Three Steps To The Ocean - Scents (2012)

Blurring the line between sludge and post-rock, Italy's Three Steps To The Ocean aren't trying to impress you. But they might do it anyway. Combining crushing riffs with a flurry of drums, and the addition of synths to the mix, they are forging a new branch of instrumental metal. One part melody, one part massive guitars, two parts devastating drums, and one part atmospheric programming, this Milan based four piece have all the tools to make a splash on the world metal scene. Their new album "Scents" is proof that vocals are, indeed, optional.

The opening track, "Hyenas," has the band showing all their cards. From the opening bass, to the wall of guitars that follows, this is a sonic assault. The air is heavy with distortion, and the crashing of cymbals. But tying all of the elements together is the use of synthesizers, forming the glue between the individual layers. As the guitars fade, a subtle, and overall delicate, interlude cuts in. Single bass notes echo over the synths themselves, creating a hauntingly simplistic sound. Clean guitars reenter, along with a light snare. In classic post-rock style, the separate pieces begin to climb on top of one another, leading to a massive explosion of sound and fury. Following in the same footsteps, "Zilco" builds from the rubble. The pulvarizing low end forms the foundation, rumbling and shaking all that falls in its path. Softly whispered words cut through the air. But with each subsequent strum of the guitar, you know the blast is coming. A single scream ignites the blaze, and sets the track on fire. Every scream is met with chord after chord of ferocious slamming of strings. Even the softer moments that follow boast a rib cage rattling low end.

The book of subtleties goes out the window on the opening moments of "Cobram," with devastating riffs dominating the mix. Distorted chords are endless, chugging away with reckless abandon. The sizzle of cymbals lays atop the pile, clean and crisp. As the heaviness leaves, you are faced with a haunting melody of synths and light guitars. The bass reasserts itself, taking the wheel and driving the track forward. The melody crashes head on into the destruction, with all four members grinding through note after note of crushing riffs. It all builds to a head, and cuts out for a melodic outro. This leads directly into "Rodleen" which at just under five minutes, is the shortest track on the album. The presence of programmed beats doesn't take away from the task at hand, but rather adds to it. There are short bursts of clean guitars to cut through the murkiness, but this one is all about the rhythm section. The punch of the drums, and the dominance of the bass take the spotlight, giving the guitars a leg to stand on. As things fade out, the track closes.

The final, and longest track, "Collider," is a little bit of everything the band can muster. A soft beginning, with a clean guitar and the thud of the drums. But a whine of a guitar gives you fair warning that he hammer is about to drop, launching the song into distorted heaven. The eerie synths that occupy the background keep things held together perfectly, allowing each member to add his own distinct flare to the music itself. The constant shifts in tempo and time signature keep the track fresh through all nine minutes of blistering riffs. Encompassed here are all of the elements of the post-rock, post-metal, and sludge, combining them all into a single epic product. The buildup in the breakdown is dazzling, from guitars to drums and bass. The electronic element adds a fresh touch to the formula. One last boil over remains, with everything coming full circle, fading away to silence.

Aside from a handful of standouts, the post-metal scene has remained somewhat stagnant for far too long. Too many bands are content to do the same thing over and over again, rather than tweaking the composition to make something new and exciting. Three Steps To The Ocean do exactly that, adding the multiple layers of synths to give a vibrant new twist on the same old thing, a decision that pays off every step of the way. And with three albums in six years, they show no signs of slowing down. With "Scents," they may have given the post-metal world cause to wake up, and smell the future.

8/10

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

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Sorrow Eternal: The Bloopers, Volume 3

It is time, once again, for the worst of the worst. We have stuttered, stammered, and giggled through almost 40 episodes of the podcast. Hard to believe, I know. But along the way, we have had some moments that were far from perfect (all of them) and some that have us laughing weeks and months later. So, sit back and enjoy, Volume 3 of the Bloopers.

Note: If you listen with headphones on, you can pick up a couple extra laughs.

Download the audio from this bad boy, here.

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Your Tomorrow Alone: The Interview

After the release of their new album, '"Ordinary Lives," Italian metal band Your Tomorrow Alone sat down to answer some questions about the album itself, and their push through the Italian metal scene. Special thanks to the band, as well as Francesco from My Kingdom Music for the time and the opportunity!

