Diesel King - The Grey Man (EP) (2013)

It's not every day that you find a band that clearly states: "Here is what we do, here is what it sounds like, enjoy it... or not." But London based Diesel King have done exactly that, both in the lead up and promotion of their sophomore EP, "The Grey Man." The follow up to their 2012 debut, "The Ancient And The Nameless," this new offering is the epitome of honesty in an otherwise clouded metal genre. The only expectation lobbed at the listener is to put your headphones on, turn the volume up, and allow these five musicians to pummel your inner ear canal with a a homespun take on the increasingly popular sludge subsect. No need for dictionaries, encyclopedias, or highly evolved, critical thinking. Much like the being that inhabits the cover, Diesel King aren't looking for tea and conversation; they are out for blood.

The howling feedback that comprises the opening of "Battered Hag" lingers, even as the first bone jarring riffs are introduced. There is an interesting dynamic at play early on, as the slow, grueling tempo gives way to a more thrash inspired one. It's buried somewhere in the trade-off; the back and forth between fast and slow where you find the most to enjoy. Low growls or fast paced screams, vocalist Mark O'Regan cuts through your inner ear with no regard for your safety. But it is the backing band that makes the biggest splash here, with a rousing stomp in the bridge that sets the stage fittingly for some more detailed and impressive guitar work. The tandem of Geoff Foden and Aled Marc gives you more than you can handle, often crushing you under the weight of their massively distorted riffs. But it is the rhythm section that gets the spotlight on "The Grey Man," as the intro builds from the sound of almost distant drums and the occasional bass pluck. While the grooves get stronger and more fierce by the moment, it is the vocal line that seems outgunned here, using a combination of guttural growls and screeching highs that never seems to match the intensity of the main body. That body, however, never wavers, plodding ahead with brutal precision, despite being covered in a thick crude oil film.

Admittedly, there is something disturbingly up front about the two minute bludgeoning simply titled "I'm Gonna Take You To The Bank Senator Trent... To The Bloodbank." Falling somewhere in the shared space of Black Flag, Slayer, and Cannibal Corpse,it occupies a part of musical progression that is both scary and untapped, for better or worse. On the flip side, "Immurement" reaps what it sows, all in one fell swoop. The downtempo verse sections allow things to build piece by piece, harvested in the thumping bass work of 3 Hats Will, who I suppose wears three hats from time to time. It all seems so simplistic, the bending of guitars strings, but the result is an immense wall. Clocking in at nearly ten minutes, the closing track of "Bind Torture Kill" could be seen as a mixed bag of evolved doom/sludge and some of the more prominent metalcore basics. The former seizes control through most of the way, thanks largely to the pacing that drummer Bill Jacobs holds the band to. With the tempo slowed to a crawl, you can even find a certain story-like quality to the guitar work, akin to a heavy, distorted "Peter and the Wolf." It may seem like a stretch at first, but with each passing measure it may make more sense. Three minutes of distortion, feedback, and reverb later, you've come to the end.

One of the true crimes of the modern music scene is the notion that sometimes you just don't "get it." It's always seemed like a cop out for people to dismiss an opinion, all of which are valid in some way, citing that the person just didn't "understand" the music. The beauty of Diesel King and the music they deliver to you on this EP is that there is nothing to get. Five songs of thick, chunky instrumentals, held together by bits of strings and glue. It won't force you to contemplate your mortality, or even your place in this big crazy world. For nearly half an hour, you can sit back and just take it in. No elevated thinking, no need to revisit music theory; "The Grey Man" does all of that for you. What sounds like simple, downtuned riffs is exactly that, all executed with professional grade quality. There will be parts that you'll enoy, and maybe some that you won't. But for fans of heavy music the world over, this EP is one we can all "get."

7/10

Facebook - http://www.facebook.com/Dieselkinguk
Bandcamp - http://dieselking.bandcamp.com/

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Stratovarius - Nemesis (2013)

Let me start this by saying I’ve been a huge fan of Stratovarius for quite some time. As far as I’m concerned, they’re the godfathers of modern power metal. I’ve stuck by them even with the departure of Timo Tolkki, which still keeps me up at night, and accepted the addition of Matias Kupiainen on guitar. When” Polaris” was released I didn’t have high expectations, but I never would have expected it would be that disappointing. It was so generic and uninspired that I wish Matias at least tried to rip-off Timo’s style. Two years later “Elysium” was released and I’d consider it a much more improved post- Timo Stratovarius. Its sound was much more full, the recording quality was better (especially the bass) and Matias just sounded like he belonged. It was such a big leap forward that I immediately wanted the next album to see how much more they could progress without Timo. Now “Nemesis” is here and I couldn’t be more disappointed. It’s their most symphonic effort since Elements pt. 1 and 2, but it lacks the Strato-magic.

“Abandon” opens up the album on such a killer note. It really gives hope that they have finally found their own. It’s very reminiscent of Rhapsody of Fire’s “Hollywood Metal.” It has larger than life keyboards and an infectious chorus. When the solo kicks in, it’s pure heaven. It’s the perfect power metal song. The next track is their first single off the album, “Unbreakable.” While it’s not nearly as good as the stellar “Abandon,” it’s still a hell of a track. After the first two tracks though, unfortunately, it starts falling apart. Not just musically…lyrically too. It goes from the most promising power metal album in years to a generic mess.

How could it turn from a diamond to coal so fast? Maybe it’s because once you get to “Fantasy” it gets very cheesy. Don’t get me wrong, Stratovarius has always been cheesy. “Galaxies” is one of the cheesiest songs ever written, but it works for them. It’s about fighting a war to save the galaxy. What’s not to like? “Fantasy” on the other hand is supposed to be some self-motivating song to make your life feel better. With lyrics like “Take a dream/make it real/don’t give in to fear,” it’s easy to want to turn the album off. Then surprisingly after “Fantasy” they come back and deliver the second best song on the album. “Out of the Fog” is another Stratovarius classic. Fast beat, ripping guitar and catchy chorus. After that gem, it goes back to being a mess with good parts scattered here and there throughout five more tracks. The  worst song on the album, by far, is “If the Story is Over”. Stratovarius were never gifted at writing ballads, but “Story” is excruciating. It takes itself too serious for its own good. At one point it sounds like Timo Kotipelto is about to cry. Why?! Do the lyrics “For I never drew the sword from stone/ there’s no Helen in my Troy/I stand alone, I stand forgotten, just gazing into the void” really make a man choked up? It’s downright embarrassing.

This album has definitely brought Stratovarious in a different direction. But not a good one. A band with 14 albums under their belt should have made a more cohesive, engrossing effort. Although I must admit while it is much better than “Polaris” it’s still a strike against them. If they can all put their heads together and make an album of songs like “Abandon,” they will be the kings of power metal once again. But until then, they sound more like imitators than legendary innovators.

5/10

- Brian DuBois

Official Site - http://www.stratovarius.com/
Facebook - http://www.facebook.com/stratovarius

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Grayceon - Pearl And The End Of Days (EP) (2013)

Exotic and unconventional, San Francisco based trio Grayceon have never been much for the standard structures of modern rock or metal music. Comprised of the ever-present guitar and drums, but fronted by Jackie Perez Gratz (also of Giant Squid) and her cello wizardry, it would seem only fair for each and every offering to be slightly off the wall, if not strangely hypnotic. And while the former always applies, it is the latter than best describes the newly released EP, titled "Pearl And The End Of Days." While you may only find two songs listed on the album itself, the flowing soundscapes and lightly polished compositions amount to so much more; a twenty seven minute piece of recorded sound that challenges convention, and gives rise to the hope that new and interesting things are on the horizon. It is here, then, that we see them in their finest (half) hour, doing more with less.

Easily the more aggressive of the two, "Pearl" is the perfect example of that minimalist theory. Skilled cello work doesn't dominate the mix the way you would assume, but rather fills the gaps that would be left without a second guitar or bass. The verse sections are elegantly constructed, even with the hammering of drums. Percussionist Zack Farwell adds a raw element to the track, with his "larger than his drum kit would let on" style. But it is just shy of the five minute mark, where you find what may be a breath of musical perfection, synthesizing all three instruments into one unique and jaw dropping sound. Even more staggering than that one clip, though, is the way the band manages to be both haunting, beautiful, and unrestrained in their approach to each and every movement. You may make it through the entire song without ever really paying much attention to the scant vocal passages; but rest assured, they won't fade from your memory.

