Sunday, July 14, 2013

The Podcast: Episode 91 (Top 10 EPs Of The 2013... So Far)

Much like our top album list, narrowing down the best EPs of the year was equally tough. Darrell spent hours and days, agonizing over the bands and the order of his list, trying to make sure his listening pleasure was best represented. New bands, old bands, whoever. These are the best short form albums of the first half of the year.


The List:

1. Tatanka - Tatanka (Review)
2. Moss Of Moonlight - Winterwheel (Review)
3. Grayceon - Pearl And The End Of Days (Review)
4. Soliloquium - The Concept Of Escape (Review)
5. Hvile I Kaos - EP (Review)
6. Façade - Façade (Review)
7. Aleph Null - Belladonna (Review)
8. Unbowed - Unbowed (Review)
9. The Howling Void - Runa (Review)
10. Sleestak - Book Of Hours (Review)


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Saturday, July 13, 2013

The Podcast: Reader Questions, Volume 4

Our forth installment is ready for your enjoyment, or hatred. After answering numerous questions on Spotify, we've taken a break from the topic to talk about more pressing things. This week, Darrell answers reader submitted questions about other great metal sites, where to buy the best metal, and some of his favorite live experiences. It's an all Steve episode!

Want your questions answered on the podcast? Send your query to sorroweternalblog@gmail.com or visit our Facebook page.

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Friday, July 12, 2013

Cardiant - Verge (2013)


Who would have thought there would be such a distinct relationship between metal and math. No, we aren't talking about the subgenre known as math metal, but rather the similarities between the way an album flows, and the graphing function of your newest calculator. Straight lines, ones that follow a consistent slope upward or downward, are hard to come by, thanks to the mandatory ballad on most power metal themed albums. As a result, your album is usually an ebb and flow, rising and falling with each song, hoping to find the right combination. But for Finland's Cardiant, a now six piece band from Hämeenlinna, the graph that results from their latest album may look more like a bell curve than a mountain range. Whether it stands as an indictment of the ordering of soungs, or if there is just too much filler for their own good, "Verge" does not get the straight line, jagged results you would expect or hope for. After a small rise and a big dip, it would take a lot to get this album back above the X axis.

Explosiveness may be the key ingredient early, as the band wastes no time delivering a gut punch on "Justice Turns Into Revenge." As beneficial as it may be to sound the alarm so early, it can also be a moving too fast, too soon. Lyrical content not withstanding, the vocals of Erik Karhatsu are polished enough to command the room, with a touch of grit hidden in his delivery. But along with the breakneck speeds, you have a focus on drumming, thanks to the nimble hands and feet of Lauri Hänninen, that pushes the limits of the mix early and often. Even in the slowed down moments, like the opening of "Thought's Inception," the tone of the drums is enough to elicit a few head nods or tapping of feet. There is something tame about the accompanying instrumental, though, as the guitars fail to fully match the booming efficiency of the rhythm section. It isn't until the vocals drop out in the bridge that guitarist Antti Hänninen finds his stroke. Luckily, once it is found, he keeps his grip tighter, just in time for the boisterous power metal shredding of "Heaven's Calling." With a high energy verse and a soothing harmony in the chorus, thanks to the addition of Outi Jokinen's female vocal, you start to see a transformation in the sound and tone of the album.

Unfortunately, this isn't a smooth transition. The rules of ballads are unclear, at best, but there are certain guidelines that shouldn't be tampered with. Musically, "Ever Since" is interesting, bringing a different bluesy sort of feel to the mix. But at a staggering seven minutes, it simply doesn't have the legs to carry on so long. And try as he must to save it, keyboardist Marko Lindroos falls short. Rather than make a complete reversal, in hopes of gaining momentum or contrast, Cardiant takes a single step back to the harder edged side. It isn't quiet enough to regain the fire of the early half of the album, but "Believe" does boast some of the most intricate instrumental work. When allowed to play freely, Hänninen adds a bright layer to the track, but he is far too often handcuffed by the structure and flow. His lead on "Beat Of Heart" may be the most memorable riff on the record. Add in a blazing solo in the latter stages, and you finally get something to hang your hat on. The most unfortunate twist is that as Hänninen gets better, the rest of the band lags behind, churning out cookie cutter efforts. For as soulful as songs like "Love's Not On My Way" can be, they do little for the arc of the album. Lindroos benefits here, as his piano melodies are all that keeps the track afloat. By the time the hammer is finally dropped, there is little balance to be found.

