Astral Domine - Arcanum Gloriae (2014)

It was a few short months ago that an album teaser made the rounds, floating here and there, and everywhere on the world wide web. Astral Domine, the band behind the music, was a name unfamiliar to not only our group of worthy constituents, but to many of the worlds most discerning power metal fans. WWhat the trailer contained, though would peak the interest of you and I, and everyone in between. Formed in 2011 by guitarist Luca Gagnoni, hoping to spread a peaceful message through his music, Astral Domine is a handpicked powerhouse that has something special to behold: trust. With the addition of each member, Gagnoni put his trust in their abilities, and their strength to help him complete his vision. With a mix of power and symphonic model unlike the stale, moldy efforts that have flooded record stores over the last few years (minus a few shining stars, of course), this Italian dynamo aren't here for a one off; "Arcanum Gloriae" is the first in what we hope is a long line of inspired albums. With artwork inspired by the critically acclaimed series "Game Of Thrones," Gagnoni and company embody everything there is to like about metal, without the dirt and dust of decades of recycling.

Rarely will you find an opening track as moving as "Arcanum Gloriae," in both story and delivery. The sweet female vocal tones are awe inspiring, with their male counterparts equally as impressive. It sets the scene as if it is the next in a fantasy blockbuster series, not far from Tolkien's grasp. The true beauty of this intro, however, isn't felt until "Holy Knights" begins. As a clean guitar melody welcomes the full array of instruments, the scope of what the band is trying to accomplish comes into full view; it extends beyond fantasy metal, and beyond power metal. The tremble in vocalist Marco Scorletti's voice makes for an added dose of emotion, all the while captivating in his delivery. But the key becomes not only how expressive he is, but how expressive the guitar leads are flanking him. Gagnoni elicits a powerful response through his playing, both powerful and peaceful at once. With influences ranging from traditional heavy metal to baroque, it stands to reason that the music itself would become a funhouse mirror for all things, bending their images into something similar, but all together unique. It's "King Of North" that does this most efficiently, bringing historical time periods together seamlessly. It is equally empowering and operatic, with sweeping solos to round out the mix, not only from Gagnoni, but his counterpart on keyboards, Yeshan Gunawardana. The choir of voices that joins in the final minute turns an outstanding track into a phenomenal one.

When the upbeat, galloping tempo is removed, as it is on much of  "Moonlight," the band still finds a comfort level of impressive levels. Driving riffs are replaced with smooth bass lines and the tickling of keys. Scorletti's voice takes on a low, rich timbre, fitting of the overall tone of the track. What stands out is the ability to embody a romantic track, without giving away some of the technical skill in favor of it. What Astral Domine does exceeding well, through their sound and substance, is tell a story without letting the story dominate all. Any imbalance would make "Tales Of The Elves And Pain" feel skewed or stilted. But instead, it rings clearly, minus a few oddly timed spoken passages. Gagnoni exerts a great deal of control over the room here, even in his restraint. It is the ability to rise and fall with the mood that allows the music to grow and evolve over the course of an album, and makes the follow up track, "Where Heroes Die," all the more impactful. Power metal stalwart Fabio Leone lends his voice to the nearly ten minute epic, an exercise in the pure and unadulterated craft of symphonic power metal. It is nearly flawless in design, and absolutely unassailable in depth. To say the guitar and symphony are breathtaking in their partnership would be a gross understatement.

Though Gunawardana has been heard throughout the album, "I Am The King" sees his skills taken to new heights, fluttering keyboards movements bolstering an already dense wave of strings and distortion. Add to that a sea of voices that poke through the mix in a full bodied choir, and once again, they ahve shattered the mold to provide something exhilarating. Just as easily, they slip into another downtempo, somber movement, with "My Lord." Despite not being an aggressive, attacking song, it has the ability to carve out a niche both on the album and in your listening tendencies. Its self awareness is key, allowing a light piano and whisper to conclude a moving piece. Its counterpart, however, couldn't be farther away on the album's arch. A show of power and grit emerges, a raspy, growled voice delivering commands to newly acquired slaves. It is a curveball in an album that has been predominantly peaceful in scope, but a welcomed one. It is a curve, not a 180 degree flip, and the added dose of speed and energy brings out even more to like in this lineup. And at only four minutes in length, it is a sprint, rather than a marathon. The finale, which contains the second vocal feature on the album, is triumph in song. With a contribution from Giuseppe Cialone of the lesser known Rosae Crucis, this is yet another symphonic masterpiece in an album full of them. If you can make it through the track in full without once swaying or nodding, you are too far gone.

