Our new home...

As many of you have noticed, the updates here have ceased. Instead, you can visit us at our new and permanent home. All of the content has been moved over, the look and functionality of the site streamlined, and the fun injected back into what we do. Keep following, and keep reading.

http://www.sorroweternal.com

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Cyrax - Reflections (2013)

Listening to any number of bands, you can usually pick out one or ten of the influences that brought them to this point in their career. Whether it be bands who gave them ideas, or entire genres that made them fine tune their sound, everyone has the laundry list of those who came before that they tip their hats to. The greatest success, though, is being able to take those influences, and turn them into something wholly unique, something you can call your own. Otherwise you become a glorified cover band. Cyrax, a new five piece act from Italy, have given themselves quite the conundrum. Their influences are many and diverse, a huge sampling or artists both heavy and avant, new and old. But as they try to find their own way in this world we call metal, their feet seem to be finding paths of those who walked before, rather than trampling new ground. And, for better or worse, their debut album, "Reflections" is exactly what the name would seem to indicate. But that name is the first, and possibly last thing on this album that truly makes sense.

If you've come looking for something conventional, you may have stumbled into the wrong neighborhood. Techno beats begin Doom Against True Hell, enough to make you question whether you've selected the wrong album from your playlist. They don't leave, but merely fade into the background during the bulk of the song. However, their presence is off-putting much of the time, especially in an album that boasts a very classic metal sound. The precedent that would seem to set is a disturbing one, one that makes each tracks beginning to be an anxious moment. My Kingdom For A Horse a strange track when taken on its own, but even stranger when compared to what the album looks like as a whole. Even the song's vocal hook is hard to digest, repeatedly pounding the title into your frontal lobe. The rest of the track is a sing-songy journey, only salvaged by a great sense of melody in the guitar leads. With even progressive more complex riff, The Moore Of Venice is the most serviceable chunk on the album, leaning more towards classic prog rhythms and away from dance club thumping beats. But even here, the interlude detracts from much of the momentum that had been built. There is little to no sense of flow or structure, which wouldn't be an issue of things didn't feel as disjointed as they do. The midway point and surrounding pieces could pass for a b-side from UK avant metallers Hell, if not for the subsequent breaks.

A symphonic opening comes as a huge surprise, especially given the title of the song it precedes is Fight, but with this album, it may be best to throw any ideas of the norm aside. stuck between an orchestral beginning and some beautifully sung male and female operatic vocals is a straight forward heavy metal middle, complete with virtuosic guitar performance. But, as before, the rhyme or reason in getting from start to finish is lost somewhere. The second half of the album struggles to stay afloat, with few bright spots left to carry the immense weight. Thunderlight has all of the emotional feel of true power metal, but falls short in so many ways. Like an M. Night Shyamalan movie, there are enough twists to make each one progressively less effective. broken into 45 second chunks, you can find a lot to enjoy, but combined into one track, it is a mess. And when you've stumbled through five tracks, the sixth one, a skewed ballad, is not the sort of relief you need. The album isn't a trainwreck, despite many of the faults we've covered thus far, but Feel The Essence Of Blues is far from the ideal album closer. Horns, walking bass lines and a full chorus of voices sounds like a match made in heaven, but misses the mark.

It's completely OK to not get it. There are tons of albums that are released every year that many of us might listen to, shrug our shoulders and simply admit that we don't see the appeal. Cyrax is a band with a million influences, and they try to exercise all of them all of the time. Unfortunately, that just isn't a formula for success. The album feels hectic and disjointed, with many of the songs sounding like a handful of clips taped together. The flow that is so essential in modern music just isn't there, and it means the listener doesn't have any central theme or sound to hang on to. As a result, "Reflections" fails in the most fundamental way; it doesn't give people a reason to keep listening, start to finish, or come back for more. By no means am I speaking in absolutes or facts. Different strokes, after all. But if this musical collective wants to appeal to the masses, they are going to have to narrow the scope of their music, and go for quality of output rather than quantity of styles.

5/10

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

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Infinite Earths - Spiral From Spacetime (EP) (2014)

As someone who has been completely awash in the sea of all things metal for years now, I can speak from personal experience when I say that they, the outsiders, think we are collectively stupid; that we are somehow mentally deficient because we like heavy music. Maybe you've heard that mumbled in your direction as well. Afterall, metal is just Satanic worship and unintelligible growls, right? While we know that to be far from the truth, sometimes it takes a good example to sway somehow off of their near sighted viewpoint. Infinite Earths, once the side project of Fire In The Cave guitarist Kenneth Michael Reda, has now taken on a life of its own. And tangled in their web of experimental blackened metal are many of life's biggest questions, nagging at our minds for years at a time. To say they are just another band trying to be different is a disservice to both the band and their music. But perhaps one listen to their debut EP, "Spiral From Spacetime," and anyone who has questioned the intellect of metal fans and bands might feel differently.

There are moments of chaos that you'll find scattered over the course of Compliance & Complacency, though none of them veer too far off the beaten path. The greatest victories come in and around those moments, when brutal riffing gives way to eerie atmospheres and silken bass lines. Around the three minute mark, the strict dichotomy of styles clashes, a bursting set of guitars, drums, bass and vocals simply cutting out in favor of something nearly serene.When they return, they have changed; darting notes come back crisper and far more deadly. It's bizarre and almost nonsensical in its operation, but the end result is fascinating. The second track, Prelude, is nothing short of sublime, a dazzling movement of piano keys that moves as quickly as fingers up and down the fret board. The way it fades, rises, and launches the demonic bastard child known as The Godhelm into action is about the starkest contrast you'll ever be witness to. If there is something to be sure to note here, it is the complexity of the lyrics; they read like philosophical conversation and are far deeper in meaning than the grating screams of frontman J.J. Mazorra would let on. His clean vocals, however, manage to carry much of the weight of the topic at hand. The rarity this embodies - the combination of thought provoking material and brutally heavy instrumental - is mind altering.

Not to be lost, though, is how easily accessible this sound is. Intricacies in the guitars are easy to latch on to, but the fundamentals here are all right. Progressive influences can be heard throughout the record, but the opening riffs to When The World Was Infringed Upon scream forward thinking. Rapid fire notes walk the neck of the guitar while huge snare sounds crash from every angle. Mazorra walks the fine line between his vocal styles, each instance coming dangerously close to toppling the entire track on its head. But when it feels as though things are about to break apart, the entire band shifts gears and regains balance. In the final minute, you have a perfect example of a band who know their strengths and use them accordingly. A catchy hook in the guitar lead, a powerful vocal, and devastating rhythm section. If you do yourself the favor of reading the lyrics as they pour through your speakers, something else might strike you. The storytelling here, tied to those aforementioned existential lyrical quandaries, forms quite the tale of self discovery and growing universal awareness. This is surely no mistake, as every piece of music on this album ties together in what would seem to be an endless ball of yarn. And whether you see the title track, Spiral From Spacetime, as he beginning, end, or some point in between, it's hard to shake the feeling you get from screams fading over clean guitars.

Far be it from me to try to wrap up this album in a neat little bow; I don't think my grasp on the language has prepared me to lay down a string of metaphors or labels that will help you understand what it is Infinite Earths are doing here. To be quite frank, there are times in the course of this disc that I find myself wondering if I even understand it. But regardless of the ability to wrap one's head around the lyrical content and the life changing questions they may ask, there is an immediate sense of immersion in this music. It jumps all over the map from one moment to the next, yet it somehow feels right. It breeds chaos in one section, and perfect, seamless order in the next. How that comes together is anybody's guess. New mathematics might be needed. As you find that point in time and space where melody and merciless energy come together, you best jump on, tie it up, and keep it with you at all times, because you may never stumble on it again. Infinite Earths seem to have done exactly that, and captured that moment on "Spiral From Spacetime."

9.5/10

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

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Druglord - Enter Venus (EP) (2014)

We've all been implored at some point in our lives to stop and smell the roses. And while sticking your snout into a bundle of thorny flowers might not seem like something you are anxious to do, it is the sentiment behind the saying that is most important. Every now and then, you need to slow things down and take a minute to appreciate the other side of things. No, this isn't the beginning of a long winded yarn about loving life. Instead, it is a cry to all of us who spend too much time on the fast and the furious styles, and miss out on the other side of our beloved metal genre. Druglord, a three piece band from Richmond, Virginia, already won us over with their debut release in 2012. But what "Motherfucker Rising" best was remind us that simplicity in music can be refreshing, and that down tempo songs can be just as mesmerizing. With their sophomore album, a four track balloon ride titled "Enter Venus," they give you every reason, and every opportunity to slow down, and smell the fucking roses.

It's low and fuzzy, early and often on Grievous Heaving, which should come as no surprise to anyone who has been witness to this band in the past. But don't mistake that choice of words to mean mindless or inept. What you hear below the peeled back layers of distortion and rattling speaker cages is a down tempo groove and howl that brings to mind the early days of doom metal, before the posturing and preening rendered many artists incapable of basic structuring. Bass heavy, but not drowned in it, as is evident in the masterful solo in the latter stages of the track. Segments like the opening to Feast On The Eye are good uses of extended track times, the slow cascading of guitars and bass pouring from your speakers like molasses or maple sap from the north eastern United States. No rush to get from point A to point B; yet somehow, they never overstay their welcome on any individual track. Perhaps it comes down to the way the tracks are built. Here, you have a main guitar groove to build off of, but the airy, spacey vocals provide a respite from the lower register assault. It is a combination that may, on paper, not seem dynamic; but in reality, it hits just right.

