Lalu - Atomic Ark (2013)

In the long tradition of keyboard based metal, there has always been the need for a keyboardist that is both transcendent and creative beyond the norm. Without that visionary effort or talent, it is difficult to achieve top level results. Vivien Lalu is the kind of talent you search for; but he isn't a hired gun. His full band project, Lalu, is progressive at heart, but with so many tangential elements at play, that it becomes difficult to put your finger on exactly what they are. With marginally big names attached, both in regular and guest roles, Lalu has surrounded himself with top level talent, attempting to make an album that lives up to their 2005 debut, "Oniric Metal." But what he has done here is dig a talent pool so deep, so dense, that it would be difficult not to release a masterpiece of some kind. As a result, the sophomore slump is no worry, and "Atomic Ark" is a well conceived, well produced, and well executed taken on progressive metal that is as prolific as the name it bears. 

You'd have a hard time ignoring the early onset groove of "Greed," nor should you try to. Forming the backbone of the mix, guitarist Simone Mularoni may fill the rhythm role more often than the lead, but he does so in a way that is driving. The verse sections take a simplistic approach, while the tempo and intensity kicks up on the chorus, with vocalist Martin Lemar tasked with the none too easy job of completing the chain. His voice may not grab headlines, but he fits the bill here, providing an airy element to the mix. More pressing is the duel between Mularonia and Lalu himself, trading blows in a combination solo. That dynamic comes into play frequently, with tracks like "War On Animals" allowing the two to coexist in a way that makes them both stronger. The subtle intricacies that you'll find buried beneath the surface make the song that much better, whether they be the smoothness of the bass line, courtesy of the familiar Mike LePond, or the way Lemar bends his voice to fit into tight spaces. The shifts in spotlight are as numerous as the tracks themselves, and "Tatonka" sees Lalu splitting the main focus with drummer Virgil Donati. His bombastic style does wonders in the heavier segments, while his precision is key when the clean guitars take the lead. Lalu takes the refined approach, adding a layer of piano keys that dazzle as much as they shine..

The short but intensely sweet "Mirror Prison" is a ballad by definition, yet it extends beyond that word. Lemar's goes high and low, trembling along the way. The soft picking of clean guitars creates a mood that matches his tone magnificently, as a gently atmospheric keyboards glide you to the finish, and into "Deep Blue." They become parts of the same whole, almost as if one is the appetizer, and the other the main course. With the entree, you might not rise above a low simmer but thanks to the marvelous cohesion between all the pieces, it feels complete. Donati's input, in particular, does a tremendous amount of leg work here. More than how it sounds, though, is how it fits into the scope of the album; that is to say it is a fitting transition. Turning to the more avant garde side, "Bast" is an album highlight, thanks to the varied and ethnically tinged instrumentals. Mularoni hits the chugging passages with a delicate sense of timing, while Lemar soars over the top, only to come crashing back with a series of unexpected screams.  The track culminates with a winding, chaotic guitar, drum, bass assault. But where "Momento" begins couldn't be farther away, a beautiful melody that rises and falls throughout the track. Every element shines here, with the rhythm section taking a commanding performance to new levels entirely. LePond and Donati bunker down in the low end, and add punch to a mix that would be little without it.

That same system works for "Follow The Line," one of the larger sounding productions on the album. Lemar, still forming his own identity, is at his level best here. But in addition to strong performances from al the key players, you have a jazz funk thread that runs throughout, eliciting a head nod or ten along the way. Harnessing a lot of the left over raw energy, "Slaughtered" is a track as unique as the band itself. Between the carnival atmosphere of the bridge, and the intoxicating layered vocals that follow, you have a lot to digest, in the best possible way. It leaves, of course, only the closing track to finish the job. When that finale is nearly twenty minutes, it becomes an album in and of itself. It takes on a life of it's own, with a handful of different movements contained with its walls. It hits on all levels, with few flaws for a track that boasts this length. Lemar, however, has a mixed effort here, his grunts sometimes feeling forced, especially combined with a lyrical performance that doesn't stand up to the rest. But as he regains form, so, too, does the track at large. Lalu orchestrates a brilliant mix here, finding that delicate balance between all of the pieces at play.

