the initial blast of "In A Painted Black World," this is a post metal affair through and through. An array of drums fills the background as a series of descending guitar notes screeches through the air. Even as things fade away, the light guitar plucking gives a great sense of melody. The beauty is in the changes of tempo and tone, from hard and heavy, to light and sublime. Lyrics, delivered in a cautious Italian whisper, aren't the star of the show, but a great supporting character for the instrumental. As each word fades into the breeze, the ethereal guitar work and pounding of the drum kit prepares you to venture forth. This isn't all chords and chugging, however, as some deft finger work emerges in the outro. There is an almost lullaby quality to the opening notes of  "I Dreamt For A Brighter Sky," a sound that switches so suddenly to a fluttering guitar and cracking cymbal. This is not to say it loses that dream inducing state, but merely changes the color and texture of said dream. Distorted chords fill every available piece of real estate around you, and spoken lyrics come down on you from above. It is all so fractured, so disjointed, but in a way that makes perfect sense. The drum work continues to impress, with multiple beats happening simultaneously, without clouding the mix. Even when they present a more coarse blast of hits and crashes, they allow the guitars, and the simple melodies, to shine through.

The early moments of "...And I Wanted To Live..." remind us of some of the work of French romantic doom band Grey November, with building instrumentals surrounding a haunting whisper. But rather than a slow, exhausting buildup, you are once again launched into a land of clouds, however gray they may be. This track boasts the most melodic sensibility, relying mainly on clean strums of a guitar, to pair with that lingering voice. The drums, while maintaining their power in every downstroke, take a step back and allow things to rise and fall on their own. Separately, each piece of the track may seem overly simple. But together, as one wave, it all fits so well, so snugly together. In a completely surprisingly change, "...Until The Rest Of My Life" goes in a bizarre direction, complete with standard drum beat. The guitar work is strong, if not a little off kilter from the rest of the album. It isn't until the midway point that you get the real strength of the track, with darting guitars taking command in a flurry of activity. The drums change their pacing, slightly, allowing you to move forward. All of the set up, all of the rise and fall, is all in preparation for the last section, when everything comes out together. Every element locks in together, guitars with bass, drums on top of drums, in a rousing summation of everything this band has to offer.

Whether you take in this album as four separate tracks, or as one 20 minute chunk, there is an enormous amount of music to digest. Maelstrom isn't giving you standard, black and white post metal. Instead, what Valsecchi creates is something that is, dare I say, atmospheric more than it is heavy. This album walks a fine line between music for a sunny day car ride, and music for a stormy night alone. This alone makes it worthy of our money, or at minimum, our attention span. There aren't any hidden gems on "The Passage," nor anything you will need to strain your ears to hear. It's all out there, ready to be consumed.

8.5/10

Bandcamp - http://maelstrompost.bandcamp.com/
Facebook - http://www.facebook.com/Maelstrompost

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Spiral - Mind Trip In A Minor (2012)

The psychedelic Spiral is back with another mind blowing album, entitled "Mind Trip In A Minor." It was released in June of 2012. It contains nine solid tracks of mesh and madness. Be prepared for lots of odd sounds and sound effects along with some awesome drum rolls and punchy bass lines. This is psychedelic ambient rock at its best.

The album opens with "Watch My Fucking Head" which start out with eerie clean vocals that contain a very haunting voice effect on them. Meanwhile a dark keyboard plays gentle behind it along with soothing strings. The vocals definitely giv a very ghostly feel to the song. Later come the thunderous drum rolls throwing toms and snares at you from every direction. The guitars continue with the eerie melody that was displayed in the beginning only they add distortion and deep bass lines. The keyboards come back in towards the middle of the track with carnival like tones that blend between upbeat and demonic. Static vocals enter with unclear filters that really mash up the lyrics to where you can barely tell what is being said. This is clearly the sound that they were going for. Towards the final two minutes of this nine minute beast comes a wild melodic guitar riff that will absolutely blow you away. The notes are relentless and will definitely send chills down your spine.

You can find some really groovy bass lines in "Cave In The Oak" and "Down The Rabbit Hole." They both open with mellow bass tones and light drum rolls. The keyboards also play a big part especial in "Down The Rabbit Hole." They give a very trippy feel to the mix as they use strange sounds and wild effects. You also run into the same eerie vocals that you ran into at the very beginning of the album. I have very mixed feelings about these vocals. They aren't melodic and pleasant in any way however they are so farfetched that it actually leaves you wanting to hear more of it. On top of that you get more carnival like synths in the background that really help fill the track.

