Within Temptation - The Unforgiving (2011)

The Dutch gothic band Within Temptation is finally back with a
new album, “The Unforgiving.” A lot of you were wondering
which direction the band was going to go after coming out with their
amazing 2007 album entitled “The Heart Of Everything.” Well, this new

album is based off of a comic story created by the band. They’ve released
the album as a CD/DVD collection, where you can watch some of the story
lines and the music videos that go with it. The stories are great. I would
definitely suggest checking the DVD out.

The band chose to start off the album with a short introduction, with the
narrator of the story explaining herself. Normally I wouldn’t have a
problem with this, however, it throws you off at first because
she starts talking almost in mid-sentence. They could have
chosen a better line for the album to start with, or they should have
just started off with a song. After the 36 second intro, the song “Shot
In The Dark” fades in as track 2 on the album. Lead singer Sharon
Den Adel has one of the most beautiful and unique voices I have
ever heard. The song starts out with her voice layered softly over a dark
synthesizer, kicking off the first verse. As the chorus drops, distorted
guitars fly into action which produce a catchy riff and a catchy

melody that’ll have you singing along with the lyrics in no time. I
personally really enjoyed the lyrics to this song. Especially after
seeing the short story video.

The first single released off of the album is track 4, “Faster” which

starts with heavy guitar riffs. No doubt about it, this song
definitely has radio potential all over it. However, Within Temptation
is usually known for making “radio hits.” The verses consist of basic
chords and catchy lyrics while the chorus provides overwhelming vocals
but includes simple lyrics. For instance, the word “Faster” is

repeated multiple times. Like I said, not really their usual work
but definitely offers a lot of catchy melodies ready to be stuck in
your head.

Songs like “In The Middle Of The Night,” “ Lost,” and “A Demon’s
Fate” show off a little more of the epic gothic work that we all know

and love them for. Orchestrated instruments soaring over distorted
guitars chugging away, while Adel hits the high melodic notes in the
chorus and verses. Now that’s what I’m talking about. Great song

structure and dirty guitar solos.

Overall, the album provides a little bit of everything, from fast paced
guitars to soft and canorous piano keys. “The Unforgiving” definitely

deserves a listen to. For a deeper understandingn and meaning, check
out the short story videos as well!

8/10

Official Site - http://www.within-temptation.com/
Myspace - http://www.myspace.com/withintemptation

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Elvenking - Red Silent Tides (2010)

Italy's Elvenking have done their fair share of groundbreaking in the metal world. They could easily be known as the godfathers of the folk/power metal movement. However, they are not content to rest on their laurels. With this, their 6th studio album, they look to make the next logical step, and once again reinvent the genre. Lofty goals for even the best of bands.

As we begin our journey, something seems awry. "Dawnmelting" begins as you would expect any Elvenking album. Fast paced, violin powered, folk metal mastery. Lyrically powerful and emotionally charged, your head will bob subconsciously when the double kicks begin. But somewhere along the line, the vocals take a decidedly odd turn, almost sounding like more of a later Bon Jovi song than anything else. A wailing guitar solo provides a reprieve, but immediately returns to south Jersey rock.

"The Last Hour," an anthem in every sense of the word, would lead one to check their disc to be sure you were listening to the right album. Outside of the ever present violin, it just seems like a departure from the previous works. The breakdown portion, while strong, does little to bring the song back to life. It isn't until "Silence de Mort" that we truly feel like we have discovered Elvenking. The guitar work, with all it's precise, high octane fingerings is refreshing and vibrant.

A second anthem appears, with a hook that will leave you wanting more. "The Cabal" shows so much promise, but fails to deliver on the scale you would expect. The violin melodies are vintage Elvenking, and so indicative of all they done for the folk metal world. But again, the song drags vocally. "Runereader" brings out the first growl of the album, and finally ignites a fire. The pace increases, guitars whine and drums come at you in a fury. Gang vocals will have you singing along for the first time on the album, and you will be grateful for the opportunity.

"Possession" is the ballad, straight out of 80's glam metal radio. Momentum comes to a stop, and the wheels begin to spin. But your savior is on the way. Despite its title, "Your Heroes Are Dead" is a crushing reminder of what makes this band the envy of so many. Speed, precision and emotion are the recipe for power metal, and the band is no stranger to this. "Those Days" keeps things on track, until the unfortunate "This Nightmare Will Never End," a song which would may have been better if it had been left off of the album.

"What's Left Of Me" is another throwaway, leaving you wondering if Bon Jovi has actually formed some sort of  Elvenking tribute band. Aside from the background presence of the violin, it could easily pass as a "Crossroads" b-side. Some degree of redemption comes with the closing piece, "The Play Of The Leaves," a song which, musically, gives you what you have been looking for.

