The Podcast: Episode 73 (Look at the ground at your feet)

When you start to realize you like a certain style, or bands from a certain country, your eyes suddenly adjust to the room, and you can see a million things that you were blind to before. Like power metal? You realzie there are a million new power metal bands you have yet to hear. Sludge? Boat loads of them. So after a busy week of reviews, with albums from Odd Dimension, the unreal Grayceon, Stratovarius, Diesel King, and Eternal Tears Of Sorrow, we urge you to look far and wide, and expand your musical horizons.

Read more ...

Eternal Tears of Sorrow - Saivon Lapsi (2013)

When this site began nearly two years ago, many people asked if our name, Sorrow Eternal, had been inspired in some way by Finnish symphonic, melodic death outfit Eternal Tears Of Sorrow. Much to our shame, we hadn't even heard a note of their music at that point, and only come so close due to coincidence. But with that helping hand, we delved deep into their catalog and became fans of not only the music, but the ever changing landscape of their line-up. With only 2 founding members remaining after nearly two decades, bassist/vocalist Altti Veteläinen and guitarist Jarmo Puolakanaho have continued to surround themselves with the best of the best, in hopes of not only soldiering on under the moniker, but adding to the legacy the name represents. On "Saivon Lapsi," their seventh studio album to date, the now solidified six piece show what maturity and vision can do, even twenty years later.

An inspiring beginning, the barely minute long "Saivo" serves as a delicate intro to the first real track, "Dark Alliance." Mixing the keyboard touches of Janne Tolsa into a very heavy handed mix would seem to be an impossible task, yet executed with deft hands, both on instruments and the mixing board, it represents a signature sound that the band have boasted for years. The harsh vocals of bassist Altti Veteläinen are as gritty and unrefined as the music allows, without ever sounding contrived or forced. But it is the way they are layered onto a melodic death foundation that makes them work. That dynamic comes into play time and again, fortified by the wide array of synthesized sounds that are mixed throughout. "Legion Of Beast" takes the formula to exciting places, with breakneck drumming increasing an already incredible tempo. The light and futuristic sounds that float through the background do wonders for the mix as a whole, playing a great supporting role to the dueling guitar solos of Mika Lammassaari and Jarmo Puolakanaho. It is their work that makes track after track fly by in what seems like the blink of an eye. Another short interlude titled "Kuura," cemented firmly in clean guitar melodies, ties together the former with the next installment.

The lead melody on "Dance Of December," is an intoxicating one. With Tolsa taking a more center stage role here, the clean vocal lines of Jarmo Kylmänen become even more important, contrasting in very significant ways with those of Veteläinen. Even the breakdown, flooded with clean chants and orchestrated strings, maintains a level of light and dark rivalry. It isn't until the outro here that drummer Juho Raappana truly shines, with perfectly timed fills driving the final nail down. Serving as the perfect track to share with new fans, "The Day" combines the knack for constructing vocal melodies with the ability to counterbalance them with a balanced guitar and rhythm attack. The result is a song that is equal parts catchy and musically sound. By maintaining the integrity of the instrumental, it does a great service to a blossoming vocal duo.When the word enchanting comes into play for a metal ballad, you know something special has been achieved. "Sound Of Silence" embodies that word so well, seeing a male/female vocal duet emerging from a piano melody. The female voice, provided by Miriam Renvåg, could not have been more perfectly chosen. But with the lightning fast double kicks of "Beneath The Frozen Leaves" hot on its heals, you don't have long to swoon in the lighthearted affair. The verses take on a storytelling quality, one that may have been missing in earlier tracks. As a result, you get one of the most complete songs on the album, finding that thin line that connects heavy and passionate.

The first single from the album, "Swan Saivo," best embodies the Eternal Tears Of Sorrow many have come to love over the better part of twenty years. Rolling double kicks pad out a mix that is both crowded, yet expansive. The keyboard touches are frequent, yet they remain merely accents until a trading of melodies in the bridge. Veteläinen is at his absolute best here, his voice commanding the entire mix with a low, deep growl. Much more unrestrained, however, is the performance on
"Blood Stained Sea." With the band holding nothing back, you find yourself knee deep in massive waves of distortion. More than that, though, is the seemingly endless drum fills and rolls that Raappana lays down. It becomes clear that some of the most impressive musicianship is packed tightly into this four minute framework. But it is in the finally where everything comes into place, and an epic piece of writing is revealed. "Angelheart, Ravenheart (Act III: Saivon Lapsi)" is a victory on every level, musically, vocally, and as an achievement in construction. With so many moving parts, and so many pieces that are sharing equal time, it would be easy to allow one or three to fall by the wayside. Instead, they find a staggering balance among all of them, even adding a heavier dose of strings. The result is a song that is as worthy of the closing role as any we've heard.

