Junius - Days Of The Fallen Sun (EP) (2014)

Bands come and go. Then they come again, and leave again. It is, sometimes, a neverending cycle of recognition and fading into obscurity. When Junius released "Reports from the Threshold of Death" in 2011, they were suddenly thrust into the consciousness of a large group of people for whom this was a new experience. A tour with Alcest followed, exposing crowds to an emotionally strong set, night after night. And then, just as quickly, they drifted off the radar for many fans and listeners; not all, but many. Three years later, the gentle beast has awoken, throwing open the doors to the studio and sharing with the world an EP that, while short on time, is not short on quality, care, and dedication. Because where Junius separates themselves from even some of the most well known and well respected bands is in their creative flow. There is no room for filler anywhere on their releases, going as far back as their debut album. And with "Days Of The Fallen Sun," they give your four pieces of heavy music, four carefully arranged shorts, and one looming piece of rock mastery.

Call them what you will; whether tracks like (meditations) are intros, interludes, set up tracks, or whatever, they can't be mindless, and they can't be throwaways. This one is short and minimal in impact initially, but it's when The Time of Perfect Virtue starts that it all makes sense. Unlike that latest album we spoke of so highly, there is a true clarity in production here. By no means are the hazy aspects gone, but they are under control, with the distinct cry of vocalist Joseph E. Martinez connecting all of the dots. It's soothing, yet at the same time stirring. By the four minute mark, this is a band at their peak, drums booming, riffs rocking through and all in a perfect sync. With (shamantic rituals) bridging the gap between worlds, it is once again an addition rather than an interlude at odds with what they're doing. The proof is in the proverbial pudding, as the flow from track to track is without issue. Even A Day Dark With Night, a poetic opus that marches well beyond the seven minute mark, is given ample time to bleed beyond its borders. Whether you identify Junius' strength as being the soft, brooding moments or the heavy handed jams, you will find something to hang your hat on here. There is a give and take between Martinez's vocals, and his addition of synthesizers to the mix, both of which seem to mirror one another in their arching, bending delivery.

It would be easy to characterize (the purge) as a calm before the storm sort of moment, but that would be far too dismissive. Because while Battle In The Sky is the shortest full track on the album, it delivers on many levels. It rolls through your speakers with an ease and grace usually not attached to a track that also boasts a gritty vocal line. It can be two things at once; it can be both the heaviest track on the EP and the most sonically deep. Drummer Dana Filloon is used to filling smaller venues with his chorus of snares and kicks, but on this record, he could just as easily flood a stadium, catching us all up in the tide. His percussive assertions do more than keep time or accent the leads; they are a lead in and of themselves. When the final bridge track comes and goes, as (nothingness) does so quickly, it isn't hard to look back and appreciate their contribution to the disc at large. But by the time you've come to that conclusion, Forgiving The Cleansing Meteor has already infected your brain. Aside from boasting a vocal hook that is easily repeated, and chanted for that matter, it sees Junius at their unpolished best. While bassist Joel Munguia plucks his way to glory, guitarist Michael Repasch-Nieves creates a stunning atmospheric quality that lifts the entire track to a different plane.

Not every band can make things work the way Junius has over their career. Anyone who has had the pleasure of seeing them perform live, warming a cold venue in the inter, will attest to the amount of raw energy and emotion that pours from the stage. But to capture that and put it in the hands of the listener, album after album, is something indescribably unique, and infinitely more rare. After each addition to their catalog, it became harder to believe they could keep this alive. They would have to burn out, dim, or just hit a wall. But if this EP is any indication, the opposite must be true. They are burning brighter than ever, all four members giving a performance that is worthy of more than your money. They flirt with perfection at every turn, and though it may be wholly unattainable, they are far closer than most bands will ever tread. It's the music, yes. But it is also the thought process from which the music, the lyrics, and layout arise that makes "Days Of The Fallen Sun" special. And when the album makes its rounds, from fan to fan, and new listener to new listener, we might all agree on that.

9.5/10

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

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Maelstrom - 3725 (2013)

With each release, Italy's Maelstrom have carved out a larger place in our consciousness. Ferdinando Valsecchi, much like his peers in the other one man bands that we have covered, isn't just another artist in a studio, playing music to get noticed, get rich, or grace the cover of a magazine. He believes in what he plays, and he believes in the work he has put out. If anything, he is harder n himself that his critics, who are few and far between. But still, he pushes on, working harder, smarter, and longer to continue writing and recording his unique take on melodic post rock and post metal. We all know that, in 2014, being an independent musician, or even a major label backed one, isn't as lucrative as it once was, leaving many to do their musical work as a side job to the one that pays the bills. And just the same Valsecchi has managed to find the time and funds necessary to release his third disc, titled "3725." With a lyrical hand from Matteo Simonelli, he gives your heart license to float away like the balloon that graces the cover, all the while keeping you from going too high, too fast.