First and foremost, thank you for your time, and the opportunity to ask some of our questions.

Thanks to you for the opportunity you’ve given to us, we’re honoured.

How did you come up with the album cover for “Ordinary Lives?” Is there any significant
meaning behind the image?

The idea behind the “Ordinary Lives” cover art work is the attempt to incorporate in one image both
the album title and the band name. The intention was to represent the ambiguity and the falsehood
of everyday life in which one has to wear a mask in order to withstand lies and compromises.
The mask becomes the inevitable choice to not be overwhelmed by this reality and become alone
in the end.

What do you guys like to do on your spare time when your not creating monstrous growls and
wicked guitar and keyboard riffs in the studio?

Nobody in this band is a full-time musician. When we do not rehearse or record in a studio, we
have different hobbies. Some of us like sports, others are fascinated by art, literature, photography,
philosophy, while two of us are journalists. Above all, we all listen to a huge quantity of music which is
our life companion and everlasting source of inspiration.

When writing “Ordinary Lives,” how did you go about writing the music? Was a lot of the
composing already thought up by a specific person or did you all work on it together one step at a
time?

The composition of the “Ordinary Lives” nine tracks took the last two years of our musical activity.
It was a complex and meticulous work that required our dedication to details to choose the right
arrangement for each song. Under a technical point of view, all the tracks came from guitar parts that
were completed and expanded by both the other instruments and the vocals. That’s to be considered a
team work, do you know?

While having two lead vocalists in the band, one being the clean vocals while the other being the
growls, do you find it difficult to balance them out equally?

Using both clean and growling male vocals was not a problem at all. The clean vocals allow us
to emphasize the most melodic and touching aspects of our music, while the growl is for the
darker and aggressive ones. The two vocal lines were wisely balanced and mixed during both the
recording process and the post-production work.

Songs like “Praise For Nothing” and “Agony (praeludium)“ have some beautiful strings and
violins throughout their entirety. What kind of equipment was used to get such a rich sound?

The orchestral arrangements were performed on a Yamaha Motif XS-7 and they were conceived
by our keyboard player Giovanni Costabile. We managed to get that rich sound by overdubbing
many samplings of different instruments such as chorus ensembles, violins, cellos and upright
basses. This technique allowed us to cover a wide range of musical frequencies.

On that same note, track four, “Guilty,” opens with gorgeous piano riffs and carries a very soulful
sound. Was the recording done by keyboards or a real piano?

The piano on “Guilty” was recorded using the same Yamaha keyboard.

If there was one song that you would suggest to someone that has never heard your music before,
what song would it be and why?

“Renaissence” could be a good place to start because its structure, its rhythmic pace alternating
harder parts to more ethereal ones, is a trademark of our sound and our influences. It’s a sort of
summary of all the main traits that characterize our songs.

You guys have only been together as a band for a couple of years, was there ever a time that you
didn’t think the band was going to happen?

Although our band has a relatively short history, we have always been determined to reach our goals.
Our dedication and commitment to this project in the last two years brought us to record and
release “Ordinary Lives”. We did not go through very hard times or, at least, nothing that could
prevent us from reaching our final goal. Surely, the friendship that binds all the members of this
band has played a crucial role to keep us together and proved to be a solid foundation for this
musical project. Good personal relationships and musical feeling are key ingredients of a long
lasting cooperation, especially in music.

Would you say that the metal scene in Italy has taken a liking to Your Tomorrow Alone? Are you
getting as much positive feedback from fans outside of Italy?

As far as we can say, the feedback from the Italian scene has been more than positive, even beyond our
own expectations if we consider it is our debut album. Most reviewers showed interest in what we do,
and that makes us very happy. But even more satisfactory was the feedback from outside our country.
We have a lot of international fans that follow us on our Facebook and MySpace pages, and our album
received very positive reviews in Norway, Germany, UK and USA. We’re very proud to have reached
so many people with our music.

As you grow as a band, who are some bands that you would like to tour with at some point
in your careers? Have you made any plans on touring in the near future?