The second and more avant offering, "The End Of Days," takes place over a much more significant time period, allowing itself more wide open spaces to stretch out and grow. The crawling pace of the opening would make so many doom artists proud, bordering on the one beat per minute style of Virgin Black. But as the low hum of the cello meets with some lightly plucked strings, something is building. if there is a more infectious riff than the one that leads the charge in the verse, I have yet to hear it. As Gratz croons "we will all die, no one survives," they are more than just words floating through space. Their delivery, the means by which they are conveyed, and the musical vessel that carries them from mp3, to your speakers, to your ears, gives them meaning of their own. The same gusto manages to carry you gently through the swaying refrain, and directly into a punk/thrash fueled break. There is poetry, but it is masked and hiding among the varied paces and time signatures. And just when you think you have heard all there is to hear, the minute or more that forms the outro is both devastating loud, and sonically beautiful.

I'm a hypocrite. In fact, we are all hypocrites. We find ourselves being dragged kicking and screaming into the new year, time and time again. We yearn for the sounds of our formative days, the ones that turned us on to music in the first place. We want bands, and entire styles, to stay the same for our own greedy purposes. But all the while, we silently hope that someone will come along and shatter that safe little fish bowl we have been hiding in. Grayceon might not be the first band to challenge our desire for the same old thing, but they have done it with such strength, such overwhelming talent, that it would be hard to go back to the same old thing. If nothing else, the two tracks and twenty seven minutes of mixed musical styles that make up "Pearl And The End Of Days" are a sign of brighter days ahead, and perhaps a way for some of us to leave the fish bowl behind.

10/10

Bandcamp - http://grayceon.bandcamp.com/
Facebook - https://www.facebook.com/grayceon

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Odd Dimension - The Last Embrace To Humanity (2013)

There is a lot to like about Odd Dimension, as we found out in June of 2011. Their debut album for Scarlet Records, "Symmetrical," was one of the first to turn us on to the deep seeded talent of the Italian metal scene. With a combination of power metal structures and a progressive twist, this five piece bent and wound their way through track after track with what seemed like a can't miss formula. But with frontman Manuel Candiotto still finding his range and place in the pecking order, there were holes to be filled. But after two years of touring, most notably with power metal superstars Rhapsody Of Fire and gateway drug Dragonforce, the band has returned with their sophomore album. An ambitious concept album about the alienation of mankind, "The Last Embrace To Humanity" picks up where we left off two years ago, in hopes of taking their sound to a new level.

Much like their previous efforts, the entire foundation rests on the keyboard work of Gabriele Ciaccia, illustrated clearly in the opening moments of "The Unknown King." The clarity of the production work at this early stage is even more impressive, with each booming kick drum shaking the walls like thunder. All of the instrumental pieces fall into place rather quickly, leaving only Candiotto to hold his own. To his credit, there are vast improvements to be heard almost immediately. Both tone and delivery are stronger than before, allowing for a balance between vocal and instrumental. The perfectly off-timed beats of drummer Federico Pennazzato set the stage for a great battle between Ciaccia and guitarist Gianmaria Saddi, one that plays out over the last half of the track. There is a Dream Theater-like groove in the beginning of "Under My Creed," a track which could be seen as the maturing of a band, or one doomed to repeat past mistakes. Candiotto remains strong when he sings within his range. At times, though, he pushes too hard and sounds strained and uncomfortable. Pinned against a backdrop of delicate keyboards and guitars, it almost exacerbates his flaws. What is happening behind him is a show of pure strength, a band at the top of their game. The musical portion surrounding the six minute mark is evidence of that, giving you plenty of fodder for head banging or hair swinging.

If you hadn't been convinced of their prowess to this point, Odd Dimension give you a taste of the versatility they possess on "Dissolving Into The Void." Ciaccia exhibits some of his best keyboard work here, with nimble fingers tickling the ivories. For some reason, his playing makes it an easy showing for Candiotto, who delivers a strong performance often driven further by bending guitar strings and squealing harmonics. But it is the keyboard work that steals the show, ending in a wild solo. In an odd but welcomed decision, Secret Sphere vocalist Michele Luppi guests on "It's So Late." As his voice commands the track, the harmony formed between he and Candiotto is not only encouraging, but down right excellent.They complement each other so well, melding their separate tones and styles into a give and take of vocal beauty. The down side to the song is that in turning it into a vocal driven duet leaves the instrumental feeling a bit flat, with very little of that explosive tone you've seen before. Unfortunately, this new found sensitivity carries into "Another Time," which could pass for a modern country or classic rock song at its opening. It becomes the rare use of a ballad following a ballad, something that does little to help momentum. The only standout is the synthesizers and piano work scattered throughout, but mainly buried.

Thankfully, "Fortune And Pain" sees the band return to the raucous, hammering form. You are given a healthy dose of distorted chugging in the opening minute, with Pennazzato continually impressing in his heavy handed but surgically precise drum fills. The track does slow to a crawl, however, a point in time where bassist Gigi Andreone gets to show his mettle. With Candiotto reduced to a whisper, the band launches into a prog metal bridge section that finally seems to reignite the fire lost in one too many calm moments. Ciaccia and Saddi exchange blows again, adding fuel to the flames. That raging blaze is quickly cooled as the down tempo and mellow "The New Line Of Time" comes through your speakers. Acoustic guitars take up a lot of the air space here, with things remaining t a simmer, rather than spilling over into a full boil. That honor is left for the album's closing track, the seven minute stomping "Far From Desire." Despite all of the lost momentum and moody ballads, the band manages to salvage things one last time, allowing everything to hang free and loose. machine gun snares and rolling double kicks drive the track forward, while light synthesizers occupy the background. The coming together of space age keys and distorted guitars is long overdue, waiting until halfway through the final track to emerge. The breakdown section, starting just past the four minute mark, is everything right with this album, condensed into a few sporadic movements.

From one album to the next, it is easy to see old problems get solved, or new problems created. Odd Dimension had a small checklist of issues to be addressed after "Symmetrical" was released, mainly focused on their blooming frontman. Candiotto displays a great deal of improvement throughout this album, particularly in his ability to find his place in the mix itself. And while he still has a way to go before he can be included in the same breath as some of the elite progressive power metal frontmen in the world, he is on his way. Unfortunately, something as simple as the order of the tracks becomes a stumbling block on the album, making the second half an up and down ride where the downs outnumber the ups. By stacking the more melody driven, ballad-esque songs at the end, it leaves the album feeling uneven and stilted. Whether or not that will trip the average listen remains to be seen, but it is enough to question whether "The Last Embrace To Humanity" was the right choice.

7/10

Official Site - http://www.odddimension.com/
Facebook - http://www.facebook.com/OddDimension

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The Podcast: Episode 72 (Finishing each others sentences)

It is our goal to pack as much content onto this site as we can. So this past week, we had a fairly full schedule of shit, including reviews of new albums by Kongh, Outre, Utah, and the interesting EP from Stratovarius. With all of that fresh in mind, we finally unveiled our long awaited interview with Italian black metal innovators Malnatt. We do this for YOU, and it is a labor of love. And all we ask is that you read... and answer us a question. When music becomes too predictable (i.e. you can complete a lyric before you've heard it, or know how a fill will sound before a single stick hits), how much longer can you listen?

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Malnàtt: The Interview

Thanks to the work of Angelo Mora from Bakerteam Records, we have been granted access to the world of Malnatt. With some of our most in depth questions in tow, we set out to go deeper into their four minds, and see what makes this Italian black metal powerhouse more than meets the eye. It's obvious, isn't it?

First and foremost, we want to thank you for taking the time to answer some questions for us. Your time is greatly appreciated.

Porz:
Usually we have no time to make rehearsal, but in some way we always have time to make funny interviews!

Lerd:
turuturu tum tum sciaf sciaf!!

Throughout your career, you have continued to be innovative, while also embracing some of the tenets of traditional black metal. Introducing the accordion to some of your earlier albums, for one. How hard was it for you initially to balance those two things, and have you found it is gotten easier or more difficult with each album?

Porz:
I am the only original member of the band, I AM the band ... We started to play folk black metal when nobody played it, and always tried to introduce something new, sometimes an instrument, sometimes an idea (I’m full of ideas nobody understand). For me it’s not difficult to balance black metal with innovation, for me
it’s difficult to play boring cliché.