Eight tracks in, buried in a mound of mediocre efforts, is "Stranger In Me." It seems as though the entire instrumental has come together for the first time since the opening track, resulting in a strong, if not predictable offering. The rhythm section of Hänninen and bassist Mikko Mänttäri are in perfect sync with one another, two pillars on either side of the guitar and keyboard fueled orchestral melodies. Much like before, the lyrics are a throwaway, despite a strong performance from Karhatsu. That same theme runs like a vein into "Break Your Mind," a booming kick drum becoming the glue that holds it all together. I'm not sure if it has become relative at this point, but when incorporated into the parabolic flow of the album on the whole, this stands as one of the best tracks on the album, chocked full of thunderous drums and wild, if not out of control solos. After nine tracks of twists, turns, and confusion, it only makes sense that "While The Ice Is Cold" be the final conundrum. Jokinen takes the lead on the track, her first major contribution coming in the final three and a half minutes. The true shame of it, really, is that her voice suits the music so well. Hidden in backup roles, relegated to chorus hooks, she is barely noticeable. But as she steps out here, it makes you wonder why she isn't being featured more often.

Very rarely do albums provide more questions than answers. Unfortunately for Cardiant, they've they''ve left many of the spaces blank, and it leaves the album feeling lopsided, at best. The brighter moments, condensed into the first three and last three tracks, become bookends for ones that have no business sharing the same digital file or disc of plastic. The good news, as disconnected as it is from the album itself, is that there is seemingly infinite potential in this conglomerate of musicians; the bright spots are there, even if it takes a little squinting to find them. All that remains to be seen is whether they take the successes of "Verge" and build on them, or if they follow the failures toward a more generic, more run of the mill follow up. With a stronger presence from Jokinen, a longer leash on the guitar work of Hänninen, and a stronger focus on lyrical content and delivery, you might see this caterpillar turn into a butterfly. But unless they go back to the drawing board, the ten tracks on "Verge" might be the best the band will ever offer.

6/10

Official Site - http://www.cardiant.net/
Facebook - http://www.facebook.com/Cardiant
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Thursday, July 11, 2013

Daedric Tales - Hircine's Call (EP) (2013)


When The Elder Scrolls franchise began in 1994, it would have been impossible to predict what this series would accomplish. Some twenty years and 18 sequels and expansions later, it stands as one of the most recognizable and profitable game properties in the world. And much in the way that Dungeons & Dragons inspired many of the power metal acts of the last few decades, Oblivion has done the same for the next wave of bands. It is here that Daedric Tales, a bursting at the seams seven piece from Austria, found the inspiration for their debut EP. Looking to make music that was both rich, and appropriately epic given the subject matter, they take on the stance as characters, retelling stories of conquest and battle. As bizarre as that may sound to an outsider, it works in the most profound of ways. And as the band invites you into their world, there is no prerequisite for enjoyment. Whether you have a copy of Skyrim in your collection or not, "Hircine's Call" is an adventure you should take.

There is no secret here; the intro track is exactly that, an introduction to both the album and the world the band holds so dear. It has a modern video game vibe, which is an interesting wrinkle. That sound becomes the underlying theme of the album, even when the most raucous beats come blasting through. On "At The Gates," you find a band holding nothing back, all seven members coming down on you from different directions. The leads are intricate and driving, quickly become a featured item. But it is the duel vocals that cement and weaken the track at the same time. Vocalist Alexandra shows off her range time and time again, allowing the beauty of her voice to come through cleanly. the male vocal that chimes in, though, is flat and monotone, lacking any real depth. As big a shame as it is, losing that contrast, tracks like "The Red Mountain" almost make you forget this shortcoming. The orchestrations alone work wonders, especially in the quieter moments, like those leading up to the breakdown. It speaks to the amount of preparation that has gone into the instrumental, finally letting the parts merge together in a galloping harmony.

