Kataklysm - Waiting for the End to Come (2013)

Every time a new Kataklysm album gets released, I get all giddy like it’s Christmas day. I already know that the album is going to have killer riffs, impressive drumming and great vocals. Every album since “Serenity in Fire” seems to have stayed in one place. While it’s not a bad thing at all, they just needed a little change. Branching out and making Ex Deo’s second album “I, Caligvla,” was one of the best things the band has done. They learned a lot about melody and solid pacing. It seems they took the skills they used to make Ex Deo’s “I, Caligvla,” combined them with new drummer, Oli Beaudoin, and created something truly special. “Waiting for the End to Come” shows the band in their most grounded and solid form in years.

The album kicks off with “Fire” and “If I Was God…I’d Burn It All” which showcases Oli Beaudoin’s drumming and the textures it brings. It’s amazing how one instrument can make such a difference. It makes the band sound more full and solid than ever before. Also, Jean-Francois Dagenais’ guitar work is absolutely bad ass on “Fire.” After all these years, he is still one of the premiere riff masters. “Like Animals” is a little more groove oriented than the other tracks on the album. “Kill the Elite” is melodic as hell before it goes into a crushing chorus that Kataklysm is known for. “Under Lawless Skies” and “Dead and Buried” both have super melodic choruses that are a new sound for Kataklysm. The guitar work in these songs breathes new life into their music and makes them sound more epic. “The Darkest Days of Slumber” keeps the melodic style going but it gets a little heavier than previous tracks. “Real Blood, Real Scars” picks the pace up with one of the most fucking awesome riffs Jean-Francois Dagenais has ever written. This is by far my personal favorite on the album. The vocals, drums, guitar and bass just fit together perfectly. The bridge of the song has an odd breakdown-esque riff, but it fits. On “The Promise,” Oli Beaudoin’s drumming is very impressive but the overall track isn’t one of the strongest on the album. Coming after “Real Blood, Real Scars,” this song falls a little flat. “Empire of Dirt” is a little more interesting than the previous track but not by much. The closing track, “Elevate” is a weird song to end the album with and it’s a song that comes out of left field, but somehow it works. Kataklysm isn’t known for their slow, melodic tracks. It’s an oddball for sure, but it fits perfectly at the tail end of the album. It also shows that trying different things is on their agenda and hopefully they continue this trend.

“Waiting for the End to Come” is the most solid Kataklysm album since “Serenity in Fire.” It tries new sounds and while some of them fall flat, most of them work out in their favor. My raving about the new drummer isn’t meant as an insult to Max Duhamel. He’s one of the best drummers out there, it’s just that Oli Beaudoin’s style is a breath of fresh air. He’s a little more technical and has a full sound. I’ve heard other people talking about how this album is really generic. I can honestly say that those people are full of shit. “Waiting for the End to Come” is Kataklysm at their finest. Nobody has kicked this much ass consistently for over twenty years.

9/10

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

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Krayl - Froide Et Sombre (Demo) (2013)

There are genres and sub genres, and sub sub genres in metal; even the most dedicated scholars would be hard pressed to name and catalog them all. But when it comes to black metal, the casual observer might think that attaching the word "raw" might be redundant. Known for the grating tones and tin can production, to be known as raw in any form might be misconstrued as being poor quality musicians. But Svartblod is anything but, this time putting his stamp on a more traditional raw black metal project, one that runs contrary to the sadness and morose of his other project, The End. And where the latter relies on emotional investment to his home with his listeners, Krayl is about contrast and light/dark dynamics. For every action, there is a reaction. They might not be equal, but they are certainly opposite. And with this latest demo, "Froide Et Sombre," he takes those tenets to their limits, giving the word "raw" a reprieve from the constant belittling it endures.

