Kaledon - Altor: The King's Blacksmith (2013)

After being a dedicated student of metal for half a lifetime, I thought my knowledge of bands and styles stretched for miles. It wasn't until our first review of an Italian power metal band that I realized there were thousands of bands operating in the shadows around me; bands both great and awful, that had somehow gone unnoticed in my arrogance. Having unlocked the pandora's box of Italian metal, i stand ashamed that it had taken so long to arrive. So you ca understand my shame in knowing that Kaledon, a six piece from Rome, had evaded my ears for fifteen years. It was their "Legend Of The Forgotten Reign" saga that garnered so much attention from fans the world over. But with that journey now complete, the band must start anew. With the release of "Altor: The King's Blacksmith," they retrace the life of the man who crafted the legendary sword, the one used to banish the beast Mozul that terrorized the kingdom in the previous story arc. From birth, to the battles that followed, the band takes you on a journey as powerful and substantial as any they've told before.

While "Innocence" may only be a slim minute, the symphonic and operatic subtleties it brings to the table are far from inconsequential. They set the stage for the first rousing burst of energy, which comes in the form of "Childhood." The fusing of classic metal and power metal is never more apparent than here, with guitarists Tommy Nemesio and Alex Mele laying down a thick layer of melody and distortion. But as with most high tempo, high reward metal offerings, the drumming quickly becomes the star. The pinpoint accuracy of each thundering kick drum and roll of the toms is key to setting the tempo and the mood of the tracks to come. And with the injection of screaming keyboard work, you have a recipe for success being written in front of you. With a dynamic mix unfolding in the background, the onus is on vocalist Marco Palazzi to deliver an equally strong performance. And while he thrives in the soaring portions, his raspy voice could come to mixed results in the down tempo sections. But with the pumping beats on "Between The Hammer And The Anvil," he carries more than his share of the load. With the lyrical content following the forging of the sword, there is certainly an air of triumph woven into the vocal lines. That feeling doesn't end there; it permeates the guitars and keyboards, with the latter supplied by Daniele Fuligni.

Never have vocal harmonies and instrumental melodies been so crisp and clean as they are on "My Personal Hero." It sees the band at the top of their game, with Palazzi delivering what may be his best performance to date. The production work is also at it's best here, boasting the larger than life sound the bad so badly needs. And while this may not stray from basic power metal writing, it is executed beautifully. The most polarizing track on the album is sure to be "Lilibeth," the sappy ballad that sits squarely at the midway point. It creates a difficult dynamic to dissect; there is nothing inherently wrong with the song as it is written. In fact, as ballads go, it stands strongly on its own. However, it fails to utilize Palazzi's talents, instead leaving him to croon over limited backing. His voice, while strong in the majority of instances, doesn't lend itself well to the solo act. It serves the purpose, though, as a pallet cleanser and set up track for the second half. There is something familiar in the opening notes of "A New Beginning," with a distinct "Hotel California" riff permeating through the background. This is where the guitars and keyboards lock together as one booming unit, with the latter performing the sweeping orchestrations. Some of the more enjoyable guitar work can be found in the solo section, awakening a sleeping giant.

With things now back into full speed ahead mode, "Kephren" asserts itself as, arguably, the strongest track on the album. There are a lot of things at play here that make it stand out from the rest; The percussion, which has been the foundation for everything thus far, maintains its consistency and strength. The thunderous gallop of kick drums provides the canvas, where Nemesio, Mele and Fuligni paint their colorful soundscapes. Palazzi has also hit his stride, showing his range throughout the short, but wholly sweet, track. It does even more as a set up for the blisteringly fast "Screams In The Wind," which sees the band move into an entirely new stratosphere of speed and energy. With the tempo picked up for the last trio of songs, it would be even easier to stumble and fall. But as the band moves into the finale, which features a guest vocal appearance from Fabio Leone, they are at their level best. It stands to reason that this would be the longest track on the album, topping the six minute mark. But what impresses most is their ability to make the song fit the time frame without a barrage of filler. What you get is six minutes of shredding guitars, delicately played keys, and a vocal duel that is everything the album commands.

With fifteen years under the Kaledon moniker, this is a band who are showing no signs of slowing down, both literally and figuratively. They stand as one of the best kept secrets of Italian power metal, as unfair as that may be. This album might not convert any new fans, but it sure to please the growing fanbase they have served for almost two decades. You have an intense focus on storytelling, one that has become a signature, and an expertly delivered musical performance to back it up. It would be hard to find anything to be unhappy about, both from the band's perspective and the fans. But what the album lacks is that one element that makes it stand apart from all of the power metal pretenders that Italy churns out. It follows the basic structures too often, and leaves the album feeling generic at times. Granted, their talents are enough to rate the album a success. But if they are ever going to find their way into the world stage, "Altor: The King's Blacksmith" has to be the start of something bigger than before.

8.5/10

Official Site - http://www.kaledon.com/
Facebook - http://www.facebook.com/pages/KALEDON/87624904170

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Wall Of The Eyeless - Wimfolsfestta (Demo) (2013)

Much like the one man bands that have become a growing trend, forming a dynamic duo has become a much more viable option. That is assuming that one, if not both, of the band members can be versatile, playing multiple instruments. As with many of these acts, Wall Of The Eyeless combines the talents of SL, a blooming multi-instrumentalist originally from Russia, and Simon, a young yet aged drummer from Sweden. Having come together in the winter of 2011, the two quickly gelled, writing and recording their first demo. With the release of "Through Emptiness" in December of that same year, they asserted themselves into the conversations of many a metal fan across Europe and beyond. But that was only the beginning. Their new demo, which stands as a testament to their talent and growth, was produced by Marduk bassist Magnus Andersson and mastered by the legendary Jens Borgren. And so it stands to reason that "Wimfolsfestta" is the next in a line of many releases to come; their best to date, but only the start.

With the monstrous "Flicker" kicking things off, you wouldn't be alone in feeling slightly intimidated. But the layered clean guitars that open the nearly ten minute track are enough to put you at ease. The organic buildup from quiet to explosive is seamless, something that only strengthens the musical output. And when the instrumental truly does explode, right around the time the first growl peeks through, you begin to see what you're dealing with. There is a free-form quality to the song, one that allows it to bend and change over its run time. And within that framework are a wealth of styles and sounds, going well beyond the norm. In any minute long cross section, you could easily dissect and digest three or four different subgenres, all cobbled together in a sturdy, if not risky, fashion. The guitar work in all segments is fantastic, bordering on obscene. And while the ticking of the clock opens "The Longest Winter," you are certainly nowhere near an end. The layering of the different elements here is a dangerous one, with the mix always seeming like it is on the verge of a full collapse. Yet, somehow, it stands up to the barrage of wild instrumentals and deathly growls. The key, though, is the way the subtle, if not altogether eery melodies float around in the background, giving the song a needed dose of contrast.

That same dynamic works wonders in "Revulsion Fever," but with an added emphasis on percussion. You won't find any generic drum patterns here, as each space is deftly filled with either a fill, roll, or leg driven kick set. With a quick clean interlude, one the captures the mood and melody necessary to elevate the track to new levels, you are launched into an entirely different facet of the bands talents. Hidden in the middle of the album is a chunk of melodic metal that defies convention, and showcases some lightning quick, surgically precise guitar work. The final piece on the album is perhaps the most impressive. Slowing the tempo down to begin "Piercing Mist," the band infuses a healthy chunk of traditional doom metal into an already packed house. The crawling tempo, backed by double kicks, sets into motion a closing track of epic proportions. It is the songwriting process that deserves the most credit, with seemingly every piece thought out to the nth degree. When the massive eruption comes just beyond the halfway point, you can't possibly be prepared. It is controlled aggression, rather than out of control noise.

It is the combination of all of the elements at play here - the songwriting, the musicianship, the production work, the recording and mastering - that makes this effort head and shoulder beyond their first. Wall Of The Eyeless have grown in leaps and bounds over the last two years. In fact, it is often hard to believe that this band still only has two members. The depth of sound they've created here is extraordinary, and their range of motion is even moreso. They've chosen to color outside the lines; all of them. They refuse to be constrained by traditional structures and rules, choosing to go into the gray areas and test the waters there. They are thriving in places where others often fail. And that has made all the difference. It's hard to try to imagine where things would go from here; there are endless possibilities and limitless potential. But if "Wimfolsfestta" is any indication, there is a long, bright future ahead for these two like minded musicians.

8.5/10

Bandcamp - http://walloftheeyeless.bandcamp.com/
Facebook - http://www.facebook.com/walloftheeyeless

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Dark Tranquility - Construct (2013)

The early 1990’s saw the birth of melodic death metal, or “Gothenburg metal” if you will. In Flames had “The Jester Race,” Carcass had “Heartwork,” At The Gates had “Slaughter of the Soul” and Dark Tranquility had “The Gallery.” The difference that Dark Tranquility had from the other bands was that they kept putting out great albums. There have been many imitators throughout the years, but to this day, Dark Tranquility is still the reigning champion of melodic death metal. With every release, they pushed themselves by trying more sounds and different techniques. With the release of “Projector,” they started a new era for the band, introducing a more progressive and experimental sound, using clean, baritone vocals in some songs. It wasn’t their best album, but it was a show-piece that proved that they could tear down any confinement that they had and still have a solid sound.  Their new abilities brought about masterpieces such as “Damage Done” and “Fiction.” For the longest time, “Damage Done” and “The Gallery” have been the most talked about albums between fans. Well now, there is a new one to add to the “talked about” list. Their tenth album, “Construct,” is Dark Tranquility at their best. This album combines all the good parts from previous efforts and creates an amazing aural experience.

