Barishi - Barishi (2013)

Vermont isn't all maple syrup and forests that span miles; yes, those things exist in varying amounts, but there is more to one of the bedrock states of the north eats United States. One thing that might not have ever been equated with New Hampshire's neighbor is eclectic and rich styles of metal. They, too, exist in some form or another, but it has taken far too long for us to find the band that could become the face of Vermont metal for years to come. Barishi, a four piece outfit from Brattleboro, could easily be mistaken for a Black Crowes cover band when you view some of the band photos. There is something about their look that could fool you into thinking you've stumbled into a hippie commune. But when you press play, those thoughts are smashed to bits in a sea of ebbing and flowing psychedelic metal, melodically based, by heavily rooted in distortion and blissful accuracy. How a band can embody a look and sound that stand at odds with one another is something that this many years around the music business has yet to explain. But their self titled album fairly spits in the face of convention, and gives rise to mountain metal.

Poking through a sea of feedback, a wandering saxophone sets the mood for what will become an album full of surprises. "Sky Burial" is an introductory track of a different kind; not a direct two minutes, but a squealing, crying dawn over the mountain. It pulls the sun over the peaks, and shines a light directly onto "Holy Mountain," which is the beginning of things, in earnest. It's would be far too simple to take the easy way out and lump this into the generic progressive metal arena, but it would be difficult to eliminate that thought all together. As the saxophone, provided by Ron Kelley, screams over the top of a surgically precise brigade of drums and bass, it brings to mind the work of Ihsahn, not only in sound, but in vision. But the melodies here are stronger, lean more heavily on flowing vocal harmonies to set up screamed verses. But even when the vocals become aggressive and standoffish, the instrumental is crystal clear and brilliantly clean. An infusion of deft finger work complements what can only be described as an ear worm of a groove. The talent for creating lasting riffs seems to be what guitarist Graham Brooks has in spades, with each segment of "The Rider" burrowing deep into your ear canal. For his part, vocalist Sascha Simms matches the intensity of his counterpart, but also captures a sense of intellectualism in his lyrics, however gritty their delivery may be. The entire five minute duration of the track is an up and down, side to side, obstacle course.

But if versatility is important to you, musically, you won't be disappointed with where the album goes from here. It is on "Exibiche" that you find a strong grasp on the melodic and bright, clean strums of the guitar joined so flawlessly by a flowing bass line. It is almost mechanical the way everything remains in lock step with all of the other elements, but it is anything but rigid. There is a sway to it all, a soul to the music that shines through not only in the solo work, but the way the rhythm section and guitar leads elevate each other. It is musical symbiosis at work, something rarely heard in such a pure form. But arguably the most mesmerizing piece of art on the album, aside from the front cover that bends the mind, is the eight minute titan titled "Through Mountains, Through Plains." It is not the length that makes this track work, but rather the dedication to its construction. The vocals bend and soar over what would, at first glance, seem to be a rather simple mix beneath. Drummer Dylan Blake works in ways that are not mysterious, but purposeful. Every snap of the snare drum, every kick, snare, cymbal combination, pops through your speakers. It reels in the chaotic latter stages of the track, keeping the entire thing from going off the rails.

For every action, though, there is an equal and opposite one, something that "The Waves" will not soon let you forget. It crushes down on you with every bit of force the name would indicate, Simms screaming in the most deafening tone over a battery of drums and guitar. There is simply nothing held back, to such a degree that it's a wonder there is anything left for the final two tracks. It's insistent without being overbearing, and heavy without exhausting the listener. Conversely, "A Place that Swallows All Rivers" gives you ample time to sit back and let your head sway to some brilliantly conceived and executed guitar work. It comes back to those same melodic sensibilities you heard earlier, an organic growth from passage to passage, bolstered only by the constant of the bass work. Jonathan Kelley, much like his rhythm section mate, is blissfully accurate, and even more detailed than this music could reveal. His work, especially in the fluttery melody that comes before the three minute mark, is as steadfast and steadying as any in the business. That leaves only "Jaguar Scarification Ritual," a track as diverse and eclectic as the name itself. The beauty is the honesty with which it is written, recorded and played; this isn't weird for weirds sake, or winding just to say it can be. No, it plays out on digital media the way the band would hear it in their own heads. And that is a magical moment to behold.

