Your Highness - Blue Devils (EP) (2012)

Years ago, Henry Rollins waxed poetic about the possibility of being invaded and "saved" by Belgians. It seems funny at the time, not knowing very much about Belgium. But as you breeze through the three tracks of "Blue Devils," the new EP by stoner five piece Your Highness, the idea may seem more and more enjoyable. Taking on southern American tones, and delving into the ways of the blues, the country that brought us Jean Claude Van Damme may have revealed itself to be a hotbed of metal styles. Sewn into the three tracks and nearly twenty minutes of hazy, bloodshot stoner sludge, there is not only an understanding of how to create catchy riffs and rhythms, but how to execute them without a ounce of irony or cliche.

Immediately upon hearing opening riff to "Low Country Exiles," you may feel something pulling you further into the distorted guitars path. As the unrelenting stomp begins, you can either move with it, or be crushed by it. A combination of stoner and sludge guitars, booming kicks and harsh vocals, there is no need to search for subtleties here. To their credit, the pedal to the metal pacing of the track leaves no room for error. Everything is laid down with reckless abandon, but played in a such a way that you would never question the talent at hand. As a bending, distorted chord fades, the bludgeoning of "Wrack And Ruin" is only a breath away. Without sounding complete off base, there is a down tempo groove to the track, one that is rooted so heavily in the percussion. As the vocals scream ahead with no regard for human life, the duel guitar action leaves you with a veritable fountain of memorable riffs to fill your head. A dynamic solo portion, fueled by the tenets of the blues, fills a solid minute of airtime, and fills it in the best possible way. This is another instance of a mix being cloudy and murky, and it coming off as a positive.

If you have somehow managed to ignore the southern drawl thus far, "Blue Devils" throws it right in your face. From the first bending guitar strings, right into the body of the verse, each and every strum, stick and stomp is reminiscent of bands gone by. Whether it be in the twirling of the leads, or the pure devastation of the pre chorus, there is something special woven into the fabric of the track. Never is it more evident than in the middle of the song, where an extended blues solo floats through your right speaker, while single notes come from the left. When the full band reenters, you are thrown head first into a full blown southern blues jam, one that might make the likes of the Allman Brothers and Lynyrd Skynyrd feel right at home. Whether it was the intention or a happy accident, the lasting impression is there, making it a victory if nothing else.

We all feel a connection to music for a variety of reasons. This is what makes music a subjective topic, as our likes and dislikes come from personal experience. Sometimes you can identify with an album for reasons no one else can explain. When the last note of "Blue Devils" faded away, there was only silence left. But something on these three tracks stands out from the sea of albums in my rotation right now. It isn't easy to pinpoint what makes Your Highness so good, and I certainly wouldn't begin to try. But despite being a straight forward sort of band, here is a lot of thinking left to do once the music is gone. Whether you have an attachment to southern rock, old school blues, or just a love of all things metal, this may be a great album to sit down and digest.

7.5/10

Official Site - http://www.yourhighness.be/
Bandcamp - http://yourhighness.bandcamp.com/

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Top 5 New Artists of 2012

Every year is sure to produce its fair share of bands to watch. And while the veterans always make a play for your top albums, there may be an unfamiliar name or two that dominated your time. So, here are the five best new bands to cross the desks of Sorrow Eternal. Keep your ears open, because great things are coming.

5. The Deadstation
At first glance, the entire concept of The Deadstation might seem like a gimmick or a joke. A dystopian TV station, broadcasting episodes in the form of the band's EPs? It sounds out there, and it is. But behind the front is a band with immense talent. With so many of the world's best bands coming from outside our borders, it is always refreshing to see a band from the US making waves with big ideas, and even bigger instrumentals. On "Episode 01: Like Peering Into The Deepest Ocean Abyss." you find a band that is focused and ready to change the face of heavy music.

4. Winter Gate
As the global metal scene expands and evolves, it only makes sense that bands like Winter Gate have a chance to explode. Playing a style of progressive metal that is, indeed, old school, these four men from Jaipur, India have all of the talent and all of the tools to follow in the steps of the titans of the genre. When Justin made the Opeth comparison, we knew this band was something very special. And "Disillumination" was the proof.

