An Autumn For Crippled Children - Only The Ocean Knows (2012)

So much can be made of the word "experimental" being tacked on to any subgenre of metal. It doesn't always make it new and exciting, nor is it indicative of what the band is trying to do. What it is, rather, is a way of something that they don't want to be like everyone else. An Autumn For Crippled Children, a melodic black metal band from the Netherlands, is a prime example of how experimentation and creativity can reap huge benefits. Rather than sit back and play generic songs day in and day out, this three pieces has refined their sound, and taken things in a different direction. On "Only The Ocean Knows," their third album in three years, they look to take another step out of the shadows, and into the light; both literally and figuratively.

The lead off track, "Past Tense," is the band at their best. They waste no time building an atmospheric haze around you, through the use of airy guitar chords and a bevy of percussion. The entire sound is bolstered by the fact that they have left the mix slightly rough around the edges, creating peaks and valleys in the production. There is a conflicting set of moods at play here, which only make the track more enjoyable. The air of happiness in the bass line is countered so sharply by the coarse vocals. Even the outro portion, strengthened by a sliding, high pitched guitars and a wild set of double kicks, is well conceived in its contrast. The foundation having been set, tracks like "Yes I Know…Love and Death…Always" are the perfectly evolution for the band, without leaving behind everything you know about their sound. The muddled recording does hurt at times, and the keyboard element that works so well here and there suffers as a result. But for every moment where things become too cloudy, they return to form almost as quickly. With softer moments built in to each piece, you have a constant give and take for light and dark.

Never short on style, tracks like "This Garden These Trees" remind us of how eclectic black metal and bands of that ilk can be. With a strong melody and wandering strings accompanying the always busy drum patterns, you have a marriage of beauty and beast that lingers. This is the delicate side of things, building something that is both imaginative and strong. The same themes run through the haunting intro to "In February," a slow, cold opening to a track that cold fit perfectly into a snow storm. It is the vocals that remain raw here, as the instrumental takes a decidedly more complex and rich tone. Whether it is the constant note that lingers behind it all, or the softly strummed clean chords, there is something deeper going on here. As a result, you get something that may sit atop their catalog. Completing a strong trio of songs, the title track is equally as impressive. Keyboards star here, setting a mood that may actually induce a sway out of you. In that signature light and shadow way, they manage to take an instrumental that might warrant a lighter or two, and pair it with a vocal that sounds as though it was retrieved from the pits of hell. This melodic take on black metal suits them well, especially with subtle electronic touches scattered in the latter stages.

If the weather outside of your window mirrors "The First Snow This Year," you should consider yourself lucky. It is staggering how perfectly the band has captured that event in sonic form. It is an effort that deserves a visual companion; one that is elevated by that element. It's as if you can separate the two pieces, vocal and musical, into two distinct elements of the storm. The light guitars and pattering of drums are the snowflakes, falling gently in the wind. The vocal, harsh and raspy, as the chilling wind that blows. With a much more clean approach, "Uncureable" is probably the most exciting track on the album for most metal fans. The tempo has increased, thanks to some intricate played drums, and the light and dark have come together to form a shaded area. It would be like taking the art rock styles of dredg, and infusing Burzum vocals into it all. For a more trippy effect, take the five minute finale, "The Rising Tide." With the synthesizers taking a more front and center role, their effect is felt early and often. Their power can be felt in each movement of the song, coating the entire mix with something more sublime than before.

Watching the evolution of a band over the course of their career is something more people should appreciate, rather than condemn. With this, their third album in three years, An Autumn For Crippled Children have taken the next logical step in their development. By adding in that extra layer of melody, whether through the use of electronics, keyboards, or just simple guitar notes, they have reinforced everything that makes them strong. This is the same band that we heard on "Lost" and "Everything," but with a sense of maturity and intelligence that has developed along with them. In a genre crowded with people doing the same old thing, it is nice to see a band stepping out of that mold and giving us all a taste of where they've been, and where they are going. I suppose "Only The Ocean Knows" is where we go from here.

8.5/10

Facebook - http://www.facebook.com/pages/An-Autumn-For-Crippled-Children/108017119243983

Read more ...

Weekly Rant 12/30/12: Return of the podcast?