What you've gotten yourself into is a tale of two sounds; one raw, one hauntingly scary. The intro track, "The River Of Blood" exemplifies that without hesitation. Early on, an unbridled black metal assault is all your ears can break down. Production values are stripped down and chaotic, and there is no sign of layering or subtlety. But the second half, atmospheric as it is, brings a chill. With sound effects and chanting, Svartblod does more than any instrumental could. Finding a way to merge the two would be groundbreaking, but songs like "The Call Of The Night" take a contrary approach, keeping them separate but equal. This isn't to say one is less successful without the other. But the ambient noise of the second half more than props up the traditions of the first. And somehow, with all that contrast "Burning The Righteous" has something that makes it stand out. The dynamic is almost the same, but stronger, as sampled spoken word segments hit so much harder than the vocals in the main verse. In this instance, you come full circle; starting and ending raw and unpolished. The way Svartblod harnesses these elements, especially in a song like the finale, "As We Travel Across The Filthy Lands," is what separates this effort from others. He dials back the aggression at the right times here, allowing a looped phrase to hit home again and again, before bringing the raw distortion back to the fore.

Raw black metal isn't exactly the most easily understood or digested form of metal you'll hear; sometimes you have to look far deeper than you might be willing to. But if you can delve deeper, beyond the distortion and screams, you might find something interesting to come back to. Svartblod hasn't penned an instant classic here, nor has he reinvented himself or the genre. But the black and white dynamic he relies so heavily on in this effort works in mysterious ways. It's not like the quiet moments are heartwarming or sure to make you feel all warm and fuzzy. But their impact is undeniable, something that was surely the intent. In those down tempo, downtrodden passages, you can find something more than just wildly inconsistent production and musicianship; you can find a vision and an ability to execute on profound levels. And that is enough to propel the demo into a different place in the musical spectrum. Raw black metal isn't as one dimensional as you might have been led to believe. And "Froide Et Sombre" gives you a glimpse at the second level.

7/10

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

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Apathy - Beneath The Ashen Sky (2013)

"Viktor Jonas isn't a rock star. He is a musician. With every strum of the strings, press of a button, touch of a key, or twist of a knob, he is giving of himself for your enjoyment. And "Ghost Light" is the man himself, written into musical form." That summary first appeared on our site on August 15, 2012. Having just finished a lengthy review of the then new Apathy album, "Ghost Light," we found ourselves cutting to the core of the man behind the music. Some things have changed since then, but many more have stayed exactly the same. Viktor Jonas may never be on the cover of Metal Hammer or Revolver. That is probably for the best. His music speaks far louder than any cover story or expose ever could. And the return of Apathy, only a year later, is a blessing for the death/doom genre. He is still in control of all things instrumental, from guitar to bass, drums to keys; that will never change. But he is joined by a new vocalist, and a new set of songs that embody the man himself. That is what makes "Beneath The Ashen Sky" a captivating listen from beginning to end.

Despite thinking we knew what to expect, Jonas outdoes himself early in "Leper Tides;" his drum programming has returned more powerful than before, without losing any of the punch the kick drum provides. But all of the force of the drums would be wasted without an equally commanding guitar lead, something he seems to supply endlessly. Somehow, Jonas finds a perfect harmony between all of the instrumental pieces, a tricky process that few truly succeed at. The vocal component suits the mix well, as Philip Grüning screams his way over a sturdy foundation. That analogy, the one of the building, rings true over the course of these nine songs, each track adding a new floor. On "The Burial Ground," each drum beat pounds nails and rivets into place, a series of double kicks mechanizing the entire process. But it isn't all brute force; finesse plays a key role here, as Jonas crafts backing melodies and deep soundscapes. Each layer must protect the one above and below, so their timing and balance is important, if not crucial. One misstep, whether it be in the all out aggressive section, or the smooth melodic portion, could throw the entire track off the rails. Luckily, there is no such stumble, seamlessly flowing into "Typhoon." The dynamics are the same, offsetting heavy with soft, but there is no filler here; the bass work alone would be enough to make the track stand out, not to mention the strong performance from Grüning.

As you get into the mid section of the album, there is no let down to be found. "Fear Me" embodies it's title, with Grüning's screams becoming even more chilling. The clarity here is especially impressive, with each fragment of the main riff shining through clearly and crisply. That lead is one of the more catchy riffs on the album, an incredible feat given the driving tempo and harshness of the lead vocal. This is the most pure form of death/doom you'll find, borrowing heavily from both. But like the other titans of the genre, Jonas is not content to fuse those two alone; his use of melodic elements adds another dimension. To this point, the lyrical content has forged it's own path, but on "Murder Sun," the music and lyrics come together to form an unbreakable tie. Under the hammer and anvil of Jonas, the drums pound away at your very core, all the while Grüning rains down solar charged words of disappointment and hate. Having grown tired of humanities failings, the sun becomes a terror. The lyrics speak for the music, and the music elevates the lyrics. Together, they form one of the strongest songs on the album, one that connects directly to "Amongst The Dead." The imagery here is staggering, with each screaming verse painting a bleak picture of walking through a sea of corpses, echoed by the devastating instrumental.