But unheard to this point is the folk influence, something that rears its head on "The Dragonborn." While it comes in abruptly, it does add an aura of triumph to the mix, a layer of hod nodding melody that is easy to appreciate. With the track clocking in at almost seven minutes, it might be a necessity to keep the wheel rolling. Alexandra is at her operatic best here, soaring into the higher registers without ever showing a sign of struggle. This may also be the first time you can feel yourself immersed in the music, rather than sitting outside of it. Darting guitar riffs and a choir of vocals put the icing on this cake, a satisfying foray into folk power metal. But the song itself does more than just capably fill a slot on the EP; it moves from strength to strength. It sets the entire offering on fire, leaving the overflowing mix of "Rain" to both burn brighter, and hope to keep the blaze under control. This stands as the best track on the album, hidden in the fifth and final slot. Everything has come together in the most impressive way, now allowing each piece to prop up and elevate the others, a symbiotic relationship that is as hard to achieve as it sounds. Shredding guitars, otherworldly keyboard arrangements, and a battery of drums leave you wondering how your life would be complete without this disc.

It's in our nature to be skeptical. Things that are unfamiliar or different sometimes make us likely to pass. Having never touched any of The Elder Scrolls titles, it took an extra few seconds to allow myself to become one with the music. But taken out of context, it is just as crisp and refreshing as it would be to someone with a working knowledge of the game from which it was conceived. That alone would be worthy of praise and admiration; it isn't often that an album can sweep you up without really understanding what it is the songs are about. Daedric Tales have met that challenge head on, and somehow find a common ground between the metal world and a fantasy one. Sounds familiar, doesn't it? We've been down this road before thanks to bands like Blind Guardian, weaving together the tapestries of reality and fantasy. And perhaps this will start the next big boom; though that wouldn't really matter. Together or separate, metal and fantasy games will exist in this world. "Hircine's Call" is just a friendly reminder that they can coexist.

9/10

Bandcamp - http://daedrictales.bandcamp.com/
Facebook - https://www.facebook.com/daedrictales
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Wednesday, July 10, 2013

Skiltron - Into The Battleground (2013)


When the Argentinian based Skiltron released “The Clans Have United” in 2006, they introduced the world to bagpipe fueled folk power metal. I use the term “folk power metal” for the simple fact that a lot of the guitars, singing and drumming is very reminiscent of power metal. When the bagpipes kick in, it’s an aural feast. “This Crusade” is still one of the best folk metal songs in the genre. They really hit their stride with the release of “The Highland Way” in 2010. The album had a much more grandiose sound and was epic as all hell. As far as folk metal goes, “The Highland Way” is an essential album that didn’t get enough recognition. Now three years later, Skiltron is out to make themselves known this time. “Into the Battleground” is a solid album that shows that they mean business.

The album on the whole is heavier than previous efforts. “Lion Rampant” opens with furious drums and bagpipes that immediately suck the listener in. It’s one of the faster songs they have done and it’s a great new direction. “The Swordmaker” is quite possibly the best song on the album. The guitars are catchy and the bagpipe flows flawlessly through the song. “On the Trail of David Ross” is sort of a weak point on the album. It doesn’t really go anywhere and it doesn’t beg to be listened to again. While it is a weak track, it doesn’t drag the album down. “Besieged by Fire” is the heaviest song on the album (besides the gorgeous acoustic bridge) and shows that Skiltron can blow your eardrums out.  “The Brave’s Revenge” is another blistering song that has a very Dio-esque feel to it. “Merrsadh Air” is a beautiful instrumental song that sounds like a soundtrack to an ale swigging party. “Loyal We Stand” is another great track and the second best on the album. The verses are perfectly constructed and the chorus is soaring. It’s not as heavy as most of the songs on the album, but it fits. “The Rabbit Who Wanted to Be a Wolf” and “Prestonpans 1745” have some pacing problems.” "Prestonpans 1745” doesn’t really fit in at the end of the album. It’s very stagnate and does little to finish off the album. “The Rabbit Who Wanted to Be a Wolf” just needed to be pushed up a couple of tracks. It’s a good song, it just doesn’t belong so close to the end.

“Into the Battleground” is better than most folk metal albums in a long time. Is it their best album? Not exactly. “The Highland Way” and “Beheading the Liars” are tied for that. Is it damn good? Yes, most definitely. Skiltron went for a heavier sound this time and they accomplished a lot. The few missteps the album has are overshadowed by all the good they’ve done. It’s got enough of their old sound in there to make longtime fans happy. No other band besides Subway to Sally can rock out with bagpipes like this. It’s not the most groundbreaking album, but it’s better than half the bands out there. With “Into the Battleground,” Skiltron have stayed true to themselves and made something for fans and newcomers alike.


