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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Barishi - Barishi (2013)

Vermont isn't all maple syrup and forests that span miles; yes, those things exist in varying amounts, but there is more to one of the bedrock states of the north eats United States. One thing that might not have ever been equated with New Hampshire's neighbor is eclectic and rich styles of metal. They, too, exist in some form or another, but it has taken far too long for us to find the band that could become the face of Vermont metal for years to come. Barishi, a four piece outfit from Brattleboro, could easily be mistaken for a Black Crowes cover band when you view some of the band photos. There is something about their look that could fool you into thinking you've stumbled into a hippie commune. But when you press play, those thoughts are smashed to bits in a sea of ebbing and flowing psychedelic metal, melodically based, by heavily rooted in distortion and blissful accuracy. How a band can embody a look and sound that stand at odds with one another is something that this many years around the music business has yet to explain. But their self titled album fairly spits in the face of convention, and gives rise to mountain metal.

Poking through a sea of feedback, a wandering saxophone sets the mood for what will become an album full of surprises. "Sky Burial" is an introductory track of a different kind; not a direct two minutes, but a squealing, crying dawn over the mountain. It pulls the sun over the peaks, and shines a light directly onto "Holy Mountain," which is the beginning of things, in earnest. It's would be far too simple to take the easy way out and lump this into the generic progressive metal arena, but it would be difficult to eliminate that thought all together. As the saxophone, provided by Ron Kelley, screams over the top of a surgically precise brigade of drums and bass, it brings to mind the work of Ihsahn, not only in sound, but in vision. But the melodies here are stronger, lean more heavily on flowing vocal harmonies to set up screamed verses. But even when the vocals become aggressive and standoffish, the instrumental is crystal clear and brilliantly clean. An infusion of deft finger work complements what can only be described as an ear worm of a groove. The talent for creating lasting riffs seems to be what guitarist Graham Brooks has in spades, with each segment of "The Rider" burrowing deep into your ear canal. For his part, vocalist Sascha Simms matches the intensity of his counterpart, but also captures a sense of intellectualism in his lyrics, however gritty their delivery may be. The entire five minute duration of the track is an up and down, side to side, obstacle course.

But if versatility is important to you, musically, you won't be disappointed with where the album goes from here. It is on "Exibiche" that you find a strong grasp on the melodic and bright, clean strums of the guitar joined so flawlessly by a flowing bass line. It is almost mechanical the way everything remains in lock step with all of the other elements, but it is anything but rigid. There is a sway to it all, a soul to the music that shines through not only in the solo work, but the way the rhythm section and guitar leads elevate each other. It is musical symbiosis at work, something rarely heard in such a pure form. But arguably the most mesmerizing piece of art on the album, aside from the front cover that bends the mind, is the eight minute titan titled "Through Mountains, Through Plains." It is not the length that makes this track work, but rather the dedication to its construction. The vocals bend and soar over what would, at first glance, seem to be a rather simple mix beneath. Drummer Dylan Blake works in ways that are not mysterious, but purposeful. Every snap of the snare drum, every kick, snare, cymbal combination, pops through your speakers. It reels in the chaotic latter stages of the track, keeping the entire thing from going off the rails.

For every action, though, there is an equal and opposite one, something that "The Waves" will not soon let you forget. It crushes down on you with every bit of force the name would indicate, Simms screaming in the most deafening tone over a battery of drums and guitar. There is simply nothing held back, to such a degree that it's a wonder there is anything left for the final two tracks. It's insistent without being overbearing, and heavy without exhausting the listener. Conversely, "A Place that Swallows All Rivers" gives you ample time to sit back and let your head sway to some brilliantly conceived and executed guitar work. It comes back to those same melodic sensibilities you heard earlier, an organic growth from passage to passage, bolstered only by the constant of the bass work. Jonathan Kelley, much like his rhythm section mate, is blissfully accurate, and even more detailed than this music could reveal. His work, especially in the fluttery melody that comes before the three minute mark, is as steadfast and steadying as any in the business. That leaves only "Jaguar Scarification Ritual," a track as diverse and eclectic as the name itself. The beauty is the honesty with which it is written, recorded and played; this isn't weird for weirds sake, or winding just to say it can be. No, it plays out on digital media the way the band would hear it in their own heads. And that is a magical moment to behold.

