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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Kaledon - Altor: The King's Blacksmith (2013)

After being a dedicated student of metal for half a lifetime, I thought my knowledge of bands and styles stretched for miles. It wasn't until our first review of an Italian power metal band that I realized there were thousands of bands operating in the shadows around me; bands both great and awful, that had somehow gone unnoticed in my arrogance. Having unlocked the pandora's box of Italian metal, i stand ashamed that it had taken so long to arrive. So you ca understand my shame in knowing that Kaledon, a six piece from Rome, had evaded my ears for fifteen years. It was their "Legend Of The Forgotten Reign" saga that garnered so much attention from fans the world over. But with that journey now complete, the band must start anew. With the release of "Altor: The King's Blacksmith," they retrace the life of the man who crafted the legendary sword, the one used to banish the beast Mozul that terrorized the kingdom in the previous story arc. From birth, to the battles that followed, the band takes you on a journey as powerful and substantial as any they've told before.

While "Innocence" may only be a slim minute, the symphonic and operatic subtleties it brings to the table are far from inconsequential. They set the stage for the first rousing burst of energy, which comes in the form of "Childhood." The fusing of classic metal and power metal is never more apparent than here, with guitarists Tommy Nemesio and Alex Mele laying down a thick layer of melody and distortion. But as with most high tempo, high reward metal offerings, the drumming quickly becomes the star. The pinpoint accuracy of each thundering kick drum and roll of the toms is key to setting the tempo and the mood of the tracks to come. And with the injection of screaming keyboard work, you have a recipe for success being written in front of you. With a dynamic mix unfolding in the background, the onus is on vocalist Marco Palazzi to deliver an equally strong performance. And while he thrives in the soaring portions, his raspy voice could come to mixed results in the down tempo sections. But with the pumping beats on "Between The Hammer And The Anvil," he carries more than his share of the load. With the lyrical content following the forging of the sword, there is certainly an air of triumph woven into the vocal lines. That feeling doesn't end there; it permeates the guitars and keyboards, with the latter supplied by Daniele Fuligni.

Never have vocal harmonies and instrumental melodies been so crisp and clean as they are on "My Personal Hero." It sees the band at the top of their game, with Palazzi delivering what may be his best performance to date. The production work is also at it's best here, boasting the larger than life sound the bad so badly needs. And while this may not stray from basic power metal writing, it is executed beautifully. The most polarizing track on the album is sure to be "Lilibeth," the sappy ballad that sits squarely at the midway point. It creates a difficult dynamic to dissect; there is nothing inherently wrong with the song as it is written. In fact, as ballads go, it stands strongly on its own. However, it fails to utilize Palazzi's talents, instead leaving him to croon over limited backing. His voice, while strong in the majority of instances, doesn't lend itself well to the solo act. It serves the purpose, though, as a pallet cleanser and set up track for the second half. There is something familiar in the opening notes of "A New Beginning," with a distinct "Hotel California" riff permeating through the background. This is where the guitars and keyboards lock together as one booming unit, with the latter performing the sweeping orchestrations. Some of the more enjoyable guitar work can be found in the solo section, awakening a sleeping giant.

With things now back into full speed ahead mode, "Kephren" asserts itself as, arguably, the strongest track on the album. There are a lot of things at play here that make it stand out from the rest; The percussion, which has been the foundation for everything thus far, maintains its consistency and strength. The thunderous gallop of kick drums provides the canvas, where Nemesio, Mele and Fuligni paint their colorful soundscapes. Palazzi has also hit his stride, showing his range throughout the short, but wholly sweet, track. It does even more as a set up for the blisteringly fast "Screams In The Wind," which sees the band move into an entirely new stratosphere of speed and energy. With the tempo picked up for the last trio of songs, it would be even easier to stumble and fall. But as the band moves into the finale, which features a guest vocal appearance from Fabio Leone, they are at their level best. It stands to reason that this would be the longest track on the album, topping the six minute mark. But what impresses most is their ability to make the song fit the time frame without a barrage of filler. What you get is six minutes of shredding guitars, delicately played keys, and a vocal duel that is everything the album commands.

With fifteen years under the Kaledon moniker, this is a band who are showing no signs of slowing down, both literally and figuratively. They stand as one of the best kept secrets of Italian power metal, as unfair as that may be. This album might not convert any new fans, but it sure to please the growing fanbase they have served for almost two decades. You have an intense focus on storytelling, one that has become a signature, and an expertly delivered musical performance to back it up. It would be hard to find anything to be unhappy about, both from the band's perspective and the fans. But what the album lacks is that one element that makes it stand apart from all of the power metal pretenders that Italy churns out. It follows the basic structures too often, and leaves the album feeling generic at times. Granted, their talents are enough to rate the album a success. But if they are ever going to find their way into the world stage, "Altor: The King's Blacksmith" has to be the start of something bigger than before.

