Courtsleet - Hope's Apparition (EP) (2014)

If the above artwork looks familiar, either from our site or others, you aren't crazy, or witnessing some kind of intellectual property theft. No, it shares an image with the recent release by Of Solitude And Solemn, titled "Starlight's Guide," and it is no coincidence. Planned as a split EP between Joe Hawker and Gavin Turner, mastermind behind Courtsleet, it has seen the light of day, digitally at least, separately. While the image may look the same, the former's part of the split dons a pink hue, whereas the latter leaves the image in a sparkling gray. Perhaps it is a growing theme for each; Hawker adding a softness to his image and music, and Turner opting for something less colorful. Formerly of A Forest Of Stars, Turner is no stranger to epic compositions of black metal and atmospheric qualities. But starting over, his Courtsleet project is quickly garnering interest from blogs and music aficionados the world over. This, too, is no mistake. With a strong presence of raw black metal, and a keen ear for background melody and morose, "Hope's Apparition" is bleak, but hopeful. And that feels pretty great.

By asking a humbling question, Turner sets his album into motion with the whine of a guitar lingering in the background, while he plucks away in the fore. "What Was I When Your Journey Began?" is a question nearly impossible to answer. But through the course of ten minutes, the sea of atmospheric tones invites you to pick away for yourself. Turner's biggest success here is the way his arranging of the layers pulls you into the center of it all, and surrounds you with distortion and airy notes all at once. Just shy of the six minute mark, all of that abstract chaos and organization comes full circle, resulting in a genuinely powerful piece of music, complete with raw angst screaming over the top. It isn't polished or tightly wound, and that is perfectly ok. Imagine how monotone and dead to the ears "Proplyd For a Lifelong Nostalgia" would be if autotune and pitch correction were utilized; it would fall on deaf ears. Instead, you get the low roar of unrestrained distortion, a constant shaking of everything around you that provides a hum every bit as important as the music itself. It keeps in line with the tenets of traditional black metal, while still injecting it with a healthy dose of ominous melody.

After hearing both side of what stacks up as a monumental split, it's easy to see why Joe Hawker and Gavin Turner would want to be contained on the same piece of manufactured plastic, or the same zipped music file. Their sounds, while pushing weight on opposite ends of the scale, share so much in common. Fundamentally, their "do it yourself" production is a key element in both sides, but it stands out in different ways. Where Hawker goes for a smoother sound, making his themes stand out prominently, Turner leaves it raw. Different approaches for different styles, both of which work. But where Turner succeeds most is in his ability to turn chaos into coherent emotion; what may sound like waves of noise and distortion, easily translates to something powerful. Would I urge Turner to avoid studio time or slick production in the future? No. But where he is with this moniker and project, a home production fits every aspect of his work. Together with Joe Hawker, or separate as a standalone EP, "Hope's Apparition" is a unique combination of black and white, without the pink tint.

8/10

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

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Valtari - Hunter's Pride (2014)

Remember when music was a perfectly cyclical, and bands released albums on a schedule, of sorts? You could count on a new disc every two years, with touring in between. But when the inspiration goes, so does the schedule. Maybe it'll be three years in between albums, maybe even four. Soon, you don't have a whole lot of firm dates to looking forward to. Luckily, the new wave of modern metal has your back, and Marty Warren, the lone set of hands behind Valtari, is right on time. Almost two years to the day after the release of his debut album, "Fragments Of A Nightmare," Warren slips us a gentle reminder that inspirations are many, and their results are even greater. His new album is ten tracks, clocking in at a robust 42 minutes, which may seem short by some of today's standards. But this is an album that can change the game entirely. The tracks are shorter, the riffs more insistent, the drums more dynamic, and the vocals more grating on the inner ear. This album, "Hunter's Pride," is everything you could have hoped for, two years after you thought you had gotten everything you wanted.

Like a bullet from a gun, there is no subtlety in how the release happens, a veritable explosion of sound and technical detail. What is immediately apparent on "Bitterness" is the sheer depth of sound Warren has crafted here, leaving you standing up to your neck in layers. The blasting gallop of drums forms the base, the foundation for what grows upward. He achieves just the right tone on the kick, a resounding thump that remains as rocksteady as it would need to be. But the star, at least in this instance, is the guitar work. It might not seem fair to classify his style as acrobatic, but when the shoe fits, you have to put it on and enjoy it. The riffs and fast and furious, but not out of control, or even raw. His rhythm and lead work on "Undefeatable" serves as a fitting microcosm of the album, rolling side by side every step of the way. The addition of a winding piano sequence only furthers that unity. While there is a common thread that runs through the entire length of the album, there is also a great deal of versatility built in. If straightforward melodic death is your genre of choice, "Can You Hear Me" has everything you could be looking forward. It's a full speed ahead crusher, complete with a vocal performance that bleeds maturity. Warren has harnessed every bit of his energy, leaving no doubt that he has arrived.