As we put the year 2012 to bed, it would seem an appropriate time to start anew. After nearly three months away from the mic, Darrell returns with a message about the year that has gone by, the year that lies ahead, and Sorrow Eternal as it stands before you today.

Read more ...

Systems - Terrasomnium (EP) (2012)

Ideas for a band: take a bunch of buzz terms, ones that are edgy and increasingly popular, and throw them together to form a new genre that no one would expect. Then, put together a spacey, "progressive" piece of album artwork, to show that you are thinking beyond your peers, and doing something "out there" and unheard of. But here is the kicker... none of it makes any sense, musically or otherwise. So things go in the realm of Systems, a band that describes their sound as "technical non-diatonic progressive jazz metal," which means absolutely nothing, as far as the ear can tell. Instead, what you are subjected to is five tracks of sloppy djent with no logical beginning, middle, or end. It is hard to imagine "Terrasomnium" as anything more than a cruel joke.

The cruelest twist of all is what starts the album. The opening guitar work on "Eclipses of the Sun and Moon" leads you to believe you may be witnessing the second coming of Animals As Leaders, or another instrumental juggernaut. But very quickly, any technical prowess is vacated in favor of a mish mosh of double kick drums and wild screaming that are both unintelligible and flat. There is no cohesion between the layers, which leaves you thinking each band member is playing a different song entirely. When the vocals drop out and leave the bulk of the load to the guitars, there are flashes of a band with a vision. But for every ten seconds of well conceived instrumental, there are twice as many moments of expired riffs. The two minute track known as "Form Wave" is the biggest dud on the album, finding itself lost in a haze of recycled drum beats and screeching vocals that would even make raw black metal singers cringe. With limited use of stop/start dynamics, you are left more confused than entertained, as you have five or six different movements in a short span.

That same lack of direction haunts "Lucid Dreams," which openly explores the more metalcore based sounds and tones that so many would steer clear of. Far too often here there are moments of "look what I can do" guitar pieces that add nothing to the track. If anything, they cut the momentum in half each time. And for a song that lacks any sort of flow, that is a deadly game of cat and mouse. If by the opening drum fills on "Mystheria" you haven't managed to steady yourself enough to press the stop button, you may actually feel as though you are being rewarded, although briefly. For a period of thirty seconds, right around the one minute mark, you are shown the ability to actually hold a melody together. It is fleeting, however, with some dense chugging crushing any hope of an expanded mix. An as strong as that half minute was, the same time frame, cut from the end of the track, is equally damaging. As the closing track, the four minute title track, comes into frame, you can at least be happy that the end is near. And in the typical, and ever popular "full circle" fashion, you are treated to a series of tempo changes and wild double kick segments that remind you of where you started some 19 minutes ago. Little has changed in that time frame, except your patience. It ends where it began, with some impressive guitar work that simply goes nowhere.

It is perfectly fine to want to deviate from the norm and do your own thing. I think we can all fully support that idea. But the recent trend of throwing every genre tag imaginable onto a page and saying that you embody all of these things is just nonsensical. Systems have done exactly that, piecing together several words that, without the ability to back them up, mean nothing. If you take the music for what it is, you have a derivative of a derivative, a copy of a copy, a FLAC rip of a 192 kbps stream. What you find on "Terrasomnium" has nothing to do with being progressive or jazz, nor does it have any basis in being technical. Sometimes it is better to just be what you are, and say what you mean. This four piece might even see a better response if they label themselves accordingly: djentcore.

3/10

Bandcamp - http://systemsofficial.bandcamp.com/
Facebook - http://www.facebook.com/systemssound

Read more ...

Oakenshield - Legacy (2012)

Having taken four years to write, record and complete his latest album, Ben Corkhill exhibits tremendous amounts of patience in his music. Oakenshield, the moniker for his folk project, is as much about the journey as it is about the end point. So when it came time to piece together the follow up to the 2008 debut, "Gylfaginning," Corkhill was in no rush to get things done. The result is a positive step, a more massive sounding album, rich with synthesizers, flutes, horns, and strings. And by reducing the run time of the album from its predecessor, it feels more compact and full. But when you are the one and only member of a band with this sort of reach, the difficulties are many, and high risk. And while "Legacy" is an experience to be had, it may be a long one to get through.

