The Lion's Daughter & Indian Blanket - A Black Sea (2013)

Let's face the facts; rarely is a collaborative effort really a collaboration. It ends up being dominated by one part or another, and thus lessons the appeal of the other. There is a fabled middle ground that exists, only in legend, where both sides contribute equally, and do something special, something outside of both of their respective spheres of influence. Both The Lion's Daughter and Indian Blanket are superpowers in their own right, doing what they do up to the standard of sheer excellence. But how could the two of them working together possibly work out for the betterment of both? The former, a St. Louis titan of sludge and doom, once shared space on the same 12" with the mighty Fister. The other, who boast in their lineup both a violinist, a banjo, and a mandolin, play the kind of folk rock that makes people who lack musical talent very jealous. But what would their crazy lovechild sound like? A few months, a press release, and a limited vinyl pressing later, "A Black Sea" came into existence, and quite possibly changed the way we'll view both bands.

The immediately influence of Indian Blanket is both a bold decision and a brilliant one, as "Wolves" begins with a solemn melody of string and voice, over the tapping of drums. But as waves of distortion begin wash over you, the track morphs into something else entirely. This mixture of emotion and rage comes to a head with the first gritty scream that crashes down on your head from above. The merger complete, the bands trade blows, light and heavy, without one ever dominating the other. In fact, their balance is frightening, in that it feels as if the two were tailor made for one another. Strings meet heavy chugging riffs early and often on "Gods Much More Terrible," though the bending of guitar strings and intense screams may have tilted the scales in one way or another. But with interjections, like that around the three minute mark, they create these anxious moments, waiting for the hammer to drop over the sound of a banjo. To hear the screams of The Lion's Daughter vocalist Rich Giordano collide with the sullen crooning of Indian Blanket's Joe Andert is a treat you are unlikely to top. The best call and response track on the album is "Swann," which sees both bands doing what they do best. You are soothed by streams of cleanly played strings, only to be blasted in the skull by a now well refined ball of sludge. When the two come together, you get well preserved and orchestrated chaos.

By the midway point, you have been thoroughly disheveled, and "A Song For The Devil" seeks to bring you down from that adrenaline high. With each strum of a clean guitar and Andert's soothing vocal tone, you feel yourself coming back down to Earth, ever wary of the oncoming darkness. And when the distortion returns about a minute into "Timeless Waters," it does so with a noticeable blues tinge, as if fresh from a side jam session. The song rises and falls, building to a peak of low rumbles, then coming back down. The hum and drum of the final minute, though, stands out in a big way. And in a grand oversimplification, "Sea Of Trees" quickly becomes the most straightforward track on the album, something that is sure to sound misleading at first glance. By no means is this abandoning the premise here, as both bands are present throughout. But this has the most raw appeal, hearing Giordano and company overload your speakers with crushing drums and a towering wall of guitar and bass. As if their unification was ever in doubt, "That Place" is the final shot to be fired. It begans, in earnest, as a soft acoustic ballad. Andert sings softly over clean guitars, with little sign of what is to come. But as the sound builds, you are eventually set off with a wave of atmospheric guitar, cut through with darts of violin.

It would be hard to imagine the end result of a heavy sludge band collaborating with a folk rock band. We, as humans, just don't have the mental capacity to piece that information together. You can wrestle with it, struggle with it, or even meditate on it; no help whatsoever. Instead, it would be worth your time to simply find the album, pick up a copy, and hit "play." It's exactly what you expected it to be, only completely different. It makes no sense whatsoever, and yet, somehow, makes all the sense in the world. This album, this "A Black Sea," is a musical contradiction of itself, in a way that no other album has ever been for us. It is a joint effort between two St. Louis powers that flows right down the middle of their respectively sound paths. I don't know how these two artists from opposite sides of the musical spectrum came together, but we may never hear something like this again. Is this album a softening of the beast that is The Lion's Daughter, or a handful of dirt rubbed into the face of Indian Blanket? Yes. Yes, it is.

9.5/10

The Lion's Daughter
Facebook - https://www.facebook.com/thelionsdaughter
Bandcamp - http://thelionsdaughter.bandcamp.com/

Indian Blanket
Facebook - https://www.facebook.com/indianblanketfolk
Bandcamp - http://indianblanket.bandcamp.com/

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Sometimes We Make Music - Forgotten Tales (EP) (2013)

What's in a name? Sometimes, nothing at all. A jumbled group of words representing nothing more than what gets listed on venue bills and album spines. Sometimes, though, a name says so much more than the words on paper. It might result in a double take, or serious inquisition, but seeing the name Sometimes We Make Music sprawled across your computer screen might seem like the former, when, in fact, it is quite literally the latter. Formed earlier this year after the disbanding of their main project, Ivar T. Oftedal and Danny V. Johannessen made the easy decision that they weren't done writing and recording together. That decision, though, paled in comparison to the next one they'd have to make; the name. Bucking the trend of ominous, sometimes bizarrely pretentious names, they went with one that made as much sense as any. Sometimes We Make Music was born that day in Norway, and after the release of their first EP, "Forgotten Tales," we can hope that "sometimes" quickly turns into "often."

With the opening instrumental, "Winter Is Coming," there is a noticeable influence at play here. But rather than let that influence dictate the track itself, "Game Of Thrones" is merely a setting. The composition here is outstanding, with the thumping drums complementing the cry of the guitar. But it is the symphonic element that ties everything together, through the use of horns and strings. Conversely, "The Warrior" is an exercise in dominance, with every series of drums pounding you further into the wall. But it is the vocals that fail to hit home here, lacking a real sense of identity or punch. Their delivery, which hovers between growls, screams, raspy cackles, and the occasional chant, is more miss than hit, particularly with the instrumental churning beneath. The chanting aspect, though, fits blissfully in the latter stages of the track, over a sea of crashing cymbals and keyboard fueled strings. The longest track on the EP which, not coincidentally, is also the most folk inspired might also be the best. "(For The) King Of The North" expands on the band's sound, instrumentally, while also solidifying it, vocally. The use of strings and keys here provides a sense of balance that might have seemed lacking. It quickly becomes an anthem; but not the kind of anthem that warrants a fist up. You'll nod, you'll sway, you'll find yourself completely immersed.

When the tempo rises, there is added energy thrust into the mix. The opening seconds of "Showdown" fall into the category blistering, stepping the guitar and drum work up into another realm. They remain the constant throughout the album, in the best possible way, always commanding attention and awe. The repeated segment that ties chorus back into verse is as dynamic as any on the album, and easily the most likely to lodge itself in your brain stem. But aside from the string and percussion prowess, the track also showcases the best vocal performance. While still lacking a solid identity, the changing styles and deliveries simply fit more snugly here, with little exception. And because of that new found cohesion between voice and instrumental, the closing track, "Troll," feels even more like a grand misstep. It strips away a lot of that uniqueness, and reverts back into a basic folk metal format. This is not to say it's an entirely bad effort, but it fails to capitalize on the momentum they worked so hard to build to this point. The vocals now descend almost entirely into black metal screeches, while the lead guitar crafts a hook that seems wasted here.

I think it would be fair to say that EPs like this one create a level of confusion in their wake. There is no doubting the abilities the members of the band possess; the victories are far more convincing than the stumbles. But those scattered trip and fall moments do make the band name feel more like a warning than a moniker. By no means can anything on the disc be classified as sloppy; it is more ill-conceived than anything else. Tracks that cross over the five minute mark can be dangerous and rewarding at the same time, but their length can also be their biggest fault. When a song feels every bit as long as the run time indicates, you would be best advised to trim it down. And more often than not, you find yourself looking to see if a track is almost over, only to see you've just crossed the halfway mark. In the five songs contained here, Sometimes We Make Music run the entire gauntlet of possible outcomes, with some great successes and disappointments along the way. I think it might be a logical starting point for the next step. Sometimes We Make Music should start making music more often.

6.5/10

Soundcloud - https://soundcloud.com/sometimes-we-make-music
Facebook - https://www.facebook.com/sometimes.we.make.music

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Operadyse - Pandemonium (2013)

When I thought the year had reached its pinnacle for symphonic metal, another band emerges and completely changes the game. Has anyone ever wanted a symphonic album that never falters, never missteps and one that is epic beyond all imagination? Well your savior has arrived. French metal heroes Operadyse have created something completely mind-blowing with “Pandemonium.” As far as debut albums go (sorry Elessar and Tyranny of Hours), this one takes the fucking cake. Never before have I heard such beautiful melodies and emotional passages on a band’s first album. The only thing you can do when you listen to “Pandemonium” is sit there with your jaw on the floor. Ok so I built this album up to the heavens, I guess it’s time for me to dive into it, right? Here we go.

