Burning Shadows - The Last One To Fall (EP) (2013)

There comes a time for every band where they must contemplate, think about, or execute, an upgrade. Instruments, recording equipment, studio alliances all must be reforged and improved if they are to advance and vanquish those who stand in their way. Burning Shadows are not different; despite the quality of their last album, "Gather, Darkness!" released a mere 16 months ago, it was time to push themselves and their recordings to new levels of clarity and depth. With some new equipment in tow, and a new process to nail down, eighteen tracks were recorded to test their mettle and deliver the first tones of the next wave of music. But with fans waiting patiently for the third album to be recorded,a  bone must be thrown to the masses in the meantime. Included on this pallet wetter are two new tracks, a classic, and a medley, all recorded live, in studio. It's a small bite, yes; but with the appetite now subdued, it is on to the next battle. A full length album to expand on what "The Last One To Fall" has already shown.

Let it be said that there is something endearing and righteous about the way this band delivers their music, and the title track here is all the evidence you would need. It is, quite literally, a battle cry. Vocalist Tom Davy belts out his lyrics in a classic style, harkening back to the golden days of metal. As his voice wails over the top of the driving instrumental, you have no choice but to join in, fist up, feet stomping beneath you to the huge riffs. What follows is a medley comprised of pieces of the "Thousand Lies" saga that made up a third of the last album. But with new found clarity and crispness, every drum hits harder, and every fill rolls smoother. It adds a new layer to the mix, a three dimensional sound that was missing from the original recording. The same could be said for "New Dawn Arise," which first appeared on the debut full length "Into The Primordial." The improvements here are thousandfold, though, with the vocal harmonies alone taking on a tremendous improvement in sound and delivery. If nothing else, it shows how far this band has come over the years, with lineup changes and shuffling doing a great deal of good. But perhaps the most impressive effort on the disc, the second new song "Southwind" is good enough to be the keystone in the next set of songs. It brings the grit back into Davy's voice, combining progressive power metal and classic metal themes into one massive undertaking. The guitar work is tight, and the rhythm section is tighter still.

Taking that first step towards higher fidelity recordings is both a sign of courage and vision. You have to be secure and confident enough in what you are doing to not only invest the money, but the emotional stake in what you are creating. Burning Shadows turn that comfort level into well crafted, accessible songs that are sure to please fans young and old. Refining their recording and production makes a noticeable difference, undoubtedly; but their songwriting is what makes every ounce of blood, sweat and tears they spent getting here worth it. No amount of money can buy equipment that would make a bad band sound good. The truth hurts, doesn't it Nickelback? But what it can do is help a good band get better. Not on the talent scale, of course, but in the sheer strength of sound. That proof is in the rerecorded pudding on this EP, when comparing old versions to new. But the true test will be the completion of the third full length album. When they press record for what will become their next effort, will all of this pay off? If "The Last One To Fall" is any indication, we are in for a wild ride.

8/10

Official Site - http://burningshadows.com/
Bandcamp - http://burningshadows.bandcamp.com/
Facebook - https://www.facebook.com/bsmetal

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Hell - Curse & Chapter (2013)

After a nearly 25 year hiatus, "Human Remains" reminded the world of the greatness that never came to be so many years ago. Hell had finally arrived, nearly three decades later, thanks to a few new members and a dedication to their craft. But with any band past, present, or future, there is always the fear that that first major release is a flash in the pan; a stroke of good luck that will never be replicated. Having that many years of inspiration behind one album's worth of songs might have provided an above average result. But with the release of their second album, this five piece has even more at stake, and certainly more to prove to today's discerning (read as: picky) metal fan. Guitarist Andy Sneap, who helped to resurrect the band for their 2011 return, has seen many bands live and die in his times producing. But with "Curse & Chapter," Hell make a bold statement about a laundry list of topics. Not the least of which is, without a doubt, the relevance of a band a quarter century later. There is no sophomore slump to be found.

