Rhapsody Of Fire - From Chaos To Eternity (2011)

Italian power metal band  Rhapsody Of Fire, has returned with yet another epic and exciting album entitled "From Chaos To Eternity." It's packed with massive amounts of symphonic orchestrated instrumentation, along with the concept story of their fantasy saga which started in 1997 with their first album "Legendary Tales." This is said to be the final chapter of the saga. Definitely read up on the lyrics as the album takes you on a long dark journey.

"Ad Infinitum" is a short introduction that starts the album off with crazy guitar riffs and booming cymbals. Words are spoken in a narrating style to provide you with where their story last left off. This runs into track two, "From Chaos To Eternity," as you are immediately greeted with rapid solos combined with piano and violent drumming. A lot of the vocals are layered with multiple voices which really give the song an epic and symphonic feel. An incredible solo enters towards the end of the song with tremendous amounts of melodic notes flying through the air. Luca Turilli is one of the most talented guitarists in the world, and manages to keep his solos fresh and exciting on every album that he writes. Tom Hess is the other guitarist who has recently joined the band this year. Together they write some of the most impressive patterns ever heard.

Things slow down for a moment with a soothing flute that opens the angelic "Anima Perduta." Soft vocals fill the air, layered with calm drums and bass. Little by little, more instruments enter as they build up to the chorus. Distorted guitars and symphonic strings surround Fabio Lione as his voice becomes more operatic almost matching the strings high notes. The song then fades into "Aeons Of Raging Darkness," which opens with powerful punchy bass lines and melodic guitars riffs. Some of the vocals in the verses lean more towards demonic screaming, which adds an interesting flavor to the whole mix. The refrains, however, take over with soaring operatic vocals taking you right back to that symphonic sound. A wicked solo later enters mixed with beauty and darkness.

Jumping to the final song, "Heroes Of The Waterfalls' Kingdom" isn't the average length you expect after listening to a whole album of four and five minute tracks. This last song runs for an astonishing 19 minutes and 39 seconds! It is broken up into 5 parts. It starts out with a short narration as soft, beautiful acoustic guitars follow and light vocals which are sung with Italian lyrics. Heavy orchestrated strings are later introduced and the song picks up in speed. Monstrous double bass pedaling accompanies the deafening guitars and powerful vocals. As the song goes on, you will come across many unique and detailed solos that will take your breath away. Also, you will notice the use of violent growling about 14 minutes into the song. The structure of this song is absolutely mind blowing and is definitely an amazing way to end the story of their fantasy saga.

Being as marvelous and well written as "From Chaos To Eternity" is, it amazes me how Rhapsody Of Fire is able to pull off new and unique music structure and sound with ever album that they release. Luca Turilli is a genius with his creative imagination and meaningful lyrics and story telling. And if you are unfamiliar with the saga that the album is about, I suggest you look into the story line and check out their earlier albums as well.

8.5/10

Official Site - http://www.rhapsodyoffire.com/
Myspace - http://www.myspace.com/rhapsodyoffireband

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Hell - Human Remains (2011)

Hell has officially been unleashed upon the Earth. Almost three decades after the band were formed in 1982, they are set to reveal their debut album, 'Human Remains." Yes, their debut. Often overlooked in the 80's British metal scene, the band fell by the wayside after the suicide of their singer/guitarist Dave Halliday. But with a few new additions, including acclaimed producer (and obsessed Hell fan) Andy Sneap on guitar, they are back. Theatrical, blasphemous, and foaming at the mouth, Hell is here.

The symphonic "Overture" kicks things off, with timpani and strings leading the way. The all out shred launches "On Earth As It Is In Hell," with a thundering bass line winding in and out. Double bass pedals push the tempo, with brilliant drum fills. Vocals are high pitched, but coarse, a wonderful dichotomy of styles. Throw in a few growls for flavor, and combine with dark chanting, and you have a fist pumping success. The guitars have all of the stomp of Judas Priest, changing from chugging to scales.