If any of you have listened to their EP “Hope Era Dies,” erase that from your memory. The new vocalist Frank Garcia gives the performance of a lifetime on the album, and he makes the band a thousand times better than they were. There isn’t one ounce of comparison between new Operadyse and old Operadyse. The new version of “Celestial Sword” is downright gorgeous. You want symphonic metal perfection? This is it. Everything from the incredible vocals to the movie score keyboards to the blazing solo, this song has it all. “Unfold Legend” and “Keeper of the Flame” pick up the speed but they don’t lack the beautiful melody. The album really hits its pinnacle with “The Path of Divine.” The guitar work is uplifting, thought inducing and played with heart and soul. The bridge on this track has to be one of the most beautiful pieces of music ever written; it will make you close your eyes and just soak in the beauty. “Fairies’ Secret Garden” is another re-done track that sounds much better than it did. This track has some bad-ass guitar riffs that will have you banging your head in no time. “Arkanya” is yet another amazing track with a beautiful bridge that continues the flow of the album oing perfectly. The title track “Pandemonium,” is yet another impressive song on this beast of an album. On “Nevermore,” Damien Marco plays his ass off on the guitar. The guitar solo is outstanding as are the keyboards. The album closes with “Frozen” which is a perfect send-off. It’s hauntingly beautiful and the album couldn’t have ended any better than this.

I don’t think I’ve said the word ‘beautiful’ this many times at once before. “Pandemonium” deserves all the praise I’ve given it and the sad part is my words don’t do this album justice. The entire time this album was on I was completely speechless and almost in tears. How can something in the metal category be so emotional, gorgeous, gripping and good without ever falling short of anything? The vocals, drums, guitar, bass and keyboard are all incredible. Operadyse has made an album that will stay in your heart and soul long after you listen to it. This is more than just music on an album; it’s a dream world that needs to be revisited again and again. Ok, I’m going to stop beating a dead horse with how good this album really is. Before I’m done just let me say one more thing “, Pandemonium” is a groundbreaking and epic album that is nothing short of a masterpiece.

10/10

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

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Burning Shadows - The Last One To Fall (EP) (2013)

There comes a time for every band where they must contemplate, think about, or execute, an upgrade. Instruments, recording equipment, studio alliances all must be reforged and improved if they are to advance and vanquish those who stand in their way. Burning Shadows are not different; despite the quality of their last album, "Gather, Darkness!" released a mere 16 months ago, it was time to push themselves and their recordings to new levels of clarity and depth. With some new equipment in tow, and a new process to nail down, eighteen tracks were recorded to test their mettle and deliver the first tones of the next wave of music. But with fans waiting patiently for the third album to be recorded,a  bone must be thrown to the masses in the meantime. Included on this pallet wetter are two new tracks, a classic, and a medley, all recorded live, in studio. It's a small bite, yes; but with the appetite now subdued, it is on to the next battle. A full length album to expand on what "The Last One To Fall" has already shown.

Let it be said that there is something endearing and righteous about the way this band delivers their music, and the title track here is all the evidence you would need. It is, quite literally, a battle cry. Vocalist Tom Davy belts out his lyrics in a classic style, harkening back to the golden days of metal. As his voice wails over the top of the driving instrumental, you have no choice but to join in, fist up, feet stomping beneath you to the huge riffs. What follows is a medley comprised of pieces of the "Thousand Lies" saga that made up a third of the last album. But with new found clarity and crispness, every drum hits harder, and every fill rolls smoother. It adds a new layer to the mix, a three dimensional sound that was missing from the original recording. The same could be said for "New Dawn Arise," which first appeared on the debut full length "Into The Primordial." The improvements here are thousandfold, though, with the vocal harmonies alone taking on a tremendous improvement in sound and delivery. If nothing else, it shows how far this band has come over the years, with lineup changes and shuffling doing a great deal of good. But perhaps the most impressive effort on the disc, the second new song "Southwind" is good enough to be the keystone in the next set of songs. It brings the grit back into Davy's voice, combining progressive power metal and classic metal themes into one massive undertaking. The guitar work is tight, and the rhythm section is tighter still.

Taking that first step towards higher fidelity recordings is both a sign of courage and vision. You have to be secure and confident enough in what you are doing to not only invest the money, but the emotional stake in what you are creating. Burning Shadows turn that comfort level into well crafted, accessible songs that are sure to please fans young and old. Refining their recording and production makes a noticeable difference, undoubtedly; but their songwriting is what makes every ounce of blood, sweat and tears they spent getting here worth it. No amount of money can buy equipment that would make a bad band sound good. The truth hurts, doesn't it Nickelback? But what it can do is help a good band get better. Not on the talent scale, of course, but in the sheer strength of sound. That proof is in the rerecorded pudding on this EP, when comparing old versions to new. But the true test will be the completion of the third full length album. When they press record for what will become their next effort, will all of this pay off? If "The Last One To Fall" is any indication, we are in for a wild ride.

8/10

Official Site - http://burningshadows.com/
Bandcamp - http://burningshadows.bandcamp.com/
Facebook - https://www.facebook.com/bsmetal

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Hell - Curse & Chapter (2013)

After a nearly 25 year hiatus, "Human Remains" reminded the world of the greatness that never came to be so many years ago. Hell had finally arrived, nearly three decades later, thanks to a few new members and a dedication to their craft. But with any band past, present, or future, there is always the fear that that first major release is a flash in the pan; a stroke of good luck that will never be replicated. Having that many years of inspiration behind one album's worth of songs might have provided an above average result. But with the release of their second album, this five piece has even more at stake, and certainly more to prove to today's discerning (read as: picky) metal fan. Guitarist Andy Sneap, who helped to resurrect the band for their 2011 return, has seen many bands live and die in his times producing. But with "Curse & Chapter," Hell make a bold statement about a laundry list of topics. Not the least of which is, without a doubt, the relevance of a band a quarter century later. There is no sophomore slump to be found.

Having picked up right where "Human Remains" left off, the symphony of fire and brimstone that is "Gehennae Incendiis" provides a suitable backdrop for the album, housing a similar dynamic to that fabled first release. Because when "The Age of Nefarious" breaks through the walls, there is no doubt who you are swinging your hair to. To say, once again, that vocalist David Bower has a voice all his own would be an understatement, as his unique cackling cry his places in the vocal spectrum seldom touched. But as much of the sonic spotlight as he commands, he is matched drop for drop by brother Kev Bower and Sneap, who work a set of near miracles on guitar and keyboard. The solo work is even tighter than before, allowing for a sound that radiates outward. It isn't all thrashing guitars and wild vocal melodies, though, as "The Disposer Supreme" showcases that extra taste of the theatrical in every movement. There is something almost classical about what they do here, but not in the sense that power metal has poisoned us with. Instead, it is the shifting of tempos and vocal acrobatics that resonates most clearly. But never in all seven blaring minutes will you find so much as a single disjointed second; from rolling bass line to whining guitar riffs, every note fits the proverbial glove.

If there is one downfall to this point on the album, it's that the first trio of songs are, perhaps, too good for their own good, setting the bar unattainably high for the latter two thirds. Yet, as easily as those words fall out of our mouths, "Darkhangel" raises that bar even higher. Contained within one track is a lead riff that is as catchy as any you've ever heard, a vocal performance that won't soon be forgotten, and a rhythm section that is as surgically precise as any you've witnessed. And yet that somehow does not do the track justice. It's genre bending, without a hint of irony. And while our distaste for covers contained on an album proper is well documented, the cover of Race Against Time's "Harbinger of Death" fits all too well into the arc of the disc. If there is something about Hell that can't be touched, it is their ability to build an album of tracks that support each other. A cover made their own, followed by "End ov Days," is a match made in Hell. The winding riffs on display here only bolster the lyrical content. Every slamming snare and tom drives one nail further into the coffin, with accuracy and detail that inspires awe.

The rhythm section team of Tim Bowler and Tony Speakman, on drums and bass, respectively, may not be on the covers of magazines, but their work is of the superstar caliber. Tracks like "Deathsquad" could not exist without their attention to detail. While it always seems poised for a vocal breakthrough, it is left as a stunningly atmospsheric and haunting instrumental that induces a wave of chill with each press of the keys. With a wealth of memorable riffs and tracks at their fingertips, it only makes sense that "Something Wicked This Way Comes" is added to that list. It is the perfect blend of everything the band does well, wrapped in a neat five minute package. On the mic, Bower is a wonder, alternating by his high pitched, beyond opera, and menacing spoken verse. Not only does the instrumental mirror his intensity, but also his range. With barely a beat in between, "Faith Will Fall" kicks the door down with another driving riff, as Bower wails "hail to the hypocrite," over the top of it all. Agree or disagree with the premise, it is a glaring social commentary being laid out before you. But unlike Bill Maher or the degenerates from Fox News, there is a massive beat backing it all.

Make no mistake; this album is as long as it is powerful. By the time the last trio of songs comes into sight, beginning with "Land of the Living Dead," you have been thoroughly pelted with distorted guitars and punchy percussion for about 45 minutes. But having come this far, the reward is the music itself, with another easily accessible, if not blisteringly fast, track. Focusing on the solo that comes just before the two and a half minute mark, you get a taste of how deft and imaginative Kev Bower, Sneap and Speakman truly are, darting in and out of each other with no threat of a crash. But taking the avant cake, at least within the four walls of this album, is the sermonizing "Deliver Us From Evil." The choir of voices in the chorus is merely the wick on the dynamite, exploding in a fierce piece of guitar work. Speakman's bass may not be the lead here, but it carries the same weight. The second half, driven by a great bass, guitar and drum groove, could be the result of a great jam session, or a carefully calculated experiment. As a closer, "A Vespertine Legacy" is everything you would want; as a track on the album, it is something more. Some songs, for better or worse, only work because of their placement. This one, however, could fit into any slot on the album and still be as massive. The crawling breakdown after the five minute mark would tear any venue to the ground.