What you may not expect, given the rash of generic folk bands flooding the market, is the sprawling soundscapes of "Northreyjar." Rich with symphonics and folk inspirations, this four minute intro is one you won't soon forget. In creates a stunning piece of scenery for the album, with horns and the tickles of bells gently ringing through your speakers. The same sense of delicacy is shared but not furthered on "Earl Thorfinn." The use of strings and whistles is excellent, but does leave the guitars feeling somewhat flat at times. There is a heavy reliance on synthesizers to keep the mix afloat, something they do well. The main vocal can come off as stilted, leaning towards a coarse speech more than a cohesive singing. But the true star is the instrumental, bolstered by a host of traditional instruments and chanting backing vocals. While the beats may be basic and lacking in lateral movement, they are executed at a high level. The outro portion is the perfect cross section of the track, giving you a clear sense of the talent at play.

Leaning more to the grandiose on the opening to "Jorvik," Corkhill takes a small step out of his comfort zone, successfully. Taken as parts, there is no one element that could carry the track. But as they come together, each layer becomes exponentially more powerful. Whether it is the light flutes or the multiple voices that chant behind it all, everything comes together in a raspy, distorted harmony. It is when all of these individual sounds are layered atop one another that the mix sounds complete, once again illustrated in the latter stages. If there is one track that stands apart from the rest, it is the more atmospheric "Mannin Veen," where the guitar work becomes more intricate, strengthening the entire production. With no vocal present, it allows every instrument to be heard in full glory, resulting in an overwhelmingly beautiful offering. Furthering that melodic sensibilities, a clean, acoustic guitar takes the reins on the intro to "Wen Heath," invited the others to join in the lighthearted tune. Having now found the balance between light and dark, the vocals rejoin the fray, this time finding a more stable place in the pecking order. It is the violin melody that rings triumphantly throughout the track, carrying the rest of the instruments on the flowing and fluttering notes.

With the addition of a clean vocal chorus on "Clontarf," Corkhill has now pushed himself to his limits, finding a home between the heavier segments and the dance inspiring interludes. There are some aggressive passages to be found here, most notably at the midway point where fun folk meets symphonic black metal in a head on collision. The contrast does wonders for the track as a whole, setting up a flute and whistle powered outro. But as the far reaching "Eternal As The Earth" fades in, you are left to wonder what else he has to offer. Having exhausted the same basic drum patterns throughout, it is left to the strings and winds to carve yet another melodic flourish to move things along. And while they prove to be capable time and time again, it begins to spread their impact thin across the next six minutes. And it seems to be a shame to save the best for last, something that is arguably the case here, as the nine minute epic "The Raven Banner" exhibits all of the strongest elements that Corkhill has up his sleeve. And even though you have heard all of these pieces scattered here and there, they come together in a more profound way. Yes, the run time may come to weigh on your mind about six minutes in, but the finish line is well worth the time of the race.

Perhaps more than any other subgenre of metal, folk relies most on the use of balance to keep the listener focused. And it is in this quest of an even mix that so many bands fail, leaning too much to one side or the other to keep their fans, or new listeners, happy. For Oakenshield, Ben Corkhill finds himself teetering on the brink of collapse at several keys moments, but manages to stave off disaster. At times, he relies on the violin and flute to pull too much of the weight, which reduces their impact in the long run. At other junctures, those touches are non existent, creating a stale mix, lacking energy. And while he always finds his way back to the path, he is one wrong turn away from "Legacy" getting lost in the forest.

6/10

Official Site - http://www.oakenshield.org/
Facebook - http://www.facebook.com/oakenshielduk

Read more ...

Playlist 12/25/12: We wish you a metal Christmas...

December 25, 2012

Do I really need to say more? No tracklist, no bullshit. For those of you who celebrate it, have a Merry Christmas. For those who don't celebrate it, ain't Tuesday grand?

Read more ...

From Beyond - The Color Out Of Space (EP) (2012)

It seems so wrong that some of the best bands are also some of the most prolific. Not only do they take more than their fair share from the talent pool, but they manage to continually churn out new and excellent material every few months. When From Beyond released their first offering midway through this year, it quickly became a favorite of fans and critics alike. Only six months later, then, how is it that they have met, nay, exceeded expectations with their second release, the four track, thirty minute mind trip known as "The Color Out Of Space"? Is it possible that somewhere in a cave in Houston, these three individuals are spinning witches brew in a cauldron? Or is this merely a reason for us to eb thankful the world hasn't ended? Either way, mission accomplished.