But there is bound to be a track that stands out above the rest. However subjective it may be, the title track, Enter Venus, is as good as Druglord as ever sounded. The depth of sound they've found here is incredible, but it is the manner in which they deliver this piece that resonates long afterwards. Hazy distortion rings through, punctuated with minimal drum interjections. But unlike the other tracks on the album, this one features a show of restraint that elevates everything that much further. Sandwiched between smoky verse passages lies a quiet, cleanly played interlude that does wonders. That small bit of contrast goes a long way, highlighting another deftly played solo before the final countdown. If there is anything to note about Let Us Bleed, other than it's obvious placement as the closer to any set list, it is the noticeable strain that comes from the vocal track, something that might actually be a major plus. But while you are busy taking in all of the subtle nuances the song has to offer, the clock seems to be ticking rapidly away. Try as you might to slow down time to enjoy it longer, the end draws near far sooner than you would expect, hastened by great instrumental work on all fronts.

Some bands can pull off fuzzy and clouded. Others can't. Druglord falls squarely into the former, making it a trademark of sorts on their first two releases. While others bands, some who inhabit the same genre, strive for pitch correction, tuned perfection, and a myriad of digital "fixes" along the way, this three piece is giving you something different. Guitar, bass, drums and vocals, pieced together with bits of string and wire, yet holding stronger than any overtouched, big budget mix could ever hope to. They get their sound, their way, and hand it to you on a silver platter; or a green and milky white one, if you are vinyl inclined. In a way, this album is a throwback to a simpler time, when it was about the writing and the music, instead of the overdubs, drum loops, and studio wizardry. But I digress; "Enter Venus" is a mindtrip through and through, sometimes bending you just like a set of guitar strings under heavy fingers. If you have the ability to, for once, sit back and take it slow, this is an album that might strike a familiar chord.

9/10

Bandcamp - http://druglord.bandcamp.com/
Facebook - https://www.facebook.com/pages/Druglord/168553533162240

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Vesperia - An Olden Tale (2013)

A mere twenty four hours ago, you may have read, right here on this very site, that some bands can thrive in poor production, while others can't. Druglord was the former, and Vesperia, while not entirely the latter, needed some improvements to make their mark. Their 2012 demo, titled "The Swordsman," was hugely successful in a number of ways, but lacked the clarity needed to make all of their wild instrumentation work. Fast forward  a year, to 2013, and that time sees a major change for Morgan Rider and his band of merry bearded men. As they put together their new full length, there is a noticeable edge to be heard, a rising clarity in sound and texture that could prove to be the next evolutionary step for Viking metal as we know it. The attached "epic" tag may seem like a buzz word gone mainstream, but one listen to what this Canadian quartet are churning out, and there can be no doubts as to how it applies. "An Olden Tale" is full of ferocity and triumph, sound and fury. And it all comes through like crystal.

Unlike many of the other Viking inspired bands of the modern day, Vesperia take their sound to exciting places. The symphonic and orchestral intro track, 1000 Years Ago, is assembled so precisely that it flows beautifully from your speakers. It sets into motion something special, and not coincidentally, sets a tone that is mirrored throughout the album. The early moments of With Omens Of Sorrow echo those rich sounds, before an unearthly explosion of drums cuts through the mix. But rather than abandon subtlety in favor of aggressiveness, they combine the two in a flawless way. Sure, guitarists Casey Elliott and Frankie Caracci are ripping and shredding through every barrier you may have put up, but it isn't one dimensional at any point. They play off of one another, all the while surrounded by a variety of synthesized instruments. When they back off to give their hands a rest, you are treated to a majestic trip through clean strumming and keys. The ability to jump back and forth between the two is uncanny, and done with great attention to detail. It's no real surprise that a strong vocal leads the way, with Morgan Rider blasting through the wall of distortion with grunts and growls, but also a low timbre.

His presence is never felt more strongly than on The Swordsman, where the balance between voice and instrumental is perfected. It may be the most dynamic four minute and change you'll hear this year, and definitely the quickest. There is little to no time to catch your breath, though, as Forsaken Shores sees the band at their heavy best, smashing their way through another three minute onslaught with not a note or drum beat out of place. We've often given credit to bands who play at this pace without sacrificing accuracy, and Vesperia certainly knows how to manage both. Their music is made that much more ensnaring by their commitment to tone and timing, both in instrumental and through Rider's vocals. And while Huntress may begin sounding like a Weird Al Humppa mashup, it quickly evolves into a melodic death masterpiece. It's hear that drummer Cory Hofing flexes his percussion muscle, shifting tempos and time signatures with blazing speed and perfect placement. Titles are really just words, of course, but if there has ever been a more righteous song title than To Times End We Ride, I haven't found it yet. When the music echoes that righteous power, it is a special moment to behold. And with a series of blasting kick drums and chanting vocals, Vesperia make that happen with ease. The guitar melodies here are unreal, mainly in their ability to be catchy and massively heavy at the same time.

With the pacing of the album so finely tuned, Bring Me Triumph, is almost surgical in its precision delivery. Rider's vocals are devastating here, running the entire range of metal vocal styles, all the while forming the glue that holds this battle together. Caracci and Elliott are at their best, as well, putting on a melodic clinic from start to finish. But it is the flutes that seal this deal, fluttering underneath a sea of guitar riffs and bass strings. But to be considered epic, some misguided souls argue your track times come into play. For those people, however foolish it may be, the title track dispels any doubts. An Olden Tale is seventeen of the most brilliantly conceived minutes the Viking metal genre has heard in some time. It is a microcosm of the entire album in one neat, albeit long, package. You get waves of pure thrash, followed closely by beautiful melodic passages and stunning instrumentals. But when it is all said and done, right around the ten minute mark, the outro is something else entirely. The wind blows, and with it it brings the sound of distant pipes. A heroic and fitting end to this journey.

In their previous demo, Vesperia gave us a lot to digest and a lot to think about. And we came back to it, time and time again, wishing only that the production screws could be tightened up to support the intense variety of sounds emanating from the speakers, into the air around us. But where "The Swordsman" faltered, "An Olden Tale" thrives, giving you everything you have come to expect from one of the most diverse and interesting Canadian metal bands with a focus on production and mixing that makes it sound all the more powerful. This is the vision of the band come to life, an epic and remarkable journey through depth and tone, one that never settles for less than the best possible outcome. It would be easy to overlook how important that is, but don't allow yourself to look past it. Rider, Caracci, Elliott and Hofing are playing at a level that deserves notice. And while tags like epic and Viking might not mean as much as they used to before the copycat explosion, they ring true here. This album will be a favorite now, and quite possibly a legend in years to come.

9.5/10

Official Site - http://vesperiametal.com/
Bandcamp - http://vesperia.bandcamp.com/
Facebook - https://www.facebook.com/VesperiaMetal

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Mammoth Storm - Rite Of Ascension (EP) (2014)

What can you do when your main band, the project to which you are attached, have a record deal with, tour with, and lead a legion of fans with, is put on hold? It would be a crime for the members of Draconian to sit around, playing Facebook games and reading up on their British literature while new vocalist Heike Langhans arranges her affairs, and relocates to Sweden from her home in South Africa. It has been a long and arduous process, one that has taken far longer than any band could anticipate. But in the meantime, there are other things to do, including a handful of side projects that have arisen. Guitarist Daniel Arvidsson has taken the giant leap away from the Draconian sound on his project, the aptly titled Mammoth Storm, a sludgy stoner metal band which features Arvidsson himself on bass and vocalist. With one demo released, and nothing but time to kill, the three piece from Sweden has prepped and released their newest disc, the two track EP titled "Rite Of Ascension," a murky, distorted collection of riffs, screams, and beats unlike anything his bandmates would have expected.

For fans of Draconian, it is important to note at the onset that this isn't that band; in fact, it isn't even in the same ballpark. The heavy, droning riffs of the title track are down tempo and groove laden, bolstered by a booming drum kit that, while restrained, is not short on powerful blasts. Arvidsson's voice fits the bill to a T, imperfect in tone, but perfect in his handling of the backing instrumental. The slow stomp of guitar, bass, and drum can wear you down, but when the insertion of a melodic riff comes along, it adds a different dimension to the track. But don't be misled; this is an oily, black tar coated piece of work that is rooted more in it's weight than its versatility. The second half of the EP, the nearly thirteen minute Obscure Horizon has a haunting, horror soundtrack vibe to the early movements, transporting you to a dungeon from which you are unlikely to escape. The rattling distortion is enough to loosen the snow on your roof and free the icicles from their perch. But in between dense chugging and reverberating passages, there is a vast void where little else is happening. Vocals, small tempo shifts, and barely detectable tone changes are left to pad out a full seven minutes here.