The madness doesn't stop there though. "Ritual Of The Snake" sends you into a whole other dimension of futuristic keyboards and head bobbing drum rolls. Distorted guitars blast away in the background with scratchy tones and more booming bass lines. Harsh shouting vocals fire away about half way through the track. They're covered in messy filters leaving an unclear sound. Then you're hit with another insane guitar solo that runs up and down the musical scale like its nothing. They add a few filler parts in between the verse and the solo but its all worth it when you those parts. You'll even get one more solo at the very end that has a lot more aggressive tones to it. Blaring distortion will have you falling off your chair for sure.

The album closes with a song called "The Way Out Is The Way In" and this is definitely a must hear track. Calm beautiful guitars gently play in the background as depressive mellow vocals step in with a very light eerie sound effect on it. There is very light bass line in the background as well that barely fades in and out behind the bright keyboards that lead the way. About the three minutes into the track come gorgeous violins that layer over each other multiple times giving off a beautiful sound. You'll find yourself going back to this track just for the violins alone. It definitely gives you a very different sound then the rest of the album.

With all of the strange effects and odd sounding instrument you can tell that Spiral really reached for the stars with their creativity. They showed many different elements in "Mind Trip In A Minor" and you'll find that it gives a really refreshing sound. Each track flows perfectly into the next in which you won't even realize what track your on. If you're looking for some unique ambient art rock to get lost in then this is definitely the album for you!

8/10

Facebook - http://www.facebook.com/pages/Spiral/
Bandcamp - http://thespiral.bandcamp.com/

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Mudbath - Red Desert Orgy (EP) (2012)

With the Olympics in full swing, it's easy to view bands across the world as athletes at different stages of their careers. For Mudbath, a five piece outfit from Avignon, France, their time in the spotlight is just beginning. Fusing together elements of sludge, doom, and black metal into one devilish conglomerate, this five piece stands, toes to the line, ready to race ahead of the competition. On their debut EP, "Red Desert Orgy," they not only excel in their style of choice, but they also pound the other entries into the ground with an  earth rattling low end.

The offering begins on "Loserwood," where a crying guitar is met with a wall of rumbling bass. The down tuned groove pulls you deep into its web, where bloodcurdling screams suffocate you. Each pounding drum beat shakes the subwoofer of your speakers, while a rattling cymbal sits on top of the mix. The mix is perfect, allowing the sludge covered guitars to command it all, while also giving spotlight to the rhythm section. There are times where the vocal patterns don't seem to match up to the musical accompaniment, almost seeming too busy for the music itself. But those sections are easily overshadowed by the more impressive ones, ones where wailing guitar solos somehow find a perfect home in a bass heavy doom song. Aside from the lead work, there isn't anything particularly complicated at play, but everything is placed just so, giving you every reason to raise a fist.

The following track, "Mudjahideen," follows a similar formula, but with two very distinct vocal styles at work. The first, a loud yelling in the verse, is new, while the other, the black metal inspired screech, is a holdover from the previous track. How the two work together is key, as their call and response layering gives the track a great back and forth. There is a depth to the musical recording, one that continues to surprise you with tiny details. Again, you won't find anything groundbreaking in these seven heavy minutes, but what you will find is a five piece who have a very strong command of what they do. So much so that when you finally think you have the track figured out, around the four minute mark, it blows up in your face. The tempo increases, the beats come faster and with more force, and every element crashes down on you. The solo that follow, with all its blues influence, may not seem like much on its own. But in the scope of the music and the track, it carries so much weight.

The final track, the bizarrely titled "Smells Like Teen Cunt," has a much shorter buildup than the others, choosing to come from a weak riff into full on explosion, rather than block by block. The screaming vocals share space with an off key cry, but they are buried so deep in the mix, beneath guitars, bass and drums, that they are almost a backing element, rather than a lead. As with the rest of the album, the guitars are the true star, breaking through time and again with a catchy riff, a soulful solo, or just a shaking burst of distortion. While the song does pick up steam as it moves along, it fails to reach the peak that you are waiting for. This is not to say it doesn't have victories along the way, but it doesn't match the intensity that was displayed earlier. The final two minutes, in fact, are little more than an extended outro of slow drum beats and one chord at a time chugging.

Everyone needs to start somewhere. For Mudbath, this is the perfect time and place. through these three tracks, and just under 22 minutes, there are clear strengths and weaknesses. Thankfully, the weaknesses are easily identified, and even more easily fixed. With a little more focus on the vocal structures, and a little variety on the longer tracks, this could be the beginning of something much bigger. But, fortunately, the starting line is where "Red Desert Orgy" stands. And with a clear view of the track ahead, France's newest sludge group could find themselves leading the pack soon enough.