The song "Ulver Nostalgia" stood out from the rest of the album, thanks greatly to the combination of the heavy instrumental with the purely clean vocals. How was Sara Pistone brought in to contribute to this track, in particular, and how do you feel about her voice's impact on the finished product?

Bigat:
this is one of the unpredictable ideas of Porz. We were not so convinced to use female singer in this song, I think that female voices in metal are boring. Instead, after listening the final result, I have to say that, yes, it’s pretty cool! Sara is a talented singer and give the song that bit of lysergic, sad mood that we wanted to bring out from the song.

The lyrics made the rest. Probably Porz will seek about the four levels of meanings between the lyrics but it will takes at least 70 pages or more, so trust me, the lyrics are very good!

Lerd:
tum tut um papapapa , splash crash splash!!!

After listening to "Principia Discordia" a handful of times, I found it had changed the way I look for and listen to black metal as a whole. To that point, which bands or artists changed the way you listen to music, metal or otherwise?

Porz:
My influences came from 2025 so you cannot know what bands I listen to.

Bigat:
Enslaved, Primordial , Satyricon and Opeth are my main influences, but i cannot forget my background was builted in the first half of the nineties so a little bit of Darkthrone and Emperor flows in my vein.

Aldamera:
I listen to band nobody in the band likes, i’m too young for the 90’s bands...

Lerd:
tumpa tumpa tumpa papapapapapapapapa!

Some bands choose to throw caution to the wind and sing in English, even if it isn't their primary language. Some do it in hopes of selling albums, others just think it makes more sense. What inspired you to keep your lyrics in the Bolognese dialect? Do you find people from across the world still identify with your writing?

Porz:
first of all Principia Discordia is not written in dialect but entirely in Italian language. When the Norwegian black metal trend went out, everybody sang the songs of their favourite bands in a merely phonetic way, without understanding what the lyrics said. Why the same people could tell us that Italian language is not understandable??

Lerd:
papapa tr tr tum tum... toom-pah toom-pah toom-pah

One of the most intriguing aspects of the physical disc itself is the small bits of humor scattered throughout. From the dog doing his business, to the inlay quote "We are too old to mosh. And you?" Where did these ideas come from, and how happy were you to see it all come together?

Porz:
humour? Happiness?? I thought I was sadly serious when I made the booklet!

To that same point, the ever changing banners of your Facebook page are always good for a laugh or two. How involved are you in the social media side of the music, and how do you balance the humor with the serious side... if there is one?

Porz:
we always are serious. Too much serious. Do you think that if we paint our faces like clowns and walk in the woods with swords and axes we could be more serious than now?

Aldamera:
social media are the main way to get in touch with fans and to promote our music and ideas...and to meet some girls (but strangely this does not happens...)

How do you think the social and economics problems of Italy, however large or small they may be, affect the music scene there? How much inspiration do you draw from your day to day experiences?

Bigat: 
society sucks. Mankind sucks. Work sucks. So when I play my guitar I make only wicked riffs.

Porz:
Iper Pagano is about today society, about how the gold cage of marketing make us feel better if we buy a TV or a sausage.. We are the no-brain generation, our god is the supermarket.

Lerd:
tatatatatatatatatatatatatatatatatatatatatatata ding tatatatata ding ding!!

Last, but not least, have you ever found yourselves getting confused for the other Malnatt, the "white power" punk band from Milan? If so, has that ever caused a problem for you?

Porz:
yes , it happens a lot of time. By now no problem because we always declare to have nothing in common with them, but it would be nice to play a show in place of them....

Thank you again for taking the time to sit down with us. We appreciate your honesty, and look forward to the future of Malnatt.

Porz:
Thank you for this interview and stay tuned we have a lot of surprises to come (if we find the time to rehearse...)

Aldamera:
Thank you and see you soon with my other five bands!!!

Bigat:
Thank you ! (ok it’s finished, I can take the dog out for a walk....)

Lerd:
trrrrrrrrrPA! TrrrrrrrrPA! PAAA! PAAAA! PAAAAAAAAAAAA!!!!!!!

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Kongh - Sole Creation (2013)

Those who are completely immersed in music of any kind are a separate breed. You want to know where it all began, where the band members are from, what the name means; this is to say, you want to know everything there is to know about a band. It takes dedication to be a fan in this way, but the main reward is profound. You get to watch evolution take place in front of you. When you trace back the roots of Sweden's Kongh, you find two men, David Johansson and Tomas Salonen, who just wanted to make music together. There weren't any firm plans, just a few simple criteria: it had to be loud, it had to be heavy, and they had to have a good time. That was an eternity ago, in the spring of 2004. In the nine years since they got together, things have changed. They are now a touring band, playing shows in Europe. They are critically acclaimed, having released two full length efforts in 2007 and 2009 respectively. But after all that, "Sole Creation" has a familiar ring to it; loud, heavy, and a good time.

Wasting no time, the title track cascades through your speakers with ringing feedback and blaring distortion. Surgically precise and equally lethal, the crushing drum beats shake you to your core, bolstered by a catchy, albeit scary, guitar riff. With Johansson handling the vocal duties, both clean and harsh, you get to experience both sides of his voice. There is a darkness to the overall mix, a ghostly appeal throughout that has the ability to not only create a mood, but highlight some of the technical prowess. Whether it is the chanting vocal lines or the bone snapping blast beats, each element gets a share of the spotlight, balanced and flowing. The sheer weight of the guitars is enough to throw the entire foudnation off, but they are continually kept in check and offset by the rhythm section. In one of the more fittingly titled songs, "Tamed Brute," Salonen himself finds restraint in his playing. With the low end dominating the mix, you find yourself in the midst of a bass heavy doom masterpiece. The imperfections in the clean vocals have a home here, before being overwhelmed by deathly growls. There are bits and pieces of psychedelic influences floating around, only occasionally breaking through. Their sparing use is a benefit, sometimes providing contrast before or after a heavy passage. The massive breakdown just past the seven minute mark is as heavy as they come without being nonsensical. That cohesion becomes key both here, and in the outro.

Clocking in at a meager nine minute, "The Portals" may fall short in run time, by Kongh standards, but is packed full of distortion and weighty riffs. With a wealth of bruising kick/snare combos, Salonen keeps your expensive subwoofers pumping, but without needless fills and rolls. His skill is in his timing and musical IQ, knowing when and where to assert his dominance. The result is a stomping affair, one that has a familiar sound to it, even if you can't place it. It is just short of the six minute mark, however, when chaos reigns supreme. The shackles torn off, every individual piece comes together as one massive wave of sound. While it is exhilarating, it is also muddling for a mix that was, to this point, nearly flawless. Only the main guitar riff stands out here, with the rest sounding clouded beyond recognition. The band rescues themselves, coming out of that section stronger than before. With a touch of atmospheric musicianship, "Skymning" is possibly the most thought provoking track on the album. Rather than  bludgeon you, Kongh go for a more subtle and subdued approach. By no means have they removed the aggression from their music here, but instead have supplemented it with melodic additions. If anything, these pieces become the focal point, allowing for the heavy elements to be a foundation rather than a starring role. There remains plenty of doom and gloom riffing, and even moreso in the drumming arena.

For those who were fans from the beginning, or those who adopted them later and worked backwards, "Sole Creation" is the next step in a stunning evolution. For Kongh, the initial goal was clear. Nine years later, their music is just as heavy and just as loud as it ever was, with no signs of slowly down. They continue to move forward without ever losing site of the things lingering in their rear view mirror. It is that link to their past that keeps them grounded enough to remain true to themselves and their music. Johansson and Salonen need only look back to those first jam sessions to see how far they've come, with a third album waiting to join the rest in the acclaim of listeners the world over. Whether or not they are still having a good time is a question only they could answer. But I suspect that nine years and three full lengths albums later, they are doing exactly what they wanted to.

8.5/10

Official Site - http://www.kongh.net/
Facebook - http://www.facebook.com/KonghDoom

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Stratovarius - Unbreakable (EP) (2013)

We are not privy to what goes on at labels, or in band meetings. We don't have any insider information, at least not with bands as big and as popular as symphonic power metal Gods Stratovarius. So when it comes time to promote a new album, as the Finnish five piece are doing, how does the decision get made to release a five song EP containing only one new track, as opposed to a single? What it creates is an EP geared more toward the rabid fans the band has the world over, those who drool and fawn over any piece of material they might not already own. Yes, that includes all of us in the office here. But audiophiles and collectors aside, there is only one piece of music on this effort that truly matters. Serving as the lead single to "Nemesis," the new album due this March, "Unbreakable" is a aging band at their youthful best.