Branching out of your comfort zone is always encouraged; some of the best bands you will find today began as side projects. Arvidsson has certainly done that here, leaving the sound and strength of Draconian for another day, while harnessing something else entirely for this project. Mammoth Storm isn't the opposite end of the spectrum (What would that be, exactly? Yanni?) but it is a great departure from the driving riffs and dual vocals of one of the most popular death/doom titans on the planet. But for a stoner doom record, "Rite Of Ascension" succeeds in a number of ways. It manages to make the most of a small sample size, giving you a pretty good idea of what a full length album would amount to. If there is anything to be shaky on here it remains the intimidatingly long track lengths, as the entire duration is spent playing off of one main riff and drum beat. This may not be a detriment to the enjoyment of this album or any other, but it something that must be considered when dealing with the evolution and growth of this band. Two tracks, topping nearly twenty five can't be the pattern to follow from here.

7.5/10

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

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Junius - Days Of The Fallen Sun (EP) (2014)

Bands come and go. Then they come again, and leave again. It is, sometimes, a neverending cycle of recognition and fading into obscurity. When Junius released "Reports from the Threshold of Death" in 2011, they were suddenly thrust into the consciousness of a large group of people for whom this was a new experience. A tour with Alcest followed, exposing crowds to an emotionally strong set, night after night. And then, just as quickly, they drifted off the radar for many fans and listeners; not all, but many. Three years later, the gentle beast has awoken, throwing open the doors to the studio and sharing with the world an EP that, while short on time, is not short on quality, care, and dedication. Because where Junius separates themselves from even some of the most well known and well respected bands is in their creative flow. There is no room for filler anywhere on their releases, going as far back as their debut album. And with "Days Of The Fallen Sun," they give your four pieces of heavy music, four carefully arranged shorts, and one looming piece of rock mastery.

Call them what you will; whether tracks like (meditations) are intros, interludes, set up tracks, or whatever, they can't be mindless, and they can't be throwaways. This one is short and minimal in impact initially, but it's when The Time of Perfect Virtue starts that it all makes sense. Unlike that latest album we spoke of so highly, there is a true clarity in production here. By no means are the hazy aspects gone, but they are under control, with the distinct cry of vocalist Joseph E. Martinez connecting all of the dots. It's soothing, yet at the same time stirring. By the four minute mark, this is a band at their peak, drums booming, riffs rocking through and all in a perfect sync. With (shamantic rituals) bridging the gap between worlds, it is once again an addition rather than an interlude at odds with what they're doing. The proof is in the proverbial pudding, as the flow from track to track is without issue. Even A Day Dark With Night, a poetic opus that marches well beyond the seven minute mark, is given ample time to bleed beyond its borders. Whether you identify Junius' strength as being the soft, brooding moments or the heavy handed jams, you will find something to hang your hat on here. There is a give and take between Martinez's vocals, and his addition of synthesizers to the mix, both of which seem to mirror one another in their arching, bending delivery.

It would be easy to characterize (the purge) as a calm before the storm sort of moment, but that would be far too dismissive. Because while Battle In The Sky is the shortest full track on the album, it delivers on many levels. It rolls through your speakers with an ease and grace usually not attached to a track that also boasts a gritty vocal line. It can be two things at once; it can be both the heaviest track on the EP and the most sonically deep. Drummer Dana Filloon is used to filling smaller venues with his chorus of snares and kicks, but on this record, he could just as easily flood a stadium, catching us all up in the tide. His percussive assertions do more than keep time or accent the leads; they are a lead in and of themselves. When the final bridge track comes and goes, as (nothingness) does so quickly, it isn't hard to look back and appreciate their contribution to the disc at large. But by the time you've come to that conclusion, Forgiving The Cleansing Meteor has already infected your brain. Aside from boasting a vocal hook that is easily repeated, and chanted for that matter, it sees Junius at their unpolished best. While bassist Joel Munguia plucks his way to glory, guitarist Michael Repasch-Nieves creates a stunning atmospheric quality that lifts the entire track to a different plane.

Not every band can make things work the way Junius has over their career. Anyone who has had the pleasure of seeing them perform live, warming a cold venue in the inter, will attest to the amount of raw energy and emotion that pours from the stage. But to capture that and put it in the hands of the listener, album after album, is something indescribably unique, and infinitely more rare. After each addition to their catalog, it became harder to believe they could keep this alive. They would have to burn out, dim, or just hit a wall. But if this EP is any indication, the opposite must be true. They are burning brighter than ever, all four members giving a performance that is worthy of more than your money. They flirt with perfection at every turn, and though it may be wholly unattainable, they are far closer than most bands will ever tread. It's the music, yes. But it is also the thought process from which the music, the lyrics, and layout arise that makes "Days Of The Fallen Sun" special. And when the album makes its rounds, from fan to fan, and new listener to new listener, we might all agree on that.

9.5/10

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

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Maelstrom - 3725 (2013)

With each release, Italy's Maelstrom have carved out a larger place in our consciousness. Ferdinando Valsecchi, much like his peers in the other one man bands that we have covered, isn't just another artist in a studio, playing music to get noticed, get rich, or grace the cover of a magazine. He believes in what he plays, and he believes in the work he has put out. If anything, he is harder n himself that his critics, who are few and far between. But still, he pushes on, working harder, smarter, and longer to continue writing and recording his unique take on melodic post rock and post metal. We all know that, in 2014, being an independent musician, or even a major label backed one, isn't as lucrative as it once was, leaving many to do their musical work as a side job to the one that pays the bills. And just the same Valsecchi has managed to find the time and funds necessary to release his third disc, titled "3725." With a lyrical hand from Matteo Simonelli, he gives your heart license to float away like the balloon that graces the cover, all the while keeping you from going too high, too fast.

While it remains hard to judge anything on the strength of a cover track, Valsecchi takes to "Space Oddity" like a duck to water, executing all of the signature moments that Bowie had written in a delicate and appropriate manner, even tackling the vocals better than most, besides the great William Shatner. His strength, though, lies in his musicianship, something he shows early and often on Hymn to Life, Ode to Death, a winding display of clean guitar riffs, crisp programming on drums, and a set of strings that floats above the rest. His ability to not only carve out layers, but to subsequently reassemble them is dumbfounding. The vocals, isolated to the heavier moments on the track, come spoken over waves of guitars. This doesn't lessen their impact, though, if anything making them resonate much further. You can apply that same principle to Paradise Lost, though there is a clear star to be found there. The string and piano work is well beyond expectation, a beautiful addition to an already mood setting offering. With each reset of the timer, each track can go in any multitude of directions, relying entirely on Valsecchi to steer the course.

The Choice may begin as a light hearted piece, but the reliance on distortion int he leads adds a stark contrast between parts of the whole. You aren't going to find a blistering solo or dense chugging action, but there is a power to his playing that shines through in every chord. The lyrics, written by Simonelli, can move you without a word of Italian in your repertoire. Even a simple, and often ineffective Google translation gives you a taste into the mind of both men, As High As The Kite Can Fly speaking of the fears that cloud our lives, even when all is brightest. Even the seemingly easy to read Memory's Drops goes deeper than the surface would indicate, including some of the most delicate and detailed instrumental work on the album around the midway point. It is tracks like this that Valescchi can let things grow around him, rather than being held to a rigid structure or plan. It is also a tale of two vocal deliveries, with his spoken word and clean singing combining to handle the bulk of the load here. While the former is more successful as a whole, there is a merit tot he clean melodies that he delivers. And while Long Lasting Friends fades, you are left hanging on one sentence amidst a sea of drums, guitars, synths, and horns; "Laughing has never been easier."

It has been a rare pleasure to be allowed in on the ground floor of a career, and see an artist grow with each and every release. Maelstrom is a project that, in name, has begun to represent so much of the dedication and struggle that goes into making a one man band truly work. With each piece at his fingertips, "3725" is yet another piece of him on display. In the way the tracks rise and fall, Valsecchi reminds us of what we often forget; music is an art form, and this is all an expression of the artist. We can criticize, lambast, or spill a series of words to describe our opinion of what any artist does, but the relationship they have with the music is what will matter decades down the line. And whether you take the music, the lyrics that he has been given, the artwork, or even the most basic breakdown of the processes that go into making a release of this caliber work, you can see that this is a man who is one with his music and his message. And when the musicians you listen to care as much about their art as their fans do, you have something you won't soon forget.


9/10

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

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Queen Elephantine - Scarab (2014)

Guilty. We're guilty of it just as much as any other party. Genre tagging, as we have ranted and raved about numerous times before, is a cancer on the music world. It's one part opinion and one part bullshit; words used to essentially group bands together by the slimmest of criteria. As a result, bands good and bad fall under the same umbrella, which is a disservice to the former, and an undue boost to the latter. It lets the genres get diluted by bands who have no place being there. When we were first introduced to drone metal some years ago, many of the bands we experimented with had a lot in common. Minimalist approach to music, with few notes per minute. Long tracks, often beginning and ending at the same point with little in between. It seemed boring, if not hard to understand. Unfortunately, those experiences sullied us to new ones, often panning albums marked with the scarlet letter of drone. But in 2014, we realized it was time to put that aside and open those doors again. Queen Elephantine, a band split between New York, Providence and Hong Kong, turned the knob. And for the foreseeable future, "Scarab" left the door wide open.