3. The Massacre Cave
A small white envelope came in the mail. A single CD-R of "The Ninth Wave," shipped from across the Atlantic. But more than the disc came the sound of four Scottish lads who have a tight grip on melodic thrash. Every riff hit home, every vocal had an edge. Brothers Ben and Joe Cormack have the best band from the isle of Eigg, and one of the best coming out of the UK today.

2. Lyceum
We got lucky. When we received an e-mail from Concord, California based Lyceum, we didn't know what to expect. But after listening to their demo, a three song outing, it was clear that we had just been invited onto the ground floor of a rising star. With lyrics that defy the stereotypes of metalheads and a set of instrumentals that are as catchy as they are heavy, there is no doubt that this five piece will be making Album Of The Year contenders for a long time to come.

1. Atoma
One look at the artwork to "Skylight," and you can be assured that an epic journey awaits you. Combining electronic elements with the traditional tenets of a wealth of metal subgenres, Atoma have mastered every aspect of their sound. With an album that flirts with perfection released as their debut, where do you go from here?

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Therion - Les Fleurs Du Mal (2012)

It was 25 years ago that Therion was formed by Christofer Johnsson, then under the moniker of "Blitzkreig." After a career that has grown with each release, expanding on classical and opera influences along the way, a long period of silence is on the horizon. With work commencing in Johnsson's long developed opera, it may be years before Therion rises again. So it seemed only fitting to release one last gasp before they recede to the shadows. But when Nuclear Blast, the band's longtime label, dubbed "Les Fleurs Du Mal" as "too spectacular" to finance, it was up to the man himself to foot the bill. With a massive loan and an even more substantial emotional investment in what is to come, this may be Therion at their grandiose best, like it or not.

It takes no time at all to assert the influences on display here. As "Poupée de cire, poupée the son," the soaring, operatic female vocals float in the air above you, all the while accompanied by an aggressive lead riff. Rich symphonics are commonplace, but are no less powerful today. Instead, their strength has only increased over time, providing a foundation that is both stable and functional. But this isn't all raucous instrumentals, as "Une fleur dans le coeur" soon proves. Taking a softer, cleaner approach, the audio textures that emerge are sublime, adding touches of fluttering guitar leads without disturbing the delicate nature of the composition. Even when the male voices joins the higher octaves, it does nothing but enhance the mix. Together, the pair lift you up along with them. In comparison, the breathy female vocals on "Initials B.B" are sultry and intoxicating. I would be hard pressed to think of a time when French was spoken or delivered in a more beautiful fashion. Horns and strings create another dimension, an added depth of sound that is almost stupefying in its glory. The longest track on the album, the four and half minute "Mon amour, mon ami," is one that must be heard to be fully appreciated. Much like the recent work of Grey November, there is an intense focus on storytelling, as well as mood and emotion. Whether it is in the trading vocal passages, both male and female, or the use of church organs to complement the guitars, every layer is as important to the whole as the one above and below it.

A true take on the neoclassical style, "Polichinelle" is an impressive fusion of true operatic vocals and acrobatic guitar work. With a more accessible nature to the chorus, it may be easier to attract a new group of listeners to an otherwise flamboyant style. Often overlooked, the battery of drums that lifts up the mix is both thunderous and delicate. if there was ever a single track that could unite you with your grandparents in a love of music, "La Maritza" could be it. The vocal performance could only be described as stunning, with light touches of strings and horns highlighting each word and phrase. As the choir of voices comes together in the outro, you will surely be transported to another time and place. Adding an extra dose of virtuosic guitar work, "Soeur angelique" is one of the most balanced attacks on the album, creating an emotional surge that can be felt pouring through your speakers. Each buildup is like a tidal wave rising above the water, but then gently breaking over you. Heavily anchored in the percussion, "Dis moi poupée" sees multiple voices occupying equal time on the mic. The lower register steals the spotlight in the latter half, with deep male voices paving the way for a squealing guitar solo that brings the album to a new level.