Having now realized his full potential, tracks like "Shatter The Myth" must seem all too easy. It's here that he creates the best contrast of sounds, laying out a great melodic opening, only to give way to an unrelenting stomp of distortion and gritty screams. An outro packed to the brim with endless double kicks and huge riffs is the end of the track, but only the beginning of the assault. It is a challenge, from our perspective, to make it through the duration of "In Slides" without the guitar lead taking over your mind. Once again, the layering of guitars is key, but executed with flawless precision. Tracks like this one find that fabled place between melody and brutality, leaning on both but favoring neither. The vocal lines, to this point, have shown a tremendous amount of growth, and this is no different. When you reach the halfway mark of the album, you may stop ever so briefly and ponder the title "With A Child's Smile;" rest assured, the album has derailed in favor of a Sesame Street learning exhibition, or a beautifully strummed acoustic lullaby. No, Warren continues to push the limits of modern engineering and music construction, testing the very strength of his mix with a flood of massive riffs and a drum kit that simply cannot be contained. That, more than anything else, becomes the theme of Warren's instrumental work; he bends the parameters until you would expect them to break, as on "Enshrined In Ice," only to hold strong in the face of a weighty set of tightly packed layers.

AS  you land face first in the final trio of songs, led by "Tyrant," you can only marvel at how high the energy level has remained throughout the album, not falling victim to the peaks a valleys an album of this style and magnitude would often stumble on. Part of this is due to track lengths, with this each one standing tall around the four minute mark, give or take. It allows for exposition without being extraneous, and tidal shifts without the need for twists. As Warren screams through the chorus here, he shows no sign of slowing. It's the balance, though, that shines brightest, hammering home the entire notion of what melodic death metal really means; a foundation of heaviness, scattered with clean melodic elements. "The Gift" isn't organized chaos, like we have noted about other modern artists, but clean lines, smooth architecture, and just enough light to allow for additional growth. It's intensely catchy, as the rest of the album has been, without a trace of effort to be accessible; Warren just makes music that is easy to listen to. The title track, however, is the victory song on a victory album. Every riff is more technically sound than even those before it, and each and every scream cascades through your speakers with maximum efficiency. There is an intelligence factor, too, with the smallest touches of piano doing so much to further the melodic aspect.

Let's be honest with ourselves; there are bands that get better over time, bands that get worse, and bands that reach their peak and never move from it again. After his first album came through our office, we weren't sure where Marty Warren would fall in that hierarchy. We were fairly certain that his talents and drive would ensure he wouldn't regress on the next album. But we also weren't positive that he could continue to improve after such an impressive performance. Yet, somehow, "Hunter's Pride" not only shows a massive amount of growth and foresight, but an undeniable dedication to his craft. This isn't melodic death, by the book and one dimensional; no, that would be too easy and lack the rewards. This is something else entirely, something that that is hard to put a label on, and even harder to say it confidently. Through the course of ten tracks, of optimal length, perfect timing, and delicate balance, Warren carves out a new niche for himself that isn't the most easily replicated. In fact, I would think he has put himself in a class all his own. He has reached a peak, and the only way to go his up.

9.5/10

Official Site - http://www.valtari.info/
Facebook - http://www.facebook.com/Valtari

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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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An Autumn For Crippled Children - Try Not To Destroy Everything You Love (2013)

How can anyone outside of the band itself ever say which piece of work best represents their sound? Influences and inspiration change, and each album a band releases should represent that. An Autumn For Crippled Children are not the same band they were in 2010, at the time of their debut album. That band no longer exists; they've grown, changed, evolved into the modern melodic black metal band they are today. Sure, you will still hear fleeting moments of the band that once was, but even those are different. You can never go back in time to rediscover that sound. And thankfully, in this case, you wouldn't want to. Having fine tuned every aspect of their music in the last three years, this is a band looking forward, not backwards. They've introduced new wrinkles to familiar formulas, pushing themselves toward the next evolutionary step. And with this, their forth album in three years, they have found a plateau that they could stand comfortably on for a decade. The introspective and daring "Try Not To Destroy Everything You Love" is the missing link.

Having taken such giant leaps on their previous effort, it stands to reason that they would come right out of the gate at a similar rate. Not to be disappointed, "Autumn Again" is a blustery piece of modern black metal, but that would be an oversimplification. The use of keyboards and synthesizers is astoundingly effective here, often offsetting the raw power of both the drums and vocals. The percussion elements seem reckless but their foundation is strong, akin to some of the more daring post-rock bands from the far east. The beats are nothing if not deliberate, with tracks like "The Woods Are On Fire" making the most of every solitary drum stick movement and kick. They have found their niche between aggression and transcendence, a foot hold that grows with every sweep keyboard melody. So much so, in fact, that it would not be a stretch to declare this to be the best track of their catalog so far. It is a statement of direction; not a new one or change in one, but a firm step down a path. The atmospheric backing is haunting, while the chilling screams, such as on "Never Complete," are just as raw and jagged as they were when the band began.