If "Veil" became the new poster child for the drone movement, it would see popularity skyrocket as a result. It brings something to the table that was sorely lacking, and that is a sense of style. Whether it is in the light tapping of drums or the echoing distortion, or the wailing cry of the vocals, something stands out to almost every set of ears without wearing thin on the listener's sense of forward progress. It takes a minimalist approach to doom that, somehow, resonates. Even as the counter resets and "Crone" starts, it feels like parts of the same whole. Yes, there is a main body to the track; but there is also a collection of smaller pieces dwelling just below the surface. In the left channel a light repeated plucking of strings. In the right channel, a similar sound, but distant and clearer. It is an eerie calm, only made moreso by the brief vocal passage. As a building voice breathes the line, "It builds up," a head to toe shiver is all you can feel. What follows is an exercise in dark psychedelia, hazy and cloudy as it may be, that may be the reason for, or ending to, an herbal remedy. Intoxicated or not, the alternating moments of chaos and calm are sure to bring about some sort of internal awakening.

Much like its namesake, "Snake" slithers back and forth. The low roar of bass and guitar form the backdrop of the high cry of a guitar. It isn't exactly black on white in contrast, but it does boast a depth of sound that seems almost impossible for a track that bares any resemblance to drone metal. But it is also on this song, more than the others, that the vocals stake a claim to being a major player in the grand scheme. Psychedelic, yes, but always akin to that of the blues in both their sway and emotional touch. Not to be lost, mind you, is the detailed pieces of melodic guitar that buzz and hum through the frame, backed by a sea of howling reverb. The last track, though not the longest, has, arguably, the longest lasting appeal. Beginning with a building vocal chant over scant noise and pops, it takes the album to a more pronounced place, even if things haven't erupted into a full on thrash. With each pluck of a guitar or bass string, another layer is added to the resonating sound, a cloud of ambient noise that is just enough to be heard, without overwhelming the lead. It is more than noise, though; that hum is layer after layer of notes played together and compacted.

It's hard to separate labels that we, as fans or critics, give to music with those the band give to themselves. If everything called drone or experiemental sounded the same, genre tagging might helpful in attracting or repelling listeners. But with Queen Elephantine, the tag of drone doesn't quite do their process justice. This is minimalist in the same way that many drone bands operate; one note, ringing for minutes at a time, no progression for sound or direction. There are melodies here, grooves and loops to be found. More importantly, you get more pounds per square inch, a crushing piece of haunting background music that could either be a release or give you nightmares. It stirs a color spectrum, like those than Windows Media Player uses; a color visualization within your mind that is only reinforced by the highs and lows of the album at large. Somewhere along the way, no one ever told these musicians that drone music was supped to be one dimensional or boring. "Scarab" is not of the above. And we can all be happy for that.

8/10

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

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Aeverium - The Harvest (EP) (2014)

We've all heard the generic radio anthem of the minute. Doesn't matter if your poison is Nickelback, Daughtry, or any other clones of a classic grunge band that have bastardized rock music for all ages. They all share things in common: arena rock riffs, basic guitar progressions, and a penchant for easily digestible, easily regurgitated lyrics that everyone can sing along to, but no one will ever respect. That attitude isn't isolated to the American rock scene. It has gone global. Aeverium is a band in their infant stages, but they have a hard lesson to learn. Their blend of melodic hard rock and gothic undertones isn't a far cry from some of the biggest bands in the world. There are moments when you could close your eyes and hear Evanescence or Within Temptation blaring through your speakers. But for every heavy riff, blasting drum beat, or soaring vocal melody, there is an iron weight bringing it down. At days end, "The Harvest" is big on music, but all too light on substance.

There aren't a whole lot of bells and whistles to dig for on "Do You Remember," which stands as a fairly strong opener. It says a great deal about the band's style, that of a melodic metal band, focusing on strong riffs to build upon. The light keyboard touches do add depth to the mix, but more in the electronic sense. Vocally, you have your choice of three distinct efforts; a beautiful female voice, provided by Aeva Maurelle, and the contrasting male vocals, both cleaned and grunted, by Marcel Römer. Their dynamic together is fairly strong, as on "Rest In Peace," despite a lyrical theme that is less than groundbreaking. Where the band both succeeds and fails is their straddling of the mainstream radio line; they could be accepted by picky melodic metal fans, or condemned as disposal radio meta (a contradiction we in the US have grown to accept). For their part, they are good at what they do, from structuring to delivery. But as time passes, it is harder to swallow the lyrics, which seem to be recycled from band catalogs from yesteryear. It exhausts the contrast between Maurelle and Romer, especially in the last two tracks. But where "Heaven's Burning (Harvest Time)" and "The Ground Beneath Your Feet" stumble in lyrical quality, they regain ground with sheer strength of will. It isn't an ideal mix, but it works here as it has for many before.

Perhaps it is because, in the year 2014, lyrics just don't matter anymore, in metal or otherwise. Bands throw lyrical quality out the window in favor of making the words fit. Dangerous. Aeverium can craft a riff, can build a vocal harmony, and can give you a splash from time to time. But for a band to really seal their fans, they have to do more than that. You have to give your fans something to hold up and say "this is what I need," and that is what they lack at this early. Their songs, for better and worse, are disposable for anyone looking for deeper meaning in the words themselves. By no means are we saying they have to be politcally charged, religiously affiliated, or outright disgusting. But something more than a rhyming combination of words and phrases seems to be the bare minimum to show your creative side. The band is young, and they have a long time to grow and hone their craft. But with their next album, they can't repeat the mistakes of "The Harvest." They are going to have to replant the seeds and start again.

7/10

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

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Astral Domine - Arcanum Gloriae (2014)

It was a few short months ago that an album teaser made the rounds, floating here and there, and everywhere on the world wide web. Astral Domine, the band behind the music, was a name unfamiliar to not only our group of worthy constituents, but to many of the worlds most discerning power metal fans. WWhat the trailer contained, though would peak the interest of you and I, and everyone in between. Formed in 2011 by guitarist Luca Gagnoni, hoping to spread a peaceful message through his music, Astral Domine is a handpicked powerhouse that has something special to behold: trust. With the addition of each member, Gagnoni put his trust in their abilities, and their strength to help him complete his vision. With a mix of power and symphonic model unlike the stale, moldy efforts that have flooded record stores over the last few years (minus a few shining stars, of course), this Italian dynamo aren't here for a one off; "Arcanum Gloriae" is the first in what we hope is a long line of inspired albums. With artwork inspired by the critically acclaimed series "Game Of Thrones," Gagnoni and company embody everything there is to like about metal, without the dirt and dust of decades of recycling.

Rarely will you find an opening track as moving as "Arcanum Gloriae," in both story and delivery. The sweet female vocal tones are awe inspiring, with their male counterparts equally as impressive. It sets the scene as if it is the next in a fantasy blockbuster series, not far from Tolkien's grasp. The true beauty of this intro, however, isn't felt until "Holy Knights" begins. As a clean guitar melody welcomes the full array of instruments, the scope of what the band is trying to accomplish comes into full view; it extends beyond fantasy metal, and beyond power metal. The tremble in vocalist Marco Scorletti's voice makes for an added dose of emotion, all the while captivating in his delivery. But the key becomes not only how expressive he is, but how expressive the guitar leads are flanking him. Gagnoni elicits a powerful response through his playing, both powerful and peaceful at once. With influences ranging from traditional heavy metal to baroque, it stands to reason that the music itself would become a funhouse mirror for all things, bending their images into something similar, but all together unique. It's "King Of North" that does this most efficiently, bringing historical time periods together seamlessly. It is equally empowering and operatic, with sweeping solos to round out the mix, not only from Gagnoni, but his counterpart on keyboards, Yeshan Gunawardana. The choir of voices that joins in the final minute turns an outstanding track into a phenomenal one.

When the upbeat, galloping tempo is removed, as it is on much of  "Moonlight," the band still finds a comfort level of impressive levels. Driving riffs are replaced with smooth bass lines and the tickling of keys. Scorletti's voice takes on a low, rich timbre, fitting of the overall tone of the track. What stands out is the ability to embody a romantic track, without giving away some of the technical skill in favor of it. What Astral Domine does exceeding well, through their sound and substance, is tell a story without letting the story dominate all. Any imbalance would make "Tales Of The Elves And Pain" feel skewed or stilted. But instead, it rings clearly, minus a few oddly timed spoken passages. Gagnoni exerts a great deal of control over the room here, even in his restraint. It is the ability to rise and fall with the mood that allows the music to grow and evolve over the course of an album, and makes the follow up track, "Where Heroes Die," all the more impactful. Power metal stalwart Fabio Leone lends his voice to the nearly ten minute epic, an exercise in the pure and unadulterated craft of symphonic power metal. It is nearly flawless in design, and absolutely unassailable in depth. To say the guitar and symphony are breathtaking in their partnership would be a gross understatement.