We were fairly blown away by what Hell had done on their first release after reforming a mere two years ago. "Human Remains" was, and still is, one of the albums that we recommend in conversation with metal fans from around the world. And it seemed to be too good to be true, maybe even too good to ever be replicated. And truth be told, there was an eerie, reserved excitement when "Curse & Chapter" made it's way to our doorstep. One could say we were prepared to be disappointed. Instead, what you have here is a statement album. What it says, though, depends on which angle you come from. It speaks to you in different ways, through sound and shape, tone and color. It's complex structuring is quintessential Hell, with every song immediately recognizable, without ever being one dimensional or feeling repeated. That alone would be an enormous victory... but there is so much more. Now a full 26 years after disbanding in 1987, Hell is more than just a triumphant return to form; they are forging new ground, with an album that may be the year's best.

9.5/10

Official Site - http://www.hell-metal.com/
Facebook - https://www.facebook.com/HELLofficial

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An Autumn For Crippled Children - Try Not To Destroy Everything You Love (2013)

How can anyone outside of the band itself ever say which piece of work best represents their sound? Influences and inspiration change, and each album a band releases should represent that. An Autumn For Crippled Children are not the same band they were in 2010, at the time of their debut album. That band no longer exists; they've grown, changed, evolved into the modern melodic black metal band they are today. Sure, you will still hear fleeting moments of the band that once was, but even those are different. You can never go back in time to rediscover that sound. And thankfully, in this case, you wouldn't want to. Having fine tuned every aspect of their music in the last three years, this is a band looking forward, not backwards. They've introduced new wrinkles to familiar formulas, pushing themselves toward the next evolutionary step. And with this, their forth album in three years, they have found a plateau that they could stand comfortably on for a decade. The introspective and daring "Try Not To Destroy Everything You Love" is the missing link.

Having taken such giant leaps on their previous effort, it stands to reason that they would come right out of the gate at a similar rate. Not to be disappointed, "Autumn Again" is a blustery piece of modern black metal, but that would be an oversimplification. The use of keyboards and synthesizers is astoundingly effective here, often offsetting the raw power of both the drums and vocals. The percussion elements seem reckless but their foundation is strong, akin to some of the more daring post-rock bands from the far east. The beats are nothing if not deliberate, with tracks like "The Woods Are On Fire" making the most of every solitary drum stick movement and kick. They have found their niche between aggression and transcendence, a foot hold that grows with every sweep keyboard melody. So much so, in fact, that it would not be a stretch to declare this to be the best track of their catalog so far. It is a statement of direction; not a new one or change in one, but a firm step down a path. The atmospheric backing is haunting, while the chilling screams, such as on "Never Complete," are just as raw and jagged as they were when the band began.

There are obvious departures from the past on the album, as well. The title track, for instance, has an opening that is as much jazz club groove as it is anything else. The light tapping of cymbals provides ample support to a bass led melody, a fitting calm before the storm moment. The aforementioned storm, while not up to the magnitude the analogy invites, is enough to displace a few hairs on your head with gusts of distortion. Everything blows and swirls around that central framework, the one so carefully crafted with the growing keyboard presence. It would be difficult not to acknowledge the art-rock qualities that seem present throughout the flow of the album, whether it be the outro to the title track, or the intro to "Hearts Of Light." This may not be a softer band than we have known, but it is a band expanding their influence and, more importantly, their musical output. You'll find a great deal of sincerity buried in the screams, just as much as each singular piano key. That is an attraction that is hard to manufacture; heavy music isn't always heralded for it's ability to bring out emotion. And while "Sepia Mountains For Her Lament" is the shortest track on the album, it is also the most breathtaking. It speaks volumes with every snare, every synthesized note.

The depth of the album isn't even evident by this point, needing the final trio of songs to make it complete. "Closer" is as explosive a track as you'll find on this disc, reverting back into the wild drum patterns of the early stages of the album, without ever losing that firm grip and bass driven leads. The segment that comes just after the three minute mark could just as easily be attributed to a band like Te or dredg, harnessing every ounce of power in each instrument to pull you into the swirling winds. Through a series of mood and tempo changes, they convey strength and emotion, without any lyric sheet necessary. With the dynamics of light and dark now fully at work, "Avoiding Winter" capitalizes at every turn. Whether it be the serene opening, which is beautiful in it's own right, or the first blast of distorted guitars that follow, each segment plays well off the one before and after it. Perhaps the most easily overlooked victory here is on a song like "Starlit Spirits," where the instrumental becomes so expansive, that it is almost too much to contain in one mix. Due to the nature of the music itself, we dismiss production; but here it should be celebrated.

Much in the way that we are not in charge of how a band progresses and changes throughout their career, we are also not in a place to demand anything. Yes, you miss the days when Metallica made music you wanted to hear. And yes, the last few Megadeth albums have been a great departure from anything close to listenable. But you can't reach back 15 years and recreate that sound. An Autumn For Crippled Children are proof that change can be a good thing, honing their own style into one that is strong, but delicate, vibrant, but subdued. It isn't that they've abandoned who they once were, all those years ago; they have just allowed their music to grow and change with them, as people. The raw has come face to face with the well rounded and smooth, and the results speak for themselves. There is, of course, a downside to any album that stakes a claim as the best in any one band's catalog; you'll never look at their other discs the same way again. But after "Try Not To Destroy Everything You Love," I think we can all be perfectly content with that.

9.5/10

Bandcamp - http://anautumnforcrippledchildren.bandcamp.com/
Facebook - https://www.facebook.com/pages/An-Autumn-For-Crippled-Children/108017119243983

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Sannhet - Lions Eye / You Thy __ (EP) (2013)

Many of the best bands you've never heard of are hiding somewhere in the sprawling utopia of Brooklyn, NY. Audiophiles and music obsessed fans from all walks of life could find solace on any given night somewhere in Brooklyn's seemingly endless venues and music harbors. Hip hop has found a home in the building next to a venue that often houses noise and hardcore bands. They coexist, sometimes not happily, and form the proverbial rainbow. Open the door to any music hall or bar, and it would seem the sounds emanating from within those four walls will tickle your senses in ways you forgot existed. But for some reason, the streets of Brooklyn also act as egg crates, scattering and confining the sound to those city blocks, away from the outside world that might corrupt or poison it. Sannhet are not restricted to their home; after the release of their critically acclaimed debut, "Known Flood" their name began to spread like a whisper around the US, and the world. That sound all their own, that energetic approach to heavy music rears it's beautiful head once again, this time on "Lions Eye / You Thy __."

It is without hesitation that you are thrust into the thrill of the battle, with all three members jumping on the beat with surgical and clean precision. The battery of blackened metal drumming that leads off is hard to wrap one's head around initially; it has all of the ferocity of the darkest form of metal, without the tin can sound hidden within each snare. It's in that way that "Lions Eye" fools you; it boasts the energy of one style, while still maintaining the integrity of another. Drummer Christopher Todd smashes and pounds his way through verse and chorus, as bassist AJ Annunziata inputs his own spin on the main theme. Their truly unique take on instrumental metal, be it experimental or otherwise, leads to mind altering results. The harsh reality of "Lions Eye" flows progressively into the melody based "You Thy __," which has a punch in it's own right. But amidst that very post-metal shift of tides, it is the same trio doing very similar things within their own space. Guitarist John Refano reaches for the higher registers, almost crying over the top of the chaos down below. But that chaos, the unrestrained attack of the rhythm section, is anything but reckless. Methodical and chemically entwined, it rises and falls together.

Whether they are the next big thing, or merely the next great band to come out of Brooklyn, Sannhet are always going to be more than any label could describe. Their music is one of a kind. No, they aren't the first band to play guitar, bass and drums, minus the vocal, in a vibrant and eclectic formation. But they way they arrange their sounds, the way they put them together, and the way it pulses through your speakers is, without fail, a new experience. There is a reason they have garnered so much praise for their work over the last ten months, and it isn't for what they said on Twitter, how many grams of weed they were caught with in a routine traffic stop, or how many hookers were found in their hotel rooms on their tour of South America. For once, and hopefully forever, you have a band that can be appreciated on the merits of the music they create, and the astonishing combination of sounds and images that spring to mind. It's only two songs, which makes it easy to overreact. But "Lions Eye / You Thy __" may have captured the sound and fury of 2013 in less than eight minutes.