When you are at the top of your class, it often becomes hard to keep things fresh. Elvenking has been one of the preeminent folk/power metal outfits for the better part of a decade. But in trying to take the next step to once again redefine their genre, they may have made an unfortunate error. The album is missing something. Something so glaring that it may make you wonder if "Blaze of Glory" and "Wanted Dead Or Alive" will be placed in the live set. Perhaps their dreams are truly drowning in "Red Silent Tides."

5/10

Official Site - http://www.elvenking.net/index.htm

Myspace - http://www.myspace.com/elvenking

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Opeth - Ghost Reveries (2005)

When it comes to the mighty Opeth, the only constant is change. Band mastermind Mikael Åkerfeldt is now the sole remaining member from the band's inception in 1990. But as each member passes through the revolving door of this progressive metal titan, they become part of the evolution. And on this, their 2005 offering titled "Ghost Reveries," Akerfeldt and company are redefining the world's conception of what it means to be "progressive."

Straight out of the gate, a blood curdling scream welcomes you to "Ghost Of Perdition." But this is no one trick pony. Death metal traits are combined with Akerfeldt's classic, melodic rock influences into a stunning contradiction. The band manages to jump back and forth, from devastating to breathtaking, heavy and distorted to acoustic and soft. An eerie keyboard presence and powerful bass tie each piece together into an 11 minute epic.

Blast beats and well played drum fills take "The Baying Of The Hounds" into another realm. Precision is the name of the game here, with bass and drums locking together as one. Vocal range is never in question, with Akerfeldt showing off his gifts time and time again. He screams with the best, and sings better than most. "Beneath The Mire" is cut from the same cloth. But to say it is formulaic just simply does not do it justice. Yes, you will find intermingling moments of brutality and pure emotion. But there is no overused structure, no time signature rule. Just when you think you know what will happen next, it changes.

The classic groove of "Atonement" catches you off guard. Have we gone back in time? Is Opeth touring with Pink Floyd or Deep Purple? Oh, not quite. "Reverie - Harlequin Forest" will remind you what year it is. Intermittent chugging over the background whine of a guitar, layered with off time drumming form an almost "follow the leader" moment, winding down to the end of the track.

But now something changes. Don't worry. This is still the same album. But "Hours Of Wealth" is simply to beautiful for words. A masterpiece in every sense, you will find yourself lost in the soundscape. Keys take a starring role, from the background synths to the piano-style lead, all breaking off to reveal Akerfeldt's emotional crooning. It is as lyrically stunning as it is musically. Ending with a guitar work that would make Santana jealous, you have mere seconds to catch your breath.

Serving as the first single, "The Grand Conjuration" finds the band back at their crushing best. Topping the ten minute mark, you get a little taste of everything. As you would expect from it's name, you get a sense of evil and darkness through vocal chants, as well as the screams and growls. The heaviest moments on this disc come here, with high speed double kicks giving way to pure death metal breakdowns.

The finale, "Isolation Years," is a story of loss. Again showcasing Akerfeldt's melodic sensibilities, the song will make your heart beat a little slower. "In isolation/She talks about her love/And as I read/"I'll die alone"/I know she's aching". Beautiful. Well written and well thought. The album fades to an end. The special edition version of "Ghost Reveries," released a year later in the typical Roadrunner Records fashion, also contains a brilliant cover of the Deep Purple classic "Soldier Of Fortune." Akerfeldt has never been shy about his influences, and it is really on display here.

As each album is recorded and released, the revolving door turns again, with more members coming and going. Oddly enough, as I write this, the band has just announced that keyboardist Per Wiberg has left the fold, and a replacement has been found. But that said, the constant isn't always change. The constant is vision. Evolution. Eclecticism. The constant is Mikael Akerfeldt.

9/10

Official Site - http://www.opeth.com

Myspace - http://www.myspace.com/opeth

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Barren Earth - Curse Of The Red River (2010)

From the frozen hotbed of all things metal, Finland, comes a band whose name is misleading. There is nothing barren about the land the band hails from, nor the members. Featuring former and current members of Moonsorrow, Amorphis, Kreator, as well as heralded Swallow The Sun vocalist Mikko Kotamäki, this offering is more than just a "who's who" in the metal world.

"The Curse Of The Red River," the album title and opening track, is as bountiful a harvest as you could ever hope to witness. From a prog rock guitar intro, directly into Kotamäki's signature death metal growls, the song mixes so many styles into one strong outcome. The chorus finds the deep screams combined with clean, melodic singing. A strong guitar solo, which is not merely for show, paves the way for Kotamäki to scream his way home. And what better way to end an epic masterpiece than a flute solo that would make Ron Burgundy proud.