Beautiful in its simplicity, "Lilith" is a perfect example of how well constructed and put together layers can result in something that is far more than the sum of its parts. Guitars enter, then leave, replaced by bass, which is then joined by strings. It is a seamless transition from one piece to the next, a tricky endeavor. That same balancing act is present in "En Alabama," but to a different degree. Rather than trading blows, all of the pieces come together here in a wall of sound a mile high and mile wide. The traditional bass, guitar, drums, and vocals are the main players here with only a supporting cast of symphonic elements. The closing riff is as catchy as you will find on an album of this scope, and sets the stage perfectly for the avant "Wahala manitou." Building from an accordion melody into a full fledged track, the band take the path less traveled, incorporating French culture into a song that very quickly goes from a medium pace to a ripping guitar exhibition. And just when you think you have it all figured out, "Je n’al besoin que de tendresse" proves just how wrong you were. A blazing anthem packed to the brim with drums and guitar work, the track only spans two minutes of time. Boasting a guitar lead that would make Andrew WK proud, this may be the one that stands out from the rest, both in its sound and delivery.

As if to once again highlight the beautiful contrast at play here, "La licorne d’or" takes an immediate leap back to the almost baroque tones you experiences earlier. The strings that dominate the verse and chorus are enchanting on their own, but even moreso with a soaring female voice attached to them.They work to elevate each other. In what is arguably the most powerful male performance on the album, "J’al le mal de toi" begins with a rich tenor and evolves into something completely captivating. The atmosphere created by the keys, strings, horns and percussion pulls you in, surrounding you with all of the pieces of the puzzle. You begin to experience the track from the inside out, watching it rise and fall around you. And though it ends abruptly, it ends appropriately. A reprise of the opening track, "Poupée de cire, poupée the son" reminds you have perfectly matched classical and metal music can be, with a pair of amazing voices coming together over a galloping backing band. And with the finale, the story and sound come full circle. In pure rock opera form, "Les sucettes" explodes from player, rich and smooth as can be.Without ever breaking a sweat, every element falls into place, a beautiful harmony between vocal and instrumental that few have ever achieved.

How bold must an album be to be labeled "too spectacular"? I suppose that only Therion would be to answer that, and I imagine they would be happy to. Far be it from me to weigh in, I can only conclude that this album may just be ahead of its time. It exudes confidence, quality and a daring take on the style the band helped to forge 25 years ago. The overwhelming beauty that coats each and every stanza is sure to resonate with fans of the band, as well as fans of classical music in all its forms. And it would seem that that is the real success story. When your music transcends the genre you helped create, you have achieved something special. If the compositions on "Les Fleurs Du Mal" are any indication, Therion will be taking us on many more journeys into the sublime and beyond. This spectacular voyage is only the beginning of the next chapter.

9/10

Official Site - http://www.megatherion.com/en/
Facebook - http://www.facebook.com/therion

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The Links

Long before Sorrow Eternal came into existence, we were metal fans. And as much as we love doing this site, our favorite site, there are a metric fuck ton of other sites that we think you would enjoy in your travel down the path of metal. Tonight, we unveil some of "The Links," in hopes that you will support them the same way you've supported us. Check their sites often, "Like" them on Facebook, and enjoy.

Metal Underground

http://www.metalunderground.com

http://www.facebook.com/metalunderground

Metal Injection

http://www.metalinjection.net/

http://www.facebook.com/metalinjection

All Things Metal

http://www.facebook.com/ATMmetal

https://twitter.com/ATMetal

Metalheads

http://www.facebook.com/MaX.MetalheadS

Three Rooks Records

http://www.records.threerooks.net/

http://www.facebook.com/ThreeRooks

Bakerteam Records

http://www.bakerteamrecords.com/

http://www.facebook.com/pages/Bakerteam-Records/151232588302442

Scarlet Records

http://www.scarletrecords.it/

http://www.facebook.com/pages/Scarlet-Records/176625825686405

ThePRP

http://www.theprp.com

http://www.facebook.com/theprpcom

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Hacktivist - Hacktivist (EP) (2012)

When the name Hacktivist made it's way across the tubes of the internet and into our path, there was a solid minute of silence, followed by a collective "seriously?" After all, how is it possible that in the year 2012, a band is still trying to forge the bond between hip hop and metal? Somewhere in the past, a much younger version of me is giddy with delight. But what we couldn't have predicted is the difference between the rap rock days of yore, and the new wave of artists. It may seem out of place in the modern map of all things metal, but with this self titled EP from the UK five piece with a penchant for industrial riffs and heavy beats, it all seems so familiar.

