Aeverium - The Harvest (EP) (2014)

We've all heard the generic radio anthem of the minute. Doesn't matter if your poison is Nickelback, Daughtry, or any other clones of a classic grunge band that have bastardized rock music for all ages. They all share things in common: arena rock riffs, basic guitar progressions, and a penchant for easily digestible, easily regurgitated lyrics that everyone can sing along to, but no one will ever respect. That attitude isn't isolated to the American rock scene. It has gone global. Aeverium is a band in their infant stages, but they have a hard lesson to learn. Their blend of melodic hard rock and gothic undertones isn't a far cry from some of the biggest bands in the world. There are moments when you could close your eyes and hear Evanescence or Within Temptation blaring through your speakers. But for every heavy riff, blasting drum beat, or soaring vocal melody, there is an iron weight bringing it down. At days end, "The Harvest" is big on music, but all too light on substance.

There aren't a whole lot of bells and whistles to dig for on "Do You Remember," which stands as a fairly strong opener. It says a great deal about the band's style, that of a melodic metal band, focusing on strong riffs to build upon. The light keyboard touches do add depth to the mix, but more in the electronic sense. Vocally, you have your choice of three distinct efforts; a beautiful female voice, provided by Aeva Maurelle, and the contrasting male vocals, both cleaned and grunted, by Marcel Römer. Their dynamic together is fairly strong, as on "Rest In Peace," despite a lyrical theme that is less than groundbreaking. Where the band both succeeds and fails is their straddling of the mainstream radio line; they could be accepted by picky melodic metal fans, or condemned as disposal radio meta (a contradiction we in the US have grown to accept). For their part, they are good at what they do, from structuring to delivery. But as time passes, it is harder to swallow the lyrics, which seem to be recycled from band catalogs from yesteryear. It exhausts the contrast between Maurelle and Romer, especially in the last two tracks. But where "Heaven's Burning (Harvest Time)" and "The Ground Beneath Your Feet" stumble in lyrical quality, they regain ground with sheer strength of will. It isn't an ideal mix, but it works here as it has for many before.

Perhaps it is because, in the year 2014, lyrics just don't matter anymore, in metal or otherwise. Bands throw lyrical quality out the window in favor of making the words fit. Dangerous. Aeverium can craft a riff, can build a vocal harmony, and can give you a splash from time to time. But for a band to really seal their fans, they have to do more than that. You have to give your fans something to hold up and say "this is what I need," and that is what they lack at this early. Their songs, for better and worse, are disposable for anyone looking for deeper meaning in the words themselves. By no means are we saying they have to be politcally charged, religiously affiliated, or outright disgusting. But something more than a rhyming combination of words and phrases seems to be the bare minimum to show your creative side. The band is young, and they have a long time to grow and hone their craft. But with their next album, they can't repeat the mistakes of "The Harvest." They are going to have to replant the seeds and start again.

7/10

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

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Feridea - Reborn In Time (EP) (2014)

There are times when an entire genre of music starts to sound all too familiar. Symphonic metal, unfortunately, hasn't seen a burst of growth in some time, leaving new bands to rely on the same old tenets to try to make a name for themselves. The result? An overcrowded, stagnant pool of bands, all vying for the same time in the spotlight. Rather than innovate, they stay safe, true to the music that has been churned out, en masse, over the last decade. Feridea have stuck to the same formula, founded by keyboard virtuoso Henrik Airaksinen two years ago. Female lead, male backing vocal, instrumental centered around fluttering orchestral melodies and symphonic touches. Done with grace and precision, it can still be a life affirming experience. But too often, as we see here, it doesn't make an impact that allows it replay value. Their new EP, the four track "Reborn In Time" has the look and feel of a symphonic metal breath of fresh air, but ends up smelling stale and familiar.