The album opens up with “For Broken Words,” which explodes into a frenzy of melodic guitars and growling that never lets up except for the slow, beautifully played bridge. “For Broken Words” is an incredible track and one of the best on the album. “The Science of Noise,” “State of Trust,” and “Uniformity” sound like songs off of “Projector” that are perfectly refined and have more layers. “Uniformity” is one of the slower songs on the album with more clean vocals than screaming, but it works so well. Stanne’s singing voice has never sounded this good. Singing on death metal records is a touchy subject for me, but he nails it. “Apathetic” and “Endtime Hearts” are incredible tracks and the best ones on the album along with “For Broken Words.” The beginning riff in “Apathetic” is just crushing and it brings me back to the “Damage Done” days. In “Endtime Hearts,” the chugging riffs combined with the gorgeous keyboard create an epic sound they haven’t reached since their song “The Lesser Faith.” The last track, “None Becoming,” might be their most ambitious song to date. It’s the most melodic, atmospheric, and progressive song they’ve ever written and it’s a great way to close the album.

The album as a whole is sleeker and more refined than anything they’ve ever done in the past. The layers of instruments create a new sound for the band that no one can imitate. Even though I’ve been comparing “Contstruct” to “Projector” and “Damage Done,” don’t be fooled, they’re not one in the same. In all actuality, it’s the freshest sound they’ve had in years. I was a big fan of “Fiction” but this blows it out of the water. It has everything that a Dark Tranquility album should have, and then some. The production is tight and the song-writing is better than ever. It’s their most progressive and experimental release in their twenty plus years, but it still retains the Dark Tranquility sound that fans know and love.  This album is mind-blowing. “Construct” is a beautiful, thought provoking journey that should not be missed.

9.5/10

- Brian DuBois

Official Site - http://www.darktranquillity.com/
Facebook - http://www.facebook.com/dtofficial

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Façade - Façade (EP) (2013)

While most of the giants have lay dormant for far too long, a new breed of bands was tasked to keeping the seat on the throne of death/doom warm. For every inspiring new act, there are a throng of pretenders to that throne, ones who would rather paint the fingernails on the arm rests than sharpen their skills. Luckily for the kingdom, all is not lost. We've told tale already of Soliloquium, with their latest demo, The Concept Of Escape,"  opening our eyes to the new wave. But another rumble can be heard; this one from Dordrecht, in The Netherlands. For a six piece band by the name of Façade is not merely coming to keep the throne warm, but perhaps take it for themselves, rightfully. Their debut EP, a two track, self titled affair, would be more than enough to convince you, me, and everyone we know that this game being played, involving thrones, is about to get more heated as the days pass. After the next sixteen minute of your life, you may be ready to crown a new king, or at least hesitate to bow to the old one.

A sullen clean guitar melody opens "Listen," one worthy of the trail of goosebumps it may leave down your arms. But the change from comforting to downright scary is quick and flawless, coming to a head with every crushing down beat. The first words that stream from vocalist Ben de Graaff's mouth turn the bumps to a eery chill. With three guitar players in tow, the depth of sound in the riffs is incredible and well worth the expanded line-up. And despite being self-recorded and self-produced, it is an astonishing feat to have the mix stand up to the weight of the instrumental. The blasting beats that begin just shy of the five minute mark could break any mix, or at least leave the track feeling uneven and distorted. But they are kept in check, and every piece of the six man attack can be heard separately, and clearly. The rhythm section of bassist Pim van Dijk and drummer Korijn van Golen have the massive task of anchoring the sound, something they do with skill and accuracy, flowing from the first track into "To My Beloved One." What you are handed, in a neatly wrapped, almost ten minute package is a clinic on the death/doom realm. There is something extremely captivating in the way they play that keeps you fully focused through all of the tempo and tone shifts. This is like a perfect storm of Draconian and Swallow The Sun, joining forces to destroy all that is left. Once again, the wave of mutilation is massive and solidly constructed, dwarfing the production work many major labels bands have been attached to. 

Maybe some young blood was all the world needed. It would be easy to jump to conclusions and call this debut the second coming of the death/doom genre. That would be a drastic and perhaps misguided statement. But what it has done is reinvigorate the sound that launched, and sunk, a million ships. The guitar trio of Berend Klein Haneveld, Conrad Stroebel, and Ghislain van der Stel have laid down a wall of distortion that would be difficult to rival. But even more than just playing loud, and playing with gnashing teeth, they make all of the pieces fit together so that you can't escape their grasp. Granted, the EP is only a mere sixteen minutes long, but the way it flows, the way it holds your attention with eyes wide open is both incredible and horrifying. The ability they have to push you right to the edge of the cliff, only to pull you back at the last second is something that will make their careers long and fruitful. These six puzzle pieces known as Façade have come together at the right time, and the right place. And we are now witnesses to their rise to power.

9.5/10

Bandcamp - http://facadedoom.bandcamp.com/
Facebook - http://www.facebook.com/facadedoom

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Tumbleweed Dealer - Tumbleweed Dealer (2013)

Stoner metal is like a box of chocolates; you never know what you're going to get. Never have the words of Forrest Gump been so true, especially as it pertains to one of the more convoluted sub genres of the metal tapestry. Ask ten different metal fans what their favorite stoner band is, and you'll likely get ten different answers, including bands from ten other sub sects. Without any firm definition as to what places a band into the stoner category, it is nearly impossible to contrast and compare them on their merits. But Tumbleweed Dealer, a two piece from Montreal, may best define what it means to be a stoner metal band in the eyes of Sorrow Eternal. The two sides of the coin are both represented: the artist side, on which you get the notion that drugs were involved in the writing and recording of the album. And the listener side, where you get the inkling that drugs are intended for the best listening experience. But sober or not, this self titled full length debut is one that will get you as high as you've ever been.

The bending guitar strings on "Opiates" are far more than a cheap gimmick to grab your attention; they form the backbone of what guitarist/bassist Seb Painchaud brings to the table. His understated grooves set a tone, one that finds itself as the string that holds the album together. This isn't merely a commentary on his guitar work either; his bass lines bring so much to the mix, often carrying the melody. It all has a calming effect, a lazy high that pulls you in. It is that mood that permeates the entire offering, with songs like "How To Light A Joint With A Blowtorch" feeling like a strung out jam session, in the best possible way. The low end dominates your periphery, driving the guitar work home. It's all happening so effortlessly in front of you; the track has an ebb and flow that is insanely catchy, and even more cohesive. It is in the winding guitar and bass parts that you hear a strong blues influence, relying on the strengths and talents of Painchaud to execute properly. It speaks to his dedication as a musician to create such a free flowing piece of work. The true victory is taking the same basic structure and stretching it into a nearly ten minute jam epic, without ever feeling forced or drawn out. By contrast, "Trudging Through An Egyptian Swamp" has just as much packed into half the run time, with the guitars now swirling around in well stacked layers. Drummer Carl Borman, for his part, nails down the rhythm portion without ever really flexing his percussive muscles. The metallic ring of cymbals does just enough to hold it all together.

Unlike so many stoner bands, there is a clear direction to the music, with songs like "March Of The Dead Cowboys" serving as a fitting middle ground. The bass takes the lead once again, with layers of guitar in full support. Painchaud builds his house of cards; so delicate, yet never faltering. You can clearly hear classic blues tenets scattered throughout, a refreshing change from the norm. What is absent from the album, for better or worse, is the psychedelic themes that have flooded modern stoner metal. Sure, there are moments where things go slightly off the deep end, as they do on "Sons Of The Desert," but never in an irreversible way. Painchaud and Borman always manage to pull you back to center in the arc of each individual track. By keeping both themselves and the listener grounded, they allow for the mellow nature of their music to be fully understood and enjoyed. It wasn't until "The Sacred Mushroom And The Cross" that the modern day western tone really sunk in, with the smooth bass and strummed guitars lending themselves well to a movie setting. It all seems so simple as you break each layer into it's own separate chunk. But the skill with which they are put together is what makes this so profoundly entertaining. And the fitting "Dark Times A' Comin'" completes the journey, at least for the time being. The mood has changed, noticeably, thanks to a switch in the tone Painchaud takes. It cruises, in a cloud of smoke, to a melodic end.

