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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Idensity - Chronicles (2013)

With the turn of the new year, and a return to writing regularly and confidently, I must admit that ime got away from us for a while. Albums flooded our inbox, and most of them sat, unheard, for far too long. Idensity, a French six piece, became a casualty of a schedule packed far too full, and time running far too short. Their album, in hindsight, would have made for a shining addition to a top ten list, or even a past podcast. But alas, as wise men once said, you either do or don't, but you can't catch up. So, months after intended, it was time to immerse ourselves in what was a violin driven death metal album, or so we thought. Instead, this sextet is doing something else, and might even be doing themselves a disservice with their own description and reasoning. For on the eleven tracks that they have titled "Chronicles," you have something as beautifully balanced and mind numbingly heavy as a piece by Wagner. All with the flare and delivery of the genres best. Whether it is just one listen or fifty, you might not be able to get enough of this pairing.

It is the title track that opens the album, and it is the title track that cements what this album is all about. The strong orchestral backing isn't a one off, or a feature; instead, it is the splash of color an album of this type craves. While vocalist Christophe Ferreira growls and screams has way through the verse, a bevy of horns and strings rings out behind him. They are not alone, of course, as a full range of guitars, drums, and bass form the most prominent piece of the puzzle. But it is the final stages of this track that ring most true, when all of those elements solidify into one. They have found the fabled place that resides between death and folk metal, and "Over The Abyss" illustrates it with vibrancy and depth. A wall of chugging guitars looms large, but with a much neater presentation than many other bands of the same ilk. Heavy passages, dominated by distortion, are quickly offset by violins or fast fret work. All of the intricacies of the track add to its appeal, broadening the audience by the note. Clean vocals may not be the greatest strength of the band, but Ferreira makes them worth using. Though, compared to the hauntingly delivered female vocal that comes and goes, particularly in "Sekhmet," his voice can't compare. The track explodes at every turn, winding violin work tying knots around what is already devastatingly heavy riffs. This would be the clincher, if there was any doubt about your feelings thus far.

If clarity is needed, songs like "Mofa" reinforce that this isn't a death metal album with a violin attached; Mayline Gautié is a star all her own, adding so much depth of sound to each and every movement. She stands on the same sonic plane as guitarists Antoine Leboisselier and Lionel Nardari, a difficult and risky gamble, but one that pays off early and often. Even with no vocal component, it seems to tell a story through its flow. It is important to note that despite the strong death and string presence, this album isn't one dimensional, or even two. It evolves and progresses as time passes, with songs like "The Seven Seals" wandering off the main line in favor of more indulgent riffing. Yet, somehow, when the clock rolls over and "Antikhristos" comes into frame, it doesn't seem strange of stilted. Balance may not seem all that important when it comes to anything death inspired, but once you've found it, it is impossible to let it go. And once again, Idensity are in rarified air here, walking the tightrope between heavenly strings and beautifully crushing guitar strokes. And while he may be resting comfortably behind so many of the layers, drummer Jean Philippe Ouameris never short a blasting snare or set of double kicks to hammer each segment home. He is the constant between the two sides of the band, tying beauty to grim reality. His cymbal crashes alone make "Typhoon" the melodically charged, distortion fueled masterpiece it is.

As varied as the album can be, even following their trajectory here wouldn't lead you to what "Maddhi's Arrival" does to you. Sublime orchestration and instrumentation, drums that fire through your speakers like crisp, individual gun shots, and an ethnically tinged theme make this stand out in the best possible way, without interrupting the flow that the other tracks have worked so hard to strengthen. Thanks to the dedication to songwriting, the album does not limp into the final trio of songs, but comes sprinting toward the finish. "Annunaki" may not boast the strongest vocal lines, as Ferreira relies heavily on his clean vocals to carry the weight here, when his rich growls might have been better suited to take the majority of time. That choice aside, it is more of the same here, heavy riffs, strings aplenty, and a focus on how they all come together. Trading in the brutal in favor of the majestic and atmospheric, "Mantra" is the only track that seems almost out of place. Not in structure or sound, however, but in concept. It gives away some of that balance, leaning on clan vocals and background melodies to fill out the five minute plus runtime, but it doesn't seem to have the pop it needs. Luckily, "Loki" has more than enough to go around. Diabolically coarse, and yet somehow artistically refined, it hits the notes you would expect the closer to hit, while still furthering the high arching scope of the album.