7/10

Bandcamp - http://mudbath.bandcamp.com/
Facebook - https://www.facebook.com/pages/Mudbath/329983097015555

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Testament - Dark Roots Of Earth (2012)

Testament, the veterans of thrash metal, are back with a brand new album for 2012 and from the sounds of it, they are here to stay. The new album is called "Dark Roots Of Earth." It's got a total of nine tracks with 4 extra bonus tracks to top things off. Lead guitarist, Eric Peterson, has really taken this group above and beyond where anyone ever thought that they would go. The guitar riffs in this album really communicate with you and send a powerful message.

The album starts out with vicious guitar riffs that blast away with wild melodies and heavy chugging riffs. The drums come in and completely kick your ass with booming drum rolls and complex fills. The verses contain aggressive shouting vocals that'll knock your teeth in. You're definitely going to bobbing your head from front to back. There's a lot of energy coming off of this opener. What a great way to kick off an album. Then your hit with more wild guitar notes in "Native Blood." The wild melodies whip back and forth while deep bass lines rumble beneath you. The vocals echo high over the instruments with a monstrous delivery. Clearly lead singer, Chuck Billy, still has it in him. Towards then middle of the track you're hit with and amazing guitar solo that shreds up and down the musical scale like it's nothing. Meanwhile rapid double bass pedal drums roll right through you with quick speed.

Songs like "Dark Roots Of Earth" and "Cold Embrace" lean more towards the ballad side as they incorporate soothing acoustic guitars mixed with distorted guitars display a more mellow tone. The best thing about some of these slower tracks is that you're able to really get close and personal with the drum rolls. Each fill with have you jaw dropping to the floor in seconds. The drums really keep the track aggressive even though the lighter vocals and guitars show a more mellow side to the album. It's definitely a great mix of beauty and the beast type of sound. Then you'll come across a song like "Throne Of Thorns" which has a little bit of everything from the album all in one track. The beginning starts out slower with gorgeous guitars and strings adding a gloomy feel to the mix. Then your hit with punishing guitar riffs that slowly start to to speed up as the a constant kick steps in giving you a solid beat to bash your head to. The vocals take over with hell raising lyrics and a very dark and aggressive delivery. They even include some some haunting clean spoken word that plays well with the story line. This seven minute masterpiece with definitely have you wanting to hit replay as soon as you finish hearing it the first time. The distortion effects on the guitars are just absolutely mind blowing. They even throw in some futuristic sound effects on the vocals giving them a very tripping sound. And of course, you are then hit with another godly guitar solo. They just keep getting better and better throughout the album.

The final track on the album, entitled "Last Stand For Independence," is an explosive piece that constantly sends bone crushing drum fills and melodic riffs. They manage to fit tons of wicked riffs that will have you completely addicted to the album. The vocals continue to stay aggressive with harsh shouting tones. Meanwhile guitar solos jump in and out rapidly giving you no time to even catch your breath. Chugging riffs keep the track heavy and make you want to throw up your devil horns while the solos hypnotize you deep into the track. The track is less than five minutes long so definitely make sure you back to this one a few times. You're gonna need to in order to catch all of the details. Once you hit the end of the album you will discover four bonus tracks that the band has added. You'll find covers of Queen, Scorpion, and Iron Maiden. They also include an extended version of "Throne Of Thorns" which is definitely a must hear track so make sure you check it out.

Testament is bigger and better than ever. "Dark Roots Of Earth" is a skull shattering, fist bashing album that will completely destroy your speakers. The guitar solos alone are out of this world as you'll love them more and more through each track. The drums will absolutely blow you away with each and every kick and snare. This is definitely an album you do not want to miss out on so check it out!

8/10

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

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Officium Triste & Ophis - Immersed (Split) (2012)

What do you get when two masters of doom come together for a four song split EP? No, this isn't a joke. There is no punchline. You get "Immersed," the new split from Holland's Officium Triste and German doom band Ophis. While the concept of a split is often clouded, two new songs by each are better than none, a fact on which we can surely agree. There may not be any revelations to be had here, but for the uninitiated, or those who struggle to find new music, this is the perfect showcase of doom styles, distinct and different. Through their respective pairs of songs, both bands give you a taste of what is to come.

