Dopethrone - III (2012)

Following up with their third full length album, Dopethrone has stepped up from the underground metal scene from Canada and delivered a bang. The trio have come up with "III" which contains five monstrous track filled with destructive guitar riffs and wicked drum rolls. They offer devilish death metal growls along with groovy southern melodies.

The album opens with a dark spoken word in "Hooked." The title fits the track perfectly because you'll become hooked right when the guitars drop. They have a very southern flow to them making you want to bob your head immediately. Soon after come the drums which shower you with bright cymbals and crisp snares. Although they list themselves as stoner metal, the vocals have a more harsh tone to them giving off a deeper growl. It definitely has a more demonic feel to it. Most of the tempo stays the same throughout the song along with similar riffs, however the they pick up things up with a very catchy groovy melody towards the end that makes this track well worth it.

"Reverb Deep" follows with ten minutes of pure violence. It also opens with some spoken word which shortly gets cut off by wretched distortion and punishing chugging guitar riffs. Cymbals splash away recklessly in the background while booming kicks and snares rumble behind them. The vocals enter about a minute in with ominous screams that'll send chills down your spine immediately. The bass delivers the same melody backing up the guitars as you continue to bash your head to the chugging patterns. Towards the middle of the track you'll come across a calm and insane guitar solo that'll will definitely sweep you off of your feet. The only problem with this track is that after a whie it gets a little repetitive with the same guitar riff from the beginning. This song could have only been five or six minutes long and still would have gotten its point across.

"Storm Reefer" also opens with spoken word and then jumps right into groovy guitar riffs. The distortion scream down you throat with wicked tones. This seven minute piece of work follows similar structure to the one before it however it changes up towards the last two minutes as a magnificent guitar solo steps in with a real blue like feel to it. It's drenched in sound effects and filters giving it a very psychedelic tone. "Devil's Dandruff" is the shortest track on the album running for a little under four minutes long. I think it could have easily been blended with "Storm Reefer." The tempo steps up a little while the guitars become a little more violent and loud. The drums continue to beat you into the ground with thunderous fills and relentless snares and cymbals. The growls jump in and out keeping you add the edge of your seat the whole time.

The final track, entitled "Cult Leader" wastes no time with spoken words as it jumps right into a slow guitar riff that is soon joined by another distorted riff. This track definitely has a doom feel to it. The tempo is slow and the riffs are dark and progressive. eventually they do add some spoken word on top of theses riffs but then cut it off with more wretched screams that come in over top. The distortion on the guitars are very muddy and give a solid stoner feeling to the mix. They give you an early solo abut two and a half minutes in with more trippy sound effects and groovy tunes. The end of the track gets a lot louder with exploding drum fills and wild cymbals that collide in the background. This is definitely the way to end this beast of an album.

Dopethrone has a very unique sound in their guitars making it crystal clear tell them apart from others. The distortion has a very distinct sound to it in each song. "III" may only have five tracks but these track will definitely have you wanting more. So be prepared for the replay button. You won't be able to help yourself.

8/10

Official Site - http://dopethrone.bandcamp.com/album/iii

Read more ...

Apathy - Ghost Light (EP) (2012)

Calling something "progressive" doesn't always mean something. It has become a word that musicians use, far too often to prove to their fans that they understand musical evolution. Sometimes, it is even used as a way to disguise that their music has changed, for the worse. But for Swedish multi-instrumentalist Viktor Jonas, the word is so much more than a tag line for his music. His creation, a project that bears the name Apathy, is using progressive elements to further his craft. On his new EP, "Ghost Light," Jonas tries to rewrite the definition of that oft used word, and once again give it meaning in the ever changing world of metal music.

Even in the first few measures of "Broken Horizon," you get a sense of cohesion between guitar, bass, and drums. In his chord progressions, Jonas creates a tremendous sense of melody and balance, on that is only amplified by the light use of keys. The vocals, provided by Claudio Lousada, are outstanding, both in clean and harsh form. With the use of both styles in such close proximity, the stark contrast between light and dark comes forward. Each segment flows flawlessly into the next, carrying you along for the smoothest ride possible. The lone track that could be classified as "epic" in length, "The Immense Seas of Nothingness," may bring to mind the more recent work of Opeth in its construction. But the true beauty is that Jonas has a style all his own, a refreshing take that cannot be pigeonholed as a clone or sound-alike to any band. Deathly growling vocals are the perfect complement to the sweeping melodies that buzz from his guitar strings. But even as everything cuts away, leaving only a layered clean guitar melody, your foot continues tapping. The impending explosion has you on the edge of your seat, and never disappoints. Through a staggering thirteen minutes, you ride a rollercoaster of beautiful and terrifying metal arrangements, all executed with flawless detail.