Never short on enchanting keyboard work, "Unbreakable" is now different. Beginning with a tickle of the ivories, and building into an electronic driven stomp, this is the sound you have come to expect after decades of work. The vocal melody ties the entire band together, bringing the guitars, drums, bass and keys into one solid unit. It is hard to pick out one element that is more catchy than the next, with each member adding their own spice to an already overflowing mix. But it becomes clear that the vocal chorus, voiced by the man himself Timo Kotipelto, that remains engrained in your head for hours on end. Triumphant and moving at the same, this is Stratovarius at their best. Padding out the five tracks are four newly remastered versions of some of the best tracks from albums past. The skilled hands and ears of Mika Jussila bring you new versions of "Falling Star," from the Polaris album, "The Game Never Ends," from the most recent album "Elysium," as well as "Freedom" taken from “Infinite,” and "Why Are We Here" from the classic album “Intermission.” While the remixed version may sound identical to the casual listener, Jussila brings a clarity and cleanliness that many engineers only wish to achieve.

It is difficult to summarize and subsequently grade an effort when there is really only one track to be had. With "Nemesis" on the horizon, it makes perfect sense for the band to want to give the world a little taste of what is to come. The decision to go the EP route, rather than a traditional single, however, is a point of contention that many would argue for days at a time. While the remastered tracks that form the bulk of the album are nice, they are more for the collector than the average fan. That aside, you get exactly what you would expect from Stratovairus, which is, not coincidentally, exactly what you want. The high flying masters of symphonic power metal give you a track that not only bodes well for a full length, but for the next five albums.  Now that the waiting game begins, it will be nearly two months before we know if "Unbreakable" is the best that a band at this stage has to offer, or merely the first shot fired.

8/10

Official Site - http://www.stratovarius.com/
Facebook - http://www.facebook.com/stratovarius

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Outre - Tranquility (EP) (2013)

Not every band or album needs a gimmick, or even a tag line to help advance their music. The perfect example of that theory comes from Krakow, Poland, in the form of a two piece band simply called Outre. The two men involved as the core of the outfit, instrumentalist Damian Igielski and vocalist Andrzej Nowak, don't need a fancy introduction or a laundry list of styles and influences to get their point across. So much can be said about the combination of artwork, done by Marcin Gadomski, and title of the EP. When your mind assimilates the two, it is as if you can feel the cold winds of the mountains blowing past you. That chilled feeling is the beginning of something musically challenging, but wholly rewarding. On their four track EP, "Tranquility," Igielski and Nowak give you a cross section of what happens when genre tags no longer exist, and things are allowed to happen organically.

With the intro to "Of Drowning," there is a doom element at play, in both the tempo and tone of the instrumental. Even when the vocals enter, different from the traditional blackened screams you may have expected, the crawling pace makes the track that much more powerful. But aside from that one slow beat, it starts to seem as though the track doesn't have much else to offer. It isn't until the midway point that things take a dramatic change. With a dizzying flurry of guitars, bass and drums, the second movement is launched. Even with the vocal line being the constant, they infuse a dose of melody to the entire mix.It helps to blur the genre lines that may have seemed clear earlier, transforming the song into something more multidimensional. But from those atmospheric ashes rises a thrash inspired phoenix, in the form of the drum heavy "Tachypnea." The most intriguing and rewarding part is the guitar work, switching back and forth between a multitude of styles. And though the production work does let them down at times, the track on the whole is well put together and concocted. The outro portion, in particular, stands out in a significant way, chock full of blast beats and crashing riffs.

In the opening measures of "Sea Of Mercury," the all out black metal assault that may have seemed inevitable comes to pass. In a manner of organized chaos, instrumental and vocal come together as one. Their unity forms the verse, while a more rich chugging segment occupies the bridge and chorus structures. It is the evolution of the track, from start to finish, that becomes the signature of the band. It is as though they are recreating the evolution of man within each four minute opus, starting in the most raw form, and eventually moving into more detailed and modern ones. That thought applies here, with the song ending on a deathly growl. Perhaps the most ambitious and creative track on offer here in the closing one, "Hear The Voice." With lyrics based on the William Blake poem of the same name, it is almost immediately that the infectious guitar groove takes you, surrounded by a sea of cymbals crashing from the right side. A brawling set of fills, rolls and blast beats takes things in an entirely more aggressive direction, only to be interrupted later by a subtle, yet beautifully played saxophone solo, courtesy of Bartłomiej Wielgosz. The combination of the down tuned guitars, drums, and a screeching, flowing melody at the hands of a woodwind is staggeringly impressive.

Maing a great album is a challenge in and of itself; making a great album that defies labels is even moreso. The true victory is knowing that this album, these four tracks of varied and versatile heavy metal music, could be recommended to fans the world over, whether they favor black, death, doom, avant or progressive music. "Tranquility" has something for everyone, without ever seeming like it was trying to cater to one and all. Instead, the twenty minutes of harsh vocals, distorted guitars, bass, and plethora of percussion feel as though they were created and perfected for the enjoyment of their makers. By letting the music speak for itself, rather than cloud the listeners ears with buzz words and cliches, Outre are doing themselves a great service. With one listen, it is easy to find yourself at the tree line, letting the cold winds of the music blow past you.

8/10

Bandcamp - http://outremetal.bandcamp.com/
Facebook - https://www.facebook.com/outremetal

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Utah - Utah (2013)

When a band called Utah releases an album, also titled "Utah," it would be easy to guess where they are from. Exactly! Athens, Georgia based Utah, who doubled their members from two to four, can be labeled as a lot of things, but boring isn't one of them. With influences ranging from Kiss to Celtic Frost, and Black Flag, their music is a combinations of so many heavy elements, without being confined by any one of them. So when drummer and co-founder Larry Chosky left in 2011, it only makes sense that a band with a sound that was big chose to get bigger, adding the talents of bassist Chris Parry, drummer Chris Holcombe, and guitarist John McNeece. Along with remaining co-founder Wil Smith, not to be confused the the jiggy rapper and movie star of the same name, the now massive sound of Utah is enough to crush planets. But with two times as many moving parts, could their self titled full length be up to the task?

The boisterous opening track, a marvelous play on words called "Bisontennial," may be the best possible scenario for a band trying to flex their new found muscles. Disturbingly raw but packed full of monstrous riffs, the psychedelic haze that emits from your speakers at this point will either be a welcomed one, or a form of poison gas. But beneath that murky exterior is a blistering guitar groove, poking its head out of the swamp every now and then.The much more rocket powered "Chickamauga" follows, with a step up in not only tempo, but execution. Packed full of ringing cymbal crashes and blues inspired guitar riffs, what you have in front of you is seven and a half minutes worth of tie dyed sludge that will rattle you to your toes. But for all of the successes in the instrumental half, there are failures on the vocal side. While raw and unpolished can work in many instances, they simply fall flat here. The doom passage that follows more than redeems the track, ending in an airy and oddly clean acoustic segment. Part of the strength of the album lies in the way the tracks flow into and play off of one another. To that point, "Ambian" picks up where the previous song left off, building up from that clean guitar in a psychedelic prog rock offering. There is a clear division between appetizer and main course, a chasm around the three minute mark that signals the end of the light, and the start of the darker side. Sounding like the bizarre love child of Black Sabbath and Pantera, vocals and band step in sync and give you a piece of classic metal.

With half of "Help" consumed by one riff, it almost seems as though you are sitting in the midst of a four minute interlude. But when the vocals do enter, there is a change in the weather, albeit a small one. The track begins to gain momentum, something that is important after following two tracks with a combined run time of fifteen minutes. But it isn't until the opening notes of "Kneecaps" that the proverbial ball gets rolling again. To say that the main guitar lead is catchy doesn't do it justice; Simplistic, yet effective, you may find yourself repeating the track before moving forward, just to get that riff down. But as the instrumental builds, the onus remains on the vocals to deliver a strong performance, something they do here in all of their filthy glory. What they lack in melodic sensibility, they make up for with their own unique amelodic crooning. With a bit of soulful acoustic plucking, you find the end of one track, and the beginning of the next. As with most albums, there is bound to be a standout track that warrants multiple listens even for the uninitiated. For Utah, that track seems to be "Traveler" which, in a smoky cloud, shows off a versatility that may have gone unnoticed to this point. With it is the often nimble lead, or the repeating rhythm guitar, the heavy distortion that is shaking your speakers is sure to strike a familiar chord with you. Completed with a robotic tinged spoken word, this is a signature track for a band looking to explode.