10/10

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

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Rhapsody of Fire - Dark Wings of Steel (2013)

When Luca Turilli split from Rhapsody of Fire, it upset many fans. I say “split” because that’s exactly what he did; he basically split the band into two components. Luca Turilli’s Rhapsody supposedly runs parallel with the other Rhapsody of Fire albums. “Ascending to Infinity” was an excellent album and set high standards for the next actual Rhapsody of Fire album. I know many fans will argue that the band won’t be the same without Luca Turilli’s guitar work and song writing, so I’m here to tell you that you’re all wrong. Rhapsody of Fire is without a doubt still standing strong and they are still epic as ever. Roberto De Micheli is a fantastic guitarist and a great addition to the band. With “Dark Wings of Steel” they not only change up their sound a little bit, they also breathe new life into their music. This album is a little heavier and more focused on keyboards, but it’s still Rhapsody of Fire and it’s still fantastic. The past few albums have been so-so, but “Dark Wings of Steel” completely changes that.

“Vis Divina” and “Rising from Tragic Flames” open the album up and show the new direction the band is taking. The guitar work is more about crunchy riffs than neo-classical passages. The solo is a perfect way to show off Roberto De Micheli’s guitar skills. “Angel of Light” is one of the best Rhapsody of Fire songs in recent memory. The opening keyboard and guitar riff are great and Fabio Leone shows the world that he is still the premiere power metal vocalists by delivering buttery smooth lines. The chorus is truly out of this world. The choir and soaring melody is absolutely perfect. “Tears of Pain” opens with yet another great riff before transcending into something heavier and more head banging than anything they’ve ever done before. “Fly to Crystal Skies” has one hell of an atmosphere created by the keyboard. Alex Staropoli has outdone himself in terms of overall mood. Everything about this track is great, including the dream inducing bridge. “My Sacrifice” slows things down a bit and it’s also the longest track on the album. Some of the best guitar solos on “Dark Wings of Steel” are found in this song. “Silver Lake of Tears” is my personal favorite on the album solely because it has one of the best choruses the band has ever written. There is so much emotion and energy running through this track that it’s hard to ignore. “Custode di Pace” slows the album down and really isn’t that interesting. It does have a soaring chorus and a mind-blowing performance from Fabio Leone; however it lacks a little something. “A Tale of Magic” brings the speed back up and delivers another perfectly tailored song. It has one of the catchiest riffs in the Rhapsody of Fire catalog. “Dark Wings of Steel” is another personal favorite of mine. The whole thing just sounds epic and full of life. “Sad Mystic Moon” is the album closer and it couldn’t have ended better. Everything from the album comes together to make one hell of a farewell track.

So there you have it, Rhapsody of Fire is back in full force and it doesn’t look like they’re slowing down anytime soon. Sure the album might have a more stripped down sound, but it’s still them and it’s still amazing power metal. What they have crafted isn’t just the best and most cohesive Rhapsody of Fire album to come out in years; it’s also a new beginning. Roberto De Micheli is one hell of a guitar player and this album proves that he is a master of the art. “Dark Wings of Steel” is an absolute triumph and it proves that Rhapsody of Fire is still the leader of power metal. Do not pass up on listening to this work of art.

9.5/10

Website - http://www.rhapsodyoffire.com/
Facebook - https://www.facebook.com/rhapsodyoffire

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The Death Of Her Money - White Light (EP) (2013)

We've all heard bands that hide behind solo after solo, in hopes that their inadequacy in songwriting will be masked by speed and whammy bar prominence. There will always be a place in the music hierarchy for the purveyors of the tasty lick, but their need is waning. The Death Of Her Money, a three piece from Wales, is a part of the new school of heavy music, more reliant on groove and distortion than bending strings and leather pants. They've already been recognized for their competency, having been recognized by the renowned Rocksound magazine for their previous effort in 2008. But they have proven to be more than just a flash in the pan, releasing another successful album in 2011, and sharing the stage with numerous top acts, including Pelican. But with the new school, no wave, music coming to prominence, they can't be content to rest on past successes; it is time to move forward and craft the next in what might be a long and fruitful career. Their new EP, a two song offering titled "White Light" is the next logical step in a career that gets longer by the day.

Contrary to the instant gratification attitude we so often force into our music, the band takes their time warming up to the bulk of "White Light Sunshine," going a full two minutes before the first wave of crunching riffs breaks through the haze. That repeated riff, the one that forms the backbone of the entire track, may seem simplistic and safe; and perhaps it actually is. But the sheer density of it all, the weight with which in comes down on you, is enough to be a driving force. You won't find any sweeping melodies here, nor would you want to. The layers of amelodic vocals give way to coarse screams, a style that finds a symbiotic mesh with the instrumental itself. It's about as subtle as a cartoon anvil to the head, but it works. The second track, "The Bonemarrow Weight," is the same, but somehow different. It relies more heavily on a central melody, one that was all but absent before. The distortion levels are still through the roof, with each rumbling guitar and bass string vibrating the cones of your speaker of choice. But rather than a planned shift of vocal style, as before, you get a constant. The entire song is unapologetic in its directness, pushing the limits of how much bass heavy distortion any one listener can take, without ever crossing the threshold to careless.

Neoclassical talents be damned, not every album needs a stream of Wagner inspired symphonies or Van Halen-esque solos to make it deep or interesting. "White Light" is the perfect example of an album that is straightforward, somewhat predictable, and yet still compelling. The combination of chunky riffs and unlimited distortion can be a dangerous game, but when executed well, as it is here, it can be captivating. Your head starts to move in a slow nod, one that you might not have noticed, but you will have  a hard time stopping. It's an interesting dynamic between band and fan that can seldom be explained. And let's be honest; we don't need to know why our head is moving, or the scientific reasoning for why we allow it to happen. Just give us a deliberate beat, a set of driving riffs, and a scream that coats it like a thin layer of sludge, and let our bodies react as they may. In the future, some time down the musical timeline, every band might need a flurry of solos to be considered good or new. But here, in 2013, The Death Of Her Money don't need bells and whistles to get our respect.

8/10

Bandcamp - https://thedeathofhermoney.bandcamp.com/
Facebook - https://www.facebook.com/pages/The-Death-Of-Her-Money/163632863667642

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Tears Of Martyr - Tales (2013)

When the new album by Tears of Martyr was released in April of this year, it somehow made it past our ever vigilant eyes and fingers. Our collective minds had been flooded with symphonic metal albums, power metal albums, doom metal albums, and the entire laundry list of other generally specific genres. It wasn't that we weren't switched on; we just had a full plate and managed to overlook it. After all, how good could the album be to make us regret missing it's initial release? Now, nearly eight months later, that question is ready to answer. Having listened to and reviewed upwards of 300 albums this year, roughly 25% of which would fall into the same or similar musical classification, Tears of Martyr's latest album, "Tales," has made it back inside our periphery. And this time, we have room on our plate for a heaping helping of symphonic strings, enchanting vocal strains, and just the right mix of seasonings to make it a meal we won't soon forget. 

It's no surprise that a symphony of dulcet tones opens the album, a building crescendo or synths and strings. But as "The Scent No. 13th" begins in earnest, there is a far different sound to the mix. The vocals are operatic, laid down gently over a high speed set of guitars and drums that lack the clarity that the orchestral elements possess. Frontwoman and soprano Berenice Musa has a voice, however, that needs little accompaniment. It begins with acrobatic verses, as on "Golem," but changes drastically in the soaring choruses. There is an immediate recognition of her talents, as she lights up the room with her range and charisma, but it isn't until guitarist Miguel Angel Marqués adds his coarse growls that you fully appreciate her depth as an artist. This track also showcases the ability to combine orchestral and symphonic elements with heavy guitars, as they do so flawlessly in the bridge section. The first two tracks, though, pale in comparison to the third, "Mermaid And Loneliness." Musa has the starring role here unlike any other track on the album, an enchanting vocal line cascading down from the heavens. And while the keyboard orchestra may be right behind her, it is bassist Adrián Miranda who adds the most depth to the mix. It takes them out of the realm of the ordinary, and into the next stratosphere.

Unfortunately, the biggest misstep of the album comes next, as "Vampires Of The Sunset Street" fails to deliver on the same level. This isn't to say it is a failure; there are highlights scattered throughout. But it is the chorus that drags this one down, a combined grunt and chug exchange. The melodies are there and intact, but they don't break through with the power you've come to expect. But a music box ending sets a stunning mood for what follows, the emotionally delivered "Ancient Pine Awaits." Having stripped away the layers of distortion and feedback, Musa and Marques sing a breathtaking duet that rivals any folk ballad you've heard on a metal album. Two voices and a clean guitar are a recipe Tears Of  Martyr execute to perfection. It is no coincidence, then, that the full assault of "Lost Boys" should follow closely on its heels, a rousing assertion of symphonic metal of the highest order. It's when Musa soars over the top of the backing band that your eyebrows raise, something she does numerous times in this five minute titan. There is a balance to the instrumental that wasn't there before, allowing bass, guitar, and drums to share equal space in the mix. It may have been the last piece to fall into place.

