Gorath - Apokalypsis (Unveiling the Age That Is Not to Come) (2011)

 

Fifteen years ago in Belgium, a man unveiled his music. Filip Dupont launched Gorath, spreading the word of an apocalypse yet to come through a series of albums. Now, years later, four men fly the banner, warning of an imminent doom. Tying together so many styles, beats, tempos and patterns,"Apokalypsis (Unveiling the Age That Is Not to Come)" is a brutal prophecy. For when the lights fade, only darkness lies ahead.

Things launch with "Before the Throne of the Demiurge," a track that is as eclectic as you could ever find. This is more than just one style at play. There are elements of thrash, death, black metal and doom here, all intertwined into a monster. The explosion of drums and guitars is devastating. The rolling of kicks and toms shakes your speakers. A short period of quiet is obliterated by pure black metal thunder, paired with the growls and screams of a seasoned death vocalist. What better way to put the exclamation point on a hard nosed thrash exhibition that with a clean, electronic tinged guitar melody. The bass line in this section is marvelous, with that light use of drums bringing it all together. Percussion certainly gets to shine through as the vocals kick back in, with one stunning fill after another. Those vocals manage to transcend any one genre, and embrace them all at once. Incredible amounts of violent emotion, pouring through each word.

The opening of "The Seven Seals" misleads you into thinking that, once again, you are submerged in a sea of pure blackened metal. But the guitar variations tell a different tale, with chords winding up and down the scales backed by a sea of wild, lightning drums hits. The vocal patterns are varied, with screeches, growls, grunts and just plain off singing sharing time. There is an element of evil present throughout, both in the music and the vocals. Low, spoken words give way to doom growls. This is pure destruction at its core, with each instrument shaking the foundation. The precision on display is uncanny, especially within the style. A short interlude, in the form of the low rumbling noise of "The Wrath Of God" cuts the tension, and starts you anew.

Clocking in at over eight minutes, "Le Porteur de Lumière," begins with low, slow chugging guitars. But after a short passage, a blood curdling scream cuts through it all. But this is a melodic piece unlike any other you will find on this album. The eerie cold of the guitars, layered with the sizzle of cymbals is a solid three minutes of glory. Light synthesizers provide the backing, creating a dark imagery. Even as things take a decidedly heavier turn, there remains a feeling of sadness and depression. The melodies highlight the hopelessness, with each making the other more powerful. The air of loss is evident, even as the track fades to a close.

The epic "Beasts From The Earth And The Sea" is a puzzle waiting to be deciphered. The vocals that we have come to expect from the album take a break, and we are left with sludge-esque singing. Not quite a scream, not quite a discernible note, but somewhere in between. That subtle use of electronics with clean guitar returns, if only to clear your mind for the slaughter that lies ahead. Again, there are borrowed bits from all of metals subgenres, with the deathly growls taking center stage in the midsection. But the highlight of this monstrous, thirteen minute track comes later, with light ambient noise crashing into a violent burst of guitars and drums. It wouldn't be a complete stretch to say that a few minutes could have been chopped off, but the musicianship is never in question.

Another interlude track, "The Whore Of Babylon" plays through with more "oomph" than its earlier brethren. Distorted guitars actually take part, amidst the flow ambient waves. But this is just a set up for the finale, the blackened thrash of "Millennium (Thousand Years of Darkness)." The drumming is airtight, with rolls and fills played with surgical precision. While there may not be any revelations to be had on this last effort, everything is where it should be. The track is guitar driven, laying the brick and mortar for a barrage of evil growls. Compared to the rest of the album, it may even seem one dimensional, which is less of an insult to this track, and more of a compliment to the diversity of the album.

Gorath is not a band of subtle thoughts and messages. They have, after all, been proclaiming the apocalypse since the turn of the 21st century. So, to think their music would be any less bold would be pure imagination. There is simply no way to pigeon hole this album into any one, or three, genres. But if "Apokalypsis (Unveiling the Age That Is Not to Come)" is an album to signal the end of existence, then the Four Horsemen might as well be Death, Doom, Black and Thrash.

8/10

Official Site - http://www.gorath.be/

Read more ...

As Autumn Calls - An Autumn Departure (2011)

Canada can't really be all Bryan Adams and Justin Bieber.... can it? Not anymore. At the base of the new wave of Canadian metal is As Autumn Calls, a death/doom three piece from Ontario. Formed in 2005, the band have revamped their original album, titled "An Autumn Departure," and released it to the masses. With a new album in the works, this is merely an introduction to hopelessness this band has to offer. But what a cold, dark one it is.

