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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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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Wall - Wall (2013)

In our neverending quest to hear all, see all, and digest all of the music world, we have to look for hints that something might be right for our taste. Maybe it's the artwork; maybe the band pedigree. But sometimes, it's just in the way a band views themselves. Those sometimes nonsensical, over thought, over hyped tag lines that Facebook and Bandcamp have made so popular might not be as useless as once thought. One trip to the Bandcamp page for Germany's Wall, and you will see the word "pop" listed not once, but twice. In any other situation, that might lead you to dive for the back button, or at least avert your eyes from what you might have stumbled on. But the words before and after it are just as telling. Can it be doom and pop at the same time? Heavy pop? These seem to be contradiction of the worst kind, either trying to bait and switch, or just bait and laugh. But on their self titled album, Wall lure you in with polar opposites, then make you believe they never really were opposites in the first place.

Rarely does a spoken word segment fit as well as the opening of "Beyond," a venture into the word heavy leading in to the first opus. There is an accessibility to the vocal lines that might harness that pop influence. The backing instrumental, though, keeps the entire organization beautifully dense. Having filled out the low end of the sonic spectrum, the band can bend and sway away from it, incorporating some deft melodic infusions over top of then thunderous sound of bass and drums. It isn't that the song is so much controlled by the rhythm section, as it is spectacularly dominated by it. This becomes a recurring theme, and a telling one at that. Even as "Shrink" commences, your sub woofers will shake and vibrate along to the chugging riffs, putting your home in dangerous territory. But for every low action, there is a melodic reaction, both through guitar work and, mainly, vocal dynamics. It's as if the band and the vocals are two separate entities, brought together by someone on the lunatic fringe. But somehow, despite tremendous differences, they fit like puzzle pieces.

That tight fit, as it were, is pushed further with each track, a hazy bliss that fills out the entire run time of "No Name." The breathy quality of the lead vocal is not lost here, adopting what would be labeled a stoner tone, for better or worse. On the whole, it is an exhibition in down tuned, down tempo efficiency. It's simplicity makes it enjoyable; it's attention to detail makes it hypnotic. It seems like a strong word to use in this case, but as you transition to "Ghosts," it feels all the more right. They've mastered the wall of sound technique, each set of notes moving at you in synchronized waves, every cymbal riding along at the top of it all. But it is the slide up the neck of the guitar, coming around the five and a half minute mark, that asserts this as a distinctly doom foray. By allowing a full eight minutes for this track to expand and grow, the band have accepted something very important; this music is organic, and needs to be completely free to wander and meander to it's own end. Conversely, "Wasteland" adopts a post grunge atmosphere in the instrumental sense, without losing that sensible, undeniable hook of the vocal lines.

The one constant throughout the album, including the final pair of songs, is that alarmingly dedicated bass tone. With each pluck and strum of the strings, every part of your chosen speaker system is forced to give in and just take the abuse. "Generic" might not be the most accessible, closest to pop song that you'll find on the album, but it achieves a similarity under the guise of a seasoned melodic doom anthem. The interludes that come in, separating vocal inputs, are tighter than before, including some clean, albeit brief, solo sections. The last note, that rattling, fading chord, might bring more than a few fists into the air. But it is the closing track, "Cheater" that will leave you feeling the most satisfied, and yet the most puzzled all at once. Here you have a pop song in form and function, sound and delivery, unlike anything the rest of the album has to offer. It isn't a surprise by this point, but it is far more straightforward than you could have predicted; at least in the opening. But it isn't all sunshine and candy, as there is plenty of feedback and distortion left in the cage for the latter half. And that is exactly what you get, a second half full to bursting with massive riffs and pound drums.