We've spoken for hours on end about the correlation between classical music and metal, one that has been studied and debated for decades. But the relationship that is emerging between metal and the blues, forged at one time by Dethklok into the most brutal art form the world had ever seen, is just as intriguing. Tumbleweed Dealer fly both flags here, and they do so with some of the most deft and creative pieces that you could hope for. What solidifies this album as a must hear is the expressiveness of each guitar riff, each silky smooth bass line. They speak for themselves throughout the recording, saying so much more than a contrived, hazy vocal ever could. It's staggering hwo easy they make it seem, even with an undertaking that would prove to be too much for other musicians to handle. What results is an album suited for a desert car ride, or sunny day in the confines of your home. In either case, the only prerequisite is to have a comfortable place to sit, one where you could lean back and enjoy the riffs blowing passed you. Hell, it's summer. Go outside, hit play, and watch the trees bend like guitar strings.

9/10

Bandcamp - http://tumbleweeddealer420.bandcamp.com/
Facebook - http://www.facebook.com/TumbleweedDealer

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The Podcast: Episode 85 (Don't lie, it's been a great year)

For the first six months of the year, everyone always says what a great year it's been for music. Suddenly, come year end, that opinion changes and now there was "nothing good" all year. Mark this week on your calendar, folks, because we gave you all the reason to remember what a great year 2013 has been for metal already. Gallileous made us feel like we were in drugs aplenty, and My Dying Bride reasserted themselves as the undisputed kings of doom and gloom. Don't say it to Timo Tolkki, but his Avalon project may have been more impressive than Avantasia. And when you can review a new female star in Upon Wings, regardless of her backing band, and the rising star Pellek and his flawless rock opera in the matter of two days, things must be going well.

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PelleK - Ocean Of Opportunity (2013)

The babyfaced frontman whose voice has carried itself across the globe time and time again, Pellek, might not be the most recognized name in the world of modern melodic metal. Serving as the man behind the microphone of Damnation Angels, as well as his solo project, simply called PelleK, he has dazzled people the world over with his mix of soaring operatic vocals and glimmering stage presence. With the release of his latest solo work, the nine track offering titled "Ocean Of Opportunity," it may truly be time for this Norwegian powerhouse to come out of the shadows, and step into the lights on the brightest stage. Fusing everything from prog and power metal to the theatrical and classical influences of Broadway, he has shucked off any labels we could hope to use to tag his work. And this new album, in all of its pomp and circumstance, continues to defy logic. How can something so big, so clean, so intimidating be so magical at the same time? Pellek and his band of merry men are inviting you on a journey. And I suggest you tag along.

You would be hard pressed to find a more majestic opening track than "Elucidation," with its sweeping keyboard melodies sure to steal your breath, if only for a minute. With Pellek himself handling the keyboard duties, he contrasts himself beautifully in voice and synthesized melody. His vocals are magnificent in tone and range, something that is bolstered by the strength of the backing instrumental. Unlike many vocal heavy progressive power metal albums, the rhythm section takes a starring role, thanks to some massive drum beats courtesy of Stian Andrè Braathen. His counterpart, bassist Ingemar Bru adds a significant layer to the mix as well. But when the hammer drops on "Northern Wayfarer," amidst the thunderous drum gallop and darting keyboard notes, the tempo takes a step in a faster direction. It carries with it the tone of a heavy rock opera, with Pellek pushing his voice to the farthest reaches of its capabilities. The air of triumph that surrounds the track as a whole is not only refreshing, but invigorating. It pulls you further into the lyrics, just in time to be cascaded with a blazing guitar solo. The symphonic element is taken to new and exciting heights in "Sea of Okhotsk," and the addition of a well placed repeated vocal harmony takes it further. Guitarist Patrick Fallang earns his stripes here as well, crafting a sizable set of riffs to strengthen the mix.

There is not a moment that goes by without a dazzling melody or strong instrumental element at work, something that "Brigantine of Tranquility" illustrates time and time again. The way the baton is handed off is simply flawless, going from delicate piano to rolling double kicks, and into soaring vocals without the slightest stumble or fall. It helps to build the ever-important momentum as the album prepares for a transition to its second half. That transition, the delightfully upbeat "Gods Pocket" does more for the arc of the album that it would seem at first listen. After being fooled into thinking a downer of a ballad was coming, thanks to the sound of waves and keys, the jovial tune begins, backed with the constant flurry of drums and guitars. Pellek sees his voice take on that magical sound of joy, a sound that would certainly get a fan or hundred jumping off their feet. As if that weren't enough, "Stars and Bullet Holes" only keeps that ball rolling. It is impressive that Pellek can take you on a flowing journey with only instrumentals and well written lyrics, but that is exactly what he does. The track immediately transcends the standard power metal style and becomes a blockbuster of explosive guitars and drums. That it is condensed into a five minute package is even more noteworthy, with the substance feeling as though it could fill an entire album.

As the album moves to the final trio of songs, you get your first real change of mood and tempo. "Sky Odyssey" has one of the more delicate opening movements, allowing for Pellek to enter with a soothing vocal line over a quiet melody. He again pushes the barriers of metal, infusing so much of what makes the Broadway stage a magical place. The power and conviction with which he delivers his lyrical yarn is fitting of the larger than life production on display. Every kick drum shakes the speakers, but without ever sounding unpolished. With the orchestra now in tow, "Transmigration" erupts in a fit of heavy guitar riffs and piano keys. The storytelling element, which has been mentioned sparsely earlier, is at an all time high here. It isn't enough to hear the words being delivered, but you must take the time to examine them on the literary level. Pellek has outdone himself with his tales of travel and return. "I guess this is the end," Pellek announces as the finale, the nearly ten minute "The Last Journey" comes into frame. There are no surprises to be had at this point, as you know exactly what you're going to get. But in this case, unlike so many disappointments you've experienced in music, knowing what happens next doesn't dull the experience. The melodies are more intoxicating, the instrumentals are more energetic, and the vocals are more memorable. You have been pushed to the limits of your sensory abilities, and Pellek keeps you dangling there just until the point of madness.

With all of the elements at play on the album, Pellek could easily translate this into a highly successful Broadway show. His writing puts so many showtunes to shame, his power dwarfs many of his contemporaries, and the astronomical scope of the album makes the Hollywood we know today look like the downward spiral it truly is. But more than any of that, "Ocean Of Opportunity" is a major achievement in the world of modern metal. It goes beyond power metal, beyond progressive metal, and delivers something that many fans across the world have been waiting a very long time to witness. To say that this is the best power metal album of the year wouldn't be a stretch to anyone's imagination; but it wouldn't be a stretch to go further than that. What Pellek and company have done here is blurred the line between metal and virtuosic storytelling. And when the last notes fade away, the drum kit is packed up and ready to transport, something is going to linger. Years from now, we might be looking back and saying that this is a defining moment in the metal genre.

10/10

Official Site - http://pellek.com/
Facebook - https://www.facebook.com/pellekofficial

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Upon Wings - Afterlife (EP) (2013)

For better or worse, the rise of the female hard rock/metal vocalist has done wonders for the popularity of the genre. At one time, Amy Lee of Evanescence was the model of the powerful female lead, but that dynamic has shifted numerous times in the last decade. The music has gotten heavier, and the vocals more sublime. Unfortunately, this has left the market saturated with wannabes and never-weres, making the process of separating the real from the manufactured to be a painstaking one. But more often than not, the voice speaks for itself. And for Michigan based Upon Wings, the brainchild of classically trained singer Anne Autumn Erickson, it is her voice that speaks loudest. Walking the fine line between operatic metal and easily digested radio rock, she has bridged a gap that many feared would bring an end to the substance and quality of female fronted symphonic metal. But on her new EP, the eerily titled "Afterlife," Erickson gives us reason to believe; maybe it isn't a choice of quality over accessibility. Maybe we can have our cake, eat it, and enjoy it too.

The opening track, which is also the title track, is an exhibition of the vocal talents singer Erickson has in store for you throughout the EP. With a voice that hits all of the right notes in all of the right ways, she croons her way through verse and chorus with grace and style. In one breath, she goes into the higher, more operatic register, then returns to more accessible melodic singing. That ability - to be all things at once - is a rare feat. The end result is a song that flows beautifully from start to finish, even with the more standard rock fare that makes up the instrumental. By contrast, "You Are My Weapon" carries a far sharper edge in that respect, gracing us with a fairly impressive set of riffs to back that golden voice. Erickson takes a more soothing approach this time around, keeping her voice from exploding too much, too soon. The only real miss on the EP is the short burst of "Take Away," which lacks the substance of the other three. There is a subtle keyboard element that is, unfortunately, lost in the shuffle. the true crime, though, is coating a rich voice with effects as they've done in the pre-chorus. And clocking in under the three minute mark, it fail to achieve a momentum shift. But as closers go, "The Dream (I'm Only Happy When I'm Sleeping)" is a winner. Erickson takes any restraints off her voice, and belts out line after line in a powerful, dynamic way. Even with no backing instrumental of any note for most of the track, she shines bright and flexes her vocal muscle.