I'm not exactly sure what it is inside the band dynamic that separates a half hearted garage band from a band with everything in their corner. It would seem that the smallest difference in talent and mentality can make the entire life of a band change for the better. Barishi have something going between the four of them that just seems to work on all levels; their is a comfort in each others abilities that allows them to relax and let the music flow from their collective minds. It would be an interesting day spent watching them write. The resulting music, whatever genre tag you choose to slap onto it, is harder to capture with mere words than you would have probably guessed. Where else have you heard this combination of sound and fury, with grace and dexterity, without once feeling ironic or contrived? In modern melodic metal, you might think for hours and not come up with another name. This four piece has something, personal, professional, mental, physical, that is hypnotic. And this self titled album is one that won't soon leave your iPod, or your mind.

9.5/10

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

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Black Vulpine - Demo (2013)

Metal isn't the boys club it once was, something evident from browsing any record store these days. Arch Enemy, Lacuna Coil, Leaves' Eyes, and so many other acts have broken that gender barrier in every branch of metal music. The one subsect that hasn't been blessed by the fairer sex, as far as we can tell, is the blooming stoner community, often inhabited by grizzly men with full beards and raspy tones to their voices. Luckily, even that can't last forever. German four piece Black Vulpine aren't new to the scene, but a new demo is enough to get the conversation started. Female fronted, riff dominated, and bursting at the seams with energy, the band has come a long way since forming in 2004. But what they enjoy in individuality and uniqueness, they may lack in focus. On their new three song demo, released in November of 2013, they give you a taste of where they've been, where they are, and where they hope to be. But unless they can focus on the greater goal, it might not be enough to break through to the stoner elite.

It's no surprise that the heavy stomp of "Avra Kadavra" comes out of the gate in full force. But when vocalist Sarah joins the mix, it creates a new dynamic all together. Her voice is beautifully melodic, without compromising the raw nature of the instrumental. These are hair swinging riffs, the music you want to listen to standing up with room to give yourself a mild case of whiplash. It is relentlessly driving, and yet always accessible to even the most distant rock or metal fan. While "Drowning In Lakes" may have a playful side, it reignites the blaring riffs that the stoner genre relies so heavily on, often wearing you down until you can no longer resists their pull. The rhythm section, though they rarely if ever cut loose, is rock solid in their support of those big guitar sounds and even bigger distortion. If there is a misstep on the demo, "Lies" may be it. Clocking in at less than three minutes long, there is little time to ascend and descend, meaning this would be the perfect opportunity to throw caution to the wind and deliver something that flexes their respective muscles. But they opt for subtlety, Sarah crooning with a layer of effects over her voice. The voume knobs open, but just in time for the track to end.

A demo is exactly what the name says it is: a demonstration of what a band is thinking, what they are doing, or what they are aspiring to do. As such, this initial offer from Black Vulpine gives you a sneak peak into what this four piece has in store for you down the road. There are plenty of infectious grooves to be had here, albeit in a very small and short cross section. This alone would be enough to warrant a follow, a like, or an additional listen. But the bigger concern is the unfinished feeling you may get when these three songs come and go. They don't feel fully fleshed out, especially the finale, and they could be indicative of a bigger problem. Is the three minute blast the best they can do, or is there more than meets the ear? Was it an issue of creativity or inspiration, or is this what they intended for their debut performance? These are all legitimate questions that will need to be answered with subsequent albums and releases. For now, Black Vulpine has every reason to stay on your musical radar. Their next effort will decide if they grow or fade.

7/10

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

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Of Solitude And Solemn - Starlight's Guide (EP) (2014)

New year, but some things stay the same. The familiar pink hue of "Starlight's Guide" is a reminder of what the last year has brought to the forefront. UK multi-instrumentalist Joe Hawker surprised many listeners along the way with his combination of post rock, doom metal, and sparkling symphonic elements, including an office full of egotistical, elitist metalheads. His musical skill is matched only by his conceptual acumen, his artwork becoming as easily recognizable as his sound, something that may be an under appreciated talent. So as his new three song EP rushes through the tubes of the internet, pink tinted cover and all, you can be sure you'll have something familiar but new, something edgy but solid. Hawker wouldn't want it any other way. Originally conceived as part of a split with Courtsleet, you have the chance to hear it on it's own two feet. The follow up to 2013's brilliantly conceived self titled debut, "Starlight's Guide" is every bit as breathtaking as it's predecessor, but with a notable layer of fresh air to bring it all together.