The intro track, "Initium," gives you a glimpse into what the band is about, filling the air with soft, clean acoustic guitars. It may seem odd for a band of this style to begin with the sublime, but when the first kick drum bursts in, it all makes sense. The force behind each bass note is blinding. The song returns to the delicate beginnings, before fading to black. The true style is revealed in "Closer To Death," a song that is every bit as bleak as the title indicates. The low and slow chugging of distorted guitars underneath harsh growls is a combination we know all too well. Short melodic guitar interludes pop up, cutting the track into pieces. The contrast of dark growls and clean guitars is one that isn't used very often, but perfected here. Even as the hammer drops, and distortion returns, a hauntingly beautiful violin dominates the melody. The harmonies of guitar and violin build to a fever pitch, almost making you forget the song had vocals at all. They do return, if only to take the track home amidst distorted chugging and beautiful acoustic picking.

A short bass intro welcomes you to "The Shadows Follow." It follows the formula for good death/doom, but adds a healthy dose of melodic guitar riffs to the mix. The vocals remain impressive, destroying the old stereotype of cookie monster, barely intelligible lyrics. Even as chaos reigns, the clean vocals have their turn to shine, paired with deathly growls. Every second is used wisely, culminating in a fading screech. The melodic sensibilities are evident in "The Demons Therein," with tangled bass line and guitar plucks that result in a stirring harmony. The vocals have an air of evil and darkness, often sounding as though they are actually emanating from the deepest part of your soul. This track will stick with you for a while, haunting your dreams.

The violin and acoustic guitars take the lead on the early moments of "Wither Away," a song that has a terrifying keyboard sound backing those lead growls. Over the course of seven minutes, melodies and riffs combine into a frenzy of activity. But oh, that eerie keyboard. It leaves the imagery of some demented, evil carnival. I'll be damned if I can shake it. Things drop into a prog rock acoustic interlude, complete with clean vocals and acoustic guitars, before building back to dominance with the thunder of rolling drums. The softer touch of "In The Emptiness" is a good pallet cleanser, refreshing your ears. Light strumming and the patter of drums, lead by clean vocal passages to let you breath. Until, that is, the growling begins. A sea of bells sets the table for an unearthly trail of screams while the pace increases. A short but powerful burst.

There is more intricate guitar work found on "Without You," in the form of some darting notes and twirling riffs. The drums take a more powerful lead on this one, with snares, kicks and cymbals filling the air from all directions. Things build, with layer upon layer of distortion and reverb, until finally things stop, allowing the soft strumming of an acoustic guitar to enter. This isn't the end, but merely a clean slate to build from again. Clean vocals lead the way, on top of a smooth bass line. More traditional death/doom is on display on "Unearth My Sorrow," with that slow chugging returning. This is the track that most closely resembles the titans of the genre. This is not to say you will lose sight of who you are listening to, as they keep their own twist on the formula. The vocals remain the focal point, with deep growls sharing time with some more grating screams. Things drop off to noise, and coast to the finish.

If there is a band that would be considered "dangerous" cover, it would be none other than Katatonia. With such a magnificent catalog, you could be dooming yourself with a bad interpretation. Or it might just not live up to the original. High risk vs. high reward. As Autumn Call choose to play with fire on "Murder," a track taken from "Brave Murder Day." Good choice, and well executed. It won't soon replace the original in anyone's mind, but a worthy effort. The title track and album finale are one in the same, with "An Autumn Departure" tying things up in a neat little bow. It brings things full circle, returning to the first track in its formula. Things begin soft, with clean guitars. Delicate spoken words enter, setting the scene for distortion and intense drums to complete the story.

In a clouded genre like death/doom, the trap is always set. Bands try to mirror the sound of those who came before, rather than staying true to what their music entails. As Autumn Call have sidestepped the iron jaws, and veered off on their own. The liberal use of acoustic guitars on an album of this nature may seem odd at first, but it only manages to further the sound. One of the keys to this style of music is the creation of contrast. And on "An Autumn Departure," it truly is as simple as black and white.

8.5/10

Official Site - http://www.asautumncalls.com/
Myspace - http://www.myspace.com/asautumncalls

Read more ...

Sad Alice Said - Clock Of Eternity (EP) (2011)

Stepping into the world of gothic metal comes a female fronted band called Sad Alice Said. They are from the Ukraine and consist of a total of 7 musicians. Besides your average bass, guitars, drums, and vocals, they also have someone on the keys and viola as well. They have recently released a new EP, entitled "Clock Of Eternity." The music is absolutely beautiful. You can hear so much emotion from Alisa Shakor, the lead vocalist, as she swings from high notes to lower octaves with her angelic voice and deep lyrics.