It would be too close to taking the easy way out if I were to just close with a laundry list of female vocalists whose sound and influence you can hear on the EP. The truth is, we depersonalize our favorite bands, simply by saying "they sound like ____," or "they remind me of ____." If someone's voice sounds like a combination of two, three, or even four other singers, doesn't that make them unique in their own way? And so it goes for Upon Wings and Erickson, who embodies so many different traits in her vocal lines, that it becomes worthless to try to compare her to the four, six, or eight singers she's bested. The fact is, this is a solo debut for a rising start in the genre; an album that will be remembered for the outstanding achievements in vocal dynamics. It stands to reason, then, that Erickson must take the next step to further herself in the genre. Goodbye to "contributors" and session musicians. Now is the time to build a true, bonafide band and make a lasting mark. Otherwise, "Afterlife" might not be the beautiful awakening it was intended to be.

8/10

Official Site - http://uponwings.com/
Facebook - http://www.facebook.com/UponWings

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Timo Tolkki's Avalon - The Land Of New Hope (2013)

When it comes to metal, one thing I absolutely love is a super group. Super groups combine so much great talent for one single effort. Earlier this year, Avantasia released the stellar “The Mystery of Time” and raised the bar for what super groups can achieve. At the time, I thought it would be impossible for a similar band to give Avantasia a run for their money. Then Timo Tolkki comes out of the shadows three years after Symfonia, and delivers an album that should have Avantasia shaking in their shoes. Timo Tolkki is without argument one of the premier guitarists and songwriters in all of power metal. His work with Stratovarius is what got me into the genre to begin with. I still hold “Visions” as one of the most essential albums ever. After he parted ways with Stratovarius, it was quite a shock at first, but I knew he would continue to amaze fans no matter what he did. Revolution Renaissance had three great albums, even if they weren’t the most original sounding band. With the release of Symfonia’s “In Paradisum,” I felt like Tolkki was getting back to the fire he had while he was in Stratovarius. The awesome riffs combined with André Matos’ vocals made a hell of an epic album. With Avalon, Timo Tolkki surpasses everything he’s done since Stratovarius. This album has everything and then some. The guest musicians are the best I’ve ever heard on one album. An album with Alex Holzwarth, Derek Sherinian, Jens Johansson, Mikko Härkin, Elize Ryd, Michael Kiske, Russell Allen, Rob Rock, Sharon den Adel and Tony Kakko cannot be fucked with.

The more I think about this album, the more my love grows. I’m going to break my routine of breaking each track down and just say that every song here is good. “Avalanche Anthem”, “A World Without Us” and “To The Edge Of The World” are incredible tracks. The album as a whole sounds like if Avantasia and Stratovarius had a love child. From the solos all the way to the drums, this album is killer. As far as the vocals go, it’s a dream come true to hear all of this talent. The majority of the songs are sung by Elize Ryd of Amaranthe, whom I’m also a fan of. Her voice actually sounds better with Avalon. Her performance on “I’ll Sing You Home” is the best in her career thus far. It’s simply irresistible and mesmerizing. Michael Kiske and Tony Kakko sound incredible, as always. Everyone involved in this project gives it their all. Timo Tolkki’s guitar hasn’t sounded this amazing since” Infinite”. His solos sound tighter than ever.

I can’t praise this album enough. I’ve been giving albums very good scores lately and I feel like I’m too lenient. But the truth is this year (so far) has the best metal albums I’ve heard in a VERY long time. Every album I gave a high score to deserves every point. Avalon is no different. With “The Land of New Hope,” Tolkki has reinvented himself and created a masterpiece so epic and so full of quality, I’d say it’s up there with the best work of his career. It’s his most complete and focused effort yet. As far as guest musicians go, it doesn’t get better than this. Tolkki is a visionary and this album should not be overlooked. Go get it now and listen to one of the best metal operas ever written.

9.5/10

- Brian DuBois

Official Site - http://tolkki.org/
Facebook - http://www.facebook.com/timotolkkiofficial

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My Dying Bride - The Manuscript (EP) (2013)

Everyone has that band or style of music that they turn to in rough times. Sometimes, when the lights are off, the room is dark, and things just aren't going your way, you find solace elsewhere. Our emo brethren have long been fans of The Smiths, something to make the outsiders feel welcome into the club. For country fans, there have always been floods of songs about how "she done left me, took mah dog and mah truck." But for metal fans, it isn't always so simple. The undisputed kings of doom and gloom, My Dying Bride, hold that special place in the hearts and minds of many fans across the world, their unique combination of pain and salvation so often welcomed. But even more than that, is the consistency with which this band has created these masterpieces. Even as the laundry list of members, past and present, grows, the music has not wavered far from the graying path. Instead, it has evolved into something darker, more empty, and yet so much more fulfilling. The new EP, "The Manuscript" is 23 years removed from the beginning of this band, but it may be a crowning achievement on a career that shows no sign of slowing down.

There is no doubt, a mere two seconds into the title track, that you have stumbled back into the melancholic territory of My Dying Bride. Vocalist Aaron Stainthorpe, whose voice could be considered synonymous with sadness and morose, croons over the usual bed of slow drums and guitars. His whispers can haunt your dreams, sounding as though they've come from the other side. Paired with the cries of violin from Shaun MacGowan, you have a stunning mix of moving and emotional elements. The latter stages of the track, comprised of two clean, acoustic guitars furnished by Andrew Craighan and Hamish Glencross, is the perfect setup for the next track. Whimsy gives way to crushing guitar lines and a deep growl from Stainthorpe, a theme that floods "Var Gud Over Er." Their guitar sound, dueling in so many ways, is a signature of a band that has been around the block more than a few times. This is the band at their darkened best, providing not only contrast from one track to the next, but within each movement. Even knowing that an eruption of drums is coming, as is the norm in a My Dying Bride opus, you are always excited when it finally hits. Rolling double kicks come and go, with the crash of cymbals book-ending them. It would seem impossible to sound so sad, and yet so evil at the same time.

A menacing guitar riff opens "A Pale Shroud Of Longing," which, while falling short in the time battle with the previous track, might perhaps be the more epic of the two. MacGowan gives a dazzling performance, one that is sure to tug at your strings in just the right way. But it is the way the band ties the two halves of the track together that rings most true. Solemn moments are surrounded by heavy ones, with some devilishly heavy guitar work crushing you at the most opportune moments. Stainthorpe's vocals just before the six minute mark, upbeat and yet somehow depressing, are an amazing elevation of the norm. Unlike so many of the tracks in the catalog, this one lends itself well to the notion of being played in a live setting, perhaps inspiring many a sad individual to lift their heads up in enjoyment. And what more fitting way to begin the closing track than with a spoken word passage of emotionally devastating themes? Yes, "Only Tears To Replace Her With" is a telling title, one that could not possible be confused for being a happy-go-lucky tune. The melody that dominates the track is mesmerizing. This stands out from the rest of the EP for so many reasons, and deserves multiple, uninterrupted listens to be fully appreciates for all of its simplicity and glory.

There is simply no disputing the power with which My Dying Bride operates, with every album, every song, every riff, every word handed to you, wrapped in a neat, bleak package. It's as if they can look into your innermost workings, and know exactly what they must do to tug at your heart strings. They might not depress you, though they do with many, but they will always strike a familiar chord. For more than two decades, they have been playing us, their fan base, like the solemn strings that coat their music. We bend, to and fro, with the emotional investments that are given and taken from us with each release. if that were all we had gotten from the library of this band, we would be thankful for it. But there is something so much more to it than that. Sure, we have our dark room companion. But this isn't a one dimensional, crying, sobbing piece of nonsense. There is merit to what they do, and what they've done here, that cements each album as a jewel in the crown of the unrivaled leaders of the pack. 23 years of cloudy skies have brought us to this point. And "The Manuscript" is exactly the disc we wanted, and needed.

10/10

Official Site - http://www.mydyingbride.net/
Facebook - http://www.facebook.com/pages/My-Dying-Bride-Official-uk/282179138510618

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Gallileous - Necrocosmos (2013)

One look at the cover art, and you can probably infer the kind of trip you'll be taking. When you ride along with Polish five piece Gallileous, you are certain to go places you've never thought of, or at least never cared to try. But with a sound that sits squarely in the huge gap between the prog days of yore, and the melancholic doom stylings of today, you would be hard pressed to find any other way to get from A to Z without traversing the entire galaxy in between. What sits in front of you, with an air ship gracing its cover, is a mind altering piece of melodic, jam driven metal that might leave you scratching your head, or merely trying to find it in the cloud of smoke you insist you see. At any rate, the five track album know as "Necrocosmos" is a trip you simply have to take to understand. And whether you imbibe the herbal remedies the fine folks of Colorado have at their legal disposal or not, this is a long walk that might leave you questioning your purpose... or simply looking for a snack.

