Gods Tower - Roll Out (EP) (2013)

There's a tank gracing the cover of the latest EP from long lived Belarus based Gods Tower. You can see that with your own eyes. But don't make a judgment just yet; save that for after the music has played. Because our minds play tricks on us, and we think we know far more than we do about a band r an album by the picture that represents it. It isn't always worth a thousand words. But "Roll Out," with which you secure yourself a code for the online "World Of Tanks" game, isn't a thrashing praise of war in all its forms. Sure, there is a call to battle to contend with, as would be expected in such a partnership. But what lies just below the surface, or perhaps one track below it, is a surprise that makes the album seem that much more forward thinking than one would have imagined. Behind the bullets, bombs, and explosions, there are consequences. Embrace the tank on track one; ignore the tank on track two.

With razor sharp edges, "Roll Out" cut through the silence and straight to your brain stem with  a thundering clap of drums. The winding lead melody is incredibly detailed and catchy, causing an immediate investment in the track itself. It's hard to pigeonhole the sound that pours through your speakers here, a mix between thrash, folk, death, and shredding riffs. But it is seamless in its delivery, a rarity for a band of this ilk. Vocally, it is a different story. While the instrumental is intricately crafted, the lyrics remain on the basic end of the spectrum, painting the song more as an anthem than anything else. Not entirely a bad thing, admittedly, because it drills a hole into your frontal lobe and embeds itself there for weeks. In a sharp and striking contrast, "The Field Of The Dead" trades in all of the momentum and energy, in favor of something emotionally stirring. With very little backing, aside from a low, quiet rumble and light symphonic touches, this is the reality to the opening tracks theme. Where the war begins, pain and death end; a well thought out pairing of thunder and clouds.

It's a very small sample size to evaluate, but what Gods Tower have given us is something you can enjoy in one instance, and ponder in another. Two tracks, tied together under the same album title, but they would struggle to be more different from one another. And in this day and age of mediocre albums and EPs, it's refreshing to see a band buck the trend and do something outside the box, structurally, rather than spoon feed the listeners with safety. In an odd way, we can relate the thematic choices of the album to life itself, particularly life in American in 2014. First, we roll out the tanks into combat, then we mourn the loss of life that occurred from our choices. Whether or not that was the intention is irrelevant; our personal connection to the music is what gives it life beyond a file on our PC. It is so surreal to have a band, half a world away, put to music what you had in mind. And with that, "Roll Out" says a lot more than the artwork can do.

8/10

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

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Hell - Curse & Chapter (2013)

After a nearly 25 year hiatus, "Human Remains" reminded the world of the greatness that never came to be so many years ago. Hell had finally arrived, nearly three decades later, thanks to a few new members and a dedication to their craft. But with any band past, present, or future, there is always the fear that that first major release is a flash in the pan; a stroke of good luck that will never be replicated. Having that many years of inspiration behind one album's worth of songs might have provided an above average result. But with the release of their second album, this five piece has even more at stake, and certainly more to prove to today's discerning (read as: picky) metal fan. Guitarist Andy Sneap, who helped to resurrect the band for their 2011 return, has seen many bands live and die in his times producing. But with "Curse & Chapter," Hell make a bold statement about a laundry list of topics. Not the least of which is, without a doubt, the relevance of a band a quarter century later. There is no sophomore slump to be found.

Having picked up right where "Human Remains" left off, the symphony of fire and brimstone that is "Gehennae Incendiis" provides a suitable backdrop for the album, housing a similar dynamic to that fabled first release. Because when "The Age of Nefarious" breaks through the walls, there is no doubt who you are swinging your hair to. To say, once again, that vocalist David Bower has a voice all his own would be an understatement, as his unique cackling cry his places in the vocal spectrum seldom touched. But as much of the sonic spotlight as he commands, he is matched drop for drop by brother Kev Bower and Sneap, who work a set of near miracles on guitar and keyboard. The solo work is even tighter than before, allowing for a sound that radiates outward. It isn't all thrashing guitars and wild vocal melodies, though, as "The Disposer Supreme" showcases that extra taste of the theatrical in every movement. There is something almost classical about what they do here, but not in the sense that power metal has poisoned us with. Instead, it is the shifting of tempos and vocal acrobatics that resonates most clearly. But never in all seven blaring minutes will you find so much as a single disjointed second; from rolling bass line to whining guitar riffs, every note fits the proverbial glove.