After the emotional investment in the previous track, the short, clean guitars of "Sleep" are welcomed, soothing your pain before the completely instrumental second half of the EP, recorded years before, begins. And while beginning with "Journey's End" may seem strange in title, it makes perfect sense in scope. Vaulting from delicate riffs to a full blown wave of distortion and double kick drums, Jonas pours every ounce of himself into every movement, pulling you into his mind and soul. The drums, whether they are programmed or not, are musical dynamite, crashing through with explosive precision. A dazzlingly sweet outro fades away, and an equally glowing intro comes into being on "Shadowdance." While the mix isn't as clean on this side of the middle, each elements still shines brightly on its own. Layered guitars sit atop a wall of drum action, telling every bit of the story, sans vocal. A track that stands under four minutes, this is one that will not soon be forgotten. The melodies are intoxicating, especially in the presence of heavier elements. The final track, "Beyond Salvation," is a means to an end, one that could be a trophy for a musician of any upbringing. The immense sound of the opening is crushing, giving new meaning to atmospheric. Guitars whine and cry above a rumbling bass and thunderous drums, a simplistic yet powerful means of closure.

It isn't often that someone describes their music with a set of words, and captures everything that he or she does so perfectly. Viktor Jonas has done just that with his "Progressive Doom/Death Metal" tag. His Apathy project embodies what progressive music can be, taking the doom and death metal genres in a different, more melodic and well constructed direction than his contemporaries. Viktor Jonas isn't a rock star. He is a musician. With every strum of the strings, press of a button, touch of a key, or twist of a knob, he is giving of himself for your enjoyment. And "Ghost Light" is the man himself, written into musical form.

9/10

Bandcamp - http://vjonas.bandcamp.com/
Facebook - http://www.facebook.com/pages/Apathy/116709615006241

Read more ...

Gates Of Oblivion - Mirrored Reflections (2012)

Shining brightly from the metal scene in Switzerland comes a band by the name Gates Of Oblivion. This symphonic/gothic five piece give a refreshing sound to the genre and add some interesting little twists of their own into the mix with their new album, entitled "Mirrored Reflections." Musically it is full of ravishing piano riffs and wicked guitar solos and fills. The vocals come at you in a few different forms keeping things changing and always leaving you guessing. You'll notice some of the vocals are perfect while others are just hit or miss.

The album is opened by a short intro track, entitled "Into The Mirror." Whispers fill the air as beautiful synths take over the background. This slowly fades into "Sunscript." Gorgeous piano riffs begin to play as chugging guitars blast away with quick riffs behind them. The verse starts with dark growls delivered in an evil manor. This then switches over to clean female vocals that hit operatic notes. The female vocals sound pretty solid on their own but I feel that they do not mix well with the music. She jumps out way ahead of the guitars and drums and sorta pulls you away from the music. The guitars really pick up towards the middle of the track when you come across a magnificent guitar solo that'll blow your mind. Double bass pedals rumble behind you as your hit with this minute and a half masterpiece. The last round of the chorus has both the female voice and male growls layered on top of each other attempting a beauty and the beast type of sound however the female vocals just end up distracting you from everything else. They just don't seem to fit very well.

Then you come across songs like "Before The Sunset" and "Before The Sunrise" which are solid ballads where the female vocals go along perfectly with the music. Most of these ballads are filled with angelic piano riffs and ravishing strings that float gently in the background. Her voice really captures a strong image of each song and keeps you hooked from beginning to end. They even throw in some fantastic guitar solos that really put them over the top with breath taking melodies that will sweep you off your feet every time. You'll definitely find yourself going back to these tracks constantly.

"Twilight Angels" opens with some absolutely stunning piano riffs that are combined with some impressive drum rolls using complex tom and snare patterns along with punchy double bass pedals that'll have you bobbing your head right from the get. This track runs for over nine minutes long and is definitely worth every second of your time. The female vocals fit a lot better in this song as well as you'll notice that everything is more balanced. The detail in song structure will have you hitting the replay for sure. You're definitely not gonna catch everything the first time around. The guitar solos alone are just completely outstanding.