8.5/10

Official Site - http://www.kaledon.com/
Facebook - http://www.facebook.com/pages/KALEDON/87624904170

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Wall Of The Eyeless - Wimfolsfestta (Demo) (2013)

Much like the one man bands that have become a growing trend, forming a dynamic duo has become a much more viable option. That is assuming that one, if not both, of the band members can be versatile, playing multiple instruments. As with many of these acts, Wall Of The Eyeless combines the talents of SL, a blooming multi-instrumentalist originally from Russia, and Simon, a young yet aged drummer from Sweden. Having come together in the winter of 2011, the two quickly gelled, writing and recording their first demo. With the release of "Through Emptiness" in December of that same year, they asserted themselves into the conversations of many a metal fan across Europe and beyond. But that was only the beginning. Their new demo, which stands as a testament to their talent and growth, was produced by Marduk bassist Magnus Andersson and mastered by the legendary Jens Borgren. And so it stands to reason that "Wimfolsfestta" is the next in a line of many releases to come; their best to date, but only the start.

With the monstrous "Flicker" kicking things off, you wouldn't be alone in feeling slightly intimidated. But the layered clean guitars that open the nearly ten minute track are enough to put you at ease. The organic buildup from quiet to explosive is seamless, something that only strengthens the musical output. And when the instrumental truly does explode, right around the time the first growl peeks through, you begin to see what you're dealing with. There is a free-form quality to the song, one that allows it to bend and change over its run time. And within that framework are a wealth of styles and sounds, going well beyond the norm. In any minute long cross section, you could easily dissect and digest three or four different subgenres, all cobbled together in a sturdy, if not risky, fashion. The guitar work in all segments is fantastic, bordering on obscene. And while the ticking of the clock opens "The Longest Winter," you are certainly nowhere near an end. The layering of the different elements here is a dangerous one, with the mix always seeming like it is on the verge of a full collapse. Yet, somehow, it stands up to the barrage of wild instrumentals and deathly growls. The key, though, is the way the subtle, if not altogether eery melodies float around in the background, giving the song a needed dose of contrast.

That same dynamic works wonders in "Revulsion Fever," but with an added emphasis on percussion. You won't find any generic drum patterns here, as each space is deftly filled with either a fill, roll, or leg driven kick set. With a quick clean interlude, one the captures the mood and melody necessary to elevate the track to new levels, you are launched into an entirely different facet of the bands talents. Hidden in the middle of the album is a chunk of melodic metal that defies convention, and showcases some lightning quick, surgically precise guitar work. The final piece on the album is perhaps the most impressive. Slowing the tempo down to begin "Piercing Mist," the band infuses a healthy chunk of traditional doom metal into an already packed house. The crawling tempo, backed by double kicks, sets into motion a closing track of epic proportions. It is the songwriting process that deserves the most credit, with seemingly every piece thought out to the nth degree. When the massive eruption comes just beyond the halfway point, you can't possibly be prepared. It is controlled aggression, rather than out of control noise.

It is the combination of all of the elements at play here - the songwriting, the musicianship, the production work, the recording and mastering - that makes this effort head and shoulder beyond their first. Wall Of The Eyeless have grown in leaps and bounds over the last two years. In fact, it is often hard to believe that this band still only has two members. The depth of sound they've created here is extraordinary, and their range of motion is even moreso. They've chosen to color outside the lines; all of them. They refuse to be constrained by traditional structures and rules, choosing to go into the gray areas and test the waters there. They are thriving in places where others often fail. And that has made all the difference. It's hard to try to imagine where things would go from here; there are endless possibilities and limitless potential. But if "Wimfolsfestta" is any indication, there is a long, bright future ahead for these two like minded musicians.

8.5/10

Bandcamp - http://walloftheeyeless.bandcamp.com/
Facebook - http://www.facebook.com/walloftheeyeless

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Dark Tranquility - Construct (2013)

The early 1990’s saw the birth of melodic death metal, or “Gothenburg metal” if you will. In Flames had “The Jester Race,” Carcass had “Heartwork,” At The Gates had “Slaughter of the Soul” and Dark Tranquility had “The Gallery.” The difference that Dark Tranquility had from the other bands was that they kept putting out great albums. There have been many imitators throughout the years, but to this day, Dark Tranquility is still the reigning champion of melodic death metal. With every release, they pushed themselves by trying more sounds and different techniques. With the release of “Projector,” they started a new era for the band, introducing a more progressive and experimental sound, using clean, baritone vocals in some songs. It wasn’t their best album, but it was a show-piece that proved that they could tear down any confinement that they had and still have a solid sound.  Their new abilities brought about masterpieces such as “Damage Done” and “Fiction.” For the longest time, “Damage Done” and “The Gallery” have been the most talked about albums between fans. Well now, there is a new one to add to the “talked about” list. Their tenth album, “Construct,” is Dark Tranquility at their best. This album combines all the good parts from previous efforts and creates an amazing aural experience.