Speaking of explosions, the blissfully short and again wordsmith worthy "Leaf Us" is the faster side of a band that has mastered the slow side. Combining the yelling groove of a band like Arke with the crudeness of Aleph Null, this serves as the perfect segue into the bombastic "Cryogenics." The booming of the kick drums pierces through the wall of distortion and cymbal crashes, giving an extra boost to the low end. That stomping groove only heightens the experience here, eliciting so much more than a simple nod of the head. And as it breaks down into a much quieter passage, you know that the hammer only has moments before it drops. The translation from disc to live show would be defined by tracks like this one, lending itself as the perfect show closer. But as for the closing track of the album itself, the twelve minute plus "Black Sandwich," there are few surprises left in store, but a whole lot of crushing distortion to survive. from the opening verse, into the yelling chorus lines, you are pushed to the brink of your sanity. But as you get to the half way point, all of that weight is lifted off of your shoulders. Instead of a crashing, thrashing, doomed finish, you are left with six minutes of feedback, noise, and echoes. It would seem an odd choice for any other band or any other album, but here it all seems to fit.

Call them stoner. Call them doom. Call them bizarre. Say what you will about Utah, but it is nearly impossible to say they are doing it the wrong way. The stumbles that the album contains, the few trip ups that you encounter early, may do the album a disservice. But once you move past those bumps in the road, it turns into smooth, mind altering sailing. With every track bursting at the seams with unchecked hum, and an ability to throw caution to the wind, there is an uneasy, unstable foundation that seems to sway and bend in the wind. For most bands, that would be a recipe for disaster. But when it comes to this band, this four piece, I don't think you would want, or could even have it, any other way. Pitch correction, auto-tune, post production fixes have no place here. And whatever you want to call this style of music, you could never call it bland.

8/10

Bandcamp - http://utah.bandcamp.com/
Facebook - http://www.facebook.com/utahrock

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The Podcast: Episode 71 (What's in a name?)

Not sure what it is about Sunday nights, but it brings out the best (or worst) in us. This week, we have a great view of the metal spectrum with post-rock/metal band Australasia, psychedelic doom/sludge outfit Aleph Null, and melodic death newcomers Sons Of Aeon. All good in their own way, and all overcoming challenges they create for themselves. But as the title asks, what's in a name? How does the name of a band or album affect the way we choose music, or how seriously we take it? After an e-mail from Jizzlobber, I have no choice but to wonder....

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Sons Of Aeon - Sons Of Aeon (2013)

It could be shown that, over the course of music history, a band can be their own worst enemy. Break ups, writers block, apathy; those all come from within, and are often too much to overcome. For Sons Of Aeon, a melodic death metal band from Jyväskylä, Finland, they might be their biggest opposition, and biggest supporter all in one. Formed in 2010 and including in their ranks former Swallow the Sun drummer Pasi Pasanen, this five piece is not short on creativity and technical prowess. But it is in the way the album shapes up that creates the biggest obstacle the band may ever face. It is an exercise in album dynamics; a reminder that the order of the tracks can sometimes be as important as the tracks themselves. And on this, their self titled debut album, they spend two songs backing themselves into a corner, and nine songs proving they didn't belong there in the first place.

With the towering, nearly eight minute long "Faceless" leading off an album of intimidating stature and length, the bands wastes no time asserting their will on the unsuspecting listener. While their is a distinct guitar melody in those opening minutes, it is soon buried beneath a wall of thrashing riffs and rabid distortion. Switching back and forth between the two is what makes things interesting, something that makes the first three minutes seem almost as though it is a separate track entirely. As the vocal enter, a mix between blood curdling screams and devilish growls, that contrast goes by the wayside, replaced by a more one dimensional approach. But it is the opening barrage on "Cold Waves" that cements the album into the mold from which it tries to escape. The musicianship is mechanical to a fault, often coming off as too good to be real. But it also fails to move left or right, going right down the middle far too often. With the exception of a few twirling riffs and a down tempo bridge, the track rides the same pony for the duration of the first half, something that becomes more noticeable as you deviate further in the second. It seems to be a tale of two bands; one straightforward and basic, the other looking for more. The latter is found on "Burden," which finally adopts the aggressive melodic death approach you may have been waiting for. Taking a page from the book of bands like Insomnium, they fuse those deathly growls of Tony Kaikkonen with a driving guitar melody in a perfect contradiction.

Having found their groove, "Enemy Of The Souls" sees guitarists Tapio Vartiainen and Wille Naukkarinen dominating the mix. Their rhythm and lead riffs take control, most notably in the chorus sections. It is here that the entire band comes together in the most forceful and punishing fashion, with each downstroke weighing down on you. Immediately, though, that blow is softened by the acoustic intro to "The Centre," one that seems to be counterproductive in the big picture sense. Taken separately, it is a beautiful and soothing piece of music, but it does rob some of the momentum the band has worked so hard to build. But as the first kick drum is struck just shy of the halfway mark, you realize that you are in a bizarre place; could this be the Sasquatch of the metal repertoire? The elusive melodic death ballad? The pained vocals and massive guitar melodies seem to scream death metal, while the velvety smooth bass line of Tommi Kiviniemi whispers sweet nothings into your ears. Perhaps the most straightforward track on the album, "Havoc & Catharthis" doesn't sugar coat what it is, a straight ahead assault on your senses. No twists, no turns; a double kick drum fueled massacre of screams, growls and grunts. And while there are certainly multiple layers of distortion and finger wizardry to digest on "Weakness," it is the drumming of Pasanen that stands above the rest. His style is very distinct, beautifully timed, and crushingly aggressive.

It is no coincidence that the shortest track on the album, the three and half minute "Seeds Of Destruction," is also one of the most spring loaded as well. Embodying that hair thrashing visual that metal fans often try to describe to outsiders, the band plows ahead with no regard for human safety, sometimes delving into the darkest of thrash metal tenets. The drumming alone leading into the bridge is devastating in speed and scope. Only slightly longer, but equally accessible, the gallop of "Wolf Eyes" may leave it standing as one of the most complete tracks on the album. The sog becomes a perfect combination of tempo and tone, all packaged with a catchy main riff that is sure to find itself on repeat in your mind for quite some time. It is here than the band accomplishes two very opposite goals: they both blend into the melodic death scene, as well as stand out from it. The former, thanks to sharing the common sound of the genre, and the latter based in their ability to execute and transcend it.   What they began before, they finish with the closing track, "Black Sheep Process." There is a noticeable change in the weather here, opting for the down tempo, crawling doom style more than they had in earlier tracks. With the absence of a vocal track, it is up to the guitars to share the lead, something they do with little issue. From start to finish, this is six minutes of music you won't want to end.

There are almost always going to be ups and downs on every album. Sometimes they are scattered throughout a disc, and other times they are concentrated into one area, be it beginning, middle or end. For Sons Of Aeon, their shortcomings are few, but not far between. With nearly every imperfections condensed into the first two tracks, the rest of the album is left looking nearly flawless. It is as if this album was a scientific experiment. They set up the obstacle, the mold in which they stuffed themselves early on, and spent the rest of the album tearing it apart, and blasting it to pieces. It is in those last fading notes that you can finally, officially, say that there is no mold strong enough, no tag big enough to contain what you heard here. And for a debut album, that says a whole lot more than any peer reviewed journal ever could.

8.5/10

Official Site - http://www.sonsofaeon.net/
Facebook - https://www.facebook.com/sonsofaeon

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Aleph Null - Belladonna (EP) (2013)

A wise man once said that if you found a job that you loved, you would never have to work a day in your life. While most of us struggle to find a job that will pay us to do whatever it is we love, it would seem the powers that be have smiled upon German three piece Aleph Null. Not bound by contractual obligations to sell thousands of records or write the next big hit single that could bump the current pop sensation from the charts, this Dusseldorf based band already made a splash with their debut EP, "Dale." But it is on this, their second offering, that the band find a comfortable seat and claim it. Taking the Black Sabbath style of psychedelic doom, and adding in some of the more modern adventures of Mastodon and a distinct thumping groove, "Belladonna" finds a band that is 365 days older, and light years ahead of their contemporaries.