With a solid doom tempo, but the spacey use of synthesizers, the title track might prove to be a suitable representation of what the band has to offer. As bizarre a mix as the two seem to be, it all comes together in a broken harmony of sorts, rounded out by a vocal line that is akin to trembling chants. The tone of both instrumental and vocal are, somehow, a perfect match for one another. Never is that more clear than in the last verse, where the electric piano, dense chugging guitar, airy vocal and a background guitar solo come crashing together in a mess of progressive doom. By slapping that tag onto the output here, it would be easy to mislead you. It isn't progressive in the modern sense; but you can hear the seventies and early eighties prog influence in tracks like "Fractal Dimension." The use of keyboards as an atmospheric and melodic element infuses some life into the darker doom pacing. That being said, the seventies influence also seems to bleed into the production work, with the mix lacking that digital age clarity you would expect. In this case, though, it works, as the analog sounding output matches the mood. The extended jam that comprises the last few minutes of the track could be right out of the Phish handbook, with a healthy side of My Dying Bride.

By the time you reach the aptly titled "Time Traveler,' you've been transported to a dream like state. Everything is softer here, including the guitars, rocking you gently back and forth. Over seven plus minutes, you are lowered into a melody induced haze, and you made find yourself wondering when you officially got high. The trippy theme continues in a different way on "X - Rayed By Stars," with the lyrical content continually bending your mind into a soft pretzel. It is the keyboard work that makes this track successful, carrying you at every moment with a blend of synthesizer and electric piano sounds. But guitar work is also at a premium here, with some intricate solo work coming in and out of the mix. What amounts to perhaps the best track on the album is also the most confusing. There are several separate moments where it feels as though the track is, or should be, over. Yet it carries on, stretching to a near eight minute length. But it is dwarfed in both size and scope by the finale, the nine minute "Cosmic Pilgrims," which sees the band utilizing everything they've done thus far into one mammoth offering. There is still that harmony between instruments, anchored by those imperfect yet adequate vocals. The chanting is off key at times, but sounds so right at others. This is an acid trip in musical form; it might even be worth digging out your blacklight posters and tie dye.

There's no two ways about it; this is one of the more intriguing and bizarre mixes of styles you can ever hope to come across. It isn't contrived or ill-prepared, though. hat Gallileous have done here is to infuse the new with the old, or the old with the new. Whichever way you slice it, it works in a very different sort of way. Once you've completed your journey through the cosmos, which takes roughly 45 minutes, you may feel a sort of emptiness that will only be cured with another trip; and then another and another. Much like the psychotropic drugs that this album may convince you that you're on, it becomes addictive very quickly, with a very harsh sort of withdrawal. That is to say, it would be hard to listen to this album, and then switch back to some good ol' power metal. It just wouldn't be a good fit. Regardless, the ethereal haze that "Necrocosmos" provides you with is certainly with all of the symptoms you'll exhibit afterwards. Contact your doctor if the effects last more than four hours.

7.5/10

Bandcamp - http://gallileous.bandcamp.com/
Facebook - http://www.facebook.com/gallileous

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The Podcast: Episode 84 (No scrubs)

Hard to believe the month of May is nearly behind us. Almost five full months in the books, and we are chugging right along on our journey through the 2013 metal scene. This week taught us not to make assumptions for any reason. The new Infinita Symphonia album left us scratching our heads, while the boy band look of Polyphia almost made us pass on what turned out to be a gem. Shade Empire is sure to make some of the best in the business jealous, and Churchburn fooled us into thinking we had them figured out before ever hitting play. And lastly, the stereotypes of French weakness were quickly extinguished by the new Eibon opus, "II." And that is why you have to listen before you decide.

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Eibon - II (2013)

As Americans, we always feel as though we have a lot to apologize for. We're not all in the KKK. We're not all racist, ethnocentric jack-offs. That much I can promise you. And despite the assertions of many a redneck or ignoramus, we also know that the French are far from weak. And while the narrow minded and mentally dull might equate strength with military power, it is in the music that we can find the most impressive asset of France. Hardened five piece Eibon, from the capital city of Paris, might have more raw power pouring through their amps than our military has in all of our nuclear weapons. With influences ranging from the legendary Pink Floyd to cult hero Varg Vikernes and Burzum, it would be very easy to assume they'd follow the blooming set of psychedelic stoner bands that France has been churning out left and right. But, you know what they say about assuming? I don't either, but I can safely say you'd be off the mark. The two tracks on "II," which is surely not a coincidence, are enough to convince any "freedom fries" proponent that the French are, indeed, a world superpower.

It doesn't take long before your ear drums are being assaulted by a barrage of crushing instrumentals and devastating vocal lines. The two pronged guitar attack, lead by Max Hedin and Guillaume Taliercio, does the bulk of the heavy lifting in the first movement of "The Void Settlers." Their layered approach does wonders for the depth of the mix, without ever giving off that overly polished feel. Instead, the entire production feels raw, but professional. The exception is, notably, the vocals of frontman Georges Balafas, which crackle and pop with deathly tones. Contained within this nearly nineteen minute behemoth are several timing and tempo changes, some subtle and some not so much. The downtempo, doom laden portion might be the strongest moments, creating a stirring, spine shaking mood that is as impressive as you can imagine. But it is where the album builds from there that shows off their genius. The halfway mark of the track is a milestone, a point where the band reaches their full potential. Blaring guitar riffs, a shaking bass line, and a constant set of rolls and fills on the drum kit all share equal time in the mix, leaving you with a sludgy, yet wholly atmospheric midsection. Brick by brick, the wall of sound is rebuilt before exploding once again with a dense groove. You can feel that it is all building towards something; that something is a chaotic, screaming finish of feedback and distortion.

An eerily calm beginning to "Elements Of Doom," a quiet intro that lasts for a brief three minutes, is quickly destroyed in the first wave of distortion. Balafas is at his best here, his choked screams cutting through the immense wall of guitars. The air of pure evil that blows through the track does something special for the soundscape, as do the deadly accurate guitar leads that flow from one segment to the next. Don't be fooled, though, this isn't a delicate, dainty foray into melodic masterpieces. Sure, there are some well crafted grooves to be found throughout the track, with a high density of them in the bass driven post metal styled breakdowns. But they are not the foundation of all things to come. The rhythm section of bassist Stephane Riviere and drummer Jerome Lachaud shine brightest in these more chaotic moments, with Lachaud in particular releasing a battery of percussion in the most congested of areas. His stick work can leave your head feeling as though it might explode under the pressure. When combined with layer upon layer of grinding distortion and vocal mayhem, it is almost too much for the recording to take. But then, the outro comes. The chaos ends. And rain drops fall. You can finally relax, and sit back in your seat. It is a beautiful ending to a bloodbath of a track.

The apprehension we all feel when we see tracks stretching into the twenty minute mark isn't wrong; it is a programmed response. Few bands can successfully make a twenty minute opus feel like it flew by in the blink of an eye. Eibon might not have bent space and time here, but they have certainly proven that they can make a song of these lengths, without resulting to boring, droning riffs that repeat endlessly. Instead, they give you a mere two tracks, both with countless acts inside of them, that span over forty minutes of air time. Not once do you find yourself looking at the clock, hoping it is almost over. And not once will you feel the need to skip ahead to see what is next. You get lost in wave after wave of crippling drum work, with each snare crack and kick drum thud feeling like another bruise on your rib cage. You get swept up in the distortion and grit of the guitars, pushing and pulling you in every direction. And you get pounded into the ground with each screaming lyric. I'd say that is a rousing endorsement, if I've ever heard one. One may be the loneliest number, but "II" is the most painful.

8.5/10

Bandcamp - http://eibon.bandcamp.com/
Facebook - http://www.facebook.com/Eibonmetal

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Churchburn - Churchburn (EP) (2013)

We've gone over this time and time again. How much can we really derive from a name or album artwork? Can you tell me the entirety of the story contained, just by what is on the cover? In some cases, the answer might actually be yes (see: power metal, viking metal, folk metal). But much more often, you can only infer the most menial, worthless details about a band simply by looking at the letters, logos and photos that make up their presentation. From the smallest US state, Rhode Island, comes a band that produce a sound much larger than the 1,000 square miles their home state represents. Churchburn make their first impression with their name, and the imagery it calls up. They make their second impression with the album cover of the latest self titled EP, graced with a crucified figure in black and white. And neither one, not the name or the photo, truly represent the sound that this band possess. Taking pieces of the most powerful genres in modern metal - death, black, and doom - this four piece are more than meets the eye, and more than their name could ever represent.

That immediate sense of dread you feel during the early stages of "Come Forth The Swarm" is no accident, nor is the multidimensional showcase that follows. Jammed into the seemingly short nine minute outline are some of the most crushing riffs and blood curdling screams ever put into digital formats. All of the heaviness of death metal meets the emotional foreboding of doom in each verse and chorus, though it would be crass to even call them that. Instead, it is important to ntoe that the segment surrounding the five minute mark will widen your view of the song, the album, and the band. The sweeping guitar melody is crisp, clean, and magnificent, and sets things up perfectly for a return to black. In contrast, "Crown Of Fallen Kings" is more straightforward in delivery, though no less punishing. The traditional doom sound fits the band well, as guitarist and vocalist Dave Suzuki cuts to your inner ear with his combination of ominous riffs and grating screams. It may seem more stripped down, but it remains as impactful and grave as the previous offering. It is down to "Kneel Upon Charred Remnants" to give the album it's more brutal twist. As if the title alone doesn't solidify that, the down tempo chugging surely will. Suzuki achieves haunting status with his vocals here, each growled cry shaking you to your core. Once again, the soft atmospheric guitars set up the final plunge, leaving you soothed before bruised.