Multifaceted, the band launches into "Fallen Heroes," a track that is smooth, with a tough of fluttering flamenco style guitars in the verse. Tracks like this one rely heavily on the symphonic aspect of the music, which is not a bad thing in any way. Whether it be strings or horns that occupy that space, it does wonders for the depth of sound the band achieves. It allows for the rest of the band to explore their own range, be it through a blazing solo, or a soothing vocal melody. Marques takes the lead on "Of A Raven Born," first through a deep spoken word, then providing support for the startling range of Musa. It has a romantic tinge to it, albeit it in a strange way. The chorus is transcendent, a symphonic metal overture that could bring crowds to their feet. With the album nearing it's conclusion, the tempo is turned up to a new level, resulting in one of the most energetic and charged tracks on the album. And thanks to that temporary tempo shift, "Wolves And A Witch" cements not only itself, but the entire disc as a successful endeavor. All of the parts are working together here, with balance being found between each and every member and movement. With the outro, "Ran Into The Forest," you get a somber, delicate ending to the journey, with strings and piano playing you out.

Over the course of the year, we've been treated to more than a few great symphonic metal albums. But, as Brian has postulated on numerous occasions, there are a lot more mediocre ones than great. Setting yourself apart in this scene is not only a challenge, but it can seem hopeless. The bands that do achieve that next level sort of sound are still not guaranteed success. What other genre of metal is even nearly as competitive? But Tears of Martyr have done enough on this album to make waves in the arena, if not more. With few stumbles - only one, really - they have shown a command over their art that is lacking in so many other acts. They don't have it all perfected just yer; the male vocals will need to find a more refined role down the line. But what they have perfected is a group dynamic that shines brightly through each and every song. They allow Musa to be the guiding light of the album, but never dump the weight of it's success or failure on her shoulders. That recognition alone of the whole over the parts is a large reason "Tales" will be given a series of sequels to work with.

9/10

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

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Wall - Wall (2013)

In our neverending quest to hear all, see all, and digest all of the music world, we have to look for hints that something might be right for our taste. Maybe it's the artwork; maybe the band pedigree. But sometimes, it's just in the way a band views themselves. Those sometimes nonsensical, over thought, over hyped tag lines that Facebook and Bandcamp have made so popular might not be as useless as once thought. One trip to the Bandcamp page for Germany's Wall, and you will see the word "pop" listed not once, but twice. In any other situation, that might lead you to dive for the back button, or at least avert your eyes from what you might have stumbled on. But the words before and after it are just as telling. Can it be doom and pop at the same time? Heavy pop? These seem to be contradiction of the worst kind, either trying to bait and switch, or just bait and laugh. But on their self titled album, Wall lure you in with polar opposites, then make you believe they never really were opposites in the first place.

Rarely does a spoken word segment fit as well as the opening of "Beyond," a venture into the word heavy leading in to the first opus. There is an accessibility to the vocal lines that might harness that pop influence. The backing instrumental, though, keeps the entire organization beautifully dense. Having filled out the low end of the sonic spectrum, the band can bend and sway away from it, incorporating some deft melodic infusions over top of then thunderous sound of bass and drums. It isn't that the song is so much controlled by the rhythm section, as it is spectacularly dominated by it. This becomes a recurring theme, and a telling one at that. Even as "Shrink" commences, your sub woofers will shake and vibrate along to the chugging riffs, putting your home in dangerous territory. But for every low action, there is a melodic reaction, both through guitar work and, mainly, vocal dynamics. It's as if the band and the vocals are two separate entities, brought together by someone on the lunatic fringe. But somehow, despite tremendous differences, they fit like puzzle pieces.

That tight fit, as it were, is pushed further with each track, a hazy bliss that fills out the entire run time of "No Name." The breathy quality of the lead vocal is not lost here, adopting what would be labeled a stoner tone, for better or worse. On the whole, it is an exhibition in down tuned, down tempo efficiency. It's simplicity makes it enjoyable; it's attention to detail makes it hypnotic. It seems like a strong word to use in this case, but as you transition to "Ghosts," it feels all the more right. They've mastered the wall of sound technique, each set of notes moving at you in synchronized waves, every cymbal riding along at the top of it all. But it is the slide up the neck of the guitar, coming around the five and a half minute mark, that asserts this as a distinctly doom foray. By allowing a full eight minutes for this track to expand and grow, the band have accepted something very important; this music is organic, and needs to be completely free to wander and meander to it's own end. Conversely, "Wasteland" adopts a post grunge atmosphere in the instrumental sense, without losing that sensible, undeniable hook of the vocal lines.

The one constant throughout the album, including the final pair of songs, is that alarmingly dedicated bass tone. With each pluck and strum of the strings, every part of your chosen speaker system is forced to give in and just take the abuse. "Generic" might not be the most accessible, closest to pop song that you'll find on the album, but it achieves a similarity under the guise of a seasoned melodic doom anthem. The interludes that come in, separating vocal inputs, are tighter than before, including some clean, albeit brief, solo sections. The last note, that rattling, fading chord, might bring more than a few fists into the air. But it is the closing track, "Cheater" that will leave you feeling the most satisfied, and yet the most puzzled all at once. Here you have a pop song in form and function, sound and delivery, unlike anything the rest of the album has to offer. It isn't a surprise by this point, but it is far more straightforward than you could have predicted; at least in the opening. But it isn't all sunshine and candy, as there is plenty of feedback and distortion left in the cage for the latter half. And that is exactly what you get, a second half full to bursting with massive riffs and pound drums.

It's no secret that bands use buzz words and modern cliches to pique your interest; it's one of the oldest marketing tools known to the music industry. Wall have chosen a wide variety of tags and labels for themselves, but none of them are a cash grab or even remotely untrue. Their grasp on stoner doom metal is a tight one, and the musicianship delivered on this release is all the proof you could ever need. Not only do they live up to the metal side of the equation, but they somehow stay true to the doom pop genre that, until now, few of us knew truly existed. Don't over think that; this isn't the Jonas Brothers, back from hiatus with a new attitude. This is a metal band that happens to also have a keen ear for melody and dream inducing arrangements. The music is like the grayest of blue skies, a cloud that is both fluffy and ominous. Come to think of it, that sound clip may be right. There must be something wrong with our gravitational pull; this is way heavier than I remember.

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

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Kato - Buried With The Rain (EP) (2013)

Conflict is good for all of us; a difference of sound or opinion can lead us to enlightenment in the most profound of ways. Not religious, of course, but musical and intellectual. Hidden within the latest three tracks released by North Carolina outfit Kato is a growing battle between doom metal and hardcore, sludge and screamo. For some, that power struggle might be enough to simply pass on an album for fear of being disappointed. But the adventurous musical scholar in all of us wants to hear what this war sounds like. What you get, if you're brave enough to hit play, is the transformation and assimilation of a band who could choose to stay on either side of the line, but instead dance all over it. Their back and forth nature pushes and pulls you in all directions at the same time, passing you back and forth from slow to fast, soft to heavy, singing to screaming. And by the time the three songs on "Buried With The Rain" are finished you might not remember which way is up, and how to get home.

As the first notes resonate, "Yet His Shadow Still Looms" rumbles into action, but not with the reckless abandon you may have expected. A chorus of solemnly strummed clean chords sets a mood that would be hard to replicate. Within the structure of the track, the clear divisions become the most important decision, not allowing clean and heavy co-mingle or blend. Instead, they are kept compartmentalized, even separating the lone screamed vocal passage from the rest. There is an entirely different band at play on "And All Of The Rats Gather," or so it would seem. After a lengthy sampled spoken word intro, the band erupts into a frenzy, but gone are the subtle devastating distortion and beats; in their place, a more straightforward facsimile, one that delves deeper into the modern punk or hardcore scene. There are elements of post-genres at play, some of which help to carry the main riff deep into the track. But it is the vocals that will be the victory or defeat here, as their grating, rough around the edges sound is sure to divide. The transformation now complete, "Dust Of Earth" is a leap away from where the album began, once again opting for an up front assault. The second half of the track imparts a hazy guitar riff that catches on ludicrously quickly, cementing the final two minutes or so as a live show dream.

It's truly amazing how different three songs can be, all contained within the same album title. Kato don't so much walk the fine line between metal and hardcore, as they do stomp all over it. If you only heard the first track, you would think this is the new horror doom band, akin to Fister. If you only heard the second track, you could be fooled into thinking you've discovered the next hardcore punk band. The third track, the most balanced of the three, would lead you to believe you've found a different band entirely. Individually, they would all make you lean one way or another; together, they are a bumpy ride. How they run that gauntlet is beyond me, but they do it with great ease and grace. The only issue, when all is said and the last notes have screeched away, is that you haven't been given a clear identity to latch on to. Granted, that isn't a damning accusation as much as it is a stray observation, but charged with the task of describing an up and coming American metal band, it makes that task all the more difficult. To put it simply, "Buried With The Rain" is heavy. And that's all you need to know.

7.5/10

Bandcamp - http://kat0.bandcamp.com/
Facebook - https://www.facebook.com/katoNCSC

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Iron Mask - Fifth Son of Winterdoom (2013)

If someone listens to power metal in any from and they don’t know who Dushan Petrossi is, they’re doing something wrong. He is one of the premier guitarists/songwriters out right now and his bands Iron Mask and Magic Kingdom are immaculate. He writes some of the most bad ass riffs this side of the galaxy. As a huge fan of both bands, I was extremely excited to find out that another Iron Mask album was being released. “Revenge is My Name” was great but the last three albums “Hordes of the Brave,” “Shadow of the Red Baron” and “Black as Death” were incredible. Even though there was a bunch of different musicians and vocalists across the albums, they all felt like they belonged together. After finally getting my hands on “Fifth Son of Winterdoom,” I must say it’s a slap in the face and the biggest letdown this year.