The formula is present throughout the album, with crushing guitars leading the way into melodies almost reminiscent of classic rock of the 70's. Never is this more evident than in "Our Twilight," where synths and keyboards bring out the nostalgia, before tearing it down in a crash of double kicks and screams of emotion. The range contained here is simply mind boggling. A piano laden intro takes you head first into "Forlorn Waves". The precise guitar work, and flawless execution of the rhythm section are a constant, but combined with a strong piano presence, they take this track to another level, with a main riff that will stick in your head for days.

"Flicker," an Opeth-style composition, jumps back and forth across the line that separates beauty from sorrow, hope from devastation. A guitar sound akin to the spanish flamenco style jumps in to accompany the smoothest of bass lines. "The Leer," on the other hand, has no such identity crisis. It drives forward at a faster tempo, using Kotamäki's gutteral screams and a syncopated drum beat. Wailing guitar solos slam the exclamation point on this all out assault.

Taking a short step to the folk side of metal, "The Ritual Of Dawn" provides a great contrast between the harsh vocals and the melodic, marching music. The classic rock vocal stylings chime in for another appearance, only to be joined by growls and the complete synth experience. "Ere All Perish," arguably the darkest track on the album, and "Cold Earth Music" show the off the bands versatility again, with seemless transitions from heavy to delicate.

"Deserted Morrows" brings the sledgehammer down for the final time, chugging through a 6 minute denouement that reminds you what you came for. The gloom and doom return in all forms; vocally, lyrically and musically. Oddly enough, the track and the album seem to end on an emotional high, with a triumphant musical outro that empowers that most fragile of listener.

With such a strong pedigree, Barren Earth are deserving of any and all praise they accumulate. But beyond that, they have earned their status as rising stars in the death/doom world. Despite the seemingly hopeless, ominous name, there are only lush landscapes awaiting this band in years to come.

8/10

Official Site - http://www.barrenearth.com/
Myspace - http://www.myspace.com/officialbarrenearth

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Draconian - Arcane Rain Fell (2005)

From the darkest grounds of Scaffle, Sweden comes Draconian with
“Arcane Rain Fell.” This, their second studio album, is a concept

album about Lucifer falling from heaven and creating Hades. An epic
story for this doom masterpiece.

The first track, “A Scenery Of Loss,” is 9 minutes of pure doom metal.

It starts with depressing drizzle of rain behind a melodic guitar
intro. A few short words are followed with a roaring growl that may,
literally, make you shit yourself. However, a beautiful female voice is
introduced about 5 minutes in. Lisa Johansson is an amazing vocalist
and fits as a perfect piece to Draconian.

Other tracks like “Daylight Misery” and “ Heaven Laid In Tears” have
great hooks, that include heavy double bass pedal work and more
powerful growling. Unfortunately, they are two of the shorter tracks on

the album. You may end up having to replay the songs because they leave
you wanting so much more!

The last song on the album, “Death, Come Near Me” is one of the

most epic and amazing song you will ever heard. It is 15 minutes and 22
second of pure Doom greatness. It opens with piano and
strings that create a great image for the listener. It then drops into

heavy guitar rifts, both depressing and beautiful. After a little
over 3 minutes, Johansson comes in with the first verse. This song
carries such powerful lyrics. As the chorus begins, she is accompanied

by Anders Jacobsson’s growling. They sing the lyrics together,

giving a “beauty & the beast” feel. Jacobsson’s growls are so low and
dark, yet they are so clear and understandable. This is a “must hear”
song that must be heard to be appreciated.

This album is great from start to finish. Definitely check it out. You
won’t be disappointed!

9.5/10

Official Site - http://www.draconian.se/
Myspace - http://www.myspace.com/draconianmusic

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Ihsahn - After (2010)

Mind-blowing. Eccentric. Genius. All of these things describe Ihsahn, former vocalist and guitarist for Emperor, one of the preeminent black metal bands in the world. Now on his own, he has a bonafide "album of the year" candidate in this, his third solo record.

The album was Ihsahn's first experimenting with 8 string guitars, which he described as being "both challenging and inspiring." The hard work seems to have paid off in the material included, a collection of some of the most varied, eclectic songs you can find in metal today.

Unlike the two albums before, "After" is a much more polished effort. It still contains all of the high speed, punishing double kicks, black metal screeching vocals and blistering guitar work that you have come to appreciate. All of those things are used as a disclaimer on the albums opening track, "The Barren Lands." But what makes them stand out is the use of well placed, clean vocals. Ihsahn has created a wonderful contrast here.

"A Grave Inversed" may sound like the standard black metal screamfest at first. But there is something odd. Do you hear it? It starts off as an accent, but soon the saxophone solo blindsides you. I am sure John Coltrane and Charlie Parker never envisioned their craft being developed into this. But, surprisingly, it not only fits, but flourishes. The presence of the saxophone is welcomed. It could be the next evolution of metal.