While it remains hard to judge anything on the strength of a cover track, Valsecchi takes to "Space Oddity" like a duck to water, executing all of the signature moments that Bowie had written in a delicate and appropriate manner, even tackling the vocals better than most, besides the great William Shatner. His strength, though, lies in his musicianship, something he shows early and often on Hymn to Life, Ode to Death, a winding display of clean guitar riffs, crisp programming on drums, and a set of strings that floats above the rest. His ability to not only carve out layers, but to subsequently reassemble them is dumbfounding. The vocals, isolated to the heavier moments on the track, come spoken over waves of guitars. This doesn't lessen their impact, though, if anything making them resonate much further. You can apply that same principle to Paradise Lost, though there is a clear star to be found there. The string and piano work is well beyond expectation, a beautiful addition to an already mood setting offering. With each reset of the timer, each track can go in any multitude of directions, relying entirely on Valsecchi to steer the course.

The Choice may begin as a light hearted piece, but the reliance on distortion int he leads adds a stark contrast between parts of the whole. You aren't going to find a blistering solo or dense chugging action, but there is a power to his playing that shines through in every chord. The lyrics, written by Simonelli, can move you without a word of Italian in your repertoire. Even a simple, and often ineffective Google translation gives you a taste into the mind of both men, As High As The Kite Can Fly speaking of the fears that cloud our lives, even when all is brightest. Even the seemingly easy to read Memory's Drops goes deeper than the surface would indicate, including some of the most delicate and detailed instrumental work on the album around the midway point. It is tracks like this that Valescchi can let things grow around him, rather than being held to a rigid structure or plan. It is also a tale of two vocal deliveries, with his spoken word and clean singing combining to handle the bulk of the load here. While the former is more successful as a whole, there is a merit tot he clean melodies that he delivers. And while Long Lasting Friends fades, you are left hanging on one sentence amidst a sea of drums, guitars, synths, and horns; "Laughing has never been easier."

It has been a rare pleasure to be allowed in on the ground floor of a career, and see an artist grow with each and every release. Maelstrom is a project that, in name, has begun to represent so much of the dedication and struggle that goes into making a one man band truly work. With each piece at his fingertips, "3725" is yet another piece of him on display. In the way the tracks rise and fall, Valsecchi reminds us of what we often forget; music is an art form, and this is all an expression of the artist. We can criticize, lambast, or spill a series of words to describe our opinion of what any artist does, but the relationship they have with the music is what will matter decades down the line. And whether you take the music, the lyrics that he has been given, the artwork, or even the most basic breakdown of the processes that go into making a release of this caliber work, you can see that this is a man who is one with his music and his message. And when the musicians you listen to care as much about their art as their fans do, you have something you won't soon forget.


9/10

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

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Of Solitude And Solemn - Starlight's Guide (EP) (2014)

New year, but some things stay the same. The familiar pink hue of "Starlight's Guide" is a reminder of what the last year has brought to the forefront. UK multi-instrumentalist Joe Hawker surprised many listeners along the way with his combination of post rock, doom metal, and sparkling symphonic elements, including an office full of egotistical, elitist metalheads. His musical skill is matched only by his conceptual acumen, his artwork becoming as easily recognizable as his sound, something that may be an under appreciated talent. So as his new three song EP rushes through the tubes of the internet, pink tinted cover and all, you can be sure you'll have something familiar but new, something edgy but solid. Hawker wouldn't want it any other way. Originally conceived as part of a split with Courtsleet, you have the chance to hear it on it's own two feet. The follow up to 2013's brilliantly conceived self titled debut, "Starlight's Guide" is every bit as breathtaking as it's predecessor, but with a notable layer of fresh air to bring it all together.

If "Illuminance" has any one flaw, and it could be only one, it is the layering in the mix, making much of the instrumentation sound distant. As the track builds to a peak, however, Hawker finds his home right in the meaty part of the spectrum, bringing together the melodic guitar tones he so thoughtfully crafts with a pounding drum kit and angst ridden screams. He succeeds here where others have failed, using his deep talent pool to hide the lack of true professional production. The triumphant yet dark nature of the melody that surrounds the six minute mark is rock solid and stands out from the track on the whole. There is no shortage of creativity here, as Hawker uses a bevy of synthesizers to bring life and energy to his main theme. It is never a choice between styles, but a fusion of all things, as you get on "Guiding Light." His focus is on flowing the pieces together, instead of making oddly shaped passages collide. As the track moves from light to dark, soft to heavy, there is no break between; they become one. His screams are not the star, but a supporting player in the grand scope. Much like it's predecessor, the signature moment here is one of wonder and crushing blows, centered around the seven minute point. And although it stands at half the length of it's two album mates, "Memories In The Mist" is as compelling and enthralling as anything you could want, solidifying itself as, arguably, the finest moment in Hawker's growing career.