Towards the end of the album you're going to run into a song, entitled "March Through." This seven and a half minute track will have you hooked immediately with its catchy piano intro. It is subtle and yet has a very epic feel to it. Chugging guitars build up the verses with heavily distorted riffs that follow the piano right into the female vocals. Again, I feel that the female vocals work well with their surroundings in this track as well. It seems to be hit or miss with each track. As far as the guitar solos go, your hit with another amazing solo about half way through the track. The melodies that are thrown at you are just incredible and definitely hypnotize you deeper into the track. These solos are what will have you coming back for more and more. Also the drum rolls within each verse is insane. Each fill is different and yet equally impressive. This is definitely a must hear track.

It seems that the band had some on and off issues with the female vocals towards the beginning of the album but slowly fixed everything by the end. Perhaps there isn't even anything wrong with them, maybe it's just the mix that is really off. Either way they definitely came through in the end with some powerful tracks that made "Mirrored Reflections" well worth the listen. Gates Of Oblivion seem to be heading in the right direction so make sure you keep an eye on this group.

8/10

Official Site - http://www.gates-of-oblivion.com/
Myspace - http://www.myspace.com/gatesofoblivionmetal

Read more ...

Sanity Obscure - Subterranean Constellation (2012)

 

Singapore based four piece Sanity Obscure have a philosophy. They believe in their collective minds that music should have no boundaries. And that, if such boundaries do exist, they should be pushed and stretched as far as possible. On their new album, these four musicians hoped to begin that process, by combining an array of styles and sounds, ranging from thrash to death, black metal to hard rock. But philosophy is only madness without a sense of order. On "Subterranean Constellation," chaos and anarchy reign supreme, as this experimental band fail to expand our horizons, and instead push our buttons.

There is something scary in the opening track, a short intro called "Dreams - Manifestations." Whether it is the ominous singular chords that ring out, or the use of keys for atmospheric, and evil, purposes, a chill up your spine wouldn't be uncommon. The blood curdling screams that follow are not short on devilish tone either, only heightening the sense of evil. But as you move into "Rise Of The Machines," things get a little hectic. The opening stanza has a thrash element to it that, when combined with black metal style vocals, comes together in a fairly successful way. It is in the sections that follow that things go off course. Basic rock riffs with harsh vocals don't have the same weight, even with double kicks aplenty. The music often borders on that of System Of A Down, with intense grooves and fluttering guitar work. It, unfortunately, does little to hold your attention for the better part of four minutes.

Somewhere in the more stripped down verses of "Incarceration Divine" is the sound of a more mature band, a sound that seems to come and go with each passing measure. Even from verse to chorus, it is as if you are listening to a completely different album, if not a different band entirely. Rather than one cohesive theme, all of the pieces seem disjointed and bizarre when strung together. By the time you have reached "Synergistic Permutations," any of that initial pop is gone, leaving you with a cluttered mess of styles and tones, one that can't be easily identified. Sure, there are still some nice riffs, but they are often buried amidst clunky drums and layered vocals that don't seem to go anywhere. The latter half of the track, one that starts as straight black metal, quickly devolves into farce, with a wild guitar solo that could be mistaken for a child slapping at strings. The first positive burst in some time comes in the form of "Patient Zero" where, minus some of the space age effects, the band has settled into a groove; or so it would seem. Before you can complete that thought, a drum roll bursts through, boasting Lars Ulrich's "St. Anger" era snare sound. And, as with the tracks before, chaos ensues. Guitars crash into bass and drums, and you are left with a muddled affair.

With two thankfully short tracks following, "Doublethink" and "Hyperboreas," there is little time for all of the added nonsense that seems to creep into every track by the three minute mark. But the former still manages to introduce a fair amount of clutter, whether it be the constant wall of drums, one that is hard to get by, or a solo that, while well played, fails to elevate the track in any way. The latter, also clocking in at just over two minutes, is a mess of a track. Black metal vocals flank a constant "chug chug" pattern, with a bizarre guitar melody to follow. By this point, the music is predictable, if not completely sour. The keyboards do peek through for the first noticeable time, adding some electronic effects to an already crowded mix. If you have survived this far, then the nearly four minute closer, "Afflicted Mind," is all that stands between you and sweet, musical freedom. Cliche, messy, and poorly thought out, this eighth and final track is everything wrong with the album, rolled into one big middle finger for the listener.

A great band takes one style, and performs it brilliantly. Other bands take many styles, and perform them poorly. Sanity Obscure, for all their ambition and thought, fall squarely into the latter. They hoped to stretch musical boundaries, an admirable endeavor. However, through these eight tracks, they have done more to hurt their cause than help it, leaving a legacy of confused songs and poor execution. Every positive section, all ten seconds per song, is quickly dashed by the carelessness or pure lack of evolution that follows. If they could settle on one theme, one method, one style, perhaps there is redemption to be had. But "Subterranean Constellation" might be enough to sink them for good.

