Intronaut - Habitual Levitations (Instilling Words With Tones) (2013)

We all know it to be true, but we refuse to admit it openly. We are all music hypocrites. All of us. We say one thing, but we mean another. We say one band sucks, but another band that sounds exactly the same is awesome. And we say we want our favorite bands to stay exactly the same, then we complain that they are just making the same album over and over. Yes, AC/DC has made a career of it, and we love them for it. But what about the rest? Los Angeles based Intronaut are sure to receive the praise and wrath of many fans and music writers all over the world, as their new album ventures into new and admittedly acid laced territory. But this isn't the same band that brought us "Null" and "Void;" Time has passed and people need to evolve. After all, who wants to be told they have to play the same song over and over again for their entire career (again, see AC/DC)? But with the release of "Habitual Levitations (Instilling Words With Tones)" have made a leap that, while completely justified and well done, may leave people wondering what happened to get us here.

If the opening riffs on "Killing Birds With Stones" aren't enough to sell you on this recent output, I don't know what will. The well crafted guitar work, catchy and yet equally destructive, is the perfect baseline test for the album to come. An airy and raspy vocal performance becomes the counterpoint to that hard edged instrumental, with frontmen Sacha Dunable and Dave Timnick each contributing on a level that borders on seventies psychedelia. What makes the track truly special, however, is the contrast between the first and second movement. While the first focuses on distortion and groove heavy writing, the second is an exercise in post-rock melodies and the running bass lines of Joe Lester. There is an aant, artsy quality to the album that becomes clear in "The Welding," but not in an invasive way. The looping and winding guitar parts form a foundation early, one that is bolstered by the subtle, effects laden touches later on. The buildup that begins around the three minute mark is the perfect example of an evolution for the better. But the fact that it is merely a part of something much bigger is even more important, with a thunderous return to form coming right afterwards. It may be "Steps," though, that seals the deal. It's as if the band have found that tiny slice of land that sits perfectly between melody and weight, and they walk it with precision and purpose. In one minute you are stomping your foot to a thumping beat, and in the next you find your head swaying to an ethereal, almost haunting, melody. Lester is the conductor, bending and swaying the waveform with an ever present bass line.

But this isn't all LSD induced sunshine. The more bombastic pulse of "A Sight For Sore Eyes" is sure to find a home in your rotation, even if it is only used sparingly. If your mind has managed to black out and forget the percussion contributions thus far, the work of Danny Walker shines brightest here, with fill after fill completely a packed house of a mix. The outro finds you bombarded from all sides with distorted guitars, bass, drums, and a vocal that somehow stays clean. The first single from the album, "Milk Leg," is far more complex than the name seems to indicate. Once again walking the straight and narrow, the vocals take the seventies vibe to an entirely new level. It's as if your room has filled with smoke, and you are left sitting amongst a cloud of purple vapors. Depending on your perspective, the track is either an overwhelming victory or a source of confusion. For most, the period surrounding the five minute mark, with its smoothest of bass lines and hazy guitar chords, could become a relaxation go-to track. Furthered by the intro to "Harmonomicon," once again thanks to Lester and his deft bass work, it is easy to find yourself waiting for that first big punch. If there is any complaint to be had in this section of the album, it would be for lack of a major burst of energy. For better or worse, it creates a mood and atmosphere that would be hard to build upon with any other structure. There is plenty to like here, however, with the band displaying not only a great sense for the melodic, but for their keen songwriting senses. Even the short Weather Channel-esque ditty that flows at the end is worth a million repeat listens based on musicianship alone.

Those who spent an album's worth of time waiting for the next big splash, look no further than the aptly titled "Eventual." You can practically feel it coming, riding the wave of power through the opening riff and drum beat. Leaving more towards their sludgier roots, the vocals even see a pick me up, incorporating a touch of raw strength. It is the latter half of the track that seems to hit home more, though, combining that new found melodic sensibility with a slightly blunt wave of distortion. As the track fades out, it is left with a light set of clean guitars, one that sets the table perfectly for the airy, and altogether mind altering "Blood From A Stone." This is a detour from the planned road trip, a haunting piece of work that will be heralded or derided by fans and critics alike. At a mere three minutes, it is the baby of the album in terms of track length, and an orphan in terms of style. Its success is measured by your attachment to it, something that I admit is growing with each listen. Conversely, the big brother of the album follows closely behind, with a nearly nine minute finale in the form of "The Way Down." Boasting some of the heavier, yet under control, instrumental work on the album, you get a little piece of everything, in the proverbial "have your cake..." kind of way. And for whatever reason, the noise that fills out the last three minutes seems almost fitting.

I find it hard not to make a comparison here, one that seems logical in my mind, but less so in print. Regardless, the parallels between this release from Intronaut and last years Baroness double album seem to fit together. Baroness stepped away from their typical output, and released an album that may criticized as being too mellow, or even too complacent. In the same way, "Habitual Levitations (Instilling Words With Tones)" is a step away from what we've come to expect from Intronaut, and may come under the same fire. But much like "Yellow & Green," there is so much to life about this new direction that it would seem petty and silly to degrade what they've done based solely on it being different. The focus on melody is a welcomed one, and executed to a near flawless level. If you spent the entire run time waiting for a massive breakdown or a wild solo, you are going to be slightly confused come the end. But you'll listen again. And again. And you'll like it each and every time.

9/10

Official Site - http://intronautofficial.com/
Facebook - http://www.facebook.com/Intronaut

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Myrkgrav - Sjuguttmyra (EP) (2013)

Imagine being a college age fan of metal. You are browsing the class listing at your University of choice, looking for that history credit you may so desperately need. You stumble on a class that fits your life schedule, but you have to do a double take. History through metal. Not a history of the music itself, but the history of world cultures told through the use of metal subgenres. The rise and fall of the Roman Empire, done completely in power metal tracks. The Renaissance told through operatic symphonic pieces. And now, the local history of Norway, told through the music and voice of Lars Jensen. As the mainman behind the Myrkgrav moniker, Jensen has told the stories of his locale through folk metal means for years, hoping to prevent history from fading into forgotten lore. While 2006's "Trollskau, Skrømt og Kølabrenning" was a good start, it is his new work that may put his goal to the test. On "Sjuguttmyra," Jensen celebrates an anniversary, and continues with the tales of Ringerike, Hole, Lommedalen and Sørkedalen, Norway.

The familiar sound of fiddles opens the title track, a folk metal track, through and through. While this may play as a traditional folk metal song, the vocals are anything but ordinary. Guardians Of Time singers Bernt Fjellestad chants and croons his way through the verse, with an operatic power in his voice that few embody. When the time comes for the dastardly screeching to begin, Jensen hits the mark again. The instrumental echoes his enthusiasm, combining that heavy handed work with some ethnic backing. A fresh reprise of "De to spellemenn," originally appearing on the 2006 "Trollskau" album, follows. With new production quality and an added vibrance, Jensen does his past a great service here, delivering a folk anthem for the ages, thanks greatly to the vocal prowess shared by Jensen and Sindre Nedland. That skill is never more evident than on "Uttjent," where both the melodic and murderous sides shine through. One is used to complement the other, creating an enjoyable contrast between light and dark; or in this case, dark and darker. The tempo of the guitars and drums keeps the blackened folk spirit alive, without overwhelming the mix. A second reprise closes the album, with a newly recorded version of "Fela etter'n far" given the closing duties. You would be hard pressed to find a more majestic and full offering than this one. Tying together the schools of folk thought, Jensen brings a lot to the table in his arrangements. Strings and traditional folk instruments are scattered evenly throughout the basic mix of guitars, bass and drums, resulting in a song that is as catchy as it is pounding.

As the face and frontman of such an inspired project, Lars Jensen finds himself in an interesting position. He has mastered the use of metal to spread the folklore and traditions of Norway, without ever deviating from the classic style. Somehow, he makes it sound fresh and new. That is completely to his credit as a songwriter, as well as a local historian, and it deserves mention. In the modern age of ADD and short attention spans, why NOT use metal music as a vessel for growth and education? If anything, the tracks on "Sjuguttmyra" and the aforementioned "Trollskau, Skrømt og Kølabrenning" are proof that it can be done. So whether you fancy yourself a fan of the new wave of folk metal, or the old school variety, you will surely find something in these four tracks to hang your hat on. And, with the help of Rosetta Stone or the ass backwards translations of Bing or Google, you might even learn something you hadn't thought about before.

8.5/10

Bandcamp - http://myrkgrav.bandcamp.com/
Facebook - http://www.facebook.com/Myrkgrav

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Avantasia - The Mystery Of Time (2013)

If anyone is a fan of symphonic music, they’ve heard of Avantasia. Since Tobias Sammet got the idea for a “rock opera” in 1999, they have come to be the quintessential supergroup in the genre. When “The Metal Opera” was released in 2001, it blew away the power metal competition. Comprised of ten incredible vocalists and a grand storyline, Avantasia set out to take over the world. The next album “The Metal Opera pt. II” was the end of the storyline, and while it wasn’t as good as the first part, it was still good in its own right. The next trilogy of albums, called “The Wicked Trilogy,” is where Avantasia really hit the nail on the head. It had everything other bands wish they had: a great story, incredible musicians, and the vocal talent of Amanda Somerville. 2010 marked the end of “The Wicked Trilogy” and started a three year wait for the next Avantasia project. The wait is finally over and armed with a new set of musicians, Avantasia is back and ready to conquer the world yet again.