Picking up right where their groove trip left off, the opening riff on "Hexagram" is enough to get the blood flowing. The down home, southern blues tones are omnipresent, giving the entire mix a special depth. It is in all of the small touches that the track finds its strength, though, with every light tapping of a cymbal ringing true to your ears. And as things progress, the slow paced, soulful vocal delivery gives way to a higher tempo instrumental, led by a tremendous bass line and some o the more intricately conceived fretwork the band has to offer. Without belaboring a point, it is hard to truly capture how important drummer Dick Beeman's contributions are to every track. His booming kick has a sound that simply elevates everything around it, something that is as plain as the nose on your face on "At Midnight (I'll Steal Your Soul)." With a catchy hook to solidify the track, the band can go off on tangents without ever straying completely from the path. As the track bend and sways, it evolves into a complex piece of psychedelia, anchored by a constant bass presence. The overall atmospheric quality here would stand on its own, but a sinister laugh to end the track will certainly stay with you for some time.

With an intro that sounds like the classic "big finish" of a live show, "The Dead Still Ride" is a huge departure from the previous two tracks, going for an upbeat assault on your senses. In the high energy three minutes, the band bring a smooth intensity to their sound, maintaining their restrained but unbridled passion for heavy grooves. But following such a short, sweet track is a monster lurking. The nearly fifteen minute title track is a massive undertaking in and of itself. With an opening drum beat that may have you thinking an "Iron Man" cover is emerging, this is the true psychedelic doom material you may have closely associated with this three piece. All of the tiny imperfections in the mix form a beautifully flawed mass, one that suits the band and the track to perfection. By no means in this an indictment of the musicianship, or suggesting in any way that the cloudiness of the production is masking anything; instead, it helps to spotlight exactly how detailed and minute some of the pieces can be. So much so, in fact, that when the track completely fades out and leaves Beeman and company to rebuild from scratch, you get a chance to fully appreciated every level, every layer of instrumentation and distortion. It's like seeing all the ingredients come together before you can eat the cake.

When the Mayan calendar predicted our doom on December 21, 2012, they couldn't possibly have known that they would be depriving us of the wonders of a new From Beyond EP. I would go as far as to say this disc may have staved off the end of the world with its profound psychedelic grooves and heavy, doomed inspired guitars. They stay true to those who came before, while still putting a progressive, modern spin on the formula. Every element is as important as the others, which creates a delicate balance each and every step of the way. Even more impressive, though, is the versatility on display here. With great musical talent, brilliant songwriting, and an ability to change and adapt, it would seem that From Beyond will be keeping the world spinning for a long time to come. Take that, Mayans.

9/10

Bandcamp - http://musicfrombeyond.bandcamp.com/
Facebook - http://www.facebook.com/FromBeyondBand

Read more ...

Top 10 Albums of 2012

The best of the best. The cream of the crop. Narrowed down from the thousands of albums that came out this year, this list is a summation of the best that 2012 had to offer. Remember, it isn't all about having the best review score. This is based on pure enjoyment, how long the disc stayed in rotation, and the staying power each album possesses. From all over the globe, there are the ten best metal albums of 2012.

10. Dämmerfarben - Herbstpfad
It isn't common for a band to scar you with harsh blackened tones, then gently stroke your hair with soothing acoustics. But that is exactly what this German three piece does track in, and track out on their latest album, "Herbstpfad." In a mere fifteen months, they rounded out not only their lineup, but their sound. The imagery that springs out of your speakers will take you on a journey of your own, one that you won't soon forget. Somewhere along the way, stop for a second and enjoy it.

9. Thy Majestie - ShiHuangDi
When you launch a series of massive concept albums, there can be not a trace of fear in you. For founding guitarist Claudio DiPrima, the sprawling soundscapes have managed to capture the emotion and scope of history itself. This time tackling the tale of the first emperor of a united China, this Italian power metal outfit outdoes themselves once again. Rich symphonics and ethnic instrumentation heighten the experience and transport you to another time and place. This may very well be their best work yet.