Though Gunawardana has been heard throughout the album, "I Am The King" sees his skills taken to new heights, fluttering keyboards movements bolstering an already dense wave of strings and distortion. Add to that a sea of voices that poke through the mix in a full bodied choir, and once again, they ahve shattered the mold to provide something exhilarating. Just as easily, they slip into another downtempo, somber movement, with "My Lord." Despite not being an aggressive, attacking song, it has the ability to carve out a niche both on the album and in your listening tendencies. Its self awareness is key, allowing a light piano and whisper to conclude a moving piece. Its counterpart, however, couldn't be farther away on the album's arch. A show of power and grit emerges, a raspy, growled voice delivering commands to newly acquired slaves. It is a curveball in an album that has been predominantly peaceful in scope, but a welcomed one. It is a curve, not a 180 degree flip, and the added dose of speed and energy brings out even more to like in this lineup. And at only four minutes in length, it is a sprint, rather than a marathon. The finale, which contains the second vocal feature on the album, is triumph in song. With a contribution from Giuseppe Cialone of the lesser known Rosae Crucis, this is yet another symphonic masterpiece in an album full of them. If you can make it through the track in full without once swaying or nodding, you are too far gone.

We've made no secret of the dull, murky coat that has befallen symphonic metal; perhaps we overreact to certain acts, or have just outgrown most of them. But when a band comes along that can reignite that fire, even the most cynical of fans must take note. Astral Domine have done more than just provide kindling for a new flame; they have brought the wood, the fuel, and the flame, all in one album. It's symphonic metal like you've heard it before, but done in such a clean, crisp way that it sounds entirely new. Luca Gagnoni has done an incredible job assembling his group and building this project into everything he was hoping for. For all of the high points, "Arcanum Gloriae" sees its most impressive victory come in the total package. For as good as each track is individually - and they are all incredibly good - the way everything flows together, playing one track off of the next, is remarkable. For an album that seems daunting in terms of length, it is over in the blink of an eye. The next album might be the jewel in the crown of symphonic metal.

9.5/10

Official Site - http://www.astraldomine.altervista.org/
Facebook - https://www.facebook.com/astraldomine

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Gods Tower - Roll Out (EP) (2013)

There's a tank gracing the cover of the latest EP from long lived Belarus based Gods Tower. You can see that with your own eyes. But don't make a judgment just yet; save that for after the music has played. Because our minds play tricks on us, and we think we know far more than we do about a band r an album by the picture that represents it. It isn't always worth a thousand words. But "Roll Out," with which you secure yourself a code for the online "World Of Tanks" game, isn't a thrashing praise of war in all its forms. Sure, there is a call to battle to contend with, as would be expected in such a partnership. But what lies just below the surface, or perhaps one track below it, is a surprise that makes the album seem that much more forward thinking than one would have imagined. Behind the bullets, bombs, and explosions, there are consequences. Embrace the tank on track one; ignore the tank on track two.

With razor sharp edges, "Roll Out" cut through the silence and straight to your brain stem with  a thundering clap of drums. The winding lead melody is incredibly detailed and catchy, causing an immediate investment in the track itself. It's hard to pigeonhole the sound that pours through your speakers here, a mix between thrash, folk, death, and shredding riffs. But it is seamless in its delivery, a rarity for a band of this ilk. Vocally, it is a different story. While the instrumental is intricately crafted, the lyrics remain on the basic end of the spectrum, painting the song more as an anthem than anything else. Not entirely a bad thing, admittedly, because it drills a hole into your frontal lobe and embeds itself there for weeks. In a sharp and striking contrast, "The Field Of The Dead" trades in all of the momentum and energy, in favor of something emotionally stirring. With very little backing, aside from a low, quiet rumble and light symphonic touches, this is the reality to the opening tracks theme. Where the war begins, pain and death end; a well thought out pairing of thunder and clouds.

It's a very small sample size to evaluate, but what Gods Tower have given us is something you can enjoy in one instance, and ponder in another. Two tracks, tied together under the same album title, but they would struggle to be more different from one another. And in this day and age of mediocre albums and EPs, it's refreshing to see a band buck the trend and do something outside the box, structurally, rather than spoon feed the listeners with safety. In an odd way, we can relate the thematic choices of the album to life itself, particularly life in American in 2014. First, we roll out the tanks into combat, then we mourn the loss of life that occurred from our choices. Whether or not that was the intention is irrelevant; our personal connection to the music is what gives it life beyond a file on our PC. It is so surreal to have a band, half a world away, put to music what you had in mind. And with that, "Roll Out" says a lot more than the artwork can do.

8/10

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

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Feridea - Reborn In Time (EP) (2014)

There are times when an entire genre of music starts to sound all too familiar. Symphonic metal, unfortunately, hasn't seen a burst of growth in some time, leaving new bands to rely on the same old tenets to try to make a name for themselves. The result? An overcrowded, stagnant pool of bands, all vying for the same time in the spotlight. Rather than innovate, they stay safe, true to the music that has been churned out, en masse, over the last decade. Feridea have stuck to the same formula, founded by keyboard virtuoso Henrik Airaksinen two years ago. Female lead, male backing vocal, instrumental centered around fluttering orchestral melodies and symphonic touches. Done with grace and precision, it can still be a life affirming experience. But too often, as we see here, it doesn't make an impact that allows it replay value. Their new EP, the four track "Reborn In Time" has the look and feel of a symphonic metal breath of fresh air, but ends up smelling stale and familiar.

With the opening track, the band sets a tone that would be hard to shake. A four minute, sweeping symphonic overture, "Wanderer" stays in the safe spot, yet doesn't skimp on beauty and majesty. It's orchestral roots and influences are clear, a refreshing opening to what sets itself up to be a rich work of symphony. The title track, "Reborn In Time," builds off of that sense of might and magic, beginning softly before introducing heavy drums beats to the mix. Keyboardist Henrik Airaksinen sets the stage so deftly that it feels as though you have slipped into the orchestra pit. There is a conflicting set of tones int he vocal area, though, with female lead Heidi Mankinen used for mood and the airy beauty of her voice. But backing vocalist and guitarist Aleksander Viitanen seems to take the lead storytelling role, his raspy voice not quite matching the instrumental behind him. It highlights what becomes the central issue with the album, that being a mix and production that feels flat, despite inspired lyrics and execution. Quiet moments, like those around the halfway mark, and purely symphonic ones ring clearly through the mix, while the addition of guitars and drums seems too much for it, sounding muffled and unbalanced.

This isn't to say that it is a constant issue, but merely a recurring one. As you move into "With Fire And Frost," Mankinen seems to find her footing atop the instrumental, which in turn finds a balance beneath her. It isn't a perfect match, but a step in the right direction. It is only Airaksinen that fills his role to exceptional levels, his fusion of woodwinds, flutes and strings always floating through the air with the delicate precision it requires. But without a strong surrounding cast, it lacks a true uniqueness or power. In saving the best for last, "Of Magic And Music" sees the band take a turn for the better, in both sound and direction. There are missteps here, as well, with Viitanen's voice clashing with the instrumental at times. He does, however, let his guitar work shine through for the first real time on the album. A glimpse into the true strength of the band comes just shy of the seven minute mark, where, for the first time, they find true even ground between all of the instruments at once. Guitar, bass, drums, and symphony all share a space that not only holds them all, but allows them to lift each other, rather than jockey for position.

The sad truth about much of the symphonic metal that comes out now is that you have a good idea of what you're going to get; the formula itself has gotten somewhat stale. By no means is this the death of the genre, but it is need of something to restart the fires that once burned so brightly. Feridea aren't doing anything wrong, musically, but they are relying too heavily on elements that have been used and reused to the point of exhaustion. And when you try to measure up to the groups that helped to push the genre to where it is today, you set yourself for a fall. The male/female dynamic doesn't work as well as it could, again partly due to the lofty expectations created by Nightwish or Epica, and the production takes much of the energy out o the music. The bright spots are there, but there are few and far between. It would be impossible to say that "Reborn In Time" is a complete throwaway, but it lacks staying power in a crowded and suffocating market of female fronted symphonic metal bands.

6/10

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

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Random - Pidanoma (2014)

What's in a name? Part rhetorical question, part honest inquiry. if you were to look through decades of heavy metal band names, there would surely be a large quantity that were one dimensional, and able to be taken at face value. Bands can pick a name that describes their goal, their sound, or even their heroes. Dying Fetus brings up imagery that fits their style. Rhapsody Of Fire implies symphonic elements. But then you have those that seem deeper than surface value. Opeth. Katatonia. So, which category, then, do you put a band who chooses a name that could be appreciated or maligned at any moment? Random, a three piece from Argentina, seem to have chosen a moniker that could be left open for a different kind of interpretation; an argument that you could never win, or, conversely, never lose. They play a style of music that screams avant garde or extreme, yet play it in a way that makes it seem easy to understand. Either way, listening to their latest album, an hour long journey titled "Pidanoma," is like an experiment in word play, timing, and a mind trip all at once.

There is something to be said about an album that grabs you from the very onset, something that "Pidanoma" does with little effort or time. The bass lead on to "Corto Normal" is as catchy as a hook, but as technically sound as a lead. The dizzying array of drum beats and cymbal crashes is fodder for any of a million styles of headbanging or hair swinging, pulling you further into their web of complex structures. Groove laden but beautifully heavy, it rests on guitarist and vocalist Raul Garcìa Posee to round out what would be the perfect six minute package. Not only do his vocals do that justly, but they fall into the category of being perfectly imperfect; cleanly delivered with a healthy dose of raspy energy. And while the intentionally cloudy and muffled "Ojota y Media" may be just a two minute interlude, it has a life of its own, living and breathing with a series of kick drums that cut through it all.