There are more than a handful of people in this world who would consider themselves to be loyal fans of Eternal Tears Of Sorrow. Over the course of twenty years of flying their banner in the metal arena, you are bound to earn some respect from all corners of the globe. But it is the ability to continue to recruit new fans that makes this band so special. Seven studio albums later, people are still as impressed with their work as they were so many years ago. It isn't that we've lowered our standards; albums like this one allow us to expect more. For a band that has stayed essentially the same, you are still sure to find a surprise or two hidden within each album, or even within each song. By avoiding the pitfall of becoming formulaic or a parody of their original selves, they leave to door open to solider on for as long as they choose. With "Saivon Lapsi," Puolakanaho and Veteläinen have shown that despite the changes over time, the end is nowhere in sight.

9/10

Official Site - http://eternaltears.fi/
Facebook - http://www.facebook.com/etosofficial

Read more ...

Diesel King - The Grey Man (EP) (2013)

It's not every day that you find a band that clearly states: "Here is what we do, here is what it sounds like, enjoy it... or not." But London based Diesel King have done exactly that, both in the lead up and promotion of their sophomore EP, "The Grey Man." The follow up to their 2012 debut, "The Ancient And The Nameless," this new offering is the epitome of honesty in an otherwise clouded metal genre. The only expectation lobbed at the listener is to put your headphones on, turn the volume up, and allow these five musicians to pummel your inner ear canal with a a homespun take on the increasingly popular sludge subsect. No need for dictionaries, encyclopedias, or highly evolved, critical thinking. Much like the being that inhabits the cover, Diesel King aren't looking for tea and conversation; they are out for blood.

The howling feedback that comprises the opening of "Battered Hag" lingers, even as the first bone jarring riffs are introduced. There is an interesting dynamic at play early on, as the slow, grueling tempo gives way to a more thrash inspired one. It's buried somewhere in the trade-off; the back and forth between fast and slow where you find the most to enjoy. Low growls or fast paced screams, vocalist Mark O'Regan cuts through your inner ear with no regard for your safety. But it is the backing band that makes the biggest splash here, with a rousing stomp in the bridge that sets the stage fittingly for some more detailed and impressive guitar work. The tandem of Geoff Foden and Aled Marc gives you more than you can handle, often crushing you under the weight of their massively distorted riffs. But it is the rhythm section that gets the spotlight on "The Grey Man," as the intro builds from the sound of almost distant drums and the occasional bass pluck. While the grooves get stronger and more fierce by the moment, it is the vocal line that seems outgunned here, using a combination of guttural growls and screeching highs that never seems to match the intensity of the main body. That body, however, never wavers, plodding ahead with brutal precision, despite being covered in a thick crude oil film.

Admittedly, there is something disturbingly up front about the two minute bludgeoning simply titled "I'm Gonna Take You To The Bank Senator Trent... To The Bloodbank." Falling somewhere in the shared space of Black Flag, Slayer, and Cannibal Corpse,it occupies a part of musical progression that is both scary and untapped, for better or worse. On the flip side, "Immurement" reaps what it sows, all in one fell swoop. The downtempo verse sections allow things to build piece by piece, harvested in the thumping bass work of 3 Hats Will, who I suppose wears three hats from time to time. It all seems so simplistic, the bending of guitars strings, but the result is an immense wall. Clocking in at nearly ten minutes, the closing track of "Bind Torture Kill" could be seen as a mixed bag of evolved doom/sludge and some of the more prominent metalcore basics. The former seizes control through most of the way, thanks largely to the pacing that drummer Bill Jacobs holds the band to. With the tempo slowed to a crawl, you can even find a certain story-like quality to the guitar work, akin to a heavy, distorted "Peter and the Wolf." It may seem like a stretch at first, but with each passing measure it may make more sense. Three minutes of distortion, feedback, and reverb later, you've come to the end.