We hope we could grow up as a band and, maybe one day, have the opportunity to play with some
of the bands that influenced us most. Opeth, Anathema, My Dying Bride, Paradise Lost. Not to
mention those bands that carry the flag of the Italian metal worldwide, such as Novembre and
Lacuna Coil.

With a new album out, and your popularity growing by the day, what does the future hold for
Your Tomorrow Alone? What can we expect in the months and years to come?

Our next target is to play as many shows as we are able to do to support our album. The growing
attention that surrounds our music makes feel more than determined to do so. We would be
happy to organize a short Italian tour and we’re working on this. In the next future, we are
beginning to write new material as we have many ideas that did not find their space on our record.
We still have a lot of things to say and we are ready to do it.

Thank you again for your time and honesty. We appreciate this opportunity, and wish you great
success in the coming months.

Thanks for the space and attention you gave to us. Let’s hope your wish could bring us good luck. We
hope we’ll be able to announce important news soon. Your Tomorrow Alone salutes you from Italy!
Doom on!

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Diabulus In Musica - The Wanderer (2012)

While it is easy to throw around the term "symphonic metal," as we do so often, it isn't always enough to describe the output of the band in question. For Diabulus In Musica, one of Spain's most recent musical wonders, the focus on classical composition pushes their music far past the boundaries of what we know as "symphonic." After the release of their debut album, "Secrets," they gained a worldwide following not only for their breathtaking song structure and style, but also for the often surreal vocal talent of Zuberoa Aznárez. Two years and countless shows later, this five piece looks to, once again, redefine metal with "The Wanderer."

Fittingly, the album begins with "The Journey's End," an intro track that is rich with the sound of rolling thunder and orchestrated instruments. Fluttering woodwinds dart in and out of strings and percussion, all layered atop the crashing waves. Without hesitation, you are greeted by "Ex Nihilo," which is a representation of everything the classical metal sect could be. Keyboards lock together with guitars, complimented by choral vocals. Aznárez takes the metal female vocal to new heights, with both operatic and sensual vocals. But unlike other female fronted acts, the music isn't softened in any way, choosing to keep a hard edge to play up the contrasting sounds. Even as a harsh male vocal enters, it is hard to shake the overwhelming beauty contained here. The thrashing at the hands of drummer Xabi Jareño will leave you craving more abuse, as he shifts back and forth between complimentary fills and brutal double kick segments.

The album's first single, "Sceneries Of Hope," is as unique as the band itself. The space age keyboard melody that opens the track is quickly drown in a sea of blistering drums and dense guitar riffs. And while this is easily the most accessible track on the album, it is far from watered down. The drums continue to impress, with deft and precision, while the keyboards provide an atmospheric element. But their role doesn't end there, supplying a myriad of instruments and sounds to boost the mix. Aznárez is the proverbial icing on the cake, adding her signature vocal style to each passage. The flow from one track to the next is often unnoticed, but as you move into "Blazing A Trail," it will be evident that each track is setup for the next. Once again, a growling male vocal comes into offset the powerful crooning. The guitar riffs are catchy, but also effective. There isn't a need for filler, with each note and chord finding a home in the layers. The large, hollow sound of the kick drum echos through the booming choral arrangement. The production work is stellar, allowing each subtle touch to shine through brilliantly. A short interlude track, titled "Call From A Rising Memory," soothes the savage beast, both in simplicity and scope.

The tempo and tone change for "Hidden Reality," with things slowing down in favor of blaring horns and the more crooning style vocals. For the first time, the bass sees the spotlight, adding a smooth layer amidst the pounding drums. Operatic vocals emerge, with an almost staggering beauty and clarity. The track plays out like an act in a play, with contrasting voices and emotions trading blows. The choral arrangement takes things to an entirely new level, creating a sound that is both huge and crisp. This is the perfect transition into "Shadow Of The Throne," a track that is operatic in its conception, but devastating in its delivery. The sheer weight of the rhythm section is nearly deadly. As the vocals enter, you are sure to be taken back by their power and grit. The beast has awoken, and evil is afoot. The guitars have erupted in distortion, the drums are unleashed, and the chanting that backs the main vocal is haunting. There are no subtleties to be had, this is an all out attack on your senses. Even a devilish acoustic guitar interlude is masked by whispers of unspeakable evil. Fear not, for "Allegory Of Faith, Innocence And Future" is a return for Aznárez and her angelic voice. But the multiple layers are the star here, with keyboards and orchestrated instruments controlling the ebb and flow of the track. The vocals trade off, with Aznárez providing the beauty to Mark Jansen's beast. Each new passage creates another layer of sound to partake in.

