The Podcast: Reader Questions, Volume 9

Somehow, you guys keep coming up with questions for us, and we keep coming up with rambling, silly answers in return. This week, someone out there wants to know who our guilty pleasure bands are, what we think of the names that bands pick for themselves, and our feelings on Kickstarter and the like. Needless to say, there are rants and tangents galore!

A special thank you this week goes out to Russia's own Antillia, for graciously allowing us to use their amazing track "La Diosa Fredda" for our podcast. The track, a metal take on the classic "Legend Of Atlantis" song is available on their new EP, "Last Starfall."

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Die Like Gentlemen - Romantic Delusions of Hell (2013)

Band: Die Like Gentlemen. Album: Romantic Delusions Of Hell. Style: Well, now, that is a different question entirely. hailing from Portland, Oregon, this four piece act has a sound that could easily be described as different. Separately, most of the pieces would sound familiar. But together, they form bonds, and create new molecules of metal that might not have been heard in this form to date. Thanks to the addition of strange new elements, namely a vocal that is as odd as the oddest of odd things, they manage to both define and redefine their own genre numerous times over the course of forty minutes. Simplified, where is damn near impossible to do here, they are taking on the new wave of sludge, but with their rose colored prog glasses resting gently on their collected faces. By no means are we comparing the confusing rollercoaster ride of "Romantic Delusions Of Hell" to any particular classic Hollywood film; But in the world of modern metal, you have your Citizen Kane's, your Die Hard's, in 2013, we finally got our Dr. Strangelove. 

It's hard to hide the layer of polish and richness that emanates from "Covetous," as the prog tones dominate the early going. As delicately played as the guitars are here, it is the bass line that becomes the focal point. But it also provides your first glimpse of the unique vocal style that will be your guide throughout the album. Somewhere between melodic crooning and amelodic shouting, depending on what point of the song you skip to, it can be endearing or simply confounding. It adds to the depth of the recording, in an odd way, but also reinforces the head swaying ability this music has. They've found a dynamic here that is rare, truly taking on the progressive sludge tag. It carries through, well into "Setting The Features," which is again bolstered by a bass line that is subtle but powerful. Everything is done with a smooth texture, never jumpy or scatterbrained. But as the instrumental gains strength, it is the vocal that now seems off putting. Having lost any sort of melodic edge, the raspy yelling just doesn't match the tone of the rest of the band. It actually runs contrary to the main groove, a distorted guitar riff that could easily inspire a crowd to rock back and forth together.

Luckily, that particular vocal delivery is fleeting, and returns to a much more digestible one on "Ten Hells." This may be the one instance where it shares a much due spotlight with the guitar leads, and adds something special to the mix. The band finds their strongest points when they wander from the center, and go off on tangents within the track, as they do several times here. The ability to not only seamlessly go from hazy to focused, but murky to melodic is a talent that should be mentioned over and over again. Even as the vocal line does acrobatics, the down tempo grooves continue. The song that may garner the most attention is the eclectic anthem "Lair Of Zargon," which contains easily the most catchy guitar hooks on the album. Strange as it may seem, it'd be hard to keep your feet from tapping to the beat. Where it fits onto the album, though, remains to be seen, as it becomes a sideshow to the main event. It's the pacing that makes "Reign In Hell" work on so many levels; or is it the ringing distortion? Regardless of what your main takeaway from the track is, it has an undeniable knack of catching your ear and holding on for dear life. The vocals now rest, halfway between their best and worst aspects, and finding that balance may have been the key to getting this far.

It's unlikely that you will find another album, this year or any other, that has such a lock-tight grip on the bizarre and varied. From start to finish, Die Like Gentlemen keep you moving right in step with them, thanks to a style all their own. You want to keep listening, just so you can see where they go from here. But by no means do they have to drag you kicking and screaming; their music is the carrot on a stick, leading you along the path. With a mere five songs, they have forged an identity, something that can take some bands years, or even their entire career. Yes, some moments are stranger than others. Hell, some moments might make no sense at all, thanks to Peter Steele on ten packs a day vocal lines. But when you put some new logic to the test, it all comes together... somehow. Not everyone will appreciate the weirdness that "Romantic Delusions of Hell" puts out. But chances are, if you let down your guard for a minute, you'll be hooked too. Join the club.

8/10

Bandcamp - http://dielikegentlemen.bandcamp.com/
Facebook - http://www.facebook.com/DieLikeGentlemen

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Aberration Nexus - Libro Iacet (EP) (2013)

One visit to the Bandcamp page of Australian one man band Aberration Nexus and you will find this: "Spawned by a hatred of man & an even greater hatred of the pitiful religions he so dearly clings to...no one will be spared in the days of the Great Cataclysm...your prayers are empty...nothing will save you..." It reads like a manifesto, one that could have come from any number of bizarre hate groups. As hate speech, it would be frowned upon in most parts of the world. But as a window into the influences of a musician, it says so much. Chris Meyer, the lone member of this blackened metal project from Ballarat, isn't shy about the inspirations for his music, nor should he be. After all, when you take up the sword of black, there is an implied hatred of all things religious and mind numbing. The evil overtones that have accompanied this music are no secret; in fact, they have become synonymous with the people and bands who define it. On his debut EP, "Libro Iacet," Meyer gives us a look through his window, at a world that is bleak and full of despair; and still a bit rough around the edges.

After the short intro track "Rite of Eternal Dominion," there is a mood in place that Meyer must be pleased with. Now that the haunting sound of piano keys and effects has faded, he has a blank canvas to create something else entirely. Without wasting any time, "Hawking" delivers a massive blow early and often. And while the main focus may be on speed and intensity, he leaves plenty of room for sheer brutality. Wave after wave of instrumentation pours through your speakers, but what is lacking is the clarity and division between those layers. In the all out assault areas, like the one that surrounds the three minute mark, it becomes difficult to sort through the individual pieces, leaving only a clunky mix that is coated in the metallic clang of cymbals. A victory is scored on "Iconoclast Soliloquy," though, as Meyer puts together a well rounded effort that combines not only the entire spectrum of black metal elements, but infuses a dose of melody through his guitar work. He achieves a much greater balance here than on any other track on the EP, with each segment of rolling kicks becoming punctuation for the movement, rather than a murky mess. The vocal assist, courtesy of melodic death metal band Catacombs' Matthew Askeland, adds an extra punch.

But for every punch, there is a counterpunch, and the bombastically unrestrained "Burn the Book of Lies" is a punch that might not land as squarely as desired. Seemingly straight forward at first, the track descends into chaos soon after the midway point. it isn't for lack of planning and execution on Meyer's part, though. The track takes a decidedly disjointed turn when the guest guitar solo kicks in, throwing off any tone or flow that had been established to this point. It feels more tacked on than organic, and serves little purpose to the larger whole. If nothing else, the final thirty seconds captures the evil that was intended. Once again on his own, "Graced With Darkness" reverts back to the traditional blackened sound, bringing back the raw energy that has permeated the album at nearly every turn. There are twists along the way, as a squealing guitar passage leads into magnificently performed chanting. getting into, and subsequently out of, that portion shows a real understanding of the music he makes; it cuts away to the clean chants, initially. But his screeched vocals rejoin at the tail end, leading it back to the slaughter. After another round of shredding guitars and a drum kit that never sleeps, those same chanting vocals return to take you to silence.

Inspirations for metal musicians can come in so many forms. Puppies and kitties, death and decay, or even religious beliefs of all kinds. Whichever facet of the world gets your creative juices flowing, will ultimately put a stamp on the resulting work. And while songs about butterflies and tweeting birds might provide a much more uplifting experience, that just isn't the bolt of cloth Chris Meyer is cut from. His detest of mankind and the religious beliefs that have corrupted our own moral codes is palpable here; I would venture to say you can almost taste it. And that frankness, whether you agree or disagree with his premise, makes the album all the more apt to make an impact. There are rough patches scattered throughout that do a disservice to his work, mainly in the production aspect. But the beauty of what Meyer has done here is that the evil, the ferocity of his work cuts through all of that murkiness like a knife through a Bible. He has captured pure evil in his vocals, and a sinister tone in his instrumentation. That might not be enough to win him any awards, but "Libro Iacet" speaks louder than a Grammy.

7/10

Bandcamp - http://aberrationnexus.bandcamp.com/
Facebook - http://www.facebook.com/AberrationNexus

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Tierramystica - Heirs Of The Sun (2013)

Lately the folk metal genre has become a little stale. Ensiferum and Eluveite seem to have come to a standstill and aren’t really doing anything new. But alas, one band emerges with a sophomore album that is mind-blowing. This band is Tierramystica. Their first album, “A New Horizon,” delivered a new flavor of folk metal by utilizing traditional instruments such as an ocarina, charango and a quena. With these instruments, the band created lush, dream-inducing soundscapes that no other band has. “A New Horizon” is definitely a must listen. Now three years later they released “Heirs of the Sun.” With the new album they hit the nail on the head again. It’s just as solid as the first album and the Andean musical elements are more fleshed out to give it a sound like no other. The layers and the progressive/power metal elements make “Heirs of the Sun” stand out miles above the rest.