8. Katatonia - Dead End Kings
It didn't happen on the first listen. Or even the second. But by the time you get through "Dead End Kings" a handful of times, something clicks. This isn't the Katatonia of 15 years ago, or even the same band you heard on the last few albums; instead, it is an evolution of a band that has the potential to go on for decades to come. By infusing an extra does of melody, as they do on "The One You Are Looking For Is Not Here," and allowing the thundering drums to lead the parade, they take another step toward metal immortality.

7. Elvenking - Era
If you had told us that an Elvenking album would be making our Top 10 list this year, we would have accused you of taking hardcore drugs, and then ridiculed you for days afterwards. But here we are, with "Era" proving that the godfathers of folk infused power metal still have their best days ahead of them. They returned to form, after the off the mark 2010 offering "Red Silent Tides," and delivered one of the most inspiring and accessible albums in their catalog. Not sold? Hit play on "The Loser" and relax.

6. Swallow The Sun - Emerald Forest And The Blackbird
You always know what you are going to get from Swallow The Sun. Or at least we always thought so. But on this new album, one of our favorite Finnish exports took a turn and delivered something wholly unexpected. Melodic, yet melancholic; Explosive, yet subtle. Every track is constructed on a bed of huge guitar sounds, and a drum tone that shakes you to your core. From the opening track to the fourth part of the "Horror" series, "Labyrinth Of London," this is an album that is not only one of the best of the year, but one of the best death/doom albums you may ever find.

5. Atoma - Skylight
We have long studied the marriage between metal and other sounds, and have discovered varying results along the way. But it wasn't until we first heard the tracks on "Skylight" that it truly became a match made in heaven. With the sparing use of growls, and a sweeping atmospheric element, frontman Ehsan Kalantarpour is key in forming the towering wall of sound that buzzes from your speaker of choice. An adventure to that begins with the albums artwork, and ends with clouded distortion is one that will surely stand the test of time.

4. Malnatt - Principia Discordia
Not to be confused with the Neo Nazi punk group from neighboring Milan, Bolognese avant black metal band Malnatt have put their stamp all over the global metal scene. Taking a subgenre and flipping it upside down with the use of accordion and poetry, this four piece is changing the way we perceive their work. Crystal clear production values may help to elevate the instrumentals, but it is the musicianship itself that makes "Principia Discordia" the revelation that it truly is. Humor and melody never sounded so good.

3. Baroness - Yellow & Green
Coming from a band not known for their intricacies, the double disc set known as "Yellow & Green" was a welcomed surprise this year. Stunning acoustic arrangements, perfectly constructed rhythms, and vocals that are as rich as they are honest, the men of Baroness opened the eyes of many. Whether you prefer "Take My Bones Away" more than you do "Board Up The House," does not matter. Two discs, one theme, all memorable. Prepare yourself; the "Baroness is my new favorite band" posts are coming.

2. Wintersun - Time I
Only Axl Rose can truly appreciate the length of the journey, he might not understand the final result. With this album eight years in the making, the members of Wintersun poured every ounce of themselves into the larger than life production of "Time I," resulting in one of the most epic and awe inspiring pieces in recent memory. They take the entire symphonic metal genre to a new level, creating orchestral pieces that would be just as well received in one of the worlds many opera houses as they would in an outdoor festival. With the rumored second part already finished, we may have only just begun.

1. Brendon Small's Galaktikon - Brendon Small's Galaktikon
For weeks before it's release, we heard all about the "high stakes intergalactic" thrill ride that would become Brendon Small's Galaktikon. We met this news with equal parts worry and hope. Sure, there was a distinct possibility that this would just be a derivative of Dethklok, Small's death metal pride and joy. After all, the band chemistry would be the same, as Bryan Beller and Gene Hoglan reprised their roles as Small's backing band. But instead, we got an album that was better than advertised, and even exceeded all expectation. Combining Hoglan's signature gallops with Beller's knack for smooth, rumbling bass lines, Small created something different; in place of the guttural growls of Nathan Explosion, you find clean, melodic vocal lines. By the time you are three tracks deep, particularly in the middle of "Prophecy Of The Laser Witch" and "Beastblade," you will be sold. Fans of Dethklok will enjoy everything they find here. But even more than that, Dethklok's detractors might just be won over with this display of creativity and manual dexterity.

Read more ...