One of the true crimes of the modern music scene is the notion that sometimes you just don't "get it." It's always seemed like a cop out for people to dismiss an opinion, all of which are valid in some way, citing that the person just didn't "understand" the music. The beauty of Diesel King and the music they deliver to you on this EP is that there is nothing to get. Five songs of thick, chunky instrumentals, held together by bits of strings and glue. It won't force you to contemplate your mortality, or even your place in this big crazy world. For nearly half an hour, you can sit back and just take it in. No elevated thinking, no need to revisit music theory; "The Grey Man" does all of that for you. What sounds like simple, downtuned riffs is exactly that, all executed with professional grade quality. There will be parts that you'll enoy, and maybe some that you won't. But for fans of heavy music the world over, this EP is one we can all "get."

7/10

Facebook - http://www.facebook.com/Dieselkinguk
Bandcamp - http://dieselking.bandcamp.com/

Read more ...

Stratovarius - Nemesis (2013)

Let me start this by saying I’ve been a huge fan of Stratovarius for quite some time. As far as I’m concerned, they’re the godfathers of modern power metal. I’ve stuck by them even with the departure of Timo Tolkki, which still keeps me up at night, and accepted the addition of Matias Kupiainen on guitar. When” Polaris” was released I didn’t have high expectations, but I never would have expected it would be that disappointing. It was so generic and uninspired that I wish Matias at least tried to rip-off Timo’s style. Two years later “Elysium” was released and I’d consider it a much more improved post- Timo Stratovarius. Its sound was much more full, the recording quality was better (especially the bass) and Matias just sounded like he belonged. It was such a big leap forward that I immediately wanted the next album to see how much more they could progress without Timo. Now “Nemesis” is here and I couldn’t be more disappointed. It’s their most symphonic effort since Elements pt. 1 and 2, but it lacks the Strato-magic.

“Abandon” opens up the album on such a killer note. It really gives hope that they have finally found their own. It’s very reminiscent of Rhapsody of Fire’s “Hollywood Metal.” It has larger than life keyboards and an infectious chorus. When the solo kicks in, it’s pure heaven. It’s the perfect power metal song. The next track is their first single off the album, “Unbreakable.” While it’s not nearly as good as the stellar “Abandon,” it’s still a hell of a track. After the first two tracks though, unfortunately, it starts falling apart. Not just musically…lyrically too. It goes from the most promising power metal album in years to a generic mess.

How could it turn from a diamond to coal so fast? Maybe it’s because once you get to “Fantasy” it gets very cheesy. Don’t get me wrong, Stratovarius has always been cheesy. “Galaxies” is one of the cheesiest songs ever written, but it works for them. It’s about fighting a war to save the galaxy. What’s not to like? “Fantasy” on the other hand is supposed to be some self-motivating song to make your life feel better. With lyrics like “Take a dream/make it real/don’t give in to fear,” it’s easy to want to turn the album off. Then surprisingly after “Fantasy” they come back and deliver the second best song on the album. “Out of the Fog” is another Stratovarius classic. Fast beat, ripping guitar and catchy chorus. After that gem, it goes back to being a mess with good parts scattered here and there throughout five more tracks. The  worst song on the album, by far, is “If the Story is Over”. Stratovarius were never gifted at writing ballads, but “Story” is excruciating. It takes itself too serious for its own good. At one point it sounds like Timo Kotipelto is about to cry. Why?! Do the lyrics “For I never drew the sword from stone/ there’s no Helen in my Troy/I stand alone, I stand forgotten, just gazing into the void” really make a man choked up? It’s downright embarrassing.

This album has definitely brought Stratovarious in a different direction. But not a good one. A band with 14 albums under their belt should have made a more cohesive, engrossing effort. Although I must admit while it is much better than “Polaris” it’s still a strike against them. If they can all put their heads together and make an album of songs like “Abandon,” they will be the kings of power metal once again. But until then, they sound more like imitators than legendary innovators.

5/10

- Brian DuBois

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

Read more ...