“The Mystery of Time” is hands down the best album since “The Scarecrow.” It takes everything from all the Avantasia albums and fuses it into one incredible piece of work. The one notable difference from past albums is the inclusion of the German Film Orchestra, Babelsberg. Having a real orchestra really brings out the epic nature of Sammet’s songwriting skills. The first song “Spectres” kicks off a journey that the listener won’t soon forget. “The Watchmaker’s Dream” continues the album with a sound that is comparable to a fusion of The Who and Meatloaf. The third track, and arguably the best track on the album, is “Black Orchid.” This song just explodes with an in-your-face riff and chill-inducing orchestra. The chorus takes the vocals to soaring heights that Sammet has never reached before. “Black Orchid” sets the new bar for symphonic metal, period. The rest of the album stays strong throughout, and there aren’t any slow parts. Other stand-out tracks include “Saviour in the Clockwork” and “The Great Mystery,” which happen to be the two longest songs. “The Great Mystery,” with its incredible, epic chorus, is a great ending to an amazing album that begs to be listened to again.

Tobias Sammet really has outdone himself with this release. Again he takes the listener on a journey that no other band can match. “The Mystery of Time” is a great album to have in the car for a long drive or even for sitting at home, letting it soak in. It has everything that a symphonic album should: amazing vocals, killer riffs, and a soundtrack worthy orchestra. The album doesn’t push the boundaries like “The Scarecrow” did, instead it tears them down and delivers something near perfect.

10/10

- Brian DuBois

Official Site - http://www.tobiassammet.com/
Facebook - https://www.facebook.com/avantasia

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Moradin - Awakening (EP) (2012)

While the rest of the world seems to be toiling in financial instability and crisis, Canada is doing just fine. Without the money problems and uncontrollable strings of violence, it leaves their citizens with ample to time to try other things. Some practice their hockey skills, in a bid to give Americans even more to be envious of. Other hone their musical chops, creating music that ranges anywhere from the post metal to the most evil of all, Justin Bieber. And while the latter may be dominating radio waves, it is the former that is the most intriguing. In discovering a band like Moradin, a four piece from Calgary, you are reminded that black metal is not a strictly European craft. And with bands doing amazing things with the basic framework of the genre, you should make it a point to keep your ears open and your mind equally so. And perhaps "Awakening" will convince you.

Despite a high speed piece of black metal drumming, the main guitar melody that opens "Spring Rain" is an enchanting one. The combination of styles, both raw and melodic, is a good one that results in a very deep sound. With all of the layers resting comfortably on top of one another, you get a to enjoy them together and separately, as you choose. It is often difficult to equate the word 'smooth' with black metal of any sort, but this ethereal blend is exactly that. After a short, clean interlude, there is a punk explosion that kicks up not only the tempo but the intensity. Furthering the beauty and beast dynamic, "A Cascade Of Spirit" opens with a solemn guitar riff, before evolving into a full band opus. This is post metal at its best, complete with a sense of cohesion that many of the black metal inspired bands miss out on. Their sound brings to mind many of the bands that helped the post rock explosion of Japan in 2004, such as Te or Toe. With the addition of melodic vocals, which inhabit a sort of imperfect beauty, you have a well rounded package.It is proof, once again, that melodic guitars can stand up to thunderous double kicks, and coexist. To have a finale like "Celestial Waters," you must let a piece of yourself go in the recording process. Through the delicate bass work and guitars, there is an investment into the instrumental that you simply can't fake. The bad shows off their versatility is many ways, punctuated by a rise from quiet interlude to massive slugfest. This is not only a great piece of music, but a well conceived and well executed piece of songwriting and structure.

Over the last few years, black metal has turned into this almost clear slate, waiting to be redefined and started anew. Thanks to the creativity and talents of bands like Alcest and An Autumn For Crippled Children, we have been given a peek at what is possible through the basic tenets. Moradin follow along those same lines, borrowing from black metal sounds of the past, and infusing their own very special, and indeed very successful, melodic tendencies. They manage to walk the tightrope between raw and refined, and allowing their musicianship to determine when to lean towards one or the other. The production work is excellent, which only strengthens the overall sound of the album itself. Too many people might still be in the dark on the latest 'post' style, but it is safe to say "Awakening" might just be the cup of Folgers coffee they needed.

9/10

Bandcamp - http://moradin.bandcamp.com/
Facebook - http://www.facebook.com/pages/Moradin/185419808169491

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Batillus - Concrete Sustain (2013)

Despite the popular belief of many people living in, or out, of New York State, Brooklyn is not only the home of hipsters or indie rock bands. Something much darker resides there, a culture of people with a penchant for heavy guitars and downright devilish vocals. One of the rising stars of the shadowy underworld is Batillus, a four piece band whose output might send many a hipster running for the border. Their clear focus on devastating riffs and larger than life soundscapes are also exactly what the Burroughs needed. On their latest album, the six track offering known as "Concrete Sustain," Batillus give you a piece of music that might create some darker imagery in your head. With deathly screams and heavy handed instrumentals, this is what the other side of Brooklyn looks like.

With a sound that hits you like the title implies, "Concrete" is a very rigid first track. While the music itself seems to be as stripped down and basic as you can get, there is a gritty edge to how it is delivered. Perhaps it is in the rattling distortion, or the raw yells of the vocals; but more than any of those is the industrial undertones that flood the track, enhancing the typical doom M.O. And while the run time may drag in the latter stages, it is a track that builds and ends organically. In that same vein, "Cast" packs a punch that would be nearly impossible to dodge. As each guitar strings shakes and vibrates through your speakers, you find yourself caught in the midst of some bizarre, devilish groove. The strained screams that rise and fall over the top of it all won't wow you with their range. But what they lack in versatility, they make up for in sheer strength of will, complementing the chunks of riffs that you're wading through. Topping out at just over eight minutes, "Beset" brings out the more traditional doom tenets, and parades them in sometimes frightening ways. With the tempo turned way down, and the distortion way up, you find yourself swimming in a sludgy, murky pool. That wave pattern only grows in size and scope, with deep growls adding to the bass heavy mix. There are moments, particularly in the outro, where you fear your speakers might not be able to handle the load.

It would be hard not to peg "Mirrors" as the strongest track on the album, as it sees the band at their unrestrained best. Everything has fallen into place, leaving a huge wave of sound pouring down on you. But it isn't an unbalanced piece of chaos. Rather, it is a methodical, almost surgically precise sonic attack on your brain, one that has potential to leave you drooling if the volume is too high. With each buildup, the band sets the table full of fine china, then smashes it all with one massive down beat. The bowel loosening growls that are heard hear would scare the squeamish.The industrial tones you witnessed earlier return on "Rust," complete with a very deep groove that may come as a surprise. It is the layering of instruments that makes this track some bombastic in sound, but it is the single pieces, taken at face value, that makes it so good.Bass and guitar are fused together as one, giving rise to an even more aggressive low end. The last minute would be enough to rattle the foundation of your house. But it is "Thorns" that might leave the most lingering impressive. Far more mellow, and even introducing some pretty ingenious melodies to the mix, this eight minute behemoth shows another side of the band entirely. Spacey and atmospheric, the band accomplish something here that helps to solidify the album as a whole.

It would be easy to stereotype an entire city, state or country based solely on the little things we know about it. But we've learned. Not everyone in Norway paints their face and screams in a black metal band. Not all Germans are obsessed with techno. And no, not everyone in Brooklyn lives in a commune and has a rooftop herb garden. Some do; but not all. Because despite what you may see in your travels on the internet, Brooklyn's music scene is as diverse as the people who live there. Batillus are a representation of one of the many sub cultures that exist, and they remind us that heavy music comes from all over the country, and all over the world. Through their six tracks and nearly forty minutes of raucous, blaring riffs and booming drums, they may have even painted Brooklyn as the new home for industrial doom metal. Take that, you four other Burroughs!

8/10

Official Site - http://www.batillusdoom.com/
Facebook - http://www.facebook.com/batillus

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The Podcast - Episode 76 (On a scale of 1 to 10)

Starting to gain some momentum again, the reviews are coming fast and furious. Another packed week left us with a lot to ponder, and a lot to listen to. On this shiny Sunday, Darrell sits back to talk about the work of Scottish stoner rock act Bacchus Baracus, the music bonded in friendship of Treeburner, the grinding of metal on metal by 00y 18 and the big winner of the week, a symphonic masterpiece by Derdian. Brian's review of the new Heavatar album, a Van Canto offshoot, reminds us that side projects aren't always worth hearing. And in an effort to clarify any questions that have been received, Darrell takes a look at the base 10 rating system we use, and how to translate what those numbers mean.

