Silent Force - Rising from the Ashes (2013)

Years after “Walk the Earth” released, it seemed that Silent Force was staying quiet. “Walk the Earth” was a great album and a great successor to “Worlds Apart.” Now after a long six years; they return with a new vocalist and release the aptly titled “Rising from Ashes.” The new album sees the band going in a much different, albeit more generic approach. It sounds like a mash-up of Bon Jovi and Motley Crüe instead of balls out power metal. I’m not knocking the band, I think they’re fantastic, it’s just the new direction makes me scratch my head. “Worlds Apart” is by far my favorite album from them and I don’t expect them to sound exactly the same on that album; but I feel like they’ve lost their signature sound.

“Caught in Their Wicked Game” kicks off the album and it has passion and great musicianship, it just falls very flat as a Silent Force song. “There Ain’t No Justice” and “Circle of Trust” are two of the tracks that have that Bon Jovi/Motley Crüe sound I mentioned earlier. The choruses in both songs can easily be on “Slippery When Wet.” The tracks “Living to Die” and “Before You Run” sound like they’re straight out of the eighties and they feel a little uninspired. The lyrics in “Before You Run” are particularly corny. “You Gotta Kick It” and “Turn Me Loose” are songs that have great guitar solos but everything else is on a plateau. There aren’t any dynamics on these songs and they’re just “there.” The choruses are very repetitive and very cheesy. The words “you gotta kick it” do not belong in songs in this day and age; it sounds like the name of a Mark Farner comeback album. “Born to Be a Fighter” has an intro that sounds like a Nintendo game and it also happens to be my personal favorite on the album. This song has an eighties sound, but it’s done with a certain panache and the guitar work is pretty awesome. “Anytime Anywhere” has a catchy chorus that actually does the rest of the song justice; I just wish it didn’t repeat so much. “Kiss of Death” closes the album and it’s one of the worst songs on the album and it actually makes the album more forgettable than it already is. It’s probably the blandest song on the album in a spot where it should be the grand finale song. Closing an album is just as important as opening one, there has to be some sort of thought process to make it feel complete. This album just feels like a collection of songs thrown together on a disc.

I really hate myself for bashing “Rising from Ashes,” but I just can’t bring myself to like or recommend it. Silent Force is a fantastic band with amazing albums; this just isn’t one of them. The vocals are great, the instruments are great and the production is great. How did it end up so bland and generic? I think I sound like a nut when I basically say that it’s good but it’s not. The lyrics definitely aren’t the best and the album feels like it has no flow. With all of its faults, it does have some good parts too. The guitar work and solos are just awesome. I know the die-hard Silent Force fans are going to eat this up because it’s the first album in six years, but it really isn’t worth the listen. I was trying to let it grow on me after multiple listens, but I only grew more and more inattentive. As for newcomers, go listen to “Worlds Apart” and  “Walk the Earth,” stay clear from “Rising from Ashes.”

4/10

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

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Armory - Empyrean Realms (2013)

When one thinks of power metal, very rarely do they think of American bands. I’m not saying that there aren’t any good ones; I’m just saying that Europe gets all of the credit. Every once in a while an American power metal band emerges that is impossible to resist. The irresistible band this time is Armory. They don’t redefine music or the genre whatsoever, but they’re just so damned good. On their second album “, Empyrean Realms,” they sound like true masters of the art. They have a much bigger and broader sound than that on “The Dawn of Enlightenment.” Right from looking at the album artwork, it’s evident that “Empyrean Realms” is one hell of a journey. Armory pulls out all of the stops on their new album and they never slow down.

“Eternal Mind” is an instant classic. It’s a great way to kick off the album and an excellent song to show off everyone’s talent in the band. “Dreamstate” showcases some very impressive guitar work and an epic chorus. “Beyond the Horizon” is a fantastic journey across the stars and it’s the album artwork in song form. It’s easily one of the best tracks on the album for the simple fact that the world it creates is accessible and thought provoking. I really can’t praise this track enough. “Reflection Divine” picks up the speed and intensity a bit with the killer intro. Like the rest of the songs on this album, the guitar work is out of this world. “Horologium” is a good instrumental track that expands on the “spacey” sound the band was going for on this album. “Elements of Creation” is a good track that doesn’t do anything new from the rest of the album and it also gets drowned out by the stellar track after it. “Inner Sanctum” takes the band in a more progressive direction and is one of the best songs on “Empyrean Realms.” The eighth track, “Fate Seeker,” is my absolute favorite on the album. Everything comes together and creates a perfect package. The melody, the songwriting and the epic chorus all make the perfect recipe for a power metal song. The album closes with “Quest for the Fleece” which is a great way to end the album. The keyboard outro is absolutely beautiful and closes out “Empyrean Realms” on the highest note possible.

