Projected Twin - Earth Vs. World (2013)

This is the second album from Projected Twin, the brainchild of Adelaide local Shaun Holton. Following on from the similarly titled, self-produced debut Earth to World, Earth vs World was made possible by the increasingly successful Pledge Music organization. For those unfamiliar, Pledge and similar organizations take donations towards the cost of recording upcoming albums and, in a nutshell, donators are essentially paying for their copy of the record before it's even produced. It's a brilliant concept and many artists are now following this path including Ben Folds.

But never mind about jolly old Ben for now. Projected Twin is the focus here, and more specifically, Earth vs World. Kicking off with a chiming guitar intro, the opening track "You Threw the Stone" is a lilting piece of calming melancholia that gives glimpses of Holton's guitar prowess and powerful singing voice. In a way, this track lulls the listener into a false sense of security, as the second track "The Ritual" crashes to life with heavily distorted guitars, thumping bass and drums and eerie choral vocals that lend it a rather epic weight. On the first listen, I was like "What the hell? That first track was so pleasant!", but rather than being issonant and spiky, this track (while a surprise after its floaty predecessor) gives the listener a shot of adrenaline and rams home the point that Earth vs World has more than ethereal niceness. It has balls. It has eclecticism, and it has drive and vision. There's far more to this track (and its parent album) than mere heaviness though. It's a ten minute tour de force that draws on metal, folk, prog-rock and pop sounds, and it ends with a soaring crescendo that leaves you breathless . Despite the track's myriad influences, there's no frantic genre hopping. All the different styles segue into one another with taste and precision. This track is really quite indicative of the album as a whole. Even though there are heavy moments, there's no way you'd call it a metal album. Nor it is a pop album, despite the melodic and structural sensibility. It's a rock album. Hard rock, folk rock, pop rock, prog rock, whatever....in fact it's all of the above.

There is a real depth and bravery to Holton's songwriting. While much of it is accessible and will undoubtedly appeal to a mainstream audience, he's clearly following his own musical vision and is unafraid to experiment with different styles, rhythms and instrumentation. "Divine Intervention" (not the Slayer album, relax) features a surprising....and surprisingly effective trombone part interwoven with the chugging guitars. "Sirens" is also noteworthy, not only because of its rhythmic complexity, but also because it features the lovely lead vocals of Ms Cat Johns. It almost sounds like Radiohead if they were fronted by Beth Orton!

Speaking of Radiohead, fans of the same and indeed fans of any epic progressive music will enjoy this record. There are elements of Tool, Cog, Karnivool, Opeth and, dare I say it, even Pink Floyd present here. Reading through that list may make some of you think that this is mere art-rock wankery. It most certainly is not! As mentioned earlier, there are plenty of quieter and poppier moments to suit less experimental tastes.

Holton's voice is very impressive for the most part, and this brings me to the only downside of this album. There's obvious autotune on the lead vocals (unless Holton is the best rock vocalist since Freddy Mercury) and the production, while sufficiently clear and weighty, is very slick and polished. It almost sounds like it's coming out of an FM radio already! Wait! Before you PT fans crucify me for my insolence, the fault lies not with the album's personnel, but with the status quo of the music industry and what albums are "supposed" to  sound like. Even though it's a little clinical for my tastes, the average listener won't be concerned with the autotune or the production, and nor should they be as there are far too many positives to this release for anyone to be bothered about dwelling on such drudgery.

The instrumental performances are exemplary. Luke Whelan's drumming is powerful yet tasteful and Chris Lau's bass playing is simply monolithic! Holton and Lau share the guitar duties and there are some great riffs, solos and harmonized parts. These elements would be good enough on their own, but add the trombone, keys and Holton & John's effusive vocals and you have an album that is quite special. On the subject of guitars, the album was exclusively recorded using Adelaide guitar manufacturer Lauda Guitars' instruments and it's great to see local artists and manufacturers supporting each other. The two real standout tracks are "The Ritual" and "Sirens" for the reasons I mentioned earlier, but the rest of the tracks stack up extremely well and the record works seamlessly as a single entity.