One thing that this album has trouble with is being interesting, it feels half-hearted and uninspired. “Back into Mystery” and “Like a Lion in a Cage” are just plain boring and very repetitive. Dushan Petrossi’s guitar work doesn’t even pop out like it used to. “Only One Commandment” has a pretty nice riff with a good solo, it’s too bad the rest of the song is generic. “Seven Samurai” is extremely corny and not in a good way. “Fifth Son of Winterdoom” is a unique track because not only is it their longest song to date but because it tries really hard to be an all-out epic. It succeeds for the most part, but the chorus is god awful. Everything on the track besides the train wreck chorus is great. “Angel Eyes, Demon Soul” is one of the worst power metal songs in years. It feels like a Poison B-side that they locked away in the studio vault hoping that it would never come out. “Rock Religion” and “Father Farewell” are more kinks in the armor with “Father Farewell” being dreadfully slow and boring. “Eagle of Fire” sounds like Iron Mask of old. It has blazing guitars (the solo is just awesome) and it’s catchy as hell. Why couldn’t the whole album be like this? “Reconquista 1492” has a great classical guitar intro, but then it goes right back to the boring sound that plagues the rest of the album. “Run to Me” is another great track on the album that sounds like it belongs on one of their older albums. “The Picture of Dorian Grey” closes the album and it’s a decent effort but it falls a little flat, although the solo at the end is mind-blowing.

It’s so hard to enjoy or even recommend “Fifth Son of Winterdoom.” They completely stripped away whatever made Iron Mask great. The neo-classical guitar work is damn near gone and the epic choruses are nowhere to be found. It sounds like they are trying to bring back hair metal and it just doesn’t fit them. I think it’s great when a band tries different things on each album; however you have to know how to do it. “Black as Death” changed their sound a little, but it still had great songs and it still sounded like them. “Fifth Son of Winterdoom” is a huge disappointment and it should be skipped. Dushan Petrossi is still a great guitarist and let’s hope the next album he makes, whether with Iron Mask or Magic Kingdom, is a step forward instead of two steps back like this album.

5/10

Website - http://www.iron-mask.com/home.htm
Facebook - https://www.facebook.com/pages/Iron-Mask/86435954824

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Mor & Liholesie - Death Comes From The North (Split) (2013)

Rarely do splits have meaning. They are a showcase, as we've noted before, compilations more than concepts. But this particular disc is different. "This is more than just a split. This is real album just splitted for two sides. All music were written and recorded especially for this release. North and Death. MOR submitted single track consisting of 4 parts (20 minutes) in their predictable “progressive” and melodic style. Two cold ambience by Siberian LIHOLESIE at the other side. No rehearsal, unreleased and other lousy shitty records. All recorded in one studio, at the same sound, that all were looked like it was a concept album as in audio part and as in design!" That could be taken as jargon, or musical rhetoric used to sell a few more digital downloads. But after listening to this offering, all two tracks and six individual parts, it seems clear that it speaks truth. They have a symbiotic relationship; they just fit together in that way. And "Death Comes From The North" is an interesting take on a concept split.

Mor's contribution to the split, the nearly twenty minute epic titled "Kola Kross," is an ambitious as it is epic. The melodic overtones play a starring role throughout the track, due, in part, to their layering in the mix. That mix, for better or worse, lacks a true clarity. This leaves some aspects tuned far more clearly than others. The guitar work is deft and, at times, hypnotic, while the vocals vary anywhere from spoken phrases to aggressive yelling. They lack true identity, something that hinders the track from ever gaining momentum. There are distinct parts here, four in total, that all boast very different sounds. The second chunk, carrying the subtitle "Raven Dark," carries with it a post metal tone. But once again, a lackluster vocal performance, this one bordering on garage rock, brings the entire mix down. When the guitars are allowed to breathe (i.e. sans vocal), they are more than enough to carry the load. The screams and growls, particularly around the ten minute mark, are little more than heavy exhales. The marriage of opposites here, with melodic instrumental and grating vocals, just simply doesn't work. That becomes the main theme of all four subsections, and may be a cry for an all instrumental effort.

Liholesie, on the other hand, does not stray from their stated goal. Dark, ambient sounds cascade through your speakers for fourteen minutes, bordering on majesty, and never quite achieving sheer terror. Bizarrely, this sort of subtle ambient music is free flowing and easily enjoyable. It moves quickly, even with minimal inputs. There is something in the way it is pieced together that keeps it interesting from start to finish. The instrumentation is impressive, incorporating a wide variety of tones and sounds into one crystal clear opus. Both parts of this whole could be used for a myriad of purposes, from march to movie score, and everything in between. The second half, aptly dubbed "Endless Expance of Coldness and Ice," is haunting in nature, and brings a cold chill to your body.

The concept is clear, and the two bands are one collaboration away from a masterpiece. But while one is at the top of their game, the other is struggling for identity. Liholesie have a solid grip on the ambient sideshow effect, providing a moving and rich tapestry of minimalist sounds and noise. It may not be a multi-platinum effort in the making, but it makes sense. Mor, on the other hand, have yet to find their voice. That could be taken metaphorically, but it might also be the best literal representation of their contributions to the split. Despite a fairly impressive musical performance, the lack of a strong vocal presence downgrades their sound considerably, often leaving it sounding as if the vocals were tacked on in haste. But outside of these shortcomings, these two acts share a lot in common. And that is why, more than anything, this split works. The similarities and differences are highlighted throughout, strength next to strength, and weakness next to weakness. They are different chapters of the same book.

7/10

Bandcamp - http://myrkrmusikk.bandcamp.com/
Official Site - http://myrkr.org/

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Dethklok - The Doomstar Requiem: A Klok Opera (2013)

It could be said that Dethklok have always been living a double life. Sure, they are the world's biggest band in the fictional world of their cartoon series, Metalocalypse. But they transcended those four walls, and found a home for themselves in the real world, leading to sold out tours and top selling albums along the way. Their fans stretch far and wide - the world over, in fact - something that even series creator Brendon Small couldn't have possibly predicted. With the series completed through it's fourth season on Cartoon Network, a one hour special was, allegedly, going to bring the entire story to an end, following metal's greatest anti-heroes to their victory... or doom. Taking the form of a grandiose metal rock opera, "The Doomstar Requiem" is well beyond the vision and reach of anything Small has concocted to date. Teamed with award winning composer Bear McCreary, who is most famous for his orchestral work on Battlestar Galactica and The Walking Dead, Small went beyond the straight death metal roots of the world's seventh largest economy, and created something as massive and epic as the band itself.

Let it be said first, "The Doomstar Requiem" is not a fourth Dethklok album; it is the soundtrack to the mini-movie itself, something that must be understood before ever pressing play. There are a slew of highlights scattered throughout the disc, with some heavy and hard hitting as you would expect. But focusing mainly on story and exposition, you won't find very many instances of true brutality. It follows the band on their mission to, eventually save Toki from the clutches of the masked man and Magnus Hammersmith. Thus, you follow the band through the spectrum of emotions, or at least as much as they can convey. The tongue in cheek tracks, like "How Can I Be a Hero?" and "Givin' Back to You" (which amounts to a brilliantly played parody of Michael Jackson's "Thriller") are enjoyable in the scope of the special itself, but seem less so without the visual element. Outside of the heavier edged tracks, the album's highlight comes in the form of "Abigail's Lullabye," with her voiced provided by none other than McCreary's wife, the magnificent Raya Yarbrough. She sings as sweetly as any voice you've heard in your life, only with a lyrical edge ("They'll cut off our veins") that makes for a humorous contrast.

Where "The Doomstar Requiem" succeeds is in Small feeding his inner artist, something that many fans of the show and the band won't understand if they come to this disc unprepared. Together, Samll and McCreary have penned a masterpiece that extends well beyond the Metalocalypse universe. That says a lot, given the popularity that both have amassed in their careers. Fans of the show, or even Dethklok as a band, will most definitely find something to enjoy on this soundtrack, and in the special in general. But those who have avoided all contact with their work to this point should also invest the time in listening. Buried after the waves of parody, rock opera, and death metal, you have a nearly twenty four minute piece that sums up the show, it's scope, and the talents of all involved. It is in the title track, "The Doomstar Requiem," that Small and McCreary create their masterpiece. Sweeping orchestra melodies, dark tones, and a taste for the theatrical combine to form a potent mix. And that is what this disc, and this opera, are all about.