Bands don’t need to revolutionize a genre to be good. On “Empyrean Realms,” Armory takes influences from other bands and turns them into their own power metal concoction. Every instrument and every vocal line is played with complete mastery and precision. The six year gap between albums gave the band time to grow and unite into something special. Armory may have just opened the door for what American based power metal bands can do. As I’ve said before, “Empyrean Realms” might not be the most original album to come out but Armory adds enough of their own flair to make it worthwhile for power metal fans. “Empyrean Realms” is a fantastic space journey that absolutely cannot be missed. Listen to this now.

9/10

Website - http://www.armorymetal.com/


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

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Human Fortress - Raided Land (2013)

I was never a huge fan of Human Fortress; I liked them but they were never top tier for me.  “Defenders of the Crown” was an excellent album and I actually really enjoyed “Eternal Empire.” Sure “Eternal Empire” tried different things, but it was a good experiment. After that album it left the band in an odd state. Where would they go from here musically? Continuing the current sound wasn’t a bad choice and going back to the older sound wasn’t bad either. On “Raided Land” it seems like they found a happy medium that should please longtime fans and new comers. Is it the most groundbreaking album? No. Does it redefine who they are as musicians? No. Is “Raided Land” completely enjoyable and does it have some kick ass riffs? Absolutely. What Human Fortress has created on the new album is a pretty awesome listen. For the fans that were jaded by “Eternal Empire,” give this one a spin.

With “Raided Land” and “Child of War” it’s evident that they brought the sound back to the “Defenders of the Crown” days. They sound like they belong on that album and that is perfectly acceptable. “Wasted Years” is an oddball of a song. It takes the band in a weird direction, but the weirdest thing of all is that it works. It’s so vastly different than the majority of their songs but it’s still a keeper. “The Chosen One” and “Shelter” have some killer guitar solos. “Gladiator of Rome pt. II” is a continuation of the song with the same name from “Defenders of the Crown.” This is a track where the new vocalist, Gus Monsanto, really shines. His vocals bring a much more epic sound to the music. The chorus is just incredible on this song.

  “Dark Knight” is a decent track with a good riff. The whole of the song doesn’t do anything the other tracks haven’t done and it really isn’t that memorable. ‘Pray for Salvation” is another song that would be forgettable if it wasn’t for the outstanding last half. From the middle of the song and on it just gets fantastic. The keyboard is the real highlight here with some mind-blowing melodies. “Evil Curse” is another track that doesn’t really add to the album and can be skipped. “Restless Souls” is much better than the previous track and has a great solo section. “Under Siege” is a balls to the wall power metal song through and through; it’s also one of the fastest and best tracks on the album. “Guard the Blind” closes the album and it doesn’t really do a good job. It’s not a bad track; it’s just not the great bookend that this album deserves.

“Raided Land” is one of those albums that don’t do anything new but it’s just so damned good. Human Fortress is back and they sound better than ever. The guitar sand drums are tighter, the production is better, the keyboards are magnificent and the Gus Monsanto does a great job as the new front man. There were a couple of down parts on this album, but the good far outweighs the bad. “Gladiator of Rome” and ‘The Chosen One” are amazing songs. For any longtime fans of Human Fortress, I assure you that they are back full throttle and they’re here to stay. I don’t want to jump the gun but I’m going to anyway; this might be their best album yet. Go out and listen to this now.

8.5/10

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

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My Dark Lake - Tenebris Icon (EP) (2013)

Scour the internet for minutes, hours, even days. Without the aid of a translator (Sorry Bing and Google, we need a real translator here), there is virtually no information to be found on the mysterious My Dark Lake, a band from Ukraine that seems to specialize in avant ambient music, and symphonic inspired doom metal. That is as far as the trail goes. The web label hosted their latest work, an EP titled "Tenebris Icon," offers little more.But where their is curiosity, there must also be discovery. So armed with next to nothing, you hit play on what would be an experience, if nothing else, into the current state of metal in Ukraine. But what you have, hidden behind a purple tinged album cover and a bizarre mix of fonts is something that will, at minimum, make you tilt your head slightly sideways, squint your eyes and let out an intrigued "Huh." The three tracks that make up "Tenebris Icon" might not change the world today, but they might provide the framework for something far bigger in the very near future.