Having picked up right where "Human Remains" left off, the symphony of fire and brimstone that is "Gehennae Incendiis" provides a suitable backdrop for the album, housing a similar dynamic to that fabled first release. Because when "The Age of Nefarious" breaks through the walls, there is no doubt who you are swinging your hair to. To say, once again, that vocalist David Bower has a voice all his own would be an understatement, as his unique cackling cry his places in the vocal spectrum seldom touched. But as much of the sonic spotlight as he commands, he is matched drop for drop by brother Kev Bower and Sneap, who work a set of near miracles on guitar and keyboard. The solo work is even tighter than before, allowing for a sound that radiates outward. It isn't all thrashing guitars and wild vocal melodies, though, as "The Disposer Supreme" showcases that extra taste of the theatrical in every movement. There is something almost classical about what they do here, but not in the sense that power metal has poisoned us with. Instead, it is the shifting of tempos and vocal acrobatics that resonates most clearly. But never in all seven blaring minutes will you find so much as a single disjointed second; from rolling bass line to whining guitar riffs, every note fits the proverbial glove.

If there is one downfall to this point on the album, it's that the first trio of songs are, perhaps, too good for their own good, setting the bar unattainably high for the latter two thirds. Yet, as easily as those words fall out of our mouths, "Darkhangel" raises that bar even higher. Contained within one track is a lead riff that is as catchy as any you've ever heard, a vocal performance that won't soon be forgotten, and a rhythm section that is as surgically precise as any you've witnessed. And yet that somehow does not do the track justice. It's genre bending, without a hint of irony. And while our distaste for covers contained on an album proper is well documented, the cover of Race Against Time's "Harbinger of Death" fits all too well into the arc of the disc. If there is something about Hell that can't be touched, it is their ability to build an album of tracks that support each other. A cover made their own, followed by "End ov Days," is a match made in Hell. The winding riffs on display here only bolster the lyrical content. Every slamming snare and tom drives one nail further into the coffin, with accuracy and detail that inspires awe.

The rhythm section team of Tim Bowler and Tony Speakman, on drums and bass, respectively, may not be on the covers of magazines, but their work is of the superstar caliber. Tracks like "Deathsquad" could not exist without their attention to detail. While it always seems poised for a vocal breakthrough, it is left as a stunningly atmospsheric and haunting instrumental that induces a wave of chill with each press of the keys. With a wealth of memorable riffs and tracks at their fingertips, it only makes sense that "Something Wicked This Way Comes" is added to that list. It is the perfect blend of everything the band does well, wrapped in a neat five minute package. On the mic, Bower is a wonder, alternating by his high pitched, beyond opera, and menacing spoken verse. Not only does the instrumental mirror his intensity, but also his range. With barely a beat in between, "Faith Will Fall" kicks the door down with another driving riff, as Bower wails "hail to the hypocrite," over the top of it all. Agree or disagree with the premise, it is a glaring social commentary being laid out before you. But unlike Bill Maher or the degenerates from Fox News, there is a massive beat backing it all.

Make no mistake; this album is as long as it is powerful. By the time the last trio of songs comes into sight, beginning with "Land of the Living Dead," you have been thoroughly pelted with distorted guitars and punchy percussion for about 45 minutes. But having come this far, the reward is the music itself, with another easily accessible, if not blisteringly fast, track. Focusing on the solo that comes just before the two and a half minute mark, you get a taste of how deft and imaginative Kev Bower, Sneap and Speakman truly are, darting in and out of each other with no threat of a crash. But taking the avant cake, at least within the four walls of this album, is the sermonizing "Deliver Us From Evil." The choir of voices in the chorus is merely the wick on the dynamite, exploding in a fierce piece of guitar work. Speakman's bass may not be the lead here, but it carries the same weight. The second half, driven by a great bass, guitar and drum groove, could be the result of a great jam session, or a carefully calculated experiment. As a closer, "A Vespertine Legacy" is everything you would want; as a track on the album, it is something more. Some songs, for better or worse, only work because of their placement. This one, however, could fit into any slot on the album and still be as massive. The crawling breakdown after the five minute mark would tear any venue to the ground.

We were fairly blown away by what Hell had done on their first release after reforming a mere two years ago. "Human Remains" was, and still is, one of the albums that we recommend in conversation with metal fans from around the world. And it seemed to be too good to be true, maybe even too good to ever be replicated. And truth be told, there was an eerie, reserved excitement when "Curse & Chapter" made it's way to our doorstep. One could say we were prepared to be disappointed. Instead, what you have here is a statement album. What it says, though, depends on which angle you come from. It speaks to you in different ways, through sound and shape, tone and color. It's complex structuring is quintessential Hell, with every song immediately recognizable, without ever being one dimensional or feeling repeated. That alone would be an enormous victory... but there is so much more. Now a full 26 years after disbanding in 1987, Hell is more than just a triumphant return to form; they are forging new ground, with an album that may be the year's best.