The first two tracks, provided by Officium Triste, carry all the wight of their traditional doom style. The heavy guitars and low end focus of "Repent" is the perfect way to start the offering. Underneath it all, synthesizers mimic the sound of a organ, creating an eerie, almost haunting mood. Through alternating quiet and loud portions, they continue to tear down the mix, then build it back up from nothing. In the softer segments, the keys take the lead, while the rolling double kicks and distorted guitars command the heavier sections. The vocals are deathly in tone, with low roars shaking you to your core. The much longer "Bittersweet Memories" takes its time building to a boil, with spoken words helping along the way. Guitar chords linger and fade long after they are struck, disappearing in time for strings to cry out. What stands out here is the way the band fuses traditional doom with a more melodic, progressive version. The use of strings and keys takes their sound to a different level than their contemporaries. By using both styles, both methods, they keep a track that stands at nearly eleven minutes fresh, with a constant shift back and forth.

Unlike their fellow doomsters, Ophis leave out the melodic approaches, and combine their doom with old school death metal, a result that is clear on "Storm Of Shards." The tempo remains true to the traditional doom paradigm at times, but with far more aggressive drumming along the way. Whereas the previous duo of tracks saw and infusion of spoken word or melodic vocal passages, you will find more death metal inspired grunts and roars here, tinged with black metal influences. The pacing increases over the course of the track, erupting several times into a full on thrash. The guitars try to keep pace with the drums, which are lightning fast and deadly accurate in every swing of the stick. The more ominous "The Mirthless" may very well be the only way you could end this offering. There is something in the way the song is written, the way the guitars pummel you without ever really getting too aggressive, that leaves you feeling battered. Machine gun snares only increase that feeling of battery. The addition of cleaner guitars works wonders for the sound, one that syncs up with modern death/doom. And despite a daunting length, one that might scare away those unfamiliar, there is no filler, no space that could have been removed.

For two powerhouse bands with similar fanbases, a split might seem futile and pointless. But somehow, Officium Triste and Ophis make this feel like more of a joint effort than most splits offer, one that may have you thinking each set of two songs really was half of a whole. Both flex their respective muscles and, through the ears of the other, may in fact expand their reach. And while two songs may only be enough to wet your proverbial whistle, it is a great sign of things to come. With new albums on the horizon for both outfits, "Immersed" is the perfect way to get your feet wet.

8/10

Officium Triste
Official Site - http://www.officiumtriste.com/
Myspace - http://www.myspace.com/officiumtristeholland

Ophis
Official Site - http://www.ophisdoom.de/
Myspace - http://www.myspace.com/ophisdoom

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The Podcast: Episode 54 (Clever title goes here)

Another week, another undisclosed location for the podcast. As the apocalypse rains down from the sky, we brave the elements to talk about some of the reviews for the past week. Justin travels to Germany for Leviathan, and up to Norway for classic power metal from Cyclophonia. Darrell goes back to Italy for Kalidia, and all the way to Ukraine for the death/doom assault of Edenian. Every week we see more and more great releases, eh?

Download. Here. Now.

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Sinister Frost: The Interview

After Justin stumbled unknowingly into their pit of symphonic black metal, Russia's Sinister Frost gave us a lot of things to ponder. So much so, that we felt the need to reach out to them for some answers. We sat down to discuss the imagery of the name, the music itself, and how the Russian people respond to metal in the modern age. A special thanks to Philip and the entire Sinister Frost team!

First and foremost, we want to thank you all for taking the time to answer our questions. What made you guys decide to go with the name, "Sinister Frost,"and what kind of imagery do you think it creates?

Sinister Frost:
Hello. Firstly the band had a “Wolves of Hell” title. After a short period of time we decided to change it. The reason was not a full correspondence of old title with the concept of the band and us as persons in overall. Sinister Frost – it’s not just a name of the band. It means us. The band presents the darkest aspects of the soul, the absence of love and compassion. It’s like an icy indifference. Furthermore, we believe that Hell – if it exists – is a devilishly cold area.

How did you guys come up with the album title, "Cryotorment?"

Sinister Frost:
Cryotorment may be represented as the suffering from the Cold or as the frozen torture. In general it means the same icy indifference. This title reflects our concept.

Your music has some pretty complex riffs and song structure. Who does most of the writing, musically? What is the process like for each track?

Sinister Frost:
Generally the music is composed by Upsetcross. There are no special schemes. The main goal is to make any track unique. It should be different from the previous and the next one. That’s why each track has individual structure. Usually it’s a complex structure.

"Vicar of God Of The Death" really balances out the light and dark tones. Was there any significance to the track compared to the rest of the album?

