Almost a decade ago, Insomnium went from being a name I’d see occasionally tossed around online to one of my favorite modern metal bands, the kind you spend years obsessing over. Their 2011 album One For Sorrow hit me with the kind of emotional impact that had only been felt a few times in my history as a metal fan, and almost single handedly made the idea of melo-death relevant to me again. I went back through their discography, played the older records on repeat until I burned their melodies in my brain, and leapt at the chance to see them live on their tour opening for Epica and Alestorm. I detailed a little bit of this state of mind in the intro to my review for 2014’s Shadows of A Dying Sun, recounting not only my conversation with the band outside their tour bus, but how their music really became the soundtrack to a specific kind of environment. That was a late November gig, a rare day with the autumn chill pleasantly in the air (hoodie weather, as we call it in Houston) and grey overcast skies. There’s a half joking rule amongst a few friends of mine that you don’t listen to Opeth until November, I’m not sure if it was the song “Dirge For November” that brought this about, but I have to admit, Blackwater Park sounds sweeter in that space between Halloween and Christmas. Perhaps less rigidly, so too with Insomnium.
But Heart Like A Grave’s strength as an aching, bittersweet meditation on the toil of existence, loneliness, temporality, and decay is not a result of its autumn release date, but on being Insomnium’s most melodic offering to date. Its a melodicism that we associate with all these Finnish bands as a whole but frustratingly, credit is not often given to its source, that being the melancholic wellspring that was dug up on those early Amorphis and Sentenced records in the mid-90s. As for the latter, Sentenced have been a singularly overlooked influence on Insomnium that I’ve long banged on about (even writing on it), their signature bittersweet major/minor key melodies rippling through other Finnish bands like Charon and To/Die/For. Sentenced were cited as the sole reason that David Gold even put together Woods of Ypres, and that Sentenced DNA is clearly heard and felt throughout that band’s chaotic mix of extreme metal and more gothic stylings. Back to Insomnium —- I’m not just hearing what I want to hear, hell the cover art and title of Heart Like A Grave looks and sounds like a long lost Sentenced album between 2001-2005. Said cover, as well as the deluxe edition’s accompanying photography book was shot by none other than Sentenced’s drummer Vesa Ranta, who as a longtime professional photographer also designed and shot Sentenced’s gorgeous cover/sleeve art for The Cold White Light and The Funeral Album. But musically speaking, I’ve always heard big and small strains of this influence throughout Insomnium’s older records, but here the band worked it deeper into the bedrock of their songwriting than ever before.
The extra dosage of this distinctly Finnish melodicism results in a tradeoff, this being the least overall aggressive album in the band’s discography, yet also the most emotionally deep and engaging. Not that you wouldn’t think lack of aggression was a factor once the opening riff to “Valediction” kicked in, it being the most outwardly attack-mode element on the album. I’ll admit that I was a little nonplussed about this song when it was first released as a music video a month or two ago. I’ve been vocal lately about being loathe to listen to preview tracks or watch music videos ahead of the album release, because it always seems that either the bands pick the wrong song from the album for this purpose, or more puzzlingly, the song doesn’t seem to work outside the context of the album. For whatever reason, “Valediction” is one of those songs, where it was “fine” in its music video form a few months ago, but mysteriously blossomed into an undeniable album highlight in the context of the album in full. Its a captivating song, built on the strength of Ville Friman (along with new co-clean vocalist/guitarist Jani Liimatainen) delivering gorgeous clean vocal melody passages that bookend Niilo Sevanen’s guttural thunder in the chorus. The accompanying dual lead melody is richly sweet, full of palpable emotional resonance, providing a striking juxtaposition against Sevanen’s all too bleak lyric: “Tonight, the world is burning / Black smoke hides the skies…”. The band carries this balancing act all throughout the record, because lyrically speaking, this is as bleak and downcast as Insomnium have ever been, gazing inward deeper than ever, while setting that perspective against the backdrop of an outside world that seems more uncertain than before.
This album is also loaded with the kind of abrupt one-off moments that made the songs on Across the Dark and One For Sorrow so memorable. I’m thinking of the decision to interrupt the dirty, grinding groove of “Neverlast” with a jaw-droppingly gorgeous dual guitar detour at the 2:17 mark. It’s the kind of choice that turns a merely good song into something excellent, and we hear another example of this on the epic, churning title track “Heart Like A Grave”. Its an album highlight not only for Friman and Liimatainen as vocalists, but in being perhaps one of the best things Markus Vanhala has written for any of his bands. A highly charged quasi-ballad, it turns into a revelatory gem at the 4:36 mark, where a desperately urgent yet exuberant lead melody surges forward and serves as the backdrop to Sevanen’s most passionately growled lyric on the album: “Years of disappointment / and disillusion / All I see in the mirror now / Is an old man with heart like a grave”. Vanhala was also the songwriter on another album standout, “Pale Morning Star”, where we’re treated to yet another gorgeous mid-song shift in direction, a wailing, aching guitar melody cut adrift, seemingly fluttering and gently swaying as though it were a kite in the wind. The fascinating storyline to this album’s construction is in its egalitarian approach to the division of songwriting duties, falling amongst four of the band’s five members, including new guy Liimatainen (yes he’s that Jani, of the first five Sonata Arctica records fame). The new guy delivers the music on “Mute Is My Sorrow”, writing a classic sounding Insomnium song with a bright, acoustic intro and rhythmically dynamic grooves, and he makes a co-writing appearance on two other cuts. Sevanen and Vanhala split the bulk of the songs, almost equally although Sevanen handles the majority of the lyrics. The biggest surprise here is that Friman is left with “Valediction” as his sole songwriting credit (music and lyrics), shocking because he alongside Sevanen was one of the band’s defining songwriters and architects on Insomnium’s albums up to this point. Its simultaneously bizarre, confusing, and thrilling that Heart Like A Grave sounds so emphatically like Insomnium despite one of its defining voices being so scaled back in the construction of the album.