8/10

- Brian DuBois

Official Site - http://www.skiltron.net/
Facebook - http://www.facebook.com/skiltron
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Tuesday, July 9, 2013

Gales Of Avalon - When The Ravens Return (EP) (2013)


Every band needs something, anything, to stand out from the rest. Maybe you find your niche in wild instrumentation, ethnic diversity, or just outstanding musicianship. Or you could go out on a limb, and look for something that is so off the beaten path, that it brings attention, both good and bad, to your doorstep. But while most of Calgary sits under a few feet of water, Gales Of Avalon are treading, figuratively, to keep their heads above it. It would be easy to simplify their sound, boiling it down to a blackened death metal base. But that doesn't paint the whole picture. They've found something that makes their music jump through your speakers, and blast directly into your inner ear. For better or worse, they've founding that certain something that makes them unique. What you have in front of you is a riddle, wrapped inside a mystery, trapped in confusion. And whatever you think of "When The Ravens Return," you will certainly be talking about it later.

One bone chilling growl invites the guitars and drums to rain down on you from above. But as "What Hell Have I?" moves along, it changes in many ways. The instrumental has legs, ones that will kick and stomp you into submission over and over again. But it is the vocals that will cause the most unrest among first time listeners. There is a three headed monster at the mic, with a constant identity crisis. Sure, you can easily locate the guttural growls and blackened screams. The third, though, is hard to identify; one part scream, one part off beat cackle, it is off-putting at times, especially when paired with the far stronger cousins. Unfortunately, this iteration takes the lead on "Robert's Lament," a bizarre James Hetfield gone country take on metal vocals that never quite sinks in. The true shame, though, is that it masks an otherwise stellar mix. A booming kick drum sound keys the backing instrumental, chock full of distorted guitar and wailing grooves. The breakdown, which casts that vocal line aside in favor of far more successful ones, is s strong as anything else on the album. There is a darkness to be found, especially in "These Words," through expressive guitars. They have far more success in the lead role than one would expect; due in part to the failures of the "clean" vocal.

With the mix stripped down on "Ocean Ranger," it gives the backing band a real chance to shine. The guitar leads are tight and well executed, screaming over the top of some dense, slowed down chugging segments. Not to belabor the point, but the vocals are the x factor here, with the massive growls furthering the mix, and the piratical crooning dragging them backwards. But the folksy stomp of the latter half is the biggest victory of the EP, giving you something to hang your hat on later. The true crime here is how the best efforts are almost wasted, when coated with that stale vocal line, making it difficult for the main melody of "Darkened Mirror" to ever make it through to your ears. It becomes addition by subtraction; as that piece fades and disappears, the mix becomes forceful and efficient. The dueling vocal lines, black and death, do wonders for the track, bolstering the work of the rhythm section and their low end assault. It may have taken the bulk of five tracks to arrive, but the most unique is yet to come, as "Winter Sun" takes the band in a direction that may have been too little too late. They hit a stride, a haunting one at that, minimizing their stumbles and focusing on their strengths, which lie in the area away from the microphone. the intro and outro are all the proof you need.

This album, as it stands, is a conundrum in and of itself. Gales Of Avalon have something that makes them unique, something that gives them to ability to stand out from the crowd. But that something, the mystery vocal, might also be their greatest weakness. Even in smaller doses, it would do more by doing less, and allowing the strengths of the band to shine through more brightly. But abandoning it altogether doesn't seem like a viable option at this stage in the life cycle of the band. At best, it is an acquired taste; it may take time and repeated listens to accept it's place in the hierarchy. At worst, it is a distraction from the greater good; and it may take multiple listens to truly learn how to block it out. Whichever angle you take, its impact is undeniable. But as you hit play, know that there is something much better dwelling beneath that first layer. And if you have the patience to take it all in, "When The Ravens Return" is much better than the first impression lets you see.

6/10

Facebook - https://www.facebook.com/galesofavalon
MySpace - https://myspace.com/galesofavalon
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Monday, July 8, 2013

Eternal Oath - Ghostlands (2013)


A little research on the shelf life of most metal bands reveals some shocking information. With the music industry in flux, and the infrastructure breaking down by the minute, bands just aren't built to last anymore. One album, two albums, three albums and a greatest hits record? That might be all there is. So those bands who have shown a talent for longevity deserve all the more credit. Eternal Oath came up on an anniversary of sorts in 2011; it marked twenty years since their formation in 1991. But there was a catch: For the last five years, the beast had lay dormant, on a self induced hiatus that began in 2006. But something gave them reason to believe that now was, indeed, the time for a revival. And without knowing exactly what cause the beast to awaken, rest assured it wasn't fleeting. Two years later, a new album had been recorded and prepared. After such a long time away from each other, and away from the band name that had become synonymous with melodic death, what could be left in the tank? One listen to "Ghostlands," and you'll see the meter says full; the beast in back.