The album's title track, positioned right at the top, is an exercise in ambient drone, with very few real ties to the metal community. It accomplishes it's goal, though, through the use of haunting tones and sounds, providing what would be a chilling soundtrack to a haunted house or graveyard scene. It brings with it a gust of cold air, raising the goosebumps on your arm. But it is the second track, "Fantasia No. 1 In E Minor" that opens a door to what could be. The sweeping orchestral melody is beautifully orchestrated. When joined by a thick layer of drum and distortion, it is breathtaking. For as short as the track is, falling just short of three minutes, it is larger than life. It is one key element away from being a conversation piece. But the lack of that puzzle piece does not take away from what you have in front of you, nor does it distract from the final track, the funeral doom version of "Cold Slumber," a track that appeared on a previous album of the same name. With the tempo down to a crawl, and the ambient energy turned up to high, the execution here is marvelous. It strikes a familiar chord, the one that connects intensity and beauty at the hand. The production work, clear as can be, only adds to that union, allowing each piece to breathe while still finding symbiosis.

There will be those of you who would scoff at the notion that this album is truly metal. My own cohorts might be included in that. But while it might not be a full on metal album, doom or otherwise, there are glimpses of genius that give hope for the future. With the addition of a strong vocal presence to these three tracks, be it a growling male or soaring female, you would have a trio of songs that border on greatness. Simplistic as they seem, their symphonic roots take them well beyond the structure of most doom metal. And their layering and depth push them beyond the limits of ambient drone metal. So why not push it further? Why not take that giant leap into something outside their comfort zone, and put all of those pieces together? The result could be one of the most cold, spine shaking mergers of styles we've heard in quite some time. Get word out to Ukraine; My Dark Lake needs to take the leap, make a splash, and start the defining of a new wave of symphonic doom. 

8/10

Website - http://vk.com/mydarklake
Bandcamp - http://gv-sound.bandcamp.com/album/tenebris-icon
Facebook - https://www.facebook.com/GVSound

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The Lion's Daughter & Indian Blanket - A Black Sea (2013)

Let's face the facts; rarely is a collaborative effort really a collaboration. It ends up being dominated by one part or another, and thus lessons the appeal of the other. There is a fabled middle ground that exists, only in legend, where both sides contribute equally, and do something special, something outside of both of their respective spheres of influence. Both The Lion's Daughter and Indian Blanket are superpowers in their own right, doing what they do up to the standard of sheer excellence. But how could the two of them working together possibly work out for the betterment of both? The former, a St. Louis titan of sludge and doom, once shared space on the same 12" with the mighty Fister. The other, who boast in their lineup both a violinist, a banjo, and a mandolin, play the kind of folk rock that makes people who lack musical talent very jealous. But what would their crazy lovechild sound like? A few months, a press release, and a limited vinyl pressing later, "A Black Sea" came into existence, and quite possibly changed the way we'll view both bands.

The immediately influence of Indian Blanket is both a bold decision and a brilliant one, as "Wolves" begins with a solemn melody of string and voice, over the tapping of drums. But as waves of distortion begin wash over you, the track morphs into something else entirely. This mixture of emotion and rage comes to a head with the first gritty scream that crashes down on your head from above. The merger complete, the bands trade blows, light and heavy, without one ever dominating the other. In fact, their balance is frightening, in that it feels as if the two were tailor made for one another. Strings meet heavy chugging riffs early and often on "Gods Much More Terrible," though the bending of guitar strings and intense screams may have tilted the scales in one way or another. But with interjections, like that around the three minute mark, they create these anxious moments, waiting for the hammer to drop over the sound of a banjo. To hear the screams of The Lion's Daughter vocalist Rich Giordano collide with the sullen crooning of Indian Blanket's Joe Andert is a treat you are unlikely to top. The best call and response track on the album is "Swann," which sees both bands doing what they do best. You are soothed by streams of cleanly played strings, only to be blasted in the skull by a now well refined ball of sludge. When the two come together, you get well preserved and orchestrated chaos.