The album opens up with “For Broken Words,” which explodes into a frenzy of melodic guitars and growling that never lets up except for the slow, beautifully played bridge. “For Broken Words” is an incredible track and one of the best on the album. “The Science of Noise,” “State of Trust,” and “Uniformity” sound like songs off of “Projector” that are perfectly refined and have more layers. “Uniformity” is one of the slower songs on the album with more clean vocals than screaming, but it works so well. Stanne’s singing voice has never sounded this good. Singing on death metal records is a touchy subject for me, but he nails it. “Apathetic” and “Endtime Hearts” are incredible tracks and the best ones on the album along with “For Broken Words.” The beginning riff in “Apathetic” is just crushing and it brings me back to the “Damage Done” days. In “Endtime Hearts,” the chugging riffs combined with the gorgeous keyboard create an epic sound they haven’t reached since their song “The Lesser Faith.” The last track, “None Becoming,” might be their most ambitious song to date. It’s the most melodic, atmospheric, and progressive song they’ve ever written and it’s a great way to close the album.

The album as a whole is sleeker and more refined than anything they’ve ever done in the past. The layers of instruments create a new sound for the band that no one can imitate. Even though I’ve been comparing “Contstruct” to “Projector” and “Damage Done,” don’t be fooled, they’re not one in the same. In all actuality, it’s the freshest sound they’ve had in years. I was a big fan of “Fiction” but this blows it out of the water. It has everything that a Dark Tranquility album should have, and then some. The production is tight and the song-writing is better than ever. It’s their most progressive and experimental release in their twenty plus years, but it still retains the Dark Tranquility sound that fans know and love.  This album is mind-blowing. “Construct” is a beautiful, thought provoking journey that should not be missed.

9.5/10

- Brian DuBois

Official Site - http://www.darktranquillity.com/
Facebook - http://www.facebook.com/dtofficial

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Façade - Façade (EP) (2013)

While most of the giants have lay dormant for far too long, a new breed of bands was tasked to keeping the seat on the throne of death/doom warm. For every inspiring new act, there are a throng of pretenders to that throne, ones who would rather paint the fingernails on the arm rests than sharpen their skills. Luckily for the kingdom, all is not lost. We've told tale already of Soliloquium, with their latest demo, The Concept Of Escape,"  opening our eyes to the new wave. But another rumble can be heard; this one from Dordrecht, in The Netherlands. For a six piece band by the name of Façade is not merely coming to keep the throne warm, but perhaps take it for themselves, rightfully. Their debut EP, a two track, self titled affair, would be more than enough to convince you, me, and everyone we know that this game being played, involving thrones, is about to get more heated as the days pass. After the next sixteen minute of your life, you may be ready to crown a new king, or at least hesitate to bow to the old one.

A sullen clean guitar melody opens "Listen," one worthy of the trail of goosebumps it may leave down your arms. But the change from comforting to downright scary is quick and flawless, coming to a head with every crushing down beat. The first words that stream from vocalist Ben de Graaff's mouth turn the bumps to a eery chill. With three guitar players in tow, the depth of sound in the riffs is incredible and well worth the expanded line-up. And despite being self-recorded and self-produced, it is an astonishing feat to have the mix stand up to the weight of the instrumental. The blasting beats that begin just shy of the five minute mark could break any mix, or at least leave the track feeling uneven and distorted. But they are kept in check, and every piece of the six man attack can be heard separately, and clearly. The rhythm section of bassist Pim van Dijk and drummer Korijn van Golen have the massive task of anchoring the sound, something they do with skill and accuracy, flowing from the first track into "To My Beloved One." What you are handed, in a neatly wrapped, almost ten minute package is a clinic on the death/doom realm. There is something extremely captivating in the way they play that keeps you fully focused through all of the tempo and tone shifts. This is like a perfect storm of Draconian and Swallow The Sun, joining forces to destroy all that is left. Once again, the wave of mutilation is massive and solidly constructed, dwarfing the production work many major labels bands have been attached to. 

Maybe some young blood was all the world needed. It would be easy to jump to conclusions and call this debut the second coming of the death/doom genre. That would be a drastic and perhaps misguided statement. But what it has done is reinvigorate the sound that launched, and sunk, a million ships. The guitar trio of Berend Klein Haneveld, Conrad Stroebel, and Ghislain van der Stel have laid down a wall of distortion that would be difficult to rival. But even more than just playing loud, and playing with gnashing teeth, they make all of the pieces fit together so that you can't escape their grasp. Granted, the EP is only a mere sixteen minutes long, but the way it flows, the way it holds your attention with eyes wide open is both incredible and horrifying. The ability they have to push you right to the edge of the cliff, only to pull you back at the last second is something that will make their careers long and fruitful. These six puzzle pieces known as Façade have come together at the right time, and the right place. And we are now witnesses to their rise to power.

9.5/10

Bandcamp - http://facadedoom.bandcamp.com/
Facebook - http://www.facebook.com/facadedoom

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