Squealing feedback may be the most fitting way for "Belladonna Wreath" to open, but it is the groove that emerges from those shrieks that defines the track itself. Guitars, bass and drums come together in a crushing unison, with every down beat pounding through the cones on your speakers with a loud pop. Taking their effort from the last EP and improving the delivery, you now have a cohesive vocal line to hang your hat on, providing added melody to the mix. Coercing a head nod or swing of the hair might be an easy task, thanks in part to a stomping breakdown section that sees the band at their heavy handed best. While it may be an exaggeration to say that "Mars Father" is a genre defining moment in its early stages, it certainly wouldn't be impossible. But with a tempo increase in sight, you have something else entirely to hang your hat on. The low end sees an increased strength hear, rattling the very room from which this review is written. With a step back into that trippy psychedelia, an airy, smoky passage coaxes you from the edge of the cliff, only to be driven back with a dose of dense chugging. As if harnessing all of the powers of Mastodon at their murky best, the latter half of the track sees that sludgy, oily film coating everything. the pacing alone in the outro is enough to make your head explode.

A surprisingly quiet "Gagarin" fades in, with clean, lightly plucked guitars and strings meeting up with a slightly metallic bass line. With space age effects building and fading in the background, there is an interesting dynamic at play here, as you sit and wait for the hammer to come down. Sure, there are a few cymbal crashes and the sizzling of metal creeping in. But all in all, this is a moody interlude that may sooth the savage beast just in time. Much as they did on the "Dale" EP, the band saves the biggest and longest track for last. The seven minute "Solar Sail" will certainly be mentioned by fans, old and new, in the same sentence as the words "best" and "track." Rekindling that love for classic metal, there is a familiar ring to the vocals in the first verse. While this is certainly not the reincarnation of Dio, or even a rebirth of Ozzy Osbourne, it may in fact be a more accessible alternative. The combination of the melodic vocals, the massive focus on the low end, and the thick layer of distortion that binds it all together is frighteningly good. Once again, though, the larger than life groove that inhabits the four to five minute marks would be enough to elicit a "shut up and take my money" moment. Leading directly into an effects laced solo section, backed by a smooth bass line and booming drums, this is the band at their level best, igniting a fire under your ass, they encouraging you to just sit there and take it.

Try as you might, there just isn't anything to dislike from Aleph Null. Sound familiar? It almost becomes too easy to like this band and everything they do. It doesn't take a music school education to understand what they're doing, and how good they are at doing it. More than that, though, there aren't any gimmicky filler tracks, or even moments, that you can point at and cry foul. It would seem that these three musicians from Dusseldorf have found themselves a comfortable place in the scope of metal music, one that allows them to stay true to their craft, and stay true to themselves at the same time. And when you can do that, and still thrill and impress people from all over the world, you have something special going on. Four tracks, 22 minutes, one enjoyable experience.

8.5/10

Facebook - http://www.facebook.com/AlephNull.sludge
Bandcamp - http://alephnull.bandcamp.com/

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Australasia - Sin4tr4 (2012)

If you were so inclined, take a glass of water from your preferred source (tap, bottle, garden hose, etc). Add a single ice cube, one that had been given a healthy dose of red food coloring. As you watch that cube melt away, releasing its stain into the glass, you would begin to fully understand what it is that Australasia have accomplished. This duo from Italy have made it their promise, "melting heaviness into post-rock," a vow that they not only intend to keep, but perfect. Focusing mainly on the instrumentals, minus the use of scattered spoken passages, you find a marriage of two species that are separated only by the smallest of characteristics. But with the help of some deft drumming, a penchant for memorable riffs both heavy and heavenly, and the open mindedness to make them all fit together, the seven songs contained on "Sin4tr4" not only inject that colored water into your glass, but it may have you thinking red liquids are the new clear.

With an overwhelming clarity and depth of sound, melodic riffs open "Antenna." While it may sound like a given at this stage of the digital era, it is the clear production work that allows the track to ebb and flow so perfectly from start to finish. Those lightly strummed chords and basic drumming tempos quickly evolve into something far more impressive. Without being overbearing, there is an assertive quality to the heavier moments that is both welcomed and admired. It makes you wonder how a band can go from one extreme to the next, and end it all with lightly strummed guitars and the tickle of bells. Having already put the beast into motion, "Spine" comes out of the gate with a far more aggressive approach. The structure that raises up from a foundation of rattling drums is one of strength and unwavering attention to detail. Fast or slow, heavy and light, are all treated with the same care. The layers of guitars and their ringing distortion continue to push each other higher and higher into your consciousness, eventually bolstered by electronic tinged pulses that, while sparingly used, leave a lasting impression. Those blissfully short, "Apnea" may reign as the most awe inspiring song on the album. With a female voice crooning over a cornucopia of beats and breaks, it is simple, yet effective.

In a fitting rebuttal, "Scenario" sees the return of the booming kick drums that we heard earlier, but with a flurry of astonishing black metal drumming attached. The machine gun snares match perfectly with the furious picking and strumming, taking on so many elements of the shoe gaze genre, without being content to coast gently into the night. For the second time, the use of spoken word completes a well rounded offering. Just as subtly, "Satellite" fades in, an ethereal haze of plucked and echoing notes, floating through space. And while there may not be the only massive blowup that you expect, what you receive in its place may be more powerful. It is in these more refined moments that you find something inspiring. And while the synths on "Retina" may sound half space age, and half eighties pop, they are completely necessary. Forming the stable foundation allows the wall of distorted guitars to crash down like a tidal wave. The pairing of those guitars with first a softer tapping, then a blasting chorus of percussion shows versatility, as well as craftsmanship. And while the sweeping winds of "Fragile" may come and go, the track itself has a lasting beauty that won't fade. One part whimsy, one part cinematic genius, you would be hard pressed to find a song that more perfectly defines an album.

Metaphors aside, it is easy to find yourself impressed with what you find on "Sin4tr4." This isn't a mediocre stab at something slightly new, and mildly interesting. There is something special to be had here; something that while not entirely original, is done with all of the bravado and skill necessary to start the ball rolling in a brighter direction. Australasia make a promise with their various websites and descriptions, but they make good on it with every passing note, something that deserves a just amount of credit. And whether you think this is good traveling music, relaxation music, the music for your next movie, or just a nimble piece of post rock and metal fusion, it is safe to say you will keep coming back to it time and time again. There is something to be said about a style of music that is beautiful, bombastic, and all without a hit of pretentiousness.

9/10

Bandcamp - http://australasia.bandcamp.com/
Facebook - http://www.facebook.com/australasiamusic

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The Podcast: Episode 70 (Love spelled backwards is... metal?)

Ah yes, it is almost Valentine's Day. That day in February where flowers and chocolates are exchanged, along with words of love, in an attempt to woo a woman, or man, into your bed. Sorry, did I simplify that too much? Well, for many men and women, metal is a second love, so it all fits together. This week, we take a look back at reviews for Hemisphery, the amazing album by Elferya, and a surprisingly good listen from Digression Assassins. But what about metal, not reliant on guitars? Our playlist started a fire that we must explore further.

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Digression Assassins - Heavy Waters (EP) (2013)

Lost in the shuffle of so many great and powerful metal bands, the Swedish music scene has so much more to offer than just death metal franchises and black metal mysteries. So when the mission statement for Stockholm five piece Digression Assassins flashed on my screen, I had to stop, look, and listen. Trying to take you "out of your comfort zone," the band have carved out a niche as a progressive metal band with an avant twist. Relying on sharper guitars, and the help of an impeccably timed series of percussion, there is certainly some forward thinking writing at play. And while "Heavy Waters" may not be the most conventional of the metal styles, it's merits are many, and its weaknesses are few. 

Don't be surprised if you are thrown off balance by the start to "Queen," a track that boasts a fairly intricate progressive metal element. The drumming alone in that early stage is enough to leave you dizzy and twisted. But it is the vocal that will decide the success or failure of the track as a whole. Coming through in a raspy pseudo-melody, singer Mads Konan seems a tad unstable in the verse, but quickly steadies himself for a pounding chorus. The instrumental is well constructed, fluctuating between Dream Theater-esque and thrash. As an appetizer, it serves as the perfect bite. The main course, "Grasp," is soon to follow. Taking the tempo down several notches proves to be a great decision, adding a sense of heavy handedness ton the overall mix that is well delivered and well received. It wouldn't be completely out of bounds to assert that there is a level of grunge dynamic involved here, with Konan sounding, at times, like a distant Swedish cousin to Chris Cornell. With an extended, and all together relaxing, sitar styled outro, the track coasts to a finish, rather than throwing the hammer down.