“When the New Dawn Arrives” opens the album on a strong note and perfectly sets the mood for the rest of the journey. It leads right into “Vision of the Condor” which shows that Tierramystica have grown a little more musically over the past three years. The mixture of power metal and layers of traditional sounding music is stellar. One of the highlights on the album. “Essence of Pride” picks up the pace a little bit and the chorus is absolutely incredible. Again, the layers of instruments create a sound unlike any other. This is probably the strongest track on the album. Everything from the vocals right down to the drums is incredible. “Myths of Creation” continues the flow of the album perfectly and it’s another great track to show off their out-of-this-world  songwriting skills. “Men of Earth” slows things down a bit. While it keeps the flow and it’s not a bad track, it just misses the mark a little. The chorus seems a little uninspired. However, the album wouldn’t be complete without it.

“Shine, Once Again” is another slow track, but it lifts the album to incredible heights. The atmosphere and chorus are beautiful. “Gate of Gods” picks the speed back up and is another stellar track. The chorus is catchy and the guitar solo is spot on. “The Rise of the Feathered Serpent” is another good track that is in perfect place on the album, but loses some luster by not doing anything new on the album. It’s not a skippable track; it’s just not as good as the other songs. The Portuguese fueled “Llanto de Mi Tierra” is a great track that has a different sound from the rest of the album that sets up the mood for the last song perfectly. The closing track “Inti Sunset” is a perfect conclusion to “Heirs of the Sun.” It’s instrumental like the first track and it feels like it brings the album full circle. It’s another beautiful track that has some serious songwriting talent behind it. The album couldn’t have ended any better.

“Heirs of the Sun” improves over the first album in almost every way. The melodies are more focused and the music is much more grand and inviting. The sounds on this album cannot be matched by any power metal band out right now. This band is so original that there aren't any bands to compare them to. No metal band can rock an ocarina this much and make it sound awesome. Most of the album is pure genius. Even the tracks that weren’t as good as the rest are still good and they fit perfectly into the album. If anyone is looking for beautiful soundscapes to get lost in, “Heirs of the Sun” is your album. Tierramystica has created an album unlike any other this year. Listen to it now.

9.5/10

- Brian DuBois

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

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Fórn - EP (2013)

There is room for subtlety in music, and in particular, in many subgenres of metal. Some embrace it, and use it to their fullest advantage. But some bands, for better or worse, choose to throw caution to the wind and eliminate it. Fórn have no room, and certainly no need, for subtlety. Their black cloud of doom and sludge has no space left for a silver lining. Instead, they go all in on the heavy elements, and leave the delicate moments for someone else. But while many bands have tried this approach before, success is not a guarantee. You can't just slam on your instruments and expect the world to come knocking at your door; there has to be more to it than that. And this Boston based act, four pieces strong while the search for a new bass player continues, seems to have found the balance between massively heavy and technically sound. On their 2013 EP, they give us a two song taste of the future of Fórn, and the current state of metal music.

From the first distorted notes of "Coiled, Alone," the convulsive jet of sonic urine that comes from your speakers is enough to bring the hair on the back of your neck to a full salute. With each crushing guitar riff and every blood curdling scream and growl, they push you back forcibly into your seat, while withholding the death blow. Much like Churchburn, they allow their bass heavy chugging to speak for itself, without the need for widdling solos and harmonics. Even the crying of feedback that opens "Dasein" is as far off the beaten path as they will go. Devastation, though, is not experiencing a shortage, with each passage coming down like the hammer on an anvil. Instead of trying to add depth through poor production, they do it with dynamic playing and a distortion level that is sure to rattle a few windows. What's more, the band actually finds the fabled gray area between heaviness and groove, delivering a signature moment in the latter half that sees both come together beautifully.

It's hard to describe something that you can barely get your head around. But it just wouldn't be acceptable to write "I like it because I do," and call it a day. Fórn, for all their stripped down, no frills approach to sludge and doom, aren't doing something that just anyone can do. For an outsider, or the uninitiated, it all seems so simple; play low, play slow, play heavy. But making that work has proven to be the death of many a band before. Perhaps, like Fister, they succeed based on not only the notes they play, but the feeling it brings to a captive audience. It's one thing to be heavy, but it is another thing entirely to be scary. And in this style, one of the bleakest I've ever known, breeding fear in your fanbase is a sign of strength and a different kind of emotional response. There is no way to summarize the music of Fórn, at least not in language for pleasant company or children. But if a full length album should follow, we might be halfway done with the greatest horror movie score of all time.

8/10

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

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Caves Of Glass - Caves Of Glass (2013)

There is a danger is using Bandcamp as a vessel for your music, and it lies in the tags at the bottom of the page. You can select any number of descriptive words to describe your music, covering every genre and sub genre of music known to man, and probably some that haven't been fully understood yet. But there must be care taken; choose wisely, or you will misrepresent yourself to prospective fans and haters alike. Caves of Glass are not short on talent or dedication. A true global band, with contributions coming from both sides of the pond, this six piece collaboration may only fall short in one way. Their choice of tags has set a bar that their music simply cannot clear. With genre tags ranging from experimental to drone, post metal to post rock, and the ambiguous progressive metal rounding it out, you would be hard pressed to guess what their music truly sounded like. And after five songs, and over 40 minutes of sound and little fury, you might be just as confused by album's end as you were at the beginning. 

Dark ambient sounds help to make the first big splash on "The Hollow," while massive drum beats push them through your speakers. What arises, here and throughout the album, is a bizarre mix of driving post metal and atmospheric background noise, which manage to both mix and repel each other at different moments. Here, that form a single wave, sometimes pushing the limits of a good mix. The counterpoint to all of this comes in two forms; there are a wildly adventurous guitar lead stashed in the mid section, which, while brilliantly played, becomes the straw that broke the production camel's back. Sporadically, an unintelligible vocal pokes through, adding little more than a layer of noise. There are moments when it all comes together, such as the booming portion that comes after the eight minute mark. Built much like the previous track, "Gone From Oceania" has a very clear beginning, middle and end. The electronic tinges of the opening are well conceived, despite becoming the platform for an industrial vocal effect that only highlights the lack of depth in songwriting. The sweeping melodies, courtesy of keyboards and synths, are enjoyable from the interlude perspective, but never truly get beyond that, minus a emotional outro. For a four minute plus track, little is going on from movement to movement.

By now, it becomes harder to reconcile where this album stands on the spectrum of all things metal, often drifting so far into the electronic ambient music side. There is beauty to be found in "Mariana," but it is a subtle, sedated beauty. It would be better suited to an art rock band. It isn't until nearly the six minute mark that you hear any true metal element, and even then, it is sparing at best. Even the high pitched whines of guitar that open "Barren Earth" are difficult to take at face value. You know what you want them to be; the beginning of a bombastic, distorted guitar assault. But applying your wants to reality is less successful, with the track barely getting above a simmer until well into the seventh minute. What arises here, though, is what you had been waiting for since you had hit the play button. With guitar chugging and sliding along, and a loud, reckless bashing of the drum kit, you find a more crushing band, ready to explode at any minute. The blast, however imminent it may seem, never comes. As you fade out of "Barren Earth" and into "The End," melodies take over, and light electronics come to the front of the mix. It is satisfying in it's own way, if not the way you had hoped.

Caves Of Glass, and their debut album, provide another exercise for their listeners; it is one of separating what we want and expect to hear, from what is actually there. By no means can we indict the album, citing any lack of quality or creative expression. Those elements are clearly and diligently present. But where the album falls short is where it lands in the wide world of metal. That is to say, by and large, it doesn't. You can isolate moments and say that they do have some of the tenets of metal, whether it be in the distorted guitars or screaming vocals. But those moments, however few and far between they are, simply can't take precedent over everything else you've heard. The use of electronics, ranging from keyboards to synths, is nothing short of masterful, and the soundscapes created are rich and enjoyable on so many levels. But if you want to market yourself to the new wave of modern metal fan, there has to be more than a few blaring excerpts to make your name stick.

6/10

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

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The Podcast: Episode 95 (Metal? Oh, right, we review metal albums)

Sometimes we get so caught up in conversation, that we forget to talk about all of the awesome albums we've reviewed. Two weeks straight of great metal tangents and website babble have left us with some slack to pick up, which Darrell hopes to reel in. Alone, he tackles the reviews of the past week, including a new EP from Equilibrium, after what seemed like a long absence. Combine that with new release from Vallendusk, Temple Of Void and Tarja, and you have a packed week. But the highlight? The fifth album from a band that had flown under the radar, Diesto, shakes the headquarters.