By the midway point, you have been thoroughly disheveled, and "A Song For The Devil" seeks to bring you down from that adrenaline high. With each strum of a clean guitar and Andert's soothing vocal tone, you feel yourself coming back down to Earth, ever wary of the oncoming darkness. And when the distortion returns about a minute into "Timeless Waters," it does so with a noticeable blues tinge, as if fresh from a side jam session. The song rises and falls, building to a peak of low rumbles, then coming back down. The hum and drum of the final minute, though, stands out in a big way. And in a grand oversimplification, "Sea Of Trees" quickly becomes the most straightforward track on the album, something that is sure to sound misleading at first glance. By no means is this abandoning the premise here, as both bands are present throughout. But this has the most raw appeal, hearing Giordano and company overload your speakers with crushing drums and a towering wall of guitar and bass. As if their unification was ever in doubt, "That Place" is the final shot to be fired. It begans, in earnest, as a soft acoustic ballad. Andert sings softly over clean guitars, with little sign of what is to come. But as the sound builds, you are eventually set off with a wave of atmospheric guitar, cut through with darts of violin.

It would be hard to imagine the end result of a heavy sludge band collaborating with a folk rock band. We, as humans, just don't have the mental capacity to piece that information together. You can wrestle with it, struggle with it, or even meditate on it; no help whatsoever. Instead, it would be worth your time to simply find the album, pick up a copy, and hit "play." It's exactly what you expected it to be, only completely different. It makes no sense whatsoever, and yet, somehow, makes all the sense in the world. This album, this "A Black Sea," is a musical contradiction of itself, in a way that no other album has ever been for us. It is a joint effort between two St. Louis powers that flows right down the middle of their respectively sound paths. I don't know how these two artists from opposite sides of the musical spectrum came together, but we may never hear something like this again. Is this album a softening of the beast that is The Lion's Daughter, or a handful of dirt rubbed into the face of Indian Blanket? Yes. Yes, it is.

9.5/10

The Lion's Daughter
Facebook - https://www.facebook.com/thelionsdaughter
Bandcamp - http://thelionsdaughter.bandcamp.com/

Indian Blanket
Facebook - https://www.facebook.com/indianblanketfolk
Bandcamp - http://indianblanket.bandcamp.com/

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Sometimes We Make Music - Forgotten Tales (EP) (2013)

What's in a name? Sometimes, nothing at all. A jumbled group of words representing nothing more than what gets listed on venue bills and album spines. Sometimes, though, a name says so much more than the words on paper. It might result in a double take, or serious inquisition, but seeing the name Sometimes We Make Music sprawled across your computer screen might seem like the former, when, in fact, it is quite literally the latter. Formed earlier this year after the disbanding of their main project, Ivar T. Oftedal and Danny V. Johannessen made the easy decision that they weren't done writing and recording together. That decision, though, paled in comparison to the next one they'd have to make; the name. Bucking the trend of ominous, sometimes bizarrely pretentious names, they went with one that made as much sense as any. Sometimes We Make Music was born that day in Norway, and after the release of their first EP, "Forgotten Tales," we can hope that "sometimes" quickly turns into "often."

With the opening instrumental, "Winter Is Coming," there is a noticeable influence at play here. But rather than let that influence dictate the track itself, "Game Of Thrones" is merely a setting. The composition here is outstanding, with the thumping drums complementing the cry of the guitar. But it is the symphonic element that ties everything together, through the use of horns and strings. Conversely, "The Warrior" is an exercise in dominance, with every series of drums pounding you further into the wall. But it is the vocals that fail to hit home here, lacking a real sense of identity or punch. Their delivery, which hovers between growls, screams, raspy cackles, and the occasional chant, is more miss than hit, particularly with the instrumental churning beneath. The chanting aspect, though, fits blissfully in the latter stages of the track, over a sea of crashing cymbals and keyboard fueled strings. The longest track on the EP which, not coincidentally, is also the most folk inspired might also be the best. "(For The) King Of The North" expands on the band's sound, instrumentally, while also solidifying it, vocally. The use of strings and keys here provides a sense of balance that might have seemed lacking. It quickly becomes an anthem; but not the kind of anthem that warrants a fist up. You'll nod, you'll sway, you'll find yourself completely immersed.