A melodic turn approaches, with Ihsahn showing off his vocal diversity on the title track, "After." Don't worry, the double bass and layered guitars are still here. "Frozen Lakes On Mars" is a well written metaphor, comparing blue eyes to the lakes on the now dry red planet, both lifeless and empty. Ihsahn continues to tear down the assumptions of what black metal is about.

The true fusion of jazz and metal is found in "Undercurrent," which places the saxophone at the lead of the band, and lets the entire track build around it. A smooth bassline ties it all together in a perfect musical marriage. Things slow down considerably for "Austere," an atmospheric, bass driven outing. Mainly an instrumental, it allows for Ihsahn's musical prowess to be heard, join by his friends, drummer Asgeir Mickelson and bassist Lars K. Norberg, both of the band Spiral Architect.

"Heavens Black Sea," aptly named, brings the darker side back. Intertwined guitar work, all performed by Ihsahn, joined with sporadic double bass, provides the platform to jump from screams to singing, and back again. It clears the way for the epic closer, "On The Shores," which at times breaks down into an jazz improv, before slamming back to black metal glory. The entire album, summarized in one all-over-the-place jam session.

Black metal musicians are often dismissed as satanists, with black and white face paint. Double bass, distorted guitars, screams. Ihsahn is proof that there is so much more to be had. When you see where he has been, what he has done in the past, what would you expect? Would you have believed that this album ends with a saxophone solo?

9/10

Official Site - http://www.ihsahn.com/
Myspace - http://www.myspace.com/ihsahnmusic

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Katatonia - The Great Cold Distance (2006)

Sweden's Katatonia is different. They simply cannot be confined to a single musical label. The material stirs such diverse emotions, often at odds with one another. How can one song be both empowering and thoroughly depressing? How can a band be so heavy and yet so sensitive at the same time? Only the members of this five piece can know for sure.

"The Great Cold Distance" doesn't wait to draw you in. "Leaders" is well placed at the top of the tracklisting, with the opening riff grabbing your attention immediately. Flawless execution, smooth transitions, and top notch production all take the fore. The melancholy, yet staggeringly powerful vocals of band frontman Jonas Renkse are offset with background screams, creating a beautiful contradiction.

"Deliberation," which served as a single from the album, starts off somewhat delicately, with splendid drum fills moving the song into the heavier chorus. Renkse's dark, somber lyrics are constantly highlighted. Each song seems to be part of a larger story, with this one begging the question; "Will you wake us up before it is time?" Seamlessly, it flows into "Soil's Song," which is a reminder that the end is always near. A smooth bassline unites drum and guitar together in a singular wave.

The albums strongest effort, "My Twin," is the song that has turned many people on to this album, and this band. As powerful as it is emotional, it will make the hair on your arm stand. Musically, the band outdo themselves. They create a haunting soundscape, providing a suitable canvas for the vocal melodies. The lyrics, telling a story of love and loss, leave you breathless. "I think of love/I let it pass/ It feels like fire/But it won't last." And as suddenly as it begins, it ends.

"Consternation,"  with it's deep guitars and strong, driving drums dries your tears and convinces you to move forward. "Follower" walks the line between heavy and beautiful with uncanny precision, even providing a "breakdown" of sorts to provide head bobbing material. "Rusted" completes the trio, with synthesizers and effects used to furnish a ghostly sense, leaving the crushing guitars to push the track forward.

Combining both the heavier side, as well as a touch of the electronic, "Increase," follows. Renkse reveals more of his seemingly tortured soul, telling us that "There won't be a time when I'm at ease." The ability to stop and start, fade in and fade out is something Katatonia has perfected. Guitars can cut, leaving a second to highlight a single word, and return to drive the point home.

A darker, heavier track, "July," leads the tail end of the album. This could be the anthem for your depressed summer months, though decidedly different from the "good weather, roll down your windows and blast it" type of music. "In The White," with a first verse akin to a lullaby you may have known, is a love song of a much different color. Gray, perhaps. Renkse croons "And now that you're here/It becomes so clear/I have waited for you always." The words of a broken man.

After traveling through an album that seems to navigate the months of the year, "The Itch" and "Journey Through Pressure" are excellent closing efforts, finishing the story.

This album is a departure from what the band had done before. It is focused, fine tuned to perfection. Maybe you can share in Jonas' woes. Maybe you can't. But you simply cannot find another band that embodies so much pain, and so much power. Katatonia is different.

"The sky moves faster at this time of year."

10/10

Official Site - http://www.katatonia.com/
Myspace - http://www.myspace.com/katatonia

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