I'm not exactly sure what it is inside the band dynamic that separates a half hearted garage band from a band with everything in their corner. It would seem that the smallest difference in talent and mentality can make the entire life of a band change for the better. Barishi have something going between the four of them that just seems to work on all levels; their is a comfort in each others abilities that allows them to relax and let the music flow from their collective minds. It would be an interesting day spent watching them write. The resulting music, whatever genre tag you choose to slap onto it, is harder to capture with mere words than you would have probably guessed. Where else have you heard this combination of sound and fury, with grace and dexterity, without once feeling ironic or contrived? In modern melodic metal, you might think for hours and not come up with another name. This four piece has something, personal, professional, mental, physical, that is hypnotic. And this self titled album is one that won't soon leave your iPod, or your mind.

9.5/10

Bandcamp - http://barishi.bandcamp.com/
Facebook - https://www.facebook.com/barishiband

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Black Vulpine - Demo (2013)

Metal isn't the boys club it once was, something evident from browsing any record store these days. Arch Enemy, Lacuna Coil, Leaves' Eyes, and so many other acts have broken that gender barrier in every branch of metal music. The one subsect that hasn't been blessed by the fairer sex, as far as we can tell, is the blooming stoner community, often inhabited by grizzly men with full beards and raspy tones to their voices. Luckily, even that can't last forever. German four piece Black Vulpine aren't new to the scene, but a new demo is enough to get the conversation started. Female fronted, riff dominated, and bursting at the seams with energy, the band has come a long way since forming in 2004. But what they enjoy in individuality and uniqueness, they may lack in focus. On their new three song demo, released in November of 2013, they give you a taste of where they've been, where they are, and where they hope to be. But unless they can focus on the greater goal, it might not be enough to break through to the stoner elite.

It's no surprise that the heavy stomp of "Avra Kadavra" comes out of the gate in full force. But when vocalist Sarah joins the mix, it creates a new dynamic all together. Her voice is beautifully melodic, without compromising the raw nature of the instrumental. These are hair swinging riffs, the music you want to listen to standing up with room to give yourself a mild case of whiplash. It is relentlessly driving, and yet always accessible to even the most distant rock or metal fan. While "Drowning In Lakes" may have a playful side, it reignites the blaring riffs that the stoner genre relies so heavily on, often wearing you down until you can no longer resists their pull. The rhythm section, though they rarely if ever cut loose, is rock solid in their support of those big guitar sounds and even bigger distortion. If there is a misstep on the demo, "Lies" may be it. Clocking in at less than three minutes long, there is little time to ascend and descend, meaning this would be the perfect opportunity to throw caution to the wind and deliver something that flexes their respective muscles. But they opt for subtlety, Sarah crooning with a layer of effects over her voice. The voume knobs open, but just in time for the track to end.

A demo is exactly what the name says it is: a demonstration of what a band is thinking, what they are doing, or what they are aspiring to do. As such, this initial offer from Black Vulpine gives you a sneak peak into what this four piece has in store for you down the road. There are plenty of infectious grooves to be had here, albeit in a very small and short cross section. This alone would be enough to warrant a follow, a like, or an additional listen. But the bigger concern is the unfinished feeling you may get when these three songs come and go. They don't feel fully fleshed out, especially the finale, and they could be indicative of a bigger problem. Is the three minute blast the best they can do, or is there more than meets the ear? Was it an issue of creativity or inspiration, or is this what they intended for their debut performance? These are all legitimate questions that will need to be answered with subsequent albums and releases. For now, Black Vulpine has every reason to stay on your musical radar. Their next effort will decide if they grow or fade.

