Morito Ergo Sum - Moonchild (EP) (2011)

When Morito Ergo Sum released their initial offering, "I Die, Therefore I Am," it was merely a way of putting the pen to the paper. It was only the beginning of the journey for Paolo Cito, the founder, and Walter Basile, his new found vocal power. That disc garnered interest in and around the doom community, and fueled the search to complete a line-up. Barely a year later, they reemerge with a new look and a new sound. But amid all the changes and improvements, including Basile himself handling drum duties, some things remain the same. This is doom, with all the melodic distinctions that will keep you hooked from beginning to end.

From the onset of "Behind These Tears," you find a far more aggressive incarnation of the band. The drums are boisterous, full of body, bringing a necessary wrinkle to the formula. This new found punch clears the way for more intricate guitar work. The ringing distortion remains, but is complimented with some expansive solos. This more detailed oriented work is the only piece that was lacking on their previous effort. Not only have they corrected it, but they have highlighted it. Frontman Walter Basile's voice remains as melancholy as before, the glue that holds this somber masterpiece together.

Within the intro to "When The Grass Grows Over Me," you find more evidence of growth. The slightly gritty guitar work is joined by a sullen violin, forming a haunting harmony. Even as the track changes, the remnants of that melody remain. Taking the more traditional doom path, the tempo slows and distortion reigns supreme.  However, the single identifying characteristic, the one that will always remind you of who you are listening to, is the voice of Walter Basile. His subtleties and range allow for the music to unfold around him, rather than on top of him. His voice finds its way through the heavy low end, rarely dominating, but always complimenting. And while it may sound like an after thought, it creates a striking balance with the guitars, allowing each one to play off the other.

A staggering drum roll opens "This Selfish Act," setting the stage for Basile's ghostly tone to haunt the body of the track. This is the most assertive track on the album, taking a very up front approach to the doom style. The tone on the drums is a drastic improvement from earlier works, with each snare and kick inviting a nod of the head. But the key word continues to be "balance," as each piece is now equal with the others. Whether it be bass, guitars, drums or vocals, each has an equal share in the final result. What makes this equality so impressive is the different emotions each brings to the table. Like any good collaborative effort, the contrast is what makes it successful. The guitars are distorted and bleak, while the bass clean and smooth. The solo section is unlike anything Morito Ergo Sum has ever produced before, taking their concept into faster tempos and more precise instrumentation.

Basile takes a much deserved lead on the title track, a cover of King Crimson's "Moonchild," alongside an effects tinged guitar melody. By far the shortest track on the EP, clocking in at a measly five and a half minutes, it contains and vocal delivery that would fit into a seventies folk rock masterpiece. Once again, his subtle sadness is the star, heightened by yet another great solo section. This track, like the others, is a realization of Paolo Cito's original concept. He has taken the doom mold and reshaped it, removing the amorphous blob of growls and screams, and replacing it with a clean voice of reason and despair. Not only does it play well off of the heavy, dark instrumentation, but it allows for a better vessel to deliver the lyrical content. And Basile fills that position perfectly.

Comparing the previous EP to "Moonchild" is like comparing apples and oranges. The former was the framework to something great. The latter is the vision come to life, an incredible display of doom theory, twisted into a new shape. On these four songs, Morito Ergo Sum separate themselves from the others. Whether it be the crystal clear production or the new found power to the music itself, it all comes together in a significant way. Add the vocals of a top notch frontman, and you are as close to a "sure thing" as the metal world gets. 

8.5/10

Official Site - http://moritoergosum.com/

Myspace - http://www.myspace.com/moritoergosumband

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Sorrow Eternal: The Bloopers

Over the course of 26 podcasts, numerous Top 10 lists and a bunch of interviews, it is fair to say Hell22 and Murmaider have made a lot of verbal typos. So, ladies and gentlemen, we present you with the first of many blooper reels. Sit back and laugh at our misfortunes, poor pronunciations, and our inability to say the most simple of words. And hey, it may be time to reveal our real names...

Download it here.