There are numerous takeaways from this album that deserve mention, and not nearly enough space to mention them all. But what Vivien Lalu has accomplished here is nothing short of a rousing success, keeping the sound all his own, while still absorbing the input and talents of musicians in the upper echelon of their craft. There are no true pitfalls to be found; the tracks are, for the most part, short and deliberate, leaving no room to a listener to get bored or reach for the skip function on their player of choice. But what remains most impressive on the first listen as it is on the twentieth is the ability to flip the switch, and go from blaring and dynamic to soft and brooding. It's as if they know exactly when to exercise restraint, and when to let loose with the bursts of creative energy. Much of that skill traces back to Lalu, and his ability to blend and manage his worthy constituents; but they deserve the shared credit, and they've also bent their normal output to fit into that larger mold. That give and take is exactly what you need to release an album as strong and unique as "Atomic Ark."

8.5/10

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

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Amma - Angel Of Love (EP) (2013)

The combination of angel references and power metal has been around since the dawn of time. While, ok, maybe not that long. But it seems to be a match made in heaven, with absolutely no pun intended. But despite the obvious shared space, it isn't always a bond that forms on it's own. Amma may have found that out the hard way. Their new EP, "Angel Of Love" has all of the right lineage and imagery. But what it has in style, it lacks in substance, sound, and structure. While the visual element has become an important part of music, it can only carry you so far without true inspiration to back it up. A debut album, for better or worse, has flaws that we must accept. But here, those flaws are too glaring to ignore. Rather than focus on the music at hand, something looks to have gone terribly wrong from the onset of this EP, something they simply could not recover. From production, to recording, to lyrical and musical content, "Angel Of Love" is one miscue after another, leaving it anything but divine.

The immediate contrast that is formed between the intro track, "Reflection," and the first real offering, the title track "Angel Of Love" is hard to swallow. The former, a grand symphonic instrumental; the latter, a flat power ballad. It isn't clear what happened to the production levels between one and the other, but there is little one can do to isolate any of the individual elements here. The layers are too compressed, too tightly packed to find space between them. In the verse and chorus, the vocals dominate; when they fade, guitars and drums fight for air time. At over six minutes, it is a tough sell for any discerning power metal fan. And while "Magical Fantasy" sees a slight improvement in volume and balance, it does little back up the title. There is a lack of energy here, at least as far as it is presented in the digital sense. Perhaps the one saving grace is the late solo piece, which gives reason to continue. Unfortunately, that decision isn't rewarded, only greeted with a mediocre finale that adopts the muffled sound of a pillow over your speaker. "Time" has lofty aspirations, layering in a choir of vocals in the chorus. But For every good idea, there is poor execution, rendering their efforts hollow. Concluding with an "Epic Version" of the title track, the same basic structure, with guitars and drums replaced with symphonics and piano keys, it feels as though you've gone around in a circle, shaped more like an egg.

There is little more one can say about an offering that has so little impact. Whether it be thanks to a poor recording job, or maybe a less than stellar set of songs, there is little about "Angel Of Love" that will resonate with anyone once the music has stopped. That is to say, it isn't good enough, or bad enough for that matter, to stick in your mind for any amount of time. And while it may not justify dismissing the band as a whole, they certainly won't find themselves on any year end lists this time around. There are many improvements that can, and must, be made if this band hopes to survive long enough to make another album. It begins with pre-production, where all of the planning and allocation takes place. And maybe, just maybe, with a stronger focus on the knobs, levers, screws, and cables, there will be something more rich, with more depth, the next time around. Otherwise, Amma might be doomed to a fate that even the angel of love won't be able to rescue them from.

