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

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

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

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

10/10

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

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Russian Circles - Memorial (2013)

You might never see them on a late night talk show, or even hear their name mentioned on any radio or TV broadcast, but that doesn't make Russian Circles any less of a musical revelation. Their work in the post rock and post metal genres has allowed it to take shape over the years, expanding to new reaches with every album. In 2011, they released an album that would have seemed to push the boundaries as far as they could possibly go without fracturing or breaking; they had found clarity in all aspects of the process. They were, in fact, one of the first modern metal acts that proved vocals were a luxury, not a necessity. But when you find that niche, that home amongst your peers and competitors, you never stop moving forward. And some two years later, they've gone even further into the unknown corners of their craft, bringing the art of the music back in earnest. Ad inside their artwork, another eight tracks of expansive, ethereal metal known as "Memorial," you will be reminded of why you loved music in the first place.

While not unheard of in Russian Circles albums past, "Memoriam" takes delicate to new places, softly plucked guitar strings cascading through your speakers with ease and care. But it would be foolish to assume this was a new direction, and the first kick drum in "Deficit" puts your mind at an immediate ease. The drumming here is intensely accurate and abundant in scope. Even with the guitars providing the main melody, it is the drums that are the driving force, be it through a series of toms and snares, or a simple snare build. It also is a constant reminder that small doses of unbridled heaviness can do wonders for the depth of the mix, surprising you by throwing a bit of caution to the wind and mercilessly hammering down from above with a set of monster riffs. But the greatest success in a track like this is always finding your way back to the main street, in this case that almost eerie calm before the storm. It has worked so often in a growing career arc, whether that return comes in the beginning, middle, or end.

In "1777," it is the building from the first note that sets it apart. The intensity is always there, but it comes in and out like the tides; one minute it is a smooth flow, the next it crashes down like waves on the rocks. The melodies are infectious in their simplicity, and memorable in their depth of sound. The outro, as it winds down, is a fitting end. Unlike many other bands in the genre, Russian Circles have always shown a knack for crafting a visual style of music. In "Cheyenne," they make a track that clocks in well over four minutes, and turn it into a crying guitar line that feels like mere moments. Again, it isn't insanely complicated or contrived, but it speaks volumes. It moves you, and moves with you, up through the final fading strings. And yet, a single breath later, and you are knee deep in a song that could certainly be described as having a touch of evil in the mix. It may not be the next Satanic anthem, but there is surely more than a sprinkle of darkness in "Burial," captured so carefully in it's howling guitar leads.

But with another tectonic shift close at hand, you find yourself riding a wave of sheer terror to it's completion, landing you squarely on the soft, coddling "Ethel." It boasts a beautiful post rock atmosphere,a  melodic soundscape that builds you up so easily, without even a hint of letting you fall. It lays down the tablecloth and silverware for the final movement, a pair of tracks that couldn't be more different or more the same. "Lebaron" comes first, it's periods of chugging and distorted guitars feel so precise, yet so reckless over the drums. It is, of course, the logical progression of an album with so many logical progressions. But it, in the scale and flow of the album, may be a throwaway, due in large part to what came before, and what comes after. Because while "Ethel" set the table, it is the title track that clears it, without so much as a meal in sight. This collaboration with Chelsea Wolfe, this breathy, airy work that no one outside of the band's inner circle could have seen coming, is as charismatic a tune as you could find, without ever rising above a simmer.

We've delved deep into the world of reconciling musical expectation with musical reality before, to varying results. And the main thing that we, as fans digesting media, forget, is that these albums, this music we hear, is art. Sure, bands would love to sell a few millions albums at a time, and live comfortably as a full time collective of musicians. But the landscape of the music industry has changed so drastically, that that isn't a viable option for rock and metal. This is the genre where, with exceptions, of course, the men and women within our favorite bands can make music to be proud of, to express themselves. Russian Circles have always been high on the short list of groups that need little to no vocal component to say what they choose; their work has done so much for the post-music sub sects of metal. But never before has their voice been so united, so clear, and so well represented as it is on "Memorial." They gently push and pull you along, leading and showing you the way to a different sort of end. And with that collected voice, they say more than ever.