Only a minute long, "Into The Mist Of Sorrow" is a whisper before a scream. The volume creeps up, never breaking through, with a single guitar riff floating by. But as the clock returns to zero, a strong drum beat starts the assault on "Entangled In Time." Deep, guttural growls cut through the mix, a combination of industrial death metal and light symphonics. The crunching of guitars is the main aggressor here, with distortion levels that push the production work to the breaking point. Add in a constant, thumping drum presence, and things get slightly murky. Whether or not that was the intention remains unseen, but it has times where it works, and others where it might not. "Tears Of Faith" avoids this pitfall, remaining far more crisp throughout, thanks largely to the versatility the band exhibits in the quiet chorus segments. Melodic sensibility isn't a prerequisite for this style, but it can add another dimension to your sound, one Eternal Oath take full advantage of here. Keyboardist Johan Adler brings a lot to the table, reinforcing every riff, every snare hit with something either atmospheric or airy. On the other side of the coin, though, is a band that can throw caution to the wind and lay down a fist pumping, hair swinging track. While "Remnants Of Yesterday" is rife with straight forward instrumentals, it possesses a subtlety in both instrument and voice that makes in memorable.

if one track stands out from the rest, it is the down tempo death/doom march of "Stolen Innocence," a track that could rival some of the best single tracks of the last few years. Vocalist Joni Mäensivu exhibits both haunting and punishing styles here, going from a ghostly whisper to a deathly growl in seconds. Joined by a female voice that provides a sense of light amongst the shadows, a beautiful harmony is struck between the two. There is a noticeable difference in the balance and tone when the band slows down their attack, adopting a much cleaner mix for drummer Ted Jonsson to hammer down. The clean vocals in verse portions of "Fields Of Dreams" are a strange choice, losing so much of the range and ferocity of the previous tracks. Instead, they sound robotic and monotone, failing to evoke any real emotion. Oddity aside, the track has some of the more blaring guitars, masking what might otherwise be a throwaway. By this point, and throughout "The Cross I Bear," the band have reached their peak, settling in to a fitting groove of solid melodic death, never faltering or straying too far from the median. The keyboard presence remains important, as it provides a support to catchy riffs, which are in full swing here.

With track times down, most sticking to four minutes or less, there is little room for error. With smaller windows, the band does some amazing work, as they show on "Sunborn." Piano keys are a nice addition to the mix, poking through some of the more dense guitars on the album. The one true misstep on the album comes early in "Bleeding Sympathy," as Mäensivu forces a cliche "come on" several times, both out of character and out of tone. The true shame is that it distracts from what might be the most powerful track on the album. When in full on attack mode, there is no way to slow the band down, no way to cut momentum. But even those small stumbles can hurt. And while it works on "A Hymn For The Fallen," the electronic element is a dangerous game to play at this stage of the record. Done right, it can be a great accent piece to an already bursting song. Done wrong, and it could be a nosedive in waiting. But pairing it with a straightforward, melo-death stomp works in their favor, including another vocal duet. But the best is again saved for last, as the title track, seven minutes in length, explores every facet of the bands sound. Much like the latest Omnium Gatherum album, the finale speaks volumes, in sound, in fury, and in depth. Sweeping guitar riffs and brutally heavy vocals come and go, giving way to expansive synthesizers and beautifully constructed melodies. Music box ending? Yeah, that works.

Maybe five years away from the daily grind of the metal scene did Eternal Oath some good. With no sign of rust or wear, they have poured their heart and souls into this new album, something that might not have been possible before the split. Renewed and rejuvenated, they picked up where they left off. If that alone doesn't leave a lasting impression, I don't know what will. Think of all of the bands, big and small that have taken a hiatus, only to return half-hearted, jaded, and weak. It speaks to the strength of the band, both as individuals and as a unit. But even more than that, it speaks volumes about their dedication to this music; their music. For a band that has seen the better part of three different decades, it is amazing to see them sticking to their guns, but with a willingness to evolve and stay viable. Not many bands can say that. With the eleven track behemoth known as "Ghostlands" not behind you, and hopefully coming back around for another pass, it is easy to see why a reunion was in order. For them, and for us.

9/10

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