It's no secret that bands use buzz words and modern cliches to pique your interest; it's one of the oldest marketing tools known to the music industry. Wall have chosen a wide variety of tags and labels for themselves, but none of them are a cash grab or even remotely untrue. Their grasp on stoner doom metal is a tight one, and the musicianship delivered on this release is all the proof you could ever need. Not only do they live up to the metal side of the equation, but they somehow stay true to the doom pop genre that, until now, few of us knew truly existed. Don't over think that; this isn't the Jonas Brothers, back from hiatus with a new attitude. This is a metal band that happens to also have a keen ear for melody and dream inducing arrangements. The music is like the grayest of blue skies, a cloud that is both fluffy and ominous. Come to think of it, that sound clip may be right. There must be something wrong with our gravitational pull; this is way heavier than I remember.

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

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Ihsahn - Das Seelenbrechen (2013)

We all know his pedigree: former vocalist in the now legendary band Emperor. But that was then. Over the last seven years, Ihsahn has forged his own identity, well beyond anything that pertains to his earlier years. He's pushed the boundaries of metal in many ways, incorporating both his fervor for high speed guitar work and his penchant for all things avant. In fact, he has made the saxophone such an integral part of his last three solo albums, that he could practically take ownership of its use in extreme music. Even more to his credit, though, is his ability to make it all work. Anyone can put the pieces together; he has made them fit. At the release of his last album, we surmised that he could do no wrong; that wasn't an opinion as much as it was an observation. When another album pops up on our radar, we must always wonder if we would have to eat those words. Yet, somehow, there is little doubt. And with the release of "Das Seelenbrechen," Ihsahn continues his dominance.

Within the first two minutes of the opening track, "Hilber," any reservations are quickly removed. To say that Ihsahn has added further depth to his sound would seem ludicrous, yet here he does exactly that. The melodies, when present, are more infectious than before; though it is the straightforward chord work that resonates most. As his signature voice rises and falls over distortion and keyboard intricacies, the flow may be hard to follow initially. But in time - a few minutes at most - you feel right at home in it's avant delivery. By adding in clean piano keys, something rarely utilized in his back catalog, he turns "Regen" into an expansive foray into the progressive side of extreme music. His talents and versatility seem custom made for music like this, music as eclectic and unpredictable as his persona. An epic orchestral interjection comes in the second half, complete with chanting vocals and a piece of guitar work that pulls you in, even as it brings the track to a close. What it does, more than anything, is open doors, windows, and ceiling ducts for a growing expanse of musical styles. "NaCl," for example, is built off of a brilliant lead riff, one that fester and spreads in your mind like a field of weeds. You would struggle to rid yourself of it, nor would you really want to. But the way the entire track functions is wildly innovative and impressively conceived.

Much like the spirals of the nautilus shell, the music radiates outward from that median point, with tracks like "Pulse" moving farther from the center we've known as Ihsahn music of the past. The light electronic element is important, albeit obscured by wonderfully constructed clean vocal melodies. It is hard to verbalize the evolution here, but the final minute becomes a summary for the entire track. And as is so often the case, contrast becomes a crucial part, with 'Tacit 2" abandoning all of that subtlety and melody in favor of chaos and deafening screams. The drums go wild, as if the kit has begun to roll down the mountain side, as Ihsahn wails over the top. There would seem to be no rhyme nor reason to the track on the whole, but one thought of it being performed live with a stage full of smoke and lights, and it becomes an obsession. It's partner, "Tacit," may share a name and a simlar drum beat, but that is where it ends. The brass sounds that cover it are majestic in scope, and broaden the ever growing horizon of the album. It seamlessly combines the old and new into something all together different. On the other hand, "Rec" is a short track, falling short of three minutes, that may be able to change your perspective in significant ways. It's a track that must be heard to understand.