5/10

Official Site - http://www.am-ma.com.ar/
Facebook - https://www.facebook.com/ammaangeloflove

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Ashes Of Ares - Ashes Of Ares (2013)

We grow attached to bands over our respective lifetimes, and their members become icons. But as those bands come and go, rise and fall, and their members move on to big, but not always better, things, we must adjust the way we view them. Ashes Of Ares, for their part, are three men who have sharpened their skills during their time with prominent and respected bands in the metal community; Matt Barlow and Freddie Vidales spending time in Iced Earth, among others, and drummer Van Williams, a key element to the long time success of the now defunct Nevermore. But what was is over, and what is must now begin. Immediately following their splits with former projects, the three united in what would be, hopefully, their crowning achievement as musicians and metal icons. And rather than sounding like a hybrid of all those other gigs along the way, they've formed their own identity; the sum of their three parts. On their debut album, Ashes Of Ares put a distinctly new signature on their careers, both as individuals, and as a the massive juggernaut that has risen from the ashes.

Despite becoming synonymous with the works of Iced Earth, Barlow's voice translate well to his own work, and "The Messenger" makes that more than clear. He hits the marks in verse and chorus, alternating between the deep growls and higher pitch wailing that his range allows. But there is something extra added here; the hooks are far catchier than the previous work of anyone involved, lending the track well to the inevitable live setting sing along. Notably, Williams is at his career best in both sound and speed, ripping through a torrential downpour of double kicks and complicated fills. The transitions, then, become much easier, as one track ends and the next begins. There is a balance between speed and sonic punishment on "Move The Chains," one that is impressive this early in the band's time together. Williams and Vidales seem to have a cohesion together that helps the music leap from the speakers. They elevate each other, rather than battle for lead rights. And with Barlow leading the charge into battle, there is a constant forward motion. That consistency lends itself well to the tempo change that comes on "On Warrior's Wings," a track that could easily be titled a heavy ballad. Sure, there are acoustic guitars in the opening, and the subject matter is emotional derived. But there is no sense of backing off the gas here, and by track's end, you are back into full head swinging glory. The challenge would be to not let your fist extend into the air.

If there is one misstep to be found on the album, it comes in the form of "Punishment." While Vidales and Williams provide a devastating backdrop here, Barlow stumbles on the lyrical content at times, resorting to cliche phrases that never really seem to gel into one flowing verse. His work in the bridge and chorus, though, could be seen as atonement. The soaring cry that ends the track is a signature that only he could put on the paper. Returning to form, "This Is My Hell" is a power thrash anthem that hits all the targets along the way. Vidales lays down a monster lead here, one that quickly becomes an album highlight. This is the best example of a band that is on the same page, each member putting their own stamp; Williams splashes and crashes through verse and chorus, while Barlow hits the highest of highs, and pushes himself to the edge of his ability. While melody plays an important role throughout, it is the grit of "Dead Man's Plight" that stands out, allowing Barlow to adopt the lower, growling register at times. It's difficult to resist his battle cry, as he invites you to tip the balance between dark and light.  It is in contrast that tracks like this line up with the following track, "Chalice Of Man." The latter is an all out bruiser, taking any remaining restraints off of Vidales and Williams, and giving them the artistic license to bend, shred, and crush anyone in attendance.

Far more introspective than the album as a whole, "The Answer" sees Barlow belting out his best quivering timber, in a swaying, lighter inducing masterpiece. It brings to mind elements of the Osbourne classic "Mama, I'm Coming Home," both is sound and tone. Later reincarnated as an acoustic ballad in the bonus track area, it manages to be emotional without being distracting from the main arc of the album. Even the light tapping of cymbals at the hands of Williams carries more weight than you would expect. And as before, the shades of lights are immediately overtaken by dark clouds; "What I Am" is not middle of the road track. It comes bursting out of the gate with reckless abandon, Williams kicking, swinging, and crashing his way through a series of dizzying rolls and beats. When the solo portion kicks, just shy of the three minute mark,  you are treated to everything you could possibly expect from a band of this pedigree and talent. The album closer, "The One Eyed King" isn't a sappy look back at the album at hand, or even the normal summation we see from albums of this ilk. Rather, it is snare drum fueled piece of intricate guitar work and growled vocals. You would be hard pressed to escape this effort without looking down to see your feet tapping out the beat on the floor beneath you.