Grayceon - Pearl And The End Of Days (EP) (2013)

Exotic and unconventional, San Francisco based trio Grayceon have never been much for the standard structures of modern rock or metal music. Comprised of the ever-present guitar and drums, but fronted by Jackie Perez Gratz (also of Giant Squid) and her cello wizardry, it would seem only fair for each and every offering to be slightly off the wall, if not strangely hypnotic. And while the former always applies, it is the latter than best describes the newly released EP, titled "Pearl And The End Of Days." While you may only find two songs listed on the album itself, the flowing soundscapes and lightly polished compositions amount to so much more; a twenty seven minute piece of recorded sound that challenges convention, and gives rise to the hope that new and interesting things are on the horizon. It is here, then, that we see them in their finest (half) hour, doing more with less.

Easily the more aggressive of the two, "Pearl" is the perfect example of that minimalist theory. Skilled cello work doesn't dominate the mix the way you would assume, but rather fills the gaps that would be left without a second guitar or bass. The verse sections are elegantly constructed, even with the hammering of drums. Percussionist Zack Farwell adds a raw element to the track, with his "larger than his drum kit would let on" style. But it is just shy of the five minute mark, where you find what may be a breath of musical perfection, synthesizing all three instruments into one unique and jaw dropping sound. Even more staggering than that one clip, though, is the way the band manages to be both haunting, beautiful, and unrestrained in their approach to each and every movement. You may make it through the entire song without ever really paying much attention to the scant vocal passages; but rest assured, they won't fade from your memory.

The second and more avant offering, "The End Of Days," takes place over a much more significant time period, allowing itself more wide open spaces to stretch out and grow. The crawling pace of the opening would make so many doom artists proud, bordering on the one beat per minute style of Virgin Black. But as the low hum of the cello meets with some lightly plucked strings, something is building. if there is a more infectious riff than the one that leads the charge in the verse, I have yet to hear it. As Gratz croons "we will all die, no one survives," they are more than just words floating through space. Their delivery, the means by which they are conveyed, and the musical vessel that carries them from mp3, to your speakers, to your ears, gives them meaning of their own. The same gusto manages to carry you gently through the swaying refrain, and directly into a punk/thrash fueled break. There is poetry, but it is masked and hiding among the varied paces and time signatures. And just when you think you have heard all there is to hear, the minute or more that forms the outro is both devastating loud, and sonically beautiful.

I'm a hypocrite. In fact, we are all hypocrites. We find ourselves being dragged kicking and screaming into the new year, time and time again. We yearn for the sounds of our formative days, the ones that turned us on to music in the first place. We want bands, and entire styles, to stay the same for our own greedy purposes. But all the while, we silently hope that someone will come along and shatter that safe little fish bowl we have been hiding in. Grayceon might not be the first band to challenge our desire for the same old thing, but they have done it with such strength, such overwhelming talent, that it would be hard to go back to the same old thing. If nothing else, the two tracks and twenty seven minutes of mixed musical styles that make up "Pearl And The End Of Days" are a sign of brighter days ahead, and perhaps a way for some of us to leave the fish bowl behind.

10/10

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

Read more ...

Odd Dimension - The Last Embrace To Humanity (2013)

There is a lot to like about Odd Dimension, as we found out in June of 2011. Their debut album for Scarlet Records, "Symmetrical," was one of the first to turn us on to the deep seeded talent of the Italian metal scene. With a combination of power metal structures and a progressive twist, this five piece bent and wound their way through track after track with what seemed like a can't miss formula. But with frontman Manuel Candiotto still finding his range and place in the pecking order, there were holes to be filled. But after two years of touring, most notably with power metal superstars Rhapsody Of Fire and gateway drug Dragonforce, the band has returned with their sophomore album. An ambitious concept album about the alienation of mankind, "The Last Embrace To Humanity" picks up where we left off two years ago, in hopes of taking their sound to a new level.

Much like their previous efforts, the entire foundation rests on the keyboard work of Gabriele Ciaccia, illustrated clearly in the opening moments of "The Unknown King." The clarity of the production work at this early stage is even more impressive, with each booming kick drum shaking the walls like thunder. All of the instrumental pieces fall into place rather quickly, leaving only Candiotto to hold his own. To his credit, there are vast improvements to be heard almost immediately. Both tone and delivery are stronger than before, allowing for a balance between vocal and instrumental. The perfectly off-timed beats of drummer Federico Pennazzato set the stage for a great battle between Ciaccia and guitarist Gianmaria Saddi, one that plays out over the last half of the track. There is a Dream Theater-like groove in the beginning of "Under My Creed," a track which could be seen as the maturing of a band, or one doomed to repeat past mistakes. Candiotto remains strong when he sings within his range. At times, though, he pushes too hard and sounds strained and uncomfortable. Pinned against a backdrop of delicate keyboards and guitars, it almost exacerbates his flaws. What is happening behind him is a show of pure strength, a band at the top of their game. The musical portion surrounding the six minute mark is evidence of that, giving you plenty of fodder for head banging or hair swinging.