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As Autumn Calls: The Interview

Andrew and James from Canadian acoustic doom beast As Autumn Calls were kind enough to subject themselves to a Sorrow Eternal interview, where we sought to get some information on how the band developed their sound, the future of their music, and some great new bands coming from our neighbor to the north.

Download the audio here.

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Russian Circles - Empros (2011)

The "post" prefix is exploding in popularity, finding itself placed in front of every musical style, from rock to hardcore. But there are so many expectations that come along with those four genre bending letters, and a vague sense of meaning seems to accompany their use. Russian Circles have, throughout their discography, sought to define what the genre is, rather than what it can or should be. On "Empros," they try to take an evolved stance, a strong sense of timing, and a new found love of low end to the top of the heap.

The soft, clean tones quickly descend into a dirty mix, taking "309" to top speed in no time flat. This is definitely that heavy edge that so many "post"-anything bands miss out on, often choosing to go with a more atmospheric approach. Tempo and mood changes abound, the smashing of the drum kit accenting each new section. The sound of the kick drum, in particular, is enough to keep your eyes wide open. The production is raw, but not in the traditional sense. Rather, it maintains the integrity of each instrument, without covering them in the gelatinous goo of pitch corrected, over processed computer work. Thankfully, this choice leaves us with a bass line that is both disturbing and welcomed. There remains a sense of unwashed purity in each note, as honest as the concept itself. Even as the track fades into the remnants of chords and distortion, it is hard to believe it is actually over.

There is a decidedly more melodic approach in "Mladek," with clean guitar tones echoing in the sea of snares and cymbals. This is not to say that mood set in the opening track is immediately tossed aside. You will still fill the darker side holding on to some of the lower register chords and bass slides. Tracks like this one seem to have purpose, going from point "a" to point "b" in a clearly visible way. I refuse to use the word "predictable" to describe it, but if a Shyamalan-esque twist is what you crave, you won't find it here. Instead, you run head on into a strong, guitar driven track that relies more on timing than momentum, moving along in a logical progression from beginning to end. A brisk chugging outro is the perfect means to an end. The band's evolution is never more evident than on "Schiphol." Melodic, airy, and rich, the opening stanzas are played with a deft hand and steady fingers. With each clean guitar strum, each singular kick drum stomp, you are woven into the fabric of the track, surrounded by threads of notes fading. Finally, it all comes down, and the same concept that made the song beautiful now brings you to your feet. The rhythm section is formidable, taking the low end to places this band rarely sees, guiding the wailing guitar notes down the winding path to greatness.

The air of beauty continues into the early moments of "Atackla," acoustic tones softly falling to your ears. But as the plucking becomes more forceful, you get the sneaking suspicion that something is afoot. Snares enter, then the rest of the drum kit. Each crashing cymbals tangled with the clean tones, erupting in a rattling show of distorted strength. The same melody repeats, but fades into the mix, overwhelmed by the sheer murkiness of the guitars. You will surely leave this fray bruised and bloody, tossed around on the wave of sludge mastery. But, like a life this time of year, the delicate outro will allow you to float back to Earth. Don't expect a gentle dust off, though, as "Batu" surrounds you in a haze of reverb and delay. This could be the "post-metal for dummies" handbook, as it guides you through all of the best elements the genre has to offer. It combines melody with massive riffs, backed by an incomparable presence of percussion. Fast to slow, slow to fast, the tempo changes allow for each individual piece to shine. Layer upon layer of distortion, settling upon one another in a sonic assault.

Having weathered the unrelenting storm, the finale is your reward. While the intro may seem like little more than assorted noises and feedback, "Praise Be Man" is much more than that. The near lullaby feel puts your mind at ease, with muddled but soft lyrics easing your eye lids. The key to the entire sound lies in the production, flawed but necessarily so. No need to be cleaned up, polished and corrected. The bass slides into action, as gritty as a bass can be. Guitars hum to each side, notes high and piercing. Until it all disappears.