The short burst of a track known as "Trinity," sees the band go in a different direction. With two guitars and bass finding themselves tangled and twisted together, it becomes hard to separate each layer from the next. Standing out from that chaos, though, is the meticulous drumming of Andrés Breuer Torres. His combination of rattling snares and blast beats does wonders for a track that is as short as it is punchy. Perhaps the most eclectic track on the album, "Tunnel Vision" doesn't stay in one place very long. From a fragmented intro, to a more composed melodic middle section, the band run the gauntlet in a tightly packed five minutes. There is a great example of melodic sensibility on display, surrounding the two minute mark. layering two separate guitar pieces in such a way creates a more robust endgame; one that, over the course of the next minute or so, exceeds anything the band has displayed to this point. Double kicks included, this middle frame is the most impressive chunk on the album, lending itself well to repeat listens and hopes for the future.

While they haven't exactly created a way to bend space and time, Digression Assassins could fool you into thinking they had. Fifteen short minutes have gone by, and you might not have felt it. There is some avant and progressive thinking wound into these four tracks, something that will pay off in spades if the band can harness it fully for a full length effort. And while their main mission statement may have been to take you out of your comfort zone, they have done so in a way that isn't intimidating or pretentious. Taken at face value, it is a well designed foray into the progressive metal arena. But when you dig a little bit deeper, it could be seen as bright new offshoot in the Swedish metal culture. Where it goes from here is up to the five members of the band, but "Heavy Waters," to this end, is worth its weight in gold.

8/10

Bandcamp - http://digressionassassins.bandcamp.com/
Facebook - https://www.facebook.com/digressionassassins

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Elferya - The Straight And Narrow (2012)

With all of the new music available to us at any given moment, we have become spoiled, and dismiss bands all too easily without ever giving them a proper chance. And with the boat loads of symphonic, female fronted bands that have flooded the American radio waves over the last few years, it would be easy to forget about the genre as a whole. But for every mediocre attempt at stardom, there is a great band who deserves not only the listen, but the respect. Elferya, a five piece band from the French speaking part of Switzerland, might be exactly what the doctor ordered. With some of the most deep, rich symphonic pieces the genre has to offer, a drummer that might induce dizziness with every swing of the stick, and a frontwoman that takes you from your seat to cloud nine with every voice, "The Straight And Narrow" might be a place all of us walk from here on out.

Don't let the majestic, if not slightly dainty, intro to "Once Upon A Time" fool you. As the orchestral elements build up, something far more bold awaits you. Strings and horns subtly pull you to a fro, with a drum beat coming in to guide it all along. As the track builds to its climax, the entire mix elevates, crashing cymbals and snares exploding through your speakers while choirs of voices float above it all. Pairs of kick drums lead to the end here, and right into the beginning of "Fairy Tale," where the guitars come into the fold. While the double kick drums may hold the key to the sound, it is the distorted riffs that complete the set. With her first entrance, Claire-Lyse von Dach will raise your eyebrows. Her voice hits all the right notes, high and low, with a grace and beauty that immediately grabs you. Layered atop a rich layer of keyboards, her voice transcends the music itself. Rather than rely solely on von Dach's voice, the band erupts on "Deep Water Traveler," laying down a healthy dose of chugging guitars and a battery of drums. With keyboardist Lionel Blanc also handling the violin duties, you get an added layer of beautiful live strings. A whisper in the outro is enough to leaving you wanting so much more.

It is in the calming opening to "Luna" that you may find more than you bargained for. After being lulled to sleep with a set of synthesized sounds, an explosive throws you backwards. It had been lurking for the better part of the three tracks, but finally bursts through the curtain to your ears, leaving behind it the punch of great snare work and a rolling set of double kicks. It is here that von Dach's beauty is fully revealed, her voice complementing not only the reserved, heavenly instrumentals, but also the heavier ones. One part operatic, one part accessible, there is a perfect balance in her tone. The breakdown proves that it isn't a one woman show, bending and slamming strings in a dazzling show of instrumental strength. In keeping with its title, "Master Of death" sees the band take a much more aggressive approach, or so it would seem at first. A jazzy bass groove inhabits the verse section, where von Dach croons lightly. It is in the blaring guitar work and drumming that the heaviness lies, as well as the occasional screaming male vocal. Throw in a flurry of violin and piano action, this duel to the death is a complete masterpiece.

There are two pieces of "Burning Desire" that may cement it as an album favorite. It boasts some of the best percussion work on the album, a constant flow between blast beats and thumping rolls. The precision with which it is played is almost unreal, thanks to Greg Turini. It is only rivaled here by von Dach and her mesmerizing voice, in both lead and backup capacity. Haunting and beautiful, "Mystic Land" is a dog among sheep, hiding unnoticed until you stumbled onto it. High energy and well executed, there are elements at play here that will make you want to jump to your feet and dance along to the pounding drum beat. The violin melody is akin to something Elvenking would craft, uptempo and intoxicating. Some of that whimsy carries over into the lightly spoken intro to "Butterfly," before erupting into a screaming madness. The chugging guitars are denser here than before, spring loaded with more distortion, more rousing blast beats, and a more assertive symphonic element. The ever present double kick drums keep the tempo high and the vocal strength even higher. Minus the vocals, the instrumental shines in the outro before rolling into "Afterlife." It might not have dawned on you until now just how cohesive the album is, moving from song to song as if each one is an extension of the last. Easily the most accessible track on the album, von Dach's voice  reaches new levels of enchanting here, while guitarist Valery Veings flexes his muscle to the highest degree, laying down a massive solo.

Not to be forgotten in all of the vocal majesty and guitar wizardry, though, is the stellar keyboard work that has helped to carry the album thus far. By implementing multiple sounds - from piano, to synthesizers, to strings and horns - Blanc gives the entire mix an added depth of sound that would otherwise be impossible. And rather than settle for typical, basic drum beats in the chorus, the band opts for a more heavy handed approach, with blasting snares and toms rolling through every open window. The perfect example comes at the 3:40 mark, as Veings is completing another wild solo. rather than the normal kick kick snare formula, a set of daring fills ties the solo to the chorus again, and keeps the track moving at a fevered pace. After such a furious and powerful ride, you may find yourself exhausted by the time the closing track, "Awakening," lightly fades in. But as the track progresses, you find yourself in the middle of a beautiful symphonic masterpiece, one that brings the album full circle. detailed layers of strings and horns form the foundation for the entire piece, while von Dach gives you hope for a new day. While it may not be a summation of the album as a whole, it is the perfect end.

With so much music at our fingertips, it would be safe to say we've gotten too dismissive, too cynical. We look at a band bio, and simply toss the album to the side thinking we've heard it all before. but the beauty of music is that there are always new paths to explore, and new bands to discover. Elferya might not be a band you've heard, or even heard of, but they should be. Any fan of female fronted metal can appreciate what is printed on this disc, and any fan of classically inspired symphonic metal would be delighted with what they hear; if only they give it a chance. If you feel that those two subgenres have grown stale and crowded, don't remove them from your radar. Instead, look farther, look wider, and you will find a band that can reignite that fire. If there is one album that might do just that, "The Straight And Narrow" is it.

9.5/10

Official Site - http://www.elferya.com/
Facebook - http://www.facebook.com/elferya

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Playlist 2/5/13: Guitars? Nah, bro.

February 5, 2013

Not every piece of rock and metal music needs a guitar to hold down the lead role. A quick walk down memory lane brought one particular band to mind, and led to this short, but diverse, playlist.

The Tracklist:

Apocalyptica - Prologue (Apprehension)
Giant Squid - Sevengill
Apocalyptica - Seemann
Ihsahn - The Grave
Apocalyptica - Faraway Vol. 2

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Hemisphery – Resurgiré (EP) (2013)

While metal is certainly a global phenomena, South America has added an overwhelming amount of passion into their version of the genre. Much like Venezuelan band Aphelium, the six piece progressive power metal outfit known as Hemisphery weave a healthy dose of "love for the game" attitude into their music. Hailing from Quito, Ecuador, and having less than a year under their belts as a band, it stands to reason that their three song EP be coated in a bright eyed optimism. But aside from just loving what they do, there is a high level of talent contained here, something that is on display sporadically throughout the fourteen minutes of guitar driven material on "Resurgiré." And while it may have it's ups and downs, the fast paced guitar work may be enough to carry them through.