And while the delicate piano that begins "Sentenced To Life" may seem like a lullaby of sorts, it is so much deeper. Aznárez sings softly over the top, welcoming guest vocalist John Kelly, of Elfenthal, to the mix. The vocal duet is enchanting and ethereal, with each breath bringing you further into the song. As the band joins, they only strengthen the emotional bond being formed, taking the idea of a metal ballad to breathtaking new places. But with each dose of sweet comes a spoonful of sour, this time in the form of the growling "Oihuka Bihotzetik." Jansen plows ahead with his guttural vocals, accompanied by a choir of angels, soaring over the top of the thunderous drums. The sound of the chorus is so rich, so deep, that it brings to mind an image of thousands of people standing together. Each single voice stands apart in subtle ways, each one having a personality. The same can be said for the drum and keyboard breakdown, which shakes through your speakers from left to right.


The longest, and most ambitious, track on the album, "No Time For Repentance (Lamentatio)," is a masterpiece of writing, of concept, and of execution. From the initial buildup of strings and horns, partnered only with a lonely snare, to the first eruption of monstrous guitar riffs, this is one you won't soon forget. There are several distinct movements here, each one giving reason for applause. The verse provides the brutal, with a screaming male vocal that shakes you to your core. The chorus sees Aznárez soothing your open wounds. Her voice is delicate, yet so powerful. The guitar work is exceptional, never giving in to the idea of "filler" or generic riffs. The rhythm section does the dirty work, pounding away at the low end. An eight minute track that only feels like four minutes is a victory by any stretch, but one that concludes with a chorus of male and female voices, sans instrumental, is a delight. The album concludes with the title track, "The Wanderer." An acoustic guitar, Aznárez, and a heavy dose of melody greet you. This may be a means to an end, or it may simply be a new beginning, cleaning the slate for the next effort.

Female fronted symphonic metal. Yes, that set of words can be used to describe what Diabulus In Musica produce. But those four words, together, in that order, also describe a million other bands that are not in the same echelon. It would be so easy to dismiss them because of that careless label. But here, on their sophomore album, you have all of that and so much more. Throw out everything you think you know about "symphonic metal," because "The Wanderer" is the New Testament. With a new partnership with Napalm Records, it is not a stretch to think that it could be mentioned alongside other "Album Of The Year" contenders.

10/10

Official Site - http://www.diabulusinmusica.com
Myspace - http://www.myspace.com/diabulusinmusicaband

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M-pire Of Evil - Hell To The Holy (2012)

The new and improved M-pire Of Evil, formally known as Primevil, have released a new album, entitled “Hell To The Holy.” The former members of venom have really stepped things up with this beast of an album as you will hear nothing but bone crushing guitar riffs, dark lyrics, and explosive drum rolls throughout its entirety. The wicked melodies and thrashing tones will grab you and pull you in from start to finish.

The album opens up with murdering guitar riffs in “Hellspawn.” Thunderous drums keep the tempo fast and will have you thrashing immediately. The verses contain demonic lyrics delivered with pure violence. The vocals are shouted heavily throughout the track echoing in all directions. Later you’re hit with a hell raising solo that will knock you on your ass. This is followed by a ruthless breakdown full of heavy chugging guitars and booming drum rolls. “Metal Messiah” keeps things heavy with blaring guitars and insane double bass pedal drumming. Definitely through your devil horns up for this one. The vocals jump in and out punching you in the face with dark lyrics while melodic guitars take over the background. The double bass pedals continue to rumble away with snapping snares and shattering cymbals. This also has a wicked solo towards the end that will send chills down your spine. The wild melodic notes will have you hitting the repeat button as soon as the track is over.