To use a tired and hackneyed cliche, I wouldn't be surprised if Projected Twin is "the next big thing" in Australian music and it's perfectly poised to fill the gap left by the now defunct Cog. Fans of prog-rock, metal, pop or just any good music whatsoever, I urge you to check out Earth vs World. While it's a little shiny and ever so slightly meek in parts, it's a mightily impressive effort for what is essentially a self produced record. Highly recommended!

7.5/10

-Stewart Hall

Official Site - http://www.projectedtwin.com/
Facebook - http://www.facebook.com/projectedtwin

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Philip H. Anselmo & Warbeast - War of the Gargantuas (Split) (2013)

Have you ever looked at Bigfoot, and thought that he looked kind of familiar? One look at his likeness on the cover of "War of the Gargantuas," and his face may seem oddly so. Whether or not he is, in fact, the fabled Sasquatch aside, Philip Anselmo of Down, Pantera, Superjoint Ritual fame is posied to release his first solo album ever. And while these tracks won't be found on that disc or anything other, it was a prime opportunity to show off before the time comes. Paired with him this time around are Texas based thrashers Warbeast who, for their own part, have built quite the following since the release of their debut album in 2010. With two tracks from each gracing this disc, the drool might start to roll down your chin, in anticipation of what both parties have coming down the pike.

Anselmo brings his signature voice immediately on "Conflict," with help from his backing band, The Illegals. But more than that, it sees him tread new ground musically. The southern grooves that he had become known for get moved to the back burner. Instead, you have an all out thrashing affair in the short term, a unbridled aggression that he has yet to front. With top notch guitar work all throughout the track, it is a treat to hear contrasting styles come together this way. Each verse sees high speed, looping riffs; the chorus and bridge sections take the tempo down, and lean heavily on massive distorted riffs. And while his second track, "Family, 'Friends', and Associates" is not as overly beastly, it sees Anselmo more in the comfort zone we have grown to know of him. The work of his band, with Jose Manuel Gonzales at the drum, deserves boat loads of praise, delivering on every level. The only drawback here is the length of the track, clocking in at only three and a half minutes. With a mix this packed, it would seem like a five minute run might suit it better.

For their part, Warbeast bring a massive amount of distortion to the party on their two tracks. "Birth Of A Psycho," a tell tale track title, is a thrash masterpiece. The sheer speed and precision of the guitar work is enough to convert a lot of fans. With the vocal delivery coming through raw and unrefined, it is easy to find yourself focused more on the instrumental. But don't lose track of the big picture, because everything has a place here. Guitarist Scott Shelby is a bonafide virtuoso in his own right, with his riffs coming at break neck speed. And while "IT" is more of the same, it is not to be ignored. The breakdown section here steals the spotlight, giving you some of the most intensely heavy, but technically sound, guitar work that will ever grace a thrash track.

With both bands looking forward to the release of their respective albums, a split of this nature is an appetizer before the main meal. For Anselmo, he considers these two songs to be "Tame" as compared to what the first solo album of his 30 year career will bring. And while “Walk Through Exits Only” has been pushed back to an early summer release, this should be enough to wet your whistle until then. For Warbeast, you know exactly what to expect from their sophomore effort, titled "Destroy," when it sees the light of day in March: unrestrained, deranged riffs with a side of blissful devastation. If their efforts here are any indication, they might be the cause of the next great natural disaster.

8/10

Philip H. Anselmo
Official Site - http://www.philanselmo.com/
Facebook - http://www.facebook.com/philipanselmo

Warbeast
Official Site - http://www.warbeast.org/
Facebook - http://www.facebook.com/warbeast1

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Dilmun Gates - News Of The New World (2012)

It is hard to deny the jealousy we feel at this time of year. Buried in snow, below zero temperatures, and no end in sight. Yet the people of Spain bask in the sheer beauty of their surroundings for 365 days every day. Not only do they have the more enviable climate, but their budding metal scene continues to grow, day by day, pushing new bands to the surface at an alarming rate. From Las Palmas de Gran Canaria, Dilmun Gates have become the beneficiary of this extended consciousness. Formed in 2006, the current incarnation, as it were, does not share anything in common with the original except for sound. With four new members, the absence of keyboard, and a clear love of all things melodic death, "News Of The New World" is an album that is long overdue.

