The Podcast: Episode 87 (Youth comes to take the throne)

Is the passing of the torch a real phenomena in metal, or are we just imagining things? It seems like the best bands of the last few years have started to fade, and new bands must step in to take their place every day. This week, Sleepwalkers proved that they have the talent and the power to be the top death/doom band in America, while Nymronaut gave us a thick blend of space rock and sludge on their new EP. Tristania may still have the same name, but it may be time to move on after their latest effort. Exthenia gave us a taste of some youth-infused guitar wizardry, while the return of a familiar face gave the new Northsong album a lift into a new stratosphere. Young to old and young again, I guess.

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Northsong - The Final Journey (2013)

We love to talk one man bands. We are infatuated with the concept, and obsessed with the results. But it wasn't always this way. When we began this humble vampire blog in 2011, we had no idea what we would find along the way. It was two men, hundreds of miles apart, that changed the way we looked at how much is made. Dan Klyne, the lone member of Appalachian Winter, and Cortland Runyon, who makes the gears move on Northsong, gave us reason to believe that while one is the loneliest number, it is certainly not the weakest. Their respective works stand as testaments to their talents, yes, but also to their singular resolve. And over the last two years or so, our site has grown. And they, in turn, have grown faster than we could have imagined. Klyne reached new heights with his latest effort, "Ghosts of The Mountains." And with the release of a new full length album, Runyon looks to have done the same. But despite the name, 'The Final Journey" is anything but. With his inspiration working overtime, and his talents growing stronger by the day, Runyon and Northsong are far from finished with us.

It seems odd to say that the first installment of the "Final Journey" trio makes a solid opening track, but it does just that. Runyon creates a very deep mix, allowing the music to speak for itself. With an assist from Hvile I Kaos cellist extraordinaire Christopher Brown, the stunning melodies that fill the track are both a testament to the forward thinking and strong melodic sensibilities of a musician at his prime. The music bends and sways, beautifully atmospheric and refreshingly rich. There is a clear and distinct evolution in both sound and structure, as compared to the debut EP some two years ago. The connection between parts one and two is seamless, which is important if not easily overlooked. Momentum has already been built, which gives the second installment a head start. Runyon's vocals emerge for the first time, subtle at first, but moving into the low growls he has mastered. The constant presence of double kicks is the driving force here, bolstered by a sweeping, if not hidden symphonic layer. It's the smallest touches that do the most good here, with every minor tone change and pluck leaving a lasting impression. Running a risk with a spoken word segment, which can either aid or stunt the growth of a song, Runyon chooses wisely. The German speech, provided by Wilbur Salisbury, begins what may be a highlight of the album. The instrumentation is at full strength here, with ringing guitar chords laying down a thick layer of distortion on top of the biggest drum sound you've heard from the album yet. The main melody, presumably provided via keyboard, can only be dubbed enchanting. This makes for a dynamic contrast between beauty, and the beast of a harsh, blackened vocal. An aura of triumph leads a rousing outro.

For the first time, though, the mix becomes a weak point as "Yggdrasil" begins with a slightly flat sound. The opening trio of drums, guitar and vocals merge together into one solid chunk. While their strength is undeniable, it becomes difficult to separate the three. This is only a temporary hurdle, however, and as the track begins to shift and change, so does the soundscape. The difference might be immediately clear, but as "Northern Blood" fades in, the inadequacies of the previous track come with it. There is a clarity to the instrumental here, despite multiple layers. It's what Runyon does outside of the guitar, bass, and drum realm that makes it so profound, and this is no different. Rolling kick drums can only go so far without proper accompaniment, something they get in spades here. Between the melodic, chanting vocals, and the intricate symphonic elements, there is a lot to take in all at one time. The much shorter "Trolls" is a complete 180 flip, as you are thrown into a black metal scream fest, bringing the element of evil and treachery back to the fold. The screeching vocals make your skin crawl, and also give you a reminder as to the range you are witnessing.