If you found yourself mislead by the not-so-subtle artwork that graces the cover of this EP, consider yourself to be one of the lucky ones. By the time you've hit play and digested thirty seconds of what is pumping through your speakers in your general direction, you are already fully aware that this isn't a throw away, wannabe death, doom, black hybrid album. There is real richness to be had here, a real ability to bend and combine sub genres at will into something equally frightening and enjoyable. To clarify, this isn't a one trick pony. It may seem, at some points, to be predictable. And perhaps it actually is. But getting what you grow to expect does not diminish getting more than you bargained for. It isn't overflowing with small subtleties and hidden gems. It is, however, packed full of intense emotional investment and very well thought out songwriting. There are small twists and turns on the album that make it something much more than a crucified man waiting for death. And you can thank Churchburn for putting it right there for the eye to see.

8/10

Bandcamp - http://churchburn.bandcamp.com/
Facebook - http://www.facebook.com/CHURCHBURNDOOM

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Shade Empire - Omega Arcane (2013)

It’s always common when a band releases an album that tops their previous one. It’s not very common for a band to release an album that totally destroys their previous one. What I’m talking about is the newest release from Finnish symphonic black metal masters Shade Empire. This album is “Omega Arcane” and it’s mind-blowing. When they dropped their first album “Sinthetic” back in 2004, they only were laying the foundation to the powerhouse they would build with “Omega Arcane.” “Sinthetic,” “Intoxicate O.S.,” and “Zero Nexus” are all excellent albums. They have their problems, but overall definitely worth a listen. For their newest release, they ditch the electronic sound for a more organic, symphonic one that works on so many levels. This is one epic album.

The album opens up with “Ruins,” “Dawnless Days” and “Until No Life Breeds.” The album could just be
these three songs and it would still be amazing. Their songwriting skills are night and day from previous efforts. “Ruins” is gorgeous, “Dawnless Days” is insanely epic and “Until No Life Breeds” is catchy as hell. The five year gap between albums really shows on this effort. Everything is much more thoughtout and  inspired. “Ash Statues” is slower than the other tracks on the album, but its beauty is jaw  dropping and awe inspiring. This is symphonic metal at its best. The mood and atmosphere it creates is unmatched, even by the rest of the album. As if the first four songs weren’t amazing enough, they keep upping the ante on the rest of the album. “Disembodiment” is the longest song they’ve ever written; it’s unforgettable and hands down the best track on the album. This song has everything all packed into a thirteen minute package. Never have they been more experimental and more sure of their abilities as a band. Even though “Disembodiment” is the coup de grâce, the rest of the album is still strong and relentless. The title track, “Omega Arcane” is the second longest on the album, running at a little over twelve minutes. It’s not nearly as amazing as “Disembodiment,” but it’s still damn good. In terms of symphonic black metal, I would say this album blows away all the competition.

This year keeps getting better and better for metal. Some of the strongest albums in a long time have been released. “Omega Arcane” shows that Shade Empire has the skills to take over the entire genre. The atmosphere, emotion and power on this album are breathtaking. Dimmu Borgir and Fleshgod Apocalypse couldn’t even dream of touching Shade Empire’s new opus. “Omega Arcane” really is that good. It’s an album I’ll have spinning in my car for a long time. There is no way to put this lightly, so here is my attempt: This album is fucking incredible. Listen to it now.

9.5/10

- Brian DuBois

Official Site - http://www.shadeempire.com/
Facebook - http://www.facebook.com/shadeempireband

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Polyphia - Inspire (EP) (2013)

It would have been nearly impossible for any music industry expert to predict the explosion of instrumental metal and rock bands. After all, the lead singer, for better or worse, has always taken up a proportionate chunk of the limelight. But with the recent shift in trends, the band itself has begun to take back what may be rightfully theirs. Animals As Leaders proved as much on their pair of albums and subsequent touring success. Most recently, Intervals solidified the genre with a powerhouse performance on their "In Time" EP. But now, it is time for a new breed of band to, perhaps, blur that dreaded line between talent and popularity. With the four members easily mistaken for boy band stars, Polyphia have the talent to please the most finicky of rock and metal fans, with a look that is sure to catch the eye of many a teenage girl across the country. With the release of their new five track EP, "Inspire," the Texas based quartet have nothing to lose, and everything to gain; all without a single word.

The opening track, the aptly titled "Ignite," sets out to do exactly that. Though it is a slow burn of delicately played piano keys and massive ringing guitar chords, it culminates with some dense exercises in chugging. When the full force of the band comes down, you have little choice but to accept it and join. The downside, however, comes in the lack of a true low end in the mix. The drums are presents, but without the pounding thud. Whether it was a designed sound of the recording and mixing process or otherwise, it becomes a theme in the album. This doesn't signal the complete absence of bass, though, as bassist Clay Gober matches the guitar work note for note at times, including the track "Persevere." Featuring Intervals guitar wizard Aaron Marshall, the track combines the swaying melodies of the former with the crushing blast beats of Polyphia, resulting in a track that is as technical sound as it is short. But perhaps there is no track on the EP that does the band as much justice as the title track, "Inspire," in all of its spacey glory. It sees the entire four piece come together in one cohesive unit with guitarists Tim Henson and Scott LePage trading riffs off and on. It's their tone, though, that makes the five minute run time a sure winner. What they carve out here is a melo-djent hybrid, one that works in both theory and practice. The inclusion of keyboard and electronic beats is a nice touch, even bringing a thunderous bass line to the mix.

Gober displays some of his best work in the opening moments of "Transcend," before it erupts into a high speed shredfest. The aforementioned drum sound is most notable hear, with each roll sounding like a series of clicks and taps rather than a much needed dose of thunder. Drummer Brandon Burkhalter has the pace, the timing, and the accuracy to elevate the band to a new level, but must be heard to do so. Holding down the low end would allow Henson and LePage to go even further into the bending, winding guitar work than they already do. It could even solidify the mix in ways we've yet to hear, though the opening barrage on "Impassion" is surely a peek into how that would sound. It isn't the chugging in the foreground that you should focus on, but the light synth and electronic work taking place behind it all. That strength becomes the foundation; it provides the framework for something bigger to be built upon. And in this case, it sees the dynamic guitar duo proving once again that vocals are an unnecessary addition. With their soaring riffs and rich chord work, Henson and LePage fill their own roles, as well as those that any vocalist could ever hope to fill. The block that surrounds the three and a half minute mark is something to behold, in all of its intricacy and simplicity; yes, at the same time.    

With all of the recent success in the vocal free sect of the rock and metal communities, it only makes sense for a band like Polyphia to get one foot squarely into the limelight. Their talent is undeniable, and their songwriting echoes so much of that talent. But it speaks more to their thought process than anything else. They could have left us with a one dimensional, drooling djent album if they chose to. Instead, they unleashed a multifaceted work of free flowing guitars and intoxicating melodies. They've already gone deeper than many of their peers, and certainly given a more impressive performance than many of their counterparts. They are bound to be popular, once again creating a major identity crisis for every hipster who dares to decry the mainstream in hopes of gaining credibility among their elitist friends and online community chat buddies. The only remaining question is whether they will change and adapt to their ever growing talents, or simply let them become stagnant? It would seem silly to let an EP called "Inspire" be the end of their story. They are still a few solid kick drums away from a happy ending.

8/10

Bandcamp - http://polyphia.bandcamp.com/
Facebook - http://www.facebook.com/Polyphia

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Infinita Symphonia - Infinita Symphonia (2013)

As fans of music of any kind, it is normal for fans to wonder how the albums they love, or hate, were written. What inspired the band to create this music; and what gives them reason to change. Was there a conscious decision made to go a different route, or did the music just write itself organically and reveal that change. For Infinita Symphonia, a five piece progressive power metal band from Italy, this distinction may never be more important. Having delivered a powerful performance on their debut album, "A Mind's Chronicle," in 2011, we sat with eager anticipation as to where their next journey would take them, and us. But in the two years since it's release, something has changed in the band mentality, whether consciously or otherwise. The throbbing progressive beats have faded, replaced by more standard hard rock fare. The soaring, nearly operatic vocals have been tempered, flanked by shades of nu-metal radio hits gone by. And a band that showed infinite potential seems to have resigned itself to leaving that potential unrealized. Their new, self titled album may bear the same name, but it is not the same band.