The first song on the EP is "Clock Of Eternity" which begins with soothing string synths covered with reverse reverb giving an interesting and futuristic feel to the music. Soft drums enter as Shakor starts with the verse. As it builds to the chorus, heavily distorted guitars come in chugging away slowly in the background. The refrain has got some double bass pedal drumming that will have you bobbing your head immediately. As the vocals fly over the instruments, the guitars become more aggressive as the riffs pick up in speed and add more detail in the patterns. Gorgeous piano riffs follow and fill in between the chorus and the next verse. The piano also comes back towards the end as you hear a soothing solo with ripping guitar riffs behind it. "Tomb-like Silence" is the next track to follow. The piano is constantly running through the background with soft riffs as guitars jump in and out throughout the song. Shakor delivers amazing clean vocals that will send a chill down your spine. The harmonization during the refrain is terrific and well performed. In between verses come some melodic riffs shared between the guitars and the piano giving an aggressive yet calm sound. Definitely check this track out.

"The Son Of Nightmare And Pain" jumps right into the verse as guitars are blaring and double bass drumming jumps in and out behind them. The vocals pull you in as you are hypnotized by the passionate lyrics and Shakors ravishing voice. The viola takes over in the middle of the song carrying you deeper into the music. The chorus is ridiculous catchy as you will find yourself singing along the entire time. This fades right into "Door In Autumn." This six and a half minute masterpiece is loaded with melodic piano riffs and harsh guitars. The verses have heavy chugging riffs layered with soothing vocals on top. The song structure is great the way it constantly changes tempo and gets heavier and softer in different parts of the track. The instruments are very well balanced giving the spotlight to each band member at different times. Later enters a wild guitar solo that really lights up the song with its electrifying melodies and notes. The viola towards the end gives such an emotional sound and almost sounds as if it was crying.

The final track on the EP is "Open Your Eyes." The piano melodies are astonishing and very catchy. Basic kick and snare drums kick in when the verse beginnings. Here you are surrounded by piano and viola riffs. The chorus comes in strong with gorgeous vocals that soar high over the distorted guitars and rumbling drums. Shakor really shows off her reach in pitch in this one. Later on comes another incredible guitar solo that flies by towards the end of the song striking each note perfectly.

At such a young stage of their career, Sad Alice Said have proven that they have a lot to offer. "Clock Of Eternity" has so much potential both lyrically and musically. The recording quality was well done and the mix sounded great. This is definitely a band you need to keep an eye on. In the meantime pick up the EP and enjoy.

8/10

Myspace - http://www.myspace.com/aiwband

Read more ...

Brymir - Breathe Fire To The Sun (2011)

So often, the combination of youthful energy and endless ambition leads to watered down nonsense, miles apart from the initial vision. In the case of this Finnish six piece, the final product is one with the dream. What began as a fun project, evolved into something as massive as it is affirming. For on one disc, one piece of plastic, Brymir ask you to breathe fire into our dying sun.

From the opening track, the orchestral introduction, straight into "Unconquerable," Brymir show that their style is the proverbial "melting pot." Elements of folk guitars, the keyboards of power metal, and vocals that share the grit of pagan or viking metal with the vocal melodies of symphonic metal are all brought together in an astounding end result. The song manages to be heavy, but not overbearing, with the drums being played at lightning speeds.

"In Silence" is a victory of epic proportions. The woodwind opening, building into a masterful drum beat, culminated by horns and the intertwined guitar riffs is unreal. The lyrical content and concept is awe-inspiring, asking the rhetorical question of life's purpose. Every moment captivates your ears, through the fading distortion, directly into "Free Man's Path." The opening pipes will come as no surprise by now, but that doesn't make them any less powerful. The guitars are fast and furious, in both verse and solo form, with well placed horn arrangements providing the perfect counterpoint.

Speed is the name of the game in "Burning Within," a track as satisfying as it is fast. Track length provides no handicap, however, as the band manages to incorporate limitless instrumentation and depth into three glorious minutes. "Withering Past" is a symphony of aggression in all facets. Blazing guitar solos and the coarse angst of the vocals are merely players on a larger stage of strings, horns and drums. Even a brief piano piece adds layer after layer to the work. The pounding march of "Cycle Of Flame" is fuel for the flame of life, urging us to move forward in our quest. Dueling distorted guitars play perfectly off of drum blasts and the backing of triumphant horns.