The scoring debate often boils down to a handful of criteria, but there are two questions that can trump the others; is the album great on the first listen? Will the album still be great on the 100th listen? The answer to both of those questions will very quickly help to formulate a rating. And when the answer to both is a resounding yes, as it is with "Chronicles," there is very little left to decide. Idensity didn't stumble onto this formula by luck or chance; this was a calculated and meticulously organized effort from start to finish. After all, coordinating a full range of orchestrations in with a traditionally guitar dominated mix isn't something you do at the last minute, or the last day in studio. It has to be planned and cultivated to make sense. All of those pieces fit together in such a way, it almost seems like they were meant to be. Trust me, that is not a call for all death based bands to explore the word of strings and horns. Those results would be mostly frightening, and sometimes nauseating. But for Idensity, this is now their home. This is a place they can return as often as they see fit. And we will be waiting there to hear more.

9/10

Official Site - http://www.idensity-metal.com/
Facebook - https://www.facebook.com/pages/Idensity/80551958491

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Empyrean Throne - Demonseed (2013)

California isn't the home of fake tits, surf and skate enthusiasts, and Hollywood premiers. Well, some of California may be exactly that. But Lake Forest, the home of new school blackened death sextet Empyrean Throne, won't go down as the hotbed of plastic surgery and movie stars. Founded by vocalist Andrew Knudsen and bassist John Ashbaugh, the two soon surrounded themselves with musicians who shared not only the talent, but the vision and drive to make this project everything their Scandinavian trip had instilled in them. What resulted was a brutal mix of heavy distorted guitars, and a bombastic rhythm section, and a vocal attack that could leave your ears bleeding with joy. But even with all of that upside, something was missing that would help them stand apart from the countless acts that crop up all over American every day. The string element, something made official by the addition of a skilled cellist to their ranks, is not a gimmick; it is a selling point, and a show of depth that makes "Demonseed" an album to hear.

It wouldn't take the sound of an army of footsteps to give "Death March" it's signature tone, but they surely don't hurt. Instead, the drum work of Dan Bruette does the bulk of that heavy lifting, each snare and kick mirroring the sound of a thousand steps. But don't be fooled by the battery of percussion at his disposal; this isn't a drum solo gone off the tracks. It works because of the full band effort. It boasts the intended blackened death soundscapes, but with notable twists. Vocalist Andrew Knudsen transitions smoothly from screech to growl, both here and on the follow up track, "Demonseed." He is the general commanding the brigade with his pained screams. But hidden deep in the mix, there is something else that ties the troops together. The addition of Kakophonix, the maniacal cellist behind Hvile I Kaos, is both savvy and sophisticated. His strings become an important piece of the puzzle, swirling around the chugging guitars riffs and giving them a melodic companion in their assault on your brain stem. The two axemen, Bryan Schwarz and Mike Brennan, have their hands full, both literally and figuratively, on "Nothing But Vermin." Their riffs leave no room for error or uncertainty, and the slightest misstep could be disaster. But despite all that pressure, they perform with a skill level and confidence that leaves no doubt.

By keeping the run time short, it puts certain expectations on the energy and volume levels. At barely three minutes, "The Fascist Messiah" wouldn't resonate if not for those two elements being present. Bruette shines once again, with a piece of drum work that leaves the listener dizzy and disoriented. But, to be clear, that isn't a sign of failure, but of great success. A bludgeoning array of drum beats is one of the main tenets of the death metal scene, and that fact is not lost on us here. The early stages of "A Crow's Feast" spotlights a different sort of dynamic, adding the strings of Kakophonix as almost a third guitar, along side Schwarz and Brennan. Like stunt pilots, they dart in and out of each other's paths, winding and twisting into a single braid of distortion and string bending riffs. If there was any doubt how intoxicating this music can be, the outro section here will crush it. But sublime? One would not expect that sort of description, given the amount of blood spilled thus far. But "Follow The Plaguelord," is something out of this world. With Daniel Pappas manning the piano here, you are suddenly thrown into a classical composition that evolves into a sonic assault of the highest order. There is a familiarity to be found here, a Scandinavian link to the past that has been poking its head throughout the album, but only now pops. It is as if the ghosts of Dimmu Borgir albums past have returned to haunt us in present day. This is the album's best track, without argument.