"Plague And Fyre" begins with a low tone, horses whinnying and snorting. A baby cries, a bell rings, and Hell is unleashed. Melodic, yet crushing, the band assault you from all angles. The guitar work is simply dirty firing off riff after riff of pure evil. The drums are fast paced and booming. But the highlight in the bass work, climbing up and down the scales with surgical precision. Story telling is surprisingly strong, despite a vocal style that may leave you wondering, at times, if this band is serious. Harmonized chants ring out, and you are informed that London is, in fact, burning to the ground.

The tempo slows for "The Oppressors," but the intensity does not. Guitars fly through note after note, punctuated by snare hit and cymbal crash. "Blasphemy And The Master" starts slow and evil, before ramping things up to a devilish crawl. The low growls offset the high octave wailing, forming a brilliant one-two punch. Haunting keys find their place, laying the groundwork for chants of epic beauty. A solo reveals itself, and takes the track to faster places before concluding. "Let Battle Commence" is the shredfest you have been waiting for, with guitars and bass engaged in a war of power. But rather than fade back and let the fight occur, vocals and drums intensify the scene. Heavy, demonic and battering, this song is not for the faint of heart.

As close to a ballad as you will come, "The Devil's Deadly Weapon" is a head bobbing masterpiece. Bass notes keep the beat moving, guitar chords descend to low end scale mastery, and the vocals keep your ears tingling. "The Quest" and "MacBeth" follow, showcasing the songwriting ability that may get lost in the over the top pageantry of it all. This isn't a meaningless piece of demonic fluff. News reports of priests abusing young boys build, and the band unleash blazing solo after blazing solo in "Save Us From Those Who Would Save Us." The lyrics here are particularly poignant, and the delivery of said lyrics makes them even more powerful. The band unite with each note, creating an aural assault that you may not be prepared for.

Deep chugging and darkening bass guitar welcomes you to the grand finale, "No Martyr's Cage." All of the elements that make this album great are present here. And I mean all of them. The guitars take you on a wicked, winding journey. The bass aggravates that whiplash you had when you first heard Slayer. The drums are constant and deliberate, filling every space with a snare, cymbal, kick or tom. But again, the vocals are the icing on the cake. Eerie, odd and torturous at times, this isn't something you hear every day. This is the sound of insanity.

There is a strange feeling in the pit of my stomach when I say that this album is "refreshing." It seems almost wrong to call something like this a "breath of fresh air," especially given the time period when these songs were written. But alas, it is all of those things, and so much more. A debut album, 25 years in the making, "Human Remains" is one of the very few that was truly worth the wait.

9/10

Official Site - http://www.hell-metal.com/
Myspace - http://www.myspace.com/hell

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Opeth - Watershed (2009)

The term "progressive" is overused, despite the fact that very few people can define what it truly means to be "progressive" in the musical sense. In the case of Sweden's Opeth, the word has stuck. Progressive death metal seems to be their tag at this stage of their career. And while the proverbial shoe does, in fact, fit, Opeth can not be confined to one genre, no matter how broad or vague it may be. They have returned, and with this latest offering, "Watershed," are tearing down the walls of genre.

The album leads off with an acoustic gem, in the form of "Coil." The dulcet tones of guitar and organ lay the framework for Akerfeldt's brooding voice. Bassist Martin Mendez provides a smooth, fluid bass line, before Akerfeldt is replaced with an ethereal female voice, belonging to folk singer Nathalie Lorichs. As the track fades out, you become aware that evil lurks ahead. A low rumble breaks down into crashing guitars and drums. It is as if the stage has collapsed and let loose a destructive force. A slide up the guitar neck unleashes the fury, and "Heir Apparent" takes hold of you. Deathly growls take command, as rapid fire drum fills and rolls lock into alternating chugging and scales. A solo erupts amidst the clang of cymbals. Soft organs and acoustic picking  have their place, but it is only to set the table for the onslaught ahead. The blood curdling screams and masterful thrash are mixed flawlessly with a slide guitar solo. The outro section is loaded with distortion and sizzling cymbals, but is backed with tremendous bass work.