With the short attention span of most modern music fans, band breakups and shakeups might, in factm be essential to keeping music fresh and exciting. And while watching your favorites bands go on hold, or your favorite members exit, there is almost always something new coming down the pike. For Barlow, Williams, and Vidales, they will always have their past experiences to draw on; but they've begun to pave a new road for themselves. Ashes Of Ares isn't Iced Earth lite, or Nevermore II, or anything of the sort. it is the collaboration of three musicians at the prime of their careers, making music that comes as naturally to them as heavy riffs come to Tony Iommi. It is both fun and refreshing to hear all three at ease, doing what they've been doing their entire lives. You can hear the comfort in the way they play together, and in the way the songs flow from beginning to end. There is no point in making the comparison between this and the past. Ashes Of Ares is the present, and likely the future, that we have to look forward to. Might be time to make room for your new favorite band.

9/10

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

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Černá - Restoring Life (2013)

One of the most difficult (see: impossible) questions to answer is the one of who is "best." The best thrash band, the best folk band, the best melodic death band. Subjective as it is, there is virtually no way to narrow down the fields of millions and say, definitively that one band stands above them all. We can hypothesize, speculate, or state opinion, but there is no universal answer. But when it comes to the newly exploding post-black metal genre, the field is far more constrictive than the others, and the cream always seems to rise to the top. Maybe it's because mainstream  music fans haven't caught on, or that there is little money in that pool. Either way, it is easy to separate the weak from the strong. As Cody McCoy proves, bigger isn't always better; his one man project, Černá, is one of the most compelling names in this particular subsect, keeping the tenets of black metal alive, while infusing melodic and post elements to counterbalance them. On the new album, "Restoring Life," McCoy delivers a performance unlike any in the field today. One man has set the bar high for millions.

Rather than come out of the gate with a massive blast, McCoy uses his first track to cradle you with melodies great and small. "Woken In Prague" isn't an intro track or an interlude; it stands alone in arc and scope, with his guitar and bass work filling the top, middle and bottom of the audio spectrum. Soothing and somber, it shows his melodic sensibility, while still creating the framework for "Společně part I : Shy Sun" in the process. The latter evokes an emotional response unlike most of the hordes of post-black metal bands. Through the use of only instrumentals, he captivates you. Whether it be the guitars that form the vocal component, or the way each kick drums bursts out of the mix as if you are right in front of the kit, it solidifies the entire track. Much in the same way that "Společně part II : Laying Down In The Rain," is ambition brought to life through musical means. With his guitar leads carrying so much of the weight, the rhythmic pounding of drums and bass work isn't merely an afterthought; it is a melody all it's own. Together, they make a nearly six minute piece feel like three. Before you have time to find yourself completely immersed, the last fading notes are coming and going.

But those notes, those last few strums of the guitar that end the second part, also open "Společně part III : Night Sounds," tying the entire thing into one broad reaching work. But it isn't just another movement in the bigger picture, this is a unique and delicate composition. The distortion still rattles the covers on your speakers, but the richness of the bass line changes the tone of the song. When piano keys enter, it fits all too well. havign touched on the soft spoken side, McCoy now brings back the booming kick drums on the fourth and longest part of the series, "Společně part IV : Embrace the Stars." This is the atmospheric black metal construction that so many bands think they're assembling, while falling miles short of their intended goal. McCoy, on the other hand, delivers in all aspects. As a full band, the track would be impressive enough. As one single man, multi-instrumentalist and writer, it stands as dynamic a track as any single song in the metal lexicon. He teases you with anticipation as the volume builds on his solemn string work, making you wait for the moment the drums will blast back into action. They do, in fact, return; and they deliver a blow that will displace whatever hair you have on your head.

The final chapter, "Společně part V : Lullaby" dials back the aggression in favor of subtle sounds and melodic emphasis. A single clean guitar is the only element you need to carry you through. It's delicately, and precisely, plucked strings put you at ease, while single bass notes are struck to back it. But, like many a surprise, it is the unexpected explosion that comes that will resonate long after those notes fade. McCoy packs the mix full, relying on keen production work to make all of the pieces fit together, which they do without issue. With that journey now complete, you can feel yourself coming to the end of the road, albeit with two tracks remaining. The title track, "Restoring Life," is also the one that best reinforces the talents of McCoy, from both a writing and execution standpoint. He cruises through the downtempo portions with no difficulty, continually setting up the hazy atmospherics that come in wave after wave. he does what the "post" genre always indicates, going beyond the genre tag, and expanding the sound to new reaches. In the same way, "Isa" could be used to define the entire sub genre from which it comes, thanks to the surgical precision of each instrument along the way. As great as the guitar work is throughout, it may be the subtle touches from the bass - a single plucked string, a gentle slide up the neck - that sells it all.