With the first distorted guitar notes, "Enemy Of Time"  rattles into action. The greatest strength and weakness are immediately apparent, with the incredibly detailed and catchy guitar lead falling victim to a poor placement in the mix. With the rattling black metal themed drums in the verse taking the top spot on the totem pole, it leaves some of those riffs buried. When they do peak out, they impress time and time again with both their speed and accuracy. Vocalist and bass player Volko sees his voice engulfing all that listen, his gurgling screams enough to make the hair on your neck stand up. But it is the guitar tandem of Jose and Conny that steals the show with a flurry of wild riffs in the bridge. Almost as if they are attached, we run directly into "Before Dying" without as much as a breath in between. Many of the production issues that plagued the opening track have been corrected or masked. The pulsing percussion is joined by a string of clean vocals, but with just enough grit to make the transition easy. It can't be overstated how important the dueling guitar action is to the track and the album on the whole. Equal parts catchy and captivating, the lead riff provides the perfect platform for a vocal that is growing in strength.

Taking a step toward more basic chugging progressions, the band lays down a heavy dose of distortion to open "Handle It." The combination of the basic rhythm section and the more dynamic lead is well conceived, but falls flat at times with a mix that isn't quite up to the challenge. But for all of the shortcomings the production work has as it pertains to the guitars, it more than makes up for with the booming clarity in the drums. Each set of Álejandro's double kicks rings through your speakers with tone and definition. As the breakdown section erupts, you are reminded that there is a dark side to the track that can't be contained. The title track holds the explosion you have waited all year for. All of the pieces fall into place for a five minute barrage of no holds barred death metal. But when it seems as though they have chosen in favor of a one dimensional offering, the guitar melodies kick in, and give you a twist that you may not have expected. Even the outro holds some rich elements. For a brief moment, the guitars sync together on "Next Time I'll Say No" in such a way that you may feel inclined to dance; but only for a moment. That jolly riffing aside, they have now settled into a melodic death groove. The production woes of the first half are gone, finding a perfect balance between all of the moving parts.

Perhaps the most boisterous track on the album, "The Immortals" sees Volko at his best, screaming and growling his way through nearly five minutes of crushing reverb and sizzling cymbals. Through a series of stops and starts, and a set of tempo changes, the band shows a versatility that may have seemed conspicuously absent earlier. Throw in a two headed breakdown attack, and you have something that is sure to please some picky fans. For all of the slower paced moments here, you get as many high speed thrash elements in "You," with a seemingly never ending stream of melodic riffs and bass lines dominating the track. And while the chanting chorus sections may come off as cheesy, they are immediately offset by tremendous growls. And with a run time that falls just shy of four minutes, it moves quickly from A to B. The trio of tracks that ends the albums are all similar, but so different. There is a a distinct groove to be had in "Remain," despite being buried beneath a few layers of thrash metal design. But it is "Turn Into Rage" that best embodies its title, filled with machine gun drums and wild, flailing solo work. Straightforward, heavy, and to the point, it stands out as the most in your force track on the album. A combination of the two can be found in the finale, "The Intriguer." One part brutal beatdown, one part soothing melody, two parts top notch musicianship.

Metal doesn't have to be rocket science. The desire to make great music so often gets trumped by the desire to do something crazy or never heard before. For Dilmun Gates, they wisely chose the former and provided an album that is as strong as possible, without sounding repetitive and dull. While there are mixing issues scattered throughout the early part of the album, they all but fade away by the last notes. And with those miscues aside, there is an overwhelmingly satisfying array of guitar riffs, bass strings, and drums to keep you listening. It may not be exactly what you expected when you first hit play, but after fifty some odd minutes of brutally heavy instrumentals and vocals, it would seem that the "News Of The New World" is positive.