A lone hum seems to lower your guard, and a mighty drum roll snaps you back to life. "The Lotus Eater" sees Akerfeldt using his brilliant vocal range to deliver on all levels. Keyboards set a ghastly mood for the piece, while drums are fast and furious, with the technical prowess you have come to expect from a metal titan. The constant changes in tempo and time signature will leave your head reeling, but they do not hurt the momentum of the track. The rhythm section is the backbone, allowing guitars to flourish in the sea of low end fury. Keys and guitars come together in a graceful melody. Organ keys are tickled, darting in and out as the song builds back to speed. A deep growling finish fades away to muffled conversation and ghostly keys.

Piano keys ring out over the faint whine of an electric guitar, and layers build into the seventies rock tinged "Burden." Their is no mistaking the influence here. Beautiful melodies are formed, from bass to guitar, drums to synths. Akerfeldt's vocals are dynamic, bringing the occasional goose bump to your skin. Electric piano gets to steal the show, setting the stage on fire before passing the baton to a short, but powerful guitar solo. The lyrics are chilling, with Akerfeldt singing "Whisper in my ear, you've taken more than we've received. And the ocean of sorrow is you." Harmonizing chanting and solo after solo fills the end of the track, with dueling guitars accompanying a strong bass. Distortion exits, and an acoustic guitar falls further out of tune with each pick of the strings.

Darkness reenters, and a heavy riff storms into place. Softly played strings and delicate crooning get the first act of "Porcelain Heart" underway, bowing out to reintroduce the evil riffs. Drum tempos increase, with sticks flying in every direction, breaking down to a high pitch note and acoustics. The ever-changing beat of the song will keep you on your heels, waiting for the next eruption. From soft and pining to hard and heavy, and back again in seconds. "Hessian Peel" is welcomed by a ringing bass note and guitar picking. The vocals are delivered in a style that often resembles a lullaby, with an eerie calm solidified by organs and strings. Drum rolls still find a way to fit in, despite the minimal aggression displayed in the track's opening half. But the devil is waiting to burst out, and he does so with an ear piercing scream. The skies darken, and the song moves to high gear. Guitars shred and chug, almost simultaneously, but quickly give way to clean vocals. The track ends with a fury of kicks, snares and screams, fading out to a bass and organ outro. "Hex Omega" is an entire albums worth of changes, shifts, emotions and aggression balled into one closing track. It is both alarming and passionate, delivered with surgical precision and overwhelming strength.

Once again, Opeth has managed to change our perception of what metal is, what it will be, and what it can be. This isn't a intro, verse, chorus, verse, bridge, chorus, outro kind of band, nor should they be. The songs take on a life of their own, going wherever they choose. The album is not a complete departure from earlier works, but it remains fresh. When your output is as eclectic and varied as Opeth, there is very little chance of becoming stale. And maybe the term "progressive," with all of its blurry meaning, just doesn't do this band justice.

10/10

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

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While Heaven Wept - Fear Of Infinity (2011)

 

For over two decades, While Heaven Wept has been in building mode. Line-up changes, relocation, and refining the sound have been the norm, a constant shift. They unleash their newest album, one of progressive power metal tracks, strong in promise. But when things are always in a state of change, can the band deliver on the promise, or will they fall short with "Fear Of Infinity"? 

Building drums and guitar scales are the only introduction needed, as "Hour Of Reprisal" begins. Technically sound drum rolls and fills are key, padding out the background as soft, but intense vocals are delivered. The track sounds like a stripped down Dream Theater song, with James LaBrie at his prime. The harmonies are well placed and well executed. Drums are relentless, controlling the tempo, giving the illusion of a much heavier track. Light synthesizers add to that feel, with haunting notes layered throughout.