This is the music you fight; the music you try to resist but simply can't. Tracks like "Mee Chango" give you every reason to let go and allow yourself to fall into the center of the mix. It's the combination of the timely execution of basics, combined with the eclectic variations that works so well. Posee wails and howls over the top, but his voice is one with the mix below it. So, too, is the scant saxophone work of Adrian Terrazas Gonzalez, of The Mars Volta, that creates a sense of chaos at times, while providing calm at others. It's the ebb and flow here that dictates so much, rising and falling with each movement. All the while drummer Marckos Crosa tirelessly hammers down beats in minimalist and extreme proportions, sometimes delivering simple clicks before exploding into a an epic roll or fill. His work adds to the mystique of the track, one that brings to mind the freshness and avant garde history of free form jazz. There may be a point A and point B, but this is clearly not the straight line approach between the two, detouring into sweeping guitar melodies and aggressively plucked and slapped bass lines. It's like the trajectory of Naval ship crossing the Atlantic, looping back around in a pattern that may seem bizarre to those watching from afar.

What you have learned to this point, however cliche it might be, is to expect the unexpected; a fitting thought for a band with the name Random. But there is proof in the musical pudding that this music is anything but, and "Mia Gato Está Solo en la Oscuridad," translation aside, is exactly that.What seems like nonsense is actually a carefully constructed piece of art that resonates like the ringing distortion it uses. One passage is an airy melody, a guitar crying in the most moving way, and in the next you are peppered with a series of kicks and cymbals. Again, this can't be a mistake or coincidence that all of these oddly shaped pieces fit together in just such a way; this is meticulously planned, orchestrated and calculated effort on the part of three musicians with an endless stream of talent and vision. Around the eight and half minute mark, three divergent pieces of music come together. Separately, they would sound like noise, unfit for harmony. Yet together, as chaotic as it may seem, they work. Bassist Pablo Lamela Bianchi is a frontman in his own right, his bass work as dynamic as any lead guitar or vocal could be. The final six minutes here are mind boggling, yet breathtaking.

How is it that an album with no clear path can come full circle? It would be difficult to find a more fitting end to this musical journey than the diabolically long and yet not nearly long enough "Guri Guri Tres Piñas." Standing at a robust twenty minutes, it is the best example of contrast and progression that comes to mind. Building from a whispering melody, one that is so softly played, into a sea of crashing cymbals and rising vocals, it arches in the same way that the album does; up and down, side to side. Admittedly, this is not the something for everyone scenario that most bands strive for; you have to be willing to let go of your preconceived notions to fully immerse yourself in this. if you are stuck in the verse, bridge, chorus, verse, bridge, lead, bridge, verse, outro structuring, then you might want to sit this one out. But if you've ever wanted to see evolution take place right before your eyes and ears, there is no better place to start than right here.

So, then, we must reiterate the premise here. What's in a name? For Random, it seems to say so much, and yet nothing at all. Because what it describes is music without borders, without boundaries, that can come and g as it pleases without fear of failure. But what it also says is that there is no structure, or a lack of direction, something that clearly couldn't be farther from the truth. Somehow, these three men embody both sides of that coin so flawlessly that to debate either side would put you in the right. If you were to tell me that all three members recorded separate instrumentals, unknown to one another, and layered them together for the finishes product, only hoping it would mesh, I might be inclined to believe you. But if you told that they sat for months, figuring out new mathematics to make these time signatures work together and play nicely, only to record and rerecord until every note fit snugly next to the others, I would believe that too. Either way, random have proven to be a a force, redefining even the basis of their own name. And "Pidanoma" is an avant testament to it.

9.5/10

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

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Gukurahundi - An Apparition In Nocturnal Splendor (EP) (2013)

Put yourself into this scenario: form a band, write and record and EP, and release it, all in the period of months. Some will think this is an easy task. Those who have been through the process know that it is, in fact, an undertaking that requires a great deal of dedication, not to mention a reservoir of talent and creativity to fish from. When Lawrence Nielsen and Pete Colucci came together under the banner of Gukurahundi in late 2012, it wouldn't take long for things to take hold, and music to come to the masses. Released in April 2013, their debut EP saw the two bring black and death metal together. It isn't a new style, or even a new take on an old formula. But their insistent grooves and unrestrained energy makes for a lethal combination, one that can be felt in all five of the tracks provided here. With guitars as far as the ear can hear, a voice that will frighten children and the elderly, and a a drum beat that could open the Earth, "An Apparition In Nocturnal Splendor" is the first in what will hopefully be many albums to come.

If subtlety is your endgame, it'd be quite evident that you have stumbled into the wrong part of the neighborhood. The title track is a euphoric blitz, a grinding attack that refuses to be dismissed or pushed aside. Most notably, the combination of speed and precision in the verse and chorus sections is a beacon for those who appreciate the more dire arts. But buried beneath the machine gun drums and high speed riffing is something a bit more substantial. Rarely do you find a groove in blackened death, and there is a driving one here, tucked snugly into the bridge. Perhaps the most interesting battle going on is the one between the music and the mix; an ongoing tug of war between a flat mix and a vibrant output. Even "Dethroned" isn't immune, though the effects are isolated to the opening moments. If anything, it gains steam as the track goes on, showing signs of much needed versatility in both vocal and instrumental. Vocalist Pete Colucci wanders from the high tuned screeches, adopting a deep growl that may loosen a few bowels along the way. It reveals depth, and, in turn, opens doors.

But much like the opening shots, "The Anarchist" removes all traces of restraint, opting for an in-your-face- combination of wild riffing and grating vocal lines. Guitarist Lawrence Nielsen, responsible for all of the string work on the record, is his own best friend and worst enemy. His leads are crisp and clean, driving the track forward at breakneck speeds. But his rhythm work doesn't always elevate it the way it could. The outro here is a good one, single riff and ambient waves. A step away from the edge, the band backs up on "Sombre Dreams To Gaze Upon," a short interlude that removes the raw element from the mix, and injects and bluesy emotional investment, captured through Nielsen's solid guitar work. It seems simple, but it is a far more rich minute and a half than one listen would indicate. But after all, it is exactly that; it's the breath before surfacing, or the breath before drowning. The flow of the album is no surprise, really, but the jump from soothing to savagery is still a shock to the system. If the previous track is a light stroking of the hair, "The Carcass Of Christ" is the immediate chop to the throat. Drummer Cameron Zuccarelli isn't in the business of clap beats or click tracks; his hands at the sticks furthers the stomping groove and thrash that blossoms in full on the finale.

One listen to the album, and you would be hard pressed to see through the top layer of distortion and reverb to the depth below. But when dealing with Gukurahundi, you can't be deterred so easily. At first listen, this is a text book blackened death album, screams aplenty and blast beat heavy. And yes, it is all those things. But it is also more. There are hidden grooves scattered throughout the disc, just below that top layer, that help it to stay afloat throughout the course of five tracks. It isn't a perfect combination, though, as the tracks do, at times, sound one dimensional and limited in their reach. But there is room to improve and room to grow, something that will undoubtedly happen over time and with more experience under their belts together. In fact, with new material being written and demoed, it might not take long for this three piece to realize their full potential. Regardless of where they go from here, this is a strong debut in a subgenre that isn't easy to break into. Going forward, "An Apparition In Nocturnal Splendor" will be a measuring stick for future efforts.

7.5/10

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

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Courtsleet - Hope's Apparition (EP) (2014)

If the above artwork looks familiar, either from our site or others, you aren't crazy, or witnessing some kind of intellectual property theft. No, it shares an image with the recent release by Of Solitude And Solemn, titled "Starlight's Guide," and it is no coincidence. Planned as a split EP between Joe Hawker and Gavin Turner, mastermind behind Courtsleet, it has seen the light of day, digitally at least, separately. While the image may look the same, the former's part of the split dons a pink hue, whereas the latter leaves the image in a sparkling gray. Perhaps it is a growing theme for each; Hawker adding a softness to his image and music, and Turner opting for something less colorful. Formerly of A Forest Of Stars, Turner is no stranger to epic compositions of black metal and atmospheric qualities. But starting over, his Courtsleet project is quickly garnering interest from blogs and music aficionados the world over. This, too, is no mistake. With a strong presence of raw black metal, and a keen ear for background melody and morose, "Hope's Apparition" is bleak, but hopeful. And that feels pretty great.

By asking a humbling question, Turner sets his album into motion with the whine of a guitar lingering in the background, while he plucks away in the fore. "What Was I When Your Journey Began?" is a question nearly impossible to answer. But through the course of ten minutes, the sea of atmospheric tones invites you to pick away for yourself. Turner's biggest success here is the way his arranging of the layers pulls you into the center of it all, and surrounds you with distortion and airy notes all at once. Just shy of the six minute mark, all of that abstract chaos and organization comes full circle, resulting in a genuinely powerful piece of music, complete with raw angst screaming over the top. It isn't polished or tightly wound, and that is perfectly ok. Imagine how monotone and dead to the ears "Proplyd For a Lifelong Nostalgia" would be if autotune and pitch correction were utilized; it would fall on deaf ears. Instead, you get the low roar of unrestrained distortion, a constant shaking of everything around you that provides a hum every bit as important as the music itself. It keeps in line with the tenets of traditional black metal, while still injecting it with a healthy dose of ominous melody.