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The Podcast: Reader Questions, Volume 8

Sometimes, your questions require more thought than others, and it takes longer to get things on tape. This week, we had a set of great questions coming from you, the readers. An album that went from hate to love, an album with no expectations that changed our site forever, and the ever secretive criteria for what makes an album of the year candidate. All that, and more! Well, no. No more. Just all that.

Special thanks, once again, to Elessar for allowing us to sample their track "Ice Queen" for our opening and closing segments. Get their album today!

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Diesto - For Water Or Blood (2013)

We all make the mistake of thinking that a band is new, simply because we've never heard of them. Let's be honest here; the amount of great bands we've never heard could fill a million volumes of an encyclopedia. As diligent as we try to be, as open minded as we can force ourselves to be, we will always miss out on things for far too long. It wasn't until our recent fascination with the Pacific Northwest that we delved deep into the musical genius of the Portland, Oregon scene, and found ourselves knee deep in the four album catalog of Diesto. This once noise based four piece has changed so much over the years, without ever alienating their core fans or heavy music fanatics. Now adopting a more doom-centric approach, complete with down tempo riffs, and a horse, if not gritty vocal, they find themselves on the precipice of something even more impressive. With this, their fifth album, released by the D.I.Y. label Eolian Empire, they may finally rise beyond the reaches of the Portland scene, and take on the national level, distortion, beards, and all.

By leading off with "Trail To The Sun," the band makes a very calculated statement. In addition to the stomping grooves, they immediately inject a dose of melody to the mix. The main riff, which permeates the entire track, is a good one, by any standards. Sure, there are moments when it seems simplified and stripped down, but it is a strength to combine simplicity and straightforward motions and get a solid soundwave. The vocals, unpolished as they may be, fit the bill to perfection here, adding a raw element to what is otherwise a well rounded affair. To lay out a dominating central theme so early could be dangerous, but as "Edge Of The World" shows, this isn't a one trick pony. The fuzzy distortion remains a constant, but not with a lack of reinforcement. The rhythm section plays a huge role in keeping the sound heavy, without becoming overbearing. Bassist Rusty Powers delivers a Herculean performance here, encompassing everything good about the low end; the rumbling bass, the smooth groove, and the pattern of consistency. His rock solid musicianship allows guitarists Chris Dunn and Mark Bassett to stray from the main line and turn the distortion up at the right moments.

In what could easily be called a smoky or hazy effort, "The Road" takes it's listeners to a place they may have been waiting years to visit. As the tempo drops and the intensity rises, the band unveils a track that is as balanced as anything in their back catalog. Dunn, doubling as frontman and vocalist extraordinaire, hits his stride right alongside his bandmates, as they pluck and smash their way through nearly seven minutes of blazing guitar riffs, surgically precise snare and cymbal hits, and a bass line that seems to be on infinite loop. If you've somehow ignored the drum work of Devon Shirley to this point, "Sirens" gives you a chance to pay your due respects. Each thump of the kick drum that pulses through your speaker is timed to precise specifications, while the vocals, in this case drawing a possible comparison to Baroness, hoarsely wash over you. As you move into the latter half, which comes all too quickly, pay close attention to the bass line, which may be as catchy as the guitars. As Dunn delivers the first line of "Adrift At Sea," where he croons "floating away," it all just hits home. The flow within each song and between one and the next is key, and makes this five minute piece feel just as quick as the eight minute ones.

Unlike many of the other bands that have flooded the genre over the last few years, Diesto have kept a focus on accuracy and timing, as you hear very clearly on "Dirty River." This isn't a band of amateurs, strumming strings and hitting drums haphazardly; nor is it by the stroke of luck that everything fits together. It is in this way that the music itself might become predictable, but in the best possible way. It allows you to sway and thrash along, without ever allowing yourself to skip to the next track. More than that, even as the clock ticks beyond the six minute mark, then the seven minute mark, you might be tempted to actually scroll backwards in hopes that the album won't come to the end that you can see on the horizon. Guitars cry, and bass and drums pound away, as the music fades to silence. It is complemented on the digital release by a bonus track taken from the "Keep Our Heads" compilation, released by Eolian Empire, title "Arrows." While it may be the same band, it stands out from the rest of this album, as evolution has done it's work.

For someone unfamiliar with the past works of Diesto, you run through the entire spectrum of thoughts when listening to their latest album. For a new band, these guys sure have some tight musicianship. Wait, they have four other albums? By the time "For Water Or Blood" comes to an end, you need only sit back and mumble to yourself, "must..own...entire... catalog." Not only is the album a powerhouse that deserves repeated listens, but their sound - that signature sound that makes them easily recognizable once acclimated - but it lends itself well to the vinyl medium, bringing a piece of the past into the present day. Somewhere in the middle of listening, you come to that realization that hearing these same songs on your record player of choice, as the needle rises and falls over that 180 gram piece of nostalgia, might be a life affirming experience. But that aside, as not everyone has rediscovered that once dead vinyl format, anyone who has gone this long without hearing what this Portland based band has to offer is in for a treat. Diesto have arrived... again. For the fifth time.

9/10

Bandcamp - http://diesto.bandcamp.com/
Facebook - https://www.facebook.com/pages/Diesto/101968243187195

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Equilibrium - Waldschrein (EP) (2013)

Oddly enough, 2010 feels so far gone. Only three years have passed since the release of the last Equilibrium album, "Rekreatur," and yet it somehow feels like an eternity. Things have changed since then, with vocalist Helge Stange leaving the fold to join Israeli/Russo band Arafel. But with the departure of a member comes changes in sound, vision, and the creative process. So as the days have ticked by in those three years since, the shape and structure of the band has changed along with it. Now that the circle is once again complete and a new album is in the works, it seems like the right time to open the doors to the factory, and give the fans a look at what has been going on behind the scenes. This isn't just a crowd pleaser of throwaway nonsense in hopes of distracting us all with something shiny. On their new EP, "Waldschrein," they take a refreshing approach to that tour, taking a look at the past, the present and the future of the Equilibrium catalog.

With the title track, the band brings renewed energy to the table. The folk influences are at the front of the mix, as secondary instrumentation provides so much of the main melody. But, somehow, they manage to pair that with the same galloping heaviness that made them a force on their previous efforts. The musicianship has been ratcheted up, and new vocalist Robse Dahn sees his voice fit like a glove in the verse and chorus sections. It bodes well for what is to come, while still nodding to what has passed. That, in particular, applies to the newly recorded version of "Der Sturm" that follows. Having replaced former vocalist Helge Stange's voice with that of Dahn, there is a new dynamic at play. he is not a carbon copy replacement, but a step in a slightly different direction, albeit similar. As with the original, crushing guitar riffs take the lead, propped up by the sea of kick snare combos. It is songs like this that defined the previous era of Equilibrium, and can help to redefine it for future releases.

Having never before seen the light of day, the unreleased "Zwergenhammer" is a standout on the EP, for a variety of reasons. First, coming from older sessions, it has a different aesthetic than the other material presented. But it also is the most bright contrast, with rigid divisions between the melodic folk and melodic death styles. The two trade turns, almost in a tug of war where no one pulls, and they merely agree to pass the rope.It makes one wonder how this track, from whatever session it arose, never made it to an album, EP, or compilation. But the true brilliance of this release comes in the monumental cover of the "Skyrim" main theme, titled "Himmelsrand." Complete with chanting vocals, Equilibrium have managed to redefine the epic, by simply making it more epic. The production work is a key hear, bringing crystal clarity to a mix that is ready to rip at the seams. Capping it all off with an acoustic version of the title track, which might be one of the most intoxicating folk riffs we've heard to date, and the line has truly been cast.

Despite the out of sight, out of mind, attitude of the modern music industry, Equilibrium have never really left our consciousness. Their previous albums, from "Rekreatur" all the way back to "Turis Fratyr," always creep back into our players, and dominate our speakers. Even after three years, seeing their named scrawled across the top of an album was enough to reignite that fire. A mixture of new and old, past and present, and a look into the future, "Waldschrein" might be exactly what the EP business could become. It allows us to enjoy what the band is doing right now, and gives us the unfair ability to contrast and compare with what came before. Because, after all, it is that rise from the humble beginnings that makes the music hit home even harder. With a new album slated for 2014, a renewed sense of heavy and heavenly, and an single track already burned into our frontal cortex, it would seem Equilibrium have returned. Onward and upwards!

8.5/10

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

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Tarja - Colours In The Dark (2013)

When Tarja Turunen left Nightwish, it changed the band immensely. Not a very good change at all. After “Once”, the band just went downhill steadily. “Imaginaerum” is one of the most disappointing albums in a long time. Anyway, Tarja didn’t stop after Nightwish. Her first solo album was “Henkäys Ikuisuudesta” which was quite the departure from Nightwish. It was much softer and focused more on her vocals. Might I add that “You Would Have Loved This” is an incredibly beautiful song? “My Winter Storm” was the next album and it had a more symphonic sound than the last. “What Lies Beneath” was an okay album with some very good tracks. Her newest album “Colours in the Dark” is so far beyond the past albums in every aspect. Not only is it bigger, fuller and heavier, it also proves that Tarja can make epic symphonic metal all on her own.