There is an immediately noticeable change in direction as "If I Could Go Back" begins; the chugging guitar riffs lean away from that progressive power metal style that dominated the group's debut. Take separately, they sound like a regression to a much simpler sound. But thanks to the strong drum fills of Ivan Daniele, the mix is padded out in full. The orchestra arrangements behind the leads are strong, providing atmosphere and depth. What seems odd, though, is the ballad-esque approach to an opening track, with vocalist Luca Micioni adopting a very soothing melodic tone early and often. That penchant continues into "The Last Breath," complete with swaying melodies and an airy chorus. A series of double kicks goes a long way to inject life into the track, which clocks in over the seven minute mark. It ignites a high tempo section, overflowing with wild solos and crashing cymbals. Lead guitarist Gianmarco Ricasoli finally makes his presence known, crushing and shredding his way from bridge to chorus and back again. It is the keyboards, though, that give the track substance; simple as they may be. That harder edge peeks through on "Welcome To My World," even in sparing doses. The syncopated bridge to breakdown combo returns the band to their heavier roots, instrumentally, but plunges them into the dark nu-metal abyss vocally. The screaming, barking vocal lines sound forced and contrived, rendering Micioni a liability in those moments.

That unfortunate theme runs through "Drowsiness," which his trembling spoken lyrics coated in effects and simply falling short of par. The bigger shame is that the band have found a groove here, with Ricasoli striking an enjoyable balance between soothing melody and aggression. The latter half of the track is an exhibition in progressive metal tones and elements, combining the devastating riffs with a massive drum sound. All of the headway made here is quickly cashed in for something much more disappointing. Micioni croons about the "most beautiful person I know," as an acoustic guitar backs him. What follows is a ballad that defines cookie cutter, one that lacks any punch or flow. The damage done is left to be repaired by a collaboration with famed former Helloween frontman Michael Kiske on the song "Fly." While it may be a pity for a feature to be the highlight of an album, Kiske's contribution is important to maintaining some semblance of credibility for the album itself. Bassist Alberto De Felice shines brightly here, giving an added layer of smooth low end to even out the mix. There are catchy hooks, a flurry of drums, and some of the better guitar work on the album, all packed tightly into a six minute effort. And, as odd as it may sound, the "Interlude" that follows could be the most inspired track on the album, slamming together dazzling piano keys with acoustic guitars in a blizzard of activity.

The folky acoustic ballad "Waiting For A Day Of Happiness" follows, plunging the album once again into a down tempo, low energy funk. While the second half of the song brings some of the sunlight back into the dark room, it fails to even out the offering, instead merely giving you hope for what might follow. The constant give and take of quiet and loud can work as an important dynamic when done appropriately; but here it seems like an afterthought, resulting in an uneven pattern through the disc. With another interlude track packed in here, albeit another successful, pulsing one, the album has begun to lean in a very telling way. The minute long "XIV" is barely enough to wet your whistle before running into the album's closer, "Limbo." The tone here is well conceived, with a much darker riff commanding much of the track. Micioni whispers his way through the verse, quietly and lacking grit. But as his soaring vocals are allowed to take over, you immediately remember what it was about this band that you loved before. But what stands out as disturbing is the backwards mathematics at play here. Typically, a ballad is used as cover for something bigger; that is to say, the track grows and strengthens as time passes. Here, the band seems to achieve the opposite. The shadowy opening gives way to swaying ballad style choruses, reeling the song in, rather than letting it go.

Somewhere between albums, Infinita Symphonia seem to have lost their way. Whether by choice or by accident, they've traded in all that made them unique and intriguing, in favor of blending in to crowded, often times faceless metal scene. By no means is that to say they've accomplished nothing here; there are bright spots scattered throughout the dim. But they leave you waiting the entirety of the album for that one signature moment that can define their progress. Sadly, that moment never comes. Instead, you have a roller-coaster ride of not-so-highs and way-too-lows, relying heavily on ballads and cliche emotional falsehoods. It hard to say where the band will go from here. Perhaps there will be a renaissance somewhere in the future; or maybe a complete reversal into a radio rock superstar. But sometime in the wake of this new album, the band will be forced to make a definitive choice: the old or the new. And that decision will mean everything.

6/10

Official Site - http://www.infinitasymphonia.com/
Facebook - http://www.facebook.com/InfinitaSymphonia

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The Podcast: Episode 83 (Happy Metal Mother's Day... or something)

Today is the day we like to thank our mothers for carrying our lazy fetus-asses around for nine months, birthing us, and putting up with our shit for God knows how many years. I suggest we celebrate not only our own mothers, but the headbanging mothers across the world. To do that, I sat down in a brief period of rest to discuss the albums of the week, the mixed bag that we call our content. The week started with the powerful performance of German collective The Ocean before starting the rollercoaster ride. Belgium based Drunar gave all of our audio engineering friends a guide on how not to record an album. Dark Moor made Brian literally piss his pants with joy. But the end of the week saw us touch on bands not quite ready for prime time, with Jason Newsted's new band falling flat, and Italian band Trinakrius simply going too long to be effective. By the law of averages, that says next week will be better than the last.

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The Podcast: Episode 82 (Spotify? You let me worry about Spotify)

With Spotify now all the rage among downloaders (both legal and otherwise) and music fans of all kinds, it seems to the perfect time to slow down and reevaluate where our money goes when we pay for music in various forms. While their premium subscription may seem like an end to piracy, there is more math at play that needs to be explored, and a better way to pay artists must be found. 

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Trinakrius - Seven Songs Of The Seven Sins (2013)

Over the course of 18 years, a hiatus, and numerous line-up changes - more than I could keep track of - Italian born progressive power metal band Trinakrius have never lost their focus on the prize. Festival appearances and label alliances allowed the band to expand their reach in the global metal scene, and reach out for greater notoriety. And nearly two decades after their creation, it would seem as though they have finally solidified in sound, in hopes of taking yet another stab at the industry they have been tied to. With the last round of personnel changes in 2012, it would seem that the line-up has now been secured, for the time being, and a new album has been prepared for the masses. But the question now becomes whether the mass exodus of members last year would be too much for this band to overcome. On their new album, "Seven Songs Of The Seven Sins," the band tackles the famed seven deadly sins, track by track, with a mix of styles all their own.

After a brief spoken word segment, you are greeted with something that is far too often lacking in the genre: a clear, crisp bass line drives "Pride (I Am The One)." This accent on the low end could not be more important, or more thoughtfully crafted by Francesco Rubino. With this part of the scale locked down, the instrumental can build around it, and does so with strength in replay value. It gives guitarist Emanuele Bonura freedom to roam and wander through the four-plus minute framework without being held done. The downside here, though, comes in the vocals, which struggle to match the sheer strength of the backing band. Singer Fabio Sparacello has a tremble in his voice that is endearing at times, but can give the false impression of weakness at others. His performance on "Sloth (Shelve And Delay)," however, is worthy of his lead position, delivery a soft crooning in the verse and an oepratic tone in the chorus. There is a natural groove to the way everything locks together, something that keeps your attention firmly on the track at hand. A pulsing bass line dominates "Envy (Malicious Desires)," and sets the stage for a fairly impressive progression. It is here that the first airy keyboards dart through the mix, giving depth and accent to each passage. With Alessio Romeo giving this added dimension, it turns a more basic arrangement into something more. His injections offset a weak performance from Sparacello in a nearly six minute arc.

Like all good metal albums, a moment of weakness must be offset with a moment of strength, as the band does on "Gluttony (Anorexia)." Drummer Claudio Florio bashes his cymbals into oblivion, crashing his way through fill after fill atop a solid layer of melodic guitars. The crystal clear production work is put to the test in the latter half, with a crushing breakdown bolstered by a sweeping guitar solo. As you would expect, the track "Lust (Sex Humanity)" becomes a thrashing affair complete with booming double kick drums and heavy distorted riffs. With some of the most impressive work on the album being hammered down, it does make you wonder why they chose to spread the energy out over seven minutes rather than keep it short and succinct. This isn't to say there aren't great moments in those waning minutes, but some careful editing could have cut the total run tim down by a minute or without hurting the flow. On the flip side is the brilliantly timed and layered "Greed (All Mine)," which may be the band at their very best. Numerous tempo and tone changes ignite a raging fire that would be hard to extinguish. Sparacello gives his most solid contribution here, elevating at every turn by Romeo and his synthesizers. Ending with a ballad, as the band does here with "Ira (L’Oscura Ascesa)" is often a dangerous chouice, one that can kill the lasting impression. But with the musicianship stepping up to the task, you are left with a memorable finale, one that showcases a lot of individual talents and gives everyone hope for the continuation of the story.

Through all of the missteps and stumbles along the way, Trinakrius have managed to deliver unto us a solid piece of progressive power metal that deserves repeated listens. The speed bumps they encounter - time related, mainly - can be chalked up to being overzealous, as opposed to being careless. They had a story and structure in mind, and chose to extrapolate that beyond their means. Whta is most impressive through the course of the seven tales of sin is the way each band members props up those around him. With the foundation rooted so heavily in the bass work, the other members can wander off onto their own limbs, while still remaining within arms reach of the track at large. That comes into play numerous times on the disc, and each time, they are pulled back into line for a solid finish. There are surely improvements to be made, both in the writing and vocal departments; though it would be hard to polish those any further. Regardless of where the next album chooses to go, "Seven Songs Of The Seven Sins" will always been a good benchmark for the future.

