Vesperia - An Olden Tale (2013)

A mere twenty four hours ago, you may have read, right here on this very site, that some bands can thrive in poor production, while others can't. Druglord was the former, and Vesperia, while not entirely the latter, needed some improvements to make their mark. Their 2012 demo, titled "The Swordsman," was hugely successful in a number of ways, but lacked the clarity needed to make all of their wild instrumentation work. Fast forward  a year, to 2013, and that time sees a major change for Morgan Rider and his band of merry bearded men. As they put together their new full length, there is a noticeable edge to be heard, a rising clarity in sound and texture that could prove to be the next evolutionary step for Viking metal as we know it. The attached "epic" tag may seem like a buzz word gone mainstream, but one listen to what this Canadian quartet are churning out, and there can be no doubts as to how it applies. "An Olden Tale" is full of ferocity and triumph, sound and fury. And it all comes through like crystal.

Unlike many of the other Viking inspired bands of the modern day, Vesperia take their sound to exciting places. The symphonic and orchestral intro track, 1000 Years Ago, is assembled so precisely that it flows beautifully from your speakers. It sets into motion something special, and not coincidentally, sets a tone that is mirrored throughout the album. The early moments of With Omens Of Sorrow echo those rich sounds, before an unearthly explosion of drums cuts through the mix. But rather than abandon subtlety in favor of aggressiveness, they combine the two in a flawless way. Sure, guitarists Casey Elliott and Frankie Caracci are ripping and shredding through every barrier you may have put up, but it isn't one dimensional at any point. They play off of one another, all the while surrounded by a variety of synthesized instruments. When they back off to give their hands a rest, you are treated to a majestic trip through clean strumming and keys. The ability to jump back and forth between the two is uncanny, and done with great attention to detail. It's no real surprise that a strong vocal leads the way, with Morgan Rider blasting through the wall of distortion with grunts and growls, but also a low timbre.

His presence is never felt more strongly than on The Swordsman, where the balance between voice and instrumental is perfected. It may be the most dynamic four minute and change you'll hear this year, and definitely the quickest. There is little to no time to catch your breath, though, as Forsaken Shores sees the band at their heavy best, smashing their way through another three minute onslaught with not a note or drum beat out of place. We've often given credit to bands who play at this pace without sacrificing accuracy, and Vesperia certainly knows how to manage both. Their music is made that much more ensnaring by their commitment to tone and timing, both in instrumental and through Rider's vocals. And while Huntress may begin sounding like a Weird Al Humppa mashup, it quickly evolves into a melodic death masterpiece. It's hear that drummer Cory Hofing flexes his percussion muscle, shifting tempos and time signatures with blazing speed and perfect placement. Titles are really just words, of course, but if there has ever been a more righteous song title than To Times End We Ride, I haven't found it yet. When the music echoes that righteous power, it is a special moment to behold. And with a series of blasting kick drums and chanting vocals, Vesperia make that happen with ease. The guitar melodies here are unreal, mainly in their ability to be catchy and massively heavy at the same time.

With the pacing of the album so finely tuned, Bring Me Triumph, is almost surgical in its precision delivery. Rider's vocals are devastating here, running the entire range of metal vocal styles, all the while forming the glue that holds this battle together. Caracci and Elliott are at their best, as well, putting on a melodic clinic from start to finish. But it is the flutes that seal this deal, fluttering underneath a sea of guitar riffs and bass strings. But to be considered epic, some misguided souls argue your track times come into play. For those people, however foolish it may be, the title track dispels any doubts. An Olden Tale is seventeen of the most brilliantly conceived minutes the Viking metal genre has heard in some time. It is a microcosm of the entire album in one neat, albeit long, package. You get waves of pure thrash, followed closely by beautiful melodic passages and stunning instrumentals. But when it is all said and done, right around the ten minute mark, the outro is something else entirely. The wind blows, and with it it brings the sound of distant pipes. A heroic and fitting end to this journey.