3/10

Bandcamp - http://sanityobscuresg.bandcamp.com/

Facebook - http://www.facebook.com/SanityObscureSG

Read more ...

Thira - The Ascension Construct (EP) (2012)

Making a go at the industrial heavy metal scene, a fairly new band by the name Thira has stepped forward to new material. The band has released a new EP, entitled "The Ascension Construct." It's got some powerful guitar riffs that chug away in your face non stop through its entirety. Explosive drum rolls and shattering cymbals is another key element that may really catch your ear.

The first track, entitled "Release," starts off with futuristic sound effects that quickly jump right into monstrous guitar riffs and wicked deep screaming vocals. The riffs chomp away at you with dominating chugging riffs while your beaten into the ground with thunderous double bass pedal kicks and snapping snares. The first half of this track will completely destroy you with its heavy riffs and beastly vocals. The second half changed up completely as it takes the distorted guitar riffs down a notch. Also the vocals switch to a few clean verses before going back to the wretched screams. The break down starts to lean a little more toward towards the hardcore side of things with heavy breakdowns that sound solid but are very basic patterns. I think a wild solo would have done the job a lot better.

"The Corroded" opens with some funky sound effects that pan left and right constantly as drums slowly fade in with light cymbal patterns. The trippy keyboards lead you right into powerful guitar riffs that blast away at you with dark melodies. The vocals definitely have the power to knock you off your seat. You'll find similar vocals in "Left To Kneel." Punishing lyrics come through and completely destroy you right off the bat. They manage to include more futuristic sound effects that blend in well with the crushing guitar riffs and thumping bass lines. The breakdown towards the middle of the track is overwhelming with bass and distortion however i feel that a wicked solo would have done a solid job yet again. The vocals start to get a little eerie when the clean vocals step in carrying an evil tone to the mix. The strings in the background add on to the haunting sounds and will leave you flinching yet wanting more.

The fourth track, "In Sinking Earth," is the shortest track on the EP running for just under four minutes long. It wastes no time jumping right back into the verses blasting harsh screaming growls at you from all directions. It definitely packs a punch with its groovy bass lines and odd sounding guitar riffs. The drumming definitely picks up as well. Each beat becomes more complex and louder knocking you on your ass. "Through The Collapse" is the final track on the EP and definitely finishes you off after being beaten into a pulp for the passed four tracks. Fast chugging guitar riffs will have you throwing up your devil horns an pumping you fists in the air immediately. The tempo of the song changes up a few different times keeping things refreshing. You'll definitely be hooked as you wait to see what hits you next. The complex breakdown towards the middle of the track makes the whole thing worth hearing. Relentless double bass pedals drill you into the ground non stop while the vocals go off on a rampage. Definitely make sure you check this track out.

Overall, Thira is pretty straight forward with their music. The have a solid sound that repeats again and again in each track. The songs are powerful and full of groovy bass lines and punchy kick drums however they never really step outside the box. They need to add a little more creativity if they plan on standing out from other bands. Otherwise people will just rather hear Fear Factory instead. Either way, this EP is definitely worth a shot.

7/10

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

Read more ...

Gojira - L'Enfant Sauvage (2012)

Gojira continues to make a huge impact in the metal scene as they drop their long awaited new album, Entitled "L'Enfant Sauvage." The band manages to keep their sound where you can recognize that it's them immediately however they also get very creative with their structures and patterns along with each bridge and breakdown. You'll definitely want to get up and mosh to this one.

The album opens up with "Explosia" sendin harsh guitar riffs screeching with distortion. Booming double bass pedals roll in with complex riffs leaving you bobbing your head for sure. There's a groovy bass line in the background that will completely knock you on your ass. The tempo switches up constantly keeping you at the edge of your seat the entire time. Rough shouting growls pick up the verses with an aggressive delivery. Chugging guitars take over during the bridge as they throw bone crushing riffs at you from all direction. This six and and half minute track is definitely the way to open up an album.

Up next is "L'Enfant Sauvage" which starts out quiet but quickly shatters you speakers with a mixture of crashing cymbals, fast pace double bass pedals and thunderous guitar riffs. The cool thing about the vocals is that even tho they are violent and blaring in your face, they are pretty clear and easy to understand the actual lyrics. Another element that you'll definitely want to pay close attention to is the drumming in this track. Crazy patterns of toms and snares beat you into the grown with overwhelming speed and power. The guitar work is amazing as well. They constantly throw in short melodies in between verses giving it a catchy tune. Then the vocals come through and completely destroy you.