"Destroyer Of Solace" finds the band changing things up. Oddly timed vocals take the verses, before giving way to operatic chants. A rapid fire breakdown of blistering drums and shredding guitars fills the breakdown section. But at just short of three minutes, the track fails to gain momentum. The intro portion of "Obsessions Now Effigies" is a bright spot. Not overly complex, but solid in its delivery. Guitars and drums take a full third of the song, before vocals enter. Down tempo and somber, the clean singing is merely an accompaniment to the instrumentation, which culminates in a double bass induced crescendo of keys and chords.

Acoustic guitars, strings and pianos back the ballad, "Unplenitude," which shows the melodic sensibilities you would expect from a power metal outfit. Soft, delicate, and haunting. "To Grieve Forever" is asong that delivers the sadness the name implies. The tingle of cymbals and punch of kick drum lays the foundation for a song of loss. It is gentle in its approach, and seems oddly subdued, never going farther than a low boil of guitars and synths. Vocals are beautiful, if not a bit low key. A down played chug highlights "Saturn And Sacrifice," which seems to be following the same pattern as the previous tracks, before unleashing a chunk of aggression. rolling guitars chords and mile a minute drums intertwine, finally giving a change pace to the album. They cut to distorted chugging, with mid range operatic vocals flying over the top.

The album's finale, an eleven minute epic titled "Finality" is a mixed bag of power metal elements, drawing influence from every aspect of the genre. The drums lead, as has been the case throughout the disc. Changes in tempo and rhythm are many, but the constant remains the unchanging vocal patterns. You wait for something to happen, assuming that it simply must. But as the seconds tick down to the conclusion, you are treated to little more than a kick-kick-snare fill and fading keys and chords.

This album is odd in its simplicity. There is nothing extraordinary to be had, but there is also nothing inherently wrong. If you are looking for the winding solos and soaring vocals of titans like Stratovarius and Blind Guardian, you need not press play on this one. However, if you go into the fray knowing full well that you are getting middle of the road power metal, then I say go, young man. Maybe you, too, can conquer your fear of infinity.

6/10

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

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Arch Enemy - Khaos Legions (2011)

All the way from Sweden, the hell raising Arch Enemy is back with a new melodic death album entitled "Khaos Legions." The album is full of rebellious lyrics surrounded by distorted guitars and earth shaking drum fills. The band wrote and recorded the entire album without any help engineering the audio. Rickard Bengtsson was the only person outside of the band who helped produce the album. He is known for his work with Arch Enemy's 2005 album "Doomsday Machine." The sound quality of the recordings have come out amazing as it is clear and full of power all around.

The album kicks off with a short instrumental introduction entitled "Khaos Overture." After fading out, "Yesterday Is Dead And Gone" jumps right in with screaming alarm sound effects and rapid guitar riffs. The chorus is a memorable one, as catchy melodic riffs consume you. The drumming is full of constant kick-snare patterns and jump in and out of fast double bass pedaling. As far as the vocals go, they are down right destructive! Don't be surprised when the innocent lead vocalist tears you a new one. Angela Gossow has proven time and time again that you don't need balls to growl your head off on a mic in front of thousands of fans.

For those of you who are not familiar with her, she is considered a veteran when it comes to the art of growling. She has been known to put a lot of male growlers to shame with her vicious vocals. "Bloodstained Cross" and "Cruelty Without Beauty" are two perfect examples from the album where she really goes over the top with vocals that sound like they came from the devil himself. She is of course, accompanied by many wicked solos and constant heavy guitar riffs. The drumming is filled with double bass action and fist pumping bass lines.

"No Gods, No Masters" will have you bobbing your head with its catchy melodic riffs and powerfully delivered vocals with inspiring lyrics. The drumming during the bridge is absolutely stunning, as Daniel Erlandsson destroys low frequencies with monstrous kicks. "Through The Eyes Of A Raven" also has bone crushing drums and high flying cymbals that echo brightly throughout the song. Heavy layered guitars chug away with wicked speed and dominating distortion. The vocals give it the perfect touch for the demonic tone we all love to hear.