9.5/10

Official Site - http://www.hell-metal.com/
Facebook - https://www.facebook.com/HELLofficial

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The Death Of Her Money - White Light (EP) (2013)

We've all heard bands that hide behind solo after solo, in hopes that their inadequacy in songwriting will be masked by speed and whammy bar prominence. There will always be a place in the music hierarchy for the purveyors of the tasty lick, but their need is waning. The Death Of Her Money, a three piece from Wales, is a part of the new school of heavy music, more reliant on groove and distortion than bending strings and leather pants. They've already been recognized for their competency, having been recognized by the renowned Rocksound magazine for their previous effort in 2008. But they have proven to be more than just a flash in the pan, releasing another successful album in 2011, and sharing the stage with numerous top acts, including Pelican. But with the new school, no wave, music coming to prominence, they can't be content to rest on past successes; it is time to move forward and craft the next in what might be a long and fruitful career. Their new EP, a two song offering titled "White Light" is the next logical step in a career that gets longer by the day.

Contrary to the instant gratification attitude we so often force into our music, the band takes their time warming up to the bulk of "White Light Sunshine," going a full two minutes before the first wave of crunching riffs breaks through the haze. That repeated riff, the one that forms the backbone of the entire track, may seem simplistic and safe; and perhaps it actually is. But the sheer density of it all, the weight with which in comes down on you, is enough to be a driving force. You won't find any sweeping melodies here, nor would you want to. The layers of amelodic vocals give way to coarse screams, a style that finds a symbiotic mesh with the instrumental itself. It's about as subtle as a cartoon anvil to the head, but it works. The second track, "The Bonemarrow Weight," is the same, but somehow different. It relies more heavily on a central melody, one that was all but absent before. The distortion levels are still through the roof, with each rumbling guitar and bass string vibrating the cones of your speaker of choice. But rather than a planned shift of vocal style, as before, you get a constant. The entire song is unapologetic in its directness, pushing the limits of how much bass heavy distortion any one listener can take, without ever crossing the threshold to careless.

Neoclassical talents be damned, not every album needs a stream of Wagner inspired symphonies or Van Halen-esque solos to make it deep or interesting. "White Light" is the perfect example of an album that is straightforward, somewhat predictable, and yet still compelling. The combination of chunky riffs and unlimited distortion can be a dangerous game, but when executed well, as it is here, it can be captivating. Your head starts to move in a slow nod, one that you might not have noticed, but you will have  a hard time stopping. It's an interesting dynamic between band and fan that can seldom be explained. And let's be honest; we don't need to know why our head is moving, or the scientific reasoning for why we allow it to happen. Just give us a deliberate beat, a set of driving riffs, and a scream that coats it like a thin layer of sludge, and let our bodies react as they may. In the future, some time down the musical timeline, every band might need a flurry of solos to be considered good or new. But here, in 2013, The Death Of Her Money don't need bells and whistles to get our respect.

8/10

Bandcamp - https://thedeathofhermoney.bandcamp.com/
Facebook - https://www.facebook.com/pages/The-Death-Of-Her-Money/163632863667642

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Black Soul Horde - Tales Of The Ancient Ones (2013)

What do you do when your side project is just as good as your main band? Such was the conundrum faced by Jim Kotsis and John Tsiakopoulos, when their newly found Black Soul Horde was coming together. Combining their love of classic heavy metal, the new wave of British heavy metal, and modern melodic metal, this now rounded out five piece are not the embodiment of their artwork. The black figure that stands on the mountaintop might indicate, to the uninitiated masses, that you have stumbled onto the latest folk metal powerhouse from Greece. Alas, friends, this isn't another folk hopeful; but a driving force in the next wave of heavy metal. In the cyclical world of music, everything is bound to come back at some point down the line. Whether you embrace it or ignore it is up to you. Kotsis and Tsiakopoulos have chosen the former, adopting the sound of the many bands that came before them without resulting to mindless hero worship and recycled riffing. As a result, their debut album is a breath of fresh air, with a familiar smell. Young or old, "Tales Of The Ancient Ones" is a battle cry for the very origins of the genre.