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Derdian - Limbo (2013)

Many documentaries have explored the relationship between modern symphonic metal and the classical music of the 18th century and beyond. While the correlation is certainly there, it remains to be in varying degrees. While some bands have adopted only the lighter side of their classical roots, through charming violins and flutes, others have taken on the entire scope of the genre. In Milano, Derdian have built a name off of infusing classical compositions into their guitar and drum heavy metal mix. And while they do, obviously, rely on synthesized orchestrations and instrumentations, they do it in a way that not only gives credit to the past, but gives rise to the future. With a career spanning nearly 15 years, there has been time to perfect a combination and contrast of styles. With the release of "Limbo," their fourth studio album, they have found a balance that few can claim, and even fewer can prove.

Unlike many other symphonic intro tracks, "Carpe Diem" is not the subtle, flowing instrumental; it is a thunderous icebreaker that sets the tone for an entire album. Packed into a minute and a half is a plethora of percussion, vocal chants, and guitar wizardry, all leading directly into "Dragon's Life." It is here that the pulsing gallop of drummer Salvatore Giordano is felt in full force. Not only does he set the pace for the track as a whole, but his robot-like precision is the stick for all to be measured. As a result, the rest of the band follows suit, from the whimsical keyboards of Marco Garau to the pitch perfect bass work of Luciano Severgnini. the band flirts with perfection, from verse to chorus and back again, walking the fine line between thrashing riffs and delicately balanced orchestration. Following in the same footsteps, "Forever In The Dark" is a second straight powerhouse, this time taking the operatic tone that can transform a metal track into some much more inviting. The duel guitar melodies, constructed by Henry Pistolese and Dario Radaelli are dizzying in their speed and accuracy. Together they form a victorious tone that permeates the entire song. Hidden within this seven minute frame is a bevy of subtext, delivered to your ears by the entire cast of characters. And to somehow make it this far without mentioning the name of Ivan Giannini, vocalist extraordinaire, seems like a major oversight. His range alone could turn a mediocre work into a masterpiece, though that isn't necessary here.

The starring role on "Heal My Soul" goes to Garau, whose keyboard work in both the lead and background capacity is key to making the machine work. But it only begins there; having a stable foundation melody allows the mix to grow in both sound and strength. By the time you reach the top layer, Giannini's soaring vocal, you have a structure of the utmost beauty. And just when the length of the track, just shy of seven minutes, seems to be a con, a light piano outro ties it all together. And while the guitar acrobatics of "Light Of Hate" might seem cliche on first listen, they are anything but. From those whirling riffs builds something far more involved and intricate, almost the Cirque du Soleil of symphonic metal. Whether it is the break neck speed or the daring combination of vocal melodies, there is a staggering amount to digest here, punctuated with an incredible final minute. Subsequently, the almost out of control solos of "Terror" start a fire that few bands could harness and contain. But here, that is a welcomed result. It would seem that Giannini is at his best when the heat rises around him, something that his bandmates do time and time again. Unlike so many other symphonic acts, the bass lines have a chance to shine through it all, thanks in part to the skills fingers of Severgnini and his ability to do more than just pluck an open string. It is the title track, however, that best displays a band at the top of their collective game. From a jazzy piano intro, one which repeats sporadically throughout, to booming thrash metal, this is high octane execution done to perfection. Even an appearance by some heavier vocals is a wonder to behold, taking things down a much darker path.

The much sobering opening of "Kingdom Of Your Heart" is a soulful twist on the much belittled metal ballad formula, adopting a more classically inspired sound to make it all work. But that sweet, baby faced intro doesn't last long, erupting into a full blown crescendo of rapid fire drums and guitars. Giannini shines brightly here, his voice matching the guitars in strength and style. This becomes key, as the music cuts back and forth between sullen and rumbling, and he must do the same. This may not be the only time that skill is necessary, but it shines brightest here, as well as on "Strange Journey." The pairing of these tracks seems odd at first, but works astonishingly well. While the latter may seem to be a more stripped down effort, it is a nice change of pace. The buildup seems to be for "Hymn Of Liberty," which begins as a soft crooner. Two minutes in, however, the entire outlook changes, and you are handed a gift of symphonic metal glory. Tempo shifts, mood changes, and blazing instrumentals of all shapes and sizes are here to greet you. That they are used isn't the only victory; the fact that they come together in a harmony of sounds and structures outweighs anything else. To say that the closing track, "Silent Hope," is the most melodically charged song on the album isn't an exaggeration. Giannini is the conductor here, leading every step of the way with his far reaching vocal prowess. But it is the guitar and keyboard melodies scattered throughout this seven minutes that will tickle you long afterwards. The result? A memorable summation of all things accomplished on an album.

Somewhere along the way, people in and around music forgot that classical music in all of its forms isn't just about soothing orchestrations and fluttering harmony. There is a richness to it that makes it versatile; a veritable sponge. So, it would only seem fitting that the symphonic metal movement has lost a lot of the punch that made it so easy to love. Luckily, Derdian are going against the flow of the mainstream and deliver unto all of us an album that is derived from the beauty of classical movie, while keeping the heavy, distorted tenets of thrash metal fully in tact. It's as if they are jogging our memories of a lost time in our lives when heavy handed musicians played thunderous concertos full of low end sounds and stunning songwriting. Whether that description reminds you of 2009, or 1709 is completely up to you. But I would venture to say "Limbo" could fit perfectly into either. 

9/10

Official Site - http://www.derdian.com/
Facebook - http://www.facebook.com/Derdian

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00y 18 - Stahlstadt (EP) (2013)

Formed in 2011 as a three piece, 00y 18 are down to one man; Michael Zimmel may be the sole member remaining under the name, but with his multi-instrumental talent, it would seem he is never alone. Playing everything on this release from guitar to bass, and a blaring drum kit, Zimmel has crafted a three song EP that will be used as a foundation for things to come. It is in his influences, however, that this Austrian proves to be wholly unique. Looking to recreate the sound produced by steel mills, the overly metallic ringing that inhabits all three tracks on "Stahlstadt" may seem grating at first, but begins to make sense the more you delve into his thought process. Recorded entirely without the aid of a professional studio or engineer, this is a raw look into the mind of one man, as he begins a journey all his own.

The dynamic of "Das Stahlwerk" is an interesting one, with the mid range and treble far outweighing the low. Floating somewhere in the middle of drone and instrumental doom, there is certainly an ethereal quality to the way each of the pieces comes together. It is simple and straightforward, but sets a mood for the track that follows. And with "Linz," Zimmel takes the restraints off and thunders through a nearly five minute ride that seems to walk the line between controlled and chaos. The early moments fall into the former, albeit with a mix that is slightly out of balance. The sizzle of the cymbals creates a murkiness that, while not entirely bad, buries so much of the detail to the guitars. The jagged edges created here do, however, reinforce the "steel mill" atmosphere he seeks. With the album done completely in house, he inconsistencies in the mix can be easily forgiven, as they far exceed what many could do without the aid of a full studio. The closing track, "Zerstörung," has the most complete sound, with a nice piece of drum work hammering home the main riff. This thumping beat creates a great stomping effect that is only strengthened but a plucked bass line. Around the midway point is where Zimmel shines brightest, with fast paced guitar strumming layered on top of that massive beat to form an almost post-black sound.

Everything has to start somewhere. For Michael Zimmel, this EP may be the perfect starting line for the future of the 00y 18 project. And that leads to two different views of this offering. Taken as the start of something bigger, as he says on the bands Bandcamp page, "Stahlstadt" is a worthy foundation. All of the signs are there, and with an intense focus on songwriting and recording, you could make a case for greatness down the line. Taken on it's own merit, there are certainly faults to be found, both big and small. While home recording does make it difficult to get that crystal clear mix and balance, you find periods here where the drums are far too overbearing, and leave the rest of the instrumental buried in a sea of sizzle and pops. Which view becomes the accepted one is solely dependent on Zimmel and his path of choice. The next release may truly define this moniker.

6/10

Bandcamp - http://michaelzimmel.bandcamp.com/album/stahlstadt
Facebook - http://www.facebook.com/pages/00y-18/107081346067467

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Heavatar - Opus I - All My Kingdoms (2013)

Side projects have always been a hit or miss when it comes to metal. There have been exceptional ones (Avantasia) and there have been not-so good ones (Solution .45). A lot of the other side projects just fall somewhere in between. Heavatar happens to be one of the bands that fall in between. Led by Van Canto singer Stefan Schmidt, Heavatar does many things right and some things that should have been left on the studio floor.