Sinister Frost:
This track was composed at the very end. While the record process we allowed ourselves to experiment with the sound. The result was rather interesting and promising.

The vocals offer a very unique tone to the album. Who were some major influences as far as vocalists go?

Sinister Frost:
Vocals are the thing which we wanted to make original. There are a lot of bands with ordinary vocals and we don’t want to be the same. So we have two vocalists and our vocals hopefully aren’t so usual. At least we never used any kind of voice templates.

Your album artwork seems to fit the music perfectly. Where do you come up with the artwork?

Sinister Frost:
It seems that while the creation of artworks the designer was influenced by our common mood and different types of cold representations. The artworks were a great addition to the general concept and album atmosphere. Crytorment CD sheds the cold on its listener – even if it is on the counter of some music store!

What are your thoughts on fans downloading music? Do you think this helps bands spread their music around or do you think this ends up hurting bands because of low album sales?

Sinister Frost:
In the whole civilized world generally people are ready to pay for a CD or the uploaded track. To pay for anything that can be acquired for free in Russia is similar to bad manners. It’s sad but true. Here there’s almost no musical market at all. However in any case the band which doesn’t have a name yet can acquire it only via internet by spreading its art for free. As a matter of fact the leak of Cryotorment CD into the internet made this interview possible.

Are there any bands you would enjoy touring with in the near future? What kind of live show can we expect from Sinister Frost?

Sinister Frost:
Unfortunately, the organization of gigs and the quality of music gear on the local venues aren’t so great here.  We know that and that’s why we plan to make infrequent but quality gigs with our own equipment and the sound engineering crew (4-5 gigs per year). Undoubtedly we think that a musician should give all that he has got on the stage. The good gig is when you don’t have any strength to crawl to the dressing room after the concert.

That said, how do you think the look of the band (make-up, costume, etc) plays in to the live experience? Where did your physical style come from?

Sinister Frost:
The look of the band has a significant meaning. As well as music and lyrics have. Besides, it’s very important to combine well all these components. Especially it is necessary for the live gigs where the proper atmosphere must be created. The concert is like a show where people come and look at you. And you must make them pleased with themselves. The visual style of our band is connected with frozen world as well. We were influenced by the local climate conditions which sometimes could be rigorous.

We have listened to, reviewed, and watched quite a few bands from Russia recently. Some were good, and some were far from it. How do you feel about the current metal scene in Russia, and what other bands do you think are helping to make your home a better place for metal?

Sinister Frost:
Now when the internet is available for all of us and it is unlimited, people here almost stopped to attend the gigs. This fact had a bad influence on gig promoters and organizers. Furthermore, now it’s much easier to buy the music gear. Considering this fact, it’s understandable why there are a lot of new bands appear. Most of them do not function long and usually they are replaced by the new ones. It’s so sad that this doesn’t make the music as a whole better in most of the situations. So you have to work hard to mark yourself from all this chaos around.

Lastly, falling into the black metal genre, how difficult is it to separate yourselves from the rest of the genre? How much resistance have you been met with by people who confuse the music of black metal, with the ideology (church burnings, etc)?

Sinister Frost:
Now by the efforts of true black metal fans any deflection from the genre is estimated like a natural heresy. Initially we didn’t plan to build any kind of borders. For example, there’s a death metal passage in the track. If it sounds well why not to put it in the whole song? The dogmatism creates monotony and prevents you from the real and unique art. As for the resistance from other people… All began while USSR age when our young people firstly began to be interested in heavy music. Unfortunately, they didn’t know how to do it and that’s why their behavior was a bit cheap and absurd. Everybody jeered at them. Unfortunately even now – after about three decades – such defiance is still here even if our metal fans became better in all aspects. We know that and we will do anything we can to make the Russian people change their point of view.

Thanks again for your time and insight. We will be waiting, anxiously, for whatever comes next.

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Cyclophonia - Impact Is Imminent (2012)

All the way from the Norwegian black metal scene comes... a power metal band? Yes, Cyclophonia goes above and beyond what Norway is known for in their metal world and delivers you a brand new power metal album by the name "Impact Is Imminent." This album has got eight tracks of soaring vocals, crazy double bass pedal drumming and relentless guitar solos that carry you into a whole other world.

The album opens with "Impact Is Imminent" which jumps right into fast chugging guitars and galloping double bass pedals that'll have you bobbing your head right away. The vocals enter with epic clean singing that reaches high and low octaves. The style of music definitely reminds me of the power metal band Freedom Call. The even hit you with an insane guitar solo towards the end of the track. Wild melodies run up and down the scales with lightning speed. this is definitely a great opener to this fast pace album.