We've made no secret of the dull, murky coat that has befallen symphonic metal; perhaps we overreact to certain acts, or have just outgrown most of them. But when a band comes along that can reignite that fire, even the most cynical of fans must take note. Astral Domine have done more than just provide kindling for a new flame; they have brought the wood, the fuel, and the flame, all in one album. It's symphonic metal like you've heard it before, but done in such a clean, crisp way that it sounds entirely new. Luca Gagnoni has done an incredible job assembling his group and building this project into everything he was hoping for. For all of the high points, "Arcanum Gloriae" sees its most impressive victory come in the total package. For as good as each track is individually - and they are all incredibly good - the way everything flows together, playing one track off of the next, is remarkable. For an album that seems daunting in terms of length, it is over in the blink of an eye. The next album might be the jewel in the crown of symphonic metal.

9.5/10

Official Site - http://www.astraldomine.altervista.org/
Facebook - https://www.facebook.com/astraldomine

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Feridea - Reborn In Time (EP) (2014)

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

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

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

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

6/10

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

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Rhapsody of Fire - Dark Wings of Steel (2013)

When Luca Turilli split from Rhapsody of Fire, it upset many fans. I say “split” because that’s exactly what he did; he basically split the band into two components. Luca Turilli’s Rhapsody supposedly runs parallel with the other Rhapsody of Fire albums. “Ascending to Infinity” was an excellent album and set high standards for the next actual Rhapsody of Fire album. I know many fans will argue that the band won’t be the same without Luca Turilli’s guitar work and song writing, so I’m here to tell you that you’re all wrong. Rhapsody of Fire is without a doubt still standing strong and they are still epic as ever. Roberto De Micheli is a fantastic guitarist and a great addition to the band. With “Dark Wings of Steel” they not only change up their sound a little bit, they also breathe new life into their music. This album is a little heavier and more focused on keyboards, but it’s still Rhapsody of Fire and it’s still fantastic. The past few albums have been so-so, but “Dark Wings of Steel” completely changes that.

“Vis Divina” and “Rising from Tragic Flames” open the album up and show the new direction the band is taking. The guitar work is more about crunchy riffs than neo-classical passages. The solo is a perfect way to show off Roberto De Micheli’s guitar skills. “Angel of Light” is one of the best Rhapsody of Fire songs in recent memory. The opening keyboard and guitar riff are great and Fabio Leone shows the world that he is still the premiere power metal vocalists by delivering buttery smooth lines. The chorus is truly out of this world. The choir and soaring melody is absolutely perfect. “Tears of Pain” opens with yet another great riff before transcending into something heavier and more head banging than anything they’ve ever done before. “Fly to Crystal Skies” has one hell of an atmosphere created by the keyboard. Alex Staropoli has outdone himself in terms of overall mood. Everything about this track is great, including the dream inducing bridge. “My Sacrifice” slows things down a bit and it’s also the longest track on the album. Some of the best guitar solos on “Dark Wings of Steel” are found in this song. “Silver Lake of Tears” is my personal favorite on the album solely because it has one of the best choruses the band has ever written. There is so much emotion and energy running through this track that it’s hard to ignore. “Custode di Pace” slows the album down and really isn’t that interesting. It does have a soaring chorus and a mind-blowing performance from Fabio Leone; however it lacks a little something. “A Tale of Magic” brings the speed back up and delivers another perfectly tailored song. It has one of the catchiest riffs in the Rhapsody of Fire catalog. “Dark Wings of Steel” is another personal favorite of mine. The whole thing just sounds epic and full of life. “Sad Mystic Moon” is the album closer and it couldn’t have ended better. Everything from the album comes together to make one hell of a farewell track.

So there you have it, Rhapsody of Fire is back in full force and it doesn’t look like they’re slowing down anytime soon. Sure the album might have a more stripped down sound, but it’s still them and it’s still amazing power metal. What they have crafted isn’t just the best and most cohesive Rhapsody of Fire album to come out in years; it’s also a new beginning. Roberto De Micheli is one hell of a guitar player and this album proves that he is a master of the art. “Dark Wings of Steel” is an absolute triumph and it proves that Rhapsody of Fire is still the leader of power metal. Do not pass up on listening to this work of art.