I for one am a big Van Canto fan. There is nothing more incredible than a power metal band that consists of all acapella singers and a drummer. They’re cover of Nightwish’s “Wishmaster” has to be heard to believed. Naturally when I found out that he put a band together with ex-Stratovarius drummer Jörg Michael, I was excited. When the first song “Replica” kicks on, it’s evident that Heavatar is going for a neo-classical sound. Directly inspired by Beethoven and Bach, it works. Stefan’s voice sounds like a much better James Hetfield and it fits perfectly with the epic music. The classical sounding piano in the bridge of “Replica” is outstanding and it creates a vibe that stretches for the majority of the album. The next track “Abracadabra” has a very old school metal sound to it and it keeps the neo classical flow going. The solo in this song is very reminiscent of old Stratovarius and one of my favorites on the album. The title track “All My Kingdoms” is a treat for the ears and the very best on the album. From the intro to the soaring chorus, this song rips it up.

The two tracks after “All My Kingdoms” keep the flow of the album, but when it hits the sixth track and on, it slowly falls apart. “Born to Fly” is too cheesy for its own good. “Luna! Luna” sounds like a filler song that doesn’t do anything to help the album. “The Look Above” is supposed to be an epic 11 minute song, but it fails to deliver and it ends up sounding very boring and very pretentious. It goes absolutely nowhere and it has no payoff. The last track “To the Metal” is a complete dud. It ruins everything that the album stood for on the first five tracks. It has nothing to make it a closing song on an album. What were they thinking? The guitar work is lazy and the lyrics are atrocious. Was it supposed to be some kind of joke?

As a debut album from a band with so much talent, it’s hard to recommend this wholeheartedly, because of its short comings. The first half of the album is incredible. The last half is a throwaway. The album wouldn’t be as bad if it wasn’t bookended by “To the Metal”. It should be a rule and album can’t be ended with the worst track. If anyone is curious about how Stefan sounds with an actual band behind him, it may be worth a listen. As for other casual power metal fans, look elsewhere.

6.5/10

- Brian DuBois

Official Site - http://heavatar.net/
Facebook - http://www.facebook.com/Heavatar

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Treeburner - Treeburner (EP) (2013)

There is a growing trend in music again, one that was prevalent in the early days of rock and roll, and the punk movement; friends playing music together. It had, for a long while, been replaced by manufactured boy bands, and even pieced together rock and metal acts that were more a creation of the labels than the bands themselves. So when you see that Treeburner, a now four piece outfit from Memphis, began as friends who wanted to jam, there is something immediately relatable. Without the music business jargon, and hired gun egos, you have a band that is left to their own means. Music can be written in extended jam sessions, it can be perfected and changed without worry about what the label heads will think, or how many units it will move. And, thus, you get music made without boundaries. With a self titled EP that feels natural and sounds real, this is one friendship that has its rewards.

There is a soothing quality to the opening track, "The Broken Sun," that comes from the combination of strummed clean guitars and the almost tribal drum beat in the background. It is short, sweet and simple, but a good start to any album. Immediately going in a different direction, though, "Heliocentric" is a raucous affair coated a thick layer of distortion and sizzling cymbals. The raw power of the main riff would be enough to keep this one ringing in your ears for days, but they don't stop there. Out with the grit and grime, and in with a bluesy piece of guitar work. It is these moments that the full effect of what the band is trying to accomplish comes through clearly. But it is only when the two sides come together - clean solo and massive, crunching aesthetic - that you can't help but nod in approval. The addition of vocals on "Nebula Raptor" might not be exactly what you expected. In the single lines, they are little more than aggressive yelling. When all three band members, minus drummer Michael Williams, get involved, there is something eerily enjoyable about it. They do little to help the song itself, though, as that honor is taken by a ripping guitar solo in the latter half, followed by some deft bass work.

It is "Cygnus" that sees the creativity level rise and the cohesiveness of the band come along with it. Both guitarists Tobe Todd and Daniel Monaghan lay down their share of lightning riffs and heavy grooves, flanked by Wayne Todd and his low end precision. But it is Williams who exercises his right to rock more than the others, laying down a cascading stream of toms, snares and cymbals that will flood your speakers. Somehow, there is still a semblance of balance to be had here, with no one instrumental taking too much of the pie. With the longest track saved for the end, "Magnet Monolith" is given the task of tying things up in a neat little package. It does so in several ways; not the least of which is the renewed maturity of the vocals, which comes as a pleasant surprise. With the instrumental adopting a more firm sludge nature, the three headed monster of vocals finds a good home. Unlike so many other releases, the breakdown of music into chaos in the closing stanza actually works here, with ringng feedback and pounding drums all that are left at the end.

Whether or not you are musically inclined, we have all thought about gathering up our closest friends and starting a band. Some of us have even done it, like myself. You might not have struck it rich with a big contract or sold out tour, but there is something you can always look back on and enjoy: you probably had a good time doing it. And maybe, just maybe, you wrote a few good tunes along the way. Treeburner are living that dream right now, making music as bandmates and as friends. You get the impression, thanks to these five tracks, that when the recording stopped, they cracked open a drink and sat down together and just talked about things; the time you fucked up that solo, or when you cracked a drum stick and it flew across the room and hit me. And in those times, you realize that making music with friends beats session musicians any day. Now we can wait and see if this can go further.

7/10

Bandcamp - http://treeburner.bandcamp.com/
Facebook - http://www.facebook.com/treeburnermemphis

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Bacchus Baracus - Tales Of Worries, Woes & Whatever (2013)

Scotland's Bacchus Baracus don't pull any punches. They aren't in the business of hiding who they are, what they love, and what they do. Their own bio reminds us that they were formed in 2010, thanks to a "mutual love of beer, joints, whiskey, fuzz pedals and all that's groovy and down tuned." It makes sense, then, that this stoner rock four piece from Glasgow take you on a hazy ride that seems to bend space and time in the process. And whether or not you choose to supplement your journey with a beverage or herbal remedy, you are sure to be swimming by the time the 46 minute mark hits. Because while stoner rock may be their genre of choice, there is a whole lot more on display. "Tales Of Worries, Woes & Whatever" is one hell of a story with a soundtrack that might leave you with a hangover tomorrow. Sit down, buckle up, and be prepared to go the distance if you want to earn the ultimate reward.

With a fast paced, punk fueled energy, "Yo Wanna Deal" is the ideal album opener.What the band misses with intricacy they more than make up with raw, rock and roll riffs. Frontman Quzzy lays down a raspy vocal line throughout, bringing to mind the heyday of the American punk scene of the 1980's. The grit and hazy tone of the guitars sets this apart from days of old, clinging to the modern stoner movement by a thread. "Memo," on the other hand, is a stoner rock anthem for the new millennium. There is a massive groove attached here, one that would make the most addicted Rock Band or Guitar Hero fanatic grin with delight. More than that, though, is the cohesion between guitar, bass and drums; a lock-step attack that hammers home every string, every chord, and every pounding drum snap. As the opening riff of "Man Of The North" comes into play, you are now witnessing the third track, with the third style change. This is a distorted stomp at its core, with a screaming vocal leading the way. But it is the in between moments that ring true most often; an effects tinged bit of guitar work tying together verse and chorus. It displays a grasp of subtlety that you might have otherwise feared absent. Yet in the same breath, they can deliver the polish free punch in the face known as "Mammoth." Reminiscent of the tongue in cheek work of Devin Townsend, but with a grimier twist, this may prove to be the track that stays embedded in your head longest, even if it isn't the best track on the album. Drummer Duggy earns his stripes here, laying down a blistering combination of snares, toms, kicks and cymbals.

As the pace slows for "Love Is A Prison," you find a different dynamic entirely. The murky aesthetic created here takes you down a dark, fuzzy side road to the main highway of the album. Though the run time seems like a giant leap from the three minute tracks you heard before, it is padded out by two minutes or so of blaring feedback and squealing distortion. For better or worse, it serves as an outro, as well as an intro to "No Name." Much like the aforementioned "Memo," there is a strong stoner tone here, thanks largely to the main guitar groove and the way it plays so nicely with the melody free vocals. This is the band at their most pure simplicity, which falls right into their wheelhouse. You won't find any wild solo work here, nor will you care. This is straight ahead full, with a puff of smoke to boot. Venturing into the doom side of the genre is "Fuck Knows Man," a down tempo, almost plodding groove fest. Without ever hearing the song, you could probably formulate what it might sound like, based solely on their work to this point. And predictable as it may be, it manages to be entertaining as well. And then there is "Sweet Smell," a three minute song expanded to over 14 minutes with the help of wild instrumentation, electronic effects, and a whole lot of imagination. Easily the most impressive instrumental work on the album, this is a victory in and of itself.

The four piece known as Bacchus Baracus could become a cautionary tale for future generations of music fans. The old adage that patience is a virtue has never been more identifiable than here, on this eight track identity crisis known as "Tales Of Worries, Woes & Whatever." As each track passes, you think you have it all figured out, and you might as well just stop right there and move on to the next album burning a hole in your hard drive. Then the sound changes. And again. And again. Eight songs, connected only by the most minute grungy undertones, that bare little resemblance to one another. And yet, at the same time, the flow from one end of the album to the next makes all the sense in the world. Once you convince yourself to sit back and just ride along, an interesting world of styles and tempos awaits you, culminating in a psychedelic acid trip of a finale. And to think, YOU thought this was a one trick pony, and YOU wanted to go listen to power metal. Good thing you stuck it out.