With the aptly titled "New Age" leading off, it takes less than twenty seconds to assert what you are about to experience on the album. Each crushing kick drum beat blows you back from your seat. There is no DJ scratching in earshot, but a multitude of percussion and slamming riffs. With roots in the melodic djent category, only the syncopated vocal style separates this from the plethora of like minded bands. But after that short bursting intro, the jump to "Unlike Us" gives you a lot to think about. Packed into a three minute frame, the track is anchored by a slapping bass line and flurries of double kicks and massive chugging guitars. While the merger of rap and metal seems to work well at times, there are moments tangled in this track where the vocals don't echo the intensity of the backing band. Fortunately, the multidimensional instrumental that lays behind is rich enough to carry the weight. It isn't all just fills and rolls; there are atmospheric elements int he guitars to tie it all together.

With an increasing track length on "Blades," the formula becomes slightly harder to balance. An infusion of clean signing vocals over those same tricky guitars is refreshing, but quickly negated by a Linkin Park-esque bait and switch. And while all is far from lost, the notion that harmony and rhymes can coexist is stretched to the breaking point. The track that follows, which shares it's name with both the band and the album, is truly a blast from the audio past. And it is here that things start to unravel. With a dash of Korn mixed throughout, the resulting three minutes of hybrid styles feels more like a recycled mess than a fresh take on an old style. By the time you have come to the finale, the nearly six minute "Cold Shoulders," you are left wondering which band you are going to get. With a more aggressive opening riff, flanked by a bit of accented flow, you get what might be the strongest offering yet. But the staggering lack of lateral movement is far from flattering. An ethereal bridge section does wonders for the mix, but it all comes too little, too late. The outro instrumental shows more promise, but ends before things get fully baked.

What was old, becomes new again. It is a fact of life.Nothing in the music world ever really goes away, it just lays dormant until someone chooses to wake the sleeping beast. It happened with disco, and it is now happening with hip hop. For all of the albums flaws, Hacktivist do, in fact, have a fairly well conceived concept on their hands. The guitars lay down a fairly consistent foundation for everything going on, something that was always lacking in the first wave of nu-metal bands. With a strong instrumental already signed, sealed, and delivered, it is only a matter of time before vocalists J Hurley and Ben Marvin find their voice, and bring balance to the force. I'm sure that the timing of all of this is a sign of the apocalypse. But not even Nostradamus could have predicted this one.

6/10

Bandcamp - http://hacktivist.bandcamp.com/
Facebook - http://www.facebook.com/Hacktivistband

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Playlist 12/4/12: I've got your symphonic metal right here...

December 4, 2012

There have been some amazing developments over the history of the power metal genre. Most notably, the incorporation of symphonic elements has elevated the genre to new heights time and time again. By adding in the orchestral instrumentation, musicians have transcended metal music, and become composers, rather than just songwriters. Classical inspirations come full force, and what you are left with is an amazing marriage of styles. These are some of the best examples to get you started on your road to symphonic metal glory.

The Tracklist:

Wintersun - When Time Fades Away
Therion - Poupée de cire, poupée the son
Secret Sphere - Death From Above
Thy Majestie - Walls Of The Emperor
Wind Rose - Oath To Betray
Sound Storm - Blood Of Maiden
Luca Turilli's Rhapsody - Dark Fate Of Atlantis
Drakkar - When Lightning Strikes
Dakesis - After The Storm
Nightmare - Sunrise In Hell

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Kuolemanlaakso - Uljas uusi maailma (2012)

No place in the world brings about more imagery than Death Valley. Named for one of the hottest places on Earth, Finnish five piece Kuolemanlaakso embody so many of the traits that make their namesake so intimidating. With a sound that was derived from the classic Triptykon album "Eparistera Daimones," guitarist Laakso recruited bandmates that were not only high on talent, but like minded when it comes to creating metal from the darker side of the spectrum. With lyrics done completely in Finnish, who better to occupy the microphone than Swallow The Sun mainman Kotamäki? Borrowing themes from Eino Leino's poetry collection, "Helkavirsiä," the album exudes darkness and crushing sadness.