It doesn't take long to find yourself tied in knots, as the opening seconds to "Resurgire" launches with bending strings and galloping drums. The use of synthesizers in the background ties all of the pieces together, allowing for screeching harmonics to add accent whenever possible. But as the vocals enter, they fail to echo that speed and precision at first. It isn't until the first screaming passage that they gain some of the necessary strength to keep pace. The guttural growls do wonders for the vocal line as a whole, with guitarist Jhonathan giving singer Roberto a needed boost. The keyboard and guitar work, however, need no help. They shred through verse and chorus with impeccable timing and melodic reach.
A smooth bass line guides the early moments of "Mi Libertad," padding by five note touches of the piano. Roberto begins to come into his own, finding his sweet spot in the more subdued instrumental. It is the solo work that steals the show here, with guitarist Miguel Angel running up and down the scales in a tremendous show of dexterity and tempo. Not the strongest effort of the three, but a solid one nonetheless. With a greater reliance on keyboards on "Despertar," you finally find a band reaching their full potential. There are elements of progressive power metal at play, showing their influences clearly. The production work is excellent in most places, but does suffer from a flat sound at times. An interesting duel between keys and guitars highlights a massive bridge section.

While it may not be perfect, Hemisphery have given us three tracks that best represents their talents, and their limits. It would be hard to find anything less than complementary to say about the instrumental work, which will continue to impress as their career progresses. The clean vocals, however, leave a small gap in the mix that, while fixable, can distract from the songwriting. If the vocalists, both clean and growling, can match the intensity of the music behind them, Hemisphery may have a recipe for success. Talent can come and go with time, something that even the best bands can attest to But the desire is something you can't manufacture or fake. And if they can translate that passion for the music into a full length album, then they can look back and "Resurgiré" and remember where it all began.

6.5/10

Soundcloud - https://soundcloud.com/hemisphery/
Facebook - http://www.facebook.com/Hemisphery

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The Podcast: Episode 69 (The Super Bowl of nonsense)

I am sure there is a joke to be made about the fact that this is the 69th episode of the Sorrow Eternal podcast, but I can't figure it out. Oh well, I digress. With another week and another batch of reviews in the books, Darrell takes a look back at the week that was, highlighted by the new album by Cult Of Luna, as well as releases from Dilmun Gates and Phil Anselmo. But with the big game probably flashes on TVs across the world, we accept that no one is bored enough to listen right now, so we look ahead at the week to come, including a shining endorsement from a Swiss band.

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Cult Of Luna - Vertikal (2013)

Time away. All bands need it. But for some, that time between albums results in losing the drive that makes their music unique, or even the desire to make music at all. Not the case for Sweden's Cult Of Luna, who in their five years since their last album, have igniting a fire that burns brighter and hotter than perhaps ever before. Their new album, "Vertikal," isn't a one dimensional effort, nor is it a complete departure from what they did before. It is, however, a showcase of what can happen when you go beyond musical theory and notes on a page, and try to construct something that is bigger than metal itself. The story alone is worth it's weight in gold. But told through the use of heavy music, it leaps off the screen, out of your speakers, and into your consciousness. It accomplishes a feat that is as rare as you could imagine; having an album actually tell the story, not just pretend to.

"A vast future city is divided between its proletariat who slave at the machines in the city’s depths and the administrators who live in palatial comfort high in the city’s towers. Freder, son of the city’s leader Joh Fredersen, is struck by the beautiful Maria when she leads a delegation of children into the upper towers. He follows her into the city depths where she stirs revolt among the workers over the conditions they exist in. Swayed by Maria, Freder implores his father to make changes. Instead, his father goes to the scientist Rotwang and gets him to build a robot double of Maria to corrupt the worker’s sympathies. Rotwang seethes over the fact that Fredersen stole his beloved Hel away from him and sees this as an opportunity for revenge. Using the robot Maria, Fredersen has her seduce the workers to rebel and bring the city smashing down."

A bizarre, futuristic intro track, simply called "The One," opens this tale of struggle and class separation. Throbbing electronic beats ring out and fade away just as quickly. But the quiet and reserved approach doesn't last long, as the first sound that comes from "I: The Weapon" is an ear piercing scream. The instrumental is both raw and refined, somehow defying the traditional production logic. One layer after another is placed onto a solid foundation of drums and crashing cymbals. It would seem that these layers are stacked almost precariously high, but with an unwavering strength and depth. Unlike other albums of this ambitious output, the use of coarse and harsh vocals doesn't mask or hide the melodic subtleties of the guitars and keyboards. It's when you focus on those tiny pieces that everything becomes all the more profound. You may find a particular attachment to the latter stages of the track, a loud but beautifully constructed instrumental that pads out a nearly ten minute run time. However, at almost twenty minutes, "Vicarious Redemption" is a lesson in the epic, and the immaculate. Building up from nothing nearly, only a light tapping drum beat and oddly plucked string, the mellow and atmospheric tone carries with it an eerie chill. It isn't until the seven minute mark before the track gets into full swing. But by pairing screaming vocals with a minimalist backing instrumental, the contrast resulting is impressive. Once again, the care with which the mix is constructed plays a key role, providing an environment that is conducive to a host of moving parts and contrasting elements.

On the flip side of the spectrum is the short and effects laden "The Sweep," carrying with it a robotic overtone that helps to further the futuristic storyline. There isn't a whole lot going on here, but the simplicity is the beauty of it all, especially the notes that are held for the final thirty seconds before fading into silence. Without hesitation, it would be easy to say that "Synchronicity" embodies some of the heaviest moments the band has ever offered, with each crushing down beat leaving a dent in your skull. The percussion work, in particular, deserves credit for creating a harnessed chaos here. The resounding thump of each kick drum, followed by combinations of snare and toms, always filling the voids with the perfect flow from one to the next. Even in the moments where things seem to be at their most basic, there are more intricate pieces at work; guitars and keyboards always adding a flourish here and there. Despite it's name, "Mute Departure" is anything but. From a space age intro, into echoed chanting and beyond, this stands as the most assertive and creative track on the album. The evolution from a story about a futuristic world, to a representation of that world is staggering, with each verse and chorus pulling you deeper into the world from which it is wrenched. After a low buzzing dominates the track, the music reenters with a vengeance. A strummed guitar melody runs head first into pained screams, all bolstered by crashing drums that could turn a world upside down.

One final interlude, the almost lullaby resembling "Disharmonia," sets up the final descent. With the ten minute "In Awe Of," the band launches into a full scale sonic war on your mind. But what starts as a bombing run, quickly evolves into something much more versatile. A progressive instrumental rises through the murky screams, with layer after layer of distortion and detail sharing a wide angle spot light. They build and fade, rise and fall, come and go seemingly at will but with a perfect cohesiveness that doesn't take anything away from the whole. And through it all, there is an underlying melody that persists from start to finish, even in the most chaotic moments. rather than continually checking the clock to see if the track is almost over, you may look in hopes that it has only just begun. But all good things must end, leaving you with one six minute journey left to take. In the most fitting way, "Passing Through" represents not only the end of the album itself, but the story. With solemn guitar tones and lightly delivered chants, this finale chooses to go out like a lamb. But it is the somber way in which it is played that will make it stand out, a summation of the battle between classes that has just taken place. As the music fades away, and one last airy chant echoes through your speakers, the final page has been turned.

So much emphasis is put on the amount of time that bands take between albums. More important that the quantity is the quality of that time away. For Cult Of Luna, five years removed from their last offering, it would seem that those 60 months were not only good ones, but creative ones. The story they have written and presented here would be worthy of a major motion picture release, a science fiction drama that provides as much a social commentary as a class struggle. In a two hour, special effects filled blockbuster, you would hear award buzz. In this hour plus album of skyscraper production and awe inspiring band dynamics, it is just as worthy of praise, if not moreso. Subtract any one piece of the puzzle, and it would no longer resonate so powerfully. That, alone, is a testament to the genius that resides here. And with a story so profound told through the use of guitars, bass, drums, keys and vocals, it would seem that "Vertikal" might be the new kind of audiobook.

9/10

Official Site - http://cultofluna.com/
Facebook - http://www.facebook.com/cultoflunamusic

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