Russian Circles are innovators, taking the post-rock/post-metal genre to its limits. They have continued to push the boundaries of their music, and you, the listener, are the one reaping the rewards. Six tracks and over forty minutes of music later, we are left with a clear idea of what that "post" really means. Throughout "Empros," you get a taste of clean and distorted, heavy and soft, light and dark. Those contrasting characteristics define Russian Circles, and, in turn, define their genre.

8.5/10

Official Site - http://russiancirclesband.com/
Myspace - http://www.myspace.com/russiancircles

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Sam Locke - Era (EP) (2011)

Sitting quietly, half a world away, is the continent of Australia. And while we Americans may only know them as the land of kangaroos, koalas and Foster's beer, there is a low rumble that can't be ignored. Bands like Vyrion and Astral Winter opened our eyes to the heavier side of a nation. And Sam Locke, an instrumental wizard from Launceston, will make our eye lids, and yours, rise a lighter higher. On his new EP, titled "Era," are five tracks of progressive metal that can be heard over 10,000 miles away.

The loud burst of drums and guitars shakes you to life. "Epoch" is exactly what an opening track should be, catching your attention with a well crafted hook, but pounding your brain with an intense battery of percussion. The numerous tempo shifts keep things rolling along, even allowing clean guitars to shine through. The pulsing double kicks, programmed or not, are devastating, leaving a sonic void in your rib cage. A distorted chord fades away, and leads, conveniently into the second track, titled "Momentum." The layering of instruments is incredible, particularly when you think of the logistics of recording each piece individually. The guitars are crisp, both alone and together. It can not be overstated just how intoxicating these melodies are, drawing you in with a display of skill and technical prowess. Whether it be the darting single notes, or the expansive resonating chords, each piece fits into a tiny space.

The longest track on the EP comes in the form of "Inconsequential," a song that is anything but. With the emergence of an added keyboard element, Sam takes his sound into a different realm. You can hear all of the elements of progressive, thrash, black and death tackled without ever uttering a single word. He rips through dynamic signature changes, powerful guitar work, and a never ending tornado of kicks, snares and cymbals. He succeeds where so many have failed before, choosing to rely on top notch writing, rather than unrefined brutality. The short interlude, "Reminisce," is not a throwaway like so many tracks of the under two minute ilk. Rather, it is a one round pummeling, welcoming you to the more lasting "End Of An Era." By now, you think he has used his entire bag of tricks. But, as before, you end up surprised at how well composed the entire track remains. A guitar lead that would make any classic metal axeman proud leads the way, screaming over the top of a bed of distortion and dirty chords. And, before your lungs have regained their capacity of air, it is all over.

There are two distinct kinds of debuts. There are the safe ones, where a band plays to their strengths, stays between the lines, and tries not to screw up. Then there are those that are dangerous. High risk, high reward. Sam Locke's "Era" fits into the latter, with five tracks of self produced, completely self performed metal, finding the bulls-eye every step of the way. If this is evidence of what Australia brings to the table, time to pack my bags, book my flight, and relocate. Sorrow Eternal, down under.

9/10

Official Site - http://samlocke.bandcamp.com/
Facebook - http://www.facebook.com/samlockeproject

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Astral Winter - Winter Enthroned (2011)

Astral Winter has taken black metal vocals and riffs and mixed them together with symphonic tones and guitar solos and drums that have power metal speed. The band has just released their new album, entitled “Winter Enthroned.” It’s got demonic growls and heavily distorted guitars mixed with beautiful piano riffs and shredding guitar solos.

“Prologue” is a minute and a half intro that opens with thunder sound effects giving off an image of a dark cold night. Dark strings fade in slowly along with an acoustic guitar. The music builds up as the string go higher in octave. Soon after come distorted guitars all playing the same catchy little tune. This immediately runs right into the second track, entitled “Illustrations Of Death.” You’re hit with an loud and haunting growl that echo throughout the beginning of the song. This is accompanied by fast distorted guitar riffs playing rapid melodic notes. After running into such a rush of instruments, things calm down before the first verse is introduced. Acoustic guitars are combined with the distorted guitar as more eerie thunder sound effects rattle in the background. When the verse drops, wicked demonic growling comes flying in along with blaring guitar riffs and booming drum rolls. The tempo picks up with violent speeds as you are knocked down by the relentless vocals. You are then met with a wild guitar solo that plays for a good proportion of the song. This solo is all over the place with its quick notes that rapidly slow down in certain parts and then pick right back up again. The melody is at a constant change with tons of different catchy riffs. This is definitely the way to open up an album!