The mind bending nature of Ihsahn's work has never been lost on his audience, but he continues to take it to new levels. On "M," he spokes softly over little more than ambient noise, before a wailing guitar riff bursts onto the scene. That it works is amazing in it's own right; how well it works is just staggering. You feel as though you've stumbled into a blues jam and poetry reading gone awry. And the final howl of the guitar is the closing of the curtain. By the time you've reached "Sub Alter," nothing should be a surprise, yet it is impossible not to be slightly shocked at each twist and turn. Now far from the center point, the spiral outward has yielded incredibly difference results. It is a melodic turn you take this time, like others before, only sweeping in its delivery. It leaves the seven plus minute "See" as the last remaining twist in what is an album of subtle changes and smooth transitions. From quiet whispers to booming drum interludes, the song goes nowhere and everywhere all at once; a terrifying and haunting ride through sound and fury, where feedback and reverb speak volumes alongside pained screams.  

If you're interested in hearing an artists do the same thing, album after album, then you probably wouldn't be interested in what Ihsahn has to offer. He has managed to push and bend his own boundaries, while experimenting with sounds, structures, and themes. Merely aspiring to it wouldn't be enough for a man with admittedly "abstract " goals. Making it come to life right in front of you is the victory here. By adding new wrinkles to his arsenal and minimizing some of the old, he finds new ground to stand on, and new ground to then conquer. Saxophones don't have the same place here as before, replaced by orchestral elements and horns. And while those were some of the highlights on earlier releases, you won't find yourself missing them in the arc of this project. Sure, this album won't appeal to everyone; it isn't exactly a "conventional" extreme metal release (though I would be hard pressed to define what, exactly, that means. But the only prerequisite to enjoying "Das Seelenbrechen" is to have an open mind.

9.5/10

Official Site - http://www.ihsahn.com
Facebook - http://www.facebook.com/IhsahnMusic

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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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Australasia - Vertebra (2013)

It's no secret that a degree in musical theory has never been a prerequisite for enjoying and dissecting music. Any band or album that would require such a stunt isn't worth your efforts. With that in mind, there are bands that can be enjoyed regardless of your preferences or prejudices. No, there is not a band, not a single one, that is universally loved. Don't even try. But bands can transcend their genre in such a way as to welcome people who would otherwise be outsiders into the fold. With their debut album, Italy's Australasia quickly asserted themselves as one of those acts, blending together the silky smooth and atmospheric qualities of post rock with the more intense and blaring side of post metal. With that release, titled "Sin4tr4," we likened their sound to a red dyed ice cube melting into a glass of crystal clear water. But was it the metal that tinged the rock, or the opposite? Only a year later, an answer may actually be found. On their new album, a ten track, thirty minute piece called "Vertebra," the overall arc of their sound begins to take shape; and as the ice cube fully melts, you have a drink as sweet and balanced as any you've ever had.

An opening track like "Aorta" works on so many levels, but the key is that it grows organically. It doesn't insist that you listen, but gives you every reason to. The light, melodic notes are fuel for the fire, an initial blast of drum and bass that while explosive in their own right, are subtly smooth. By the time the ethereal female vocals come through with chanting grace, you've already been exposed to what you thought was the complete spectrum of sounds at the bands disposal. However wrong you may have been, the boundaries here are endless, as a song like "Vostok" is quick to prove. Electronically tinged, yet heavily rooted in the layering of guitars, it beautifully constructed from start to finish. Even the kick drum has a sound all it's own here, a rousing thud unlike others you've heard. It isn't a punch to the face; it is a poke in the ribs to remind you it exists. From clean outro to thumping intro, "Zero" bends your perception again. Bass work is key here, driving the low register and elevating the high. Without that element, that firmly planted strength, the chorus of tingling bells that follows would seem flat. The end result would be a track derailed, never realizing the crushing blackened potential it boasts by the latter half.