It would seem fitting, of course, that the sound of flowing water would open "The River;" but it is what follows that will become the lasting sound of the track itself. The intro music is very clean, very crisply delivered. The drum beat is sure to get a head nod or ten out of each listener, and it is only the base for what comes after. Beautifully plucked strings and synthesizers form the body of the piece, creating a perfect flow. The spotlight in the latter part of the album shines brightly on "Mímisbrunnr," which may best embody Runyon's viking and folk metal roots. It also captures him at his musical best, delivering some of the strongest guitar work on the album. Not only do his riffs burst through, but his vocals match them stride for stride. The breakdown, of sorts, that surrounds the four minute mark sets the table expertly for the remaining outro. But it is the epic conclusion to the "Final Journey" saga that will be most talked about here. The track, which clocks in well over the twelve minute mark, has the evolution of an entire album captured within it's walls. Not to be lost in all of the instrumental wizardry, the lyrical content is both enjoyable and easily dissected. The deathly growls come full circle here, hitting their most powerful levels. What stands out most is the way Runyon doesn't just tell you about the adventure, but the way he takes you along with him. It becomes a sort of first person experience, which is difficult to come across.

When you've been fortunate enough to see someone rise from their beginnings into a full fledged star, everything they do resonates just that much stronger. By no means can we take any credit for "discovering" Cortland Runyon and his Northsong project. In fact, he found us nearly two years ago. But it has been incredible to watch the growth over that scant 730 days worth of time. The four songs on "Winter's Dominion" were better than good; they inspired us to bring together a release a sampler in late 2011 in hopes of garnering some attention for some bands who had so much to offer. But the changes that have occurred since then are remarkable, to say the least. There is a maturity on display here that only comes through sheer dedication and commitment to one's craft, something Runyon obviously has. And that isn't to say that "The Final Journey" will be the best thing we get from the Northsong name; it would be safe to say things will only continue to get better from here. But the amount of time, blood, sweat, and screams that went into this album are worthy of praise.

9/10

Bandcamp - http://northsong.bandcamp.com
Facebook - http://www.facebook.com/Northsong

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Exthenia - Dominate The Wind (EP) (2013)

Sometimes, life just isn't fair. While many aspiring musicians wallow in the unfortunate talent-less pool, their counterparts go off and show that the metal scene is more like the movie "Twins" than we ever could have imagined. On one side, you get the runt; the Danny Devito, short, bald, fat, joke bands. On the other side, the model of musical perfection; talented, creative and brimming with ideas. We've all seen too many of the former, both locally and internationally. But it is the latter that keeps us coming back. And Exthenia, for their six months of existence, have already given us enough to show which side of the fence they are on. With one demo already released, this Finnish three piece must have their DNA twisted in just the right way to enable their first official release seem all too easy. The five songs on "Dominate The Wind" may lack the clean, crisp sound of a professional engineer, but the substance far outweighs the vessel, something they prove time and time again.

It doesn't take long for the title track to inject a little energy into your diet, as the guitar work comes fast and furious right from the onset. What "Dominate The Wind" lacks in slick production values and needless overdubs, it more than makes up for in pure skill. Lead guitarist Mikael Weckström blazes a sweep picking trail throughout the track, flanked on one side by a high speed drum attack, and on the other by an unpolished and brutally raw vocal line. The final twenty seconds are eye opening ones. The sheer amount of instrumentation to take in, particularly on "Falling Down," is incredible, with multiple layers of guitars and drums flooding the mix. The lead melodies alone would be enough to pad out the entire run time, but the way they lock up with the rhythm guitars, provided by vocalist Juho Raita, only strengthens their ability. The barely three minute offering eliminates the need for useless filler, and keeps things brief, concise, and powerful. With the longest track, "Eternal Spirit," clocking in just over four minutes, it seems the band have found a perfect formula for their message. And while the metallic crash of cymbals can be overbearing, sometimes drowning out the leads, they do redefine the term "heavy metal." Drummer Ville Lähteenmäki blasts his way through verse and chorus with a flurry of snares, toms, cymbals and furious double kicks. His work could easily constitute an hour workout session.

