Earthmass - Lunar Dawn (Keep, Relic & Ritual) (2012)

With a heavy, low end, progressive post metal edge, England's Earthmass are overflowing with ambition. This four piece metal act from Essex aren't confined to standard album structure, or any structure at all, for that matter. Instead, they give you a single song; one track that runs over twenty minutes long, with ever changing riffs and grungy distortion. On "Lunar Dawn (Keep, Relic & Ritual)" you may not have the joy of clicking your mouse to skip tracks, or pushing that glowing "skip" button on your iPod, but you may not need to. Buried in this epic track is everything you were looking for.

Clean guitars provide the opening, joined quickly by a sliding bass and the tap of drum sticks on one another. Unlike the drone movement that seems to be gaining popularity, no one segment runs on too long. With each passing measure, more pieces come in to play. The entire drum kit booms in, with kicks, snares, and toms filling every void. The pacing sees a step up every so often, and you can feel the impending explosion beginning to come to a head. Sure enough, that blast comes a mere three minutes in, with a wave of distorted riffs washing over you. One guitar handles the earth shaking chugging, while the other lays down a melody. The vocals, while short and sparingly used, are clean and melodic, giving just enough of a boost to the instrumental to make it a worthwhile addition. Lyrically, it reads like a cryptic warning.

"Keep them from your door...

As shifting sands reveal the keep, the mummy King and his Queen weep the blood of all who fell before; when, long ago, they stormed the door. The Relic of forgotten time is bathed in light, as moons align. A lunar dawn to resurrect a war.

...Bathed in light as moons align."

The changes in tempo and style aren't there to mask imperfections, or pad out an egotistical whim. each section has its own feel, its own purpose. From the rise, to the fall, you are always on the cusp of something else. Down tempo prog rock give way to atmospheric guitar work, complete with wailing solos and crashing cymbals. With blast after blast, only a soothing bass line can bring you down from your high, and it does just that. Layer upon layer of distortion and reverb fill the air, with each one standing out slightly from the rest, while still contributing to the whole. Even when things do eventually break down into chaos, it is an organized one, a short shift in momentum that you wade through to get back to normalcy. And if that short section was the reprieve, then the pummeling you receive in the outro is the fabled "fatality, flawless victory." The sheer strength of each down stroke is enough to beat you into submission.

Delivering one twenty minute representation of you, and your musical personality, is a tall order. Whether it is a five song EP, or a single track, the challenge is to keep it fresh and moving, without betraying your vision. For Earthmass, it would be beyond me to say whether or not this particular song is everything they wanted it to be. But for the sake of argument, it would be a stretch to need or want anything more than what you have here. You are treated to a flowing monster of a track, one that builds you up and tears you down at will. With that in mind, it would be crass of me to suggest that "Lunar Dawn (Keep, Relic & Ritual)" is anything short of excellent. All twenty damn minutes of it.

8.5/10 

Official Site - http://www.earthmassband.com/
Facebook - http://www.facebook.com/earthmass

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Lotus Circle - Caves (2012)

We've recently done a couple reviews for some great bands in Greece. Unfortunately Lotus Circle is not one of those great bands. They are considered blackened drone and doom metal however after hearing a few tracks I don't think that they are either of those genres. From their new album, entitled "Caves," the band really doesn't show any kind of creativity in their instruments or even in the structure of the tracks. The album has five tracks averaging between five and ten minutes. But unfortunately they are all just filled with nonsense.

The opening track, "To Witness Under The Stars," is a nine minute and 42 second track that puts you to sleep in multiple ways. It starts with horribly distorted guitar riffs that are drenched in effects. The worst part is that it replays the same melody for over four minutes long. Drums never come in. There are no cymbals shattering or snares blasting in your face. It just leaves you waiting and waiting. And finally, when the song does change, all it changes into is a bunch of sound effects and muffled spoken word that you can't even hear clearly. It sounds like you're a huge church with all of the reverb that is added. This goes on for about two minutes straight when suddenly guitar riffs come back in with slow patterns. They play this new riff over and over again for the final three minutes of the track with nothing else. Some drone sound effects and distorted guitars, that's it.