Instead, it transitions from one to the other, and creates a stunning contrast with "Aura." You would be hard pressed to find something more soothing, more intricately constructed, and more simply beautiful than this. It is an interlude, of sorts, but one that maintains it's own identity. What it also creates is a freedom to go in any direction. A track like "Antenna" radiates outwards, starting from humble beginnings and growing into something larger than life. It is in tracks like this that the best work is done, flowing seamlessly from quiet to loud, soft to heavy, without so much as a hiccup. It is a formula that was used on "Sin4tr4," albeit in sparing ways. But it has grown into a different animal here, and songs like "Volume" only feed that beast. Instead of a trade-off, it becomes a fusion. Hidden between the layers of booming kicks and a rumbling bass line are delicate and whispered bells and cymbals. The two come together, but not in a way that leaves one with power over the other. They work together, accentuating the strengths of the other. The title track, however, focuses on the sublime. Because while "Vertebra" is a strong statement, it does so without the aid of an ounce of distortion. Instead, it utilizes chirping birds and clean guitars to accomplish it's goal.

In moments like this, the transition from previous to next, that you realize you are witnessing a double edged sword; the difference being this is the type of sword you've waited for. It cuts you from both ends, sharp or smooth. When a song like "Apnea," with electronic beats and heavenly chanted "ooo" and "ahhh" segments can cut to the heart of you with ease, it's time to admit you are witness to something unlike the daily grind. It catches you off guard, if only slightly, and makes you begin to question your own stability. But with you now rocked back on your heels, it would take only the slightest breeze to knock you over. And at that moment, "Deficit" kicks in. It marches in like the proverbial lion, cascading cymbals and snares over you. But as it progresses, it starts to change and evolve into the lamb. The way it gently fades out seems a far cry from the stomp it entered with. But, as with everything on the album, it wouldn't work any other way. For as one track ends, the next begins. And with the chorus of thunder and rain drops, "Cinema" earns it's name. You'll find your own imagery here; whether it be the view from your attic window into a rainy afternoon, or the path through a now orange-leafed wood. That personal attachment you find is what makes the track so unique, and yet so easily identifiable.

Words are just words. It's hard to use verbiage to truly communicate sound and emotion. When you sit down and listen to the music of Australasia, a lot of words will come to mind, and a lot of those will be variations of the same thing. Beautiful. Glowing. Stunning. Mesmerizing. But as much as those words make sense, they simply don't go far enough. This band is making music as an art form, as an expression of themselves. And their success, while relying completely on you to relate, is never in doubt. If you choose to spend your time trying to answer the only question that remains when the album ends, whether this is a rock album with metal influences, or a metal album with rock tendencies, you will waste a whole lot of time, and never come to an answer. And the fact of the matter is that it simply doesn't matter. Rock, metal, jazz, electronic, or any other musical genre you can name are probably present here, no one more important than any other. On "Sin4tr4," the ice cube had just begun to melt; on "Vertebra," it has melted, mixed, and given you every reason to think you found perfection.

9/10

Bandcamp - http://australasia.bandcamp.com/
Facebook - http://www.facebook.com/australasiamusic

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Lalu - Atomic Ark (2013)

In the long tradition of keyboard based metal, there has always been the need for a keyboardist that is both transcendent and creative beyond the norm. Without that visionary effort or talent, it is difficult to achieve top level results. Vivien Lalu is the kind of talent you search for; but he isn't a hired gun. His full band project, Lalu, is progressive at heart, but with so many tangential elements at play, that it becomes difficult to put your finger on exactly what they are. With marginally big names attached, both in regular and guest roles, Lalu has surrounded himself with top level talent, attempting to make an album that lives up to their 2005 debut, "Oniric Metal." But what he has done here is dig a talent pool so deep, so dense, that it would be difficult not to release a masterpiece of some kind. As a result, the sophomore slump is no worry, and "Atomic Ark" is a well conceived, well produced, and well executed taken on progressive metal that is as prolific as the name it bears. 