8.5/10

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

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The Podcast: Episode 75 (Add another candle to the cake)

Two years in, and no signs of slowing down. With original members gone, and new members on board, we are the Van Halen of metal reviews. But enough about us, let's talk about metal. Another week has passed, and five more reviews were shoved down your neck hole. Jarun gave us their take on modern blackened metal. The Gates Of Slumber gave us a free EP that helped to restore confidence in American doom. Brian heaped praise onto Tyranny Of Hours for their strong symphonic debut album. Suvilehto showed us what a 19 year old from Finland is capable of. And Fister finished the week with an album that is scary, and good. It's scary good. All that in a week? Damn, it feels good to be a gangster.

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Fister - Gemini (2013)

If you are a living, breathing metal fan, which I would assume all of you reading this site with any frequency are, there is a piece of you reserved for the doom metal style. It may be small, or it may be proportionately large, but it is in there somewhere. Regardless of your level of adoration for the down tempo arts, there are certain bands that you simply have to hear, for one reason or another. My Dying Bride, widely considered to be the godfathers of modern melancholic doom metal, are one. Swallow The Sun are another. And Fister is another. While the last of those three may seem unfamiliar, it won't be for much longer. Following the release of their two previous EPs, "Violence" and "The Infernal Paramount," it seemed as though something bigger was in store for the St Louis three piece. It would seem that 2013 is their time. On "Gemini," a seven track and forty five minute full length effort, you find a band with the power to destroy and move mountains; or at least make you feel like you could.

It takes only a fraction of a second to feel the first cracks in your bones, as "Antitheist" brings to the table an immediately noticeable focus on clarity. That same crawling tempo you've grown to love from the band is featured here in a profoundly impressive way, with each massive kick drum pounding into your rib cage like a nail. Don't be misled into thinking you are free of melody though; even in their most bass heavy moments, there are discernible touches that make the track a success from both a writing and replay value standpoints. And it is the vocals that round things out, as jagged and harsh as they may be. Look no further than the seven minute mark to find near perfection in form and delivery.You'll find a surprising change of pace to open "Suicide Hessian," a high speed thrash segment that is sure to elicit a nod of approval. While it may only play out as a vessel for the slower than death verse sections, it serves a great purpose in creating contrast. As the shortest track on the album, barely missing the five minute mark, it also boasts a very dense piece of songwriting. The short run time means more packed into less, something the band does with precision timing throughout.

It might be "III," however, that captures Fister at their best. For it is low and slow where they excel, leaving only the grating vocal lines to guide you. With the riffs now slow and torturous, and a voice that sounds as though it has escaped the pits of Hell, it's as if you can hear the church organs condemning you to eternal fire. Even more stirring is the way the track fades away, lingering before it goes completely silent. Softly plucked acoustic guitars and piano keys open the title track, soon igniting something far more sinister. The haunting melody that waxes and wanes throughout is one that could linger for weeks and months on end. It brings to mind some of the evil acoustic work that Opeth has mastered, but done in an entirely unique way. It builds to a roar on two separate occasions, but the time between those blasts is as important as the explosions themselves. It creates a mood that is as rare as it is breathtaking. But as it fades into your rear view, you're left with "Sinking Estonia," a return to the destructive waves of screaming that are known to scramble your brain matter and induce spontaneous testosterone production in both men and women. This is heavy music, but not in the cliche chugging sense, but rather a perfect recipe of timing, tempo, and musicianship. The outro alone is worthy of a medal.

If you can't handle the weight thus far, you had better stay clear of "Permanent Chemical Psychosis." Caution thrown to the wind, there is a tremendous amount of unbridled aggression to be enjoyed here, whether it is in the combination of screeching and screaming vocals, the sheer density of the guitars, or the rattling you feel in your rib cage with each down beat. It's form and function at work, with not a single note left adrift on its own, or left even a touch out of place. This speaks to, and is a credit to, the perfectionist approach you'll learn of Fister as individuals and as a band. "Seriously, you're fuuuuucked." There is a slightly different sound in opening of "Invisible Corpse," a clear bass line and a simple drum beat starting the buildup. As the guitar joins, you find an atmospheric quality to what they've built early on, before being completely obliterated by the first in a series of blood curdling screams. There is always something to be said about making a lasting impression, and the closing track is always a fitting place to do it. So with each scream, growl, and wail, they are becoming engrained into your mind, a a completely terrifying piece of American doom to carry with you wherever you go.

We often wax poetic about the standing of American bands in the worldwide doom scene; with countless bands from foreign lands held in a separate tier far too often, it would seem that we are due for a revival of sorts. After "Violence" and "The Infernal Paramount," it was clear that Fister would be a part of this rebirth. But after listening to "Gemini" for several days before recapping it, an idea emerged. Crates are to be packed, filled to the brim with physical copies of the album. We will load them onto cargo planes, flying over Europe, Asia, Australia, South America and Canada, dropping our precious cargo onto the unsuspecting people below. As metalheads across the globe get their filthy mitts on this sparkling piece of plastic, heads will be turned, and eyes will be opened. And inside each individual CD case will be a simple slip of paper, handwritten with a message: "This is American doom. You've been warned."

9.5/10

Bandcamp - http://fister.bandcamp.com/
Facebook - http://www.facebook.com/fisterdoom

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Suvilehto - Syövereistä (EP) (2013)

Making a metal album with the help of specialized musicians is hard enough. Doing it by yourself, with your hands on every instrument, in every track, and every second is sometimes unthinkable. But much like the works of Appalachian Winter, Sam Locke, and Nimbatus, there is wisdom in the logic of the one man band. Finnish instrumental wizard Ukri ''Uge'' Suvilehto has worked tirelessly to join the new wave of solo powers. And with his debut EP, one that will have to tide us over until his first full length later this year, he reminds us that while the challenges of doing it yourself are many, the rewards are equal or greater. On "Syövereistä," he lets you take a short peek into his mind, and leaves you thinking that this might be the start of something big.

There is always something to be said for an understated, ominous opening, like the one you'll find on "Tajunnan tyhjyydessä." Even the most slight symphonic touch can build a mood, one that can evoke the full range of emotion. But it is in the first seconds that the hair on your arms will stand, only to be ripped off one by one in the tidal wave of double kicks and screams that follows. His vocal delivery, particularly in the more guttural sense, is impeccable. Backed by a bass heavy mix of guitar riffs and pounding drums, there is a sense of imminent evil. But it is the way he transitions from these massive exercises in chugging and brutality into the sweeping melodic passages that makes this track more impressive. With that said, the slightly off the wall instrumentation of "On vain syövereissä hukkunut todellisuus" would no longer be a surprise. The combination of sounds and instruments in the intro alone would make many a metal fan scratch their head in confusion. The fact that it works, and works well I might add, is even more puzzling. Not one to rely on gimmicks and chicanery, he gives you movement after movement of pummeling death metal efficiency without telegraphing his next move.

Read that last sentence again. Even when you think you have witnessed the complete spectrum of talent at play, "Haudattua eloa etsien" changes it once again. Beginning with a swirling acoustic passage, you are transported into a different realm of sound. Clean, crisp and airy, the guitar work is unlike anything the album had displayed to this point. And while it doesn't last long enough to disturb the flow of the music, it does set the table perfectly for a nearly flawless folk metal-esque gallop. Keyboards and string arrangements are all the more important here, adding a tremendous depth to the mix, along with the most refreshing bit of whimsy. Lest we forget, this is a melodic death inspired album, and it reminds us of this time and time again, with some distorted chugging in what could be called a breakdown. But this isn't mindless brutality, but focused aggression.

We've all heard an egotistical singer or guitarist levy the great one liner, "I AM the band." But for Suvilehto, he can make that proclamation with pride. The work he has poured into this EP has not fallen on deaf ears. Each separate piece is worthy of praise; from the precision of the drums, to the songwriting, he has done it all to the highest standard. For a showcase EP like this one, it is important to leave the listener with something to hold on to. You've been given a taste of not only his talent, but where he can go from here. And if these three tracks are any indication is to where this journey will lead us in the future, it's safe to say there will be quite the crowd anticipating the conclusion. The successes on "Syövereistä" can speak for themselves, as they give rise, once again, to the power of one.

8/10

Bandcamp - http://suvilehto.bandcamp.com/
Facebook - http://www.facebook.com/SuvilehtoOfficial

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Tyranny Of Hours - Tyranny Of Hours (2013)

Symphonic metal bands are always a part of my music repertoire. But more often than not, I’m listening to a female fronted symphonic metal band. I just feel that the operatic female voice compliments the music very well. To put it in other terms, It makes it sound more “epic.” I thought I heard all there was to offer at this point for that genre. That is, until I heard Tyranny of Hours. First of all, they’re from the United States; this kind of symphonic metal usually comes from Europe. That’s already an impressive first start. Second, their amount of passion on this album is unmatched. Epica’s, Xandria’s, and Nightwish’s debut albums weren’t nearly this good. It sounds like a band in their prime, rather than a band starting out.