In their previous demo, Vesperia gave us a lot to digest and a lot to think about. And we came back to it, time and time again, wishing only that the production screws could be tightened up to support the intense variety of sounds emanating from the speakers, into the air around us. But where "The Swordsman" faltered, "An Olden Tale" thrives, giving you everything you have come to expect from one of the most diverse and interesting Canadian metal bands with a focus on production and mixing that makes it sound all the more powerful. This is the vision of the band come to life, an epic and remarkable journey through depth and tone, one that never settles for less than the best possible outcome. It would be easy to overlook how important that is, but don't allow yourself to look past it. Rider, Caracci, Elliott and Hofing are playing at a level that deserves notice. And while tags like epic and Viking might not mean as much as they used to before the copycat explosion, they ring true here. This album will be a favorite now, and quite possibly a legend in years to come.

9.5/10

Official Site - http://vesperiametal.com/
Bandcamp - http://vesperia.bandcamp.com/
Facebook - https://www.facebook.com/VesperiaMetal

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Gukurahundi - An Apparition In Nocturnal Splendor (EP) (2013)

Put yourself into this scenario: form a band, write and record and EP, and release it, all in the period of months. Some will think this is an easy task. Those who have been through the process know that it is, in fact, an undertaking that requires a great deal of dedication, not to mention a reservoir of talent and creativity to fish from. When Lawrence Nielsen and Pete Colucci came together under the banner of Gukurahundi in late 2012, it wouldn't take long for things to take hold, and music to come to the masses. Released in April 2013, their debut EP saw the two bring black and death metal together. It isn't a new style, or even a new take on an old formula. But their insistent grooves and unrestrained energy makes for a lethal combination, one that can be felt in all five of the tracks provided here. With guitars as far as the ear can hear, a voice that will frighten children and the elderly, and a a drum beat that could open the Earth, "An Apparition In Nocturnal Splendor" is the first in what will hopefully be many albums to come.

If subtlety is your endgame, it'd be quite evident that you have stumbled into the wrong part of the neighborhood. The title track is a euphoric blitz, a grinding attack that refuses to be dismissed or pushed aside. Most notably, the combination of speed and precision in the verse and chorus sections is a beacon for those who appreciate the more dire arts. But buried beneath the machine gun drums and high speed riffing is something a bit more substantial. Rarely do you find a groove in blackened death, and there is a driving one here, tucked snugly into the bridge. Perhaps the most interesting battle going on is the one between the music and the mix; an ongoing tug of war between a flat mix and a vibrant output. Even "Dethroned" isn't immune, though the effects are isolated to the opening moments. If anything, it gains steam as the track goes on, showing signs of much needed versatility in both vocal and instrumental. Vocalist Pete Colucci wanders from the high tuned screeches, adopting a deep growl that may loosen a few bowels along the way. It reveals depth, and, in turn, opens doors.

But much like the opening shots, "The Anarchist" removes all traces of restraint, opting for an in-your-face- combination of wild riffing and grating vocal lines. Guitarist Lawrence Nielsen, responsible for all of the string work on the record, is his own best friend and worst enemy. His leads are crisp and clean, driving the track forward at breakneck speeds. But his rhythm work doesn't always elevate it the way it could. The outro here is a good one, single riff and ambient waves. A step away from the edge, the band backs up on "Sombre Dreams To Gaze Upon," a short interlude that removes the raw element from the mix, and injects and bluesy emotional investment, captured through Nielsen's solid guitar work. It seems simple, but it is a far more rich minute and a half than one listen would indicate. But after all, it is exactly that; it's the breath before surfacing, or the breath before drowning. The flow of the album is no surprise, really, but the jump from soothing to savagery is still a shock to the system. If the previous track is a light stroking of the hair, "The Carcass Of Christ" is the immediate chop to the throat. Drummer Cameron Zuccarelli isn't in the business of clap beats or click tracks; his hands at the sticks furthers the stomping groove and thrash that blossoms in full on the finale.

One listen to the album, and you would be hard pressed to see through the top layer of distortion and reverb to the depth below. But when dealing with Gukurahundi, you can't be deterred so easily. At first listen, this is a text book blackened death album, screams aplenty and blast beat heavy. And yes, it is all those things. But it is also more. There are hidden grooves scattered throughout the disc, just below that top layer, that help it to stay afloat throughout the course of five tracks. It isn't a perfect combination, though, as the tracks do, at times, sound one dimensional and limited in their reach. But there is room to improve and room to grow, something that will undoubtedly happen over time and with more experience under their belts together. In fact, with new material being written and demoed, it might not take long for this three piece to realize their full potential. Regardless of where they go from here, this is a strong debut in a subgenre that isn't easy to break into. Going forward, "An Apparition In Nocturnal Splendor" will be a measuring stick for future efforts.