7/10

Bandcamp - http://blackvulpine.bandcamp.com/
Facebook - https://www.facebook.com/blackvulpinemusic

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Of Solitude And Solemn - Starlight's Guide (EP) (2014)

New year, but some things stay the same. The familiar pink hue of "Starlight's Guide" is a reminder of what the last year has brought to the forefront. UK multi-instrumentalist Joe Hawker surprised many listeners along the way with his combination of post rock, doom metal, and sparkling symphonic elements, including an office full of egotistical, elitist metalheads. His musical skill is matched only by his conceptual acumen, his artwork becoming as easily recognizable as his sound, something that may be an under appreciated talent. So as his new three song EP rushes through the tubes of the internet, pink tinted cover and all, you can be sure you'll have something familiar but new, something edgy but solid. Hawker wouldn't want it any other way. Originally conceived as part of a split with Courtsleet, you have the chance to hear it on it's own two feet. The follow up to 2013's brilliantly conceived self titled debut, "Starlight's Guide" is every bit as breathtaking as it's predecessor, but with a notable layer of fresh air to bring it all together.

If "Illuminance" has any one flaw, and it could be only one, it is the layering in the mix, making much of the instrumentation sound distant. As the track builds to a peak, however, Hawker finds his home right in the meaty part of the spectrum, bringing together the melodic guitar tones he so thoughtfully crafts with a pounding drum kit and angst ridden screams. He succeeds here where others have failed, using his deep talent pool to hide the lack of true professional production. The triumphant yet dark nature of the melody that surrounds the six minute mark is rock solid and stands out from the track on the whole. There is no shortage of creativity here, as Hawker uses a bevy of synthesizers to bring life and energy to his main theme. It is never a choice between styles, but a fusion of all things, as you get on "Guiding Light." His focus is on flowing the pieces together, instead of making oddly shaped passages collide. As the track moves from light to dark, soft to heavy, there is no break between; they become one. His screams are not the star, but a supporting player in the grand scope. Much like it's predecessor, the signature moment here is one of wonder and crushing blows, centered around the seven minute point. And although it stands at half the length of it's two album mates, "Memories In The Mist" is as compelling and enthralling as anything you could want, solidifying itself as, arguably, the finest moment in Hawker's growing career.

It seems odd to say that we were, a short six months ago, having the very same feelings about another release from Hawker. He has a way of stirring up familiar emotions without seeming over done or contrived. For that reason, "Starlight's Guide" is sure to please anyone who has ever enjoyed anything the man has done to date. This is exactly what we all know him to be capable of; deep, rich symphonic melodies backing a plodding, deliberate set of riffs and beats. But while he has carried over everything you know and love from the Of Solitude And Solemn name, the one concern from his earlier release has also carried over. The production values have not improved, which could be expected in such a short time since his debut. It's both good and bad, as has been noted before, because he achieves so much with so little financial backing and pressure. But that must be an engineer or studio nearby that is ready to take this sound to the next level of crispness and clarity. Instead of waiting for the next batch of 200 free downloads on his Bandcamp page, maybe it's time we click the "Buy Now" button and get a few dollars, American or otherwise, flowing his way. Joe Hawker is so close. "Starlight's Guide" is the proof.

8.5/10

Bandcamp - http://ofsolitudeandsolemn.bandcamp.com/
Facebook - http://www.facebook.com/pages/Of-Solitude-and-Solemn/129188580594839

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Alcest - Shelter (2014)

It's no secret where Alcest stands on the list of this humble blog and, in particular, this humble writer; mastermind Neige has secured his project a place in the "can do no wrong" arena. But there has been a tectonic shift in both sound and concept, one that has changed the very landscape of Alcest's music. And with the new year upon us, a new album has been readied, moving the band further down the melodic, almost soothing path that came to center stage on "Les Voyages de L'âme," almost exactly to years ago. While the pained screams and black metal homage has not completely vanished, it is now a background player; a shadow to the well lit body of the music itself. This does not speak to the sounds quality, of course, but its appeal has evolved and, in the opinions of some, alienated the core audience Neige has enjoyed over his lengthy and extensive career. It was inevitable, of course, for things to move down the line. But on "Shelter," Alcest reel in their art metal tendencies for a trip through the divine' with some speed bumps along the way.