"Dawn Of A Dead Sun" is even worse because it literally plays the same wretched guitar riff for over six minutes in a row. No drums and vocals or anything. The structure doesn't change at all throughout any of it. "Secret Entity's" and " From The Depths" somewhat play a few more notes than the other tracks but even they become very repetitive with no interaction with any other instruments except for some futuristic space like sound effects that really have nothing to do with anything.

There is still one more song on this album but i was unable to stand listening to anymore of it. "Caves" has got to be some sort of joke. Either that or someone really untalented thinks they did a great job. Either way the recording is terrible, the structure is boring as hell, and most of the tracks are just a bunch of noise. Do not waste your time with this album nor this band. Unless you're into boring sound effects and basic song structures.

1/10

Official Site - http://www.myspace.com/lotuscircleofficial

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Halladrol - The Last Mile On Earth (EP) (2012)

Rooted in the noise style of the early 90's, Lord Heikkinen struck out on his own, leaving the sounds of Soulgrind behind, and creating a death/doom project called Halladrol. Focusing on the more blackened side of metal, with an avant garde twist, he began to craft a story of the end of the world, the end of days. But despite his best efforts, and a well conceived concept, something in this debut effort is missing. Somehow, "The Last Mile On Earth" losing sight of itself, and takes you on a journey that feels like a cross country voyage, rather than a short walk.

The title track begins with a bit of whimsy, the chirping of birds and organs. An oncoming storm comes bearing down on a circus atmosphere, crashing in one fell swoop, turning the world into chaos. Despite a rough recording, there are a lot of pieces being communicated at once. There is a constant roll of double kicks and cymbals, laying down a foundation for heavily distorted, and almost muffled guitars. There is a deathly tone to the growling vocals, helping to drive home the "end of the world" scenario. The strength of the track lies more in the non vocal sections, where the guitars are left to fester and grow. When they come head to head with the varying vocal styles, whether it be the growls or off key, eerie attempt at clean singing, the riffs are simply too muddled to enjoy, falling all the way into the background. The writing itself far exceeds the execution, which leaves this is a jumbled mess more than a viable opening.

A positive step in the right musical direction, "Black New Stars" changes the blueprint in a number of ways. First, a run time under four minutes allows no time for filler, something that the opening and eventually closing track seem plagued with. Second, there is a stronger focus on sound and structure in the instrumental. The drum tone sees a vast improvement, despite an even more aggressive delivery. Guitars are allowed to stand on their own at times, with some cleaner notes cutting through the sheer density of the chugging chords. It would be fair to say everything plays out in a more precise, methodical manner here, rather than the swirling wave we witnessed before. The vocals, however, are the only thing not to evolve from track to track, with the coarse growls leaving an oily coating on the entire duration. They fall flat, almost uninspired, despite the story they carry.

The most profound track, lyrically, may also be the most complete track, musically. "No Rest For The Holy" follows the story of a holy man, left to question his own beliefs, while the demons of the fallen world take over his mind. Here you will find the most intense use of the doom sound, with down tempo beats and crushing low end guitars rumbling through your speakers. But while the tenets of one genre may float to the surface, blackened death is still the main ingredient in the track, with high speed, machine gun drums working overtime in the breakdown sections. An unfortunate element that remains constant throughout is the poor vocal lines, rarely giving you anything more to hear, to digest. Yes, they carry a certain weight in that "brutality" realm, but minus a psychedelic clean singing fit just before the six minute mark, you get nothing more than a droning set of lifeless breaths. They do nothing to build the overall sound of the song, or the album for that matter.

There is a clear concept at play here, a well defined story that is ready to be communicated through sound and fury. But somewhere after the first note, Halladrol throw that idea away, and churn out a nearly twenty minute epic EP that goes, seemingly, nowhere. And while that foundation is in place, one of ideological thoughts, about the time and place of religious right, there are nowhere to be found in these three tracks. Sure, if you pour over the lyric sheet you may find meaning in the distortion. But with this as your soundtrack, "The Last Mile On Earth" is sure to be a long one.

4/10

Facebook - http://www.facebook.com/pages/Halladrol/297660650316540

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Burzum - Umskiptar (2012)

It feels like only yesterday when Burzum released "The Fallen" and had everybody raving with excitement. Well clearly Varg has been busy in the studio as he has now released his 2012 album, entitled "Umskiptar." The black metal mastermind has outdone himself yet again with wretched guitars, dark melodies, and ominous vocals. He also manages to really focus on his roots of atmospheric tones.