“Victim of Ritual” is a great track that shows off her vocal prowess once again. She has a very distinct, buttery smooth voice that could be backed by a banjo and still sound amazing. One minute and thirty seven seconds into the track it sounds like it could be in a movie. It’s awesome. One of the highlight tracks on the album. “500 Letters” is a little more pop sounding than the first track but it’s still a good track that continues the flow perfectly. “Lucid Dreamer” is a more experimental song. It takes the album in a different direction and shows good variety. Its only problem is that it could have been two minutes shorter. It just drags on a teeny bit, but it’s still a solid song and sets up the mood for the rest of the album. “Never Enough” is the most radio friendly song on the album, but it’s actually good. It picks up the pace nicely after “Lucid Dreamer” and it’s really catchy. “Mystic Voyage” brings back the experimental side of the album and it’s great. It’s one of the slowest songs on the album. The mood and atmosphere that’s created in this song are just entrancing.

The next track “Darkness” is a Peter Gabriel cover. It’s a good cover, but it doesn’t really fit with the rest of the album. It should have been a bonus track so it wouldn’t mess with the flow. Going from “Mystic Voyage” to “Deliverance” would have been perfect. But as it is, it’s a great cover that’s just out of place on the record. “Deliverance” is quite possibly the best track on the album. It’s epic, melodic and beautiful. It’s one of the slower songs, but it’s damn good. “Neverlight” is much heavier than the rest of the album and also one of the weakest. It just feels very uninspired and hollow. It’s a hiccup in the album that can be skipped. “Until Silence” brings the album back to where it needs to be. It’s a sweeping epic that has a killer vocal melody and calming music. It’s a track that has to be heard. The closing track, “Medusa,” is kind of an oddball. I say that because it features Justin Furstenfeld of Blue October. It’s not that it’s a bad combination; it’s just a weird one. But they pull it off. His vocals fit perfectly into the song and it gives it a special sound that makes it feel complete. It’s definitely the most ambitious song on the album and it serves well as a closing track.

“Colours in the Dark” is a great album that goes above and beyond her past work. For any Nightwish fans out there, don’t make comparisons. This is completely different than anything the band has done. It’s a bold album that doesn’t hesitate to take chances and try new things. Granted not everything worked, but most of the album is gold. “Deliverance” is one of the best songs Tarja has ever done. Her vocals are as incredible as ever and they seem to be getting better with each album. For any fan of Tarja, this is an absolute must listen. It’s her most complete and genre bending album to date. Do not miss this.

9/10

- Brian DuBois

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

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

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Temple Of Void - Demo MMXIII (EP) (2013)

With all of the major news outlets only invoking the name of the city of Detroit to talk about bankruptcy and Hardcore Pawn, it's no wonder their musical exports are being drowned out. Luckily for Temple Of Void, they are still young, and there is time for them to burst onto the scene. In the meantime, they have to make the most of a bad situation; hardships breed toughness. They've managed to come this far, producing a demo that, for all intents and purposes, serves as a declarative sentence: "We are here." One part death, one part doom, two parts not caring about the proportions of the other two parts, this five piece have all the grit and murkiness to catch the attention of people from coast to coast. On their first demo, titled "Demo MMXIII," they try to capture all of that hard-nosed craftsmanship, without sacrificing their strong grasp on what it means to be heavy. Fast, slow, and in between, this might be the best thing to come out of Detroit this year.

When it comes to the dark, sludgy style that Temple Of Void plays, there is no room for delicate intros or subtle openings. "Beyond The Ultimate," which erupts in dense distorted chugging right from the onset, is evidence that you don't need to take the long way to get from point a to point b. This full steam ahead approach works here, beating you down instead of pushing you aside. To their credit, the duel guitar attack factors heavily in the layering of the album, both in solo and verse sections. Even when the mix is decidedly murky by design, as it is on "Exanimate Gaze," there is still depth to the recording. Each blistering scream cuts through you like a knife, leaving no room for melodic clean vocals. Instead, you get healthy doses of growls, completely filling the lower register with gurgled lyrics that go beyond the basic death/doom structures. But perhaps it is "Bargain In Death" that will propel the band beyond the crowded streets of their genre of choice. Turning the speed down and the volume up, they attack your very skeleton, allowing the high levels of distortion to grind your bones to a fine powder. The sampled spoken word is an apt transition from density to groove, as the guitars erupt in a flurry of fretwork and bending strings before fading to silence.

The short list of metal bands from detroit that have been able to strike out on the national circuit is small, and getting smaller by the day. And while that is no real indication as to the future Temple Of Void have ahead of them, it must be mentioned. It isn't always easy for a single three song demo to give you any indication as to where a band goes from here; the fact is, we don't have much to go on at this stage of the game. But based on what we've heard here, all twenty minutes of crushing, unrestrained death/doom, I doubt we'll be hearing any symphony appearances or operatic vocals on the next effort. Sometimes, the most straightforward approach is the best one, and that could pay off. For a city that is restructuring financially, so too must the music scene. Maybe this crisis of business and government is signally a changing of the tide. And with their sight set on the next level, this band might be exactly what the Detroit needed.

7.5/10

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

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Vallendusk - Black Clouds Gathering (2013)

In the year since their debut EP was released, the members of Vallendusk haven't been resting comfortably in an armchair stuffed with money, waiting for the next royalty check to come in the mail. After the release of the aforementioned self titled opus, there was no room to become complacent and just ride the small ripple they had made.  To the contrary, this Indonesian four piece have done more than their share of work, fine tuning and honing their sound, in hopes of becoming a force in the world of black metal. But hard work is only truly successful if done in all the right places. This isn't to say that every issue must be corrected post haste, but in the crowded arena of black metal, time wasted could be a career wasted. So with a miniscule twelve months at their disposal, the pressure was on to tighten the screws, add a layer of polish, and get these seven new songs onto digital storage. It may sound easy enough, but the process is anything but. After a year of blood, sweat, and distortion, "Black Clouds Gathering" is the final result for a band who deserve it.

There is an immediate and noticeable change as "Fragments of Light" introduces some much more rich and flowing melodic elements to the mix, something that was far too often obscured on their previous work. In addition, a more focused and clear effort in both production and mixing allows all of the pieces to shine through, rather than be buried in a muddled mess of levels and layers. It results in an interesting dynamic between refined instrumental, and raw vocal line, something that actually works in this instance. The proportionate chunk that begins just before and ends shortly after the seven minute mark is suitable representation of the new Vallendusk sound, clear and polished. Finding balance, though, becomes the biggest challenge. The band are up to the task on "To Wander and Beyond," which is a versatile and varied offering, despite being disguised early as a blackened thrasher. Along with the improvements to the mix, each individual instrumental performance is crisper than before, with the screws tightened in every facet. The drumming, which may seem to be standard black metal fare, is far more detailed and precise, becoming a rock to build upon. The outro section becomes a signature moment for a band in need of one, and having now found their place in the sun, "Shades of Grey" becomes an anthem, far exceeding their catalog to date. Both melodic and bruisingly heavy, it works on all levels.

Unlike the debut EP, the monumental track lengths here don't compromise the integrity of the song, or the album as a whole. The main guitar line on "Into The Mist" is catchy enough to draw you further in, while still surrounded with enough chaos to keep you invested as the track moves into minutes seven, eight, and nine. It also leaves room for the almost dreamlike interludes the band may become known for. It isn't until "Among The Giants" that the folk element comes to the fore, with a guitar lead that is both uptempo and a catchy hook. It will stand out to many first time listeners, as it provides a respite from the sound that flows through most of the album. It's tone is not a one-off, as "Realms of The Elder" has a very similar pressing nature, but in a much different dynamic. The speed remains high, as it has throughout the album, but the band strays from the mainline here, delivering a shockingly high energy track. As the screams become more intense and more insistent, so does the music behind them. It all comes to a head on the closing track, the massive thirteen minute "Land of The Lurking Twilight." They've saved a lot of their best melodic moments for last here, choosing contrast over one side of the spectrum. For every pummeling drum roll, there is a fleeting acoustic guitar to balance it out. With an extended outro of stripped down melodies, they leave an sizable imprint in your memory.

We were not quiet about what we perceived to be deficiencies in the debut release from Vallendusk; the track ran on well past their welcome, and the production work left so much to be desired. But rarely do you see a band make such great strides to fine tune everything about their sound, all in the short span of a year. They've improved their balance, and focused more on the small, subtle touches that can take an album, and a band, from relative obscurity to world wide curiosity. Undoubtedly, the result is proportionate to the amount of time, effort and work that has gone into their development. And while I am sure Vallendusk haven't reached their full potential as of yet, they have certainly risen to the occasion here. The difference is uncanny, all while staying true to the sound they unveiled a mere twelve months ago. Whether this is the storm they reference in the albums title, or if this is only the beginning of a fruitful career to come, "Black Clouds Gathering" is an album with all the style and substance of a summer thunderstorm.