Their most polished effort, the shredding masterpiece of "Disappointment" shows off the band at their most focused, and perhaps most deadly. It is their seamless transition from verse to chorus, mid tempo to high, that comes off as being much more precisely planned and rehearsed. But it is the breakdown portion that will likely stand out here, with the band adopting a few scarce moments of pure melody, nailing down a guitar lead that sets off the final assault. Weckström, in all of his virtuosic talent, often brings to mind the incredible, albeit fictional, playing of one Skwisgaar Skwigelf. His tone, reminiscent of Skwigelf's real life musical double, Brendon Small, is larger than life. That album finishes with another exhibition in drumming domination, as Lähteenmäki powers his way through a series of earth rattling double kick segments, somehow refusing to waver under what must be a massive amount of exhaustion and lactic acid buildup. For his part, Raita delivers an outstanding vocal performance, if not slightly overshadowed in the mix. Cleaning up his place in the pecking order might, in fact, be the difference in their future efforts.

It seems absolutely crazy that, after just 6 slim months, Exthenia are at this high level of operation. They seem to have all of their proverbial ducks in a row, on this their first official release. They aren't trying to disguise themselves as anything other than what they are. This is melodic death metal, with an infusion of some major thrash riffs. No frills, no lacy borders or hidden Easter eggs. The straightforward, full speed ahead nature of the EP is part of what makes it so enjoyable, and so painstakingly good. Twenty minutes is absolutely a finite measure of time. But rarely has it felt so much shorter, so much more compact and compressed as it does here. Raita, Weckström, and Lähteenmäki don't have it down to an exact science yet; a date with a proven engineer and mastering firm might prove me wrong. But they've shown that the talent pool may be large, but it is certainly not divided up equally. From where they are standing, things are looking pretty damn good. From the other end? A lot of bands and aspiring musicians will be looking up at the giant-to-be.

8.5/10

Facebook - http://www.facebook.com/Exthenia
Youtube - http://www.youtube.com/watch?v=SzSeiw5YydM

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Tristania - Darkest White (2013)

If anyone is a fan of symphonic gothic metal, chances are they’ve at least heard of Tristania. While not as mainstream sounding as Within Temptation or Sirenia, they have definitely built a strong fan base. With  the release of “Beyond the Veil” in 1999, Tristania made something that was hauntingly beautiful and completely unforgettable. It was almost the perfect album with it’s harsh male vocals complimented by lush soundscapes and gorgeous female vocals. They hit the proverbial high mark with that album, but everything after wasn’t bad either. “World of Glass,” “Ashes,” and “Illumination” all had their fair share of incredible songs. It’s when the band saw the departure of the lead vocalist, Vibeke Stene, that they started to falter. On “Rubicon” it was very clear they were going in a different direction than previous efforts. Mariangela Demurtas wasn’t trying to imitate Vibeke Stene in the least, and that change in vocal style really brought down the appeal of the band. The vocals went from operatic and grand sounding to an almost monotone sound that had no dynamics. “Rubicon” wasn’t a bad album per se, but it in no way stacked up to anything they’ve previously done. Now, three years later, they’ve released their new album “Darkest White.” Again they’ve missed the mark and created something that’s more woefully boring than anything they’ve ever done.

Right from the very start of the album with “Numbers,” the band sounds extremely bored. It’s all over the place, sounding like three different songs in one. It’s also one of the most repetitive on the album. Not a good way to start it off. The next track, “Darkest White,” has a chorus that almost sounds like Tristania of old. Too bad it’s stuck in the middle of ho-hum verses and repetitive riffs. The album trudges along the next four songs with the only thing standing out being the chorus on “Diagnosis.” It’s ethereal and enjoyable. Too bad the rest of the song isn’t like that. The album really hits an awkward stop with “Night on Earth.” The beginning riff sounds like something off of Tool’s “Lateralus” and then goes into something that sounds like it belongs on the radio. The song is so mind numbing, boring and out of place on an album that’s already full of out of place songs. The next track, “Cathedral” is one hell of a saving grace on the album. It’s a good song that’s catchy and has a great chorus. “Lavender” is sleep inducing and won’t be missed by the listener if it’s skipped. The album closes with “Cypher” and “Arteries” which are the two other good songs on the album. “Arteries” is probably the most dynamic song on the whole record and a good way to end it. It opens with a face smashing riff that leads into the best chorus on the album. If this is what they can achieve, why couldn’t the rest of the album be this good?