As we've noted numerous times before, you don't need to find a new wrinkle in your genre to be great; you can just be damn good at what you do. Minus the cello and string elements, and the short piano accompaniment, Empyrean Throne would still be an explosive young band worthy of your attention. But with those pieces in place, they give themselves some breathing room from the rest of the genre. The importance of creating space cannot be overstated. When all is said and done, "Demonseed" accomplishes so much in so little time - maybe bumping it's head on the thirty minute mark - that it makes you wonder if this is the perfect store of death metal. Surely they could have stretched this album out for another three or four tracks, maybe another fifteen to twenty minutes. But why would they, and why should they? These shorts explosions are memorable in so many ways, and it keeps the album from going stale early or at all. Win, win. What remains to be seen is where the band goes from here. Is this the future of death metal, before our eyes? Or will the next album be something else entirely? Color me intrigued.

8.5/10

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

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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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My Dark Lake - Tenebris Icon (EP) (2013)

Scour the internet for minutes, hours, even days. Without the aid of a translator (Sorry Bing and Google, we need a real translator here), there is virtually no information to be found on the mysterious My Dark Lake, a band from Ukraine that seems to specialize in avant ambient music, and symphonic inspired doom metal. That is as far as the trail goes. The web label hosted their latest work, an EP titled "Tenebris Icon," offers little more.But where their is curiosity, there must also be discovery. So armed with next to nothing, you hit play on what would be an experience, if nothing else, into the current state of metal in Ukraine. But what you have, hidden behind a purple tinged album cover and a bizarre mix of fonts is something that will, at minimum, make you tilt your head slightly sideways, squint your eyes and let out an intrigued "Huh." The three tracks that make up "Tenebris Icon" might not change the world today, but they might provide the framework for something far bigger in the very near future.

The album's title track, positioned right at the top, is an exercise in ambient drone, with very few real ties to the metal community. It accomplishes it's goal, though, through the use of haunting tones and sounds, providing what would be a chilling soundtrack to a haunted house or graveyard scene. It brings with it a gust of cold air, raising the goosebumps on your arm. But it is the second track, "Fantasia No. 1 In E Minor" that opens a door to what could be. The sweeping orchestral melody is beautifully orchestrated. When joined by a thick layer of drum and distortion, it is breathtaking. For as short as the track is, falling just short of three minutes, it is larger than life. It is one key element away from being a conversation piece. But the lack of that puzzle piece does not take away from what you have in front of you, nor does it distract from the final track, the funeral doom version of "Cold Slumber," a track that appeared on a previous album of the same name. With the tempo down to a crawl, and the ambient energy turned up to high, the execution here is marvelous. It strikes a familiar chord, the one that connects intensity and beauty at the hand. The production work, clear as can be, only adds to that union, allowing each piece to breathe while still finding symbiosis.

There will be those of you who would scoff at the notion that this album is truly metal. My own cohorts might be included in that. But while it might not be a full on metal album, doom or otherwise, there are glimpses of genius that give hope for the future. With the addition of a strong vocal presence to these three tracks, be it a growling male or soaring female, you would have a trio of songs that border on greatness. Simplistic as they seem, their symphonic roots take them well beyond the structure of most doom metal. And their layering and depth push them beyond the limits of ambient drone metal. So why not push it further? Why not take that giant leap into something outside their comfort zone, and put all of those pieces together? The result could be one of the most cold, spine shaking mergers of styles we've heard in quite some time. Get word out to Ukraine; My Dark Lake needs to take the leap, make a splash, and start the defining of a new wave of symphonic doom. 

8/10

Website - http://vk.com/mydarklake
Bandcamp - http://gv-sound.bandcamp.com/album/tenebris-icon
Facebook - https://www.facebook.com/GVSound

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Sometimes We Make Music - Forgotten Tales (EP) (2013)

What's in a name? Sometimes, nothing at all. A jumbled group of words representing nothing more than what gets listed on venue bills and album spines. Sometimes, though, a name says so much more than the words on paper. It might result in a double take, or serious inquisition, but seeing the name Sometimes We Make Music sprawled across your computer screen might seem like the former, when, in fact, it is quite literally the latter. Formed earlier this year after the disbanding of their main project, Ivar T. Oftedal and Danny V. Johannessen made the easy decision that they weren't done writing and recording together. That decision, though, paled in comparison to the next one they'd have to make; the name. Bucking the trend of ominous, sometimes bizarrely pretentious names, they went with one that made as much sense as any. Sometimes We Make Music was born that day in Norway, and after the release of their first EP, "Forgotten Tales," we can hope that "sometimes" quickly turns into "often."