Rather than the brooding, moody tone of past works, "Opale" starts on the lighter side of the spectrum, a delicately strummed and darting set of riffs cascading alongside a beautifully melodic vocal. What the band gives us in emotion, it regains in accessibility; it would be a crime not to find yourself swaying to the beat. It's light and fluffy in texture, and it's simplicity that keeps it fresh. Forming the bridge between tracks, "Wings" is sullen and airy, a reprise of the previous structure, albeit stripped down to a bare bones minute and a half. It stirs the pot in a barely noticeable way, bringing about a more intricate approach in "La Nuit Marce Avec Moi." Singing in his normal French, Neige has a way of crafting his vocal melodies to supersede language barriers; whether or not you speak French, you feel as though you can understand. What is missing here, though, is a sense of contrast, something that was always achieved on previous works by a short screamed passage, or high speed drum work. You will begin to expect that first sign of aggression, sitting in anticipation as the first clean chords of "Voix Sereines" trickle from your speakers. But this is neither the time nor the place for that, as Neige relies heavily on the structural integrity of his melodies, rather than the short bursts of bleakness.

Even the extended intro to "L'Eveil Des Muses" feels like it is hiding something just below the surface. The drumming becomes more insistent, each tap of cymbal and snare cutting through the mix with a snap of energy. It's as though the mood has completely changed, leaving behind the sugary sweet in favor of the uptempo melancholy. The tempo builds, but with only a bevy of repeated chords and melodies, it fails to get over that final hump, rolling backwards to where it started. And therein lies the logistical problem the album faces, as it simply lacks the burst to get over the top. The title track is beautiful, not to mention fitting of the title, but it only adds to the wheels spinning in the mud, lacking any forward motion or advancement of the albums theme. And then "Away" happens. Rest assured, this is the same man, the same band you're hearing, but in a way that you never expected, and likely never wanted. Gone are the poetic French wordsmiths and the distinctly moody lyrical themes. In their place, a lyric sheet with English words that fail to deliver any sort of emotional investment. It is, sadly, a bland and uninspired effort. In an album of a different arc, "Delivrance" would be a fitting and enjoyable finale; but without a standout moment to look back on, it simply does the best with what it is. It bends and sways in profoundly beautiful stanzas, but it builds only to a simmer, rather than a rolling boil of distortion, snare beats and energy.

It is difficult to separate what you want from an album from what you inevitably get. Perhaps Alcest are now victims of their own skill, their fans growing to expect too much with each effort. Or, more likely, they have outgrown the sounds of "Le Secret" and "Ecailles de Lune," and have moved on to a new, and wholly separate, side of the music world. To say this album is disappointing is unfair, nor does it tell the whole story. There is a lot to like scattered over these eight songs, but far less to love. From a lesser band, this album might even be seen as the next step towards greatness. But for an established band, and a top tier artist in Neige, it won't be able to hold up when compared to the rest of the back catalog. The saving grace, if there is one to hang your hat on, is that these songs, for better or worse, are a live show waiting to happen. Having seen and heard what can be done with these delicate numbers on a small venue stage, it leaves a great deal of hope for the future of Alcest, as a studio and live. "Shelter" might not be the album you wanted, or the album you needed right now; but it is the album you get.

7/10

Official Site - http://www.alcest-music.com/
Facebook - https://www.facebook.com/alcest.official

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A crisis of Faith...

Before you go reading too much into that title, this isn't the crisis of faith you may think. No, this isn't of the religious ilk, but one of worry in humanity. It is a genuine concern about you, me; us, rather.

We are coming to the end of what seems to be another year of musical genius from every genre and walk of life. Eminem looks to be on pace to sell about a trillion copies of his latest fast talking rap album, while pop divas One Direction and Britney Spears are in the middle of yet another strong showing. I get to watch a lot of these artists grow first hand; my day job puts me right in the middle of every pop and rap explosion each and every year. Whatever your taste may be, there is something new and/or exciting out there for you to quench your musical thirst. Sure, we mock and look down on some of these artists or genres, but they have one thing in common with the beloved metal genre that we at Sorrow Eternal hold so dear: they deserve your money.

