Hollow Haze - Countdown To Revenge (2013)

Italy is home to some incredible metal. What the Italian metal bands put out nowadays is mind blowing. Bands like Heimdall and Kaledon are proving that power metal is absolutely not stale. Hollow Haze is another band that can be added to the list. In 2006 they released their self-titled album which had some problems, but showed the potential that the band would grow into. The next albums “The Hanged Man” and “End of a Dark Era” were a major improvement and had more progressive elements. When they released “Poison in Black” in 2012, they completely overshadowed their previous work. “Poison in Black” was the highest point they reached in their career. It was bigger, heavier and more solid than anything before it. Alex Sonato reached new heights with his vocals and every instrument was top-notch. It didn’t seem possible to top “Poison in Black”, but “Countdown to Revenge” proves everyone wrong. With Fabio Lione and Nightseeker and the Wintermoon orchestra at the helm, Hollow Haze has again made an amazing album.

“Watching in Silence” has an epic, symphonic intro before it explodes into something that transcends progressive and power metal to create a concoction that is strictly Hollow Haze. It’s as if Dream Theater and Heimdall had a love child. It’s entrancing, one of the best songs they’ve ever written, and sets up the rest of the album perfectly. Fabio Leone also shows another side of his vocals that you won’t find on any Rhapsody of Fire albums. “Still Alive” is one of the heaviest tracks on the album and it keeps the flow going. “No Rest for the Angels” opens with another symphonic intro that shows that the Wintermoon Orchestra give Hollow Haze a more grand sound that they never had before. The chorus is also one of the best on the album. “Life Has No Meaning” is one of the weaker tracks. It’s not an awful song, but it slows the pace down and it seems to drag on. If there is a track that can be skipped, it’s this one. “We Must Believe” puts the album back on track and is second to none. The chorus and the guitar solo are standouts that need to be heard. It’s most definitely the most epic song on the album. “The Answer” is a good song that just doesn’t do anything new, but it’s a perfect track to pave the way for the stellar “Il Tempo del Fuoco.” This is one of the catchiest songs they’ve ever written. Another high point on the album. “A Fading Angel’s Life” is another track that’s not bad at all, but it just doesn’t do anything for the album. The only saving grace that prevents it from being skipped is the incredible bridge. The orchestra is beautiful and so is the guitar solo. Nick Savio’s guitar playing has become incredible over the years. Everything from his song writing abilities to his tone, everything is top-notch. The title track, “Countdown to Revenge,” is the longest, and the absolute best song on the album. It feels like everything they’ve done on the album comes together in one nice package. The keyboards are incredible and so is the acoustic interlude. It’s probably the most varied and most solid song they’ve done in their career.

Hollow Haze has always been a good band. “Poison in the Black” made them a great band. “Countdown to Revenge” has made them an incredible band. Don’t let the couple of so-so tracks detract you from this album. This is really good material that should not be missed. It’s better than “Poison in Black” in every way. The keyboards, orchestration, guitar and vocals have never sounded better. Fabio Lione gives the band new life and takes them to new territories they haven’t been before. Hollow Haze is tighter and with a more confident sound than ever before. “Countdown to Revenge” proves that bands can get better with each release. Do not miss this one.

8.5/10

- Brian DuBois

Official Site - http://www.hollowhaze.com/
Facebook - http://www.facebook.com/hollowhaze.music

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Of Solitude and Solemn - Of Solitude and Solemn (EP) (2013)

The biggest shame of the music industry, as it stands today, is that so many talentless bands (I won't bother to name them here) have the funds and the label backing to get into a studio and record their lifeless, mindless albums to drop on an unsuspecting and ignorant public. Meanwhile, so much talent goes wasted, simply due to lack of financial means. For Of Solitude and Solemn, it's all about making the best of what you have, and putting out music that you can be proud of. This one man project from the UK may not have the deep pockets of a major label backing him, but what Joe Hawker does have is a strong grasp on composition and execution. His use of keyboards, acoustic guitars, and rich soundscapes can't be ruined by a crumby microphone, or less than ideal equipment; talent always outlasts material gain. But for Hawker to truly get his vision onto recorded media, it will take not one or the other, but both. On his self titled EP, he gives us just enough to know that this project could go far; with a little help from his friends and complete strangers.

What Hawker manages to do, both early and often, is create a beautiful contrast between light and dark. On "The Wanderer," his use of acoustic guitars to open the track sets the stage beautifully for the atmospheric doom approach that follows. He crafts a melody here, in the lead capacity, that could easily be responsible for your body and head swaying from side to side. As his growls enter, they provide something else entirely; a level of grit and raw energy to elevate the cleaner parts of the mix. The restraint and patience shown in this ten minute epic is, perhaps, his greatest asset, allowing things to rise and fall organically, rather than forcing the square block into the round hole. The second half the EP, the towering, thirteen minute "Age Upon Age," follows the same basic formula, but in a way that could coin a new style altogether. Relying heavily on a single guitar melody, one that becomes reminiscent of so many melodic post rock bands, Hawker changes what we know to be doom metal into something more delicate and fragile. By no means has he removed the raw, aggressive element from the fold, but merely given it shape and texture that may otherwise have been lacking. The double kick drums and screams remain, but they are joined by clean vocals and soothing melodies.

There are a lot of takeaways from this debut, all of which should be considered encouraging for the future of this project. Not only has he gone out on a limb, of sorts, by combining the elements of doom and post-rock, but he has done so with a symphonic twist that makes the two stick more than anyone would have expected. His talent in all facets, from instrumental to vocal, make releases like this one all the more personal, as every note, lyric, and key conform to his vision. Ah, the beauty of the one man band. But more notably, Hawker has done the best with the tools he has, and still managed to release an album worth hearing. The production and mix leave a lot to be desired, and must improve in leaps and bounds to keep up with the music itself. It would be a shame to see good songwriting and musicianship go to pot over a less than stellar mix. A few Bandcamp purchases and donations later, and it could get interesting. Get this man a budget, and Of Solitude And Solemn will be a fast rising star in the post-doom wave.

8.5/10


Bandcamp - http://ofsolitudeandsolemn.bandcamp.com/
Facebook - http://www.facebook.com/pages/Of-Solitude-and-Solemn/129188580594839

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True Widow - Circumambulation (2013)

"Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is set out to expose the essence or identity of a subject through eliminating all non-essential forms, features or concepts. Minimalism is any design or style in which the simplest and fewest elements are used to create the maximum effect." We've all heard people use that term before, maybe even used it ourselves. Maybe not often, but sometime, somewhere. When faced with the cover art for the new album by True Widow, a three piece from Dallas, that is the first thing that came to mind. Minimalist. Mostly black, with highlights of blue around a solemn female head and hand, it took time to really take it in. Guitar, bass, drums, vocals. Not overcomplicated or over saturated, but focused and with plenty of space surrounding it; just like the artwork itself. That unity is merely the beginning for a band that have combined stoner facets with shoe gaze, without ever losing focus on accessibility. And whether it takes you one listen or twenty, "Circumambulation" is sure to give you reason to think that minimalism is making a comeback.

Stuck somewhere in the ghostly groove of "Creeper" is a band that has a very clear vision. With the music barely above a crawl and the vocals laid on top in the most haunting of ways, you find yourself hovering between a shoe gaze type of head sway and a more energetic foot tap. Slim TX, providing the drum beats, does a masterful job of changing both his rhythm and tempo, inserting syncopated elements to complement a steady guitar and bass regimen. It's a track that stays close to the main line, without drifting far from center. And while the same could be said for "S:H:S," there is a certain level of psychedelia present here that separates it from its predecessor. That haziness on the vocal lines, provided by both guitarist DH Phillips and bassist Nicole Estill will surely induce shivers in a high percentage of listeners. More than that, though, it becomes a vessel to carry you through not only the song, but the album at large. How else could you make a six minute smokey ride seem so short and so fulfilling? That ability, which permeates the entire disc, is what makes an album feel like a private live performance. And being front row, center for "Four Teeth" is a gift in and of itself. The mood changes, as Estill puts down an incredibly soothing, yet somehow sultry vocal over a simple yet satisfying groove. The metallic tapping of cymbals becomes the icing on this proverbial cake, and each kick/snare combo is nothing shy of meticulous.

There seems to be a common sonic theme running through all eight tracks, though it might take you until "Numb Hand" to truly appreciate it fully. The beauty of the minimalist approach is in the subtlety of each movement, and how profound it can be to the mix as a whole. Simple guitar strums hit harder, plucked bass strings rattle longer, and kick drums sound more forceful when they aren't buried in layer after layer of extras. This is not to be mistaken for lack of creative flow or ability; quite to the contrary, it takes a sharp set of minds to realize that less can be more, especially when that less is so well constructed. The longest track on the album, which clocks in at just over seven minutes, is no different. For "Trollstigen," it may even be more important to maintain that level of stripped down riffing, as once again, Estill gives a vocal hook that could haunt your dreams in the best possible way. It's worth noting that this is not the release for the casual metal fan who needs drum rolls and fills to remain attached; drummer Slim TX does so much for the atmospheric quality of the album by not throwing in blast beats or sets of double kicks, just for the sake of adding them. Even as the song fades out, and Estill croons, "carry on," a single chill travels the entire length of your spine to your lower brain stem.