There are obvious departures from the past on the album, as well. The title track, for instance, has an opening that is as much jazz club groove as it is anything else. The light tapping of cymbals provides ample support to a bass led melody, a fitting calm before the storm moment. The aforementioned storm, while not up to the magnitude the analogy invites, is enough to displace a few hairs on your head with gusts of distortion. Everything blows and swirls around that central framework, the one so carefully crafted with the growing keyboard presence. It would be difficult not to acknowledge the art-rock qualities that seem present throughout the flow of the album, whether it be the outro to the title track, or the intro to "Hearts Of Light." This may not be a softer band than we have known, but it is a band expanding their influence and, more importantly, their musical output. You'll find a great deal of sincerity buried in the screams, just as much as each singular piano key. That is an attraction that is hard to manufacture; heavy music isn't always heralded for it's ability to bring out emotion. And while "Sepia Mountains For Her Lament" is the shortest track on the album, it is also the most breathtaking. It speaks volumes with every snare, every synthesized note.

The depth of the album isn't even evident by this point, needing the final trio of songs to make it complete. "Closer" is as explosive a track as you'll find on this disc, reverting back into the wild drum patterns of the early stages of the album, without ever losing that firm grip and bass driven leads. The segment that comes just after the three minute mark could just as easily be attributed to a band like Te or dredg, harnessing every ounce of power in each instrument to pull you into the swirling winds. Through a series of mood and tempo changes, they convey strength and emotion, without any lyric sheet necessary. With the dynamics of light and dark now fully at work, "Avoiding Winter" capitalizes at every turn. Whether it be the serene opening, which is beautiful in it's own right, or the first blast of distorted guitars that follow, each segment plays well off the one before and after it. Perhaps the most easily overlooked victory here is on a song like "Starlit Spirits," where the instrumental becomes so expansive, that it is almost too much to contain in one mix. Due to the nature of the music itself, we dismiss production; but here it should be celebrated.

Much in the way that we are not in charge of how a band progresses and changes throughout their career, we are also not in a place to demand anything. Yes, you miss the days when Metallica made music you wanted to hear. And yes, the last few Megadeth albums have been a great departure from anything close to listenable. But you can't reach back 15 years and recreate that sound. An Autumn For Crippled Children are proof that change can be a good thing, honing their own style into one that is strong, but delicate, vibrant, but subdued. It isn't that they've abandoned who they once were, all those years ago; they have just allowed their music to grow and change with them, as people. The raw has come face to face with the well rounded and smooth, and the results speak for themselves. There is, of course, a downside to any album that stakes a claim as the best in any one band's catalog; you'll never look at their other discs the same way again. But after "Try Not To Destroy Everything You Love," I think we can all be perfectly content with that.

9.5/10

Bandcamp - http://anautumnforcrippledchildren.bandcamp.com/
Facebook - https://www.facebook.com/pages/An-Autumn-For-Crippled-Children/108017119243983

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Mor & Liholesie - Death Comes From The North (Split) (2013)

Rarely do splits have meaning. They are a showcase, as we've noted before, compilations more than concepts. But this particular disc is different. "This is more than just a split. This is real album just splitted for two sides. All music were written and recorded especially for this release. North and Death. MOR submitted single track consisting of 4 parts (20 minutes) in their predictable “progressive” and melodic style. Two cold ambience by Siberian LIHOLESIE at the other side. No rehearsal, unreleased and other lousy shitty records. All recorded in one studio, at the same sound, that all were looked like it was a concept album as in audio part and as in design!" That could be taken as jargon, or musical rhetoric used to sell a few more digital downloads. But after listening to this offering, all two tracks and six individual parts, it seems clear that it speaks truth. They have a symbiotic relationship; they just fit together in that way. And "Death Comes From The North" is an interesting take on a concept split.

Mor's contribution to the split, the nearly twenty minute epic titled "Kola Kross," is an ambitious as it is epic. The melodic overtones play a starring role throughout the track, due, in part, to their layering in the mix. That mix, for better or worse, lacks a true clarity. This leaves some aspects tuned far more clearly than others. The guitar work is deft and, at times, hypnotic, while the vocals vary anywhere from spoken phrases to aggressive yelling. They lack true identity, something that hinders the track from ever gaining momentum. There are distinct parts here, four in total, that all boast very different sounds. The second chunk, carrying the subtitle "Raven Dark," carries with it a post metal tone. But once again, a lackluster vocal performance, this one bordering on garage rock, brings the entire mix down. When the guitars are allowed to breathe (i.e. sans vocal), they are more than enough to carry the load. The screams and growls, particularly around the ten minute mark, are little more than heavy exhales. The marriage of opposites here, with melodic instrumental and grating vocals, just simply doesn't work. That becomes the main theme of all four subsections, and may be a cry for an all instrumental effort.