If there is one downfall to this point on the album, it's that the first trio of songs are, perhaps, too good for their own good, setting the bar unattainably high for the latter two thirds. Yet, as easily as those words fall out of our mouths, "Darkhangel" raises that bar even higher. Contained within one track is a lead riff that is as catchy as any you've ever heard, a vocal performance that won't soon be forgotten, and a rhythm section that is as surgically precise as any you've witnessed. And yet that somehow does not do the track justice. It's genre bending, without a hint of irony. And while our distaste for covers contained on an album proper is well documented, the cover of Race Against Time's "Harbinger of Death" fits all too well into the arc of the disc. If there is something about Hell that can't be touched, it is their ability to build an album of tracks that support each other. A cover made their own, followed by "End ov Days," is a match made in Hell. The winding riffs on display here only bolster the lyrical content. Every slamming snare and tom drives one nail further into the coffin, with accuracy and detail that inspires awe.

The rhythm section team of Tim Bowler and Tony Speakman, on drums and bass, respectively, may not be on the covers of magazines, but their work is of the superstar caliber. Tracks like "Deathsquad" could not exist without their attention to detail. While it always seems poised for a vocal breakthrough, it is left as a stunningly atmospsheric and haunting instrumental that induces a wave of chill with each press of the keys. With a wealth of memorable riffs and tracks at their fingertips, it only makes sense that "Something Wicked This Way Comes" is added to that list. It is the perfect blend of everything the band does well, wrapped in a neat five minute package. On the mic, Bower is a wonder, alternating by his high pitched, beyond opera, and menacing spoken verse. Not only does the instrumental mirror his intensity, but also his range. With barely a beat in between, "Faith Will Fall" kicks the door down with another driving riff, as Bower wails "hail to the hypocrite," over the top of it all. Agree or disagree with the premise, it is a glaring social commentary being laid out before you. But unlike Bill Maher or the degenerates from Fox News, there is a massive beat backing it all.

Make no mistake; this album is as long as it is powerful. By the time the last trio of songs comes into sight, beginning with "Land of the Living Dead," you have been thoroughly pelted with distorted guitars and punchy percussion for about 45 minutes. But having come this far, the reward is the music itself, with another easily accessible, if not blisteringly fast, track. Focusing on the solo that comes just before the two and a half minute mark, you get a taste of how deft and imaginative Kev Bower, Sneap and Speakman truly are, darting in and out of each other with no threat of a crash. But taking the avant cake, at least within the four walls of this album, is the sermonizing "Deliver Us From Evil." The choir of voices in the chorus is merely the wick on the dynamite, exploding in a fierce piece of guitar work. Speakman's bass may not be the lead here, but it carries the same weight. The second half, driven by a great bass, guitar and drum groove, could be the result of a great jam session, or a carefully calculated experiment. As a closer, "A Vespertine Legacy" is everything you would want; as a track on the album, it is something more. Some songs, for better or worse, only work because of their placement. This one, however, could fit into any slot on the album and still be as massive. The crawling breakdown after the five minute mark would tear any venue to the ground.