If "Illuminance" has any one flaw, and it could be only one, it is the layering in the mix, making much of the instrumentation sound distant. As the track builds to a peak, however, Hawker finds his home right in the meaty part of the spectrum, bringing together the melodic guitar tones he so thoughtfully crafts with a pounding drum kit and angst ridden screams. He succeeds here where others have failed, using his deep talent pool to hide the lack of true professional production. The triumphant yet dark nature of the melody that surrounds the six minute mark is rock solid and stands out from the track on the whole. There is no shortage of creativity here, as Hawker uses a bevy of synthesizers to bring life and energy to his main theme. It is never a choice between styles, but a fusion of all things, as you get on "Guiding Light." His focus is on flowing the pieces together, instead of making oddly shaped passages collide. As the track moves from light to dark, soft to heavy, there is no break between; they become one. His screams are not the star, but a supporting player in the grand scope. Much like it's predecessor, the signature moment here is one of wonder and crushing blows, centered around the seven minute point. And although it stands at half the length of it's two album mates, "Memories In The Mist" is as compelling and enthralling as anything you could want, solidifying itself as, arguably, the finest moment in Hawker's growing career.

It seems odd to say that we were, a short six months ago, having the very same feelings about another release from Hawker. He has a way of stirring up familiar emotions without seeming over done or contrived. For that reason, "Starlight's Guide" is sure to please anyone who has ever enjoyed anything the man has done to date. This is exactly what we all know him to be capable of; deep, rich symphonic melodies backing a plodding, deliberate set of riffs and beats. But while he has carried over everything you know and love from the Of Solitude And Solemn name, the one concern from his earlier release has also carried over. The production values have not improved, which could be expected in such a short time since his debut. It's both good and bad, as has been noted before, because he achieves so much with so little financial backing and pressure. But that must be an engineer or studio nearby that is ready to take this sound to the next level of crispness and clarity. Instead of waiting for the next batch of 200 free downloads on his Bandcamp page, maybe it's time we click the "Buy Now" button and get a few dollars, American or otherwise, flowing his way. Joe Hawker is so close. "Starlight's Guide" is the proof.

8.5/10

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

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Alcest - Shelter (2014)

It's no secret where Alcest stands on the list of this humble blog and, in particular, this humble writer; mastermind Neige has secured his project a place in the "can do no wrong" arena. But there has been a tectonic shift in both sound and concept, one that has changed the very landscape of Alcest's music. And with the new year upon us, a new album has been readied, moving the band further down the melodic, almost soothing path that came to center stage on "Les Voyages de L'âme," almost exactly to years ago. While the pained screams and black metal homage has not completely vanished, it is now a background player; a shadow to the well lit body of the music itself. This does not speak to the sounds quality, of course, but its appeal has evolved and, in the opinions of some, alienated the core audience Neige has enjoyed over his lengthy and extensive career. It was inevitable, of course, for things to move down the line. But on "Shelter," Alcest reel in their art metal tendencies for a trip through the divine' with some speed bumps along the way.

Rather than the brooding, moody tone of past works, "Opale" starts on the lighter side of the spectrum, a delicately strummed and darting set of riffs cascading alongside a beautifully melodic vocal. What the band gives us in emotion, it regains in accessibility; it would be a crime not to find yourself swaying to the beat. It's light and fluffy in texture, and it's simplicity that keeps it fresh. Forming the bridge between tracks, "Wings" is sullen and airy, a reprise of the previous structure, albeit stripped down to a bare bones minute and a half. It stirs the pot in a barely noticeable way, bringing about a more intricate approach in "La Nuit Marce Avec Moi." Singing in his normal French, Neige has a way of crafting his vocal melodies to supersede language barriers; whether or not you speak French, you feel as though you can understand. What is missing here, though, is a sense of contrast, something that was always achieved on previous works by a short screamed passage, or high speed drum work. You will begin to expect that first sign of aggression, sitting in anticipation as the first clean chords of "Voix Sereines" trickle from your speakers. But this is neither the time nor the place for that, as Neige relies heavily on the structural integrity of his melodies, rather than the short bursts of bleakness.

Even the extended intro to "L'Eveil Des Muses" feels like it is hiding something just below the surface. The drumming becomes more insistent, each tap of cymbal and snare cutting through the mix with a snap of energy. It's as though the mood has completely changed, leaving behind the sugary sweet in favor of the uptempo melancholy. The tempo builds, but with only a bevy of repeated chords and melodies, it fails to get over that final hump, rolling backwards to where it started. And therein lies the logistical problem the album faces, as it simply lacks the burst to get over the top. The title track is beautiful, not to mention fitting of the title, but it only adds to the wheels spinning in the mud, lacking any forward motion or advancement of the albums theme. And then "Away" happens. Rest assured, this is the same man, the same band you're hearing, but in a way that you never expected, and likely never wanted. Gone are the poetic French wordsmiths and the distinctly moody lyrical themes. In their place, a lyric sheet with English words that fail to deliver any sort of emotional investment. It is, sadly, a bland and uninspired effort. In an album of a different arc, "Delivrance" would be a fitting and enjoyable finale; but without a standout moment to look back on, it simply does the best with what it is. It bends and sways in profoundly beautiful stanzas, but it builds only to a simmer, rather than a rolling boil of distortion, snare beats and energy.