After the intro track, the album explodes with “Above the Salt” and it’s really evident that this band means business. They have a much heavier sound than most in this genre, but it works. Michelle Mattair’s vocals compliment every instrument perfectly. The drummer, Larry London, is very impressive as well. He has a progressive metal vibe that makes the songs sound more full of life and vibrant. As the album goes on it gets more and more impressive. The single, “Amber,” is a killer song that is sadly overshadowed by the stellar tracks “The Hapless Wand” and “The Path That Lies Apart.” Those tracks are two of the best that  symphonic metal has to offer in general. They hit like a ton of bricks and don’t let up. This is one of the only albums where skipping the short, intermission tracks will kill the whole vibe of the album. Without “The Warm” or “Transvaal Sphere” it wouldn’t have the cohesive, fulfilling sound that it has.

There is no doubt that this is one of the best debut albums in eons. They put a lot of hard work and dedication into this and it shows. The album never has a misstep and it never lets the listener go. It makes me wonder how much more they can push themselves to top this on their next album. The only way I could see that happening would be making the vocals sound fuller. She has a beautiful voice, it just needs to stand out a little more. Besides that little bit of criticism, this album can’t be touched. Good luck finding a debut album that hits this hard and is this awesome. If they ever play around this area, count on me to be the first in line.

8/10

- Brian DuBois

Official Site - http://tyrannyofhours.net/
Facebook - http://www.facebook.com/TyrannyofHours

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The Gates Of Slumber - Stormcrow (EP) (2013)

Giving credit where it is due, we all owe at least a head nod in the direction of the folks at Scion A/V, who have done a service to the metal community through their free EP series. The latest installment is a much welcomed new release from Indianapolis doom trio The Gates Of Slumber, a five track EP titled "Stormcrow." Their first since 2011's "The Wretch," the leaders in the new wave of American doom are showing no signs of musically aging, some 15 years after frontman Karl Simon began the project. An intriguing mix of classic sounds and modern thinking, the effort maintains the signature style that has become synonymous with their name. Recorded once again by Pelican's Sanford Parker, Simon and company lay down five tracks spanning nearly thirty minutes of clouded, murky riffs that make the free price tag seem almost criminal.

Completely filling the lower register, the guitars on "Death March" are as weighty as they are raw. There is an expectation, based on the density of the riffs, that when the vocals begin that they will be harsh in nature. But as guitarist and vocalist Karl Simon opens his mouth the first time, you get something far more rewarding. His partially melodic, yet beautifully unrefined tone solidifies the mix. It paves the way for ringing bass strings plucks, courtesy of Jason McCash, and the down tempo groove that builds from there. This is the new wave of American doom metal at its finest, clouded in a smokey haze of distortion. Infusing touches of bluesy southern guitar to the fold, "(Devil's Grip) Driven Insane" boasts a nearly two minute intro that could easily become one of the most hummed instrumentals of the year. Simon's vocal echo those of Ozzy Osbourne in his intelligible years, melodic yet haunting. But it is where the track goes from here that is the most exciting; a high tempo, high energy bridge is enough to light a fire under the ass of the laziest metalhead. It completes what is a song begging to be repeated for days on end.

There is also something to be said for the pure simplicity of a song like "Son Of Hades," trading in twirling riffs for more basic patterns. This is where delivery becomes key, something this band has in spades. Downtempo and devilishly catchy, thanks to great vocal hooks ("we are alone, we are..."). You'll find something unique in the opening verse to "Dragon Caravan" that may strike you as familiar. Simon's voice occupies a space in the middle ground between Pantera's Phil Anselmo and the aforementioned Osbourne, bringing to mind the once planned collaborative album between the former and Black Sabbath guitarist and certified God Tony Iommi. Each fiendish riff pulls you farther down into the pits of Hell, accompanied by the sizzling of cymbals at the hands of Bob Fouts. With the pace now slowed down to a crawl, or perhaps even slower than that, "Of That Which Can Never Be" recites the doom metal textbook for you in the most impressive way. It is a reminder that melody is not absent from the genre, but must be used and constructed carefully for the best possible results. But in voice and guitar, Simon brings the bleakness to the forefront, backed by one of the most rock solid rhythm sections in the modern American scene.

With the amount of utter garbage flooding online retailers and brick and mortar music stores, the musical landscape has changed in the US in a very depressing way. People are less willing to sped their hard earned money on music, mainly as a rebellion against a system they find unjust. Right or wrong (i.e. wrong), it means there must be alternative ways of getting music to the masses. The Gates Of Slumber are an established act with rabid fans across the world; yet this EP is being handed to you, for free. This isn't a b-sides collection or some measly live set. New music, great music, for the price of a click of the mouse. Sure, there will always be people who will complain about a handout, but the Scion A/V releases have made that harder and harder. And this might be their best so far. If "Stormcrow" doesn't change the way you feel about American doom metal and the way it gets delivered to you, it might be time to move to Canada.

9/10

Official Site - http://www.slumberingsouls.com/
Facebook - http://www.facebook.com/thegatesofslumber

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Jarun - Wziemiozstąpienie (2012)

Based on the small cross-section of modern black metal bands that come across our doorstep, it would seem that there is no genre of metal more in flux than that. We all know the standard black metal sound; the tin can recording, completely raw, and sometime utterly unlistenable. But as the winds of change blow through, black metal is not immune to their power. Melodic elements, symphonic touches, folk influences, and even acoustic passages have all made their way under the black metal umbrella. The resulting evolutions have changed the way we listen to the music itself, and our expectations of where it goes from here. By adding in all of the above, Polish five piece Jarun have followed in the footsteps of bands like Dammerfarben and Ogen, in hopes of taking black metal out of the past, and catapulting it into the future.

The opening guitars of the title track, "Wziemiozstąpienie" are fast and anything but furious. The first thirty seconds may lead you to believe you are listening to something entire different than reality, perhaps even a folk rock album. But it is this versatility that forms the backbone of the album. Intermittent periods of softly plucked guitars help to offset some of the more bombastic black metal sections. The balance is an interesting one, diminished only slightly by a mix that may be leaning too much to the low end. the double kicks crash through your speakers like boulders, sometimes burying the guitars a layer or two too deep. Add in harsh vocals, and you have something over the top and destructive. With the flip of a switch, though, you are in a different place entirely. Rain falls and clean guitars are plucked and layered together on "Deszcz." While it only serves as a lead-in to the crushing first verse, it again reinforces the need for second and third dimensions. Those clean passages open the flood gates for wave after wave of distortion and lightning fast riffs, some of which are almost overwhelming in their weight. What you also have are tracks that are self contained, coming full circle in their own boundaries.

The aforementioned level issues are more prominent on "Prawdy Ulotne," where the bass and kick drums almost dominate the entire mix. While a bass heavy structure isn't necessarily a downside, there is a fine line to be walked. With the vocals muffled into that murky cloud, it leaves only the faint acoustic guitars to peak through and make a true impact. This isn't to say all is lost, however, as the band rebounds with some deft guitar work in the latter stages. For a quick respite, the breathtaking "Przebudzenie" is perhaps more intricate and enjoyable than Putumayo has ever put together, all done with a darker touch. It is a very stripped down effort as compared to the rest, but it becomes the perfect pallet cleanser at the midway point. Just as quickly as you found yourself soothed, you are ripped awake by the blast beats and screeching guitars of "Niech moje słowa będą ogniem," a track that sees the band achieving the balance that had eluded them thus far. Thanks to a refined piece of volume leveling, each separate layer can now be heard and digested together, rather than trying to pick them apart for clarity. It leaves the vocals now feeling strangely satisfying in all of their grit and tension.

At only three minutes, "Powrot" is one of the shorter offerings on the album. And much like the previous interlude, it provides a bridge from one section of the album to the next, through minimal distortion. If nothing else, it feels like the most well constructed effort on the album, and boasts what may be the best guitar and vocal performances to be had. It comes off more to the deathly side of the spectrum, rather than a blackened folk, a style that suits the band well. As is often the case, a shorter track is paired with the longest, in this case the seven minute "Zamiec." With the renewed contrast of clean and distorted sections, the band further their signature sound, and do it with a tremendous amount of confidence and strength. The alternating passages keep things feeling fresh, even when a guitar or bass line is repeated for a chunk at a time. And which each change of tempo comes another explosion to get your head moving along. But even more than that, the solo that fills out much of the bridge is a monster, and finally showcases some of the more intricate musicianship. The rains return once again, and a swaying pair of guitars takes you through "I znowu zima..." to your conclusion. The healthy dose of American blues scattered throughout the track is surprisingly, and welcomed.

