Soliloquium - The Concept Of Escape (Demo) (2013)

Looking back over the last 365 days, it became a challenge to remember a single death/doom album that crossed our paths, let alone stood out from the crowd. Somewhere in 2012, the Draconian's of the world faded into the background, leaving a gaping void in the metal landscape. Or at least, from where we sit, it seemed that way. It became like watching an old friend move away; you know he or she is living somewhere else, but you don't know what they're up to. And much like that old friend, a simple e-mail can remind you. So when a message came through the tubes of the interwebs from a band called Soliloquium, it was a reminder that although the genre had faded to my periphery, it hadn't gone away. The Swedish two piece made up of guitarist and vocalist Stefan Nordström and bassist Jonas Bergkvist may only have a year under the belts with this project, but they can carry the collective weight of the genre on the backs of their demo material. On their second offering, the three track demo titled "The Concept Of Escape," an old friend returns with a new found power.

Within the first few moments of "Crossroads," you find yourself transported back to the death/doom arena that was so crowded a short time ago. A constant presence of double kick drums and thumping percussion becomes the base for a bounty of staples. The growling vocals, provided by Nordstrom, are enough to awaken your bowels. There tone is bolstered by the ominous instrumental they rest upon. But it is the shift in vocal styles that helps the track progress, with Nordstrom adopting a grating scream at times that does the lion's share of the work. Partnered with an equally versatile instrumental, and you have a tidal wave of sound constantly moving around you. The rules of the game are the same on "Remnants of Dying Dreams," though the energy level goes through the roof. Massive drum fills are ever present, leaving it to a solemn guitar melody to take the wheel, alongside another guttural vocal performance. But it is the short clean guitar work in the midsection that changes the entire complexion of the demo, showing off a brilliant and sophisticated grasp of progressive elements. With the album closer clocking in at a staggering ten minutes, it makes "Nighttime Revelations" all the more impressive. Not only does the band flex those melodic muscles once again, but in doing so they they strengthen the heavy moments tenfold. This track becomes the true embodiment of the death/doom genre, fully capturing the sound and mood of both in one singular package. The segment that bookends the seven minute mark and rolls into the outro speaks volumes for the maturity on display, and bodes well for the future.

It had been so long since a band occupying the death/doom part of the metal circle had done something profound, or even wholly inspired. It seemed as though, for a short time, that the genre had ceased to exist. But Soliloquium have brought the style back to life with a simple three song demo, awakening inner demons that haunt us all. Through the combination of distortion, emotion, and an impressive grasp on songwriting, Nordstrom and Bergkvist have crafted three pieces that represent not only where they are as musicians, but where the genre stands. Even without the backing of a major label (yet), I would challenge any fan of metal to find any separation between what you have here, and what some of the titans of the industry have put out. In the span of a year, with two demos now out and under their collective belts, You have a quality of song and strength of sound that would rival the best. All that remains now is for the band to turn "The Concept Of Escape" into the reality of success.

9/10

Bandcamp - http://soliloquium.bandcamp.com/
Facebook - http://www.facebook.com/pages/Soliloquium/236215949804095

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Serenity - War Of Ages (2013)

Serenity is a band that has always been excellent, but sorely overlooked. Their first two albums “Words Untold & Dreams Unlived” and “Fallen Sanctuary” didn’t really redefine symphonic music, they just improved upon it. They were a little bit heavier than their competition. Their follow up to those albums was “Death & Legacy.” With this album they really found their sound, ditching the overall heavier feel for a softer, more orchestral one. The shift really worked and it took them into territories I don’t think the band itself knew they could go. “The Chevalier” was an exceptional song that captured the early Romanticism period perfectly. Two years later, Serenity has released an album that not only tops “Death & Legacy,” it makes one forget that it even existed. This album is “War of Ages”.

One notable difference from previous efforts is the addition of the full time singer Clémentine Delauney. Her voice compliments Georg Neuhauser’s perfectly, and it’s a breath of fresh air for the band as a whole. The album kicks off with the explosive “Wings of Madness” which is a good show piece for Delauney and what she brought to the band. The beginning of the second track, “The Art of War” sounds like it should be on the soundtrack to gladiator movie. The choirs are soaring and incredibly epic. After “Shining Oasis,” the album slows down for “For Freedom’s Sake” and “Age of Glory.” When a symphonic metal album has a ballad on it, it tends to be very drab. Serenity has proved that they have a knack for writing enthralling ballads. “For Freedom’s Sake” is a beautiful piece of music that stands out as their most ambitious ballad yet. “The Matricide” and “Symphony For The Quiet” continue the album’s theme and are very solid. Then we get to “Tannenberg,” which has the best chorus on the album. It shows that their songwriting skills have improved immensely since their inception in 2001. The only gripe I have with this album is the closing track, “Royal Pain,” which doesn’t stack up to the rest of the tracks; it feels like it should have been elsewhere on the album.