If the few moments that open "Minä Elän" aren't enough to bring a chill to your spine, you may be invincible. From softer, haunting tones to more abusive screeching guitars, the track takes a left turn as sharp as you could imagine. Kotamäki is in his element here, screaming ahead over a bevy of distorted guitars. His voice takes on the deeper growls, but focuses mainly on harsh blackened styles. But unlike his other projects, his is more of a supporting role here, taking a back seat to an instrumental that is as deep as it is heavy. The constant presence of double kicks and thunderous fills only elevates the mix to legendary status. The band brings the doom on "Kuun Lapset," at times bringing to mind the more modern work of My Dying Bride, but with a much heavier edge. Bringing together slow paced instrumentals with a background chant isn't an easy task to accomplish, but the glue that binds the two together is the main vocal line. It is in this devastating set of screeches and screams that the track finds a true star, making every chord and bass note seem all the more powerful. Even the interludes and tempo changes that come later are welcomed and well executed. The genius is in the refusal to give up momentum, with every new movement adding to the overall arc of the track itself.

To think the album couldn't get anymore eclectic would be a mistake, as the ethnically infused "Nostos & Algos" takes things into a new realm. A pounding at the hands of drummer Tiera leads the charge, flanked on either side by a grinding guitar riff that is both punishing and rewarding. With an added dose of effects tacked on to the vocals, each syllable is accented by an otherworldly sound. The final two minutes of the track create such an immense soundscape, that it becomes hard to pigeonhole the performance into one genre or style. They have fused so many elements of death and doom, but injected a healthy dose of catchy riffs. The short interlude, titled "Roihusydän" is the height of bizarre, featuring a combination of Finnish chanting and a set of drums that could be only identified as Native American. By the time the blackened scream cuts through it all, you find yourself preparing for anything. And pure evil is what follows. Howling guitars take over "Etsin," joined by the haunting sound of keyboards in a marriage of sonic ghosts that would make Satan himself smile. With the pacing coming down to a crawl, it allows every solitary note to ring for seconds after being plucked, driving your head downward with each blasting kick. An attempt at clean vocals is well received, adding a new dimension to an astonishing balanced mix. Hell is unreleased in the latter half, with crunching guitars coating the entire mix with a healthy dose of distortion.

There is no subtlety to be had in the brutal beginning to "Ikiuni," where the band trades in their slow, methodical attack for a more pummeling one. This is the unleashing of the beast, with high speed guitar riffs sitting atop a wall of massive percussion. All the while, Kotamäki rattles your ear canals with a variety of delivery styles, from blood curdling screams to guttural growls. But even more importantly, the use of sparing keyboard notes heightens the sound to new levels of contrast. Perhaps the scariest piece of work on the album, "Uljas Uusi Maailma" sees the band exercising some fairly interesting techniques and tones. The space age keys that fade in and out are a nice touch, especially when used to introduced some unearthly death metal screams. The combination of bending guitars strings and rhythmic chugging is incredible, and forms the perfect base for a titanic lead. Beginning with a far more down tempo, doom atmosphere, "Aurinko" could easily be inserted into any horror film and succeed in making you squirm in your dark living room. Even the quiet spoken word segments do so much to set the mood. But this isn't all about ambiance, as those same eerie tones give way some far more sinister. As the vocal track delves into the devilish, the melody provided by the guitars forms a beautiful contrast. Floating towards the end, there is an isolated piece of bass, keys and drums that may elicit a head nod or twelve, laying down an almost jazz like groove as the track fades.

What does it really mean to be "heavy"? It isn't all about how loud you can play, how low you can tune, or how hard you can scream. Sometimes being heavy is more of a combination of style and substance, something Kuolemanlaakso has in spades. There are times where the sheer weight of the instrumental is sure to elicit a positive response from the listener. But more importantly, there is a focus on creativity and originality that exceeds even the members other projects. And it is in this balance of elements that "Uljas uusi maailma" will find its target audience. This may not be the best doom album, or death album, or black album this year - there are far more straightforward ones - but it may be the best hybrid album you will find in this, or any other, calendar year.

9/10

Official Site - http://kuolemanlaakso.net/
Facebook - http://www.facebook.com/kuolemanlaakso

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