The globalization of metal, as a genre, has led to many an advancement in sound, technology, and quality. So as we see countries pop up on the metal radar, we can only look forward to the next step. Poland seems to be leading the Eastern European metal scene, thanks to the work of bands like Jarun. Their work on this album shows that they are not imitators, not charlatans, but innovators looking for their own path. Sure, they embody a lot of what made black metal as popular as it is today. From their roots as a one man band, into the five piece rising stars they are today, he only constants are quality musicianship and a keen ear for marrying opposites. An extra bit of care at the soundboard and more time to gel together and become a solidified unit, and "Wziemiozstąpienie" is a victory just shy of a masterpiece.

8/10

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

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The Podcast: Episode 74 (Off to a great start in 2013)

When an album shakes you to your core, you know you've witnessed something special. This week was an impressive one all around. We started with veteran progressive power metallers DGM, releasing perhaps their best album of their 19 year career. The fabled Jizzlobber impressed, with a stoner sludge style on their self titled EP that could only come from France. An e-mail from Schysma opened our eyes to some brilliant storytelling on an EP, "Imperfect Dichotomy," that shows us the whole is bigger than the sum of its parts. And finally, Omnium Gatherum made a clear declaration to be the album of the year, and we are only two full months in. What a time to be a metal fan.

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Omnium Gatherum - Beyond (2013)

Every now and then, an album stops you in your tracks. You have things to do, places to go, other albums to hear, but you just can't put this one down. It happens fairly often in the world of Sorrow Eternal, which would make sense based solely on the number of albums we hear and digest on a weekly basis. And these albums impact our daily routines to varying degrees. And much like The innovative style of Malnatt changed the way we perceive black metal, Finnish five piece Omnium Gatherum may have ruined us for melodic death albums to come. With this, their seventh studio album and the follow up to 2011's "New World Shadows," the pride of Kotka have rounded out the few rough edges that remained, and reemerged as a titan of their craft. With towering epics and a vocal performance that is second to none, "Beyond" is a reminder that you never know where the new masterpiece will come from.

Fear not the sensible melodic tones that begin to form the foundation of "Luoto," for their time shall pass. They could be best described as having an earnest beauty in their simplicity and delicateness, but what they help to create is far more important; a burgeoning soundscape rife with squealing guitar harmonics and majestic structures. All of this leads directly into the fittingly titled "New Dynamic," which creates not only that, but a brilliant contrast of melody and murderous brutality. It is in these situations where vocalist Jukka Pelkonen is at his aggressive best, growling his way over the top of a crowded yet balanced mix. But it is the keyboard work of Aapo Koivisto that takes things to another level. His airy, atmospheric synthesizers bond the guitars to the rhythm section, and allow the track to grow. That cohesion, perfected over years of practice, has begun to reach its apex here. In tracks like "In The Rim," there is nary a string or rum stick out of place; forming an impenetrable fortress of blazing riffs and percussion. You would be hard pressed to find any dents in the armor, especially in the bridge and breakdown sections. Instead, the musicianship at hand is sure to leave your jaw hanging.

With some light electronic touches and pulsing beats, "Nightwalkers" looks different at first glance, but changes very quickly into something familiar, but frightening. Pelkonen shakes the earth with his guttural grunts and screams, channeling the devil himself. Thanks to an extended run time, in the neighborhood of eight minutes, there is time for variation and lateral movement. A more melodic middle segment is the benefit here, which then erupts in a lava flow of double kicks and layered riffs. In signature Omnium Gatherum style, "Formidable" stands as a monument to the melodic death genre, combining all of the most important tenets of the genre into one five minute beatdown. Worth mentioning, of course, is the importance of air tight drumming, a task handled mightily by Jarmo Pikka. There is something special to behold just beyond the three minute mark that serves as a reminder to the versatility that is possible, even in such a stereotypically heavy genre. If the more straightforward fare is your joy, "The Sonic Sign" is exactly what you've been waiting for. Full speed ahead and packed full of distortion and blast beats, the band holds nothing back in their attempt to rattle ever bone in your body. The result is a rolling thunder, punctuated by one of the most awe inspiring solos you will find on a death related album.

Flexing some of his melodic vocal muscle, Pelkonen croons softly on "Who Could Say," a track whose name tips their hand on its style. Much like Sons Of Aeon, they use this track as a ballad of sorts, trading in their unbridled aggression, if only for a few solemn minutes, to let an emotionally charged message come through. The dark screams are still present, and more impacting than you could imagine. It is in these subdued times that guitarists Markus Vanhala and Joonas Koto have a chance to go outside the box, something they do with great success.If there was one track that stood out above the rest, it may be the six minute "The Unknowing," which could easily lay claim to being one of the best single tracks of the year so far. Winding guitar riffs, a seemingly endless sea of double kicks, and a powerhouse performance on the mic, all come together in perfect distorted harmony. Much like we learned a few tracks earlier, Omnium Gatherum are still capable of doing a straight ahead death song, and do it to perfection. And while it may become the forgotten gem, sandwiched between the two wonders of the world, "Living In Me" is a wonder in and of itself. But the ten minute "White Palace" casts a mighty shadow. You could listen to this behemoth twenty times a day and still not be able to find the words to capture it all, something I am struggling with. Part beast, part masterpiece, this is a monument.

In speaking with other music reviewers, some professionals and some amateurs like myself, there are two ways that seem to dominate the rating system. You either treat every album like a 10 and mark off points for its failings, or you start each disc as a 1 and add points for its successes. Regardless of your preferred method, it would be difficult to find yourself in any position other than a perfect score for what Omnium Gatherum have put in front of us. There is simply not one thing wrong with this album, start to finish, front to back. Every aspect of this album is polished and shiny, from the writing to the recording, the production to the mix. This album is well beyond anything else the genre has going right no. No, that isn't a pun; "Beyond" may have already cemented Omnium Gatherum at te top of many a top 10 list for 2013.

10/10

Official Site - http://www.omniumgatherum.org/
Facebook - http://www.facebook.com/omniumgatherumband

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Schysma - Imperfect Dichotomy (EP) (2012)

Sometimes it feels as though the music industry has gone back in time, back to the days when the 45 was king, and a single was the true test of popularity. Gone are the days where bands and artists are judged by full albums of material. Short attention spans and the iTunes movement have led us to forget the album, and all its worth. But for Schysma, there is a renewed focus on the whole, rather than the parts. Following the inner and outer journey of a man faced with a corrupt and failing world, their new album could more easily be compared to a book, with each song as one chapter. And much like the printed media, it seems silly to only read one fifth of the entire story. So it goes on "Imperfect Dichotomy," a five part story of doubt, realization, anger, and acceptance set to the tune of swirling symphonic melodies and emotionally charged vocal backflips.

While spoken word passages have become commonplace in modern metal, the sermon used to launch "Lost In The Maze" does something to further the track and the album at large; by asking the big question, "What's wrong with the world," it sets in motion a journey of introspection that you are now a part of. The pulsing thud of kick drums drives the track forward, accompanied by crystal clear production work. The nature of the mix and the way it is layered together makes each piece as important as the last, even the more lightly played keyboards that lie hauntingly in the backdrop. Vocalist Riccardo Minicucci plays his imperfect role perfectly, his voice coming through with a vulnerability that makes him a perfect vessel for the story. It is on "Noise Of Silence," however, that this five piece gives their most complete performance. The progressive nature of the track itself makes it immediately catchy, but it is made even moreso by the delicate and wholly precise arrangements. Guitarist Vladimiro Sala orchestrates a larger than life melody. The silky smooth nature of his playing is not only a tribute to his talents, but also to the cohesiveness of the band as a whole. The way his guitars sync up with the bass and percussion, held together by the glue of the keyboards, played by Martina Bellini, becomes their signature.

The ethnically tinged "Migdal" is a triumph of melodic design. This time led by bassist Giorgio Di Paola and his flowing lines, the swaying choruses invoke a completely new set of emotions. The vulnerability that Minicucci displayed earlier has been replaced with strength and conviction, his voice now commanding the room rather than being intimidated by it. In his inner struggle, there is a resignation to what will be. This is furthered in "Supreme Solution," where passages of thunderous gallops ignite and cool off, seemingly at will. It becomes the true test for drummer Lucas Solina, who manages to remain as precise and powerful throughout. It is here that the lyrics are perhaps the most profound. Our protagonist comes to the realization that while he fights against this world and it's flaws, he will become part of that problem soon enough. With some of the most heavy handed instrumental work on the album, "Sinners" is the only fitting place for the album to end. The keyboards give a ghostly realism to the mix, pounded into place with a series of kicks and crashing cymbals. There is even an injection of more harsh vocals, lingering just below the surface of the melody. Despite the world ending, as "everything now fades to dark," there is something rewarding about the journey taken to get here.

While the end result is an album that could become a regular in any symphonic metal rotation, "Imperfect Dichotomy" is also an important lesson in the concept of an album as a whole, rather than the sum of its parts. Each song, taken on its own, might not leave you breathless. But it is the way they roll together, the way they tell a story from beginning to end that makes this more than just five random songs. There is a true progression in the thought process of the subject, something that can be felt not only in the printed lyrics, but in the music itself. As the mood changes inside the mind of one man, the overall sound of the instrumental changes with it. It becomes a testament to the storytelling and songwriting ability of this band and its members. A while they may make it hard to listen to only one track at a time, Schysma give you five reasons to sit back, press play, and enjoy the fall of man.