When the pace slows down, albeit seldom, Jonas can deliver an even bigger blow. It's in times like these that it becomes hard to believe the drums are programmed. The depth of sound he has crafted in this computer driven kit is astounding, from kicks to snares, toms to cymbals. His work on each individual piece makes the structure stand so tall, never wavering, never fearing that it could all collapse under the weight. Instead, it grows stronger with each movement, the bass and drums anchoring the entire operation. It allows Grüning to reach deep and summon every ounce of hate and rage. The reward? A two minute interlude that shows Jonas at his musical best. As dynamic as he is as a multi-instrumentalist, it is the quiet, melodic moments that best showcase those abilities. It lets his creativity shine through in ways the metal genre doesn't usually embrace. This is the ultimate show of vision for Jonas, who calmly exits his solo piece, "Luna," and forges ahead into the last track, "Endgame." once again, the transition means everything, as he flows from one to the next. No jump, no skip, just a smooth bridging of the gap from solemn to pained. It also becomes the home for some of his most subtly beautiful instrumental work, captured so delicately in the lead and drum backing.

It's hard to throw the word genius around. There will be backlash, questioning, even ridicule. But what Viktor Jonas has shown, release after release, album after album, is that he is playing on a far different level than everyone else. He is a multi-million dollar corporation, erecting a skyscraper with the help of plans, machinery, and state of the art equipment; everyone else is back in Amish country, raising a barn. That isn't a knock on other bands who dwell in the same genre as Jonas, and by no means is it meant to tear anyone down. But after hearing what this one man puts together, it's hard to believe there are even bands in the same stratosphere. But luckily, he isn't alone; Grüning has written and delivered a performance of his own, one that completes the scope of the album. One without the other might not stand as tall, or even as firmly. But together, they are undeniable in their excellence. And while many have declared the death/doom genre dead, year after year, it's still alive and well. Apathy may have just erected a new headquarters, "Beneath The Ashen Sky."

9.5/10

Bandcamp - http://vjonas.bandcamp.com/
Facebook - https://www.facebook.com/pages/Apathy/116709615006241

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So Hideous - Last Poem​/​First Light (2013)

Sometimes, the best albums are the ones you stumble on unknowingly. We have been fortunate enough to receive promotional copies of albums from all over the world. Some are good, some are not so good. But when we are charged with writing a review for something that was submitted, there is an element of "work" added to the equation. Meeting deadlines, making sure our reviews are as well written as we are capable of, and even using social media to spread our reviews and opinions can be a lot of time and effort. But when you find an album, all on your own, something special happens. Listening to the album, digesting it, hearing it again and again until you have all the information you need to write a comprehensive and informative review becomes fun again. So Hideous can now be added to the short list of bands that have made me sit back in my seat, and just let it all happen around me. Their new album, which was found by pure chance in a routine sweep of the internet, is unlike other things we've heard. "Last Poem​/​First Light" is something special.

Once the first scream washes over you, some five seconds into "Rising," there is simply no going back. You have been washed away in a chaotic sea of blackened drum beats and well utilized keyboards. There is a density to the instrumental here that may seem counterproductive, yet it somehow manages to equate to something far more grandiose than one would imagine. Even when the drums seem out of control, the crying ambient noise always brings them back. The last minute,  with the crackling and humming of feedback seems like the haunting white noise of a dungeon. It becomes a recognizable pattern; building from a whisper, and eventually returning to it. But it isn't all massive kick drums and distortion in between. Beginning with "Stabat Mater," the symphonic element takes on a role of it's own. It sets the stage, quietly, for an explosion of epic proportions. I would be remiss to fail to note the presence of hardcore tendencies in the mix, but their unification with black metal seems almost too good to be true. Each well placed scream adds to the ever deepening soundscape. A magnificent piano outro returns you to that base point, this time erupting with the force of a volcano as "My Light" begins.