8.5/10

Bandcamp - http://pestproductions.bandcamp.com/album/black-clouds-gathering
Facebook - http://www.facebook.com/Vallendusk

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The Podcast: Episode 94 (Uh! Yeah! Grumble, grumble, grumble.)

It's good to be king. What that has to do with us, I simply don't know. But we are, as we like to point out, better than some of those other sites who claim to review things, and never do. This time, Brian gives us his feelings on the new Fleshgod Apocalypse album, and we talk Tarja and her Peter Gabriel cover. How bad does a singer have to be to make an album unlistenable? We discuss. Tangents, ramblings, and a whole lot of "Uh! Yeah!" from Rachel adds up to another awesome episode of the Sorrow Eternal podcast.

Intro and outro music this week courtesy of the fantastic Elessär. The song, "Ice Queen," is taken from their debut album "Dark Desires," which is available now!

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The Podcast: Reader Questions, Volume 7

After the guest spots for Rachel and Brian, new life has been breathed into the podcast. Alone again for another installment of the Reader Questions segment, Darrell looks to answer a few (Non-Spotify) related queries. This week, questions on whether or not we read other people's reviews, the new Dream Theater single, the website that is under construction, and the most anticipated albums of the rest of the year.

A special thanks are in order to Dan Klyne, the mastermind of Appalachian Winter, for allowing us to use his music in our intro and outro. The song, for those who have been under a large rock for the last two years is "Solitude," from his self titled 2011 album.

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Thy Light - No Morrow Shall Dawn (2013)

With so many different subgenres and styles in the metal catalog, it stands to reason that few people would turn to black metal for a dose of beauty. Yet, in recent weeks, we've found that not only is black metal a viable option for all things glowing and emotional, but it's contrast between joy and sadness can often magnify their effects on us. For reasons that have been studied to varying degrees of success (the wonderful documentary "Until The Light Takes Us" being one of the best to date), black metal produces and caters to a certain kind of person. But with bands like Thy Light, the broader appeal is becoming far more easy to understand. This Brazilian two piece, for all their depressive tendencies and imagery, have incorporated so much more into their sound. Having now embraced so many of the tenets of classical music, including dazzling piano keys and strings, they've managed to turn their own sadness into light for others. From whatever perspective you view "No Morrow Shall Dawn," it strikes a much needed chord.

Despite the overwhelming sadness that comes with the depressive black metal tag, "Suici.De.spair" dos have moving elements encapsulated within it. The light synthesizer sound that fills the background is just enough to paint a gray portrait, while the piano work in the fore dances. The refined nature of the track itself lends itself well to the release, as a whole, setting a tone and a benchmark in the early stages. The beauty can, and often does, come in the breakdown. With the tone now set, "Wanderer of Solitude" bridges the gap between light and dark, thanks to an awe inspiring piece of musicianship. Clean acoustic guitars are played with such ease, yet float above the entire mix. But it is where the track goes from here that haunts you for days after. Sure, the screeching, jagged vocals are seemingly omnipresent. But they are held up by a bevy of instrumentation, a mix that is as deep as any you've heard this year. The seamless way each instrument enters and exits is no accident, each transition from light to dark, dark to light, calculated and executed to miraculous standards. It seems as though you've reached the peak so early on, but the waves keep building around you.

The title track, much like the name indicates, is an emotional work of art. By embracing the melodic, Thy Light have made the raw elements all the more impactful. This thirteen minute epic, with all of the ebb and flow, twists and turns, embodies everything the band has poured into their work. At times atmospheric, while at other times brutally raw and honest, in encompasses every part of the spectrum, without ever giving any indication that even a second was tacked on or half baked. That methodical approach does wonders for the flow of the album. Throw in a pseudo-clean vocal in the final burst, courtesy of Tim Yatras, and you have a track that is worth every second invested in its gloomy haze. While short, the water droplets falling amongst the sound of winds and an acoustic guitar make "Corredor Seco" more memorable than the less than four minute run time would indicate. Not only does it elicit an emotional response, but it begets the thunder and pouring rains of "The Bridge." As a closer, it leaves nothing to be desired; the closure achieved here is breathtaking. While it is the track where the restraints are most clearly lifted, it is far from raw. The central melody, which dwells well below the surface distortion and screams, may induce a sway. And the final boom of thunder, loud and rumbling, is the perfect exclamation point.

For as many jokes as are made about emo scene kids, fans of The Smiths, and goth aficionados, there are just as many made about the stereotypical black metal fan. With the entire genre pigeonholed and misunderstood, it's no wonder why bands like Thy Light have gone unnoticed by the metal majority. But with this album, this five track outburst of emotional overflow and forward thinking, they've not only broken the mold from whence so many of their peers have come, but given us reason to forget there ever was a mold to begin with. Woven into the fabric of this album is a true understanding of both musical theory and execution, something these two minds have done to nearly flawless perfection. Sweeping melodies give way to dreary verses, and those verses give way to airy interludes. It's all a cycle of emotions; one that might not bring tears to your eyes or push you to sit in a dark room and weep silently. But the finished product is as well rounded as anything this genre has produced in decades. And though "No Morrow Shall Dawn" might not obliterate the stereotypes that have been built for years, it will certainly change the perspective around it.

9/10

Bandcamp - http://pestproductions.bandcamp.com/album/no-morrow-shall-dawn
Facebook - http://www.facebook.com/officialthylight

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Immortal Orchestra - Immortal Orchestra (EP) (2013)

Young bands are almost always unfairly judged by the most superficial of criteria. Without knowing what they sound like, what their aspirations are, are even where they come from, we convince ourselves that we know everything we could need to decide if this album is worthy of our time. If there is anything we've learned in two years of reviews and interviews, it's that sometimes you need to pull your head out of your ass, and just listen. Florida five piece Immortal Orchestra, to that point, are not going to peak your interest with their artwork, or their still under construction Facebook page. Having just been birthed into the world of metal, they don't have a lot, visually, to catch your eye. Even a brief list of their influences may not give you any indication as to what is in store for you on this, their debut EP. But what they are, more than anything else, is another example of why you should let the music speak for itself, and leave the judgmental nonsense at the door.

With the unmistakable sound of church organs ringing out, "Overture Into Madness" is exactly that; you have a rich focus on the keyboard element, one that gives you a pretty stirring impression of what is to come. But taking this at face value would be a mistake of colossal proportions. Quickly evident, this is only a small piece of the tapestry that is the Immortal Orchestra. Joined by a full arsenal of distortion in "Ossuary," those same keyboard and synthesizer sounds take on an entirely different feel. The aura of evil that surrounds the track is not subtle, but it is well rounded. And while the mix itself may be rough around the edges at times, it boasts a very versatile construction. Because, despite the endless battery of drums, there are enough layers to keep each movement fresh. The vocals, whether it be the hoarse, yet clean lead, or the backing growls, have a way of drawing you in further. It goes well beyond their stated influences, into a more varied territory.

The same could be said for "Your Tomb My Kingdom," which bends what you expect from the doom sect. Sure, it has all of the gloomy atmospherics you would have expected, but there is more to it than that. The guitar work is more dynamic, going well beyond distorted chords and chugging. There is an even exchange between guitars and keys, both darting through their respective scales, that helps to give depth to the mix. And when you think you've figured out a pattern, or a repeated theme, they take a lateral step, and deliver a minute worth of moving acoustics. It speaks to the creative element at play, which is often easily questioned in young bands. But the progression of the album is important to note; ending with the out of the box effort on "Misotheism." It's hard to capture exactly what goes on in this four and a half minute framework, as the band harnesses so many different styles and influences, and combines them with no trace of bumps or seams. There is beauty to be had here, not the least of which comes in those final, fading keyboard notes.

Whether or not we become a slave to our own expectations is a point we can argue in another forum. But by convincing ourselves that a band will be good, great, or just plain awful without giving them a hance is something we can never really justify. Immortal Orchestra are a band in their infant stages, having barely scratched the surface of their talent and creative pools. But this EP, or demo, if you will, is already ripe with explosive material. Are there improvements to be made, or rough edges to be sanded down? Of course. But that is to be expected of even the most seasoned veterans of metal in all it's forms. In the meantime, they've given us more than enough to warrant a second, third, fourth or fifth album of material. With some support from a growing fanbase, this could be a project we'll be seeing on the front pages of major metal publications down the road. If there is one point that would be considered a failure here, it would be on their mission statement. They've proclaimed themselves to "fuel a tragic depression within you." Their music is too good, and provides too much hope for that to be true.