Serenity has once again created a solid album that every fan of symphonic music should listen to. The addition of Delauney creates another layer of sound that puts the band above the rest. Everything from the vocal melodies to the guitar solos are leaps and bounds over their previous albums. This is one of the best albums so far this year and overall the best album Serenity has put out thus far in their career. Other symphonic bands need to listen and take notes because this is how it’s done, almost flawlessly.

9.5/10

- Brian DuBois

Official Site - http://www.serenity-band.com/
Facebook - http://www.facebook.com/serenityaustria

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The Howling Void - Runa (EP) (2013)

The Howling Void is, for the better part of two years, a band that comes to mind fairly often. After hearing the debut album by this one piece from San Antonio, Texas, we were left with a lot to think about, both good and bad. Sole member Ryan had, to his credit, infused some well conceived symphonics into the funeral doom style. But with tracks towering over the ten minute mark, it was often not enough to keep your attention. It remains one of the modern examples that longer isn't always better, even for melancholic doom metal. Two years and two releases later, Ryan returns with a new EP, one that stands at a robust but not terrifying two tracks, and 17 minutes. What he sacrificed in length, he can surely make up for in substance and skill. And with a full length album in the conception stages as we speak, "Runa" might stand to be the foundation for albums to come.

There is an immediate sense of improvement on " Irminsûl," the more towering of the two tracks. Having taken the symphonic elements to a new level here, Ryan has built a massive soundscape that is both ethereal and balanced. His airy, almost whispered vocals are a nice touch in the verse sections, while strings dominate the expansive middle passage. And, in addition to the great strides made in the songwriting process, the track is broken down into two large chunks, allowing for changes in tone and tempo. Rather than remain repetitive, the second half explores a more traditional doom sound, with periods of double kicks and heavy distortion, followed by clean guitars and airy synthesizers. The contrasting styles come together as one unit, and help to elevate each other. The run time almost seems short in this case, with no time spent on filler or droning riffs. The shorter "Nine Nights" follows, with a much more "in your face" nature. Here, the bass work becomes key in driving the early stages. The vocals are, once again, an asset to the mix, giving it a spatial quality. Adding in the sound of thunder and rain drops might seem cliche at this stage, but it works here, creating a mood that is furthered with every sweeping guitar melody. There is also a need to mention the production work, with some of the grave leveling mistakes of previous albums long forgotten by now. The mix remains balanced and well toned, while still giving off the intended emotional effects along the way.

While your musical choices are, of course, subjective, it is hard to represent them that way without sounding like an elitist. As "Shadows Over The Cosmos" entered and exited our rotation - rather quickly I might add - it was never the intention to downplay what Ryan has achieved as the only member of this project. The album just didn't click with me, and I was not alone. That being said, one misstep shouldn't be the end of a band, or your interest in them. Things change, bands evolve, and the artist behind your least favorite release of 2010, might produce your favorite of 2013. It would seem that The Howling Void has grown in leaps and bounds since their previous releases, changing and refining their sound in ways that would be almost hard to believe. This latest EP is the perfect example of giving bands second, or third, chances. If 2010 me knew that The Howling Void was responsible for one of my favorite releases of the year so far, he would think I'd gone mad. But things change. And "Runa" is proof.

9/10

Bandcamp - http://thehowlingvoid.bandcamp.com/
Facebook - http://www.facebook.com/TheHowlingVoid

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Aidan - The Relation Between Brain and Behaviour (2013)

One of the traits that I routinely boast about to people outside the metal community is the ability for a metal song or album to go deeper than face value. The market isn't flooded with songs about naked women, drugs, or fast cars. Yes, those exist, but they are not the main topic of discussion. Northern Italy's Aidan would probably not be content to create music in a world that stifled their thought process. It is on their debut album, "The Relation Between Brain and Behaviour," that they tackle exactly the topic that it professes. Through seven tracks of hit and miss drone, sludge, and post metal, they give us a low end heavytake on how the brain functions, and how it influences our day to day behavior. Without a single word being spoken, sung, or screamed, it is a massive undertaking. And while the album might not always deliver in the musical sense, there is a definite correlation between its basis and the result.