Get ready for some more high energy and thunderous beats with “Through Timeless Aeons Of Frost.” This eight and a half masterpiece starts with gorgeous piano riffs that is surrounded by uplifting strings. The vocals tear you apart with the opening growl thrown right in your face along with monstrous guitars and exploding drum fills. Pay attention to the many drum patterns in this song and the quick double bass pedal action in between. The verses are separated by a catchy piano riff that is repeated by destructive guitars while more double bass destroys the background. “Defenders Of The Astral Kingdom” runs for over 10 minutes long and also includes lots of epic piano riffs that will get stuck in your head for days. The guitar solos in these songs are phenomenal as they run up and down the scales with crashing cymbals and thumping kicks behind them. Soothing strings build up around the guitars completely surrounding you with a beautiful sound. The last five minutes really pick up with the drumming. The fills in between each riff is incredible and full of detail. This will have you pumping you fists in no time.

You’re attacked with violent guitar riffs again and again in the beginning of “Beyond These Frozen Castle Walls.” The verses kick right in with harsh growls that pound away at you while the strings lift you up just to get knocked down again. The chorus has an interesting mix of growls and clean singing vocals layered together keeping the music heavy and catchy with its clear melodies. At this point, guitars a going wild with notes flying all over the place during the solo. Meanwhile the drums are going insane with fills and double bass pedals at high speed. You’re gonna want to listen closely a few times to catch everything closely.

The last full song on the album is “Past The Realms Of Eternal Ice” which starts out quiet with soft strings slowly fading in the beginning. You’re soon hit with double bass action and a monstrous growl. The distorted guitars blast away as they lead you right into the verse. Dark and vicious vocals take over with anger and hatred. You can really feel the passion in the vocal performance. After 9 and a half minutes of pure destruction you then come across the minute and a half “Epilogue” with closes up the album with angelic acoustic guitar riffs layered with some distorted solos at the end.

With solid recording quality and clear delivery, Astral Winter shows a fantastic performance with “Winter Enthroned.” It’s definitely got that beauty and beast type of feel with all the different mixtures of soft acoustic guitars and harsh distorted guitars. And the vocals were right on par with their aggressiveness and evilness. Definitely give this album a shot!

8/10

Myspace - http://www.myspace.com/astralwinter0

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Megadeth - Th1rt3en (2011)

"Th1rt3en." Yes, the thirteenth album by Big 4 thrashers Megadeth is called "Th1rt3en." Notice the "1" replacing the "i" and the "3" replacing the first "e". How could you miss it? Dave Mustaine and company, along with classic era member David Ellefson, return for another go. After the widely criticized "Endgame" ended a two album run that found Megadeth back at the top of the thrash mountain, many thought it was time to hang up the strings, and ride off into the sunset. But Mustaine has never been one to listen to his critics. This time, he should have thought it through.

The opening riffs of "Sudden Death" are classic Megadeth, without a doubt. But as the vocals enter, something seems off. Mustaine sounds fine, but the lyrics seem off-putting, in a way that steals so much attention from the music itself. There are moments where he seems to struggle for certain notes, but all is forgiven with dueling solos and some old school fret work. I would venture to say that this song plays like a five minute instrumental with an unfortunate vocal track tacked on. "Public Enemy No. 1," suffers from a similar ailment, with some impressive thrash guitars buried in a sea of mediocrity. "I'm unbeatable, my mind is untreatable." This is just a taste of the lyrical wordsmanship that awaits you. Granted, Megadeth has never been heralded for the power of their words, but the message is lost in this drivel. Even 2007's "United Abominations" writer Mustaine would be disappointed in this current output. Every piece of music is tight, with each note played to perfection. He hasn't lost a step, in that sense.