8.5/10

Bandcamp - http://immortalorchestra1838.bandcamp.com/
Facebook - https://www.facebook.com/immortalorchestra

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Fleshgod Apocalypse - Labyrinth (2013)

When Fleshgod Apocalypse released “Oracles” back in 2009, they introduced themselves with an above average death metal album. It didn’t break any new ground, but the speed and ferocity was commendable. With the release of “Agony,” they brought their sound to a new height with the inclusion of large scale symphonic elements. Adding Francesco Ferrini as a full-time member was an excellent choice. His keyboard and orchestral arrangements gave them a flair they desperately needed. Upon first listen however, it feels like that there is too much going on. With the orchestra, guitars and the inhuman drumming, it was really hard to focus on the songs. After a handful of listens, the experience gets much better but not without its problems. Some of the songs tend to drag on and sound the same. “Agony” is a lot to take in, but it’s rewarding once you get over the initial hump. Now merely two years after “Agony,” Fleshgod Apocalypse returns with “Labyrinth” which is their most focused, ambitious and downright best album thus far. Even though “Labyrinth” is an easier listen than the previous album, it doesn’t mean that it won’t take a few spins to get the full genius of the album.

The album opens up with “Kingborn” which already is a big improvement from “Agony.” The guitars aren’t muddled anymore, the orchestral elements are much bigger and prominent and the operatic vocals add a nice touch. The only problem with this track is the addition of the high pitched, almost screeching vocals. On the rest of the album it’s not a problem, it just sounds out of place on this track. It’s brief so it doesn’t detract to much from the quality of the song, but the listener will definitely have to get used to it. The overall song is epic as hell though, and a great way to start the album. "Minotaur (Wrath of Poseidon)" continues the epic sound and takes it one step further. This is one of their most classically influenced tracks and also one of their all time best. Everything works on this song and it’s absolutely breathtaking. “Elegy” picks up the speed a little bit but doesn’t sacrifice anything in the process. Francesco Paoli is a human drum machine and it really shows on this track. "Towards the Sun" slows down a tiny bit, but continues the flow of the album perfectly. “Warpledge” brings back the operatic vocals that fit perfectly with the music, no matter how weird that sounds. It’s evident on this track more than any other so far, that they really spent time on this album to get everything to be balanced. The symphonic elements, drums, vocals, and guitars all blend perfectly together. “Pathfinder” brings the album to it’s absolute height. It’s the culmination of everything the band has done and it’s probably their best song ever. They have never sounded this full and this epic. “Pathfinder” is an absolute masterpiece.

“The Fall of Asterion” is the perfect track to have after “Pathfinder.” It keeps the emotion at full force. It also serves as the turning point in the album. After this song is “Prologue” and “Epilogue” which are a welcomed break from the aural assault that is the rest of the album. “Prologue” is in the perfect spot on the album. It gives the listener time to recharge before continuing on. “Epilogue” is heavy again, but it’s slower and thought provoking. It sounds like it should be in a gladiator movie. “Under Black Sails” is the second best song on the album. It’s fucking epic, balls out, and just bad ass. It doesn’t do anything different from the rest of the album, but it’s a welcomed addition. The album closes with the title track, “Labyrinth,” and it’s a perfect ending. It’s basically just piano and orchestra, but it ends the album on the perfect note. From it’s opening to the haunting last note, this song wraps everything up nicely.

“Labyrinth” is Fleshgod Apocalypse’s crowning achievement. Three albums into their career and they already found the winning formula. It takes everything that was done on “Agony” and made it better in every possible way. The first listen is still hard, but it’s worth everyone’s while if they stick with it. There have been a lot of symphonic death metal albums so far this year, but this one takes the cake. No other band in the genre can match the speed and songwriting skills on “Labyrinth.” Everything is concise and flows perfectly. The emotions and moods on this album will stick with you for long after youre done listening. This is Fleshgod Apocalypse pushing their own boundaries and making a masterpiece. Yes, it’s that good.

10/10

- Brian DuBois

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

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Cailleach - Aokigahara (EP) (2013)

Sometimes, we just miss the bus. Try as we might to stay ahead of the numerous waves of bands that come across the series of cats and tubes known as the internet, we are always sure to miss a few thousand. By the time the debut EP from new Zealand based Cailleach had landed onto our computer screens and mp3 players, the band had already been firmly ensconced in a self imposed hiatus. While their reasons are, of course, their own, it seemed that a promising new act had gone to sleep well before it was time. But after repeated listens to their only release, the three track EP titled "Aokigahara," there must have been clues left as to why Mike Lamb and Joe Russell, those responsible for the instrumental portion of the album, thought it was best to step away from their work to focus on other things. With a lyric sheet that reads like the best of horror fantasy tales, it would seem appropriate to find a voice to mirror that grave nature. But in Aidan Grau, they found something else entirely. With a voice that consistently distracts and detracts, it takes a Herculean performance to keep this EP afloat.

It is a marriage of opposites that makes "Here Among The Dead" such an interesting listen, as the intro section combines the beauty of acoustic guitars, an electric melody, and an unrestrained scream. While the latter may be unrefined, the rest of the mix is anything but. The sea of guitars and drums is seemingly never ending, padded out by a darting bass line that elevates the entire track. But it is the willingness to go outside the box that helps the process of momentum begin. A piano interlude is unexpected and wholly successful here, a transition from blaring blackened metal into something else entirely. The sweeping guitars that follow are a key part of the band's soundscape, allowing the progressive elements that were lurking earlier to become far more prevalent. The unfortunate truth, though, is that the vocals simply can not match the intensity of the instrumental here. When growls replace screams, there is a marked improvement. But the cries of the verse sections do little good, and quickly become a distraction from the beautifully constructed guitars. As the shackles come off on "A Plague Of Nightmares," you have periods of pure black metal, in all of its high speed glory. The precision of both guitars and drums is uncanny, the two coming together to form a foundation that would be ideal for any vocal style.

But as the as almost child-like screams wrestle for control of the song, it is obvious where the weak link lies. Unable to completely bury the vocal performance, the instrumental must do an unfair amount of the work simply to keep the track above water. While asking for a miracle might seem counterproductive, their prayers are answered, thanks to deft fret work and lightning speed on the drum programming. By now, the central theme of the album has been realized in full, and perhaps light shed on the nature of the hiatus. The closing track is more of the same story, for better and for worse. "A Sea of Trees" has a an interesting way of changing your perspective of the album as a whole, giving you flashes of vocal free prowess, all of which come through with skill and clarity. There are so many subtle and unique elements at play here, that it becomes a battle of good against evil, with the vocal layer taking on the role of evil incarnate. They once again infuse a piano melody into the mix, providing a reprieve from the unbearable scream fest that comes both before and after. It's place now known, the vocals leave before te track is over, allowing for a smooth ending.

Rarely do you find a band with such an uneven dispersal of talent as Cailleach. Mike Lamb and Joe Russell have put onto recorded media a firestorm of guitars, bass, drums, and piano keys. On it's own, it would be an album worth of instrumentals that we would look back on time and time again, as a "this is how it's done" reminder. They both boast the speed, attention to detail and abilities to create a staggeringly intricate album from the ground up. But with each vocal passage, their share of the weight increases and it becomes that much harder to recover. Maybe at the front of an emo band, vocalist Aidan Grau would thrive; when it is less about the sound and more about the feeling of it all. But here, with so much more talent on board, and a set of lyrics that are more rich and full of depth that mindless screams could ever portray, he stands out like the proverbial sore thumb. And his lackluster addition, for all of the troubles it causes within the mix and the album as a whole, still can't hold Lamb and Russell back. Whatever the reason is for the indefinite hiatus this act is under, a return could be monumental. With a new voice at the helm, "Aokigahara" would be a classic that would cement the name for years to come.

7/10

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

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Lingua Mortis Orchestra Feat. Rage - LMO (2013)

The common misconception that arises from the use of terms like "symphonic metal" or "orchestral metal" is that it is more of an addition to an existing sound, rather than a new sound altogether. It doesn't mean adding strings to Slayer, or a horn section to Mastodon. Orchestral metal is, and should be, a separate sub-sect of the metal flow chart. Perhaps we've become jaded, thanks to tacked on orchestral elements on popular power metal releases. But Lingua Mortis Orchestra, a true orchestral metal act from Germany, aren't just taping additions onto their music; this music was written, produced and performed to be a combination of classical and metal. With an undertaking this massive, there were concessions to be made, and guest musicians to be booked, something that can be a sticking point. With a trio of singers brought in to provide the bending and winding harmonies, including soprano Dana Harnge, it would be an insult to call this rose by any other name. On the eight track, hour long opus known as "LMO," we get an orchestral metal education, from a band that knows a thing or two about it.