Songs like "The Axe" and "Planned Obsolescence" will completely sweep you off your feet with the damaging guitar riffs and ridiculously fast double bass pedals. Each track runs through you faster than you'll even realize. They give you absolutely no time to breathe as they stay relentless throughout their entirety. There is also some haunting clean vocals in "Planned Obsolescence" with strange filters on top adding a very odd sound to the voice. They then switch right back to the brutal growls they you know and love. The track will definitely get your blood pumping. "Mouth Of Kala" is another must hear track. This one pounds away at you with constant double bass pedals while messy distorted guitars take over the background with beastly riffs. The vocals rip you to shreds with more wicked shouting growls. Don't be surprised when you find yourself hitting the repeat button multiple times.

Gojira has continued their diverse art work giving you tons of strange and unusual sounds with their guitars and other instruments. It seems that they get better and better with every new album. "L'Enfant Sauvage" definitely goes above and beyond their previous work. The song structures are complicated and filled with surprises as the music constantly knocks you down and picks you up again. This is definitely an album you don't want to miss.

9/10

Official Site - http://www.gojira-music.com/

Read more ...

Lyceum - Demo (2012)

The common stereotype of metal musicians, and fans, hasn't really changed much over the years. Stupid, meat head, uneducated. We've heard it all before. But with a new wave of American metal rising, all that is about to change. Concord, California based five piece Lyceum are ready to inject a healthy dose of intellect and thought into metal, beginning with a newly released demo. The band name, referring to the academy of Aristotle, is only the beginning. through the course of three songs, the band take you on a journey of epic proportions, one that is as remarkably written as some of the classic literature of the finest universities.

The thunderous gallop of drums launches you into "Armada," pushing you head first into a rib shaking growl. For a guitar riff so heavy, there is a lighter side, a folk inspired groove that may elicit a nod of the head immediately. The vocals are harsh, but they use grit and abusive power to deliver lyrics that are not merely throwaways. Hidden in the deathly roars and blackened screams are tales of heroism and battle, ones that must be read to be appreciated. As with so much melodic death before it, this burrows its way into your brain, leaving a mark that won't soon fade away. But the true power of the instrumental comes in the outro portion, where an intricate, darting bass line becomes entwined in the melodic guitar riffs. This explosive ending is only the beginning.

And while "Exiled" may start out like a black metal opus, that is only a small cross section of what is to come. Machine gun snares and cymbals start a flurry of percussion, a whirlwind of toms and kicks that leaves you dizzy. But before long, you find yourself lost in a crashing wave of guitars and bass. Vocalist Blake Peterson has quite the story to tell, and he delivers it with gusto, and a healthy dose of devilish screams. And while the midpoint may seem like a fight with chaos itself, it is an organized one. Rising from a quick solo, the band returns to form. The sheer strength at play in the final two minutes of this track is almost overwhelming, both lyrically and musically. It is otherworldly the way the music carries the sound of struggle and triumph, while the lyrics give you a play by play of the entire tale. Lost in the casual writing of the melodic death/folk movement, tales of battle don't need to be one dimensional to bring a crowd to their feet, as is clear here.

Over him the white sun rose as he departed for the mountain pass
Many days he traveled into the windswept heights

But on the seventh day as the sun passed the northernmost peak
He descended upon the forsaken city.

The final track, "Dominion," doesn't take the normal "full circle" approach that so many albums typically do. Instead, it opens the story, gives it a broader stroke, one that can carry on from here. There is no shortage of momentum to be had either, with the constant building throughout the album. In the duel guitar attack of Sean Siino and Vince Avitto, you get the perfect balance of dense chugging and fret acrobatics. And, thanks to a crystal clear mix, there is an equality to all pieces, which allows each one to shine in their own right. The four musicians stand as pillars for a vocal delivery that can shake you to your core, while also giving you reason to read along.

We will restore balance with rivers of blood.
Send out the riders of the throne,
They will seek the lion's crest throughout our lands,
And I will await their word.

Lyceum is only an infant in the lifespan of a band (at least I hope so). This demo is like the first steps; except instead of stumbling and wobbling forward, they came out running. There is an intelligence to the way they write, the way they craft heavy, yet rich tracks. It would be easy to fool someone into thinking that this is a three song EP from one of the established titans of melodic death. Slap a different band name on it, and the metal community would be shocked that "Band X" or "Band Y" have finally taken it to another level. But this isn't a veteran act. This is Lyceum. And if this is what they can do now, wait until the teenage years.

9/10

Official Site - http://www.Lyceum.at
Facebook - http://www.facebook.com/LyceumCE

Read more ...