9/10

Official Sites - http://video.adultswim.com/metalocalypse/
http://www.brendonsmall.com
http://www.bearmccreary.com/

Facebook - http://www.facebook.com/brendonsmallgalaktikon
https://www.facebook.com/pages/Bear-McCreary/39808337095

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Ihsahn - Das Seelenbrechen (2013)

We all know his pedigree: former vocalist in the now legendary band Emperor. But that was then. Over the last seven years, Ihsahn has forged his own identity, well beyond anything that pertains to his earlier years. He's pushed the boundaries of metal in many ways, incorporating both his fervor for high speed guitar work and his penchant for all things avant. In fact, he has made the saxophone such an integral part of his last three solo albums, that he could practically take ownership of its use in extreme music. Even more to his credit, though, is his ability to make it all work. Anyone can put the pieces together; he has made them fit. At the release of his last album, we surmised that he could do no wrong; that wasn't an opinion as much as it was an observation. When another album pops up on our radar, we must always wonder if we would have to eat those words. Yet, somehow, there is little doubt. And with the release of "Das Seelenbrechen," Ihsahn continues his dominance.

Within the first two minutes of the opening track, "Hilber," any reservations are quickly removed. To say that Ihsahn has added further depth to his sound would seem ludicrous, yet here he does exactly that. The melodies, when present, are more infectious than before; though it is the straightforward chord work that resonates most. As his signature voice rises and falls over distortion and keyboard intricacies, the flow may be hard to follow initially. But in time - a few minutes at most - you feel right at home in it's avant delivery. By adding in clean piano keys, something rarely utilized in his back catalog, he turns "Regen" into an expansive foray into the progressive side of extreme music. His talents and versatility seem custom made for music like this, music as eclectic and unpredictable as his persona. An epic orchestral interjection comes in the second half, complete with chanting vocals and a piece of guitar work that pulls you in, even as it brings the track to a close. What it does, more than anything, is open doors, windows, and ceiling ducts for a growing expanse of musical styles. "NaCl," for example, is built off of a brilliant lead riff, one that fester and spreads in your mind like a field of weeds. You would struggle to rid yourself of it, nor would you really want to. But the way the entire track functions is wildly innovative and impressively conceived.

Much like the spirals of the nautilus shell, the music radiates outward from that median point, with tracks like "Pulse" moving farther from the center we've known as Ihsahn music of the past. The light electronic element is important, albeit obscured by wonderfully constructed clean vocal melodies. It is hard to verbalize the evolution here, but the final minute becomes a summary for the entire track. And as is so often the case, contrast becomes a crucial part, with 'Tacit 2" abandoning all of that subtlety and melody in favor of chaos and deafening screams. The drums go wild, as if the kit has begun to roll down the mountain side, as Ihsahn wails over the top. There would seem to be no rhyme nor reason to the track on the whole, but one thought of it being performed live with a stage full of smoke and lights, and it becomes an obsession. It's partner, "Tacit," may share a name and a simlar drum beat, but that is where it ends. The brass sounds that cover it are majestic in scope, and broaden the ever growing horizon of the album. It seamlessly combines the old and new into something all together different. On the other hand, "Rec" is a short track, falling short of three minutes, that may be able to change your perspective in significant ways. It's a track that must be heard to understand.

The mind bending nature of Ihsahn's work has never been lost on his audience, but he continues to take it to new levels. On "M," he spokes softly over little more than ambient noise, before a wailing guitar riff bursts onto the scene. That it works is amazing in it's own right; how well it works is just staggering. You feel as though you've stumbled into a blues jam and poetry reading gone awry. And the final howl of the guitar is the closing of the curtain. By the time you've reached "Sub Alter," nothing should be a surprise, yet it is impossible not to be slightly shocked at each twist and turn. Now far from the center point, the spiral outward has yielded incredibly difference results. It is a melodic turn you take this time, like others before, only sweeping in its delivery. It leaves the seven plus minute "See" as the last remaining twist in what is an album of subtle changes and smooth transitions. From quiet whispers to booming drum interludes, the song goes nowhere and everywhere all at once; a terrifying and haunting ride through sound and fury, where feedback and reverb speak volumes alongside pained screams.  

If you're interested in hearing an artists do the same thing, album after album, then you probably wouldn't be interested in what Ihsahn has to offer. He has managed to push and bend his own boundaries, while experimenting with sounds, structures, and themes. Merely aspiring to it wouldn't be enough for a man with admittedly "abstract " goals. Making it come to life right in front of you is the victory here. By adding new wrinkles to his arsenal and minimizing some of the old, he finds new ground to stand on, and new ground to then conquer. Saxophones don't have the same place here as before, replaced by orchestral elements and horns. And while those were some of the highlights on earlier releases, you won't find yourself missing them in the arc of this project. Sure, this album won't appeal to everyone; it isn't exactly a "conventional" extreme metal release (though I would be hard pressed to define what, exactly, that means. But the only prerequisite to enjoying "Das Seelenbrechen" is to have an open mind.

9.5/10

Official Site - http://www.ihsahn.com
Facebook - http://www.facebook.com/IhsahnMusic

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Idaaliur - Le Chemin De L'Étincelant (EP) (2013)

When we waxed poetic about the endless classifications of metal, namely raw black metal, it was not a one off idea. As misunderstood as the raw sister can be, the melodic or depressive black metal movement might be moreso. Because somewhere in the sadness and melancholy, projects like Idaaliur have managed to be uplifting along the way. Maybe it is the way they craft their melodic elements; or maybe it's the balance they find between heavy and soft, light and dark. Either way, sole proprietor Malphas has thrown his hat into the growing ring of melody based black metal outfits who are doing more for the new school than ever before. As prolific as he has been, having his hand in five releases over the last twenty months, each one has its own identity and sound. That alone would be impressive; but they've grown with him over the years, and each one represents a small evolution in the man, the band, and the sound. His latest release, a two track EP titled "Le Chemin De L'Étincelant," is nothing short of breathtaking.

It's as if the artwork and the opening of the first track, "Le Chemin De L'Étincelant (Part 1)" are attached to one another. As the shadowed figure stares out at the vastness of space, a keyboard fueled epic unfolds, with an incredible amount of depth contained within a mix that is less than crisp. But somehow, Malphas makes it all work in his favor, seamlessly combining the flowing melodies, both vocal and instrumental, with the grating screams that come later on. As you cross the four minute mark, you are now completely submerged in his vast soundscape, one part frightening black metal, and one part somber harmony. The transition from part one to the second part is as flawless as it is beautiful. His use of keyboards and synthesizers makes all the difference in the world, allowing the music to live and breathe. As a result, each passing movement pulls you deeper and deeper into the world he has created here. As difficult as it is to not allow yourself to be swept up in the wonder of it all, it may be best to just let the guitar and keyboard work to carry you. Each scream builds from silence and cascades over the top of the instrumental in a fractured harmony of sorts. And all at once, it seems like you have returned to where the album began, staring out into the stars.

When instrumental, vocal, and imagery collide in such a profound way, you won't be able to move on to the next big thing. Malphas has accomplished something here that most musicians work their entire career for, and rarely achieve; he has found the common ground between all three of those elements, and let them come together in a meaningful and clear way. But even more impressive than that is how easy he makes it all seem. Melodies collide with distortion, and simplicity melts together with intricacy to form what is one of the richest, most detailed piece of blackened metal you could think of. It is the latest crowning achievement in a career that seems to be gaining momentum with each and every release. And in his own special way, he has given an uplifting piece of music to the masses; one that, despite the depressing undertones, soars at times. It isn't perfect, though, something that could be remedied with more material. But even with the lack of run time, "Le Chemin De L'Étincelant" is an EP that will stay with you.

8.5/10

Bandcamp - http://idaaliur616.bandcamp.com/
Facebook - https://www.facebook.com/pages/Idaaliur/137739849619080

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Kataklysm - Waiting for the End to Come (2013)

Every time a new Kataklysm album gets released, I get all giddy like it’s Christmas day. I already know that the album is going to have killer riffs, impressive drumming and great vocals. Every album since “Serenity in Fire” seems to have stayed in one place. While it’s not a bad thing at all, they just needed a little change. Branching out and making Ex Deo’s second album “I, Caligvla,” was one of the best things the band has done. They learned a lot about melody and solid pacing. It seems they took the skills they used to make Ex Deo’s “I, Caligvla,” combined them with new drummer, Oli Beaudoin, and created something truly special. “Waiting for the End to Come” shows the band in their most grounded and solid form in years.

The album kicks off with “Fire” and “If I Was God…I’d Burn It All” which showcases Oli Beaudoin’s drumming and the textures it brings. It’s amazing how one instrument can make such a difference. It makes the band sound more full and solid than ever before. Also, Jean-Francois Dagenais’ guitar work is absolutely bad ass on “Fire.” After all these years, he is still one of the premiere riff masters. “Like Animals” is a little more groove oriented than the other tracks on the album. “Kill the Elite” is melodic as hell before it goes into a crushing chorus that Kataklysm is known for. “Under Lawless Skies” and “Dead and Buried” both have super melodic choruses that are a new sound for Kataklysm. The guitar work in these songs breathes new life into their music and makes them sound more epic. “The Darkest Days of Slumber” keeps the melodic style going but it gets a little heavier than previous tracks. “Real Blood, Real Scars” picks the pace up with one of the most fucking awesome riffs Jean-Francois Dagenais has ever written. This is by far my personal favorite on the album. The vocals, drums, guitar and bass just fit together perfectly. The bridge of the song has an odd breakdown-esque riff, but it fits. On “The Promise,” Oli Beaudoin’s drumming is very impressive but the overall track isn’t one of the strongest on the album. Coming after “Real Blood, Real Scars,” this song falls a little flat. “Empire of Dirt” is a little more interesting than the previous track but not by much. The closing track, “Elevate” is a weird song to end the album with and it’s a song that comes out of left field, but somehow it works. Kataklysm isn’t known for their slow, melodic tracks. It’s an oddball for sure, but it fits perfectly at the tail end of the album. It also shows that trying different things is on their agenda and hopefully they continue this trend.