The three part "Cleansed By Fire" is an ambitious opening to the album, albeit a well thought out one. While it boasts all of the subtlety you would expect from an album of this scope, it also successfully bridges the gap between random symphonics and metal. One look at the lyric sheet reveals a far more detailed content than one would expect. More than that, though, it is a full out instrumental assault from all sides, burning through notes like they are going extinct. By contrast, "Scapegoat" falls on the aggressive side of the scale, holding little back in both sound and fury. The distortion levels are high, and the vocals are far more gritty than the rest of the album would have you believe. This begins a transition that is easy to follow, and easier to enjoy. More than just the advertised orchestral appeal, the theatrical nature of "The Devil's Bride" is immediately intoxicating. In the span of six minutes, they take you from the opera house, to the orchestra pit, to the arena, all without so much as a breath in between. The seamless transitions are impressive enough, but the individual pieces are even moreso, with every layer shining as brightly as the ones above and below it. Whether the spotlight shines on the flowing guitar melodies or the seismic activity of the drum kit, it never overpowers anything else on the way.

The aptly titled "Lament" takes things in a far more emotional direction, flanked by piano keys. Tracks like this one go beyond the normal ballad format, introducing an ability to think beyond the boundaries of metal, and do something far more inspired. It also opens the door to the sublime; whether it be a vocal or guitar part that just changes your perspective. They have done so here, rising out of "Lament" and into the short, but moving piece "Oremus." With a piece of otherworldly guitar work, and atmospheric notes behind, the band takes you from the solemn pit into a soaring overture. Following that near rollercoaster pattern, it stands to reason that "Witches' Judge" be a raucous and blasting affair. They haven't abandoned their storytelling to achieve something heavier, but rather they harness it and merge the two together in a brilliant fusion. It's as if they have started the ball rolling down hill, picking up all that comes in it's path. The shredding in the solo sections could easily have been poached from thrash albums, while the squealing harmonics bring an established groove to the mix.

But for every point (groove), there is a counterpoint (melody). The nearly ten minute "Eye For An Eye" is both the counterpoint to the previous track as well as to itself. It's sheer depth is something to behold. The speed and precision with which the entire piece is delivered is another story altogether. On it's own, this would be a masterpiece of epic proportions. As part of a greater whole, it is a keystone in the arch that allows the entire effort to stand tall. The vocal performance, with both male and female harmonies, is award worthy. As the synthesizer holds a long note, the track rolls over and begins anew in "Afterglow." The guitar work, despite always being a part of a larger movement, is at it's best here, ripping through scales and chords progressions like no other track on the album. In the latter stages, it becomes another layer to the vocal melody, one that gives a resounding punch to the mix. That prolific work, however, is padded out by the final minute of the track; beautiful ambient sounds cradle and eventually place you at the feet of the album.

If you've lived your metal life thinking that orchestral metal is just a buzz term people use to describe bands, you aren't ignorant; you've just been improperly informed. Bands like Lingua Mortis Orchestra deserve more than to be lumped in with the power metal masses, as they put an exorbitant amount of pride into their work. The simplification is nearly insulting. But with albums like this one, they are giving the average listener an in depth look at what it means to make music of this scope, this richness, and this character. Along with bands like Therion, they are going above and beyond the common sound, and giving rise to a new vision of what orchestral metal can be. No, it isn't all going to be this good, or even this well conceived. But it starts the discussion, and will probably influence many young bands to step outside the box they've built for themselves, and doing something more with their work. Though, to be fair, it might breed a new wave of bands who put Orchestra at the end of their name for kicks. Attila Orchestra? Avenged Sevenfold Orchestra? Shutter to think. Leave it to the professionals.

9/10

Official Site - http://www.rage-on.de/lmo.html
Facebook - https://www.facebook.com/Linguamortisorchestra

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The Podcast: Episode 93 (Change is in the air.... an introduction to people)

After so many episodes sitting by himself, Darrell has once again welcomed people on the podcast for the first, in what hopes to be many, group ordeals. With the aid of three microphones, a few cables and adapters, and a four track analog recorder (gotta preserve that warmth), episode 93 is the time and the place. Brian joins us, fresh off his series of successful and detailed reviews of acts like Elessar. With him, he brings the new webmaster in charge of building our official home at sorroweternal.com, Rachel. We talk Elessar and The End, and wonder what place emotion has in music; does it lift the music itself, or is it carried by said music.

A special thanks are in order to Dan Klyne, the mastermind of Appalachian Winter, for allowing us to use his music in our intro and outro. The song, for those who have been under a large rock for the last two years is "Solitude," from his self titled 2011 album.

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The Podcast: Reader Questions, Volume 6

Why, oh why, is my inbox flooded with Spotify questions, week after week? I may have opened a can of worms that I was not nearly prepared for. But alas, it is the bed I've made for myself... for another week. This week, I'll tell you who some of my favorite labels are (trick question), my changing opinions of black metal, and what I would do with my lottery winnings.

As always, keep them coming. Send us an e-mail at sorroweternalblog@gmail.com, or hit up our Facebook page.

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Monachus - Below (2013)

The bearded men of Monachus, an export of Sweden, are probably what outsiders think every metal musician looks like. And while they might not be completely right, they aren't completely wrong either. But this three piece from Gothenburg are more than meets the eye; no, they don't transform from a robot into a plane or anything like that. They are far from one dimensional, though, in a much different way. For a band that relies heavily on the blaring distortion and crushing riffs of sludge, they manage to have a keen grasp on the sweetened melodies of some of the best post-rock has to offer. While that, in itself, may not be something new or all that exciting in 2013, it can lead to fantastic results when done right. On their sophomore album, Monachus stay the course, and find themselves in select company. On "Below," they choose quality over quantity, and deliver four tracks of beauty meets beast, black and white, light and dark contrast that will certainly earn them the respect and attention of fans, new and old alike.

Your speakers rattle immediately, something they will do often, as the distortion of the early moments in "Waves" enters and fades. The band is seemingly in no rush to get the track into full swing, instead taking their time before the first real blasts come through. The simplistic grooves may be the perfect way to catch your attention; but the more detailed melodies will keep it. Both bass and guitar share the lead, with an airy, nearly monotone chanting vocal cascading over the top. There is a focus on contrast in the vocal realm, with one side of the coin being the aforementioned chant, while the flip side is a harsh, unrefined scream. The second half of the track is a bizarre descent into near industrial tones, including an altered vocal track, layered with effects. The only constant is the drums, deliberate and always on the mark. With nearly half the run time, "Curse" is a far more focused and punishing track, loosening the grip on airy atmospherics, and bringing a heavy, metallic tinge to the table. Every lingering chord is met with the sizzle of a cymbal. It's in these stripped down and gritty moments that the bass work shines brightest, reinforcing the low end. But perhaps the most memorable chunk comes in the final minute, as the pace slows to a literal crawl, and a single growled vocal crushing you beneath its weight.

Having touched down on the sludge and doom sides, "Circles" explores something a bit mroe melodic, taking the band down a stretch of post-rock territory. That three minute intro is a step outside of the box they've built thus far on the album, but not out of reach. It is fleeting, though, as they quickly regain that raw power they've exhibited. The true victory of the track, and the album as a whole, as the ability to slide back and forth between the styles. Just as the intensity seems to hit full volume, they dial it back and deliver a slow, quiet change of pace. The seven minute mark here illustrates that to the t, backing out of the monstrous riffs and grating vocal stream for a touch of something far more subtle. By track's end, you ahve a pure melodic doom output, resembling a more in your face My Dying Bride. Much like the last pair of tracks, the longer, more hashed out "Circles" is followed by the shorter, more condensed "Onward." The dynamic is an interesting one in both cases, with the band utilizing their lengths in very different ways. In this case, a sampled spoken word segment helps to build the tone. But it's the comfort level the musicians feel at this point, the ease with which the track builds to a boil, that makes it the best on the album.

With so many bands putting out contrived, over produced material by the boat load, it makes the work of Monachus seem all the more profound. They've put a lot of themselves into these four tracks, in many different ways. But the most important, of course, is how easy it seems for them to play together. Rather than blindly into new territory, or follow the current mindless trend, they've stayed the course and done what they do best; create a black and white cookie of musical contrast. And in doing so, they will also create severeal strong minded, but different groups among listeners. Some will align themselves with one facet of the sound, either melodic or menacing. Some will like both, and the way they come together time and time again. And the last, and most likely smallest, group won't like either. But even the people in the latter group will appreciate what it is about this band that will draw others in. Forty minutes later, "Below" will be an album you'll talk about. And that is how Monachus could go from Swedish underground, to mainstream.

8/10

Bandcamp - http://monachus.bandcamp.com/
Facebook - https://www.facebook.com/pages/MONACHUS/245683167266

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Naga - Naga (EP) (2013)

In the modern age of music, one polluted by pitch correction, auto-tune, and recording standards that have become part of the music rather than a vessel for the music, any middle fingered extended in the direction of the norm is welcomed. Take the clinical, almost sterile sound of the latest Black Sabbath album, for example. It is sonic perfection, thanks to the nimble hands, ears and fingers of great producers and engineers. But it lacks the depth of sound that "Paranoid" boasts. The work of The 78 Project takes it a step further, going back to the recording methods of the 1930's to find harmony between medium and music. But in 2013, how do you still achieve that warmth to your music, in the age of the digitally perfect? Naga, a three piece doom metal act from Italy, have found a time machine of sorts. They have shucked the overdubbed clarity in favor of the muddy waters of traditional doom, with guitars and bass forming a solid wall of distorted delight. On their debut EP, a two track self titled affair, they deliver an old school sonic beat down that doesn't need to be fixed, edited, or pitch corrected.