Things slow down for a brief second with "Turn To Dust," which is really just an instrumental build up to the following track, "Vengeance Is Mine." Screaming guitars immediately enter, pulling you into the dark abyss of scale ripping solos and fierce drum fills. This is definitely a song you are going to want to thrash your head to. The constant wave of guitar notes will completely consume you throughout the track.

The Amott brothers have done an excellent job with the detail and structure of the guitar work in the album. "Khaos Legions" is nothing short of overwhelming guitar riffs filled with catchy melodies layered with quick drums and heavy lyrics. Also if you manage to buy the Japanese released version, there are two bonus tracks on it. One is "The Zoo," which is a Scorpions cover, and the other is an acoustic version of the song "Snow Bound." Clearly Arch Enemy has proven, once again, why they are one of the most impressive death metal bands in the world. They definitely deserve a listen!

9/10

Official Site - http://www.archenemy.net/
Myspace - http://www.myspace.com/archenemy

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Infestus - E x I s t (2011)

 

From the dark shadows of Germany comes an underground black matel outfit that goes by the name of Infestus. They are in the process of releasing their fourth full length studio album entitled "E x I s t." Creating the full black metal feel, the album was recorded in a semi-low quality. Mainly it's the vocals, the volume could be turned up a little louder in certain parts of certain tracks. Besides that, musically, it has much potential with great song structure, evil riffs, and destructive drumming.

The album opens with a four minute track entitled "Akoasma," which starts out gloomy and slow, with eerie strings. A devilish guitar enters about 50 seconds in, followed by monstrous drumming. Incredible double bass fills the air for a brief second before going back to it originally quiet mellowness. You'll notice that the songs tempo jumps up and down giving you absolutely no time to breathe. After slowly fading out, the song "Down Spiral Depersonification" follows immediately, displaying wicked drumming and aggressive distorted guitars. The vocals enter for the first time and are performed in a raw demonic style of growls, going perfectly with the melodic riffs in the background. There are a few breakdowns in the middle that have catchy heavy riffs as I am sure you will be bobbing your head.

Running for almost nine minutes long, "Darkness Blazing In The Flame Of Fire" gives the album a solid back bone as it offers everything from soft melodic guitar notes, to violent chugging accompanied with explosive double bass and shattering cymbals. The growling vocals are overwhelming and full of energy. The ending solo is incredible, as layered guitars clash together with demonic vocals over top, giving you everything at once. Make sure to blast these last three minutes of the song to get the full experience.

The album ends with a 9 minute and 37 second masterpiece entitled "Descend Direction Void." Guitar riffs are filled with an evil beauty, creating a dark mental photograph. The vocals are dominating with loud, vicious growls that echo throughout the song. About 6 minutes in is a powerful breakdown containing beastly guitar riffs chugging away non stop, while cymbals are crashing everywhere and completely consume you. Get ready to throw you devil horns up for this monster of a track.

It's tough now a days to really stand out and be recognized from all the other bands that are trying to make it in the black metal scene. Infestus definitely has a lot of potential and are heading in the right direction with their style. As long as they keep putting out solid albums like "E x I s t," I think it will only be a matter of time before they step out of Germany's underground scene to be known and heard by all.

7/10

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

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The Podcast: Episode 8 (Phantom Menace, the downloading is)

We keep digging up new artists to share with you guys. This week is no different. MaYan, Alcest and Year Of No Light all get the nod of approval from Murmaider and Hell22. But let's be honest. Downloading music illegally is a problem. Or is it? While the labels are trying to pin the tag of "thief" onto anyone who grabs an album online, they might be missing the bigger picture. We discuss the good, the bad, and the morals of downloading.

Here is a link to the article we mention: The Quietus

Part 1 - http://www.megaupload.com/?d=ZN824I00

Part 2 - http://www.megaupload.com/?d=Y6TZGCOC

As always, let us know what you think. Thieves, criminals, or just curious.

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