It isn't a stretch to hear a lot of classic metal sounds on "Let The Valkyrs Ride," which would seem to be the natural intention. From the driving riffs to the battery of drums that flank them, it takes you back to a different point on the metal timeline. The drums gallop ahead, like a horse into battle. But this isn't a contrived take on folk metal; vocalist Kotsis wails over the top of it all, his voice capturing the old meets new ideology. He pushes his vocal limits at times, hitting the high side of his register. But his counterpart, guitarist Tsiakopoulos never seems to reach the end of his talents. The speed and accuracy in the opening to "Reborn In Fire And Blood" is not to be trifled with. Joining in lock step with his rhythm section, Tsiakopoulos sets the tone. That tone, break neck and intense, is mirrored in everything the band does here. You may not find miles of depth here, but what they lack in subtlety, they more than make up in chemistry. Tracks like "Hour Of The Dragon" are the prime example of a band in their comfort zone. Additional vocal harmonies do wonders for Kotsis, while the rhythm section of drummer Jim Zafiropoulos and bassist Stelios Dogas flex their collected muscles time and time again. Perhaps the most fitting piece of nostalgia comes in the form of "Demonon Tagmata" which combines all of the things we loved about metal in the formative days; you can hear Iron Maiden, Black Sabbath, and Judas Priest here, reaching out from the past, surrounded by wave after wave of catchy riffs and memorable hooks.

More than any other, though, "Ancestor Of The Ancient Gods" is a song that goes above and beyond the call of duty. Kotsis hits a groove both vocally and lyrically, adopting a more dynamic melodic style that would surely incite more than a few lighters to go up. Make no mistake; there is not a ballad anywhere it sight. Instead they balance melody and driving riffs in one arching track. If one must find any fault here, it is in the length of the track, clocking in over six minutes long. By no means is it padded out with filler, but Black Soul Horde operate most efficiently in shorter bursts, like the one on "Horns Of War (Evermore)." The energy hits a high, and the band throws caution to the wind in favor of another driving anthem. Kotsis, despite a shaky beginning, has seen his voice grow over the course of the album, now commanding the room like never before. As a result, Tsiakopoulos has the freedom to unleash a flurry of deft fretwork. I would be remiss in failing to mention rhythm guitarist Costas Papaspyrou, who holds down the fort when his counterpart goes wandering. There is a great deal of Ozzy Osbourne influence to be found on "Coming Home (Call Of Gaia)," a real platform for Dogas to work some much deserved bass magic. His work, along with the dueling guitars, are just as expressive and rich as the vocal lines. That notion is the real victory of the latter half of the album, especially the finale track, "The Light." It leaves a lasting impression, an epic portrait of a band who knows exactly what they are, and what they can do. One last dazzling melodic passage and you cruise to a dramatic finish.

Most of us aren't fortunate or talents enough to have one band that people would want to hear. Kotsis and Tsiakopoulos, thanks to their talents and drive, now have two. There are a lot of different elements at play on this album, most of which would sound familiar to anyone who has delved into the history of metal. But their familiarity doesn't mean they are overused, or even past their prime. Black Soul Horde have taken hints from the past, and used them to piece together the puzzles of the modern age. For every bit of influence you hear in the riffs, in the varied and balanced vocals, you hear just as much of the new school of musical thought. That isn't to say that this is a perfect blend of the two, or the best you'll hear from this band. There are kinks to be worked out here and there, mainly in the evenness of the mix; balance isn't true balance if the levels aren't spot on. But outside of that, you have an album that is catchy, high octane, and ready to roll. Throw out the artwork, throw out the name; Black Soul Horde is modern classic metal without a hint of irony or cliche. And that is a recipe for success.

7.5/10

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

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Ashes Of Ares - Ashes Of Ares (2013)

We grow attached to bands over our respective lifetimes, and their members become icons. But as those bands come and go, rise and fall, and their members move on to big, but not always better, things, we must adjust the way we view them. Ashes Of Ares, for their part, are three men who have sharpened their skills during their time with prominent and respected bands in the metal community; Matt Barlow and Freddie Vidales spending time in Iced Earth, among others, and drummer Van Williams, a key element to the long time success of the now defunct Nevermore. But what was is over, and what is must now begin. Immediately following their splits with former projects, the three united in what would be, hopefully, their crowning achievement as musicians and metal icons. And rather than sounding like a hybrid of all those other gigs along the way, they've formed their own identity; the sum of their three parts. On their debut album, Ashes Of Ares put a distinctly new signature on their careers, both as individuals, and as a the massive juggernaut that has risen from the ashes.