It’s hard to compare this album to “Beyond the Veil.” They are so incredibly different, that the band should have changed their name with the release of “Darkest White.” I don’t think a band should keep churning out the same album again and again; change is good if it’s done right. In this case, the new sound they were going for just came off lazy and very sporadic. Still, underneath all of this muddle and filler, there is still talent that can make another mind-blowing album. They have what it takes with the new members to create something extraordinary next time.  As it is, “Darkest White” is just an unfocused, Frankenstein monster of an album with good parts sewn together here and there.

5/10

- Brian DuBois

Official Site - http://www.tristania.com/
Facebook - http://www.facebook.com/OfficialTristania

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Nymronaut - EP (2013)

Think back to how many of your favorite bands were formed. Some, perhaps, were high school friends, coming together to reach for fame and fortune. Some, also, were label manufactured, put together in hopes of becoming the next big thing. Others were the visions of one man, hoping to get his/her message to the masses. But sometimes, the best bands are the ones formed on a late night at the bar, with nothing but good ideas, and good intentions in mind. And so it happened in Berlin, November 2010. You can only imagine what the conversation went.

- Hey Christopher, you still play guitar, right?

- Of course, Bjorn. Why?

- Well, Eloy and I were talking, and got to thinking maybe we could start a band.

- Oh, right, he's a drummer! Ya know, I never thought about that before. We could totally do it!

- Waitress, another round!

And so Nymronaut was formed, a mere two and a half years ago. But on their new EP, the three piece goes beyond their humble beginnings, and delivers something that may have everyone running down to their local pub to find a band.

Finding an immediate groove, the band launches into "Godspeed," showcasing some dense guitar work along the way. With both guitar and bass covered in a thick layer of distortion, you are treated to an interesting dynamic between strings and drums; that is to say, the clean drum tone mixes well with the amp rattling riffs and bass lines. The twang of the guitars just after the three minute mark is a tone setter, evolving into what amounts to a strong finish. What is most intriguing here is the change of stykles from track to track, something illustrated clearly in the shift from "Godspeed" to "Mesa." This is a more driving offering, pushing the tempo and limits of the sonic threshold. The band hold nothing back, but are far from out of control. Everything is laid out in such a precise manner, you feel as though you have a front row seat to the songwriting process itself. Even more than that, the changes elicit a blackout of sorts, making a four plus minute track feel like two minutes. You find yourself checking the run time as the track fades out, before you realize that it was all over that quickly.

The band subscribes to this theory again on "Droide," this time adding a grating bit of effects to the mix. You also find the first appearance of vocals here, which, depending on your viewpoint, may have been missed sorely in the previous tracks. The hazy melodic verse sections are just enough to push the track beyond it's limits, but they are not the deal breaker. Instead, the guitar work steps into another realm, alternating between wavering, staggering solos and driving sludge riffs. It could be said that the band saved the best for last; in this case the eight and  half minute titan known as "Hägar" stands as the closer and masterpiece of the EP. The band creates an amazing aesthetic here, even layering in some recorded spoken word segments over the layers of sound. You are again treated to that contrast between shaking riffs and a kick drum sound that is as crisp and clean as any in the business. What remains interesting is the shift between up tempo rock and the last half of the track, which is more drone and doom than anything else on the album itself. It works, in this case, but creates a dangerous precedent for others.

For a band still in their earliest stages, Nymronaut have exhibited a tremendous amount of care and understanding in their music. Their music is refreshing, even drenched in so many layers of distortion and feedback, which is a compliment in and of itself. It's easy to get lost in the messy, yet organized soundscapes of the EP, and even easier to find yourself looking ahead to what they might come up with next. But to stay in the present for just a moment, I struggle to find a description that fits the music performed here. And better yet, I dare not try for fear of pigeonholing an otherwise incredible effort. Instead, it would suffice to say that you have three like minded musicians, with a clear vision of what they want to play, what they can play, and what they hope to achieve. To think that this three piece came together over drinks and ideals; not sure what exactly they were drinking, but whatever it was, keep 'em coming. It certainly bodes well for the future.