The climbing keyboard notes here are incredibly rich, despite being so far back in the mix. Organized chaos reigns supreme, a bombastic sonic assault that runs counter to everything you thought you knew about black metal in all it's forms. To be replaced soon thereafter by a sweeping orchestral melody seems impossible, but they do just that; it is short and fleeting, but a clearer example of black and white contrast would be impossible to find. If there was only one track you could use as a weapon to spread the gospel of So Hideous, "Rhapsody" would be it. The fusion of elements is now complete, finding a striking balance here unlike anything I've ever heard. Whether you find your solace in the neverending battery of drums, or in the atmospheric keyboards that rise and fall behind them, something will catch your ear. It would be a challenge to find a segment of music more compelling than the last minute of this track.

What's even more stunning is the way they follow it. The sound of "Last Poem" is immense; The sound waves would stand a miraculous mile high if your screen could contain them. Every kick drum slams into your skull, every scream rattles your inner ear. But amidst all of that, you can find serenity and calm in the use of strings. You will be swept up in the wonder of it all, captivated by the constant shifting and changing of this single song. When it cuts out to silence, only to return with the most minimal of synthesized sounds, you might be concerned that you've lost your sense of direction. But fear not; it really is every bit as beautiful as it seems. Yes, with the screams, blasting drum beats, squealing guitars, and everything, it is still awe-inspiringly beautiful. How you complete this masterpiece would be far beyond my mental reach. But they do it with ease, allowing "glory" to rise, to build, to take shape, and then to fall. How this combination of sounds works here is a complete mystery, but even note on the keyboard seems to sync up with every kick drum and distorted riff. They all work... somehow.

It's hard to keep all of our label partners and sources straight. Which albums came from who, who represents which bands, and so on. It is up to s to do that due diligence to make all the pieces come together. It's what we do, as music lovers, for all of our favorite bands. So Hideous may have a name that almost told me to shy away, but they have a sound that is now engrained into my head for an undetermined length of infinite time. They have a sound all their own, which is nearly impossible in this day and age. But they've done it here, and in a way that is not only impressive, but exciting. They are doing something outside the realm of any one genre, and they are doing it without hesitation or pause. And in doing so, they have truly joined a very limited list of bands that have redefined a sound or genre for me. Malnatt opened our eyes to what black metal could be. Blizzard At Sea made sludge an office favorite. And So Hideous has now taken symphonic post-black melodic hardcore and given it a face.

9.5/10

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

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Hathorious - Beneath The Shade Of Hathor (EP) (2013)

Money makes the world go 'round. We've all heard it before, and we've probably all uttered those words ourselves. Making music is, unfortunately, no exception to that rule; the bands with the huge budgets can often trump much more talented bands on sheer strength of sound alone. Just ask Metallica. So the lesser known acts, those with minimal if any budget must make the most of what they have; be it a computer, laptop, or friend's garage, you just have to make the best of a bad situation. Whatever the circumstances are for Hathorious, an Egyptian band that floats somewhere in the realm of blackened thrash, it may be time to invest in the future of their sound. Their talents are vast, and their vision is undeniable. But hiding all of those intangibles is the one thing we can hear clearly or ourselves; the production. And while you will certainly hear worse this year, maybe even today, "Beneath The Shade Of Hathor" pushes our audio threshold to the limit.

There is no point in masking the obvious or waiting to point it out; the production on the album is mediocre at best. The early moments of "Dawn Of The Ancients" do an admirable job of hiding that fact behind sound effects and a plucked melody. It is a great way to open the album, building a mood that is equal parts ominous, with the rumbling background noise, and enchanting, as the melody floats through the air. But as soon as the album begins in earnest, the mix is hard to bear. Whether it is the recording of each instrument, or just how they are layered together, it becomes increasingly hard to discern one from another. Drums mask guitars, guitars all but drown out the bass, and when played simultaneously, there is little more than a mass of distortion flooding through your speakers. In the few moments where the dust settles enough to make heads or tails of it all, you get treated to a flurry of deft guitar work. Guitarist Alhussin is the band's biggest weapon, despite a chaotic place in the pecking order.