With a slightly lighter mood, "I:M:O" brings out a lot of the post-rock element that has been flickering in the background throughout. Without the vocal element at play, it is up to the instrumental melody to arry the track, which is does with no resistance whatsoever. The track has a lighter side, like a single spotlight through a smokey bar; it's uptempo at times, but with an arc that brings it back into solemn territory. Back in a true lead role, Phillips hits a home run with his vocals on "HW:R," not to mention the main guitar melody that dominates the track. The harmonies that you achieve through these male and female vocal tradeoffs deserves to be highlighted, and it is here. Where Phillips nails down the verse, Estill is right behind to pick up the chorus. It wouldn't be too far off base, I would hope, to draw a comparison between this track and the beloved "California Dreamin'" by The Mamas And The Papas. Both embody that dreary sense of melody in special ways. Without belaboring its importance, the placement of "Lungr" at the tail end of the album is a choice that took both savvy and courage to make. With a beautiful sense of harmony and structure, it could have easily been a lead single, put into the three or four slot without a second thought. But as the final notes fade out, it fits the clean up role better than any other track could have.

There have been plenty of great albums released this year; power metal, stoner doom, black metal, they've all seen representation. But True Widow are in a class all their own, the lone member of a club that all bands should hope to one day be included. This album is a different kind of great, a transcendent, floating above it all kind of greatness. It's simple, yet complex in its delivery. It's dark, yet somehow invigorating. And most of all, "Circumambulation" is smart in every possible way. The album is more than just a rainy day listen, or a sunny day in the car; somehow it manages to be all of those things and more, finding a firm place in your short list of albums to have with you at all times. For some, it might not hit home as squarely as it does for others. That is, of course, the nature of music itself. But if you can just let go of yourself for forty some odd minutes, and let these eight grainy, cloudy tracks emanate from your speakers and surround you, chances are you'll be convinced. Call it what you will; but "Circumambulation" is going to make a lot of Top Ten lists come December, and even more Desert Island Discs lists in years to come.

9.5/10

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

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Seeds Of Iblis - Anti Quran Rituals (2013)

We, as humans, are fickle creatures. We have weak stomachs for controversy, and therefor avoid it whenever possible. We encourage those around us to voice their opinions, until they run contrary to our own. We sometimes want our musical heroes, sports starts, and government officials to speak out for or against things, then chastise them for saying the "wrong" thing. So there is something refreshing in speaking of the unspoken, bringing light to something that will never make the mainstream media outlets. Seeds Of Iblis bill themselves as anti Islamic black metal, a sentiment that many in the western world might not expect, especially coming from a country like Iraq. But their insightful, thought provoking assertions about the current state of the Islamic world, and the many warring factions that make it up, are eye opening, at minimum. Their debut album, "Anti Quran Rituals," brings together this forward thinking, openly defiant mindset, with a black metal assault on your sonic threshold that, when done right, seems to go hand in hand.

It doesn't take long to dive into the sea of clanging metal and intense screams. The layers of "From Mecca to Jahannam" crash together recklessly, with no buffer space in between. But as the drums and guitars form a single mass, beautiful chants poke in and out of the mix, always finding their way to the front. It becomes a stark contrast to the main vocal line, which scrapes against your inner ear. One glance at the lyrics and you find that the delivery mirrors the intensity of the story. It takes like "Qamar (Islamic Lies P.1)" to raise awareness of just how profound this unique take on black metal can be. Voices cascade in the background, leaving only a spoken word portion in the fore. It's simplicity is it's strength, something that may not become completely evident until you are knee deep in "72 Virgins," no pun intended. It is here that the album makes its biggest statement; decrying the promise of virgins in heaven, for killing on Earth. The words speak so much louder than any amount of distortion ever could. It seems t be no coincidence, then, that this is also one of the most pulverizing, yet melodically tinged tracks on the album. Only the booming thud of the kick drum stands apart on "Behind the Horns of Allah," each beat pushing your sub woofers to their limit.But as the track progresses, there is a distinct change; piano keys and a female voice take over, a haunting combination that seems to be a full 180 degree reversal.

One of the true victories of the album at large, is the ability to mirror the importance of the subject matter, with an equally prudent musical accompaniment. Songs like "The Prophecy Of Rape" stand out not only with their titles, but because they are delivered with such force and conviction. The raw aspect of the mix is well used, which makes the more crisp "Qabr (Islamic Lies P.2)" all the more impactful. But perhaps no song will stick to your inner music fan more than "Islamophobia." It may not be the best track in the bands catalog, or even the best on the album itself; but there is something in its construction that makes it easily addicting. Whether it be the seemingly endless stream of double kicks or just the overwhelming brutality of it all, it stands as a headbangers dream. A soothing outro fades in, and subsequently fades out, leaving only the final duo of tracks, "Sura 9" and "Allah Is Dead" to come. The former is a full speed ahead pounding, with guitar, bass and drums locking together in one massive down beat. There is no room for subtleties here, as the mix fills to overflowing levels of distortion. The latter track, though, is a complete departure. piano keys, chants and a slowed pace comprise the bulk of the offering, leaving a lasting impression, if not a completely different on than you started with.

Finding balance between message and delivery method can be a tricky endeavor, with one usually dominating the other, rendering it moot. But Seeds Of Iblis have found that middle ground; they use their lyrics and vocal delivery to bring their viewpoint and opinion to the foreground, while still creating a chaotic and sonically pleasing instrumental. The way the two coexist is a lesson in itself. But our ability to separate our feelings on the subject matter from the music helps to define the success of the album as a whole. In the case of "Anti Quran Rituals," the honesty of it all makes for an impressive combination of
thought and action. They've harnessed that raw power of black metal, much like the founding fathers of the genre did years ago, and used it to shine the spotlight on their topic of choice. While the bands of the past wanted to burn churches and end Christianity, this version stands up and speaks out against the same radical Islamic tenets. They may not be one and the same, but the spirit in both is strong. Agree or disagree, it is a message, and an album, too powerful to ignore.

8.5/10

Facebook - http://www.facebook.com/Seedsofiblis
Myspace - https://myspace.com/seedsofiblis

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Parallax - Sputnik (EP) (2013)

Learning to follow that age old phrase, my time with Sorrow Eternal has been rooted in listening to anything and everything, regardless of the cover on the book. We try to remain nonjudgmental; until we've heard the music, that is. Themes of space, Mars, and pieces of metal orbiting Earth might not be the storyboard of choice for many metal fans, but maintaining an open mind can surely change that. From Ukraine, Parallax might be the biggest beneficiary to space exploration that the underground metal scene has ever come across. Their debut EP, which tackles everything space related, from Mars to Sputnik, John Carter (yes, the movie) to the Pioneer One series, is proof that when you let your mind wander, great things can result. And once you move passed the possibility of a crash and burn sort of album, one that reaches too far, and ends up falling harder than a space craft on its return to Earth, you are treated to something you might not expect. The four tracks on "Sputnik" might have their collective head in the clouds, but their feet are firmly rooted in the ground.

There is a theatrical element to everything the band does, beginning very early in the title track, "Sputnik." The news report that opens the track is flanked by bending and winding keyboards, which slow to ignite the first massively heavy riffs. The attack is straightforward and deliberate, with pulsing drum beats providing the foundation for what becomes a crowded house. Frontwoman Helle Bogdanova hits all the right notes, allowing her range to shine through. On the other side of the coin, keyboardist Evgeny Zhytnyuk puts his signature all over the track, be it through his electronic melodies or his deep growls. It is his vision that makes tracks like "Firebird" as catchy as it is. Alternating between airy atmospherics and space age leads, he adds a distinct Dream Theater/Jordan Rudess vibe to the entire mix. His virtuosic performance allows the band to rally around him, each filling role, rather than scrambling to fill space. Guitarist Max Khmelevsky, who occupies the rhythm spot most of the way, steps forward with a great piece of solo work, putting the punctuation on the statement track.

Bogdanova stars on the track "Mind The Past," which sees her show off not only her range, but her ability to command an entire room. The energy has increased exponentially, bringing the tempo up to a fever pitch. Yet, somehow, the accuracy of everyone involved, from guitars, to bass, to drums, maintains a level of excellence that seems otherworldly. While Zhytnyuk continues to ignite fires with his touch on the keys, the production work deserves much of the credit. Finding that narrow line between crowded and broken, engineer and producer Max Morton has done an incredible job keeping all of the pieces in check. Perhaps the biggest strength of the album comes in the way it merges simplistic riffs and intricate keyboard and vocal lines into something that is both infectious and musically competent. The section that surrounds the four and a half minute mark, complete with harps and horns, stands as a testament to the incredible songwriting talent the band possesses. But the they erupt from that section - a blasting set of chugging riffs and thunderous drums - speaks just as loudly.