9.5/10

Website - http://www.rhapsodyoffire.com/
Facebook - https://www.facebook.com/rhapsodyoffire

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Iron Mask - Fifth Son of Winterdoom (2013)

If someone listens to power metal in any from and they don’t know who Dushan Petrossi is, they’re doing something wrong. He is one of the premier guitarists/songwriters out right now and his bands Iron Mask and Magic Kingdom are immaculate. He writes some of the most bad ass riffs this side of the galaxy. As a huge fan of both bands, I was extremely excited to find out that another Iron Mask album was being released. “Revenge is My Name” was great but the last three albums “Hordes of the Brave,” “Shadow of the Red Baron” and “Black as Death” were incredible. Even though there was a bunch of different musicians and vocalists across the albums, they all felt like they belonged together. After finally getting my hands on “Fifth Son of Winterdoom,” I must say it’s a slap in the face and the biggest letdown this year.

One thing that this album has trouble with is being interesting, it feels half-hearted and uninspired. “Back into Mystery” and “Like a Lion in a Cage” are just plain boring and very repetitive. Dushan Petrossi’s guitar work doesn’t even pop out like it used to. “Only One Commandment” has a pretty nice riff with a good solo, it’s too bad the rest of the song is generic. “Seven Samurai” is extremely corny and not in a good way. “Fifth Son of Winterdoom” is a unique track because not only is it their longest song to date but because it tries really hard to be an all-out epic. It succeeds for the most part, but the chorus is god awful. Everything on the track besides the train wreck chorus is great. “Angel Eyes, Demon Soul” is one of the worst power metal songs in years. It feels like a Poison B-side that they locked away in the studio vault hoping that it would never come out. “Rock Religion” and “Father Farewell” are more kinks in the armor with “Father Farewell” being dreadfully slow and boring. “Eagle of Fire” sounds like Iron Mask of old. It has blazing guitars (the solo is just awesome) and it’s catchy as hell. Why couldn’t the whole album be like this? “Reconquista 1492” has a great classical guitar intro, but then it goes right back to the boring sound that plagues the rest of the album. “Run to Me” is another great track on the album that sounds like it belongs on one of their older albums. “The Picture of Dorian Grey” closes the album and it’s a decent effort but it falls a little flat, although the solo at the end is mind-blowing.

It’s so hard to enjoy or even recommend “Fifth Son of Winterdoom.” They completely stripped away whatever made Iron Mask great. The neo-classical guitar work is damn near gone and the epic choruses are nowhere to be found. It sounds like they are trying to bring back hair metal and it just doesn’t fit them. I think it’s great when a band tries different things on each album; however you have to know how to do it. “Black as Death” changed their sound a little, but it still had great songs and it still sounded like them. “Fifth Son of Winterdoom” is a huge disappointment and it should be skipped. Dushan Petrossi is still a great guitarist and let’s hope the next album he makes, whether with Iron Mask or Magic Kingdom, is a step forward instead of two steps back like this album.

5/10

Website - http://www.iron-mask.com/home.htm
Facebook - https://www.facebook.com/pages/Iron-Mask/86435954824

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Sorronia - Words Of Silence (2013)

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

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

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

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

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

8/10

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

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Ayreon - The Theory of Everything (2013)

With Ayreon,  Arjen Anthony Lucassen has created some of the most impressive progressive metal albums of all time. “Actual Fantasy”, “The Universal Migrator” and “01011001” are my personal favorites. I always felt that some of the albums such as “Into the Electric Castle” and “The Human Equation” overstayed their welcome. They just weren’t that interesting. Or it could be the fact that the space themed albums are what Ayreon succeeds at. Since 1995, Ayreon has been one of those bands that tries different things and doesn’t always succeed. Wait a minute, hold it. For those who don’t know, Ayreon is masterminded by Arjen Anthony Lucassen. Every album has different members and different storylines. Ayreon is the central character (not for a while though). I’m going to keep referring to Ayreon has a band in this review, not just one person. Anyway, Ayreon experiments a lot and most of the time succeeds at creating incredible landscapes of music. When I first heard the news of a new album in the works, I didn’t know what to think. Would it go back to the “Actual Fantasy” sound or would it sound like “Into the Electric Castle” again? Well I was way off. It does go back to the more organic sound found on “The Human Equation,” but it completely obliterated my expectations for an Ayreon album. Welcome to “The Theory of Everything.” Welcome to the future of progressive metal.