10/10

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

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Cult Of Luna - Vertikal II (EP) (2013)

For the mere mortal bands, the ones who have not fully embraced the rocky road known as a career in the music industry, one album every few years might be enough. A consistent schedule of touring and  album release, followed by downtime to accept accolades and praise. But for the true iron men, it's never enough. After lying dormant for five years, Cult Of Luna awoke from their self induced slumber to tell the tale of a city on the verge of ruin. The first installment of the "Vertikal" series was a revelation; they managed to capture the desolation and class struggle of a futuristic city in mere beats and notes. How they did it is anyone's guess. But the story wasn't finished, and the band had more to tell. The second part, recorded during the same sessions, may not match the first in length. But what it does is bring the story to a neatly wrapped conclusion without losing any of the blustery energy and rough around the edges style that the first was so high on. Their second offering this year, and a stunning means to an end, "Vertikal II" is tension incarnate.

Ominous and somewhat haunting tones, which were plentiful on the first installment, become a key component early in the second. Despite the mechanical nature that "O R O" brings to the table, it feels natural; the swaying vocal melodies don't come off as manufactured. But that same sense of foreboding and despair rings true throughout, from the vocals to the echoing cry of guitars. It isn't until almost five minutes in that the teeth of the track emerge, a set of calloused screams cutting through the ambient energy. What was a minimalist approach becomes a grating, metal on metal cry for reason. One look at the waveform for "Light Chaser," the beautiful upward slope of sound, and you begin to fully appreciate the approach here. A repeated guitar melody is the lead, in a sense, but the relationship between light and dark is the true star. The clarity with which each instrumental piece is delivered provides one half of the equation, while a fragmented screamed vocal supplies the other. They would thrive perfectly on their own; but together, they are an exercise in the harsh arts. By track's end, the overwhelming distortion engulfs all. The longest, and not coincidentally most complete, track on the album, the twelve minute "Shun The Mask" is an apt conclusion to this musical venture. It rises and falls, exploring both the crushing blows of percussion and voice, and the moving joining of melody and ambient sounds. As the drums fade in for the final assault, nearly nine minutes in, no one could prepare themselves for the terror of those blood curdling screams.

There is a danger in being so prolific; if your second is not as well received as your first, fans and critics will wonder why more time wasn't taken to perfect the pieces of the puzzle. Cult Of Luna knew the risks before they slapped the labels on the EP, and they felt strongly enough about the material present to go ahead. Looking back, there is not one reason to think they shouldn't have. On music alone, "Vertikal II" is every bit as terrifying as it's predecessor. They, once again, put class struggles and city struggles onto recorded media in the most profound of ways. But the most impressive aspect in the series is the way they take hopelessness and despair, and translate it into a series of riffs and drum patterns. I, much like many of you, have not passed the Rosetta Stone lessons necessary to make this leap from emotion to musical language, nor will I ever truly be able to decipher the subtleties and nuances. But here, on the second half of a milestone in modern metal, it doesn't matter. Cult Of Luna have done the work for you.

9/10

Official Site - http://cultofluna.com/
Facebook - http://www.facebook.com/cultoflunamusic

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Australasia - Vertebra (2013)

It's no secret that a degree in musical theory has never been a prerequisite for enjoying and dissecting music. Any band or album that would require such a stunt isn't worth your efforts. With that in mind, there are bands that can be enjoyed regardless of your preferences or prejudices. No, there is not a band, not a single one, that is universally loved. Don't even try. But bands can transcend their genre in such a way as to welcome people who would otherwise be outsiders into the fold. With their debut album, Italy's Australasia quickly asserted themselves as one of those acts, blending together the silky smooth and atmospheric qualities of post rock with the more intense and blaring side of post metal. With that release, titled "Sin4tr4," we likened their sound to a red dyed ice cube melting into a glass of crystal clear water. But was it the metal that tinged the rock, or the opposite? Only a year later, an answer may actually be found. On their new album, a ten track, thirty minute piece called "Vertebra," the overall arc of their sound begins to take shape; and as the ice cube fully melts, you have a drink as sweet and balanced as any you've ever had.

An opening track like "Aorta" works on so many levels, but the key is that it grows organically. It doesn't insist that you listen, but gives you every reason to. The light, melodic notes are fuel for the fire, an initial blast of drum and bass that while explosive in their own right, are subtly smooth. By the time the ethereal female vocals come through with chanting grace, you've already been exposed to what you thought was the complete spectrum of sounds at the bands disposal. However wrong you may have been, the boundaries here are endless, as a song like "Vostok" is quick to prove. Electronically tinged, yet heavily rooted in the layering of guitars, it beautifully constructed from start to finish. Even the kick drum has a sound all it's own here, a rousing thud unlike others you've heard. It isn't a punch to the face; it is a poke in the ribs to remind you it exists. From clean outro to thumping intro, "Zero" bends your perception again. Bass work is key here, driving the low register and elevating the high. Without that element, that firmly planted strength, the chorus of tingling bells that follows would seem flat. The end result would be a track derailed, never realizing the crushing blackened potential it boasts by the latter half.