9/10

Bandcamp - http://nymronaut.bandcamp.com/
Facebook - http://www.facebook.com/Nymronaut

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Sleepwalkers - Hollowpath (2013)

Some six weeks ago, we began to ponder a question that was quickly answered: where have all the giants of death/doom gone? It seems as though many of them have simply gone dormant, slumbering in some far off corner of the world, resting their bodies before the next wave of brutal, emotionally heavy music is aged and ready. But while the beast sleeps, someone else surely must take up their posts. It was then, in early April that Swedish two piece Soliloquium stepped into a position of power. Now, nearly two months later, a second power has emerged. Austin, Texas' own Sleepwalkers were not content to sit back, and await the return of the powerhouse acts that had defined the genre for so long. Instead, they step out on their own, with Mike Watts getting layer after layer of instrumental fury into digital format, and furiously scribbling down lyrics. Those words, those which form the basis for their debut album, are now the battlecry for a new generation of bands. With Caleb Bergen at the mic, the four track monster known as "Hollowpath," has arrived.

The title track, "Hollowpath," is like the first punch landed in a heavyweight fight; it might not be the heaviest blow of the match, but it is enough to snap you awake. Like the behemoths of the genre, you have a balanced combination of distorted guitars on top of the booming sound of a well tuned kick drum. With multi-instrumentalist Watts handling all of the musical duties, his solitary vision comes to life in every movement.  But it is the way his array of sonic attacks merge with the vocals of Bergen that forms the most significant quality the duo possesses. For a band in the earliest of stages, their maturity shines through here, keeping the waves balanced, but crushing all the way through the outro. It is the slow, down tempo chugging of "Sliver of Salvation" that begins to give the album a shape all its own. The doom elements shine brightest in this track, keeping the mood bleak and the down beats heavy. Bergen sees his growls gaining weight, as each guttural vocalization gets progressively more frightening. But even amidst all the deathly screams, Watts finds a way to infuse small touches of melody to the backing instrumental. His performance is layered perfectly, creating contrast in every riff. 

Perhaps the biggest splash on the album is made by "The Burning Oracle," which boasts not only some of the most devastating guitar work on the album, but also some of the most crisp production work. The pair have outdone themselves here, offering a professional quality track that stands up to the biggest names in the business. The sheer depth of sound they've achieved, with both the multiple layers of guitar, bass, and drums, as well as the brutally hypnotic vocal track, is far better than even they could've hoped. Just shy of the five minute mark, the deathly grows go to new, deeper lows. And while the finale stands as the longest track on the album, clocking in at a hair over seven minutes, it may feel shorter than the rest. Thanks to some creative time management, "Netherworld" is both the closer you deserve, and the one you needed right now. Watts balances his heavy handed instrumental with an oddly atmospheric melody, one that lurks just behind the first layer. With each kick drum, snare, and cymbal, he drives the nail deeper and deeper into the coffin lid, pounding you down with it. Ad when you think you can't possibly survive another wave, soft synthesizers play you out. A surprise, and a pleasant one.

It bodes well for the new wave of death metal inspired doom when some of the brightest stars of the up-and-coming, Soliloquium and Sleepwalkers, have managed to forge an identity all their own so early in their respective careers. Both bands offer some of the same things that made this genre a growth category in the last few years; but their personal touches, in both instrumental and vocal forms, show them to be far superior than the hordes coming out of the wood work. What makes the success of this debut even more satisfying is that it come from within the flat 50 of the United States, an honor for any American metal fan. But this new wave of stars begs a question: What kind of world are we living in when we are more excited about a potential full length from Sweden's Soliloquium and Austin's Sleepwalkers than we are for a new Draconian or Paradise Lost? I'd say we are in the world of 2013; and it is a damn fine place to be.

9.5/10

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

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

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The Podcast: Episode 86 (With summer heat comes... lists)

Listen to everything. That is the lesson of the week. Don't pass things up because the description doesn't necessarily appeal to you. This week, we got amazing surprises from three new bands. Tumbleweed Dealer really did infuse stoner metal with blues and western influences. Facade may be the leader of the new death/doom movement, and Wall Of The Eyeless is way too good to be a new band. But the veterans haven't left the building yet, either. Dark Tranquillity releases yet another masterpiece, more than two decades into their career, and Kaledon start a new story after the success of their "Legends of The Forgotten Reign" saga.

We are always looking for submissions, and we do our best to get to everything, in some time frame. Hit us up on Facebook or via e-mail to submit your band or album for review.

And make sure you check out the metal community growing on Facebook, Taste Ov Khaos. Great stuff to check out there, and run wonderfully.

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