With the opening track, the band sets a tone that would be hard to shake. A four minute, sweeping symphonic overture, "Wanderer" stays in the safe spot, yet doesn't skimp on beauty and majesty. It's orchestral roots and influences are clear, a refreshing opening to what sets itself up to be a rich work of symphony. The title track, "Reborn In Time," builds off of that sense of might and magic, beginning softly before introducing heavy drums beats to the mix. Keyboardist Henrik Airaksinen sets the stage so deftly that it feels as though you have slipped into the orchestra pit. There is a conflicting set of tones int he vocal area, though, with female lead Heidi Mankinen used for mood and the airy beauty of her voice. But backing vocalist and guitarist Aleksander Viitanen seems to take the lead storytelling role, his raspy voice not quite matching the instrumental behind him. It highlights what becomes the central issue with the album, that being a mix and production that feels flat, despite inspired lyrics and execution. Quiet moments, like those around the halfway mark, and purely symphonic ones ring clearly through the mix, while the addition of guitars and drums seems too much for it, sounding muffled and unbalanced.

This isn't to say that it is a constant issue, but merely a recurring one. As you move into "With Fire And Frost," Mankinen seems to find her footing atop the instrumental, which in turn finds a balance beneath her. It isn't a perfect match, but a step in the right direction. It is only Airaksinen that fills his role to exceptional levels, his fusion of woodwinds, flutes and strings always floating through the air with the delicate precision it requires. But without a strong surrounding cast, it lacks a true uniqueness or power. In saving the best for last, "Of Magic And Music" sees the band take a turn for the better, in both sound and direction. There are missteps here, as well, with Viitanen's voice clashing with the instrumental at times. He does, however, let his guitar work shine through for the first real time on the album. A glimpse into the true strength of the band comes just shy of the seven minute mark, where, for the first time, they find true even ground between all of the instruments at once. Guitar, bass, drums, and symphony all share a space that not only holds them all, but allows them to lift each other, rather than jockey for position.

The sad truth about much of the symphonic metal that comes out now is that you have a good idea of what you're going to get; the formula itself has gotten somewhat stale. By no means is this the death of the genre, but it is need of something to restart the fires that once burned so brightly. Feridea aren't doing anything wrong, musically, but they are relying too heavily on elements that have been used and reused to the point of exhaustion. And when you try to measure up to the groups that helped to push the genre to where it is today, you set yourself for a fall. The male/female dynamic doesn't work as well as it could, again partly due to the lofty expectations created by Nightwish or Epica, and the production takes much of the energy out o the music. The bright spots are there, but there are few and far between. It would be impossible to say that "Reborn In Time" is a complete throwaway, but it lacks staying power in a crowded and suffocating market of female fronted symphonic metal bands.

6/10

Facebook - https://www.facebook.com/ferideaofficial
Soundcloud - https://soundcloud.com/ferideaofficial

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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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Tears Of Martyr - Tales (2013)

When the new album by Tears of Martyr was released in April of this year, it somehow made it past our ever vigilant eyes and fingers. Our collective minds had been flooded with symphonic metal albums, power metal albums, doom metal albums, and the entire laundry list of other generally specific genres. It wasn't that we weren't switched on; we just had a full plate and managed to overlook it. After all, how good could the album be to make us regret missing it's initial release? Now, nearly eight months later, that question is ready to answer. Having listened to and reviewed upwards of 300 albums this year, roughly 25% of which would fall into the same or similar musical classification, Tears of Martyr's latest album, "Tales," has made it back inside our periphery. And this time, we have room on our plate for a heaping helping of symphonic strings, enchanting vocal strains, and just the right mix of seasonings to make it a meal we won't soon forget. 

It's no surprise that a symphony of dulcet tones opens the album, a building crescendo or synths and strings. But as "The Scent No. 13th" begins in earnest, there is a far different sound to the mix. The vocals are operatic, laid down gently over a high speed set of guitars and drums that lack the clarity that the orchestral elements possess. Frontwoman and soprano Berenice Musa has a voice, however, that needs little accompaniment. It begins with acrobatic verses, as on "Golem," but changes drastically in the soaring choruses. There is an immediate recognition of her talents, as she lights up the room with her range and charisma, but it isn't until guitarist Miguel Angel Marqués adds his coarse growls that you fully appreciate her depth as an artist. This track also showcases the ability to combine orchestral and symphonic elements with heavy guitars, as they do so flawlessly in the bridge section. The first two tracks, though, pale in comparison to the third, "Mermaid And Loneliness." Musa has the starring role here unlike any other track on the album, an enchanting vocal line cascading down from the heavens. And while the keyboard orchestra may be right behind her, it is bassist Adrián Miranda who adds the most depth to the mix. It takes them out of the realm of the ordinary, and into the next stratosphere.