Despite becoming synonymous with the works of Iced Earth, Barlow's voice translate well to his own work, and "The Messenger" makes that more than clear. He hits the marks in verse and chorus, alternating between the deep growls and higher pitch wailing that his range allows. But there is something extra added here; the hooks are far catchier than the previous work of anyone involved, lending the track well to the inevitable live setting sing along. Notably, Williams is at his career best in both sound and speed, ripping through a torrential downpour of double kicks and complicated fills. The transitions, then, become much easier, as one track ends and the next begins. There is a balance between speed and sonic punishment on "Move The Chains," one that is impressive this early in the band's time together. Williams and Vidales seem to have a cohesion together that helps the music leap from the speakers. They elevate each other, rather than battle for lead rights. And with Barlow leading the charge into battle, there is a constant forward motion. That consistency lends itself well to the tempo change that comes on "On Warrior's Wings," a track that could easily be titled a heavy ballad. Sure, there are acoustic guitars in the opening, and the subject matter is emotional derived. But there is no sense of backing off the gas here, and by track's end, you are back into full head swinging glory. The challenge would be to not let your fist extend into the air.

If there is one misstep to be found on the album, it comes in the form of "Punishment." While Vidales and Williams provide a devastating backdrop here, Barlow stumbles on the lyrical content at times, resorting to cliche phrases that never really seem to gel into one flowing verse. His work in the bridge and chorus, though, could be seen as atonement. The soaring cry that ends the track is a signature that only he could put on the paper. Returning to form, "This Is My Hell" is a power thrash anthem that hits all the targets along the way. Vidales lays down a monster lead here, one that quickly becomes an album highlight. This is the best example of a band that is on the same page, each member putting their own stamp; Williams splashes and crashes through verse and chorus, while Barlow hits the highest of highs, and pushes himself to the edge of his ability. While melody plays an important role throughout, it is the grit of "Dead Man's Plight" that stands out, allowing Barlow to adopt the lower, growling register at times. It's difficult to resist his battle cry, as he invites you to tip the balance between dark and light.  It is in contrast that tracks like this line up with the following track, "Chalice Of Man." The latter is an all out bruiser, taking any remaining restraints off of Vidales and Williams, and giving them the artistic license to bend, shred, and crush anyone in attendance.

Far more introspective than the album as a whole, "The Answer" sees Barlow belting out his best quivering timber, in a swaying, lighter inducing masterpiece. It brings to mind elements of the Osbourne classic "Mama, I'm Coming Home," both is sound and tone. Later reincarnated as an acoustic ballad in the bonus track area, it manages to be emotional without being distracting from the main arc of the album. Even the light tapping of cymbals at the hands of Williams carries more weight than you would expect. And as before, the shades of lights are immediately overtaken by dark clouds; "What I Am" is not middle of the road track. It comes bursting out of the gate with reckless abandon, Williams kicking, swinging, and crashing his way through a series of dizzying rolls and beats. When the solo portion kicks, just shy of the three minute mark,  you are treated to everything you could possibly expect from a band of this pedigree and talent. The album closer, "The One Eyed King" isn't a sappy look back at the album at hand, or even the normal summation we see from albums of this ilk. Rather, it is snare drum fueled piece of intricate guitar work and growled vocals. You would be hard pressed to escape this effort without looking down to see your feet tapping out the beat on the floor beneath you.

With the short attention span of most modern music fans, band breakups and shakeups might, in factm be essential to keeping music fresh and exciting. And while watching your favorites bands go on hold, or your favorite members exit, there is almost always something new coming down the pike. For Barlow, Williams, and Vidales, they will always have their past experiences to draw on; but they've begun to pave a new road for themselves. Ashes Of Ares isn't Iced Earth lite, or Nevermore II, or anything of the sort. it is the collaboration of three musicians at the prime of their careers, making music that comes as naturally to them as heavy riffs come to Tony Iommi. It is both fun and refreshing to hear all three at ease, doing what they've been doing their entire lives. You can hear the comfort in the way they play together, and in the way the songs flow from beginning to end. There is no point in making the comparison between this and the past. Ashes Of Ares is the present, and likely the future, that we have to look forward to. Might be time to make room for your new favorite band.

9/10

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

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