The subject matter of the album notwithstanding, Parallax have a style all their own. Somehow, so early in their career, they have found a space that allows them to be creative, without compromising their sound. Combine that with the fact that their space themed lyrics and storytelling add an additional dimension to the mix, and you have a recipe for what could be a major success story. Bogdanova and Zhytnyuk, as a dynamic duo, have everything going in their favor, her voice fits the arc of the music, and his music fits her voice perfectly. One without the other wouldn't sound nearly as glorious. But beyond the two spotlighted players, everyone deserves credit for the end result here. What makes this EP stand out from so many others this year is the structural integrity it seems to possess. Remove any one piece, any one member, and it might all come crashing down. So as long as this four piece plus can stay together, stay focused, and keep their heads wandering, they will be a force to be reckoned with. They might even be able to join "Sputnik" among the stars.

9/10

Facebook - https://www.facebook.com/parallaxmetal
Soundcloud - https://soundcloud.com/parallaxmetal/

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Twin's Crew - The Northern Crusade (2013)

In 2011 Twins Crew released their first full-length entitled “Judgement Night.” It was a good album that was a little rough around the edges. The choruses were good, but the verses needed a little work. It wasn’t a contender for album of the year, but it showed that Twins Crew have a knack for making old school, Judas Priest sounding power metal. Now two years after the release of “Judgement Night,” they have returned to give it another shot. “The Northern Crusade” takes everything that “Judgement Night” has done and makes it more refined and solid. In the two years between albums, Twins Crew have come back for another round. While it does have a couple of missteps, it’s much better than “Judgement Night;” the good outweighs the bad. With this only being their second album, they’ve done a tremendous job.

The album opens up with “Last Crusader” which immediately shows that they are going for a much more melodic approach than the last album. “Judgement Night” was a little heavier and it tended to drone on. That’s not the case with “The Northern Crusade.” This album is very easy on the ears and a lot more varied than its predecessor. “Blade” has one of the best choruses on the album and is a great follow up to the opener. The album takes a little turn when “Unholy Grail” comes on. It has more of a progressive sound than anything they’ve done this far. It sounds like they are mixing mid-90’s Stratovarius and early 80’s Judas Priest. It’s a departure, but it’s one of their best songs. It’s truly a stand out on the album. “Dr. Dream” has a weird name, but it’s a good song nonetheless. It’s epic and has a wicked solo. With “Loud and Proud” the album goes off the tracks a little bit. It’s in between a melodic track and a ballad; it doesn’t really fit at all. It sounds like a throwback to Motley Crue. It would have been better suited as a bonus track at the tail end of the album. It’s not an awful song per se, it just disrupts the pace of the album.

After “Loud and Proud” comes “Under the Morning Star” which is the best ballad they’ve done. It picks up the slack that the last song left and runs with it. It’s beautifully written, has a great flow and the chorus is epic. A fan couldn’t ask for more. “Kings of Yesterday” is a complete triumph. It’s easily the best song on the album, bar none. The chorus is incredibly catchy and the solo is awesome. It’s tightly written and doesn’t have a misstep. It sounds like “The Scarecrow” era Avantasia. They really hit it out of the park with this one. “Heaven Waits” has a so-so verse but a good chorus. It doesn’t ruin the flow of the album, but it doesn’t really do anything for it. “Take This Life” is another good song that doesn’t really stand out. It’s not bad, but it doesn’t bring the album anywhere. The closing track “Angels Fall” is a perfect way to end the album. It goes back to the progressive sound on “Unholy Grail” and they create a song with a great soundscape. It’s slower than the other songs, but it ties everything up nicely and makes me want more from them.

“The Northern Crusade” is many steps ahead of “Judgement Night.” The vocals are better, the solos are tighter and the melodies are bigger.  Even though “The Northern Crusade” has a couple of skippable tracks, it’s still a great album. As I’ve said before, the good outweighs the bad. “Kings of Yesterday” is one of the best songs they’ve ever written. If this album is a sign of what they are going to sound like in the future, sign me up. Twins Crew isn’t trying to be something they’re not. They are simply here to make balls to the wall metal and they succeed. “The Northern Crusade” is a must listen for fans of Stratovarius, Avantasia and Judas Priest.

8.5/10

- Brian DuBois

Official Site - http://www.twinscrewband.com/

Facebook - https://www.facebook.com/EternalNights

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Lords Of The Trident - Plan Of Attack (EP) (2013)

Their bio reads like a conglomerate of Greek and Roman mythology, with robots, pirates and metal added for some extra flavor. But Lords Of The Trident, from Madison, Wisconsin, are not merely acting out a story. Together, these five warriors have embarked on an epic journey to create the most metal band, and album, the world has ever seen. After sailing the treacherous seas, climbing towering mountains, and fighting off those who would try to stop them, they began to reach their goals. With their two prior EPs, they forged a sound that was steely and shiny. But on this, their third effort, they've strengthened themselves, strengthened their lineup, and moved beyond mere metal itself. Combining all of their influences, from lightning to barbarians, swords to knitting, the Lords have taken you on a trip through time itself, to the classic age of all things heavy and all things melodic. On "Plan Of Attack," they go back to the future, and leave you with something nostalgic and new.

One high pitched wail, and "Complete Control" erupts with barely a second's notice. Band frontman Fang VonWrathenstein has a voice that commands the army, hitting both the higher register, and the smooth middle ground. And as dynamic as he is, the dueling guitar lines muscle in and steal the show from time to time. With the talents of Killius Maximus and Asian Metal at the six strings, the charge is always on. Everything falls into place, adopting a new spin on the classic metal sound on tracks like "Plan Of Attack." The tempo is high, but the energy is higher, harkening back to the days when the men of metal were Gods among mortals. It would be an insult to try to capture the catchy nature of the hooks here, undoubtedly leaving every fist high in the air, and every strand of hair swinging in tribute. Conversely, they show their ability to adapt and change, with the more deliberate riffs of "Song Of The Wind And Sea." The grooves here are heavier, but the vocals are far more indicative of the range at play. Bassist Pontifex Mortis gives you something to appreciate in the low end, with another precisely delivered bass line. The track, as a whole, is an anthem in the making. But the finale, standing at a robust seven minutes, brings the hammer down both literally and figuratively. Drummer Sledge Garrotte takes care of the former, while the lyrical content fulfills the latter. A dizzying solo and crushing outro later, you've got a inch for more.

It's one thing to come up with a theme; it's another thing entirely to throw yourself into the role with both feet. For Lords Of The Trident, these are not characters or alter egos. They are living this story to the fullest, and making music that completes it. It's as though they've created a time machine that brings history to you, rather than you to history. They've conjured up the sounds, the imagery, and the technical ability of the some of the greatest bands of the last few decades, and brought it all back full force in the year 2013. Call this what you will; cheesy, done to death, ancient. Those are all just words. When the album is over and you've digested the four songs, you'll have them lodged somewhere in your brain for a long time to come. For whatever reason, this is the kind of music that lasts, the kind of music that lingers. This is the kind of EP that you'll go back to time and time again, even when you don't know why. Based on that alone, "Plan Of Attack" would be worthy of your time. But it's even better than you think.

8.5/10

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

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Philip H. Anselmo & The Illegals - Walk Through Exits Only (2013)

He is one of the most recognizable frontmen in the history of heavy music, both in sound and appearance. His voice and attitude have graced more albums that I can count without the help of the internets. And yet, for the last nine years, Phil Anselmo has spent more time answering questions about what he did or didn't do, said or didn't say, meant or didn't mean. In the wake of the senseless murder of the legendary Dimebag Darrell, the former voice of Pantera has grown to expect the daily attacks by elitists and trolls alike. Nothing he's done since has been judged on its own merit; it has been compared to "Vulgar Display Of Power." Private grudges have been aired like dirty laundry in the press, bizarre reunion rumors swirling like water down the drain. But despite the assertions of many, the last decade has not been wasted. With the release of "Walk Through Exits Only," the first solo album in a career that has spanned decades, Anselmo puts himself in the spotlight again, and reminds us that when one door closed all those years ago, others stayed open.

The scathing two minute intro track, aptly titled "Music Media Is My Whore," is a statement of intent that we haven't heard from Anselmo in many years. Crushing drums beats and the marching of snares would be all the foundation he needs to grunt his way through an indictment of all things press related. But when his backing band, known as The Illegals, jump down on the one in "Battalion Of Zero," you quickly realize that this is who we are now. Anselmo pushes his vocal to the breaking point, screaming over screeching guitar riffs and a battery of chaotic percussion.While he hasn't lost any of the power in his voice, it has changed since the glory days; though when he screams, "we're going, going, gone," it grabs you by the throat in a pretty forceful way. The simplicity of it all says a lot about where Anselmo is in his career at this point, stripping things down production wise to achieve a gritty, more raw emotion feel to each track. This isn't to say the it doesn't have the moments of clarity, but those times are outnumbered by rough edges five to one. Tracks like "Betrayed" fit that mold perfectly, bearing a trademark honesty, at least from his perspective,  that oozes through his lyrics which, to his credit, seem to take function over form throughout. Bruising stop/start guitars give way to a bizarre electronic interlude, the first real departure from the back catalog.