With the opening instrumental, "Winter Is Coming," there is a noticeable influence at play here. But rather than let that influence dictate the track itself, "Game Of Thrones" is merely a setting. The composition here is outstanding, with the thumping drums complementing the cry of the guitar. But it is the symphonic element that ties everything together, through the use of horns and strings. Conversely, "The Warrior" is an exercise in dominance, with every series of drums pounding you further into the wall. But it is the vocals that fail to hit home here, lacking a real sense of identity or punch. Their delivery, which hovers between growls, screams, raspy cackles, and the occasional chant, is more miss than hit, particularly with the instrumental churning beneath. The chanting aspect, though, fits blissfully in the latter stages of the track, over a sea of crashing cymbals and keyboard fueled strings. The longest track on the EP which, not coincidentally, is also the most folk inspired might also be the best. "(For The) King Of The North" expands on the band's sound, instrumentally, while also solidifying it, vocally. The use of strings and keys here provides a sense of balance that might have seemed lacking. It quickly becomes an anthem; but not the kind of anthem that warrants a fist up. You'll nod, you'll sway, you'll find yourself completely immersed.

When the tempo rises, there is added energy thrust into the mix. The opening seconds of "Showdown" fall into the category blistering, stepping the guitar and drum work up into another realm. They remain the constant throughout the album, in the best possible way, always commanding attention and awe. The repeated segment that ties chorus back into verse is as dynamic as any on the album, and easily the most likely to lodge itself in your brain stem. But aside from the string and percussion prowess, the track also showcases the best vocal performance. While still lacking a solid identity, the changing styles and deliveries simply fit more snugly here, with little exception. And because of that new found cohesion between voice and instrumental, the closing track, "Troll," feels even more like a grand misstep. It strips away a lot of that uniqueness, and reverts back into a basic folk metal format. This is not to say it's an entirely bad effort, but it fails to capitalize on the momentum they worked so hard to build to this point. The vocals now descend almost entirely into black metal screeches, while the lead guitar crafts a hook that seems wasted here.

I think it would be fair to say that EPs like this one create a level of confusion in their wake. There is no doubting the abilities the members of the band possess; the victories are far more convincing than the stumbles. But those scattered trip and fall moments do make the band name feel more like a warning than a moniker. By no means can anything on the disc be classified as sloppy; it is more ill-conceived than anything else. Tracks that cross over the five minute mark can be dangerous and rewarding at the same time, but their length can also be their biggest fault. When a song feels every bit as long as the run time indicates, you would be best advised to trim it down. And more often than not, you find yourself looking to see if a track is almost over, only to see you've just crossed the halfway mark. In the five songs contained here, Sometimes We Make Music run the entire gauntlet of possible outcomes, with some great successes and disappointments along the way. I think it might be a logical starting point for the next step. Sometimes We Make Music should start making music more often.

6.5/10

Soundcloud - https://soundcloud.com/sometimes-we-make-music
Facebook - https://www.facebook.com/sometimes.we.make.music

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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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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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So Hideous - Last Poem​/​First Light (2013)

Sometimes, the best albums are the ones you stumble on unknowingly. We have been fortunate enough to receive promotional copies of albums from all over the world. Some are good, some are not so good. But when we are charged with writing a review for something that was submitted, there is an element of "work" added to the equation. Meeting deadlines, making sure our reviews are as well written as we are capable of, and even using social media to spread our reviews and opinions can be a lot of time and effort. But when you find an album, all on your own, something special happens. Listening to the album, digesting it, hearing it again and again until you have all the information you need to write a comprehensive and informative review becomes fun again. So Hideous can now be added to the short list of bands that have made me sit back in my seat, and just let it all happen around me. Their new album, which was found by pure chance in a routine sweep of the internet, is unlike other things we've heard. "Last Poem​/​First Light" is something special.