8.5/10

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

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Jizzlobber - Jizzlobber (EP) (2012)

Jizzlobber. Take a minute to let that name sink in for you. I'll wait. Now that we've gotten that out of the way, we can move beyond the ten letter moniker that would make your grandmother blush, and delve deeply into the sound that is fast becoming a French staple. With roots in Colmar, in the north of France, four piece stoner sludge metal outfit Jizzlobber have already turned numerous heads with their outrageous and highly entertaining style. Compared by reputable media outlets to Mastodon, Baroness, and even Faith No More, it would be hard to convince yourself that you aren't curious. But even with all those heavy hitters attached to their sound, they have carved out a niche all their own, playing high risk, high reward rock and roll that often borders on obscene good. On their debut self titled EP,  they will do more than make you say their name; they'll make you like it

With little more than a few cymbal crashes as an intro, "(interceptor) heat combustion" kicks directly into high gear. But what seems like it may be a one dimensional punk rock infused thrill ride is anything but, slowing down into a psychedelic crawl front loaded with some of the most devilish and dirty guitar riffs you could expect. And as heavy as those echoing chords are, they are supplanted only by ringing bass strings. Paired with a vocal line that is raw and often times ear piercing, you have a recipe for something entirely awe inspiring. If you feel the need to pass along one song to justify to your friends and family that a band with such a bold name is worth listening to, you need only send a link to the insanely executed "2.20 AM." As impressive as the instrumental itself is - and I assure you it truly is - it is the vocals that deliver the biggest punch. With all of the unrefined quality of Baroness, but the melodic touches of Chris Cornell, you have something that would be matched as well with a classic grunge track as it does the stomping stoner metal it sees here.

Much like its name portrays, "glorious" is exactly that. With a solid two minutes of stomping guitars riffs to open things up, it is no surprise that every step of the way is hard wired to inspire fists to be raised into the air. And as the vocals enter, things go to an entirely new level, demanding your head to move along to the thrashing beats. You would be hard pressed to find a band of this style that has given you a more permanent case of whiplash. The darting notes of the breakdown section, partnered with the tapping of cymbals, leave you dizzy and dazed, struggling to find which way is up. It is the versatility that keeps you completely attached as the tracks go by, something that "hamming code" seems to prove. The pulsing kick drums pop through your speakers, welcoming some amelodic screams, that soon evolve into more polished singing. It would be difficult not hear classic, 90's era American rock in some of those clean passages, The music is unpredictable, taking turns in tempo and tone when you think you'be got it all figured out. Rounding out the five is the shortest track on the album, "nerd." But unlike so many finales, this one plays like an opener. High energy and even higher volume, the band manages to balance that aggression with intricate musicianship. Look no further than the two minute mark for the start of an atmospheric, albeit heavy, breakdown. What better way to end it all than a piece of thrashing organized chaos.

We've often asked that rhetorical question, "what's in a name?" Are we so simple minded that we can be turned on or off to a band solely based on the name they print on their album cover? Yes. Yes, we are. So sufficed to say, we need to be shaken out of that habit every now and again. By the time you've made it through the five tracks on this self titled EP, you can now somehow justify to yourself and the people around you that Jizzlobber is the perfect name for this band, and that no one should even think twice about it. And while certain public decency standards in the US might prevent you from talking about your love of all things Jizzlobber in a public place, we have a duty as the switched on, plugged in metalheads that we are to spread the gospel. Whisper, speak clearly, or shout it from the rooftops; but friends don't let friends miss out on the stoner sludge stylings of Jizzlobber.  

9/10

Bandcamp - http://jizzlobber.bandcamp.com
Facebook - http://www.facebook.com/Jizzlobberband

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DGM - Momentum (2013)

If you were to go to a quiet space and close your eyes, you could probably hear the sounds of prog metal rolling through your head. We all know what it sounds like; wild guitars, flowing keyboards, and even more charismatic drum work played by virtuosos. So may of the bands that fill this genre are interchangeable, and lack anything that separates them from the rest of the pack. You either lead, follow, or get out of the way. Italy's DGM, for all their efforts, aren't exactly leading the pack, but they also aren't about to get out of the race entirely. Seven albums into their 19 years of existence, they find themselves on the cusp of that elite group of prog metal superstars, kept out only by their lack of global exposure. But the eighth time, as they say, is the charm. With their new album, "Momentum," being released by Italian label Scarlet Records, it may be time for this five piece to sprint to the head of the pack and lead the way for years to come.

Following the old adage of leading with strength, the band wastes no time in unveiling their collaboration with famed Symphony X frontman, Russell Allen. To say that "Reason" is packed to bursting is an understatement, but meant in the most impressive of ways. The detail of the instrumental is nearly unbeatable, while the mix does its job keeping all of the layers separate but balanced. In true prog fashion, you are treating to a set of wild solos, courtesy of guitarist Simone Mularoni and keyboardist Emanuele Casali. With so much high powered ammunition at their disposal, tracks like "Trust" seem to be second nature. While his counterparts fire on all cylinders, vocalists Mark Basile holds his own, providing the smooth element that would otherwise be lacking. And while the lyrics may not be the epitome of poetry, they add an extra wrinkle to the formula. So much of the perceived success or failure of tracks of this nature comes in how that single voice mingles with the virtuosic guitar work beneath it, something that works well here. With the speed turned up on "Universe," the bands finds themselves in their comfort zone, working at a fever pitch. With accuracy and timing as their biggest strong suits, it only makes sense that pacing would strengthen their attack. With Fabio Costantino providing enough double kicks to choke the proverbial horse, there is no chance for things to go stagnant.

With a more downtempo groove, or at least by this bands standards, "Numb" shows that they aren't a one speed pony. Basile is let off the chain here, exploring some of his range and delivery devices. It allows him to earn his keep, so to speak, and be more than just a second tier band member like many prog metal outfits. His work gives you something more to appreciate in addition to the surgically precise solos that find a home here. The wild gallop of "Pages" is sure to be a crowd pleaser, complete with gang vocals in the pre-chorus. But that chorus, with all of the airy elements coming together, solidifies the track as one of the best on the album. The effects of Costantino's booming kick drum could be felt long afterwards. It's worth noting that the solos here, both keyboard and guitar, remain cohesive, rather than just fast and furious. Even the obligatory ballad feels more in touch, albeit slightly to the more generic side. The lyrical content of "Repay" seems to hold some deep seeded sadness that is far too often absent from heavy music, and it is conveyed well through both Basile's voice, and Casali's delicate tickling of the ivories. Also in typical fashion, the more somber moment is followed immediately by "Chaos," both literally and figuratively. Including a contribution from acclaimed Pagan's Mind guitarist Viggo Lofstad is a maze of distortion guitar riffs, squealing harmonics and bone shaking percussion. This is progressive metal in a four and a half minute nutshell, showing off the framework that is both the past, present and future of the genre.

With roots more in the melodic side of the spectrum, "Remembrance" is another vessel for Basile to assert himself into the mix. Yes, the instrumental may feel a tad too stripped down at times, particularly around the halfway mark, but the mood it creates, thanks largely to the beautiful percussion work, is worth the change of pace. Prog is also one of the few genres that seems to put a touch of honesty in their track names, as is the case on "Overload." With guitars and keyboards winding up and down like a barber pole, there is enough dexterity on display to leave you feeling dizzy and sick to your stomach. Add in the thunderous kick drums, and you might think the world is being tore apart by a very angry God. The band never loses focus, however, and there is certainly a method to what seems like madness. Never is that more apparent than on the space age tinged "Void," where the keyboards you've enjoyed thus far are transformed at times into time travel engines. Once you get into the meat of the song, things settle down considerably, leaning more towards the formula you may have deduced thus far. Even after a raucous affair like this one, a light keyboard solo to end things is always welcome, especially when it folds directly into the album finale, "Blame." With everyone playing at their level best, it feels like a "full circle" kind of moment, without sounding stale and rehashed. It is a beautifully played tradeoff, with Basile taking the verse and chorus and his bandmates unleashing their unique talents in the bridge.

While it is true that all prog metal bands share many of the same basics characteristics, there are a select few that can stand on their own two feet. These are the bands that have us sitting in anticipation of new releases, or waiting in line to see them play live. And though DGM may not have accrued the hordes of followers that some of the other bands cut from their cloth have, they still find themselves in the upper echelon of their craft. There is a ferocity to their music that is undeniable which, in turn, makes it unbelievably intoxicating. With eight studio albums under their collected belts, I suppose you can't really invite people to jump on the bandwagon at this point. But with the release of "Momentum," they may have done themselves a huge favor. And as 2013 unfolds, with shows planned with Avantasia and the mighty Power Prog & Metal Festival, it looks as though this might be the year Italy's finest makes their biggest splash yet.

9/10

Official Site - http://www.dgmsite.com/
Facebook - http://www.facebook.com/dgmprog

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