When his guitar is left alone, clean or distorted, he works wonders; the opening to "Glory Be To Osiris" is all the proof you need. But the metallic clang and sizzle of cymbals fairly drowns out much of the remaining work. The chorus hear, a black metal meets thrash affair, might be the best thirty second chunk of full band action contained on the album. But the cymbal work alone becomes the bane of the album at the same time. When tamed and contained, it can be a great accent piece, as on "Abydos," where the machine gun snares find a fitting home. Drummer Tarek El Maghrabi finds a way to exercise his speed drills, and still be a part of the cohesion of the song. Here it is less a question of the ability to record a great track, as much as it is about piecing it together and finding balance. Alternating melodic and vicious segments would be much more well received if the transition was handled with care. Unlike any other on the album, " the closing track "Funeral of Akhenaten" is a down tempo doom march, overflowing with massive kick drums and distortion. As surprising as it may be, it brings the low end into the spotlight for the first time. 

It takes a lot of talent and vision to overcome severe faults in the recording process. A poor mix, lackluster engineering work, or just minor volume issues can take a classic album and relegate it to the land of the mediocre. While Hathorious may not have written the next huge metal release, they certainly envisioned something far more refined than what sits in mp3 format on your hard drive. The mixing issues alone make this album difficult to listen to in one sitting, for an audiophile, or someone with a sound system they are particularly proud of. The cymbal sound alone taints a large proportionate chunk of the album, much like the snare sound of little Lars Ulrich did to the steaming pile of manure that was St. Anger. By no means is this as big a faux pax as that was; not when millions of dollars were involved in a single recording session. But for Hathorious to get any better, they will have to start from the beginning, and treat the recording process with more attention to detail. That, or "Beneath The Shade Of Hathor" become the first in a line of production failures.

7/10

Bandcamp - http://tornfleshrecords3.bandcamp.com/album/beneath-the-shade-of-hathor
Facebook - https://www.facebook.com/Hathorious

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Wisdom - "Marching For Liberty" (2013)

As I’ve stated in countless other reviews, power metal this year has found its resurgence. What the bands are putting out now are some of the best in the genre. Adding to the amazing catalog of albums is Wisdom with their third full-length, “Marching for Liberty.” I’m not going to lie, I’ve never heard their other albums before this one, but what I can tell you for sure is that this album kicks ass. On ‘Marching for Liberty” Wisdom doesn’t break down the wall or have anything really innovative. What they do have is a collection of songs that are well written, catchy and have some of the best choruses in the universe. They know what they want to achieve and they know how to deliver in spades.

“World of the Free” is a perfect track to give the listener an idea of how powerful the vocals are on this album. “Dust of the Sun” is one of the best tracks and has one of the best choruses I’ve ever heard. Everything about this track is perfect. The vocal melody in the verses to the guitar work is pure power metal genius. Two tracks in and they already get massive props from me. “War of the Angels” is a little heavier, complete with a killer riff. Again, the chorus is jaw dropping. “Failure of Nature” is a little slower than previous tracks and showcases melodic riffs that will get the listener headbanging. Gábor Kovács and Máté Bodor’s guitars complement each other perfectly. “The Martyr” picks the pace back up and delivers another stellar track on the album. Like “Dust of the Sun,” “The Martyr” is power metal genius. “God Rest Your Soul” has a great acoustic intro and it really showcases Gábor Nagy’s vocals. He fucking tears it up on this song. The guitar solo is also spectacular. “Take Me to Neverland” doesn’t bring anything new to the album, but it’s a solid track nonetheless. “Wake Up My Life” and “My Fairytale” miss the mark a little bit. Both tracks just don’t seem to go anywhere or showcase something that hasn’t already been done on the album thus far. “Wake Up My Life” is a good attempt at an acoustic ballad, but it just falls flat. “Have No Fear” is another slower track that has the most epic chorus on the album. “Live Like A Beast” picks the speed back up again and it’s one hell of a track. The vocal melodies are mind boggling. The closing track, “Marching For Liberty” is the longest track on the album and it’s a great way to close it out. It’s definitely the most epic track on the album and also the most varied. Everything they’ve done on the album all comes together in one nice, tight package.