Brymir continue the symphonic assault, with an assist from Mahi of pagan metal juggernaut Ensiferum, who contributed to epic choir vocals on "Ragnarok." Guitar work is at its peak here, with solos that must be heard. The track slows to a conclusion, horns providing emphasis. After a build up of synths and keys, "Retribution" assaults you with overwhelming vigor. The guitar stomp is punctuated with airy vocals, desperate to be heard. The epic conclusion to this journey comes in the form of the eight minute cry for help, titled "Breathe Fire To The Sun." Atmospheric, melodic, and yet somehow boundlessly aggressive, it is the punctuation at the end of the most powerful speech.

Ambition is not the enemy. At least not in the case of this work of modern metal brilliance. They have assembled a message that is as righteous and empowering as the music they have set it to. Brymir reignited the flame, both in the figurative and the literal. And I have a feeling it won't go dim again.

9.5/10

Official Site - http://www.brymir.com/
Myspace - http://www.myspace.com/brymir

Read more ...

Vyrion - Vyrion (2011)

Stirring up an interesting twist of progressive metal and black metal, Vyrion gets the job done. The Australian four piece performs with fierce melodies and heavy drum patterns. They have recently released their new self-titled album through Rockdale Recordings which I must say, the quality is pretty well done. This isn't one of those black metal bands that use raw recordings to create their image but instead deliver a mixture a vicious vocals and demonic chords.

The 30 second intro to the album contains gorgeous yet depressive piano riffs as rain sound effects fall in the background. This leads right into "Ever Rising Platform" which starts off loud distorted guitar riffs at a slow pace with booming drums. The first verse opens with harsh yelling vocals with similar tones to Troy Sanders of Mastodon. About a minute in the vocals change to devilish black metal growling that are delivered with perfection. The guitars stay screeching throughout the song while non stop snares and cymbals shatter behind them. This is definitely one of those tracks that will have you bobbing your head and throwing up the devil horns.

The next track, "Mortal Flame," comes flying in with hell raising guitars and violent drums. The wretched screeching riffs go along perfect with the lead vocalist, Dale J. Williams, as he delivers evil screams and low muddy growls in the verses. There is also some aggressive clean singing in the middle of the song giving a different tone to the music. Later follows a wicked guitar solo that destroys the musical scales as cymbals crash recklessly in the background. The echoing growl at the end is insane and will completely knock you on your ass. The performance is absolutely incredible.

"Winter Vector" starts off with some catchy guitar riffs that'll have your head bashing immediately. More demonic growling enters in the verses while the drums pound away in the background with crazy detailed fills. The refrain has some clean sing that is layered with the dark growling at the same time creating an eerie and catchy sound. The second verse gets a little more quiet as the instruments drop and all you here is angry lyrics that start out low and get louder as the guitars eventual fade back in. These guitars are, of course, combined with relentless drumming and heavy bass lines.

Later in the album you'll come across "The Decision" which has some amazing song structure as you'll find everything from destructive breakdowns to soft eerie guitar riffs with dark haunting vocals on top of them. The black metal tones come right back in with more wicked screaming. The guitar work is amazing as it provides dark devilish riffs but also include a sense of beauty in some of their notes. Meanwhile the drums are rumbling on and on with rapid double bass pedaling and snapping snares.

For a young black metal band just starting to stand on there feet, Vyrion has some impressive sounds to offer. The album is very diverse both instrumentally and vocally. The change from evil screaming to low wicked growling along with some clean singing keeps you hooked through each track as you're waiting for what is coming next. Definitely check these guys out if you're looking for some solid black metal music.

8/10

Official Site - http://www.vyrion.com/
Myspace - http://www.myspace.com/vyrion

Read more ...

The 10 New Artists You Need To Hear

After six months of writing for Sorrow Eternal, Hell22 and Murmaider have come across some amazing new bands. These new groups are the future of metal, so it was important for the guys to reiterate how great they are. Get on board now, because we truly believe each and every one of these bands are going to be huge. After the jump, find the lists and reviews for each of the bands mentioned.

Murmaider's List

Tersivel (Review)
Ghost Brigade (Review)
Black Sun Aeon (Review)
Skogen (Review) (Interview)
Hinsidig (Review)

Hell22's List

Brymir (Review)
Infinita Symphonia (Review)
Project Masquerade (Review)
Kromlek (Review)
Arafel (Review) (Interview)


Download it here.

Read more ...

Echoterra: The Interview

We are honored and delighted to have Melissa and Yan sit down to answer some questions about Echoterra, "The Land Of The Midnight Sun," and all sorts of music related thoughts!

Land Of The Midnight Sun, available on October 17, 2011! Check it out!

Or download the audio here.

Read more ...