Instead, it transitions from one to the other, and creates a stunning contrast with "Aura." You would be hard pressed to find something more soothing, more intricately constructed, and more simply beautiful than this. It is an interlude, of sorts, but one that maintains it's own identity. What it also creates is a freedom to go in any direction. A track like "Antenna" radiates outwards, starting from humble beginnings and growing into something larger than life. It is in tracks like this that the best work is done, flowing seamlessly from quiet to loud, soft to heavy, without so much as a hiccup. It is a formula that was used on "Sin4tr4," albeit in sparing ways. But it has grown into a different animal here, and songs like "Volume" only feed that beast. Instead of a trade-off, it becomes a fusion. Hidden between the layers of booming kicks and a rumbling bass line are delicate and whispered bells and cymbals. The two come together, but not in a way that leaves one with power over the other. They work together, accentuating the strengths of the other. The title track, however, focuses on the sublime. Because while "Vertebra" is a strong statement, it does so without the aid of an ounce of distortion. Instead, it utilizes chirping birds and clean guitars to accomplish it's goal.

In moments like this, the transition from previous to next, that you realize you are witnessing a double edged sword; the difference being this is the type of sword you've waited for. It cuts you from both ends, sharp or smooth. When a song like "Apnea," with electronic beats and heavenly chanted "ooo" and "ahhh" segments can cut to the heart of you with ease, it's time to admit you are witness to something unlike the daily grind. It catches you off guard, if only slightly, and makes you begin to question your own stability. But with you now rocked back on your heels, it would take only the slightest breeze to knock you over. And at that moment, "Deficit" kicks in. It marches in like the proverbial lion, cascading cymbals and snares over you. But as it progresses, it starts to change and evolve into the lamb. The way it gently fades out seems a far cry from the stomp it entered with. But, as with everything on the album, it wouldn't work any other way. For as one track ends, the next begins. And with the chorus of thunder and rain drops, "Cinema" earns it's name. You'll find your own imagery here; whether it be the view from your attic window into a rainy afternoon, or the path through a now orange-leafed wood. That personal attachment you find is what makes the track so unique, and yet so easily identifiable.

Words are just words. It's hard to use verbiage to truly communicate sound and emotion. When you sit down and listen to the music of Australasia, a lot of words will come to mind, and a lot of those will be variations of the same thing. Beautiful. Glowing. Stunning. Mesmerizing. But as much as those words make sense, they simply don't go far enough. This band is making music as an art form, as an expression of themselves. And their success, while relying completely on you to relate, is never in doubt. If you choose to spend your time trying to answer the only question that remains when the album ends, whether this is a rock album with metal influences, or a metal album with rock tendencies, you will waste a whole lot of time, and never come to an answer. And the fact of the matter is that it simply doesn't matter. Rock, metal, jazz, electronic, or any other musical genre you can name are probably present here, no one more important than any other. On "Sin4tr4," the ice cube had just begun to melt; on "Vertebra," it has melted, mixed, and given you every reason to think you found perfection.

9/10

Bandcamp - http://australasia.bandcamp.com/
Facebook - http://www.facebook.com/australasiamusic

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Woodwall - WoodEmpire (2013)

A rhetorical question: can an album give you exactly what you expected, and still be great? Has our musical pallet become so refined that we have to hear groundbreaking elements on each and every album just to enjoy them? You can speak for yourself, of course. But somehow, bands like Woodwall are speaking for all of us. We've heard stoner metal and doom, psychedelic metal and post; not every band can spark a change in those genres. But doing those things well, and really well at that, is just as impressive as changing the way we hear them. This Italian four piece are doing just that, taking their hazy sound on the road with a new album that is both the same old thing, and the same new thing in one. They are the personification of your favorite bar, clouded with the smoke of a thousand cigarettes, yet every puff is greeted by a breath of fresh air behind it. On this album, simply titled "WoodEmpire," they don't break new ground or tread too heavily on old ground, but tip toe through all the things that make these varying metal styles great. And the result won't surprise you; or maybe it will.