After hearing both side of what stacks up as a monumental split, it's easy to see why Joe Hawker and Gavin Turner would want to be contained on the same piece of manufactured plastic, or the same zipped music file. Their sounds, while pushing weight on opposite ends of the scale, share so much in common. Fundamentally, their "do it yourself" production is a key element in both sides, but it stands out in different ways. Where Hawker goes for a smoother sound, making his themes stand out prominently, Turner leaves it raw. Different approaches for different styles, both of which work. But where Turner succeeds most is in his ability to turn chaos into coherent emotion; what may sound like waves of noise and distortion, easily translates to something powerful. Would I urge Turner to avoid studio time or slick production in the future? No. But where he is with this moniker and project, a home production fits every aspect of his work. Together with Joe Hawker, or separate as a standalone EP, "Hope's Apparition" is a unique combination of black and white, without the pink tint.

8/10

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

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Idensity - Chronicles (2013)

With the turn of the new year, and a return to writing regularly and confidently, I must admit that ime got away from us for a while. Albums flooded our inbox, and most of them sat, unheard, for far too long. Idensity, a French six piece, became a casualty of a schedule packed far too full, and time running far too short. Their album, in hindsight, would have made for a shining addition to a top ten list, or even a past podcast. But alas, as wise men once said, you either do or don't, but you can't catch up. So, months after intended, it was time to immerse ourselves in what was a violin driven death metal album, or so we thought. Instead, this sextet is doing something else, and might even be doing themselves a disservice with their own description and reasoning. For on the eleven tracks that they have titled "Chronicles," you have something as beautifully balanced and mind numbingly heavy as a piece by Wagner. All with the flare and delivery of the genres best. Whether it is just one listen or fifty, you might not be able to get enough of this pairing.

It is the title track that opens the album, and it is the title track that cements what this album is all about. The strong orchestral backing isn't a one off, or a feature; instead, it is the splash of color an album of this type craves. While vocalist Christophe Ferreira growls and screams has way through the verse, a bevy of horns and strings rings out behind him. They are not alone, of course, as a full range of guitars, drums, and bass form the most prominent piece of the puzzle. But it is the final stages of this track that ring most true, when all of those elements solidify into one. They have found the fabled place that resides between death and folk metal, and "Over The Abyss" illustrates it with vibrancy and depth. A wall of chugging guitars looms large, but with a much neater presentation than many other bands of the same ilk. Heavy passages, dominated by distortion, are quickly offset by violins or fast fret work. All of the intricacies of the track add to its appeal, broadening the audience by the note. Clean vocals may not be the greatest strength of the band, but Ferreira makes them worth using. Though, compared to the hauntingly delivered female vocal that comes and goes, particularly in "Sekhmet," his voice can't compare. The track explodes at every turn, winding violin work tying knots around what is already devastatingly heavy riffs. This would be the clincher, if there was any doubt about your feelings thus far.

If clarity is needed, songs like "Mofa" reinforce that this isn't a death metal album with a violin attached; Mayline Gautié is a star all her own, adding so much depth of sound to each and every movement. She stands on the same sonic plane as guitarists Antoine Leboisselier and Lionel Nardari, a difficult and risky gamble, but one that pays off early and often. Even with no vocal component, it seems to tell a story through its flow. It is important to note that despite the strong death and string presence, this album isn't one dimensional, or even two. It evolves and progresses as time passes, with songs like "The Seven Seals" wandering off the main line in favor of more indulgent riffing. Yet, somehow, when the clock rolls over and "Antikhristos" comes into frame, it doesn't seem strange of stilted. Balance may not seem all that important when it comes to anything death inspired, but once you've found it, it is impossible to let it go. And once again, Idensity are in rarified air here, walking the tightrope between heavenly strings and beautifully crushing guitar strokes. And while he may be resting comfortably behind so many of the layers, drummer Jean Philippe Ouameris never short a blasting snare or set of double kicks to hammer each segment home. He is the constant between the two sides of the band, tying beauty to grim reality. His cymbal crashes alone make "Typhoon" the melodically charged, distortion fueled masterpiece it is.

As varied as the album can be, even following their trajectory here wouldn't lead you to what "Maddhi's Arrival" does to you. Sublime orchestration and instrumentation, drums that fire through your speakers like crisp, individual gun shots, and an ethnically tinged theme make this stand out in the best possible way, without interrupting the flow that the other tracks have worked so hard to strengthen. Thanks to the dedication to songwriting, the album does not limp into the final trio of songs, but comes sprinting toward the finish. "Annunaki" may not boast the strongest vocal lines, as Ferreira relies heavily on his clean vocals to carry the weight here, when his rich growls might have been better suited to take the majority of time. That choice aside, it is more of the same here, heavy riffs, strings aplenty, and a focus on how they all come together. Trading in the brutal in favor of the majestic and atmospheric, "Mantra" is the only track that seems almost out of place. Not in structure or sound, however, but in concept. It gives away some of that balance, leaning on clan vocals and background melodies to fill out the five minute plus runtime, but it doesn't seem to have the pop it needs. Luckily, "Loki" has more than enough to go around. Diabolically coarse, and yet somehow artistically refined, it hits the notes you would expect the closer to hit, while still furthering the high arching scope of the album.

The scoring debate often boils down to a handful of criteria, but there are two questions that can trump the others; is the album great on the first listen? Will the album still be great on the 100th listen? The answer to both of those questions will very quickly help to formulate a rating. And when the answer to both is a resounding yes, as it is with "Chronicles," there is very little left to decide. Idensity didn't stumble onto this formula by luck or chance; this was a calculated and meticulously organized effort from start to finish. After all, coordinating a full range of orchestrations in with a traditionally guitar dominated mix isn't something you do at the last minute, or the last day in studio. It has to be planned and cultivated to make sense. All of those pieces fit together in such a way, it almost seems like they were meant to be. Trust me, that is not a call for all death based bands to explore the word of strings and horns. Those results would be mostly frightening, and sometimes nauseating. But for Idensity, this is now their home. This is a place they can return as often as they see fit. And we will be waiting there to hear more.

9/10

Official Site - http://www.idensity-metal.com/
Facebook - https://www.facebook.com/pages/Idensity/80551958491

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Empyrean Throne - Demonseed (2013)

California isn't the home of fake tits, surf and skate enthusiasts, and Hollywood premiers. Well, some of California may be exactly that. But Lake Forest, the home of new school blackened death sextet Empyrean Throne, won't go down as the hotbed of plastic surgery and movie stars. Founded by vocalist Andrew Knudsen and bassist John Ashbaugh, the two soon surrounded themselves with musicians who shared not only the talent, but the vision and drive to make this project everything their Scandinavian trip had instilled in them. What resulted was a brutal mix of heavy distorted guitars, and a bombastic rhythm section, and a vocal attack that could leave your ears bleeding with joy. But even with all of that upside, something was missing that would help them stand apart from the countless acts that crop up all over American every day. The string element, something made official by the addition of a skilled cellist to their ranks, is not a gimmick; it is a selling point, and a show of depth that makes "Demonseed" an album to hear.

It wouldn't take the sound of an army of footsteps to give "Death March" it's signature tone, but they surely don't hurt. Instead, the drum work of Dan Bruette does the bulk of that heavy lifting, each snare and kick mirroring the sound of a thousand steps. But don't be fooled by the battery of percussion at his disposal; this isn't a drum solo gone off the tracks. It works because of the full band effort. It boasts the intended blackened death soundscapes, but with notable twists. Vocalist Andrew Knudsen transitions smoothly from screech to growl, both here and on the follow up track, "Demonseed." He is the general commanding the brigade with his pained screams. But hidden deep in the mix, there is something else that ties the troops together. The addition of Kakophonix, the maniacal cellist behind Hvile I Kaos, is both savvy and sophisticated. His strings become an important piece of the puzzle, swirling around the chugging guitars riffs and giving them a melodic companion in their assault on your brain stem. The two axemen, Bryan Schwarz and Mike Brennan, have their hands full, both literally and figuratively, on "Nothing But Vermin." Their riffs leave no room for error or uncertainty, and the slightest misstep could be disaster. But despite all that pressure, they perform with a skill level and confidence that leaves no doubt.

By keeping the run time short, it puts certain expectations on the energy and volume levels. At barely three minutes, "The Fascist Messiah" wouldn't resonate if not for those two elements being present. Bruette shines once again, with a piece of drum work that leaves the listener dizzy and disoriented. But, to be clear, that isn't a sign of failure, but of great success. A bludgeoning array of drum beats is one of the main tenets of the death metal scene, and that fact is not lost on us here. The early stages of "A Crow's Feast" spotlights a different sort of dynamic, adding the strings of Kakophonix as almost a third guitar, along side Schwarz and Brennan. Like stunt pilots, they dart in and out of each other's paths, winding and twisting into a single braid of distortion and string bending riffs. If there was any doubt how intoxicating this music can be, the outro section here will crush it. But sublime? One would not expect that sort of description, given the amount of blood spilled thus far. But "Follow The Plaguelord," is something out of this world. With Daniel Pappas manning the piano here, you are suddenly thrown into a classical composition that evolves into a sonic assault of the highest order. There is a familiarity to be found here, a Scandinavian link to the past that has been poking its head throughout the album, but only now pops. It is as if the ghosts of Dimmu Borgir albums past have returned to haunt us in present day. This is the album's best track, without argument.