“Hell To The Holy” opens with thunder and rain sound effects that slowly fade in as you wait for the music to drop in. About a minute and a half into the track come choppy guitars that jump in with thumping bass lines. The vocals are heavy but are delivered in a slower speed. The chorus however, gets louder as the vocals begin to shout “Bring hell to the holy ones!” The bridge throws blasting guitar riffs behind more shouting lyrics as they prepare you for the solo. This is definitely a track you don’t want to miss.

“Devil” starts out with a southern twang to it as groovy acoustic guitars open with catchy riffs. This quickly switches from acoustic to distorted as the drums crash in with exploding snares and crushing cymbals that destroy the background. The style of vocals are a little different then what you’ve heard through most of the album already. They’re still shouted recklessly but they have a little bit more of a melody to them. It goes perfectly with the southern tone of the song and will definitely have you rocking out of your seat.

The album ends with “M-pire (Prelude)” as dark riffs slow fade in quietly making you feel like you have to turn it up a bit. However you won’t have to once the heavily distorted guitars drop. A wall of violent riffs come in a crush you with demonic melodies and monstrous drum rolls. The double bass pedaling during the chorus rumbles beneath you as you’re swept off your feet with devilish vocals shouting “M-pire Of Evil.”

“Hell To The Holy” is a perfect thrash album that consists of that old school thrash sound and yet also carries some new techniques as well. The recording and performance of the instruments are clean with great quality making everything easy to hear. M-pire Of Evil provides you with wicked guitar solos and pulverizing breakdowns that will have you moshing around in no time. Definitely pick this album up and check it out.

8.5/10

Official Site - http://www.mpireofevil.com/

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Black Ink - Reminiscence (Demo) (2012)

With the crop of great bands coming out of Italy, it would seem that everyone is trying to get a piece of the metal pie. Formed a short year ago, Black Ink are taking a stab at the throne, hoping to gain notoriety with their new demo, a five song offering titled "Reminiscence." But with such a crowded scene, it can be difficult to separate yourself from the pack, something that becomes evident early and often for this alt-metal five piece.

There is certainly promise here, especially in the opening moments of "Cold Soul." As the winding guitars become tangled in varied and eclectic keyboard melodies, you may find yourself hoping for something more than what you get. As the verse kicks in, a somewhat murky vocal line provided by frontwoman Laura Lerti enters, and the intricacies of the backing band seem to leave. What you are left with is something akin to an alternative rock band, with an affinity for keyboards. Each instrument blends together in a cloudy wall, rather than standing out as individuals. A guitar solo that seems out of place and strained tries to bring you back, but instead gives you cause for concern. It isn't until the keyboard takes command that you get back on point. From concept to complete, something seems to have been lost in translation.

An entirely different feel comes on "New Day," which, at times, sounds like a completely different band. There is a defined groove to be found, something that may remind you of Canadian standouts The Tea Party, with a electronic buzz. And while the track doesn't exactly ooze uniqueness, it does establish an identity of sorts, with a more clear focus on guitar riffs and wild drums. Lerti's voice sees more freedom here, coming through with power and grace. But the key to the overall sound is, and remains, the use of keyboards. Layered throughout, the various keyboard supplied elements take an otherwise stale musical offering and elevate it. The guitars are more inspired, though still overreaching at times. The track "Black Ink," however, takes an odd turn. The track is bass heavy, which isn't an entirely bad decision. But what is left is a half baked concoction of keys, repetitive chords, and vocals.With the numerous tempo and style changes, this plays out like a meal of leftovers, put onto a single plate. Some pieces work, and others don't, which is hard enough for a three minute track. But over the span of six plus minutes, it is difficult to digest.

Any hope of building momentum disappears as "Bitter Tears" begins, the definition of a ballad. While the piano work is top notch, the song lacks any drive, any punch. And while it may have a home on a full length album, as a respite or mood setter, it is an odd choice to plop square in the middle of a five song EP. That decision leaves all of the pressure on the closing track, "Confused," which goes back to the original formula. The guitars chug away, without much lateral movement. The keyboards come to the rescue time and again, injecting life into the lifeless with short melodic bursts and piano driven tones. Even a dynamic, jazz infused bass line gets some play. But the tendency to favor the generic hurts, leaving you with little more than a lukewarm product. And while the production isn't necessarily bad, the discerning ear may be disappointed with aspects of the mix, which seem to leave Lerti's voice falling flat far too often.