“Waiting for the End to Come” is the most solid Kataklysm album since “Serenity in Fire.” It tries new sounds and while some of them fall flat, most of them work out in their favor. My raving about the new drummer isn’t meant as an insult to Max Duhamel. He’s one of the best drummers out there, it’s just that Oli Beaudoin’s style is a breath of fresh air. He’s a little more technical and has a full sound. I’ve heard other people talking about how this album is really generic. I can honestly say that those people are full of shit. “Waiting for the End to Come” is Kataklysm at their finest. Nobody has kicked this much ass consistently for over twenty years.

9/10

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

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Krayl - Froide Et Sombre (Demo) (2013)

There are genres and sub genres, and sub sub genres in metal; even the most dedicated scholars would be hard pressed to name and catalog them all. But when it comes to black metal, the casual observer might think that attaching the word "raw" might be redundant. Known for the grating tones and tin can production, to be known as raw in any form might be misconstrued as being poor quality musicians. But Svartblod is anything but, this time putting his stamp on a more traditional raw black metal project, one that runs contrary to the sadness and morose of his other project, The End. And where the latter relies on emotional investment to his home with his listeners, Krayl is about contrast and light/dark dynamics. For every action, there is a reaction. They might not be equal, but they are certainly opposite. And with this latest demo, "Froide Et Sombre," he takes those tenets to their limits, giving the word "raw" a reprieve from the constant belittling it endures.

What you've gotten yourself into is a tale of two sounds; one raw, one hauntingly scary. The intro track, "The River Of Blood" exemplifies that without hesitation. Early on, an unbridled black metal assault is all your ears can break down. Production values are stripped down and chaotic, and there is no sign of layering or subtlety. But the second half, atmospheric as it is, brings a chill. With sound effects and chanting, Svartblod does more than any instrumental could. Finding a way to merge the two would be groundbreaking, but songs like "The Call Of The Night" take a contrary approach, keeping them separate but equal. This isn't to say one is less successful without the other. But the ambient noise of the second half more than props up the traditions of the first. And somehow, with all that contrast "Burning The Righteous" has something that makes it stand out. The dynamic is almost the same, but stronger, as sampled spoken word segments hit so much harder than the vocals in the main verse. In this instance, you come full circle; starting and ending raw and unpolished. The way Svartblod harnesses these elements, especially in a song like the finale, "As We Travel Across The Filthy Lands," is what separates this effort from others. He dials back the aggression at the right times here, allowing a looped phrase to hit home again and again, before bringing the raw distortion back to the fore.

Raw black metal isn't exactly the most easily understood or digested form of metal you'll hear; sometimes you have to look far deeper than you might be willing to. But if you can delve deeper, beyond the distortion and screams, you might find something interesting to come back to. Svartblod hasn't penned an instant classic here, nor has he reinvented himself or the genre. But the black and white dynamic he relies so heavily on in this effort works in mysterious ways. It's not like the quiet moments are heartwarming or sure to make you feel all warm and fuzzy. But their impact is undeniable, something that was surely the intent. In those down tempo, downtrodden passages, you can find something more than just wildly inconsistent production and musicianship; you can find a vision and an ability to execute on profound levels. And that is enough to propel the demo into a different place in the musical spectrum. Raw black metal isn't as one dimensional as you might have been led to believe. And "Froide Et Sombre" gives you a glimpse at the second level.

7/10

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

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Apathy - Beneath The Ashen Sky (2013)

"Viktor Jonas isn't a rock star. He is a musician. With every strum of the strings, press of a button, touch of a key, or twist of a knob, he is giving of himself for your enjoyment. And "Ghost Light" is the man himself, written into musical form." That summary first appeared on our site on August 15, 2012. Having just finished a lengthy review of the then new Apathy album, "Ghost Light," we found ourselves cutting to the core of the man behind the music. Some things have changed since then, but many more have stayed exactly the same. Viktor Jonas may never be on the cover of Metal Hammer or Revolver. That is probably for the best. His music speaks far louder than any cover story or expose ever could. And the return of Apathy, only a year later, is a blessing for the death/doom genre. He is still in control of all things instrumental, from guitar to bass, drums to keys; that will never change. But he is joined by a new vocalist, and a new set of songs that embody the man himself. That is what makes "Beneath The Ashen Sky" a captivating listen from beginning to end.

Despite thinking we knew what to expect, Jonas outdoes himself early in "Leper Tides;" his drum programming has returned more powerful than before, without losing any of the punch the kick drum provides. But all of the force of the drums would be wasted without an equally commanding guitar lead, something he seems to supply endlessly. Somehow, Jonas finds a perfect harmony between all of the instrumental pieces, a tricky process that few truly succeed at. The vocal component suits the mix well, as Philip Grüning screams his way over a sturdy foundation. That analogy, the one of the building, rings true over the course of these nine songs, each track adding a new floor. On "The Burial Ground," each drum beat pounds nails and rivets into place, a series of double kicks mechanizing the entire process. But it isn't all brute force; finesse plays a key role here, as Jonas crafts backing melodies and deep soundscapes. Each layer must protect the one above and below, so their timing and balance is important, if not crucial. One misstep, whether it be in the all out aggressive section, or the smooth melodic portion, could throw the entire track off the rails. Luckily, there is no such stumble, seamlessly flowing into "Typhoon." The dynamics are the same, offsetting heavy with soft, but there is no filler here; the bass work alone would be enough to make the track stand out, not to mention the strong performance from Grüning.

As you get into the mid section of the album, there is no let down to be found. "Fear Me" embodies it's title, with Grüning's screams becoming even more chilling. The clarity here is especially impressive, with each fragment of the main riff shining through clearly and crisply. That lead is one of the more catchy riffs on the album, an incredible feat given the driving tempo and harshness of the lead vocal. This is the most pure form of death/doom you'll find, borrowing heavily from both. But like the other titans of the genre, Jonas is not content to fuse those two alone; his use of melodic elements adds another dimension. To this point, the lyrical content has forged it's own path, but on "Murder Sun," the music and lyrics come together to form an unbreakable tie. Under the hammer and anvil of Jonas, the drums pound away at your very core, all the while Grüning rains down solar charged words of disappointment and hate. Having grown tired of humanities failings, the sun becomes a terror. The lyrics speak for the music, and the music elevates the lyrics. Together, they form one of the strongest songs on the album, one that connects directly to "Amongst The Dead." The imagery here is staggering, with each screaming verse painting a bleak picture of walking through a sea of corpses, echoed by the devastating instrumental.

When the pace slows down, albeit seldom, Jonas can deliver an even bigger blow. It's in times like these that it becomes hard to believe the drums are programmed. The depth of sound he has crafted in this computer driven kit is astounding, from kicks to snares, toms to cymbals. His work on each individual piece makes the structure stand so tall, never wavering, never fearing that it could all collapse under the weight. Instead, it grows stronger with each movement, the bass and drums anchoring the entire operation. It allows Grüning to reach deep and summon every ounce of hate and rage. The reward? A two minute interlude that shows Jonas at his musical best. As dynamic as he is as a multi-instrumentalist, it is the quiet, melodic moments that best showcase those abilities. It lets his creativity shine through in ways the metal genre doesn't usually embrace. This is the ultimate show of vision for Jonas, who calmly exits his solo piece, "Luna," and forges ahead into the last track, "Endgame." once again, the transition means everything, as he flows from one to the next. No jump, no skip, just a smooth bridging of the gap from solemn to pained. It also becomes the home for some of his most subtly beautiful instrumental work, captured so delicately in the lead and drum backing.

It's hard to throw the word genius around. There will be backlash, questioning, even ridicule. But what Viktor Jonas has shown, release after release, album after album, is that he is playing on a far different level than everyone else. He is a multi-million dollar corporation, erecting a skyscraper with the help of plans, machinery, and state of the art equipment; everyone else is back in Amish country, raising a barn. That isn't a knock on other bands who dwell in the same genre as Jonas, and by no means is it meant to tear anyone down. But after hearing what this one man puts together, it's hard to believe there are even bands in the same stratosphere. But luckily, he isn't alone; Grüning has written and delivered a performance of his own, one that completes the scope of the album. One without the other might not stand as tall, or even as firmly. But together, they are undeniable in their excellence. And while many have declared the death/doom genre dead, year after year, it's still alive and well. Apathy may have just erected a new headquarters, "Beneath The Ashen Sky."

9.5/10

Bandcamp - http://vjonas.bandcamp.com/
Facebook - https://www.facebook.com/pages/Apathy/116709615006241

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