When the tempo rises, there is added energy thrust into the mix. The opening seconds of "Showdown" fall into the category blistering, stepping the guitar and drum work up into another realm. They remain the constant throughout the album, in the best possible way, always commanding attention and awe. The repeated segment that ties chorus back into verse is as dynamic as any on the album, and easily the most likely to lodge itself in your brain stem. But aside from the string and percussion prowess, the track also showcases the best vocal performance. While still lacking a solid identity, the changing styles and deliveries simply fit more snugly here, with little exception. And because of that new found cohesion between voice and instrumental, the closing track, "Troll," feels even more like a grand misstep. It strips away a lot of that uniqueness, and reverts back into a basic folk metal format. This is not to say it's an entirely bad effort, but it fails to capitalize on the momentum they worked so hard to build to this point. The vocals now descend almost entirely into black metal screeches, while the lead guitar crafts a hook that seems wasted here.

I think it would be fair to say that EPs like this one create a level of confusion in their wake. There is no doubting the abilities the members of the band possess; the victories are far more convincing than the stumbles. But those scattered trip and fall moments do make the band name feel more like a warning than a moniker. By no means can anything on the disc be classified as sloppy; it is more ill-conceived than anything else. Tracks that cross over the five minute mark can be dangerous and rewarding at the same time, but their length can also be their biggest fault. When a song feels every bit as long as the run time indicates, you would be best advised to trim it down. And more often than not, you find yourself looking to see if a track is almost over, only to see you've just crossed the halfway mark. In the five songs contained here, Sometimes We Make Music run the entire gauntlet of possible outcomes, with some great successes and disappointments along the way. I think it might be a logical starting point for the next step. Sometimes We Make Music should start making music more often.

6.5/10

Soundcloud - https://soundcloud.com/sometimes-we-make-music
Facebook - https://www.facebook.com/sometimes.we.make.music

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Operadyse - Pandemonium (2013)

When I thought the year had reached its pinnacle for symphonic metal, another band emerges and completely changes the game. Has anyone ever wanted a symphonic album that never falters, never missteps and one that is epic beyond all imagination? Well your savior has arrived. French metal heroes Operadyse have created something completely mind-blowing with “Pandemonium.” As far as debut albums go (sorry Elessar and Tyranny of Hours), this one takes the fucking cake. Never before have I heard such beautiful melodies and emotional passages on a band’s first album. The only thing you can do when you listen to “Pandemonium” is sit there with your jaw on the floor. Ok so I built this album up to the heavens, I guess it’s time for me to dive into it, right? Here we go.

If any of you have listened to their EP “Hope Era Dies,” erase that from your memory. The new vocalist Frank Garcia gives the performance of a lifetime on the album, and he makes the band a thousand times better than they were. There isn’t one ounce of comparison between new Operadyse and old Operadyse. The new version of “Celestial Sword” is downright gorgeous. You want symphonic metal perfection? This is it. Everything from the incredible vocals to the movie score keyboards to the blazing solo, this song has it all. “Unfold Legend” and “Keeper of the Flame” pick up the speed but they don’t lack the beautiful melody. The album really hits its pinnacle with “The Path of Divine.” The guitar work is uplifting, thought inducing and played with heart and soul. The bridge on this track has to be one of the most beautiful pieces of music ever written; it will make you close your eyes and just soak in the beauty. “Fairies’ Secret Garden” is another re-done track that sounds much better than it did. This track has some bad-ass guitar riffs that will have you banging your head in no time. “Arkanya” is yet another amazing track with a beautiful bridge that continues the flow of the album oing perfectly. The title track “Pandemonium,” is yet another impressive song on this beast of an album. On “Nevermore,” Damien Marco plays his ass off on the guitar. The guitar solo is outstanding as are the keyboards. The album closes with “Frozen” which is a perfect send-off. It’s hauntingly beautiful and the album couldn’t have ended any better than this.

I don’t think I’ve said the word ‘beautiful’ this many times at once before. “Pandemonium” deserves all the praise I’ve given it and the sad part is my words don’t do this album justice. The entire time this album was on I was completely speechless and almost in tears. How can something in the metal category be so emotional, gorgeous, gripping and good without ever falling short of anything? The vocals, drums, guitar, bass and keyboard are all incredible. Operadyse has made an album that will stay in your heart and soul long after you listen to it. This is more than just music on an album; it’s a dream world that needs to be revisited again and again. Ok, I’m going to stop beating a dead horse with how good this album really is. Before I’m done just let me say one more thing “, Pandemonium” is a groundbreaking and epic album that is nothing short of a masterpiece.

10/10

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

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