Unfortunately, the biggest misstep of the album comes next, as "Vampires Of The Sunset Street" fails to deliver on the same level. This isn't to say it is a failure; there are highlights scattered throughout. But it is the chorus that drags this one down, a combined grunt and chug exchange. The melodies are there and intact, but they don't break through with the power you've come to expect. But a music box ending sets a stunning mood for what follows, the emotionally delivered "Ancient Pine Awaits." Having stripped away the layers of distortion and feedback, Musa and Marques sing a breathtaking duet that rivals any folk ballad you've heard on a metal album. Two voices and a clean guitar are a recipe Tears Of  Martyr execute to perfection. It is no coincidence, then, that the full assault of "Lost Boys" should follow closely on its heels, a rousing assertion of symphonic metal of the highest order. It's when Musa soars over the top of the backing band that your eyebrows raise, something she does numerous times in this five minute titan. There is a balance to the instrumental that wasn't there before, allowing bass, guitar, and drums to share equal space in the mix. It may have been the last piece to fall into place.

Multifaceted, the band launches into "Fallen Heroes," a track that is smooth, with a tough of fluttering flamenco style guitars in the verse. Tracks like this one rely heavily on the symphonic aspect of the music, which is not a bad thing in any way. Whether it be strings or horns that occupy that space, it does wonders for the depth of sound the band achieves. It allows for the rest of the band to explore their own range, be it through a blazing solo, or a soothing vocal melody. Marques takes the lead on "Of A Raven Born," first through a deep spoken word, then providing support for the startling range of Musa. It has a romantic tinge to it, albeit it in a strange way. The chorus is transcendent, a symphonic metal overture that could bring crowds to their feet. With the album nearing it's conclusion, the tempo is turned up to a new level, resulting in one of the most energetic and charged tracks on the album. And thanks to that temporary tempo shift, "Wolves And A Witch" cements not only itself, but the entire disc as a successful endeavor. All of the parts are working together here, with balance being found between each and every member and movement. With the outro, "Ran Into The Forest," you get a somber, delicate ending to the journey, with strings and piano playing you out.

Over the course of the year, we've been treated to more than a few great symphonic metal albums. But, as Brian has postulated on numerous occasions, there are a lot more mediocre ones than great. Setting yourself apart in this scene is not only a challenge, but it can seem hopeless. The bands that do achieve that next level sort of sound are still not guaranteed success. What other genre of metal is even nearly as competitive? But Tears of Martyr have done enough on this album to make waves in the arena, if not more. With few stumbles - only one, really - they have shown a command over their art that is lacking in so many other acts. They don't have it all perfected just yer; the male vocals will need to find a more refined role down the line. But what they have perfected is a group dynamic that shines brightly through each and every song. They allow Musa to be the guiding light of the album, but never dump the weight of it's success or failure on her shoulders. That recognition alone of the whole over the parts is a large reason "Tales" will be given a series of sequels to work with.

9/10

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

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Sorronia - Words Of Silence (2013)

From the ashes of Thristana rises the phoenix now known as Sorronia. The "Devil's Destiny" first introduced us to the many talents of István Biró and Anna Kiraly, a duo that had come together with grandiose visions and sounds in their collected minds. But that band, or at least the name, was not meant to be. Their shortcomings were in manufacturing the right lineup to fit their dream, something a wave of session musicians simply couldn't do. But it would seem that those holes have now been filled, as the band returns with a familiar sound, but a new moniker, and a newly signed deal with Bakerteam Records. The real surprise isn't that Kiraly and Biró have made it this far, but how qucikly they've been there and back again. With only a year separating their past from their future, Sorronia looks to pick up where its ancestor left off. And while "Words of Silence" isn't the masterpiece these two dreamed of, they are well on their way.