After a minute of spoken word in "Bloostokkin," the album kicks in with screaming guitar riffs in "Joln." Violent drum rolls and shattering cymbals light up the background while Varg mixes up the verses going back and forth between deathly growls and haunting clean spoken vocals. The guitar riffs are constantly delivering devilish tones and monstrous chugging that'll send a chill down your spine for sure. "Alfadanz" is one of the longer tracks on the album running for over nine and a half minutes. The gorgeous masterpiece opens up with a beautiful piano riff that quickly switches over to distorted guitar notes. Slow basic kicks and cymbals step in adding a soothing rhythm to the mix. The verses open with clean spoken words as the melody continues to play in a mellow tone. Soon comes more aggressive layered guitars as the vocals fill the air with demonic growls and dark sounds. The one thing to really pay attention to here is the amazing drum rolls that take place in the background. Each fill contains complex beats with booming toms and snares that bash your face into the ground. You're also swept off your feet by the evil and yet catchy guitar notes. This melody will be stuck in your head for days.

"Hit Helga Tre" and "Valgaldr" take over with vicious guitar riffs and haunting bass lines. These tracks lean more towards the violent side of the album with their cut throat riffs and messy distortion. Meanwhile your hit with fiendish growls that are layered with light clean vocals backing them up. This definitely gives it that beauty and the beast type of feeling. After being ripped apart by these tracks, you'll run into "Galgvior" which contains ghostly clean singing vocals that shine with reverb. The guitars and drums play around the vocals with basic sounds letting the vocals stand out clearly above the rest. The cachy melody will definitly have you humming along for sure.

Towards the end of the album you will come across "Gullaldr." This is the longest track on the album running for ten minutes and 15 seconds long. This is definitely a must hear track. The dark gloomy guitar riffs with calm emotional vocals will have you addicted and wanting to play it over and over again. Even the growling vocals give off a strong emotional feel. His humming melodies provide atmospheric background in between verses and are also very catchy as well. You will not find any violent guitars in this song however the growls still manage to knock you out of your seat. Most of the riffs contain mellow strumming and melodic finger picking.

The recording of "Umskiptar" will impress you as you'll notcie that the album was mixed and mastered a lot better than "The Fallen." It's great to have that raw sound in the actual recordings of the instruments but its still best to always have it mixed and mastered in the end. Varg Vikernes has managed to be consistent with his work and I feel that his albums keep getting better and better. This album is a must hear album that will leave you begging for more. It's mixture of darkness and beauty will hypnotize you deep into each song. I wish Burzum would follow this up with a North American Tour.

9/10

Official Site - http://www.burzum.org/

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The Podcast: Episode 48 (A Sabbath without a Ward...)

Are you ready for some fun, and hilarious music conversation?! Well, look elsewhere pal! No, wait, stay here. We each poke around with one review this week. Darrell talks about his new discovery of an old band, Dark Tranquility, and Justin gives a little review of the latest nautical doom stylings of Ahab. Then we talk Sabbath, again. This whole mess with Bill Ward has gotten out of hand. Time to weigh in. And can someone get Guiness on the phone? Darrell may have taken the world's quickest shit... and didn't wipe.

Download it........HERE!

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Winter's Verge: The Interview

Frontman George Charalambous, one fifth of Cyprus based power metal band Winter's Verge, sat down to answer some of our burning questions about their style of music, their range of influences, and what it is like to be the center of a metal scene in a small island country. Big thanks to George for giving us the opportunity!

Download the audio here.

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Nightmare - The Burden Of God (2012)

With a career that spans three decades, starting in 1979, France's Nightmare weren't always the most tight knit unit. After two full length efforts, a long, musically induced hiatus tore the band apart, then brought them back together in 1999. With a fresh start, and a new found approach to their take on traditional heavy metal, the five piece returned better than ever. On their new album, "The Burden Of God," they tread in familiar waters, but with new twists. Classic metal tone, with a more modern dynamic, rolled into eleven booming tracks.