While it isn't a fast and furious start to the album, the smokey undertones that coat the opening to the title track, "WoodEmpire," are no mistake. They are hazy and clouded by design, something that quickly becomes the common thread in the album. Each crunching groove, furnished by guitarist Matteo Signanini, travels through a wall of pure distortion to reach it's intended goal. For his part, he not only delivers the central melodies, but his raspy, distant voice ties those pieces together. While it seems, at times, to be chaotic and unfocused, it is quite the opposite. It may meander in certain passages, as it does around the seven minute mark, but it always makes its way back to the mainline. At this stage, it is the shifting between songs that brings it back to Earth, as "Locrian" makes oddly great use of the keyboard element. By adding that slightly spacey sound just behind the guitars and bass, it gives great depth of sound to the mix, completed by a crisp drum sound at the hands and feet of Pietro Groppi. This is a far more driving track than the last, uptempo and pounding. It clearly suits the band well, as they are at their best here. Signanini's voice takes on an airy nature, one that is as melodic as it is exacerbating. But it is "King Stuste" that will leave the biggest impression, a headbobber's dream come true. The short three minute burst has all the pieces in the right places, leading to a maniacal stomp that only a musical prude could resist. A guitar lead like this one could unite enemies and friends under one banner.

The unsung hero of the stoner genre, and most musical styles, is the bass player. But Massimo Cornali's impact can be heard loud and clear throughout the album, adding his personal touch to the opening of "Red Toad." By nailing down the low end, in combination with Groppi, he makes a three minute instrumental all the more dynamic. This leaves the ultimate sound of the album, the way it sticks in your mind afterwards, to the wild card; synth master Paolo Cipolla might not have the biggest role, but his contributions are as important as any. The light touches he places so carefully throughout the album are crucial, if not completely necessary. But his command on the towering "Walden" is utterly essential. This track, more than any other on the album, speakers well beyond it's run time. The airy atmospherics, musically and vocally, are perfected here, and the band shifts their sound to a completely new level. For some, it may be hard to believe you've been listening to the same band as before; the change is a big one. It speaks to their ability to grow within the confines of an album, and each member has a hand in that. Signanini gives his best performance on both guitar and vocal, and drummer Groppi is as crisp as possible. The only failure here is that the track has to end. Back to their crushing riffs and boisterous drums, the band ends on a high note, "Holocene/Cambrian," though not as high as the note it began on. It's a more melodic take on sludge, confident and bottom heavy as it is. This is a track meant to be heard live, igniting a mosh pit and a crowd of hands in the air.

Let's revisit that not so rhetorical question; can an album give you exactly what you expected, and still be great? There are a million different answers you could give, and none of them would really affect the way you view this album. Woodwall are doing things you'll recognize, at a skill level that makes them sound as good as the first time you heard them. It's a victory that should be celebrated for it's quality, rather than whether it's shiny and new. Because even with the wear and tear on the sludge and stoner genres, there is still a lot of mileage left on those tires. More than that, though, is the notion that when you are good at something, old or new, you can make it work for you. Woodwall are doing exactly that, to a degree that should confound you. The beats are punchy, the rhythms are tight, and the vocals are a snug fit. If you're willing to take a step back and appreciate something for what it is, "WoodEmpire" is an album you'll go back to again and again. If you've evolved beyond that point where music has to be groundbreaking and innovative to give you any sort of satisfaction or enjoyment; it's going to be a lonely place to be.

8.5/10

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

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The Monarch - World Without End (EP) (2013)

It's never easy to separate inspiration from the finished product. Like the Norwegian black metal bands who stand so defiantly against the presence of Christianity in their country, we can choose to embrace or deny their motives and beliefs. But it isn't always religious and political extremism that we must separate; for those who do not belong to the church in any capacity, even something as harmless as a love of your God of choice might be difficult to swallow. And despite what stereotypes may indicate, there are a growing number of metal bands, probably in the millions, that use their love of God as inspiration for their own music. The Monarch, a one man project from Vancouver, is not one that will hide what the inspirations for the name and the music came from. Jesse Janzen has seen his work garner praise from Catholic and Atheist alike, something that should, if nothing else, prove that the power of music is a great one. On his new EP, "World Without End," Janzen offers every fan the chance to "join the waves and scream your praise." Embrace or ignore the message, the music is worth the effort.