A short intro track, "Lebanon, 1823," sets the stage for the album as a whole. With very soft keyboards and synths, this two minute opening is a mood setter. As it builds up in the final twenty seconds, you convince yourself that something big is coming. And while you may not be entirely wrong, "No Longer Gage" doesn't deliver that immediate pounding you may have expected. When the main body of the track kicks in around the one minute mark, it is barely a simmer. The thump of the kick drum stands out from the rest of the mix, pounding through your woofer with a resounding burst of air. Unfortunately, it delivers many of the biggest blows on the song, with the guitars doing little more than occupying the same sonic space. The latter half is much more involved, even introducing a guitar progression that gets things moving in the right direction. A soft, clean interlude sets the table for the first real burst of energy, leading right to the fading outro. The biggest success on the album, "Left Frontal Lobe," stands out from the rest, mainly because of the way it combines post, sludge and drone elements into one cohesive track. Tempo changes are key here, which pushes the drumming to the forefront. Thanks to a strong ending, after only four minutes, it makes a lasting impression.

That momentum carries over into "Dr. John Martyn Harlow," a track that seems to cling very tightly to a single main riff. However, thanks to a short length and some energetic playing, it doesn't wear out its welcome. This is where the album takes a noticeable turn, for better or worse. Coming off of the most uptempo track, the band descends into full on drone for "Pulse 60, and regular," which drastically changes the pace of the entire album. And while the song might fit the title and inspiration in an ingenious fashion, it disrupts the all important flow for a seemingly endless six minutes. As a result, "Ptosis" is left to pick up the pieces. Luckily for the band and the listener, it has the power to do exactly that. Despite the absence of a gritty lead vocal line, this is a sludge track chocked full of rattling distortion and a huge low end sound. Each chugging segment pounds you further down, saved by short melodic bursts. Even the crawling second half does its job, pulling you further into the abyss. A borderline punk outro seals the deal, leaving only nine minutes between you and the end. It is on "Lone Mountain" that you find a display of everything the band conceptualized, and everything they are capable of. Intermittent periods of chugging, thashing and tremendous drum work conclude with a noisy finish, feedback and reverb for minutes.

As a scientific study of a topic, "The Relation Between Brain and Behaviour" is an intriguing piece of work. Each track seems to closely relate to its title and the influences behind it. There is, undoubtedly, a progression within each song and from one to the next, one that does a service to the flow. But solely as a metal album, something is missing to make all of these elements work in harmony with one another. Sure, there are portion where drone and sludge come together in a profound way. But more often than not, they seem like oil and water, forced to mix with one another. With the constant up and down nature of the instrumentals, both in tempo and mood, it makes it increasingly difficult to gather any sort of forward progress that sticks for more than a few minutes at a time. While Aidan give us an interesting perspective on our brains and how they shape our behavior, they fall short on making an album that is worthy of the topic.

6.5/10


Bandcamp - http://aidanband.bandcamp.com/
Facebook - https://www.facebook.com/pages/Aidan/312454752137706

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Intronaut - Habitual Levitations (Instilling Words With Tones) (2013)

We all know it to be true, but we refuse to admit it openly. We are all music hypocrites. All of us. We say one thing, but we mean another. We say one band sucks, but another band that sounds exactly the same is awesome. And we say we want our favorite bands to stay exactly the same, then we complain that they are just making the same album over and over. Yes, AC/DC has made a career of it, and we love them for it. But what about the rest? Los Angeles based Intronaut are sure to receive the praise and wrath of many fans and music writers all over the world, as their new album ventures into new and admittedly acid laced territory. But this isn't the same band that brought us "Null" and "Void;" Time has passed and people need to evolve. After all, who wants to be told they have to play the same song over and over again for their entire career (again, see AC/DC)? But with the release of "Habitual Levitations (Instilling Words With Tones)" have made a leap that, while completely justified and well done, may leave people wondering what happened to get us here.

If the opening riffs on "Killing Birds With Stones" aren't enough to sell you on this recent output, I don't know what will. The well crafted guitar work, catchy and yet equally destructive, is the perfect baseline test for the album to come. An airy and raspy vocal performance becomes the counterpoint to that hard edged instrumental, with frontmen Sacha Dunable and Dave Timnick each contributing on a level that borders on seventies psychedelia. What makes the track truly special, however, is the contrast between the first and second movement. While the first focuses on distortion and groove heavy writing, the second is an exercise in post-rock melodies and the running bass lines of Joe Lester. There is an aant, artsy quality to the album that becomes clear in "The Welding," but not in an invasive way. The looping and winding guitar parts form a foundation early, one that is bolstered by the subtle, effects laden touches later on. The buildup that begins around the three minute mark is the perfect example of an evolution for the better. But the fact that it is merely a part of something much bigger is even more important, with a thunderous return to form coming right afterwards. It may be "Steps," though, that seals the deal. It's as if the band have found that tiny slice of land that sits perfectly between melody and weight, and they walk it with precision and purpose. In one minute you are stomping your foot to a thumping beat, and in the next you find your head swaying to an ethereal, almost haunting, melody. Lester is the conductor, bending and swaying the waveform with an ever present bass line.