And while most song titles might not require much thought, it seems as though "Usurper Bastard's Rant" might be to the contrary. With the thunderous gallop of drums, Anselmo unleashes low rumbling growls, as well as he forced screeches that once made him an icon in the metal community. The sloppy, almost haphazard instrumental that dominates the breakdown seems disjointed at times, but reels itself in without much wandering from the mainline. But it is the title track that steals the show. "Walk Through Exits Only" may come off as straightforward, or at least more than you'd expect at this stage, but with the screws tightened on the musicianship, the vision for the track is clear and delivered to the nines. There is a cockiness to the lyrical content that suits Anselmo, as he growls, "I walk through exits only, because I can." It is this unrestrained, uncensored side of the man that makes him such a polarizing figure. It would be hard to argue his ability to ignite a mosh pit, as this track is sure to do. He says it himself, just before the chugging monster of a break comes through; "a comeback doesn't come gently." If there is one track where Anselmo himself takes a back seat, it would be the bombastic "Bedroom Destroyer," where the shackles come off The Illegals, and they unleash hell in musical form. It's this atmosphere that may best suit Anselmo is his current form, the reckless, damaging riffs pushing him beyond his comfort zone.

By the album's final pair of tracks, we seem to have Anselmo boiled down to his core, his most honest and identifiable self. The opening line to "Bedridden," in which he declares that he is a "meticulous man," is delivered with conviction and raw energy, something you may remember long after the life cycle of the album has expired. the sheer speed of the guitars in the chorus and bridge is ridiculous, at worst, and astronomical at best. With a short run time, it stands as one of the best songs on the album, and the perfect launch pad for the long running "Irrelevant Walls And Computer Screen." Bringing the album full circle as only he could, the track stands as another attack on the anonymous detractors who have criticized from afar, afraid to sign their names to the bottom line. As he doles out line after line of aggression, the background instrumental wanders the median between thrash, southern sludge and wild riffing. It's exactly what you would have expect from the once Pantera frontman, a decade after that chapter closed. The breakdown of the mix, which stands as more than half of the track, seems right at home, eventually building back into a lonesome groove, right before the album fades to black.

For the first time in his long and fruitful career, Phil Anselmo has a voice all his own. This album, his first real solo album, isn't clouded with the thoughts and ideals of others; it speaks straight from his murky brain to your speakers. And maybe that's why it stands so tall after all these years of anticipation. He's brought the beast back to life, the man who once stood at the front of an arena stage and belted out words that everyone across the world knew. The door known as Pantera closed for good on that fateful day in 2004, and people have stood, throwing rocks at it ever since. Blame was spread, pushed back and forth from side to side. Time has passed, and people have moved on. Other bands have started and ended, and projects have come and gone. But for whatever reason, it took until now for Anselmo to find his voice again; not the one that comes off as argumentative in interviews, or the one that seems conflicted about his own role in the end of that era. But the voice that inspired countless teenagers and adults to pick up a mic, the one that ushered in millions of copycats and knockoffs. It's time for the hatred to stop; "Walk Through Exits Only" is the the open door Anselmo had to walk through.

8.5/10

Official Site - http://www.philanselmo.com/
Facebook - https://www.facebook.com/philipanselmo

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Lapis Lazuli - Lost (2013)

The recipe was there for them to follow; and Lapis Lazuli put together a mixture that was a smooth as the most carefully baked cake. With the release of 2011's "A Justified Loss," keyboardist and band mastermind Timo Hautamäki had found all of the right ingredients for a successful symphonic metal band. but two years have passed, and some things have changed. Gone is vocalist Frida Eurenius, replaced by the soaring operatic style of Cecilia Kamf. Bassist Henrik Nyman, involved for years with the band, moves on, as Sandra Wallo joins the fold. When the vision of the band is in the eyes of one member, lineup changes often have no real effect on sound or structure. But despite Hautamäki still having his hands tightly on the reigns, he couldn't help but let things evolve in the process. With the release of their new album, "Lost," you find a band that might not have given up on their direction, but one that is certainly looking for a little lateral movement.

There are no surprises in the opening track, simply titled "Overture." This is Hautamäki at his best, creating beautiful and vast soundscapes with strings and keys. He makes it all seem so easy, putting together orchestral melodies full of blaring horns at the touch of his fingertips. The biggest challenge, though, seems to be finding the delicate balance when the full band joins the fray. On "Floating Away," the symphonic presence buries the guitars often, almost to the point of nonexistence in the chorus. Shining through it all, new vocalist Cecilia Kamf soars into the higher register in her beautiful operatic tone, a change from previous efforts. The lack of instrumental balance, however, doesn't do her any favors. Those troubles seem to be fleeting, luckily; the serene piano keys that open "Darker Shade Of Me" signal a change in the album, albeit an early one. Hautamäki finds his groove, adding both layers of string tones and airy synths. The guitars start to break through, along with drum beats that while strong, lack flare. It remains a two man show for the most part, with Kamf fronting the orchestra brilliantly. Much like the earlier albums, there is a similarity between Lapis Lazuli and other female fronted bands, with songs like "Forgive, Never Forget" carrying a lot of the Within Temptation feel, with a slightly more diverse vocal. By no means is this a slight, as they execute it with a great deal of care. In fact, thanks to the chorus of voices, it stands out from the album.

After the short interlude, "Entr'acte: Hunted By Shadows," the band returns in full force. There are moments in "Arise" that sound like a band at the top of their game, but the luster is dulled by production work that simply doesn't do the composition justice. Guitarist Tobias Rhodin does see the light of day here, with a pretty driving melody, but his arrival comes at the same time as the drums fall flat. the click of the snare drum doesn't exude any power, leaving Kamf to deliver twisting and fluttering streams of lyrics without a net. It looks like the sign of a bigger problem of balance. And when the male growls fill the entirety of "No Escape," you've made a sideways leap to something completely unexpected. This is not to say the growls don't work; they actually hold their own quite well. But in a track that finally has its musical balance, the only thing missing is that bit of contrast between beauty and beast. Hautamäki's voice is devastating, and ignites a fire in the surrounding instrumental. It does carry over into "Hollow," which sees the two vocal styles, both harsh and soft, come together in a fractured harmony. The track stands as the most accessible on the album, which is for the better, but it might also be the most pleasing for dedicated listeners. It shows off the versatility, the ability to be more things to more people. The refresher track, "Entr'acte: Finding the Way Home," may start solemn, but ends with a thumping dance beat.

With horns blasting through, "Close The Distance" begins as the symphonic masterpiece you've been waiting for. Kamf has now reached her best work, her voice now flying high above the rest of the mix, even if her lyrical content doesn't match the brilliance of her voice itself. But if you're looking for one thirty second clip that might bring new fans to the party, the three minute mark might be exactly that. Chugging guitars, ethereal vocals, and subtle, if not delicate keyboards. For a track that is under three minutes in length, the title track does wonders for the scope of the album. There is a simplicity here, but one that can be fully appreciated. The layers of vocals in the chorus back her aptly, and help to advance the now growing sound. It seems like a bizarre twist for an album to gain so much steam by the end, but when you reach "Illusions," you get the feeling that the best has taken twelve tracks to find you. Hautamäki's clean vocal is perfect for this moment, showing off the range that many had forgotten he had. He pushes himself to his boundaries, engaging in a tradeoff with Kamf, an inspired performance for both. They've truly saved the best for last, as "My Last Story" is everything you'd expect all along. It combines the heavy guitar riffs that had been so carelessly buried earlier with that strong symphonic element. It's as if the album was a tug of war, and it took the entire record to find peace.

There is something unique about this album that needs to be mentioned. Very rarely do you see a large concentration of strong tracks at the end of an album; they are either crammed to the front end, or scattered throughout. Lapis Lazuli push that heavy rock up the hill for nearly an hour before they reach the apex. For better or worse, the album is simply stacked towards the end. The problem this creates is one that the listener must solve on their own. There are moments of brilliance to be found on the disc, and some where a slight turn of the screws (or knobs) could turn mediocre into monumental. For their part, they've succeeded far more than they've failed, which is a victory in and of itself. But with the vocalist changing from album to album, it makes it difficult to dig your feet in and push for tyhat next level. With her performance on "Lost," one would hope Cecilia Kamf has earned herself an encore performance. And with some careful planning and technical improvements, the follow up might get them where they want to go.