Once the first scream washes over you, some five seconds into "Rising," there is simply no going back. You have been washed away in a chaotic sea of blackened drum beats and well utilized keyboards. There is a density to the instrumental here that may seem counterproductive, yet it somehow manages to equate to something far more grandiose than one would imagine. Even when the drums seem out of control, the crying ambient noise always brings them back. The last minute,  with the crackling and humming of feedback seems like the haunting white noise of a dungeon. It becomes a recognizable pattern; building from a whisper, and eventually returning to it. But it isn't all massive kick drums and distortion in between. Beginning with "Stabat Mater," the symphonic element takes on a role of it's own. It sets the stage, quietly, for an explosion of epic proportions. I would be remiss to fail to note the presence of hardcore tendencies in the mix, but their unification with black metal seems almost too good to be true. Each well placed scream adds to the ever deepening soundscape. A magnificent piano outro returns you to that base point, this time erupting with the force of a volcano as "My Light" begins.

The climbing keyboard notes here are incredibly rich, despite being so far back in the mix. Organized chaos reigns supreme, a bombastic sonic assault that runs counter to everything you thought you knew about black metal in all it's forms. To be replaced soon thereafter by a sweeping orchestral melody seems impossible, but they do just that; it is short and fleeting, but a clearer example of black and white contrast would be impossible to find. If there was only one track you could use as a weapon to spread the gospel of So Hideous, "Rhapsody" would be it. The fusion of elements is now complete, finding a striking balance here unlike anything I've ever heard. Whether you find your solace in the neverending battery of drums, or in the atmospheric keyboards that rise and fall behind them, something will catch your ear. It would be a challenge to find a segment of music more compelling than the last minute of this track.

What's even more stunning is the way they follow it. The sound of "Last Poem" is immense; The sound waves would stand a miraculous mile high if your screen could contain them. Every kick drum slams into your skull, every scream rattles your inner ear. But amidst all of that, you can find serenity and calm in the use of strings. You will be swept up in the wonder of it all, captivated by the constant shifting and changing of this single song. When it cuts out to silence, only to return with the most minimal of synthesized sounds, you might be concerned that you've lost your sense of direction. But fear not; it really is every bit as beautiful as it seems. Yes, with the screams, blasting drum beats, squealing guitars, and everything, it is still awe-inspiringly beautiful. How you complete this masterpiece would be far beyond my mental reach. But they do it with ease, allowing "glory" to rise, to build, to take shape, and then to fall. How this combination of sounds works here is a complete mystery, but even note on the keyboard seems to sync up with every kick drum and distorted riff. They all work... somehow.

It's hard to keep all of our label partners and sources straight. Which albums came from who, who represents which bands, and so on. It is up to s to do that due diligence to make all the pieces come together. It's what we do, as music lovers, for all of our favorite bands. So Hideous may have a name that almost told me to shy away, but they have a sound that is now engrained into my head for an undetermined length of infinite time. They have a sound all their own, which is nearly impossible in this day and age. But they've done it here, and in a way that is not only impressive, but exciting. They are doing something outside the realm of any one genre, and they are doing it without hesitation or pause. And in doing so, they have truly joined a very limited list of bands that have redefined a sound or genre for me. Malnatt opened our eyes to what black metal could be. Blizzard At Sea made sludge an office favorite. And So Hideous has now taken symphonic post-black melodic hardcore and given it a face.

9.5/10

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

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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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Avelion - Liquid Breathing (EP) (2013)

The life cycle of a band is much like that of a human being; we are born, naive and innocent. We grow up, learning how to manage our lives and skills. Then, at some point down the mysterious road, we die. So, too, do our bands, good and bad. But the key difference, and perhaps only difference, is the ability for a band to return to those infant stages and reinvent themselves. Avelion, having earned their toddler steps on their first EP, "Cold Embrace," stripped down and returned to the womb last year in hopes of forging a new identity. But in that second pass at birth, they gave up everything they had done on that album, and gave back any and all genre tagging as a result. Now, with five new members and a sound that is a far cry from where they stood two years ago, it is hard to imagine this band is even the same collection of minds anymore. But with the same name on the cover, and a new vision attached to it, success isn't immediate or even guaranteed. Because while "Liquid Breathing" signals a return to infancy, the music doesn't quite seem like it had enough time to gestate and evolve into it's final form.