"Warbird" continues with chugging guitars and high pitch vocals in the verses. The drum rolls become even more complex sending thunderous beats at you violently. The refrain is loaded with catchy melodies and lyrics that'll have you singing along in no time. The guitar solo comes out of no where in the middle of the song and will definitely knock you out of your chair. The speed of the solo is just mind blowing as gorgeous melodies fly through the air. More explosive drum patterns beat you into the ground in "The Mirror." The vocals are aggressive but jump up and down in pitch giving you a good mix of operatic sounds and classic rock tones. The refrain grabs you immediately with catchy high pitch vocals and melodic guitars in the background. Monstrous drum rolls rumble beneath you as you're attacked by shattering cymbals from above. Also the double bass pedal patterns are absolutely tremendous. You'll definitely find yourself going back to this track again.

Later in the album you'll come across the song "The Hero." It starts with fading echoing vocals that smash right into heavy distorted riffs along with detailed drum rolls. The verses continue with the melodic riffs as epic clean singing come in with solid vocals. The refrain is what really draws you into this track. It contains some really catchy lyrics that'll definitely be stuck in your head for days. A gorgeous piano riff follows into the middle of the song along with deep bass lines and calm tempos. An electric guitar slowly fades in on top playing a beautiful ballad solo that will sweep you right off of your feet. They then cut right back to the aggressive galloping drums and fast guitar work. This is definitely the backbone to the album and is a must hear if your looking for their best work. This goes for "Hand Of The Righteous" as well. The guitar melodies are upbeat an full of excitement and the chorus is full of catchy lyrics that will have you singing along immediately.

It's tough for power metal bands to really stand out now a days but Cyclophonia has shown that they can stand out from other bands and have their own sound. The guitar work on the album is absolutely astonishing and will send chills down your spine with every riff. The lead vocalist has a solid delivery and can really hit all kinds of notes and pitch. They definitely have an epic side and an aggressive side to them. Keep an eye out for this band and their future projects.

8/10

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

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Edenian - Winter Shades (2012)

Beauty and the beast. We use that phrase so often to describe the world of metal; the way a harsh male vocal somehow fits like a puzzle piece with a heavenly female voice. Separately, they would be enough to delight fans the world over. Together, they can move mountains. Edenian, a six piece from Ukraine, work this combination with the skill and savvy of the best of them. But with a band that was merely an idea two years ago, and only truly came into being last year, the contrast is as impressive as it is powerful. On their debut album, "Winter Shades," this newcomer may quickly remind you of one of the titans of the death/doom genre.

A short intro, titled "Decadent Blossoms," gets things started with a sense of beauty. Light piano keys and airy synthesizers fill the air, before landing squarely into "Thy Heavens Wept In Mourn." You are immediately taken to familiar territory, a sound that may echo the previous output of Draconian. The striking voice of Samantha Sinclair plays the perfect contrast to not only the grating male vocals, but also the heavy distorted guitars. The verse sections are down tempo and simplistic, with a consistent drum beat and piano riff backing Sinclair. But as the chorus nears, the walls come down, and the full bands explodes onto the scene. They are at their best in segments like these, at full volume and full power. As you roll into the title track, "Winter Shades," you get some of the strongest, and weakest points all in one. The combination of light, ethereal segments and massive splashes are excellent, making each separate portion stand out all that much more. But the clean male vocal falls slat, but literally and figuratively, taking away from the overall sound of the track. The drumming, however, transcends the vocal missteps, with blast beats and fills that ring out well beyond.

Beginning with a spoken word segment, "The Field Where I Died" carries an emotional weight, both musically and lyrically. Synthesizers make up the backbone for the track, always present in some form. The deathly growls shake you to the core, before the off key clean vocals enter. Despite their lack of punch compared to their counterparts, they don't throw things off the same way they did before, thanks largely to a well crafted musical portion. Unlike many bands who flood their music with constant double kicks, they are used sparingly here, heightening their impact. The beauty of light piano keys returns on "When I Gave Her My Eden," eventually enveloped in a rattling distortion. Sinclair also makes her return to the fold, carry the torch through the verse sections. This may fit in as the strongest track on the album, giving you everything you have come to expect from the death/doom genre, but with a power that is often lacking in newer acts. The guitar riffs carry the aura of darkness, both in their fluttering notes and massive chord work. And, unlike some of their predecessors, the harsh male vocals, provided by Alexander Ovchinnikov and Vladimir Tsymbal have depth and variety.