7/10

Official Site - http://www.lapislazuli.se/
Facebook - http://www.facebook.com/LapisLazuliOfficial

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Inthraced - The New Awakening (EP) (2013)

When a band bills themselves as being the next big thing, chances are they are far from it. If they are doing something outside of the box, and feel the need to advertise it, there is a good chance they aren't good enough to make an impression. The great bands, new and old, let their music do the talking for them. So not knowing the name Inthraced isn't a bad thing, or even an indication you are disconnected from the metal underground; you just haven't heard them yet. This melodic death metal, black metal hybrid from Finland are not going to redefine what extreme metal means to you. At least not on their first EP. But what they can do is bend your perception of what makes music like this "extreme" in its own right. On three songs, with each track standing just over five minutes, this four piece gives you a lot more than you money's worth, both in music and thought. As a result, "The New Awakening" might be the start of a beautiful relationship between you, and a very extreme friend.

There is no room for expansive, airy intros here. While that might work for other bands, Inthraced jump directly into the fray on "Starlight." With a backing instrumental that seamlessly combines black, thrash and death metal tenets, this is a full speed ahead sort of opening. Lead guitarist and vocalist Tommi Takkunen is as dynamic a frontman as you'll find in extreme metal, laying down layers of heavy distortion and chilling growls. But with an attack this forward and relentless, they push the limits of even the most skilled engineer. Luckily, the mix is up to the task, roping in all of the elements and keeping them in impeccable order. Even "Origin Of Life," which boasts some of the most insane percussion work of the year, sounds crisp in every facet. The melodic leads, which are sometimes positioned further back in the mix, are so intricately detailed that they might not be dissected easily on first listen. The rhythm section of bassist Veikko Eronen and drummer Antti Ikonen do so much of the heavy lifting, allowing for the riffs to stay far ahead of the main mix. Takkunen vocal prowess is easily detected, as he moves back and forth between bone chilling growls and blood curdling screams. By no means would you expect a light piano outro to take you by the hand into the title track, "The New Awakening." But defying expectation is what this band does best, bludgeoning you with brutal riffage and yet somehow fostering memorable leads at the same time. The way the thirty second piano interlude flows back into the body of the piece is incredible, and shows the great creative control the band has over their sound.

In the world of extreme metal, there are an awful lot of pretenders, trying to pass themselves off as the new wave of visionaries. More often than not, though, they are merely one dimensional acts, doing the same old thing in hopes of hitting the big time. Inthraced have distanced themselves from the masses with this EP, showing that they can not only roll over anything that stands in their way, but they can color outside the lines when the time is right. The carefully placed piano segments, when sandwiched between heavier elements, stand out an shine so brightly, that it seems natural for them. The latter part is the key; it wasn't a contrived afterthought. The placement and execution are all the evidence you need to see that this isn't a one off offering before they join the pack of sheep. They've got too much talent, too much forward thinking ability, and too much to lose by just following. Inthraced are destined to be leaders. Maybe that's what they meant with "The New Awakening."

9/10

Facebook - https://www.facebook.com/Inthraced
Soundcloud - https://soundcloud.com/inthraced

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Heimdall - Aeneid (2013)

Power metal from Italy seems to be a growing scene with bands such as Rhapsody of Fire, Ancient Bards, and Thy Majestie taking the genre by storm. There is one band however that doesn’t get the attention they deserve. Since 1998, Heimdall has been releasing stellar albums. “Lord of the Sky” and “Temple of Theil” were a little rough around the edges but great nonetheless. 2002 was the year that the band starting going for the larger sound. “The Almighty” and “Hard as Iron” improved upon everything the previous albums did. They were heavier, more melodic and had a much more grand sound. “Hard as Iron” in particular was an incredible album. It’s been nine years since “Hard as Iron,” but Heimdall came back and released an absolute masterpiece. “Aeneid” is ready to take over the Italian power metal scene.

“Aeneid” completely overshadows their other albums. The musicianship is top notch, the new vocalist (Gandolfo Ferro) adds a whole new sound and the melodies are breathtaking. “Forced by Fate” has, hands down, one of the best power metal choruses this year. Other bands wish they could sound this epic. “Save You” is just as incredible. Most notably, the verse is catchy as all hell. “Waiting for the Dawn” slows things down a little bit before busting out a great head banging riff. The keyboard is also a nice touch in the song. It makes it sound more full and solid. “Ballad of the Queen” and “Funeral Song” really slow things down. “Ballad of the Queen” is a great acoustic song that warms the album up a little bit. Putting these two tracks after “Waiting for the Dawn” was a wise decision. It prevents the album from coming to a complete standstill. The final note in “Funeral Song” is a perfect transition into “Underworld” which picks the momentum of the album back up at full force. “Underworld” has a great chorus and a blistering solo. “Hero” has an amazing bridge section and the end of the song has the most epic use of choir on the album. “Night on the World” is by far the best song on the album. It’s the best power metal song of the year so far period. Everything from the beginning riff to the piano interlude is pure perfection. Coming after “Night on the World” is a hard feat for a track but “All of Us” does a great job following up. “Away” is a great ballad that paves the way for the astounding closing track, “The Last Act.” The album closes on such a high note, one only hopes that Heimdall continues the tradition on the next album.

“Aeneid” isn’t just another run-of-the-mill power metal album. This is the real deal. The amount of work that went into this album is mind boggling. Nine years was definitely worth the wait. If they continue to make albums like this, fifteen years wouldn’t seem so bad. Every song has its place and purpose, and without one of them the album couldn’t function. “Aeneid” is a milestone. No other power metal band can return from a nine year gap and deliver the crowning achievement in their career. It just isn’t done. A power metal album hasn’t been this impressive since Rhapsody’s “Symphony of Enchanted Lands.”  “Aeneid” isn’t just one of the best power metal albums this year; it’s one of the best of all time.

10/10

- Brian DuBois

Official Site - http://www.heimdallband.com/

Facebook - https://www.facebook.com/heimdallofficial

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Frozen Ocean & Petrychor - Autumn Bridges (EP) (2013)

It was only nine months ago that Justin sat down to review an album by a band that was new to us. Frozen Ocean, a one man project from Russia, had released a full length titled "A Perfect Solitude," that begged to be heard. While Justin had found fault in the track lengths and oddly long interludes, others around the office were intrigued by the sounds emanating from our speakers. Vaarwel had something in his music that just kept bringing us back for more. It was lucky, then, that we stumbled on a new split EP released this year. It features the Frozen Ocean moniker, along with a California based one man band called Petrychor, in a twenty three minute effort called "Autumn Bridges." Whether you have experience with either artist and their previous work or not isn't important. What stands out is the symmetry in sound, and the imagery created. And though they sit thousands of miles apart, it's as if they are looking at the same scene as they write. Three tracks later, "Autumn Bridges" might have you seeing the same thing.

With Petrychor's contribution to the album, "Tomorrow It Will Rain Over Bouville," you have a perfect example of versatility. A delicately played clean intro suddenly erupts into a blaring black metal exhibition, nailed in every aspect, right down to the old school recording. The difference, however, is in the way he keeps a melodic vein flowing through the track, even at its most brutal. There are a number of tempo and tone shifts, with some exposing flurries of deft guitar work, both clean and distorted. It is a breathtaking piece of work, especially in contrast and structure. For his part, Vaarwel has a much more expansive sound. "To Drown in Hoary Glass" shares the same distant screams of his counterpart, but the foreground instrumental is more rock steady. The percussion is a major strength, hammering out beats fast and slow, thrashing and gentle. The melodies carved out in the latter half are, perhaps, the best chunks on the disc. But it is the title track that delivers the biggest blow; more stripped down than the previous tracks, its simplicity is an asset few would appreciate on first listen. But much like some of the more known shoegaze artists, Vaarwel creates atmosphere where it would seem to be most difficult. There is a visual component here that is hard to explain; the artwork seems to be the perfect representation of the song itself.

Split EPs usually fall into one of two categories: they are either themed or random. The latter usually provides for artists to contribute songs that were from other recordings, or simply a platform to release a disc together. The former, like this release, takes two artists that share a common love, and gives them a platform to make music that works together. Both Petrychor and Frozen Ocean are bonafide artists in their own right; both have back catalogs that are diverse and growing. But on one album, back to back and side by side, they make even more sense. The common theme makes sense, aesthetically and sonically, for both bands to expand upon. They share traits, but never leave themselves sounding too much like the other. And that individuality is what makes this offering even more prolific. Both make you feel as though you can see the leaves changing color, or the hear the creaking tree limbs above you. But they give you that imagery from different vantage points. Two parts of the same whole, or two wholes in the same scheme; either way, "Autumn Bridges" is a split with sharing.