You'd have a hard time ignoring the early onset groove of "Greed," nor should you try to. Forming the backbone of the mix, guitarist Simone Mularoni may fill the rhythm role more often than the lead, but he does so in a way that is driving. The verse sections take a simplistic approach, while the tempo and intensity kicks up on the chorus, with vocalist Martin Lemar tasked with the none too easy job of completing the chain. His voice may not grab headlines, but he fits the bill here, providing an airy element to the mix. More pressing is the duel between Mularonia and Lalu himself, trading blows in a combination solo. That dynamic comes into play frequently, with tracks like "War On Animals" allowing the two to coexist in a way that makes them both stronger. The subtle intricacies that you'll find buried beneath the surface make the song that much better, whether they be the smoothness of the bass line, courtesy of the familiar Mike LePond, or the way Lemar bends his voice to fit into tight spaces. The shifts in spotlight are as numerous as the tracks themselves, and "Tatonka" sees Lalu splitting the main focus with drummer Virgil Donati. His bombastic style does wonders in the heavier segments, while his precision is key when the clean guitars take the lead. Lalu takes the refined approach, adding a layer of piano keys that dazzle as much as they shine..

The short but intensely sweet "Mirror Prison" is a ballad by definition, yet it extends beyond that word. Lemar's goes high and low, trembling along the way. The soft picking of clean guitars creates a mood that matches his tone magnificently, as a gently atmospheric keyboards glide you to the finish, and into "Deep Blue." They become parts of the same whole, almost as if one is the appetizer, and the other the main course. With the entree, you might not rise above a low simmer but thanks to the marvelous cohesion between all the pieces, it feels complete. Donati's input, in particular, does a tremendous amount of leg work here. More than how it sounds, though, is how it fits into the scope of the album; that is to say it is a fitting transition. Turning to the more avant garde side, "Bast" is an album highlight, thanks to the varied and ethnically tinged instrumentals. Mularoni hits the chugging passages with a delicate sense of timing, while Lemar soars over the top, only to come crashing back with a series of unexpected screams.  The track culminates with a winding, chaotic guitar, drum, bass assault. But where "Momento" begins couldn't be farther away, a beautiful melody that rises and falls throughout the track. Every element shines here, with the rhythm section taking a commanding performance to new levels entirely. LePond and Donati bunker down in the low end, and add punch to a mix that would be little without it.

That same system works for "Follow The Line," one of the larger sounding productions on the album. Lemar, still forming his own identity, is at his level best here. But in addition to strong performances from al the key players, you have a jazz funk thread that runs throughout, eliciting a head nod or ten along the way. Harnessing a lot of the left over raw energy, "Slaughtered" is a track as unique as the band itself. Between the carnival atmosphere of the bridge, and the intoxicating layered vocals that follow, you have a lot to digest, in the best possible way. It leaves, of course, only the closing track to finish the job. When that finale is nearly twenty minutes, it becomes an album in and of itself. It takes on a life of it's own, with a handful of different movements contained with its walls. It hits on all levels, with few flaws for a track that boasts this length. Lemar, however, has a mixed effort here, his grunts sometimes feeling forced, especially combined with a lyrical performance that doesn't stand up to the rest. But as he regains form, so, too, does the track at large. Lalu orchestrates a brilliant mix here, finding that delicate balance between all of the pieces at play.

There are numerous takeaways from this album that deserve mention, and not nearly enough space to mention them all. But what Vivien Lalu has accomplished here is nothing short of a rousing success, keeping the sound all his own, while still absorbing the input and talents of musicians in the upper echelon of their craft. There are no true pitfalls to be found; the tracks are, for the most part, short and deliberate, leaving no room to a listener to get bored or reach for the skip function on their player of choice. But what remains most impressive on the first listen as it is on the twentieth is the ability to flip the switch, and go from blaring and dynamic to soft and brooding. It's as if they know exactly when to exercise restraint, and when to let loose with the bursts of creative energy. Much of that skill traces back to Lalu, and his ability to blend and manage his worthy constituents; but they deserve the shared credit, and they've also bent their normal output to fit into that larger mold. That give and take is exactly what you need to release an album as strong and unique as "Atomic Ark."

8.5/10

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

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