The intro track, which falls just short of a minute long, is a reminder that keyboardist István Biró is a force to be reckoned with. His composition here is rich and inspired, which sets the table aptly for "Fallen Angel" to begin. Having refined so much of their sound from their previous release, the mix is crisp and clean, with vocalist Anna Kiraly's voice laying so delicately on top of a tower of instrumental backing. But while the guitars, bass and drums fit the bill perfectly, it is the keyboards that tie the entire ensemble together. Through the use of a full array of horns and strings, Biró changes the entire landscape of the track, adding a quality that could best be described as majestic. That doesn't apply to all parts equally, however, as the spoken male interjections seem out of place in the broad sweeping melodies. One of the major improvements seen here is the ability to balance symphonics, distortion, and Kiraly's tone, as they do on "Enemy Of Yourself." The full band is present, but it becomes a duet between voice and orchestra, one that works time and time again.

If one track were to be placed on a pedestal, "Serenade Of Memories" may fit the bill. It's identity crisis is the listener's gain, as it crosses the line to ballad, but stays bizarrely satisfying nonetheless. Contained within this instrumental is a great piece of cohesion between rhythm section and lead, as drummer Kristóf Vízi makes sure his "voice" is heard. By the time the vocal harmonies emerge in the latter stages, you would have to fight off the urge to sway. But that urge is met with sheer force as you transition from soft and brooding to some of the more driving riffs on the album. Each bridge section, overflowing with horns and percussion, pulls you in and surrounds you. Not to be outdone, the guitar tandem of László Ollós and László Szabó inject healthy doses of grit to the mix, including a solo section that lights the fuse for an explosive ending. Those combustible abilities are highlighted throughout the album, but never more clearly than on "Shattered." But that contrast, unfortunately, leaves the door open for a misstep as well. Kiraly sings with little backing early, and her voice isn't as powerful as it is with accompaniment. Simple aesthetic problems like this, though, are corrected quickly and easily, with the help of a keyboard and accompanying virtuoso.

If there is one concern to be raised, it comes as the album moves along. Having burned off so much raw energy early, tracks like "My Eternal Land" have a hard time matching up. They stand on their own two feet, mind you, but there are no surprises hidden around the corner. And while Sorronia do the job well, they trade in their winding melodies for a more straightforward approach. Soothing takes precedent over soaring, to a good result. But it is immediately clear that there are still powder kegs to be lit, as the opening march of "Leave It Behind" brings back some of the fire, albeit in a tempered manner. The length of the track, barely reaching three minutes, has a lot to do with that; there is no room to relax or pad out the track. It ratchets up the intensity, without sacrificing the beauty. Not coincidentally, you get perhaps the best vocal performance on the album. Following that same lead, the closing track, "This Is The End," leaves it all on the table. Bringing to mind some of the most prominent names in the symphonic metal scene, Sorronia finds their stride here in promising ways. Biró is the orchestrator, Kiraly the voice, and the rest of the band the facilitator.

We all heard something in that Thristana demo that we knew wouldn't fade away. There was more silver lining than cloud, thanks largely to the keyboard and vocal team of Biró and Kiraly, respectively. With stability, they found a winning formula; one that Sorronia can build upon, where Thristana could not. This lineup is secure and strong, not relying on a team of studio and session musicians to fill in the all important middle ground. The results speak for themselves. But now that the hardest part of the journey is over, where will this path lead Sorronia? There are still wrinkles to be ironed out, both in production and writing, that will allow this group to move on to the next stage of their career. A few carefully placed commas and delicately turned knobs could be all they need to reach that goal. But outside of a stumble here and there, "Words Of Silence" is the album we all hoped would come. How high they can soar remains to be seen.

8/10

Facebook - https://www.facebook.com/SorroniaOfficial
Twitter - http://twitter.com/SorroniaBand

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