7.5/10

Bandcamp - http://gukurahundi.bandcamp.com/
Facebook - https://www.facebook.com/Gukurahundi

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Empyrean Throne - Demonseed (2013)

California isn't the home of fake tits, surf and skate enthusiasts, and Hollywood premiers. Well, some of California may be exactly that. But Lake Forest, the home of new school blackened death sextet Empyrean Throne, won't go down as the hotbed of plastic surgery and movie stars. Founded by vocalist Andrew Knudsen and bassist John Ashbaugh, the two soon surrounded themselves with musicians who shared not only the talent, but the vision and drive to make this project everything their Scandinavian trip had instilled in them. What resulted was a brutal mix of heavy distorted guitars, and a bombastic rhythm section, and a vocal attack that could leave your ears bleeding with joy. But even with all of that upside, something was missing that would help them stand apart from the countless acts that crop up all over American every day. The string element, something made official by the addition of a skilled cellist to their ranks, is not a gimmick; it is a selling point, and a show of depth that makes "Demonseed" an album to hear.

It wouldn't take the sound of an army of footsteps to give "Death March" it's signature tone, but they surely don't hurt. Instead, the drum work of Dan Bruette does the bulk of that heavy lifting, each snare and kick mirroring the sound of a thousand steps. But don't be fooled by the battery of percussion at his disposal; this isn't a drum solo gone off the tracks. It works because of the full band effort. It boasts the intended blackened death soundscapes, but with notable twists. Vocalist Andrew Knudsen transitions smoothly from screech to growl, both here and on the follow up track, "Demonseed." He is the general commanding the brigade with his pained screams. But hidden deep in the mix, there is something else that ties the troops together. The addition of Kakophonix, the maniacal cellist behind Hvile I Kaos, is both savvy and sophisticated. His strings become an important piece of the puzzle, swirling around the chugging guitars riffs and giving them a melodic companion in their assault on your brain stem. The two axemen, Bryan Schwarz and Mike Brennan, have their hands full, both literally and figuratively, on "Nothing But Vermin." Their riffs leave no room for error or uncertainty, and the slightest misstep could be disaster. But despite all that pressure, they perform with a skill level and confidence that leaves no doubt.

By keeping the run time short, it puts certain expectations on the energy and volume levels. At barely three minutes, "The Fascist Messiah" wouldn't resonate if not for those two elements being present. Bruette shines once again, with a piece of drum work that leaves the listener dizzy and disoriented. But, to be clear, that isn't a sign of failure, but of great success. A bludgeoning array of drum beats is one of the main tenets of the death metal scene, and that fact is not lost on us here. The early stages of "A Crow's Feast" spotlights a different sort of dynamic, adding the strings of Kakophonix as almost a third guitar, along side Schwarz and Brennan. Like stunt pilots, they dart in and out of each other's paths, winding and twisting into a single braid of distortion and string bending riffs. If there was any doubt how intoxicating this music can be, the outro section here will crush it. But sublime? One would not expect that sort of description, given the amount of blood spilled thus far. But "Follow The Plaguelord," is something out of this world. With Daniel Pappas manning the piano here, you are suddenly thrown into a classical composition that evolves into a sonic assault of the highest order. There is a familiarity to be found here, a Scandinavian link to the past that has been poking its head throughout the album, but only now pops. It is as if the ghosts of Dimmu Borgir albums past have returned to haunt us in present day. This is the album's best track, without argument.

As we've noted numerous times before, you don't need to find a new wrinkle in your genre to be great; you can just be damn good at what you do. Minus the cello and string elements, and the short piano accompaniment, Empyrean Throne would still be an explosive young band worthy of your attention. But with those pieces in place, they give themselves some breathing room from the rest of the genre. The importance of creating space cannot be overstated. When all is said and done, "Demonseed" accomplishes so much in so little time - maybe bumping it's head on the thirty minute mark - that it makes you wonder if this is the perfect store of death metal. Surely they could have stretched this album out for another three or four tracks, maybe another fifteen to twenty minutes. But why would they, and why should they? These shorts explosions are memorable in so many ways, and it keeps the album from going stale early or at all. Win, win. What remains to be seen is where the band goes from here. Is this the future of death metal, before our eyes? Or will the next album be something else entirely? Color me intrigued.

8.5/10

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

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