We were fairly blown away by what Hell had done on their first release after reforming a mere two years ago. "Human Remains" was, and still is, one of the albums that we recommend in conversation with metal fans from around the world. And it seemed to be too good to be true, maybe even too good to ever be replicated. And truth be told, there was an eerie, reserved excitement when "Curse & Chapter" made it's way to our doorstep. One could say we were prepared to be disappointed. Instead, what you have here is a statement album. What it says, though, depends on which angle you come from. It speaks to you in different ways, through sound and shape, tone and color. It's complex structuring is quintessential Hell, with every song immediately recognizable, without ever being one dimensional or feeling repeated. That alone would be an enormous victory... but there is so much more. Now a full 26 years after disbanding in 1987, Hell is more than just a triumphant return to form; they are forging new ground, with an album that may be the year's best.

9.5/10

Official Site - http://www.hell-metal.com/
Facebook - https://www.facebook.com/HELLofficial

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Hathorious - Beneath The Shade Of Hathor (EP) (2013)

Money makes the world go 'round. We've all heard it before, and we've probably all uttered those words ourselves. Making music is, unfortunately, no exception to that rule; the bands with the huge budgets can often trump much more talented bands on sheer strength of sound alone. Just ask Metallica. So the lesser known acts, those with minimal if any budget must make the most of what they have; be it a computer, laptop, or friend's garage, you just have to make the best of a bad situation. Whatever the circumstances are for Hathorious, an Egyptian band that floats somewhere in the realm of blackened thrash, it may be time to invest in the future of their sound. Their talents are vast, and their vision is undeniable. But hiding all of those intangibles is the one thing we can hear clearly or ourselves; the production. And while you will certainly hear worse this year, maybe even today, "Beneath The Shade Of Hathor" pushes our audio threshold to the limit.

There is no point in masking the obvious or waiting to point it out; the production on the album is mediocre at best. The early moments of "Dawn Of The Ancients" do an admirable job of hiding that fact behind sound effects and a plucked melody. It is a great way to open the album, building a mood that is equal parts ominous, with the rumbling background noise, and enchanting, as the melody floats through the air. But as soon as the album begins in earnest, the mix is hard to bear. Whether it is the recording of each instrument, or just how they are layered together, it becomes increasingly hard to discern one from another. Drums mask guitars, guitars all but drown out the bass, and when played simultaneously, there is little more than a mass of distortion flooding through your speakers. In the few moments where the dust settles enough to make heads or tails of it all, you get treated to a flurry of deft guitar work. Guitarist Alhussin is the band's biggest weapon, despite a chaotic place in the pecking order.

When his guitar is left alone, clean or distorted, he works wonders; the opening to "Glory Be To Osiris" is all the proof you need. But the metallic clang and sizzle of cymbals fairly drowns out much of the remaining work. The chorus hear, a black metal meets thrash affair, might be the best thirty second chunk of full band action contained on the album. But the cymbal work alone becomes the bane of the album at the same time. When tamed and contained, it can be a great accent piece, as on "Abydos," where the machine gun snares find a fitting home. Drummer Tarek El Maghrabi finds a way to exercise his speed drills, and still be a part of the cohesion of the song. Here it is less a question of the ability to record a great track, as much as it is about piecing it together and finding balance. Alternating melodic and vicious segments would be much more well received if the transition was handled with care. Unlike any other on the album, " the closing track "Funeral of Akhenaten" is a down tempo doom march, overflowing with massive kick drums and distortion. As surprising as it may be, it brings the low end into the spotlight for the first time. 

It takes a lot of talent and vision to overcome severe faults in the recording process. A poor mix, lackluster engineering work, or just minor volume issues can take a classic album and relegate it to the land of the mediocre. While Hathorious may not have written the next huge metal release, they certainly envisioned something far more refined than what sits in mp3 format on your hard drive. The mixing issues alone make this album difficult to listen to in one sitting, for an audiophile, or someone with a sound system they are particularly proud of. The cymbal sound alone taints a large proportionate chunk of the album, much like the snare sound of little Lars Ulrich did to the steaming pile of manure that was St. Anger. By no means is this as big a faux pax as that was; not when millions of dollars were involved in a single recording session. But for Hathorious to get any better, they will have to start from the beginning, and treat the recording process with more attention to detail. That, or "Beneath The Shade Of Hathor" become the first in a line of production failures.