As we've noted numerous times before, you don't need to find a new wrinkle in your genre to be great; you can just be damn good at what you do. Minus the cello and string elements, and the short piano accompaniment, Empyrean Throne would still be an explosive young band worthy of your attention. But with those pieces in place, they give themselves some breathing room from the rest of the genre. The importance of creating space cannot be overstated. When all is said and done, "Demonseed" accomplishes so much in so little time - maybe bumping it's head on the thirty minute mark - that it makes you wonder if this is the perfect store of death metal. Surely they could have stretched this album out for another three or four tracks, maybe another fifteen to twenty minutes. But why would they, and why should they? These shorts explosions are memorable in so many ways, and it keeps the album from going stale early or at all. Win, win. What remains to be seen is where the band goes from here. Is this the future of death metal, before our eyes? Or will the next album be something else entirely? Color me intrigued.

8.5/10

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

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Absidia...In The Shadow - The Storm (EP) (2013)

For those who haven't had the pleasure of experiencing it first hand, there is a tremendous amount of work and dedication that goes into the pre-production process. Writing, arranging, adjusting, rearranging, rewriting; It seems like a neverending battle before you ever get into the studio in earnest, to actually put your music to digital media. Absidia...In The Shadow, a Moscow based raw black metal band, undoubtedly put in the hours to get their music ready for release. But it is what happens when the record button is pressed that people remember, not the work that went in beforehand. So despiite their best efforts, the EP that makes it's way to you, titled "The Storm," probably isn't what they intended it to be. Two tracks, ten minutes of raw but symphonic-tinged black metal that has all of the necessary elements to put down a classic offering, and yet fails to highlight anything along the way. One layer, one dimension, and a lack of a star leaves this offering feeling flat and awry.

Leading with the title track, "The Storm," there is certainly a heavy reliance on symphonic and synthesized backings here. It is a simple flow of clean guitars and drums, elevated by some brilliantly restrained keyboard work. What makes it successful, even with a tight two minute window attached, as the haunting feeling it leaves as it rolls into the second track, "World Of Rain." With vocals now present, there is a certain roughness to the mix, an added raw element that, somehow, actually generates depth. It is bizarrely alluring, despite lacking an element that takes command of the mix. In fact, it isn't until past the three and a half minute mark that the guitars make themselves known as more than just a layer of distorted chords. They jump out of your speakers for a brief solo, only to step backwards into the fray. That is where the major flaw of the EP comes to the forefront; with no clear leader, the track often feels muddled, despite having a handful of elements at their disposal. Isolating each one with repeated listens, there is plenty going on. But the mix let's the band down.

When Robert Burns wrote "The best laid schemes o' Mice an' Men, Gang aft agley," never could he have known the universal application of his words. Better known to the current generation by the English translation, "the best laid plans of mice and men often go awry," it can be placed next to any event, any piece of art, any situation in life. Absidia... In The Shadow must known all too well the depth of it's meaning. Their intentions on this EP seem righteous at their core; symphonic inspired black metal, with a raw edge. And maybe that is what some people will hear when they hit play. But where "The Storm" fails to deliver is in a need for a center stage player. Is it the keys, the guitars, the vocals? Aside from a thirty second blast of wailing guitar solo, there isn't much to hang your hat on when the last notes fade. And that, more than anything else, is where this two track EP goes off the rails. The set up is there, the actors are ready, but the spot light never comes on.

6/10

Official Site - http://vk.com/club27180188
Myspace - https://myspace.com/absidiaintheshadow

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Valtari - Hunter's Pride (2014)

Remember when music was a perfectly cyclical, and bands released albums on a schedule, of sorts? You could count on a new disc every two years, with touring in between. But when the inspiration goes, so does the schedule. Maybe it'll be three years in between albums, maybe even four. Soon, you don't have a whole lot of firm dates to looking forward to. Luckily, the new wave of modern metal has your back, and Marty Warren, the lone set of hands behind Valtari, is right on time. Almost two years to the day after the release of his debut album, "Fragments Of A Nightmare," Warren slips us a gentle reminder that inspirations are many, and their results are even greater. His new album is ten tracks, clocking in at a robust 42 minutes, which may seem short by some of today's standards. But this is an album that can change the game entirely. The tracks are shorter, the riffs more insistent, the drums more dynamic, and the vocals more grating on the inner ear. This album, "Hunter's Pride," is everything you could have hoped for, two years after you thought you had gotten everything you wanted.

Like a bullet from a gun, there is no subtlety in how the release happens, a veritable explosion of sound and technical detail. What is immediately apparent on "Bitterness" is the sheer depth of sound Warren has crafted here, leaving you standing up to your neck in layers. The blasting gallop of drums forms the base, the foundation for what grows upward. He achieves just the right tone on the kick, a resounding thump that remains as rocksteady as it would need to be. But the star, at least in this instance, is the guitar work. It might not seem fair to classify his style as acrobatic, but when the shoe fits, you have to put it on and enjoy it. The riffs and fast and furious, but not out of control, or even raw. His rhythm and lead work on "Undefeatable" serves as a fitting microcosm of the album, rolling side by side every step of the way. The addition of a winding piano sequence only furthers that unity. While there is a common thread that runs through the entire length of the album, there is also a great deal of versatility built in. If straightforward melodic death is your genre of choice, "Can You Hear Me" has everything you could be looking forward. It's a full speed ahead crusher, complete with a vocal performance that bleeds maturity. Warren has harnessed every bit of his energy, leaving no doubt that he has arrived.

Having now realized his full potential, tracks like "Shatter The Myth" must seem all too easy. It's here that he creates the best contrast of sounds, laying out a great melodic opening, only to give way to an unrelenting stomp of distortion and gritty screams. An outro packed to the brim with endless double kicks and huge riffs is the end of the track, but only the beginning of the assault. It is a challenge, from our perspective, to make it through the duration of "In Slides" without the guitar lead taking over your mind. Once again, the layering of guitars is key, but executed with flawless precision. Tracks like this one find that fabled place between melody and brutality, leaning on both but favoring neither. The vocal lines, to this point, have shown a tremendous amount of growth, and this is no different. When you reach the halfway mark of the album, you may stop ever so briefly and ponder the title "With A Child's Smile;" rest assured, the album has derailed in favor of a Sesame Street learning exhibition, or a beautifully strummed acoustic lullaby. No, Warren continues to push the limits of modern engineering and music construction, testing the very strength of his mix with a flood of massive riffs and a drum kit that simply cannot be contained. That, more than anything else, becomes the theme of Warren's instrumental work; he bends the parameters until you would expect them to break, as on "Enshrined In Ice," only to hold strong in the face of a weighty set of tightly packed layers.

AS  you land face first in the final trio of songs, led by "Tyrant," you can only marvel at how high the energy level has remained throughout the album, not falling victim to the peaks a valleys an album of this style and magnitude would often stumble on. Part of this is due to track lengths, with this each one standing tall around the four minute mark, give or take. It allows for exposition without being extraneous, and tidal shifts without the need for twists. As Warren screams through the chorus here, he shows no sign of slowing. It's the balance, though, that shines brightest, hammering home the entire notion of what melodic death metal really means; a foundation of heaviness, scattered with clean melodic elements. "The Gift" isn't organized chaos, like we have noted about other modern artists, but clean lines, smooth architecture, and just enough light to allow for additional growth. It's intensely catchy, as the rest of the album has been, without a trace of effort to be accessible; Warren just makes music that is easy to listen to. The title track, however, is the victory song on a victory album. Every riff is more technically sound than even those before it, and each and every scream cascades through your speakers with maximum efficiency. There is an intelligence factor, too, with the smallest touches of piano doing so much to further the melodic aspect.

Let's be honest with ourselves; there are bands that get better over time, bands that get worse, and bands that reach their peak and never move from it again. After his first album came through our office, we weren't sure where Marty Warren would fall in that hierarchy. We were fairly certain that his talents and drive would ensure he wouldn't regress on the next album. But we also weren't positive that he could continue to improve after such an impressive performance. Yet, somehow, "Hunter's Pride" not only shows a massive amount of growth and foresight, but an undeniable dedication to his craft. This isn't melodic death, by the book and one dimensional; no, that would be too easy and lack the rewards. This is something else entirely, something that that is hard to put a label on, and even harder to say it confidently. Through the course of ten tracks, of optimal length, perfect timing, and delicate balance, Warren carves out a new niche for himself that isn't the most easily replicated. In fact, I would think he has put himself in a class all his own. He has reached a peak, and the only way to go his up.

9.5/10

Official Site - http://www.valtari.info/
Facebook - http://www.facebook.com/Valtari

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