The short, orchestra loaded opening track, "Gateways To The Void," raises the curtain on this play, with violins darting and weaving in and around one another. Woodwinds and brass enter, forming a thunderous level of sound and fury. A deep, resounding voice calls to you, telling you that "your destiny is far worse than any nightmare," thus plunging you head first into "Sunrise In Hell." That same symphonic elements ties the two tracks together, greeted with the loud thud of kick drums. Frontman Jo Amore gives you grit and grace, all in the same breath. The way his voice carries over the battery of drums and thrashing guitars is astonishing, reminiscent of Tobias Sammet. Melodies abound, with strategically placed riffs leading the way. What follows is the title track, one that has all of the weight and power of classic thrash. High speed chugging guitars ride the wave of a methodical bass line, pounded forward by the relentless barrage from behind the drum kit. But, admittedly, all of that seems somehow overshadowed by a short, but detail oriented solo. There is something at play here that is special, a rolling gallop that keeps your head moving and your ears tingling.

It would be easy to focus on the big picture in "Crimson Empire," but the subtleties that pop in and out in the opening are enough to encourage a deeper listen. Amore's voice can carry any load, it would seem, giving you the best that he has time and again, joined at the hip to a expertly crafted rhythm and lead section. The song remains catchy, without have a watered down feel to its delivery, a victory in and of itself. With a more dense approach, "Children Of The Nation" may be a standout, for better or worse. Musically, it is a bruiser, bringing the distortion and solid percussion at every turn. There is certainly a darker edge, both to the music and lyrics, however empowering they might be. But the short vocal hook that exits the chorus is a tad strange, and its presence seems to take you back. Guitarists Matt Asselberghs and Franck Milleliri get things back on track with a brilliant solo section, just in time to coast to a finish. And while "The Preacher" relies heavily on the spoken word, this is not to say it lacks in any musical department. Instrumentals set the mood, whether it be through soft, delicately played guitars, the stray electronic input or a muzak bearing horn. This isn't an interlude, despite the lengthy opening, but a punishing track of crushing drums and ominous tones.

While "Shattered Hearts" boasts a larger than life sound in the production, this is as intimate a track as you will find in metal today. The room shrinks, and you get the feeling that every word is being delivered to you and you alone. Even in the heavier moments, ripe with double kicks, and Amore's soaring vocals, have a more connected method to the madness. And with this flow, bassist Yves Campion shines through.This is a full band effort done to perfection. A heavy dose of symphonic elements creeps back into "The Doomsday Prediction," without being overbearing or chaotic. Instead, each instrumental piece adds to the mood conveyed in the title alone. This is a track that balances darkness with light, hopelessness with hope. It harkens back to the Judas priest effort, "Nostradamus," in the subject matter, without it seeming stilted or forced as the Priest effort did at times. Even some deathly spoken words appear, only to be obliterated by a lightning fast solo. By far the longest track on the album,"The Dominion Gate (Part III)" is every bit the epic masterpiece you would expect. Featuring a guest vocal spot from Magali Luyten, the track roars through breakdowns and beautifully constructed verse/chorus segues. An addition of more rich symphonics is the icing on the proverbial cake, taking things to an entirely higher level.


An eerie opening to "Final Outcome" fades in, before a triumphant eruption of guitars and drums. There is a subdued nature to the instrumental at first, allowing Amore to build his voice, and tell the story without being overridden by a harsh backing. This is a power metal track at heart, a "fist in the air" affair that gives you that special feeling downstairs. In the pit of your stomach, that is. The combination of his voice with the mechanical precision of the guitar work ignites a fire that burns fast and bright, escaping through nimble fingers in an electric solo portion. And what better way to go out than with a bang? "Afterlife" wastes no time, exploding with catchy riffs, and, arguably, the most intoxicating vocal hook the album has to off.  For a closer, This might not hold a candle to the intricate pieces that preceded it, but it serves a purpose as the summation to everything that came before.

Usually when someone utters the phrase "age is only a number," it is to avoid statutory charges, or convince themselves that they are not too young or too old for anything. But when it comes to metal, that phrase rings true, and Nightmare are the perfect example. Some 33 years after coming into existence, they may have released an album that could be mentioned in the same breath as their seminal releases. Maybe it isn't time for the new generation to be handed the torch of metal. Hell, after hearing "The Burden Of God," you may have to pry the flame out of the collective hand of all five members of France's power metal powerhouse.

9/10

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

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