7/10

Bandcamp - http://tornfleshrecords3.bandcamp.com/album/beneath-the-shade-of-hathor
Facebook - https://www.facebook.com/Hathorious

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Frost Despair - The God Delusion (EP) (2013)

Whether or not you've had formal audio engineering training or not, you know that there are limits to how much sound you can justifiably fit onto one recording. It may not be a numeric answer, but a case of logical derivation. Frost Despair, a seven piece band from Brazil, have agreed to throw caution to the wind, and try to fit their own blend of black metal and classical music onto a single recorded file. But even digital media has a limit, one that, when exceeded, can sound like the war has come home. Based on the works of Richard Dawkins, 'The God Delusion" is an album of metal fusion, exploring the thoughts on atheism and the violent spread of religion. But, as these seven tracks reveal, it is also an exercise in proper production and mixing. Seven members, seven separate layers, and one gigantic wall of distortion. With a sound that often gets in its own way, muffling and muting one element in favor of another, it succeeds in message but fails in delivery.

The first track, "The Dark Ages" sets up what is to be a bizarre contradiction. It extends well beyond what you could call an intro track, but remains at a constant level throughout. Touching on the darker side of classical music, it is a composition that is as rich as it is gloomy, adding so much depth to the low end. But rather than build onto that sound, the title track boasts a blasting blackened thrash aesthetic. The orchestral element is still there, but it is now hidden behind a growing wall of distorted guitars and drums. The layering of sounds here doesn't do the track any favors, tilting the mix too heavily towards one element. A trade off between male and female vocals is a treat at times, while exposing how one dimensional each can be without the other. The danger here is packing the mix too full, with a constant peaking of levels detracting from the individual pieces. As it stands, "Damnation" is merely the intro to the following track, "Splendor Of War," although their separation makes little sense, from a flowing perspective. The latter reinstates the symphonic element in full swing, despite drum work that could drown out a war itself. In the quieter moments, particularly when the female vocal is allowed to see lead time, you can get a far more detailed view of the soundscapes. As the drums are dialed back for a guitar solo, it starts to come together.

Unfortunately, the problems persist in the album's second half, rendering "Dark Bachiana" a murky mess of a song. The layers begin to condense themselves into one massive chunk of distortion, a production miscue that makes parts of the track unidentifiable. There are moments where the bands shines, both musically and vocally. The keyboard work here, tinged to echo the sound of a church organ, is top notch when it comes through. The section around the three and a half minute mark is evidence that balance can be found. It manages to extend into the opening stages of "The Final Breath" before chaos reigns supreme. The verse is an organized assault, while the chorus and bridge or hectic, at best. With the drums now dominating the mix once again, half of the track is spent righting the ship, while the other half is spent spinning off course. Beautifully orchestrated piano steers the track back onto the right path, and dazzles you into "At The Gates." In the most impressive piece of musicianship, the keys take over in full here, fluttering and winding through a series of high tempo melodic shifts.

One of the biggest shames of the modern metal experience is when production gets in the way of the final product. Frost despair have written and recorded an album that might have embodied the spirit of their original concept, but fails to meet the threshold for success. Whether the problem be in pre, post, or during the recording sessions, there is a significant hurdle in the way. With multiple listens, one can dissect a lot of the background work that goes on here, from guitars to bass to keyboards. But on first impressions, it could be dismissed as a lost cause. If you could look beyond the faults of the mix, there is a lot to hang your hat on; the guitar work is solid, the vocals are versatile and on the daring side, and the keyboards are worthy of a round of applause. The true shame is that they all shine separately, yet fail to do more than flicker when crammed in so tightly together. if this act can find balance where there was no room for it before, "The God Delusion" might not have all been in vain.

6.5/10

Official Site - http://www.frostdespair.com
Facebook - https://www.facebook.com/pages/Frost-Despair/170368476397736

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