“The Theory of Everything” is divided into four movements. "Phase I: Singularity,” "Phase II: Symmetry,” "Phase III: Entanglement,” and "Phase IV: Unification.” Each part runs about twenty minutes and they each have smaller parts that could make up individual tracks. I like the fact that the songs are long but you can also skip to your favorite part of the song. Although it’s not recommended to skip through each phase, it’s just a nice addition. At first listen to this phase, it’s evident that pure love and care went into this album. There isn’t one misstep or low point on the entire album. The recurring songs “The Theory of Everything” are all mind-blowing. Through the album the one basic track keeps evolving until it ends with “The Theory of Everything part 3” which is one of my personal favorites on the album. That’s what this entire album does perfectly, evolution. The album starts and ends the same, so it gives it a full circle feel, with the middle of it transcending music. This isn’t just musicians getting together and making something off the top of their heads, this is pure musical genius that comes from deep within the soul. Tracks like “Potential” and “Dark Energy” are cleansing for the body and mind. I’ve never felt emotions like this through music. The album also has heavier tracks like “The Teacher’s Discovery” and arguably the best rack on the album, “The Lighthouse.” The variation of this album is outstanding. No song sounds the same but the flow is immaculate. Not one song is out of place and not one vocal is in the wrong spot. “The Theory of Everything” is Arjen Anthony Lucassen life’s work rolled into one album. Nobody does it like him and I don’t think they ever will.

As I’ve said before, Ayreon’s albums have been very uneven. “Into the Electric Castle” still doesn’t do anything for me. However, I’ve always been a fan, but now I’m a huge fan. I could go on and on about how groundbreaking this album really is, but I thought I would stop myself before I sound like an ass, unless that already happened. But I really don’t care and I’m not going to avoid the obvious. “The Theory of Everything” is without a doubt the future of all progressive metal and should act as a blueprint. Again, there is not one part out of place and not one track is boring. Different genres and sounds all combine to make something extraordinary. This is more than an album. It’s emotions, love and passion made into sound waves. “The Theory of Everything” is as close to perfection as you can get. It’s a master-class album that will be remembered for years to come and it’ll make bands wish they were this good.

10/10

Facebook - https://www.facebook.com/ArjenLucassenOfficial

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Amma - Angel Of Love (EP) (2013)

The combination of angel references and power metal has been around since the dawn of time. While, ok, maybe not that long. But it seems to be a match made in heaven, with absolutely no pun intended. But despite the obvious shared space, it isn't always a bond that forms on it's own. Amma may have found that out the hard way. Their new EP, "Angel Of Love" has all of the right lineage and imagery. But what it has in style, it lacks in substance, sound, and structure. While the visual element has become an important part of music, it can only carry you so far without true inspiration to back it up. A debut album, for better or worse, has flaws that we must accept. But here, those flaws are too glaring to ignore. Rather than focus on the music at hand, something looks to have gone terribly wrong from the onset of this EP, something they simply could not recover. From production, to recording, to lyrical and musical content, "Angel Of Love" is one miscue after another, leaving it anything but divine.

The immediate contrast that is formed between the intro track, "Reflection," and the first real offering, the title track "Angel Of Love" is hard to swallow. The former, a grand symphonic instrumental; the latter, a flat power ballad. It isn't clear what happened to the production levels between one and the other, but there is little one can do to isolate any of the individual elements here. The layers are too compressed, too tightly packed to find space between them. In the verse and chorus, the vocals dominate; when they fade, guitars and drums fight for air time. At over six minutes, it is a tough sell for any discerning power metal fan. And while "Magical Fantasy" sees a slight improvement in volume and balance, it does little back up the title. There is a lack of energy here, at least as far as it is presented in the digital sense. Perhaps the one saving grace is the late solo piece, which gives reason to continue. Unfortunately, that decision isn't rewarded, only greeted with a mediocre finale that adopts the muffled sound of a pillow over your speaker. "Time" has lofty aspirations, layering in a choir of vocals in the chorus. But For every good idea, there is poor execution, rendering their efforts hollow. Concluding with an "Epic Version" of the title track, the same basic structure, with guitars and drums replaced with symphonics and piano keys, it feels as though you've gone around in a circle, shaped more like an egg.

There is little more one can say about an offering that has so little impact. Whether it be thanks to a poor recording job, or maybe a less than stellar set of songs, there is little about "Angel Of Love" that will resonate with anyone once the music has stopped. That is to say, it isn't good enough, or bad enough for that matter, to stick in your mind for any amount of time. And while it may not justify dismissing the band as a whole, they certainly won't find themselves on any year end lists this time around. There are many improvements that can, and must, be made if this band hopes to survive long enough to make another album. It begins with pre-production, where all of the planning and allocation takes place. And maybe, just maybe, with a stronger focus on the knobs, levers, screws, and cables, there will be something more rich, with more depth, the next time around. Otherwise, Amma might be doomed to a fate that even the angel of love won't be able to rescue them from.

5/10

Official Site - http://www.am-ma.com.ar/
Facebook - https://www.facebook.com/ammaangeloflove

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