8/10

Facebook - http://www.facebook.com/Dilmun.Gates
Myspace - http://www.myspace.com/dilmungates

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The Podcast: Episode 68 (Raw, yet refined)

With the music industry back in full swing for 2013, the amount of albums flooding into the headquarters is, in a word, staggering. So there will always be a mix of good and bad, every step of the way. This week, Entities made a promise they couldn't keep, while City Of The Lost and Miseria Visage impressed us with their new albums. But the real quandary this week is the difference between raw and refined, dirty and polished. New bands have the advantage of doing things on their own, and their little imperfections give the albums character. When does that change?

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Miseria Visage - Vanish Into Dark (EP) (2013)

Think about the way we, as music fans, break down an album. First, we see the artwork. Then, we hear the music. But the third part is what separates the best albums from the forgettable ones. When the album is all said and done, and music is gone, we have to feel something. What that something is varies from style to style, album to album. But whether it is happiness, sadness, morose, or triumph, it will define where that album fits into our lives for years to come. So, when Theta, the sole member of avant symphonic black metal band Miseria Visage records an album, there is a certain degree of emotion to be conveyed. His ability to translate those feelings of misery into a wide variety of instruments makes his work so ambitious. His success, then, won't be known until the final notes of "Vanish Into Dark" have faded away.

Right from the onset of "Phantoms of the Unhallowed Crypt," there is an immediate emphasis on symphonics. Taking the drum patterns from the typical black metal fare, it is an interesting mashup of styles. On one side of the mix you have high speed drums and raw screaming vocals; on the other, you find light use of synthesizers and piano. And while it may seem like a bizarre combination, it comes together well, thanks to the middle ground of the guitar work. The main riff is a good one, easily whistled along to. It is in the title track, "Vanish Into Dark," that you get a more in depth look at Theta, the musician. A strong bass line permeates the mix, sometimes darting up and down the neck, other times moving with grace. Haunting synths form the backdrop here, while raw, unaltered vocals take the fore. It is also here that you get a taste for how the production work takes shape, allowing the layers to remain balanced, while still giving off the unpolished feel you would expect. Perhaps the most exceptional track on the album, "Luciferian" seems endless in its appeal. With church organs ringing out in all their glory, and a detailed guitar lead, momentum is at a high. His voice cutting through your ear canal as if Satan himself is whispering to you, Theta spins his dastardly tale. The high energy segments are incredible, with machine gun drums driving everything forward, while the rest of the instrumental follows.And the outro leaves you chilled.

Serving as the first official single, "Offering" is a heavy handed piece that incorporates some elements of thrash into mostly blackened exterior. It is this extra dimension that takes things in a new direction. It isn't often that black metal gives you catchy guitar riffs, but that is exactly what you trip and fall into here. Pushed backwards in the mix, the drumming makes way for some interesting instrumentation; whether that be the synthesizers or effects laden guitars, the reverse order is a nice touch. A standout track, "The King's Incantation" may be the man at his best. The verse sections are particularly strong here, something that overflows into bridge and chorus. Keyboards fill a starring role here, leading to a brilliant portion just before the two minute mark. The true genius is in the balance between light and dark, something that comes into play in the latter stages, when a string melody is greeted by a deep growl. The closing track, "Paths," takes the raw vocal to a new level, standing out completely from the backing instrumental. Coincidentally, the instrumental itself may be at its strongest here. A constant presence in the background, the synthesizers are so important when it comes to holding things together. Whether in full out assault mode, or the down tempo atmospheric passages, that airy element is key. The bridge section, hovering around the four minute mark, shows the versatility Theta has as a musician, something not wholly common in black metal.

The ability to go off the beaten path at will makes Theta intriguing as a musician, and makes his Miseria Visage project all the more enjoyable. He hasn't reinvented black metal, nor do I think he is trying to; but by bending the rules over the course of the album, he keeps his sound fresh without be careless. And while the genre does have a signature production sound, the mix does well to honor the classics while still moving a step into the new generation. More than that, though, is the ability to translate the misery of the artist into real, tangible emotion for the listener. On that front, they couldn't have done it much better than "Vanish Into Dark." By the time the last notes fades away and the album comes to a close, you may feel added weight on your mind. That is perfectly normal, and absolutely expected.