While Černá is a one man band, Cody McCoy is not a one band man. While he may be the lone proprietor of one of the premiere post black metal projects in the world, he isn't sitting back, waiting to record. Currently on tour with Traitor, he keeps his musical mind busy, if not loaded. Maybe it speaks to his talent in the songwriting process, or maybe it speaks more to his ability to put thought onto tape. This work, from start to finish, has all of the polish of a major label debut, without all of the pretentiousness of being tagged the next big thing. McCoy has found that pure, unadulterated balance between emotion and art, fusing them both together, song after song, in a way that makes them easily identifiable, while still maintaining that take on the music that is as unique as a snowflake. But perhaps even more impressive is the construction of the album, recording through the use of live instruments, rather than programmed drums. The talent is there, the vision is there. And as a result, "Restoring Life" is breathing fresh air into the lungs of metal.

9.5/10

Bandcamp - http://cernamusic.bandcamp.com/
Facebook - http://www.facebook.com/OfficialCernaMusic

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Waves Of Mercury - As Seasons Fleet (EP) (2013)

We've often spoke to bands rising from obscurity about the difficulties of fielding a full line-up; hence why there are so many one man bands flooding through the scene. For David and Greg Richardson, a full band just never panned out the way they wanted to. After their attempts failed in 1998, they brought the their work to the studio as a duo. Greg would supply guitar and fretless bass, while David would provide the drums and vocals. With help in the lyric department from a handful of writers along the way, they would, several years later, come to be known as Waves Of Mercury. Their foundations lie in the world of doom metal, down tempo and emotionally savvy, but with an emphasis on intricate guitars and melodic harmonies. But where their creative influences begin and end is the true mystery, with some pieces of their work sounding like hero worship, while others could be signs of a lucrative future. Either way, "As Seasons Fleet" will sound familiar.

With the main component echoing the traditional doom sound of My Dying Bride, "Spring's Hollow Bloom" is a six minute evolution happening before your eyes. Instead of a one dimensional track, it changes; the harmonized vocals are the mainstay, while the music surrounding them comes and goes in waves. The shift from doom to progressively more melodic clean passages is an easy one, particularly with a intelligent bass line to pull them along. Layering is key here, with different comnbinations of guitar, bass and drums playing off of one another. Conversely, "The Dying Of Our Summer's Day" is not as successful an endeavor, with the vocals in the verse feeling forced at times. They are immediately redeemed in the chorus, thanks to the psychedelic tremor in the voice of singer David Richardson. A more high tempo second half does wonders for the track as a whole, especially when it is filled with deft musicianship.

The more emotionally written "Falling In Autumn," with lyrics by Antony Johnston, seems to be the best fit for the duo performing it. Classic sounds dominate here, cutting back and forth between driving guitar riffs and smoother ones, bringing together Blue Cheer and Sabbath at times. Greg Richardson, the man behind the strings of guitar and bass, does some of his best work here, mirroring his winding guitar melody with a bass line that moves almost as nimbly. Choosing to go for the most straightforward track on the album as the finale, "Winter, Your Fortress" is a difficult one to dissect and reconcile. You have a song that, for all intents and purposes, is a carefully crafted doom masterpiece, rivaling the current My Dying Bride catalog. However, when David Richardson unleashes his odd whisper growls, it fails to gain any traction. His normal, clean vocal suits the style, as does the spoken word he unveils here; but the other, more passive aggressive side of the coin falls short. Greg, on the other hand, thrives in this setting, creating astonishing amounts of mood with his work.