7/10

Facebook - https://www.facebook.com/pages/Trinakrius/116709725780
Myspace - http://www.myspace.com/trinakrius

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Newsted - Metal (EP) (2013)

While the name may only bring to mind one band, Jason Newsted has had a far more accomplish career than those in the mainstream would like to admit. After his much publicized split from Metallica in early 2001, Newsted criss-crossed the metal map, including stints in Ozzy Osbourne's band, as well as the Echobrain project that had directly led to his departure. But it was where his career path dwelled later on that has come to define him, for better or worse. Having joined cult heroes Voivod in 2005, it appeared he was ready to resume his full time work at the bass strings. Yet, in a move that many found bizarre, he jumped ship in 2006 to helm a CBS reality series titled "Rock Star: Suprnova," where an ill-fated "supergroup" was formed and, almost as quickly, disbanded. Now with his own band primed and ready, Newsted seems to have recaptured his love of all things metal. On their aptly titled debut EP, the man who went from the top of the mountain to the bottom of the barrel in a decade still has something left to prove.

With little ceremony, "Soldierhead" crashes into place. There is certainly a more basic, stripped down approach than you would have expected, especially in the vocal realm. The guitars, played on the EP by Newsted and bandmate Jessie Farnsworth, have a catchy appeal, even though they come off as flat and predictable. Despite a formidable solo, there is always the feel of 20th century thrash limping into the 21st century. It stands to reason, then, that the more downtempo, groove heavy "Godsnake" would stand apart from the rest. It provides a suitable forum for Newsted's vocals, which aren't sharp or pointed, but rather merely passable. By the time he delivers the one liner, "don't you judge me," you probably already have, one way or another. And if you've reserved that judgment, you will be rewarded for your patience with the almost dastardly laughable "King Of The Underdogs." Floating somewhere between Metallica and Jane's Addiction, but with less intensity, this six minute thrash punk dreamer does little to rouse more than a single raised eyebrow. The gang backing vocals in the outro might even get your head moving; side to side in disapproval. There is slightly more success in the closing track, "Skyscraper," that manages to capture, if not borrow, a Megadeth aesthetic. It contains the most successful instrumental track on the album, with a slow paced, bending guitar riff in the bridge that is eroded each time the cry of "no war" and "no more" cuts through the mix.

The blame lies on us for expecting Newsted and company to regain the thrash stardom he had accrued in his Metallica days. A decade his passed, and we've all changed significantly in that time; not least of all, Jason Newsted. He's traversed the spectrum, gone here, there and back again.  So to think we knew what to expect from this band, in this year, was simply arrogant. There are elements that work on the EP, and there are far more that don't. But the common denominator in each track is the dated, uninspired pseudo thrash that is charged with driving them forward. By no means is this a condemnation of Newsted or his bandmates as musicians. To the contrary, they perform admirably under the circumstances. However, as writers, as thinkers, as creators, they fail to deliver anything worth while here. It will be interesting to see what a full length offering brings to the table; perhaps they've kept the best tracks under lock and key all this time, waiting to unleash them upon an unsuspecting world. Or maybe "Metal" is the best we're gonna get.

4/10

Official Site - http://newstedheavymetal.com/
Facebook - http://www.facebook.com/jasonnewstedofficial

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Dark Moor - Ars Musica (2013)

It’s been an amazing year for metal so far with tons of great albums. I thought I’ve heard it all until I found out Dark Moor made a new album. As a long time fan, I was ecstatic. They’re legends of the symphonic metal genre. Three years after their last album, Dark Moor returns with “Ars Musica.” Before I go any further let me just say that I don’t think one singer is better than the other. Listening to a new Dark Moor album is a journey in itself. Every album has different sounds and moods. If you go back and listen to “Shadowland” and then put on “Autumnal” you’ll notice that they’re completely different. Not just because of the fact that they have a new singer, but because every instrument and every line is played and sung with different emotions. The Dark Moor with Elisa Martin on vocals is just as good as the Dark Moor with Alfredo Romero. Now with that out of the way, let’s continue. “Ars Musica” brings to the table a much more mellow album than their previous ones. But that is absolutely not a bad thing at all. It sounds like a band that matured over the past three years, but didn’t lose their talent for writing great songs. It’s by far their best album since “Tarot.”

The second track “First Lance of Spain” opens with standard Dark Moor fare before erupting into one hell of a chorus. It’s one of the best tracks on the album, and in their career. “It Is My Way” slows things down a bit, but Romero’s vocals make it irresistibly charming. His voice has found its home on the album; never has he sounded so genuine. “The Road Again” is another song with an amazing chorus. “Together as Ever” is, in my opinion, the best song on the album. The chorus is the best and most epic one they have ever written. It’s chill inducing, mesmerizing, and unforgettable. The Avantasia-esque “Gara and Jonay” is a welcomed addition. Like every other song on the album, it’s catchy as hell and tugs on the right heartstrings. Now if anyone is worried that they have ventured away from their neo-classical sound completely, don’t fret. “Living In A Nightmare” is pure neo-classical bliss through and through. Besides “Together As Ever,” the other real show stopper is “El Ultimo Ray.” Romero’s vocals sound incredible on the whole album, but they really soar when he sings in Spanish. His voice is fluid, smooth and packed with emotion. Nobody this year in metal has done it better.

For me “Ars Musica” is tied with “Tarot” as Dark Moor’s best album. “Tarot” is more symphonic, while “Ars Musica” has more heart. The album does pretty much everything right. And like every great album, it gets better with each listen. Every time I put it on I notice things I haven’t noticed before. Albums like these are far and few between. In the symphonic metal scene it’s extremely hard to stay fresh over the years. But it looks like they don’t have a problem making consistently great albums. With “Ars Musica,” Dark Moor have redefined themselves and made an album with skills few bands have. This album is an amazing experience that no one should miss.

10/10

- Brian DuBois

Official Site - http://www.dark-moor.com/
Facebook - http://www.facebook.com/pages/DARK-MOOR/69276031993

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Drunar - Testimony (EP) (2012)

Viking metal has quickly become one of the most widely loved subgenres across the world. You would be hard pressed to attend a metal show (a real one, not a metalcore show) and not see an Amon Amarth or Ensiferum shirt wandering through the crowd. As such, the number of bands carrying the viking title have increased exponentially. And while many of them have earned their stripes, many have yet to do so. Drunar, a four piece outfit from Belgium, fall squarely into the latter. With epic soundscapes in mind, but a lack of fine tuning at the knobs and levers, this band might have a long journey of mediocrity in store. With the six songs on "Testimony" rife with poor recording, mixing mess ups, and mastering woes, it is hard to separate the ideal from the final product. And regardless of how optimistic you are for the future, it is hard to hear the good things clearly.

The title track, "Testimony," is a tone setter, leaning heavily on epic arrangements and a wide array of instrumentation to get the ball rolling. Laid out over the crashing waves, it serves its purpose, rolling right into the first full track, "New Shores." Despite all of the sounds at play, the mix does a poor job of showcasing them all. Instead, the synthesizers come through most clear, while everything else struggles to get above water. Only when the keys fade away do you even realize there is a guitar at all. This stilted mix can be a horror, and becomes a recurring theme for the album. On the vocal front, a shrill blackened screech shares time with a clean chant, a fairly solid contrast from verse to chorus. And though it stands as a well written and conceived track, "Rise Of The Northmen" is hurt considerably by the  inconsistency of the recording. The band does their best with what they've been given here, and it remains as successful an endeavor as any on the album. But rather than working as one, each element competes with the others, often resulting in one at a time being heard clearly. A short bass solo in the bridge is one of the few times you get the true low end.

Harkening back to the majesty of the opening track, "Father Odin"uses the strength of the synths to bolster an otherwise flat track. Oddly enough, they achieve some degree of balance as a result, though still falling short in many respects. The synthesized horns are well thought out, but fall on deaf ears for much of the track. All of these uneven times lay far too much of the burden on the vocals. And while they remain a constant throughout, there isn't enough of a punch to shoulder the entire load. The most complete track on the EP may very well be "Lasabrjotur." By removing the vocals, they have cut out one layer and thus lightened the strain on the mix. As a result, you finally get a more clear presentation of guitar, bass, drums, and keyboards. Each one adds a subtle element that was lacking before. But as the screeches return on the closing track, "Dawning Of The End," so do the woes of the engineer. Taken at face value, there are a lot of good things happening, but they lie buried in a muddled mess. And, unfortunately, the constant muffling leaves each track sounding like the one before it.

Somewhere between inception and finished product, there has to be some degree of quality control. While the use of raw recording methods may work for some, it can be the death of others. Drunar seem to have the talent to write worthwhile pagan metal tracks; they seem to. It becomes hard to say for sure, thanks to the pillow that smothers everything they've worked hard to create. Whether their hands were working the board or someone elses, someone should be taken to task over the end result. When all is said and done, you have an album that plays out like six versions of the same track, buried beneath layer after layer of cloudy nothing. In the few brief moments that do allow the listener to hear the music as it was intended, you can almost appreciate the work that's gone into it. But until the lid is taken off, and the music is allowed to breathe, "Testimony" may become a "how not to" for audio school grads to come.

5/10

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

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