Before I let the preaching begin, a few words of background. There have been a large handful of people who have helped to get this site to where it is today (where ever that might actually be). Some of them musicians, some fancy themselves to be the next generation of mega producers, engineers and music business know-it-alls, and some just lovers of all things music. We have many things that we agree upon, and most of those things would be easy to overlook. But there is one thing that has been a point of contention since this site began, and it has, at least in part, created rifts that are hard to overcome. It is a difference in philosophy, or even in common sense. But it is always a topic of debate and discussion amongst the best of friends, acquaintances, and even complete strangers.

If you consider yourself a music fan, regardless of your genre of choice, there is one simple rule that should be followed, universally: you should be paying for music.

There will always be a variety of reasons or excuses that immediately follow that assertion. You're broke, you don't think one sale matters, you think all musicians have piles of money and a gold plated shark tank next to their pool, labels have ruined music, music is bad now, the list goes on and on. Whatever your reasoning, it's wrong.

This isn't a diatribe about how downloading is wrong, and how you're a criminal if you download an album or ten. No, this isn't that kind of discussion. This is something far more simple, and much more easy to control. If you hear an album, a band, a song, and you like it, you should give the band some money for their hard work.

For every Metallica, a band that could own a small country if they so choose, there is an Appalachian Winter, a band (and a single man) who make music for the love of the game. They use their own homes, their own equipment and their own spare time to make music for us, the hungry public. They often give it away for free, inspired more by the thought of someone hearing their work and enjoying it, rather than charging strip mall prices. Dan Klyne might never get rich through his music, but there is merit in making sure his hard work is rewarded.

That being said, a $10 monthly membership in Spotify isn't enough. It doesn't allow for all artists you listen to on the service to be paid accordingly. Is it something? Yes. But it isn't an excuse not to buy an album, or pay for a download.

By no means am I, or anyone that works here, an authority on music business politics or capitalism. But i want Katatonia to make albums until they choose to stop. I want The Lion's Daughter to grow. I want to hear Fister grind the bones of crowds for years to come. Blizzard At Sea wouldn't have been able to make their last album without a crowd sources funding campaign. And for those things to happen, for artists big and small, they need the money to keep their dreams alive.

2014 is upon us. And we have an opportunity as metal fans, as fans of music in general, to change the landscape. Pay for music. Buy the albums you listen to and enjoy. Buy them from the bands, from their website, from their Bandcamp page when you can. If they choose give it away for free, spread the word and spread links so more people can discover them. Do your part to make sure the music we know and love won't disappear.

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Silent Force - Rising from the Ashes (2013)

Years after “Walk the Earth” released, it seemed that Silent Force was staying quiet. “Walk the Earth” was a great album and a great successor to “Worlds Apart.” Now after a long six years; they return with a new vocalist and release the aptly titled “Rising from Ashes.” The new album sees the band going in a much different, albeit more generic approach. It sounds like a mash-up of Bon Jovi and Motley Crüe instead of balls out power metal. I’m not knocking the band, I think they’re fantastic, it’s just the new direction makes me scratch my head. “Worlds Apart” is by far my favorite album from them and I don’t expect them to sound exactly the same on that album; but I feel like they’ve lost their signature sound.

“Caught in Their Wicked Game” kicks off the album and it has passion and great musicianship, it just falls very flat as a Silent Force song. “There Ain’t No Justice” and “Circle of Trust” are two of the tracks that have that Bon Jovi/Motley Crüe sound I mentioned earlier. The choruses in both songs can easily be on “Slippery When Wet.” The tracks “Living to Die” and “Before You Run” sound like they’re straight out of the eighties and they feel a little uninspired. The lyrics in “Before You Run” are particularly corny. “You Gotta Kick It” and “Turn Me Loose” are songs that have great guitar solos but everything else is on a plateau. There aren’t any dynamics on these songs and they’re just “there.” The choruses are very repetitive and very cheesy. The words “you gotta kick it” do not belong in songs in this day and age; it sounds like the name of a Mark Farner comeback album. “Born to Be a Fighter” has an intro that sounds like a Nintendo game and it also happens to be my personal favorite on the album. This song has an eighties sound, but it’s done with a certain panache and the guitar work is pretty awesome. “Anytime Anywhere” has a catchy chorus that actually does the rest of the song justice; I just wish it didn’t repeat so much. “Kiss of Death” closes the album and it’s one of the worst songs on the album and it actually makes the album more forgettable than it already is. It’s probably the blandest song on the album in a spot where it should be the grand finale song. Closing an album is just as important as opening one, there has to be some sort of thought process to make it feel complete. This album just feels like a collection of songs thrown together on a disc.