If you hadn't been convinced of their prowess to this point, Odd Dimension give you a taste of the versatility they possess on "Dissolving Into The Void." Ciaccia exhibits some of his best keyboard work here, with nimble fingers tickling the ivories. For some reason, his playing makes it an easy showing for Candiotto, who delivers a strong performance often driven further by bending guitar strings and squealing harmonics. But it is the keyboard work that steals the show, ending in a wild solo. In an odd but welcomed decision, Secret Sphere vocalist Michele Luppi guests on "It's So Late." As his voice commands the track, the harmony formed between he and Candiotto is not only encouraging, but down right excellent.They complement each other so well, melding their separate tones and styles into a give and take of vocal beauty. The down side to the song is that in turning it into a vocal driven duet leaves the instrumental feeling a bit flat, with very little of that explosive tone you've seen before. Unfortunately, this new found sensitivity carries into "Another Time," which could pass for a modern country or classic rock song at its opening. It becomes the rare use of a ballad following a ballad, something that does little to help momentum. The only standout is the synthesizers and piano work scattered throughout, but mainly buried.

Thankfully, "Fortune And Pain" sees the band return to the raucous, hammering form. You are given a healthy dose of distorted chugging in the opening minute, with Pennazzato continually impressing in his heavy handed but surgically precise drum fills. The track does slow to a crawl, however, a point in time where bassist Gigi Andreone gets to show his mettle. With Candiotto reduced to a whisper, the band launches into a prog metal bridge section that finally seems to reignite the fire lost in one too many calm moments. Ciaccia and Saddi exchange blows again, adding fuel to the flames. That raging blaze is quickly cooled as the down tempo and mellow "The New Line Of Time" comes through your speakers. Acoustic guitars take up a lot of the air space here, with things remaining t a simmer, rather than spilling over into a full boil. That honor is left for the album's closing track, the seven minute stomping "Far From Desire." Despite all of the lost momentum and moody ballads, the band manages to salvage things one last time, allowing everything to hang free and loose. machine gun snares and rolling double kicks drive the track forward, while light synthesizers occupy the background. The coming together of space age keys and distorted guitars is long overdue, waiting until halfway through the final track to emerge. The breakdown section, starting just past the four minute mark, is everything right with this album, condensed into a few sporadic movements.

From one album to the next, it is easy to see old problems get solved, or new problems created. Odd Dimension had a small checklist of issues to be addressed after "Symmetrical" was released, mainly focused on their blooming frontman. Candiotto displays a great deal of improvement throughout this album, particularly in his ability to find his place in the mix itself. And while he still has a way to go before he can be included in the same breath as some of the elite progressive power metal frontmen in the world, he is on his way. Unfortunately, something as simple as the order of the tracks becomes a stumbling block on the album, making the second half an up and down ride where the downs outnumber the ups. By stacking the more melody driven, ballad-esque songs at the end, it leaves the album feeling uneven and stilted. Whether or not that will trip the average listen remains to be seen, but it is enough to question whether "The Last Embrace To Humanity" was the right choice.

7/10

Official Site - http://www.odddimension.com/
Facebook - http://www.facebook.com/OddDimension

Read more ...

The Podcast: Episode 72 (Finishing each others sentences)

It is our goal to pack as much content onto this site as we can. So this past week, we had a fairly full schedule of shit, including reviews of new albums by Kongh, Outre, Utah, and the interesting EP from Stratovarius. With all of that fresh in mind, we finally unveiled our long awaited interview with Italian black metal innovators Malnatt. We do this for YOU, and it is a labor of love. And all we ask is that you read... and answer us a question. When music becomes too predictable (i.e. you can complete a lyric before you've heard it, or know how a fill will sound before a single stick hits), how much longer can you listen?

Read more ...