So I’ve realized that I said “chorus” about one hundred times in this review, but they really have to be heard. “Marching For Liberty” has the best choruses this year. I can’t think of one band with vocal melodies like this. It’s not just the vocals; every other instrument is great as well. The guitarists do a stellar job and the drumming is solid. Although the album does hit a couple of low points, it doesn’t detract too much from the overall experience. The majority of the album is fantastic. Like I’ve said before, while it doesn’t really do anything new, “Marching For Liberty” is still a solid album and is a must listen for any power metal fan.

8.5/10

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

Website - http://www.wisdom.hu/

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Curse The Son - Psychache (EP) (2013)

Much in the way that the hair bands of the 80's and 90's were pigeonholed and stereotyped, so are the stoner doom bands of the new millennium. The difference, of course, being that the big hair, lipstick, and fishnets stockings worn by those oft dismissed bands of yesteryear managed to disqualify them from any conversation about true talent and foresight. Things have changed, albeit in small ways. Everyone thinks they know what stoner metal is all about, and we judge it by the tag alone. but much like the other blooming genres, there are many intricacies that fall under that same umbrella. Curse The Son, a three piece band from Hamden, Connecticut, are all about the small things. Whether it be there obvious influences, their ominous artwork, or just the lues infused riffs and vocals that put onto recorded media, they are doing things slightly different from their contemporaries. And, as a result, they have recorded one of the best albums of the year, with "Psychache."

There is no hiding a riff this thick, as guitarist Ron Vanacore makes known very early on in "Goodbye Henry Anslinger." How they manage to bring out the inner melody in an instrumental so down tuned is anybody's guess, but they do it beyond expectation. It is the vocals, also provided by Vanacore, that catch you completely off guard. His voice is unlike any you've heard recently, a melodic cry that seems contrary to the distortion that it accompanies. The two come together brilliantly, setting the bar high for the rest of the album. Thankfully, there is no letdown to be found here or anywhere else. rather than hide or mask their love of all things stoner metal, they display it openly on tracks like "Spider Stole The Weed." This is showcase piece for the rhythm section, with bassist Cheech Weeden and drummer Michael Petrucci further bolstering the low end. As they bring the sound wave down to new lows, they also bring the tempo down with it. But it isn't hard to pick out the noticeable and just as easily repeated groove. That theme, the undeniable groove, permeates the entire disc; forcefully at first, more subtly on songs like "Psychache." And despite being far more aggressive, it leaves so much for your mind to piece together. The last thirty seconds alone could be on mental repeat for days.

In a daring change of pace, "Valium For?" is a different kind of interlude track, one that builds from whisper quite riffs to a blasting mountain of guitars, bass and drums, if only for a second, before fading back into the silence from whence it came. But when your haunted house goes up a few days from now, it is "Somatizator" that will be your theme song. It embodies something eerie and sinister, something counteracted by Vanacore's signature voice. But when the entire thing spins to a halt halfway through, it wouldn't be far fetched to see an axe wielding murdered appear from the smokey haze. Coupled with the album cover, and this could be the song nightmares are truly made of. The lyrics indicate as much, as Vanacore croons, "this is where the nightmares go, they find you when you're all alone." No amount of bluesy, stoner doom riffing will make that chill go away. Even as it fades, and "The Negative Ion" begins, the hair on your arms won't go down quite so easily. It wouldn't be a stretch to call this final monster one of the best tracks of the year, despite it's simplicity, simply because it infects you. The buzzing distortion, the effects laden main riff, it all fills your brain with smoke.

We talk so much about the small things that take an album from good to great. Bands that can get a grasp on those minor details can easily separate themselves from those who can't; thankfully, the cream always rises to the top. Curse The Son, at first glance, or even first listen, might not seem like they have a great deal to pick apart and appreciate; one supporter on their Bandcamp page summed it up best in saying, "I saw this album months ago, I was like eeeck! and passed it up." That reaction probably isn't isolated to one person, or even ten. But if you can get by that initial snap judgment and just hit play, it will be more than worth the chance. One track in, you'll be happy you went for it. Two tracks in, and you'll be willing to throw them a couple bucks for it. By the time the album ends, you might not want to stop. Yes, "Psychache" really is that good. The cover art may look like a dvilish figure chasing you away. But hidden behind that artwork is an album that could quite possibly blow you away in a cloud of smoke.

9/10

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

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