Speaking of lyrical abominations, "Whose Life (Is It Anyway?)," must have been a joke that simply went too far. The pity is that the instrumental itself is above average, especially for this stage of their career. But this might possibly be the worst song written under the Megadeth name. "You don't like the way I wear my clothes." The collective faces of all the fans in the world cringe together each time that line comes through. Mustaine redeems his lost vocal skill with solo after solo, setting his guitar ablaze with fast fingers and brilliant pick work. The song that manages to stick out from the rest, "We The People" could be a lost recording from the "United Abominations" session. It isn't on par from the quality standpoint, as the vocal track is a throwaway, but the deeper meaning finally finds a home. The breakdown portion is refreshing, with a tremendous display of drumming shining through what is otherwise a muddled mess.

There are a few bright spots as the album progresses. The chugging riffs on "Guns, Drugs & Money" hold some weight, the first sign of a real groove on the album. The vocals? At this point, it seems better to just ignore them. Mustaine tries to recapture the glory of his previous work, but he falls flat with each verse. This is a theme that continues throughout most of the rest of the album, save for the next track, "Never Dead." This one is the closest you are going to come to the Megadeth you know and love. The music is a thrashing, headbanging affair, with insane riffs paired with great fills. Ellefson's trademark bass sound comes through time and again, giving us a taste of what we've been missing out on for all these years. The opening to "New World Order" may have your hopes rising, but as the first verse kicks in, those hopes are quickly dashed to bits. Mustaine truly sounds like a shell of his former self. Where there were once dynamic, powerful vocals, there is a struggling, fading voice. The drumming is the real breakout star in this one, with crazy double kicks drowning out the weaker instrumentals. A great guitar solo takes the cake, almost wiping your mind of the nonsense you just heard.

Airy effects on a guitar intro is not what most fans of this band would come to expect. But the Van Halen style "drill" sounds are even farther from what you want here. The standards just continue to drop, with songs like "Fast Lane" accomplishing nothing, and "Black Swan" sounding like a second rate version of a classic Megadeth track. Both feel uninspired, lacking any sort of edge or quality control. Sure, the musicianship is good, but that shouldn't be good enough. The vocals are wasted, and drag the rest of the sound down with them. "Wrecker" is more of the same. Some great riffs, backed with a great bass line. The drums are, once again, top notch. Shawn Drover manages to impress, time and time again. But again, Musatine's subject matter and lyrics simply don't fit. Songs about homewreckers and whores should be left to the R&B and pop divas who do it so well.

For a brief period, thanks to the solo on "Millenium Of The Blind," we can sit back and enjoy. Then, as before, the vocals ruin it all. The lyrics are particularly sour, but the delivery is even moreso. The production doesn't even come across as clean, which is a disaster for a band of this caliber. Mustaine and company meander through the final two tracks, beginning with "Deadly Nightshade," which could easily be mistaken for the Weezer song "Hash Pipe." This contains, arguably, the best solo on the album, with some very catchy riff consuming you in the breakdown. The thirteenth track to the thirteenth album, simply titled "13" is a ballad. Yes. A ballad. Acoustic tones and softly sung lyrics take the lead, breaking into some more daring guitar work in the latter half. "I've stood here 13 times, and I'm still alive." Puzzling end to a confusing album.

Nothing could ever tarnish the legacy that Dave Mustaine and Megadeth have built over the course of two decades. As a man, he has withstood injuries, alcoholism, and an army of critics saying that he couldn't survive in metal. He has proven everybody wrong to this point. Reunited with David Ellefson, it felt as though Megadeth was primed for a return to the glory days. But, no matter how much we long for the past, our heroes can never go back. And "Th1rtEen" is reality, slapping all of us in the face.

6.5/10

Official Site - http://www.megadeth.com/
Myspace - http://www.myspace.com/megadeth

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