Liholesie, on the other hand, does not stray from their stated goal. Dark, ambient sounds cascade through your speakers for fourteen minutes, bordering on majesty, and never quite achieving sheer terror. Bizarrely, this sort of subtle ambient music is free flowing and easily enjoyable. It moves quickly, even with minimal inputs. There is something in the way it is pieced together that keeps it interesting from start to finish. The instrumentation is impressive, incorporating a wide variety of tones and sounds into one crystal clear opus. Both parts of this whole could be used for a myriad of purposes, from march to movie score, and everything in between. The second half, aptly dubbed "Endless Expance of Coldness and Ice," is haunting in nature, and brings a cold chill to your body.

The concept is clear, and the two bands are one collaboration away from a masterpiece. But while one is at the top of their game, the other is struggling for identity. Liholesie have a solid grip on the ambient sideshow effect, providing a moving and rich tapestry of minimalist sounds and noise. It may not be a multi-platinum effort in the making, but it makes sense. Mor, on the other hand, have yet to find their voice. That could be taken metaphorically, but it might also be the best literal representation of their contributions to the split. Despite a fairly impressive musical performance, the lack of a strong vocal presence downgrades their sound considerably, often leaving it sounding as if the vocals were tacked on in haste. But outside of these shortcomings, these two acts share a lot in common. And that is why, more than anything, this split works. The similarities and differences are highlighted throughout, strength next to strength, and weakness next to weakness. They are different chapters of the same book.

7/10

Bandcamp - http://myrkrmusikk.bandcamp.com/
Official Site - http://myrkr.org/

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Idaaliur - Le Chemin De L'Étincelant (EP) (2013)

When we waxed poetic about the endless classifications of metal, namely raw black metal, it was not a one off idea. As misunderstood as the raw sister can be, the melodic or depressive black metal movement might be moreso. Because somewhere in the sadness and melancholy, projects like Idaaliur have managed to be uplifting along the way. Maybe it is the way they craft their melodic elements; or maybe it's the balance they find between heavy and soft, light and dark. Either way, sole proprietor Malphas has thrown his hat into the growing ring of melody based black metal outfits who are doing more for the new school than ever before. As prolific as he has been, having his hand in five releases over the last twenty months, each one has its own identity and sound. That alone would be impressive; but they've grown with him over the years, and each one represents a small evolution in the man, the band, and the sound. His latest release, a two track EP titled "Le Chemin De L'Étincelant," is nothing short of breathtaking.

It's as if the artwork and the opening of the first track, "Le Chemin De L'Étincelant (Part 1)" are attached to one another. As the shadowed figure stares out at the vastness of space, a keyboard fueled epic unfolds, with an incredible amount of depth contained within a mix that is less than crisp. But somehow, Malphas makes it all work in his favor, seamlessly combining the flowing melodies, both vocal and instrumental, with the grating screams that come later on. As you cross the four minute mark, you are now completely submerged in his vast soundscape, one part frightening black metal, and one part somber harmony. The transition from part one to the second part is as flawless as it is beautiful. His use of keyboards and synthesizers makes all the difference in the world, allowing the music to live and breathe. As a result, each passing movement pulls you deeper and deeper into the world he has created here. As difficult as it is to not allow yourself to be swept up in the wonder of it all, it may be best to just let the guitar and keyboard work to carry you. Each scream builds from silence and cascades over the top of the instrumental in a fractured harmony of sorts. And all at once, it seems like you have returned to where the album began, staring out into the stars.

When instrumental, vocal, and imagery collide in such a profound way, you won't be able to move on to the next big thing. Malphas has accomplished something here that most musicians work their entire career for, and rarely achieve; he has found the common ground between all three of those elements, and let them come together in a meaningful and clear way. But even more impressive than that is how easy he makes it all seem. Melodies collide with distortion, and simplicity melts together with intricacy to form what is one of the richest, most detailed piece of blackened metal you could think of. It is the latest crowning achievement in a career that seems to be gaining momentum with each and every release. And in his own special way, he has given an uplifting piece of music to the masses; one that, despite the depressing undertones, soars at times. It isn't perfect, though, something that could be remedied with more material. But even with the lack of run time, "Le Chemin De L'Étincelant" is an EP that will stay with you.

8.5/10

Bandcamp - http://idaaliur616.bandcamp.com/
Facebook - https://www.facebook.com/pages/Idaaliur/137739849619080

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