But this isn't all LSD induced sunshine. The more bombastic pulse of "A Sight For Sore Eyes" is sure to find a home in your rotation, even if it is only used sparingly. If your mind has managed to black out and forget the percussion contributions thus far, the work of Danny Walker shines brightest here, with fill after fill completely a packed house of a mix. The outro finds you bombarded from all sides with distorted guitars, bass, drums, and a vocal that somehow stays clean. The first single from the album, "Milk Leg," is far more complex than the name seems to indicate. Once again walking the straight and narrow, the vocals take the seventies vibe to an entirely new level. It's as if your room has filled with smoke, and you are left sitting amongst a cloud of purple vapors. Depending on your perspective, the track is either an overwhelming victory or a source of confusion. For most, the period surrounding the five minute mark, with its smoothest of bass lines and hazy guitar chords, could become a relaxation go-to track. Furthered by the intro to "Harmonomicon," once again thanks to Lester and his deft bass work, it is easy to find yourself waiting for that first big punch. If there is any complaint to be had in this section of the album, it would be for lack of a major burst of energy. For better or worse, it creates a mood and atmosphere that would be hard to build upon with any other structure. There is plenty to like here, however, with the band displaying not only a great sense for the melodic, but for their keen songwriting senses. Even the short Weather Channel-esque ditty that flows at the end is worth a million repeat listens based on musicianship alone.

Those who spent an album's worth of time waiting for the next big splash, look no further than the aptly titled "Eventual." You can practically feel it coming, riding the wave of power through the opening riff and drum beat. Leaving more towards their sludgier roots, the vocals even see a pick me up, incorporating a touch of raw strength. It is the latter half of the track that seems to hit home more, though, combining that new found melodic sensibility with a slightly blunt wave of distortion. As the track fades out, it is left with a light set of clean guitars, one that sets the table perfectly for the airy, and altogether mind altering "Blood From A Stone." This is a detour from the planned road trip, a haunting piece of work that will be heralded or derided by fans and critics alike. At a mere three minutes, it is the baby of the album in terms of track length, and an orphan in terms of style. Its success is measured by your attachment to it, something that I admit is growing with each listen. Conversely, the big brother of the album follows closely behind, with a nearly nine minute finale in the form of "The Way Down." Boasting some of the heavier, yet under control, instrumental work on the album, you get a little piece of everything, in the proverbial "have your cake..." kind of way. And for whatever reason, the noise that fills out the last three minutes seems almost fitting.

I find it hard not to make a comparison here, one that seems logical in my mind, but less so in print. Regardless, the parallels between this release from Intronaut and last years Baroness double album seem to fit together. Baroness stepped away from their typical output, and released an album that may criticized as being too mellow, or even too complacent. In the same way, "Habitual Levitations (Instilling Words With Tones)" is a step away from what we've come to expect from Intronaut, and may come under the same fire. But much like "Yellow & Green," there is so much to life about this new direction that it would seem petty and silly to degrade what they've done based solely on it being different. The focus on melody is a welcomed one, and executed to a near flawless level. If you spent the entire run time waiting for a massive breakdown or a wild solo, you are going to be slightly confused come the end. But you'll listen again. And again. And you'll like it each and every time.

9/10

Official Site - http://intronautofficial.com/
Facebook - http://www.facebook.com/Intronaut

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Myrkgrav - Sjuguttmyra (EP) (2013)

Imagine being a college age fan of metal. You are browsing the class listing at your University of choice, looking for that history credit you may so desperately need. You stumble on a class that fits your life schedule, but you have to do a double take. History through metal. Not a history of the music itself, but the history of world cultures told through the use of metal subgenres. The rise and fall of the Roman Empire, done completely in power metal tracks. The Renaissance told through operatic symphonic pieces. And now, the local history of Norway, told through the music and voice of Lars Jensen. As the mainman behind the Myrkgrav moniker, Jensen has told the stories of his locale through folk metal means for years, hoping to prevent history from fading into forgotten lore. While 2006's "Trollskau, Skrømt og Kølabrenning" was a good start, it is his new work that may put his goal to the test. On "Sjuguttmyra," Jensen celebrates an anniversary, and continues with the tales of Ringerike, Hole, Lommedalen and Sørkedalen, Norway.