A tempo change is in order for the early stages of "Embittered Silence," taking a more subdued approach in the first verse section. But as Sinclair enters in the chorus, things come back to life, rolling like thunder under the higher register of her voice. The screams sound pained, as if carrying the weight of so many wrongs from before. This makes them, in some way, relatable and easier to understand. The shifts back and forth from slow to fast, clean to distorted, create a great sense of style. In a band with so many moving pieces, it seems odd to say that the drumming takes center stage at any point, but it does just that in "Beauty Entwined." The layers of distortion part for a barrage of percussion. Every snare, every cymbal, every kick hit you squarely between the eyes. When stacked in cooperation with clean and heavy guitars, and dueling vocals, you are left with a sound that is larger than life, and bigger than you could expect. Intertwined with the heavenly vocals of Sinclair, "Fall The Dusk" also boasts some spoken words that enhance the mood created. It is almost frightening how a beautiful voice can make the most painful words seem so much less so, as if an angel is delivering the death sentence.

Another well rounded track, "Burning Horizon," occupies the tale end of the album, giving you as much as you can handle from the darker vocal styles. Each deathly growl, every grunt finds a place. Followed closely by a stunning female voice, that of Sinclair, gives it all a layer of polish. The band is in full force by now, with every separate element melding together in a fractured, and frightening, harmony. The death/doom style is played to perfection here, combining that raging distorted guitar work with a booming drum kit. Each note is played like it could be their last, an excellent way to treat it all. Even the choreographed stop before the final push is enough to get a fist up in triumph. The finale, an outro by the name of "Beneath An Abstract Sun," plays at your heartstrings with an array of strings and synthesizers playing the saddest tune you will find on the album. single piano keys rings out above it all, bringing you full circle.

For every shining star in any given musical genre, there is always a need for a breath of fresh air to keep things from going stale. So while the death/doom arena is packed to the rafters with impressive bands from all over the world, Edenian bring so much to the party that it is impossible to ignore them. Whether or not this album is beginner's luck remains to be seen, but there are an awful lot of brilliantly written and executed passages to be considered luck. Instead, it would be safer to assume that we will not only hear more from this Ukranian six piece, but that it will be equal to the challenge of the sophomore slump. In the meantime, take "Winter Shades" with you on the gloomiest of days, and show the storm who is boss.

9/10

Bandcamp - http://edenian.bandcamp.com/
Facebook - http://www.facebook.com/pages/Edenian/168859386497489

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Leviathan - Beyond The Gates Of Imagination Pt. 1 (2011)

A powerful album was released last year by Leviathan, and no I'm not talking about the sea beast. I'm talking about the young melodic death metal band from Germany. The five piece have put together some extraordinary music clashing together some outstanding guitar work along with powerful drum patterns that really give the band potential to stand out. The album does have a few draw backs to it but if you can get passed them then it's definitely an album worth hearing.

The first track, the "Prologue," opens up the album with a wildly melodic instrumental that blends melodic guitars with heavy chugging riffs along with soothing keyboards that float in the background. The drumming in this opener is overwhelming with shattering hi hats and thunderous kicks and snares. And if you like this then you're gonna love "Beneath A Blackened Sky." It opens with calm keyboards and strings that give a very medieval feel to the mix. Machine gun double bass pedals come roaring in with tremendous speed. Distorted guitars light up the track with reckless melodies that will blow your mind. The verses come in with very harsh growling and a very aggressive delivery. Unfortunately the growls lean more towards the lighter "hardcore" screams and really turned me off of the album. I think a set of solid death metal vocals would have been a lot better for this kind of music. The instruments continue to stay amazing in "Where Light And Death Unite" as they come through with a wicked guitar solo completely destroying the musical scale. Epic double bass pedals come rumbling in with relentless snares and exploding cymbals. This is all followed by an incredible piano solo that is absolutely astonishing.

Beautiful piano riffs open "Reaper's Edict" that immediately grab your attention. Distorted guitars fade in with the same melody adding a strong build up to the song. Soon after come booming drums that'll have you throwing your devil horns in the air. The verses are fill with detailed drum rolls that constantly change pattern and beat you into the ground. The vocals still have that weakness to them as they take over the verses. If they just dropped their tone to a deeper punch then i think they would be powerful. The guitars continue with their awesomeness giving you a wild guitar solo that will send chills down your spine. With all theses creative melodies from each instrument, it definitely had me going back and replaying this track a few times.