8/10

Petrychor
Official Site - http://www.petrychor.com/
Bandcamp - http://petrychor.bandcamp.com/

Frozen Ocean
Official Site - http://frozen-ocean.net/

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Pursuing The End - Symmetry Of Scorn (2013)

There is a certain level of enjoyment we, as metal fans, get from watching a band grow. When you've been witness to the something as it changes and evolves, it makes every step all the more enjoyable. When the first EP by Italian melodic metal outfit Pursuing The End crossed our paths two years ago, we were now part of a movement in the making. "Dawn Of Expiation" wasn't perfect, but it had something hidden deep beneath the crushing guitar riffs that kept us on the lookout. After a sneak peek of their second offering, "Withering," we knew we had become a part of something extraordinary. But as much as we can all say we knew it would happen, sooner or later, we were never prepared for what this seven piece had in store for the growing legion of fans. On their first full length, they think outside the proverbial box, incorporating new wrinkles into their formula, without ever straying too far from the path they've cleared for themselves. And with the help of brilliant songwriting and a strong grasp and momentum and flow, this debut, titled "Symmetry Of Scorn" is their most impressive work to date.

Always willing to dip into other musical territories, "The Last Truth" is spearheaded by a arching dance beat, which may seem confusing at first. But when the first blast beats cut through and male vocalist Giacomo Benamati produces his first searing growls, all comes into perspective. From here, it is one set of menacing riffs after another, each one punctuated with a fill or roll of the drums. For drummer Gregorio Ferrarese, this is merely a warmup exercise. As they move out of the opener and into "Something Remains," his beats become more insistent, and all the more intense. By anchoring the track in a strong low end presence, it allows things to build skyward. Benamati seems more comfortable in his screams than in his clean voice, which is the perfect complement to the softer female tones of Chiara Manese; the duo find a striking balance of delicate and daring. But it is the ever tangled guitar lines that do the most sonic damage, alternating between intricate fingerings and crushing chugging sections. There is no more fitting expression of that dichotomy than on "Cage Of Hypocrisy," where melodic death stylings meet with soaring female vocals. Each downstroke hits you hard, always timed carefully and delivered solidly. Even sections where a cliche breakdown would seem like the obvious choice see a different spin, thanks to layered guitars and interspersed news clips.

Perhaps the most driving guitar track, "From The Ashes," sees dueling axe men Davide Rinaldi and Thomas Pipitone do battle over a plethora of dizzying drums. It is here that you can fully appreciate the quality of the production itself, achieving a difficult balance between distortion and clarity. Each layer stands out, from the soft crooning of Manese to the multiple guitars riffs. Even amongst all the chaotic pieces, the subtle keyboard touches, courtesy of Stefano Bottarelli stand out. His starring role comes on "In Vain," where a synthesized beat becomes the backbone for the track to come. Astonishingly, it works according to plan, even more than seemed possible. All of the elements come together more precisely than ever before, each block standing on its own, as well as lifting those around it. Dense growls, angelic harmonies, and an impressive piece of songwriting set the album to a new high. But the thought process deserves more credit than ever before, pairing the last masterpiece with "Mercyful Vengeance," an all out thrash fest that rivals any you've heard this year. Rinaldi and Pipitone do a tremendous amount of damage with every massive chugging chord and every harmonic squeal. Their uncompromising approach, which includes Manese singing so sweetly over the brutal chorus of riffs and drums, is key. Sometimes it is best to throw subtlety to the wind and just be what you are; in this case, "Human Revulsion" shows off the growl heavy, distortion laden side of a band with more talent than they've been given credit for.

Title aside, "Out Of Control" is anything but; it is a well founded, with laid piece of modern metal. With Ferrarese now in full tilt, there is nothing left to be held back. It becomes almost disturbing how easily they create balance where there should be no room for it. From screaming, growling verse, directly into beautifully melodic chorus, and back again, it flows so neatly that it almost seems to redefine space and time. The guitar solo alone may give you the impression that you've stepped outside of yourself. Atmospheric keyboards lurk somewhere in the distance, adding just enough to be worth while. But the title track, the one that embodies the best representation of the concept of the album, is a strange marriage between metal and pop/dance. For every dense growl and twirling guitar riff, there is a synthesized, bass heavy drop to complement Manese in the chorus. It is a beautiful contradiction at first, eventually becoming a symbiotic relationship between crushing and cradling. And while something in the arc of the album tells you to expect a sappy ballad at the end, the band goes against the grain. Without giving away the aggression they've used so well here, they shift gears and allow the female vocals to take the lead, now backed by a combination of deathly growls and clean male vocals. The intensity remains high, now elevated by a well constructed keyboard backing. The only true shame here is that it marks the end of the album, which comes far too soon.

It's hard to pinpoint the moment Pursuing The End went from up and comers to full fledged beats of the distorted arts, but I suspect it began with "Withering." There was something special brewing, something that hadn't fully bloomed until a full length effort gave it room to spread out. There is not a beat out of place, not a misstep of musical or creative nature, and certainly not a filler track in sight. And while athletes are always encouraged to "leave it all on the field," Pursuing The End leave everything they have on this disc. Ten tracks later, you wish there were ten more buried somewhere on a hidden track. You wait out ten or twenty minutes of silence, expecting a loud kick drum to start the second half of the album, but it never comes. And isn't that the greatest sign of a classic album in the making? When the last notes fade, the last scream dies out, and you sit firmly in your seat, fingers crossed, waiting for more; That means they've got you right where they want you. After all is said and done on "Symmetry Of Scorn," you might as well accept it; Pursuing The End have arrived, and you were lucky enough to be along for the ride.

9.5/10

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

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The Podcast: Episode 91 (Top 10 EPs Of The 2013... So Far)

Much like our top album list, narrowing down the best EPs of the year was equally tough. Darrell spent hours and days, agonizing over the bands and the order of his list, trying to make sure his listening pleasure was best represented. New bands, old bands, whoever. These are the best short form albums of the first half of the year.

The List:

1. Tatanka - Tatanka (Review)
2. Moss Of Moonlight - Winterwheel (Review)
3. Grayceon - Pearl And The End Of Days (Review)
4. Soliloquium - The Concept Of Escape (Review)
5. Hvile I Kaos - EP (Review)
6. Façade - Façade (Review)
7. Aleph Null - Belladonna (Review)
8. Unbowed - Unbowed (Review)
9. The Howling Void - Runa (Review)
10. Sleestak - Book Of Hours (Review)

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The Podcast: Reader Questions, Volume 4

Our forth installment is ready for your enjoyment, or hatred. After answering numerous questions on Spotify, we've taken a break from the topic to talk about more pressing things. This week, Darrell answers reader submitted questions about other great metal sites, where to buy the best metal, and some of his favorite live experiences. It's an all Steve episode!

Want your questions answered on the podcast? Send your query to sorroweternalblog@gmail.com or visit our Facebook page.

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Cardiant - Verge (2013)

Who would have thought there would be such a distinct relationship between metal and math. No, we aren't talking about the subgenre known as math metal, but rather the similarities between the way an album flows, and the graphing function of your newest calculator. Straight lines, ones that follow a consistent slope upward or downward, are hard to come by, thanks to the mandatory ballad on most power metal themed albums. As a result, your album is usually an ebb and flow, rising and falling with each song, hoping to find the right combination. But for Finland's Cardiant, a now six piece band from Hämeenlinna, the graph that results from their latest album may look more like a bell curve than a mountain range. Whether it stands as an indictment of the ordering of soungs, or if there is just too much filler for their own good, "Verge" does not get the straight line, jagged results you would expect or hope for. After a small rise and a big dip, it would take a lot to get this album back above the X axis.

Explosiveness may be the key ingredient early, as the band wastes no time delivering a gut punch on "Justice Turns Into Revenge." As beneficial as it may be to sound the alarm so early, it can also be a moving too fast, too soon. Lyrical content not withstanding, the vocals of Erik Karhatsu are polished enough to command the room, with a touch of grit hidden in his delivery. But along with the breakneck speeds, you have a focus on drumming, thanks to the nimble hands and feet of Lauri Hänninen, that pushes the limits of the mix early and often. Even in the slowed down moments, like the opening of "Thought's Inception," the tone of the drums is enough to elicit a few head nods or tapping of feet. There is something tame about the accompanying instrumental, though, as the guitars fail to fully match the booming efficiency of the rhythm section. It isn't until the vocals drop out in the bridge that guitarist Antti Hänninen finds his stroke. Luckily, once it is found, he keeps his grip tighter, just in time for the boisterous power metal shredding of "Heaven's Calling." With a high energy verse and a soothing harmony in the chorus, thanks to the addition of Outi Jokinen's female vocal, you start to see a transformation in the sound and tone of the album.