I really hate myself for bashing “Rising from Ashes,” but I just can’t bring myself to like or recommend it. Silent Force is a fantastic band with amazing albums; this just isn’t one of them. The vocals are great, the instruments are great and the production is great. How did it end up so bland and generic? I think I sound like a nut when I basically say that it’s good but it’s not. The lyrics definitely aren’t the best and the album feels like it has no flow. With all of its faults, it does have some good parts too. The guitar work and solos are just awesome. I know the die-hard Silent Force fans are going to eat this up because it’s the first album in six years, but it really isn’t worth the listen. I was trying to let it grow on me after multiple listens, but I only grew more and more inattentive. As for newcomers, go listen to “Worlds Apart” and  “Walk the Earth,” stay clear from “Rising from Ashes.”

4/10

Facebook - https://www.facebook.com/silentforceofficial

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Armory - Empyrean Realms (2013)

When one thinks of power metal, very rarely do they think of American bands. I’m not saying that there aren’t any good ones; I’m just saying that Europe gets all of the credit. Every once in a while an American power metal band emerges that is impossible to resist. The irresistible band this time is Armory. They don’t redefine music or the genre whatsoever, but they’re just so damned good. On their second album “, Empyrean Realms,” they sound like true masters of the art. They have a much bigger and broader sound than that on “The Dawn of Enlightenment.” Right from looking at the album artwork, it’s evident that “Empyrean Realms” is one hell of a journey. Armory pulls out all of the stops on their new album and they never slow down.

“Eternal Mind” is an instant classic. It’s a great way to kick off the album and an excellent song to show off everyone’s talent in the band. “Dreamstate” showcases some very impressive guitar work and an epic chorus. “Beyond the Horizon” is a fantastic journey across the stars and it’s the album artwork in song form. It’s easily one of the best tracks on the album for the simple fact that the world it creates is accessible and thought provoking. I really can’t praise this track enough. “Reflection Divine” picks up the speed and intensity a bit with the killer intro. Like the rest of the songs on this album, the guitar work is out of this world. “Horologium” is a good instrumental track that expands on the “spacey” sound the band was going for on this album. “Elements of Creation” is a good track that doesn’t do anything new from the rest of the album and it also gets drowned out by the stellar track after it. “Inner Sanctum” takes the band in a more progressive direction and is one of the best songs on “Empyrean Realms.” The eighth track, “Fate Seeker,” is my absolute favorite on the album. Everything comes together and creates a perfect package. The melody, the songwriting and the epic chorus all make the perfect recipe for a power metal song. The album closes with “Quest for the Fleece” which is a great way to end the album. The keyboard outro is absolutely beautiful and closes out “Empyrean Realms” on the highest note possible.

Bands don’t need to revolutionize a genre to be good. On “Empyrean Realms,” Armory takes influences from other bands and turns them into their own power metal concoction. Every instrument and every vocal line is played with complete mastery and precision. The six year gap between albums gave the band time to grow and unite into something special. Armory may have just opened the door for what American based power metal bands can do. As I’ve said before, “Empyrean Realms” might not be the most original album to come out but Armory adds enough of their own flair to make it worthwhile for power metal fans. “Empyrean Realms” is a fantastic space journey that absolutely cannot be missed. Listen to this now.

9/10

Website - http://www.armorymetal.com/


Facebook - https://www.facebook.com/armorymetal

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