It seems odd to say that we were, a short six months ago, having the very same feelings about another release from Hawker. He has a way of stirring up familiar emotions without seeming over done or contrived. For that reason, "Starlight's Guide" is sure to please anyone who has ever enjoyed anything the man has done to date. This is exactly what we all know him to be capable of; deep, rich symphonic melodies backing a plodding, deliberate set of riffs and beats. But while he has carried over everything you know and love from the Of Solitude And Solemn name, the one concern from his earlier release has also carried over. The production values have not improved, which could be expected in such a short time since his debut. It's both good and bad, as has been noted before, because he achieves so much with so little financial backing and pressure. But that must be an engineer or studio nearby that is ready to take this sound to the next level of crispness and clarity. Instead of waiting for the next batch of 200 free downloads on his Bandcamp page, maybe it's time we click the "Buy Now" button and get a few dollars, American or otherwise, flowing his way. Joe Hawker is so close. "Starlight's Guide" is the proof.

8.5/10

Bandcamp - http://ofsolitudeandsolemn.bandcamp.com/
Facebook - http://www.facebook.com/pages/Of-Solitude-and-Solemn/129188580594839

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Russian Circles - Memorial (2013)

You might never see them on a late night talk show, or even hear their name mentioned on any radio or TV broadcast, but that doesn't make Russian Circles any less of a musical revelation. Their work in the post rock and post metal genres has allowed it to take shape over the years, expanding to new reaches with every album. In 2011, they released an album that would have seemed to push the boundaries as far as they could possibly go without fracturing or breaking; they had found clarity in all aspects of the process. They were, in fact, one of the first modern metal acts that proved vocals were a luxury, not a necessity. But when you find that niche, that home amongst your peers and competitors, you never stop moving forward. And some two years later, they've gone even further into the unknown corners of their craft, bringing the art of the music back in earnest. Ad inside their artwork, another eight tracks of expansive, ethereal metal known as "Memorial," you will be reminded of why you loved music in the first place.

While not unheard of in Russian Circles albums past, "Memoriam" takes delicate to new places, softly plucked guitar strings cascading through your speakers with ease and care. But it would be foolish to assume this was a new direction, and the first kick drum in "Deficit" puts your mind at an immediate ease. The drumming here is intensely accurate and abundant in scope. Even with the guitars providing the main melody, it is the drums that are the driving force, be it through a series of toms and snares, or a simple snare build. It also is a constant reminder that small doses of unbridled heaviness can do wonders for the depth of the mix, surprising you by throwing a bit of caution to the wind and mercilessly hammering down from above with a set of monster riffs. But the greatest success in a track like this is always finding your way back to the main street, in this case that almost eerie calm before the storm. It has worked so often in a growing career arc, whether that return comes in the beginning, middle, or end.

In "1777," it is the building from the first note that sets it apart. The intensity is always there, but it comes in and out like the tides; one minute it is a smooth flow, the next it crashes down like waves on the rocks. The melodies are infectious in their simplicity, and memorable in their depth of sound. The outro, as it winds down, is a fitting end. Unlike many other bands in the genre, Russian Circles have always shown a knack for crafting a visual style of music. In "Cheyenne," they make a track that clocks in well over four minutes, and turn it into a crying guitar line that feels like mere moments. Again, it isn't insanely complicated or contrived, but it speaks volumes. It moves you, and moves with you, up through the final fading strings. And yet, a single breath later, and you are knee deep in a song that could certainly be described as having a touch of evil in the mix. It may not be the next Satanic anthem, but there is surely more than a sprinkle of darkness in "Burial," captured so carefully in it's howling guitar leads.

But with another tectonic shift close at hand, you find yourself riding a wave of sheer terror to it's completion, landing you squarely on the soft, coddling "Ethel." It boasts a beautiful post rock atmosphere,a  melodic soundscape that builds you up so easily, without even a hint of letting you fall. It lays down the tablecloth and silverware for the final movement, a pair of tracks that couldn't be more different or more the same. "Lebaron" comes first, it's periods of chugging and distorted guitars feel so precise, yet so reckless over the drums. It is, of course, the logical progression of an album with so many logical progressions. But it, in the scale and flow of the album, may be a throwaway, due in large part to what came before, and what comes after. Because while "Ethel" set the table, it is the title track that clears it, without so much as a meal in sight. This collaboration with Chelsea Wolfe, this breathy, airy work that no one outside of the band's inner circle could have seen coming, is as charismatic a tune as you could find, without ever rising above a simmer.

We've delved deep into the world of reconciling musical expectation with musical reality before, to varying results. And the main thing that we, as fans digesting media, forget, is that these albums, this music we hear, is art. Sure, bands would love to sell a few millions albums at a time, and live comfortably as a full time collective of musicians. But the landscape of the music industry has changed so drastically, that that isn't a viable option for rock and metal. This is the genre where, with exceptions, of course, the men and women within our favorite bands can make music to be proud of, to express themselves. Russian Circles have always been high on the short list of groups that need little to no vocal component to say what they choose; their work has done so much for the post-music sub sects of metal. But never before has their voice been so united, so clear, and so well represented as it is on "Memorial." They gently push and pull you along, leading and showing you the way to a different sort of end. And with that collected voice, they say more than ever.

10/10

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

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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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