Unfortunately, this isn't a smooth transition. The rules of ballads are unclear, at best, but there are certain guidelines that shouldn't be tampered with. Musically, "Ever Since" is interesting, bringing a different bluesy sort of feel to the mix. But at a staggering seven minutes, it simply doesn't have the legs to carry on so long. And try as he must to save it, keyboardist Marko Lindroos falls short. Rather than make a complete reversal, in hopes of gaining momentum or contrast, Cardiant takes a single step back to the harder edged side. It isn't quiet enough to regain the fire of the early half of the album, but "Believe" does boast some of the most intricate instrumental work. When allowed to play freely, Hänninen adds a bright layer to the track, but he is far too often handcuffed by the structure and flow. His lead on "Beat Of Heart" may be the most memorable riff on the record. Add in a blazing solo in the latter stages, and you finally get something to hang your hat on. The most unfortunate twist is that as Hänninen gets better, the rest of the band lags behind, churning out cookie cutter efforts. For as soulful as songs like "Love's Not On My Way" can be, they do little for the arc of the album. Lindroos benefits here, as his piano melodies are all that keeps the track afloat. By the time the hammer is finally dropped, there is little balance to be found.

Eight tracks in, buried in a mound of mediocre efforts, is "Stranger In Me." It seems as though the entire instrumental has come together for the first time since the opening track, resulting in a strong, if not predictable offering. The rhythm section of Hänninen and bassist Mikko Mänttäri are in perfect sync with one another, two pillars on either side of the guitar and keyboard fueled orchestral melodies. Much like before, the lyrics are a throwaway, despite a strong performance from Karhatsu. That same theme runs like a vein into "Break Your Mind," a booming kick drum becoming the glue that holds it all together. I'm not sure if it has become relative at this point, but when incorporated into the parabolic flow of the album on the whole, this stands as one of the best tracks on the album, chocked full of thunderous drums and wild, if not out of control solos. After nine tracks of twists, turns, and confusion, it only makes sense that "While The Ice Is Cold" be the final conundrum. Jokinen takes the lead on the track, her first major contribution coming in the final three and a half minutes. The true shame of it, really, is that her voice suits the music so well. Hidden in backup roles, relegated to chorus hooks, she is barely noticeable. But as she steps out here, it makes you wonder why she isn't being featured more often.

Very rarely do albums provide more questions than answers. Unfortunately for Cardiant, they've they''ve left many of the spaces blank, and it leaves the album feeling lopsided, at best. The brighter moments, condensed into the first three and last three tracks, become bookends for ones that have no business sharing the same digital file or disc of plastic. The good news, as disconnected as it is from the album itself, is that there is seemingly infinite potential in this conglomerate of musicians; the bright spots are there, even if it takes a little squinting to find them. All that remains to be seen is whether they take the successes of "Verge" and build on them, or if they follow the failures toward a more generic, more run of the mill follow up. With a stronger presence from Jokinen, a longer leash on the guitar work of Hänninen, and a stronger focus on lyrical content and delivery, you might see this caterpillar turn into a butterfly. But unless they go back to the drawing board, the ten tracks on "Verge" might be the best the band will ever offer.

6/10

Official Site - http://www.cardiant.net/
Facebook - http://www.facebook.com/Cardiant

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Daedric Tales - Hircine's Call (EP) (2013)

When The Elder Scrolls franchise began in 1994, it would have been impossible to predict what this series would accomplish. Some twenty years and 18 sequels and expansions later, it stands as one of the most recognizable and profitable game properties in the world. And much in the way that Dungeons & Dragons inspired many of the power metal acts of the last few decades, Oblivion has done the same for the next wave of bands. It is here that Daedric Tales, a bursting at the seams seven piece from Austria, found the inspiration for their debut EP. Looking to make music that was both rich, and appropriately epic given the subject matter, they take on the stance as characters, retelling stories of conquest and battle. As bizarre as that may sound to an outsider, it works in the most profound of ways. And as the band invites you into their world, there is no prerequisite for enjoyment. Whether you have a copy of Skyrim in your collection or not, "Hircine's Call" is an adventure you should take.

There is no secret here; the intro track is exactly that, an introduction to both the album and the world the band holds so dear. It has a modern video game vibe, which is an interesting wrinkle. That sound becomes the underlying theme of the album, even when the most raucous beats come blasting through. On "At The Gates," you find a band holding nothing back, all seven members coming down on you from different directions. The leads are intricate and driving, quickly become a featured item. But it is the duel vocals that cement and weaken the track at the same time. Vocalist Alexandra shows off her range time and time again, allowing the beauty of her voice to come through cleanly. the male vocal that chimes in, though, is flat and monotone, lacking any real depth. As big a shame as it is, losing that contrast, tracks like "The Red Mountain" almost make you forget this shortcoming. The orchestrations alone work wonders, especially in the quieter moments, like those leading up to the breakdown. It speaks to the amount of preparation that has gone into the instrumental, finally letting the parts merge together in a galloping harmony.

But unheard to this point is the folk influence, something that rears its head on "The Dragonborn." While it comes in abruptly, it does add an aura of triumph to the mix, a layer of hod nodding melody that is easy to appreciate. With the track clocking in at almost seven minutes, it might be a necessity to keep the wheel rolling. Alexandra is at her operatic best here, soaring into the higher registers without ever showing a sign of struggle. This may also be the first time you can feel yourself immersed in the music, rather than sitting outside of it. Darting guitar riffs and a choir of vocals put the icing on this cake, a satisfying foray into folk power metal. But the song itself does more than just capably fill a slot on the EP; it moves from strength to strength. It sets the entire offering on fire, leaving the overflowing mix of "Rain" to both burn brighter, and hope to keep the blaze under control. This stands as the best track on the album, hidden in the fifth and final slot. Everything has come together in the most impressive way, now allowing each piece to prop up and elevate the others, a symbiotic relationship that is as hard to achieve as it sounds. Shredding guitars, otherworldly keyboard arrangements, and a battery of drums leave you wondering how your life would be complete without this disc.

It's in our nature to be skeptical. Things that are unfamiliar or different sometimes make us likely to pass. Having never touched any of The Elder Scrolls titles, it took an extra few seconds to allow myself to become one with the music. But taken out of context, it is just as crisp and refreshing as it would be to someone with a working knowledge of the game from which it was conceived. That alone would be worthy of praise and admiration; it isn't often that an album can sweep you up without really understanding what it is the songs are about. Daedric Tales have met that challenge head on, and somehow find a common ground between the metal world and a fantasy one. Sounds familiar, doesn't it? We've been down this road before thanks to bands like Blind Guardian, weaving together the tapestries of reality and fantasy. And perhaps this will start the next big boom; though that wouldn't really matter. Together or separate, metal and fantasy games will exist in this world. "Hircine's Call" is just a friendly reminder that they can coexist.

9/10

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

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Skiltron - Into The Battleground (2013)

When the Argentinian based Skiltron released “The Clans Have United” in 2006, they introduced the world to bagpipe fueled folk power metal. I use the term “folk power metal” for the simple fact that a lot of the guitars, singing and drumming is very reminiscent of power metal. When the bagpipes kick in, it’s an aural feast. “This Crusade” is still one of the best folk metal songs in the genre. They really hit their stride with the release of “The Highland Way” in 2010. The album had a much more grandiose sound and was epic as all hell. As far as folk metal goes, “The Highland Way” is an essential album that didn’t get enough recognition. Now three years later, Skiltron is out to make themselves known this time. “Into the Battleground” is a solid album that shows that they mean business.

The album on the whole is heavier than previous efforts. “Lion Rampant” opens with furious drums and bagpipes that immediately suck the listener in. It’s one of the faster songs they have done and it’s a great new direction. “The Swordmaker” is quite possibly the best song on the album. The guitars are catchy and the bagpipe flows flawlessly through the song. “On the Trail of David Ross” is sort of a weak point on the album. It doesn’t really go anywhere and it doesn’t beg to be listened to again. While it is a weak track, it doesn’t drag the album down. “Besieged by Fire” is the heaviest song on the album (besides the gorgeous acoustic bridge) and shows that Skiltron can blow your eardrums out.  “The Brave’s Revenge” is another blistering song that has a very Dio-esque feel to it. “Merrsadh Air” is a beautiful instrumental song that sounds like a soundtrack to an ale swigging party. “Loyal We Stand” is another great track and the second best on the album. The verses are perfectly constructed and the chorus is soaring. It’s not as heavy as most of the songs on the album, but it fits. “The Rabbit Who Wanted to Be a Wolf” and “Prestonpans 1745” have some pacing problems.” "Prestonpans 1745” doesn’t really fit in at the end of the album. It’s very stagnate and does little to finish off the album. “The Rabbit Who Wanted to Be a Wolf” just needed to be pushed up a couple of tracks. It’s a good song, it just doesn’t belong so close to the end.

“Into the Battleground” is better than most folk metal albums in a long time. Is it their best album? Not exactly. “The Highland Way” and “Beheading the Liars” are tied for that. Is it damn good? Yes, most definitely. Skiltron went for a heavier sound this time and they accomplished a lot. The few missteps the album has are overshadowed by all the good they’ve done. It’s got enough of their old sound in there to make longtime fans happy. No other band besides Subway to Sally can rock out with bagpipes like this. It’s not the most groundbreaking album, but it’s better than half the bands out there. With “Into the Battleground,” Skiltron have stayed true to themselves and made something for fans and newcomers alike.