It is difficult to separate what you want from an album from what you inevitably get. Perhaps Alcest are now victims of their own skill, their fans growing to expect too much with each effort. Or, more likely, they have outgrown the sounds of "Le Secret" and "Ecailles de Lune," and have moved on to a new, and wholly separate, side of the music world. To say this album is disappointing is unfair, nor does it tell the whole story. There is a lot to like scattered over these eight songs, but far less to love. From a lesser band, this album might even be seen as the next step towards greatness. But for an established band, and a top tier artist in Neige, it won't be able to hold up when compared to the rest of the back catalog. The saving grace, if there is one to hang your hat on, is that these songs, for better or worse, are a live show waiting to happen. Having seen and heard what can be done with these delicate numbers on a small venue stage, it leaves a great deal of hope for the future of Alcest, as a studio and live. "Shelter" might not be the album you wanted, or the album you needed right now; but it is the album you get.

7/10

Official Site - http://www.alcest-music.com/
Facebook - https://www.facebook.com/alcest.official

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A crisis of Faith...

Before you go reading too much into that title, this isn't the crisis of faith you may think. No, this isn't of the religious ilk, but one of worry in humanity. It is a genuine concern about you, me; us, rather.

We are coming to the end of what seems to be another year of musical genius from every genre and walk of life. Eminem looks to be on pace to sell about a trillion copies of his latest fast talking rap album, while pop divas One Direction and Britney Spears are in the middle of yet another strong showing. I get to watch a lot of these artists grow first hand; my day job puts me right in the middle of every pop and rap explosion each and every year. Whatever your taste may be, there is something new and/or exciting out there for you to quench your musical thirst. Sure, we mock and look down on some of these artists or genres, but they have one thing in common with the beloved metal genre that we at Sorrow Eternal hold so dear: they deserve your money.

Before I let the preaching begin, a few words of background. There have been a large handful of people who have helped to get this site to where it is today (where ever that might actually be). Some of them musicians, some fancy themselves to be the next generation of mega producers, engineers and music business know-it-alls, and some just lovers of all things music. We have many things that we agree upon, and most of those things would be easy to overlook. But there is one thing that has been a point of contention since this site began, and it has, at least in part, created rifts that are hard to overcome. It is a difference in philosophy, or even in common sense. But it is always a topic of debate and discussion amongst the best of friends, acquaintances, and even complete strangers.

If you consider yourself a music fan, regardless of your genre of choice, there is one simple rule that should be followed, universally: you should be paying for music.

There will always be a variety of reasons or excuses that immediately follow that assertion. You're broke, you don't think one sale matters, you think all musicians have piles of money and a gold plated shark tank next to their pool, labels have ruined music, music is bad now, the list goes on and on. Whatever your reasoning, it's wrong.

This isn't a diatribe about how downloading is wrong, and how you're a criminal if you download an album or ten. No, this isn't that kind of discussion. This is something far more simple, and much more easy to control. If you hear an album, a band, a song, and you like it, you should give the band some money for their hard work.

For every Metallica, a band that could own a small country if they so choose, there is an Appalachian Winter, a band (and a single man) who make music for the love of the game. They use their own homes, their own equipment and their own spare time to make music for us, the hungry public. They often give it away for free, inspired more by the thought of someone hearing their work and enjoying it, rather than charging strip mall prices. Dan Klyne might never get rich through his music, but there is merit in making sure his hard work is rewarded.

That being said, a $10 monthly membership in Spotify isn't enough. It doesn't allow for all artists you listen to on the service to be paid accordingly. Is it something? Yes. But it isn't an excuse not to buy an album, or pay for a download.

By no means am I, or anyone that works here, an authority on music business politics or capitalism. But i want Katatonia to make albums until they choose to stop. I want The Lion's Daughter to grow. I want to hear Fister grind the bones of crowds for years to come. Blizzard At Sea wouldn't have been able to make their last album without a crowd sources funding campaign. And for those things to happen, for artists big and small, they need the money to keep their dreams alive.

2014 is upon us. And we have an opportunity as metal fans, as fans of music in general, to change the landscape. Pay for music. Buy the albums you listen to and enjoy. Buy them from the bands, from their website, from their Bandcamp page when you can. If they choose give it away for free, spread the word and spread links so more people can discover them. Do your part to make sure the music we know and love won't disappear.

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