For as good as the work is by the Richardson duo, this latest output by their Waves Of Mercury project doesn't resonate the way you hope it will. The pieces are in place, but there is something missing. Perhaps it is Johnston's lyrics, which seem to pull David out of his comfort zone at times, causing a few ill advised vocal changes. Or maybe it is that the music itself too closely resembles one of the undisputed titans of the doom genre. Whatever the reason may be, there are plenty of selling points to be found on the EP; picking out which ones work or don't work for you is another story. But with this duo working together, you can be assured that you will get something well above the minimum expectation. How far above remains to be seen, of course. Much like the seasons they reference, their sound changes over time. Where it ends up after "As Seasons Fleet" will play a huge part in how bright their future can be.

7/10

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

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Frost Despair - The God Delusion (EP) (2013)

Whether or not you've had formal audio engineering training or not, you know that there are limits to how much sound you can justifiably fit onto one recording. It may not be a numeric answer, but a case of logical derivation. Frost Despair, a seven piece band from Brazil, have agreed to throw caution to the wind, and try to fit their own blend of black metal and classical music onto a single recorded file. But even digital media has a limit, one that, when exceeded, can sound like the war has come home. Based on the works of Richard Dawkins, 'The God Delusion" is an album of metal fusion, exploring the thoughts on atheism and the violent spread of religion. But, as these seven tracks reveal, it is also an exercise in proper production and mixing. Seven members, seven separate layers, and one gigantic wall of distortion. With a sound that often gets in its own way, muffling and muting one element in favor of another, it succeeds in message but fails in delivery.

The first track, "The Dark Ages" sets up what is to be a bizarre contradiction. It extends well beyond what you could call an intro track, but remains at a constant level throughout. Touching on the darker side of classical music, it is a composition that is as rich as it is gloomy, adding so much depth to the low end. But rather than build onto that sound, the title track boasts a blasting blackened thrash aesthetic. The orchestral element is still there, but it is now hidden behind a growing wall of distorted guitars and drums. The layering of sounds here doesn't do the track any favors, tilting the mix too heavily towards one element. A trade off between male and female vocals is a treat at times, while exposing how one dimensional each can be without the other. The danger here is packing the mix too full, with a constant peaking of levels detracting from the individual pieces. As it stands, "Damnation" is merely the intro to the following track, "Splendor Of War," although their separation makes little sense, from a flowing perspective. The latter reinstates the symphonic element in full swing, despite drum work that could drown out a war itself. In the quieter moments, particularly when the female vocal is allowed to see lead time, you can get a far more detailed view of the soundscapes. As the drums are dialed back for a guitar solo, it starts to come together.

Unfortunately, the problems persist in the album's second half, rendering "Dark Bachiana" a murky mess of a song. The layers begin to condense themselves into one massive chunk of distortion, a production miscue that makes parts of the track unidentifiable. There are moments where the bands shines, both musically and vocally. The keyboard work here, tinged to echo the sound of a church organ, is top notch when it comes through. The section around the three and a half minute mark is evidence that balance can be found. It manages to extend into the opening stages of "The Final Breath" before chaos reigns supreme. The verse is an organized assault, while the chorus and bridge or hectic, at best. With the drums now dominating the mix once again, half of the track is spent righting the ship, while the other half is spent spinning off course. Beautifully orchestrated piano steers the track back onto the right path, and dazzles you into "At The Gates." In the most impressive piece of musicianship, the keys take over in full here, fluttering and winding through a series of high tempo melodic shifts.

One of the biggest shames of the modern metal experience is when production gets in the way of the final product. Frost despair have written and recorded an album that might have embodied the spirit of their original concept, but fails to meet the threshold for success. Whether the problem be in pre, post, or during the recording sessions, there is a significant hurdle in the way. With multiple listens, one can dissect a lot of the background work that goes on here, from guitars to bass to keyboards. But on first impressions, it could be dismissed as a lost cause. If you could look beyond the faults of the mix, there is a lot to hang your hat on; the guitar work is solid, the vocals are versatile and on the daring side, and the keyboards are worthy of a round of applause. The true shame is that they all shine separately, yet fail to do more than flicker when crammed in so tightly together. if this act can find balance where there was no room for it before, "The God Delusion" might not have all been in vain.

6.5/10

Official Site - http://www.frostdespair.com
Facebook - https://www.facebook.com/pages/Frost-Despair/170368476397736

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