If you're loving the guitar work on this album as much as i am then you're gonna love "About Fangs And Feathers." It opens with a bone crushing guitar solo and complex drum rolls that will knock you right out of you chair. Catchy guitar riffs follow afterwords with monstrous chugging and heavy bass lines that play along side. The vocals switch up a lot in the track. Of course you have the heavier screaming and the higher pitched screaming but then you come across some clean vocals that seem like they really fit the music better. They add a more epic feel to the album and i definitely could picture more of this throughout the album. Besides this you're hit with another hell raising guitar solo along with some punishing drum rolls mixing toms, snares, and kicks with solid detail. You'll definitely find yourself going back to this track multiple times.

"Beyond The Gates Of Imagination Pt. 1" turns out to be a pretty awesome album setting aside the vocals. I think if they got some heavier death metal vocals in there music then then they would be set. The guitar work on the album is absolutely mind blowing and will definitely shock you the first time you hear it. The drumming was also very impressing giving tons of different blast beats complex rolls. Leviathan definitely has a lot of potential and it'l be interesting where they take their talents.

8/10

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

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Kalidia - Dance Of The Four Winds (EP) (2012)

With the amount of time we have spent reviewing great metal bands from Italy, we wouldn't be completely crazy to think that the entire population has a band or two of their own. And while some aren't quite ready for primetime, relative newcomers Kalidia are proving to be a force. Formed just shy of two years ago, this five piece have already shown a command over the power metal genre, crafting tracks that would be difficult for even the most seasoned of bands. On their debut EP, "Dance Of The Four Winds" they give you four tracks of classic power metal that may launch them into the up stratosphere of their country, and their genre.

Subscribing to the assertion that you may as well hit with your biggest punch first, "The Lost Mariner" blasts into action with a thick layer of keys and symphonics. Joined soon after by the drums, bass, and guitars, you have already been hit by a tidal wave before you even enter the meat of the track. Vocalist Nicoletta Rosellini manages to take things to an even higher level, with a voice that is both powerful and full of energy. Her voice, much like that of Nightwish's Annette Olzen, is accessible for the casual fan, without being overbearing. Instead, she complements each musical passage well, leaving the door open for the true "team" effort. Trading solos, guitarist Federico Paolini and keyboardist Nicola Azzola complete the well rounded sound, especially when backed by the top notch rhythm section of Alessandro Cecchini and Roberto Donati. The track, topping the six minute mark, flies by as if it was a mere three.

Rather than take a step back, the band moves forward, as "Winged Lords" wastes no time getting to the heart of the matter. The classic power metal sound permeates all, with rolling double kicks and surgic ally precise snare/cymbal rolls. The vocal progression is delightful, giving you a bounty of emotionally charged lyrical content, and a delivery that is sure to move you. The bass line, not to be ignored or downplayed, is the perfect way to drive the track ahead, smoothly and soundly. Bursts of symphonics over wailing guitar riffs provides the perfect vessel for a rich vocal harmony. It would seem odd to say that "Reign Of Kalidia" carries a much darker edge than the previous tracks, but there is an element of evil present in the beauty. There are some catchy riffs to be digested here, the trademark of all great power metal, and Paolini does just that with expert hands. But as each chorus hits, the massive waves of drums are the star, rolling through with a rumbling low end, one that matches with Rosellini's voice. As they handle the lower register, a guitar solo that hits the higher octaves screams through, setting you up for the final burst.

The finale, while certainly a more subdued one than you might have expected, shows a more complete side to the band. "Shadow Will Be Gone" gives you a taste of the versatility at play, whether it be in the different tempos and time signatures, or just in the individual performances. Rosellini flexes her vocal muscle, despite the more ballad-esque style, and places herself squarely in the vein of some of the top names in the female metal community. Once again, Azzola adds the perfect touches of keys to it all, even without dramatically altering the flow of the song. Subtle pieces work best here, and he manages to be impactful without disturbing the balance. A short, but altogether successful guitar solo brings it all full circle, allowing the track to return to it's foundation and cruise to a finish.

For a band that hasn't even reached its second birthday, there is certainly a veteran sound to this debut. Kalidia have found their groove, found their niche, and are making it all seem easy. This isn't to say there aren't small bits that can be improved, slight touches that will most definitely be ironed out after some time together. But what we do have is a band that is ready to take themselves to the next step in the process, one that will catapult them to the top of an increasingly competitive Italian metal scene. But with the vocal command of a strong frontwoman, and the textbook display of musical control, "Dance Of The Four Winds" may be just the EP to get them there.

8.5/10

Myspace - http://www.myspace.com/kalidiaband
Facebook - http://www.facebook.com/KalidiaBand

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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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