7/10

Bandcamp - http://miseriavisage.bandcamp.com/
Facebook - http://www.facebook.com/MiseriaVisage

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Holy Grail - Ride The Void (2013)

Sophomore albums are always an interesting proposition.  Not only because they are supposedly "difficult", but also because they often give a more realistic representation of a band's sound and future direction than their debut.  Many bands skew off in a radically different direction on their second albums, eager to avoid stereotype and accusations of regression.  However, if a band's second album is similar to their first, then you can bet that's their signature sound and they're happy to stick with it.  The latter is definitely the case here.  Born out of the ashes of White Wizzard in 2008, Holy Grail quickly developed their own sound and an enthusiastic fan base after the release of their 2010 debut Crisis in Utopia.

So then, what of Ride the Void?  While it's most definitely a metal album, there are many elements to it that give it a wider appeal than its genre would suggest.  There are plenty of great riffs and finger amputating solos for sure, but the songs have quite a pop-like construction.  James Paul Luna's lead vocals are clean and melodic (besides the odd death growl) and while he doesn't quite possess a particularly powerful and rich voice or the ability to hit REALLY high notes, the lyrics and vocals come across as honest, without a hint of auto-tune and he sounds as if he's really enjoying himself!  This is something that sets this band apart from many of their power metal contemporaries.  While many exponents of the genre preen and pose with unintentionally hilarious sincerity, Holy Grail have an entirely different element to their sound.  FUN!

Rather than plod along with mid paced tedium, they have worked a good deal of old school thrash and metalcore riffery into their sound.  The riffs are chunky, the dual harmonized solos of  Eli Santana and Alex Lee are furiously quick and melodic and the songs have an almost pop sensibility in their structure and sing-a-long-catchy choruses that make listening to this record an enjoyable experience. I'm not sure how the band would feel about this upcoming statement but this is metal for the masses.  Most anyone will enjoy this album at least on some level.  If there's a fault to be found with Ride The Void, it's that, despite its fun factor and undoubted musical proficiency, it's not very threatening, aggressive or particularly awe inspiring.  In fact it's almost pop-power metal.  There's nothing that gives you shivers up your spine or feelings of  empowerment. There's no brooding intensity . There's no grandiose perversity or apocalyptic rushes of visceral adrenaline.  It's all very....accessible and nice.

The preceding paragraph notwithstanding, the album's best moments are contained within the more thrash inspired up-tempo numbers.  "Bestia Triumphans" is a great opening track (Besides "Archeus" which is more of an intro) with some great riffing, enthusiastic soloing and powerful drumming from Tyler Meahl.   It also builds to one of the few real mosh along crescendos on the album in its final strains. 
"The Great Artifice" and "Take it to the Grave" are the other two standouts on Ride The Void.  Both feature killer riffing and "The Great Artifice" in particular features interesting Phrygian melodies and both possess great uplifting vocal and guitar harmonies.

While this is a fairly lightweight metal album overall, it's not bad by any stretch of the imagination.  Great playing, great hooks and good times abound within the grooves and its fairly enjoyable for the most part.  However much like their debut, it just fails to make any real hard hitting impact.

6.5/10

- Stewart Hall

Official Site - http://holygrailofficial.com/
Facebook - http://www.facebook.com/holygrailofficial

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City Of The Lost - At The Edge (2013)

Our experience with bands from in and around Russia is limited, and probably slightly skewed due to the sample size. But rarely have we encountered a band from that corner of the Earth that didn't fall squarely into the Viking or melodic death realm. In typical metal fashion, we have been shown the light time and time again. This time, Moscow gave unto us a band that is as far from those brutal styles as one band can be without leaving the genre entirely. City Of the Lost have three albums to their credit, with only 16 months separating them. Impressive as that may be, not a single one of them has been anything less than stellar. Their third album, "At The Edge" seems the Russian three piece going to new highs in the quest for the melodic post metal that can make the world see the Russian metal scene differently. And in the eight tracks contained herein, they may have already done it.