The crushing riffs of "The Path" have a darkness surrounding them that is both enjoyable and slightly terrifying at the same time. But where the track goes after the intro period is even more encouraging, as there are similarities to be heard between this and the Mastodon album "Crack The Skye." By no means is one the carbon copy of the other, but the yelling vocals and sludgy riffs share some common ground. With the productions values stripped down here, the murkiness adds to the mystique, but doesn't cover up the occasional groove. The second half of the track is far more gloomy, with the density of the mix increasing, lightened only by the tapping of cymbals. The low register is represented well, shaking the cages on your speakers with each thunderous bass string. If you've been waiting for all of the beautiful orchestrations and wild solos to kick in, you must have wandered into the wrong place. For all of the painstaking attention to detail that goes into the doom style, "Vitriol" may be the perfect representation of the finished product. While you might not find a mix layered with sweeping guitars and virtuosic vocal performances, you have something far more honest. The track remains straightforward and doom-centric, keeping the mix dark and smoky at the same time. The final minute alone begs to be performed live, with crushing distortion and howling feedback filling a void.

Naga have made a wise decision in the recording of their debut EP; perhaps even bettering themselves and their sound as a result. By keeping it raw, keeping the mix cloudy, they add a dimension to their sound that might have been absent otherwise. It's important to note that this isn't an amateur effort; this wasn't recorded with tin cans and string. But it also wasn't recorded with a play first, fix it later attitude that would have rendered the entire album wasted. They hit the right notes, at the right time, with the right tone. The result; an album that immediately conjures up imagery of a live stage, a light layer of smoke coating it, with three men barely lit, slamming away on their respective instruments. After this twenty minute offering, it wouldn't be unusual to check your local mid-sized venue to see who is hitting the stage that night. But rest assured, unless the bill says Naga, you might not get what it is you were waiting for. If we've learned anything, it's that doom metal needs no bells or whistles. It just needs a place to perform.

7.5/10

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

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Elessar - Dark Desires (2013)

In symphonic metal, either you’re amazing or you’re forgettable. There is no in between. Edenbridge is one of the bands that seems to miss the mark with every album. While they have moments that make you think that they’ve finally got it, they end up pulling the rug out from underneath you. Then you have bands like Epica and Sirenia who keep getting better. I thought that Sirenia’s “Perils of the Deep Blue” was the ”be all, end all” for symphonic, female fronted metal. It looks like I was wrong. Coming out of absolutely nowhere, Elessär releases a masterpiece. Before I get started, I have to nerd-out for a second. Elessär is an elfstone that Aragorn is given in Lord of the Rings. It’s also the name given to Aragorn by the people of Minas Tirith. Enough of the nerd lesson. Saying that “Dark Desires” is a huge surprise is an understatement. If I said I’ve heard of this band before now, I’d be lying to you. I don’t know much about their history, but what I can tell you is that “Dark Desires” is Elessär’s first album and it’s incredible. If this album doesn’t get some recognition, there is something wrong with the world.

The album opens up with “Ice Queen” which has a smooth piano intro before picking up speed and letting loose. It’s also the track that introduces the listener to the voice of Alejandra Barro, which is just fantastic. As far as female metal vocals go, she is one of the absolute best in recent years. Her voice is strong, fluid and it never loses its luster. “A Kiss and a Rose” is a little slower than the previous track, but it’s still great. The song picks up about halfway through when it changes tempo and the keyboards, guitars and drums mesh perfectly. With the solo, Howen Rava really shows off his talent on the guitar. This guy is good…really good. His tone and speed are incredible. Most definitely a guitarist to watch out for. “The Lonely Warrior’s Fate” is by far the best track on the album and one of the best symphonic metal songs in years. Everything about this song flows perfectly. The chorus is the best on the album and the main riff is epic. If they had a whole album full of songs like this, they would be an unstoppable force. “Heroes Born Dead” is another great track with a mind-blowing solo. The guitar and keyboard go back and forth in pure Stratovarius fashion and it doesn’t fail to impress. “Puppet Girl” isn’t one of the better songs on the album, but it’s still not a bad track. It keeps the flow going perfectly; it just doesn’t deliver anything that hasn’t been in the last few tracks. It’s more of the same, but it’s still an okay track.

“My Soul, My Life” serves as the ballad on the album and it’s pretty good. It's a little drawn out, but the great solo and perfect vocals make up for that. The title track “Dark Desires” is another good track that picks the speed of the album back up again. It’s also the perfect track to pave the way for “Your Own Being.” With this track, the album gets a little darker and more progressive sounding. The bridge and the solo sound like Dream Theater in their prime. It’s definitely one of the highlights on the album. “We Change or We Die” is the second best track on the album. It still continues the progressive approach, but is also more melodic than the previous tracks. The chorus is the most soaring and grand sounding one on the album. The album closes with “Unforgotten Wishes” which brings the album full circle. It ends just as melodic as it started. It’s everything Elessär has done on the album rolled into one song. It ends “Dark Desires” on a high note that hopefully paves the way for the next album.

So there you have it. A band that came out of nowhere and released one of the best symphonic metal albums in years. To see this happen is an absolute rarity. Bands that have been around for ten years don’t create albums like this. Everything from the production to the musicianship is top notch. The guitars, vocals, keyboards and drums are all played with mastery that you don’t see on first albums. “Dark Desires” flows flawlessly and creates a soundscape that is hard to ignore. When it comes to female fronted metal this year, you’ll be hard pressed to find a better album than “Dark Desires.”

9.5/10

- Brian DuBois

Official Site - http://www.elessarband.com.ar/

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

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The End - You Made The Rain Disappear​... (EP) (2013)

There are so many things that make black metal what it is. You could argue for days about which element is most important; is it the ideology, the sound, the recording, etc. And you would probably get an immeasurable number of answers along the way. But it seems, more often than not, that black metal is accompanied by an emotional attachment in some form or another; a tremendous pain or suffering. And how a band or artist gets that emotion across to their listener can define the success of failure of an album, as a whole. While we might never be sure what drives Svartblod as an artist, his raw black metal project The End may be the perfect vessel for him to express his anguish. With many layers that extend beyond sound to visual and emotional, he has poured every ounce of himself into a four song outing that pulls at your heartstrings, while standing on your jugular. And as you go deeper, from artwork to title, title to music, you start to get the sense that you might carry some of this weight with you, long after the album is over. And that helps "You Made The Rain Disappear​..." keep you right where it wants you.

The strength of the album may also be it's only weakness, as you find early on in "Lost Memories." While Svartbod creates some stunning melodies, they are often buried behind a layer of drums that is powerful, but overbearing. The beautiful atmospheric quality, in both the guitars and other sounds, is a delicate one, and falls victim to the standard black metal production value. This isn't to say it falls flat; there is still a great deal of ambiance and subtlety behind it all, such as on "Shallow Hearts, Empty Streets." Featuring a guest vocal spot from Tenebra, sees a greater balance between percussion and solemn instrumentation. The softly spoken words that come are mesmerizing, inducing a sense of sadness, regardless of your language or location. As those whisper turn to screams, you have a clash of emotions, depending on how you align yourself within the mix. Piano keys bring depressing thoughts, while the yells and screams bring anger. Perhaps the best work on the album is "Expectations," featuring Isabelle Garcet. Having found that much needed delicate balance, Svartblod brings a lot of different elements to the table, both soothing and searing. His machine gun drums are under control, and allow room to breathe for the less forceful components. A rare twist, the closing track is both the most beautiful and most aggressive. The first minute of "Ashes In The Wind" is the musical representation of the cover art, while the chaotic splash immediately after is the counterpoint. A few pained screams, courtesy of Lavin Uruksoth, emerge late in the track, giving you one helping of true black metal.

No matter how hard we try, we will never truly feel what our favorites bands and artists are putting across. Svartblod, without hesitation, has painted a bleak, and yet dynamic picture for us on this EP. But as much as we can delve into the sounds, structures and tones, we will never feel that same pain or sadness. However, he has gotten us as close as possible through digital media. What stands out here is the ability to pass emotion through a series of tubes and wires known as the internet (thank you, Al Gore). Through contrast alone, he makes his work jump out of your speakers, surrounding you with blasting drum beats and a finely tuned ethereal haze which, somehow, complement each other by being polar opposites. Add to that the connection, perceived or real, between the music, the artwork, and title, and you have a moving, profound experience for anyone who should stumble upon it. We might never know what pain is the subject of "You Made The Rain Disappear​..." but we've been lucky enough to ehar it play out in front of us.

7.5/10

Bandcamp - http://theendblackmetal.bandcamp.com/
Facebook - http://www.facebook.com/theendofficialdomain

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