As the title track leads things off, there is a noticeable difference in sound and structure. Gone are the soaring vocal passages and fluttering keyboard melodies, replaced by djent inspired guitars and airy synthesizers. The newly found electronic edge suits the track well, but lacks that unique quality. With each chugging movement, vocalist William Verderi uses his breathy, lower register tone to deliver what could be dubbed as a futuristic vibe. It isn't until the final minute of the track that we get the first full explosion, an eruption of growled vocals and unrestrained keys. Having established the electronic undertones, "Ain't No Down" only furthers that cause. Break beats and borderline rap vocals in the verse stand out, and your perception of them determines for what reason. While it remains a smooth transition in and out of melodic djent, those cut aways are less successful here, minus a great use of clean piano keys that provide a haunting backdrop. It fails to mix with the foreground in any meaningful way, even with a solid performance from drummer Damiano Gualtieri. Everything comes full circle in the final track, perhaps finding balance between melody and beat inspired mayhem. It isn't that "Mechanical Faces" is the best track on the EP; it can come off as slightly contrived. But it does house some of the best individual performances, particularly on chorus vocals and keys. But lost as a result is the identity of the band, falling into the trap of anonymity.

Major lineup changes are sure to alter the sound and direction of a band. But keeping the same name may be doing members, current and previous, a disservice. Avelion had begun to forge an identity two years ago, carving out a niche in the progressive metal genre that gave them a great deal of promise. But now, having replaced nearly every piece in the puzzle, they are left to try to figure out a way to make those oddly shaped parts fit together in a cohesive way, something that seem to struggle with on this EP. Perhaps it is more in the expectation that comes along with the name (like when every Metallica fan heard "Lulu"), but there is something missing here that can't be fabricated. By no means is this the end; as we said some two years ago, with time, Avelion may grow and develop into a band for the discerning masses. But having started over, they have stunted that process, and found themselves at the beginning. Much like the birth the title references, "Liquid Breathing" is in it's gestation period, with a long way to go until it's ready for the world.

6/10

Facebook - https://www.facebook.com/AvelionMusic.Official/

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Winter Dawn - By Embers Embraced (2013)

This year has been a very good year for debut albums. It seems like bands are actually taking time to put all of their resources into these albums instead of just pushing them out. Another band that keeps the great debut flow going is Winter Dawn. Their album “By Embers Embraced,” doesn’t really tread any new ground but it’s still pretty awesome. The production is questionable in some spots, but this band has that “something” that could make them well known.  “By Embers Embraced” is catchy, epic and definitely worth a listen.

The album opens up with “Where Wings Are Torn” and it showcases some impressive keyboards, melodies and use of multiple vocalists. It’s just enough to give them their own sound. “Rising Star” has a neat keyboard intro but then it slips into something that I like to call music purgatory. It’s not bad, but it’s not good. The song really doesn’t go anywhere and it just feels a little uninspired. The melodies are there, it just needed a little more “oomph” from a production stand point. “My Desolation” starts with the most killer riff on the album. The guitars and keyboards sound perfect together and this is one hell of a showpiece for the band. It’s one of the best tracks on the album hands down. “A New Dawn” is another track that tends to trudge along. The harsh vocals are a nice touch, but not enough to make this track a must listen. “Cape Farewell” brings the album back to the sound started on “My Desolation.” What it lacks in riffs, it makes up for in melody. This is quite possibly the best song on the album. The entire track just feels complete and solid. Then we move on to “The White Rose pt. 1: Thorn Apart” which is a good song (though the vocals sound kind of like Avenged Sevenfold) in its own right but is completely overshadowed by “The White Rose pt. 2: Prosperity.” Both are good but Prosperity is another track that shows what this band is capable of. It’s catchy as hell and it has a great verse. The album closes with “Tears of Ice” which couldn’t have been a better spot for this song. Another great track on the album, it feels like everything that came before it all rolled into one. It’s heartfelt, sincere and symphonic. The album couldn’t have been wrapped up any better.

Winter Dawn has what it takes to make a name for themselves. With tracks like “Cape Farewell” and “Tears of Ice”, it’s hard to completely ignore them. If the production is better on the next album and they find a way to refine that “big” sound they’re going for, they have the recipe for a classic. But as it stands, “By Embers Embraced” is a great debut record with a couple of shortcomings. They are better than half the bands that are signed to major labels and they probably put 100% more effort and work into their songs. If you’re a fan of symphonic metal, don’t pass this up. “By Embers Embraced” might really surprise you.

8/10

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

Website - http://www.winterdawn.com/

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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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