8/10

- Brian DuBois

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

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Gales Of Avalon - When The Ravens Return (EP) (2013)

Every band needs something, anything, to stand out from the rest. Maybe you find your niche in wild instrumentation, ethnic diversity, or just outstanding musicianship. Or you could go out on a limb, and look for something that is so off the beaten path, that it brings attention, both good and bad, to your doorstep. But while most of Calgary sits under a few feet of water, Gales Of Avalon are treading, figuratively, to keep their heads above it. It would be easy to simplify their sound, boiling it down to a blackened death metal base. But that doesn't paint the whole picture. They've found something that makes their music jump through your speakers, and blast directly into your inner ear. For better or worse, they've founding that certain something that makes them unique. What you have in front of you is a riddle, wrapped inside a mystery, trapped in confusion. And whatever you think of "When The Ravens Return," you will certainly be talking about it later.

One bone chilling growl invites the guitars and drums to rain down on you from above. But as "What Hell Have I?" moves along, it changes in many ways. The instrumental has legs, ones that will kick and stomp you into submission over and over again. But it is the vocals that will cause the most unrest among first time listeners. There is a three headed monster at the mic, with a constant identity crisis. Sure, you can easily locate the guttural growls and blackened screams. The third, though, is hard to identify; one part scream, one part off beat cackle, it is off-putting at times, especially when paired with the far stronger cousins. Unfortunately, this iteration takes the lead on "Robert's Lament," a bizarre James Hetfield gone country take on metal vocals that never quite sinks in. The true shame, though, is that it masks an otherwise stellar mix. A booming kick drum sound keys the backing instrumental, chock full of distorted guitar and wailing grooves. The breakdown, which casts that vocal line aside in favor of far more successful ones, is s strong as anything else on the album. There is a darkness to be found, especially in "These Words," through expressive guitars. They have far more success in the lead role than one would expect; due in part to the failures of the "clean" vocal.

With the mix stripped down on "Ocean Ranger," it gives the backing band a real chance to shine. The guitar leads are tight and well executed, screaming over the top of some dense, slowed down chugging segments. Not to belabor the point, but the vocals are the x factor here, with the massive growls furthering the mix, and the piratical crooning dragging them backwards. But the folksy stomp of the latter half is the biggest victory of the EP, giving you something to hang your hat on later. The true crime here is how the best efforts are almost wasted, when coated with that stale vocal line, making it difficult for the main melody of "Darkened Mirror" to ever make it through to your ears. It becomes addition by subtraction; as that piece fades and disappears, the mix becomes forceful and efficient. The dueling vocal lines, black and death, do wonders for the track, bolstering the work of the rhythm section and their low end assault. It may have taken the bulk of five tracks to arrive, but the most unique is yet to come, as "Winter Sun" takes the band in a direction that may have been too little too late. They hit a stride, a haunting one at that, minimizing their stumbles and focusing on their strengths, which lie in the area away from the microphone. the intro and outro are all the proof you need.

This album, as it stands, is a conundrum in and of itself. Gales Of Avalon have something that makes them unique, something that gives them to ability to stand out from the crowd. But that something, the mystery vocal, might also be their greatest weakness. Even in smaller doses, it would do more by doing less, and allowing the strengths of the band to shine through more brightly. But abandoning it altogether doesn't seem like a viable option at this stage in the life cycle of the band. At best, it is an acquired taste; it may take time and repeated listens to accept it's place in the hierarchy. At worst, it is a distraction from the greater good; and it may take multiple listens to truly learn how to block it out. Whichever angle you take, its impact is undeniable. But as you hit play, know that there is something much better dwelling beneath that first layer. And if you have the patience to take it all in, "When The Ravens Return" is much better than the first impression lets you see.

6/10

Facebook - https://www.facebook.com/galesofavalon
MySpace - https://myspace.com/galesofavalon

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Eternal Oath - Ghostlands (2013)

A little research on the shelf life of most metal bands reveals some shocking information. With the music industry in flux, and the infrastructure breaking down by the minute, bands just aren't built to last anymore. One album, two albums, three albums and a greatest hits record? That might be all there is. So those bands who have shown a talent for longevity deserve all the more credit. Eternal Oath came up on an anniversary of sorts in 2011; it marked twenty years since their formation in 1991. But there was a catch: For the last five years, the beast had lay dormant, on a self induced hiatus that began in 2006. But something gave them reason to believe that now was, indeed, the time for a revival. And without knowing exactly what cause the beast to awaken, rest assured it wasn't fleeting. Two years later, a new album had been recorded and prepared. After such a long time away from each other, and away from the band name that had become synonymous with melodic death, what could be left in the tank? One listen to "Ghostlands," and you'll see the meter says full; the beast in back.

Only a minute long, "Into The Mist Of Sorrow" is a whisper before a scream. The volume creeps up, never breaking through, with a single guitar riff floating by. But as the clock returns to zero, a strong drum beat starts the assault on "Entangled In Time." Deep, guttural growls cut through the mix, a combination of industrial death metal and light symphonics. The crunching of guitars is the main aggressor here, with distortion levels that push the production work to the breaking point. Add in a constant, thumping drum presence, and things get slightly murky. Whether or not that was the intention remains unseen, but it has times where it works, and others where it might not. "Tears Of Faith" avoids this pitfall, remaining far more crisp throughout, thanks largely to the versatility the band exhibits in the quiet chorus segments. Melodic sensibility isn't a prerequisite for this style, but it can add another dimension to your sound, one Eternal Oath take full advantage of here. Keyboardist Johan Adler brings a lot to the table, reinforcing every riff, every snare hit with something either atmospheric or airy. On the other side of the coin, though, is a band that can throw caution to the wind and lay down a fist pumping, hair swinging track. While "Remnants Of Yesterday" is rife with straight forward instrumentals, it possesses a subtlety in both instrument and voice that makes in memorable.

if one track stands out from the rest, it is the down tempo death/doom march of "Stolen Innocence," a track that could rival some of the best single tracks of the last few years. Vocalist Joni Mäensivu exhibits both haunting and punishing styles here, going from a ghostly whisper to a deathly growl in seconds. Joined by a female voice that provides a sense of light amongst the shadows, a beautiful harmony is struck between the two. There is a noticeable difference in the balance and tone when the band slows down their attack, adopting a much cleaner mix for drummer Ted Jonsson to hammer down. The clean vocals in verse portions of "Fields Of Dreams" are a strange choice, losing so much of the range and ferocity of the previous tracks. Instead, they sound robotic and monotone, failing to evoke any real emotion. Oddity aside, the track has some of the more blaring guitars, masking what might otherwise be a throwaway. By this point, and throughout "The Cross I Bear," the band have reached their peak, settling in to a fitting groove of solid melodic death, never faltering or straying too far from the median. The keyboard presence remains important, as it provides a support to catchy riffs, which are in full swing here.

With track times down, most sticking to four minutes or less, there is little room for error. With smaller windows, the band does some amazing work, as they show on "Sunborn." Piano keys are a nice addition to the mix, poking through some of the more dense guitars on the album. The one true misstep on the album comes early in "Bleeding Sympathy," as Mäensivu forces a cliche "come on" several times, both out of character and out of tone. The true shame is that it distracts from what might be the most powerful track on the album. When in full on attack mode, there is no way to slow the band down, no way to cut momentum. But even those small stumbles can hurt. And while it works on "A Hymn For The Fallen," the electronic element is a dangerous game to play at this stage of the record. Done right, it can be a great accent piece to an already bursting song. Done wrong, and it could be a nosedive in waiting. But pairing it with a straightforward, melo-death stomp works in their favor, including another vocal duet. But the best is again saved for last, as the title track, seven minutes in length, explores every facet of the bands sound. Much like the latest Omnium Gatherum album, the finale speaks volumes, in sound, in fury, and in depth. Sweeping guitar riffs and brutally heavy vocals come and go, giving way to expansive synthesizers and beautifully constructed melodies. Music box ending? Yeah, that works.

Maybe five years away from the daily grind of the metal scene did Eternal Oath some good. With no sign of rust or wear, they have poured their heart and souls into this new album, something that might not have been possible before the split. Renewed and rejuvenated, they picked up where they left off. If that alone doesn't leave a lasting impression, I don't know what will. Think of all of the bands, big and small that have taken a hiatus, only to return half-hearted, jaded, and weak. It speaks to the strength of the band, both as individuals and as a unit. But even more than that, it speaks volumes about their dedication to this music; their music. For a band that has seen the better part of three different decades, it is amazing to see them sticking to their guns, but with a willingness to evolve and stay viable. Not many bands can say that. With the eleven track behemoth known as "Ghostlands" not behind you, and hopefully coming back around for another pass, it is easy to see why a reunion was in order. For them, and for us.

9/10

Official Site - http://www.eternaloath.se/
Facebook - https://www.facebook.com/eternaloath

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