While "A Coming Storm" may be exactly that, it doesn't take long before you reach the eye. With an instrumental presence that could only be described as smooth, the entire song revolves around a central melody. Bass driven but guitar fueled, things speed up and slow down several times throughout the track, but always keep the same lighthearted tone. It becomes easy to dismiss this from your metal radar after a song with very little in the way of distortion, but it begs you to keep listening. Your reward, in the early stages, is "The Nightingale." Boasting some of the most clean, crisp production that the post styles can offer. More than that, though, is how expressive the lead guitar can be. You get a lyrical quality to the way the notes dart in and around you. It is a wonder that they find a balance between the light, vocal mirroring notes and the distorted, chugging ones time and again, a harmony of sounds that makes the track as memorable as it is impressive. The first of two parts, "Omen, Pt.1 (Temple Keepers)" manages to stand out from the rest of the album in a number of ways. There is something explosive about the way the instruments are layered together, a spring loaded cannon of percussion and quickly strummed notes. Focused on the intricacies of the lead, the band creates a very deep soundscape, one that is dangerously so. But the emergence of a flurry of double kicks is enough to solidify the sound, strengthening the low end.

Not to be confused with the movie of the same name, "Back to the Future" does share something in common with the cult classic. A whimsical quality inhabits the track, mainly a credit to the songwriting process. Rather than cloud the mix with needless distortion and nonsensical changes in time signature, the band sticks to a formula, in the best way possible. Uptempo, high energy, and rooted in the lighter side of things, they manage to give you extra doses of detailed guitar work. Sadly short and flooded with added effects, "Rise as One" may be the most memorable track on the album, albeit the shortest one. It all starts with the drums, a constant beat that is anything but boring. Small touches of cymbals and kicks make it all feel so new every time the measure rolls around. This allows the guitars and bass to focus on the task at hand, crafting a workable riff that can carry the listener on its back. Unlike the tracks before it, "86 Days of Despair" sees that care free sort of feel leave temporarily. You can feel that extra weight in the melody, a downturn in the energy that brings with it an emotional change. It becomes a welcomed wrinkle on an otherwise shiny album. By no means is it brooding or depressive; it just lacks that smile that the other tracks possess. There is an electronic element present here that helps to shoulder some of the emotional weight as well.

Contrary to the previous track, "Basilisk" takes a decidedly heavier turn, yet another twist in what seemed to be a straightforward collection of songs. The added distortion on both sets of guitars does wonders for the overall sound of the song, turning it into a giant buzzing wave. The punch of the kick drum is like a hammer on a nail, hitting it squarely on the head with each resounding thud. Not to be forgotten, the bass is steadfast and on point, hitting every note along the way. But when the keyboard segment kicks in, your jaw may very well hit the floor. Not only does it resonate with a touch of beauty, but it sets the table for the most aggressive portion of the album, a blitz of high speed drums and riffs. The final track, also completing the pair, "Omen, Pt.2 (The Stargazer)" seems to be an introspective one at that. Hovering in the space between light and shadow, the band put an exclamation point at the end of this eight track sentence. You are left with a lost to think about, and even more to come back to. The last 45 seconds of darting guitars is enough to solidify this one as a repeat candidate.

What more can you say about an album that so perfectly describes itself? Through simple plucking and strumming of a guitar or two, City Of The Lost manage to show more emotional attachment and involvement in their music than many bands can with a singer and lyric sheet in tow. Even more than that, each track is an individual idea, sharing little to nothing in common with the ones surrounding it. That alone would be worth a metal, especially when it comes to a post rock/metal album of this caliber. Well written, well executed, well played, "At The Edge" is everything you could want from a melodic instrumental album, without all of the bells and the whistles that drives lesser bands off the tracks. Kick drum period.

9/10

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

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