The familiar sound of fiddles opens the title track, a folk metal track, through and through. While this may play as a traditional folk metal song, the vocals are anything but ordinary. Guardians Of Time singers Bernt Fjellestad chants and croons his way through the verse, with an operatic power in his voice that few embody. When the time comes for the dastardly screeching to begin, Jensen hits the mark again. The instrumental echoes his enthusiasm, combining that heavy handed work with some ethnic backing. A fresh reprise of "De to spellemenn," originally appearing on the 2006 "Trollskau" album, follows. With new production quality and an added vibrance, Jensen does his past a great service here, delivering a folk anthem for the ages, thanks greatly to the vocal prowess shared by Jensen and Sindre Nedland. That skill is never more evident than on "Uttjent," where both the melodic and murderous sides shine through. One is used to complement the other, creating an enjoyable contrast between light and dark; or in this case, dark and darker. The tempo of the guitars and drums keeps the blackened folk spirit alive, without overwhelming the mix. A second reprise closes the album, with a newly recorded version of "Fela etter'n far" given the closing duties. You would be hard pressed to find a more majestic and full offering than this one. Tying together the schools of folk thought, Jensen brings a lot to the table in his arrangements. Strings and traditional folk instruments are scattered evenly throughout the basic mix of guitars, bass and drums, resulting in a song that is as catchy as it is pounding.

As the face and frontman of such an inspired project, Lars Jensen finds himself in an interesting position. He has mastered the use of metal to spread the folklore and traditions of Norway, without ever deviating from the classic style. Somehow, he makes it sound fresh and new. That is completely to his credit as a songwriter, as well as a local historian, and it deserves mention. In the modern age of ADD and short attention spans, why NOT use metal music as a vessel for growth and education? If anything, the tracks on "Sjuguttmyra" and the aforementioned "Trollskau, Skrømt og Kølabrenning" are proof that it can be done. So whether you fancy yourself a fan of the new wave of folk metal, or the old school variety, you will surely find something in these four tracks to hang your hat on. And, with the help of Rosetta Stone or the ass backwards translations of Bing or Google, you might even learn something you hadn't thought about before.

8.5/10

Bandcamp - http://myrkgrav.bandcamp.com/
Facebook - http://www.facebook.com/Myrkgrav

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Avantasia - The Mystery Of Time (2013)

If anyone is a fan of symphonic music, they’ve heard of Avantasia. Since Tobias Sammet got the idea for a “rock opera” in 1999, they have come to be the quintessential supergroup in the genre. When “The Metal Opera” was released in 2001, it blew away the power metal competition. Comprised of ten incredible vocalists and a grand storyline, Avantasia set out to take over the world. The next album “The Metal Opera pt. II” was the end of the storyline, and while it wasn’t as good as the first part, it was still good in its own right. The next trilogy of albums, called “The Wicked Trilogy,” is where Avantasia really hit the nail on the head. It had everything other bands wish they had: a great story, incredible musicians, and the vocal talent of Amanda Somerville. 2010 marked the end of “The Wicked Trilogy” and started a three year wait for the next Avantasia project. The wait is finally over and armed with a new set of musicians, Avantasia is back and ready to conquer the world yet again.

“The Mystery of Time” is hands down the best album since “The Scarecrow.” It takes everything from all the Avantasia albums and fuses it into one incredible piece of work. The one notable difference from past albums is the inclusion of the German Film Orchestra, Babelsberg. Having a real orchestra really brings out the epic nature of Sammet’s songwriting skills. The first song “Spectres” kicks off a journey that the listener won’t soon forget. “The Watchmaker’s Dream” continues the album with a sound that is comparable to a fusion of The Who and Meatloaf. The third track, and arguably the best track on the album, is “Black Orchid.” This song just explodes with an in-your-face riff and chill-inducing orchestra. The chorus takes the vocals to soaring heights that Sammet has never reached before. “Black Orchid” sets the new bar for symphonic metal, period. The rest of the album stays strong throughout, and there aren’t any slow parts. Other stand-out tracks include “Saviour in the Clockwork” and “The Great Mystery,” which happen to be the two longest songs. “The Great Mystery,” with its incredible, epic chorus, is a great ending to an amazing album that begs to be listened to again.

Tobias Sammet really has outdone himself with this release. Again he takes the listener on a journey that no other band can match. “The Mystery of Time” is a great album to have in the car for a long drive or even for sitting at home, letting it soak in. It has everything that a symphonic album should: amazing vocals, killer riffs, and a soundtrack worthy orchestra. The album doesn’t push the boundaries like “The Scarecrow” did, instead it tears them down and delivers something near perfect.

10/10

- Brian DuBois

Official Site - http://www.tobiassammet.com/
Facebook - https://www.facebook.com/avantasia

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