The haunting hum of "The sky rolled back like a scroll" could never been more fitting, as if rolling back to unveil the album to come. The symbolism is not wasting here, the whine of strings calling out. But it is merely the opening, allowing "Before the Throne (a multitude without number clothed in white)" to grow right before your eyes. With each fading guitar chord and subsequent crack of cymbals, it grows. But the real surprise comes in the first explosive sludge passage, seeing Janzen scream over the top of a down tuned distorted guitar. The subtle melodies, sometimes too subtle, are coated in a thin layer of screaming guitar, hammered home with each single snare hit and plucked bass string. It's in these moments, the transitions from screams to serene that Janzen best expresses himself. His versatility, though, shines brightest on "Endless Rest," a track that rises from solemn piano keys. It's beauty is in it's unwavering simplicity, but also in the fact that is unapologetically mellow. It is the final track, however, that is the most difficult to digest. On "For a thousand years (I will lay my face on the ground before Thee)," Janzen wears his heart on his sleeve, leaving behind the understated instrumental, and crooning softly over a more progressive one. It is also here that his religious dedication comes through clearest.

We are all adults; at least that is what I would like you to believe. So, being adults, we should easily be able to separate our beliefs from music. We know that listening to black metal doesn't make you a Satanist, or listening to death metal doesn't make you a murderer. Music is art. It's with that assertion that we can enjoy what Janzen is doing with The Monarch project and name, giving us something more than the stereotypical Christian rock. Sure, a heavy dose of distortion can go a long way to mask that. But Janzen doesn't cover up his beliefs with a few extra notches of reverb, or even an extra heavy scream chorus. He lets it come through without fail, without any desire to muffle it. And if your own religious views mirror those of Janzen, that adds an extra layer to this album that you can identify with. But should you be Atheist, agnostic, Buddhist, Jewish, or any of the other religious affiliations, don't turn away from it so quickly. In the first three tracks alone, you'll find a great deal of depth. If you can put aside your own prejudices, for twenty some odd minutes, "World Without End" is worth an open mind.

6.5/10

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

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Event Relentless - Beyond The Speed Of Light (Demo) (2013)

Almost four months ago to the day, we wrote that sometimes, life just isn't fair. The talent pool is like the one you swam in at your friend's house years ago; there is a shallow end and a deep end, and rarely is it a gradual progression from one to the other. On Exthenia's debut, "Dominate The Wind," we were introduced to a group of young men whose talents run deep, and run wide. Six months into their run, and they have already joined the upper echelon of melodic death. It's with this in mind that we branch out, as rhythm guitarist and vocalist Juho Raita steps out on his own. It isn't a complete departure from his lead band, but this solo project is the sum of one man's talents, visions, and execution. For this first demo, "Beyond The Speed Of Light," Raita takes on all of the duties from start to finish, and shows that while he is part of an exceptional group, he is just as explosive on his own. Two songs may be a small sample size, but what it lacks in length, it more than makes up for in staying power.

What stands out from the onset is the focus on composition, something Raita does with delicate skill. The combination of ringing piano keys and humming synthesizers gives added depth to the main melodic death theme of "Beginning Of The End." His voice, straight from Exthenia to now, is raspy in tone, but with a knack for being as intelligible as it is fierce. Not to be forgotten, the guitars here are solid in both lead and rhythm capacities, showing that he is anything but one dimensional in his musicianship. With multiple layers coming together around the three minute mark, he creates a fairly flawless soundscape. But it is the title track that best exemplifies the versatility Raita possesses, allowing the keys and guitars to come together as one, a successful marriage of melody and majesty. Even with programmed drum beats, the pop and crack of snare and kick bursts through your speakers at just the right frequency. Would a live drummer be preferable? Of course, but what you have here is a suitable replacement, doing enough to fill what would have been a sizable void in the mix. There is plenty of fodder for hair swinging and head banging in the latter half, with bending guitar strings and some dense chugging strong enough to start a mosh pit or four.

When you have it, you just have it. Juho Raita made a statement with his work in Exthenia, a band that will go as far as they choose to; but his solo work says more about the man himself. By taking on every aspect of the production, every instrument on the demo, and every word on the page, he is investing himself in a way that many outside of the music world could fully understand. By putting so much of himself into the music he makes, he allows you, the listener, into his head, if only for the eight minutes or so the album lasts. But that few minutes is more than enough to see the bigger picture. This isn't a melodic death album, or a folk album, or a power metal album. It isn't any one or two of those things, either. It hovers somewhere in the void between all of those styles and more, bending and swaying between that shared space. Just when you think you know exactly where it's going, a punch of keyboard or a shift in riff takes you down a tangential path. Raita might not have the whole world figured out, but he knows himself well. And that is what makes "Beyond The Speed Of Light" a worthy window into his mind.

8/10

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

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