I'm not sure if it is ever a conscious choice to blend in with the crowd, or stand out from it. In fact, I would doubt that many bands ever say "hey, let's make music just like everyone else." But that doesn't mean it doesn't happen, an unfortunate side effect of a growing scene. For Black Ink, it seems to be their Achilles heel, failing to produce anything that is uniquely theirs. Sure, there are flashes scattered throughout this 30 minute offering, but they are too diluted to make an impact. The positives are few, but with only a year under their belt, there is time to grow and mature. Then they can look back on "Reminiscence" and see where it all began.

5/10

Myspace - http://www.myspace.com/blackinkreminiscence
Reverb Nation - http://www.reverbnation.com/blackinkreminiscence

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Amberian Dawn - Circus Black (2012)

2012 keeps getting better and better. Another electrifying symphonic metal album has been released by the talented Amberian Dawn. Their new album is titled “Circus Black.” The female fronted Finnish band is lead by the beautiful Heidi Parvianen and her ravishing operatic voice. The album contains fast melodic guitars and violent drum rolls surrounded by epic strings and keyboards.

Fast choppy guitar riffs open up the album in “Circus Black.” Jack hammer snares and kicks follow behind as the intro drops. More violent chugging guitars come rolling in after as they destroy everything in their way. The verse contains soft operatic female vocals with thumping bass lines in the background. A lot goes on during the build up to the chorus. You’re hit with magical keyboards and booming drum fills that jump right into the refrain. The female vocals really show off how high of a pitch she can reach. The melody isn’t really a catchy one however it is an epic one. “Cold Kiss” follows a similar song structure with the verses except they also include some phenomenal male vocals that soar high over the strings and guitars. The chorus goes back and forth between the two of them as they sing catchy melodies from left to right. The track includes a beautiful guitar solo towards the end that will completely sweep you off your feet.

“Crimson Flower” really reaches out and grabs you with its ravishing intro containing catchy keyboards and upbeat drums. Epic strings surround them as distorted guitars guide you to the verse. High flying female vocals enter soothingly while the drums keep a basic kick snare pattern. They include passionate piano notes right before the refrain giving an emotional feel to the song. A wild solo heavily covered in reverb shines toward the middle of the track throwing gorgeous note after gorgeous note with intense speed. Definitely make sure you check this track out. It’ll have you hitting the repeat button immediately.

You’re awaken with “Fight” and its reckless guitar solo that opens up the song. It’s nothing but non stop action as the guitars run up and down the musical scale with ease. The upbeat tempo of the drums keep you bobbing your head throughout the entire track. Pay close attention to each fill as they become more and more detailed through the song. More operatic vocals float over the relentless guitar riffs as cymbals collide heavily in the background. A wall of double bass pedaling and guitar solos hit you hard at the end and will knock you on your ass.

Later you’ll come across a jaw dropping instrumental, entitled “The Rivalry Between Good And Evil.” The lead guitar plays as the vocals and will have you humming along the entire time. Meanwhile symphonic strings take over the background while the drums go insane with splashing cymbals and rumbling double bass pedals. “Guardian” slows things down as the mood becomes more dark and emotional. This definitely reminds me of an old school Nightwish song with its Tarja like vocal deliver and angelic strings and keyboards. The drums stay at a slow tempo while guitars chug away slowly with heavy distortion. They do manage to fit in another incredible guitar solo that throws its melodies in all directions. This is another one of those “must hear” songs. Don’t miss out.

“Circus Black” has all the right elements for an awesome power metal album however their isn’t anything too unique about it. Its got solid male and female vocals with great range and pitch but they don’t really deliver as many catchy melodies as you would expect from a symphonic power metal band. The musician ship is excellent though as they display wild guitar solos in each song along with exploding drum fills that really pack a punch. It’s definitely worth checking out if you’re looking for some clean power metal.

8/10

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

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