This is a beautiful, haunting, anguished and ultimately comforting record, and the closest thing to the spirit of Sentenced’s last two albums that I’ve heard since the original funeral Finns called it a day. That matters a whole heck of alot to me, because while I felt that way when I first heard One For Sorrow, I have to admit that the years haven’t been good to Shadows Of A Dying Sun, and for a time that concerned me. For as positive as my review of that album was at the time of its release in 2015, I’ve found myself listening to it less and less as time has gone by, with only a few songs from it still on my playlist. I listened to it for the first time in full a little bit ago and there is something stifling about its glossier production approach that mutes the power of some of those songs, that tends to mesh them all together in one amorphous sound profile. I think if I’m being honest with myself, I felt that some of its songwriting also lacked the bold melodic inspiration that I’d come to associate with the band. It was an album written to be an Insomnium album in the mold of its immediate predecessors, but perhaps the band had run with one approach for an album too long and it showed in the songwriting quality. Its follow-up, the deliberately blackened and far more brutal Winter’s Gate was the extreme deviation that the band needed, not only in that they delivered an awesome record with it, but it helped them grab some distance from their “classic” sound so that they could come at it once again with some freshness. They’ve done just that with Heart Like A Grave, possibly the most inspired and poignant chapter in an already emotionally loaded discography —- and a fitting soundtrack to colder nights and pumpkin spice.
These past two months have provided a handful of releases by major institutions from across the spectrum of subgenres. Dragonforce are back with the cheekily titled Extreme Power Metal, a phrase they actually coined back in 2004 to put on the sticker of Sonic Firestorm. And while some may snicker, its fair to say Dragonforce really were pioneers in marrying extreme tempos and drum patterns (blastbeats) to ultra melodic power metal, and that maybe they’ve earned the right to weirdly use that tag over a decade later on their eighth studio album. Similarly, Opeth were pioneers in a different way altogether, marrying melody to death metal in a way that had nothing to do with the Gothenburg melodeath sound of the mid-90s era that the band was birthed in. They’ve long since moved onto prog-rock pastures of course, and their newest In Cauda Venenum continues this trajectory. Then there’s the proggy black metal of Borknagar, who are releasing their first album with ICS Vortex at the grim vocal helm since 1999’s Quintessence, with Vintersorg having bowed out of the band last year, ending an eighteen year tenure. There’s a lot to dissect with all three, and of course there’s a few releases here by newer artists that I’ve spent a considerable amount of time with too. Sleeping Ancient from Houston has released a buzzworthy debut, and then there’s Everfrost who are probably gonna be new to most of you but are releasing their sophomore album that’s catching a lot of interest due to their interesting twist on the album release. A wildly varied mix of new stuff, and there’s going to be more on the way, for now:
Dragonforce – Extreme Power Metal:
Its been interesting to hear the chatter around Dragonforce grow louder over the course of the recording of their newest album, Extreme Power Metal, due to Herman Li’s clever immersion into the Twitch community. There fans got to witness not only the recording of the new album in all its meticulous tedium (and if the internet has taught us anything, nothing is too tedious), but also experience band rehearsals and soon, the band’s tour where they’ll be streaming at every tour stop for a real behind the scenes peek at life on the road with Dragonforce. I’ve watched a few of Li’s streams on replay, as well as Matt Heafy’s replays from his own popular Twitch channel, and this is a brave new frontier for band promotion if I’ve ever seen one. Not all musicians would be cut out for it or feel comfortable doing it, but for a select few, this could be a great way to keep one’s audience engaged throughout downtimes and in a more connected, personal way rather than just the typical social media posts or YouTube vlogs. For Dragonforce, its created a noticeable buzz, most recently coalescing in the band performing a set at the Twitch Con 2019’s opening ceremony. There they debuted a snazzy stage set with old school arcade cabs that Herman Li and Sam Totman could stand atop of, guitar hero (ahem) style. I gotta say, even though I may not have enjoyed all the records entirely, its refreshing that even I started to feel excited about the band right now. I don’t think anyone expected them to still be around, that something would’ve derailed them at some point, but power metal is more fun with Dragonforce around —- they’re such an audacious spearhead of the genre that I feel we should all embrace them.
If the cover art wasn’t a clue, the band have decidedly leaned towards their lighter, video game nostalgia referencing sensibilities for Extreme Power Metal, a hard turn away from the darker approach of their last three records. The vibe here recalls the Inhuman Rampage / Ultra Beatdown era, and its refreshing to hear vocalist Marc Hudson in this context, his tenure up to this point on his three album appearances being associated with more serious, angsty lyrics at times (not a bad thing in my view, but it was strikingly different than what we all associated ZP Theart with). It helps that Sam Totman and former bassist (now in Kreator) Frédéric Leclercq delivered some of the most carefree and vibrantly fun material the band has tackled in well over a decade. Songs like “Highway to Oblivion” and “Cosmic Power of the Infinite Shred Machine” ring with those unmistakable classic era Dragonforce hyper-major key hooks that are bursting to the seams with cheerfulness. Even the title of the latter seems like a knowing callback to the Inhuman era, albeit marked with the post 2012 era’s tendency to slow things down a bit and keep the tempos fluctuating. There’s a handful of addictive cuts here, among them “In a Skyforged Dream”, a song that were it longer would remind me of the Sonic Firestorm era for its trope heavy, vaguely fantasy alluding lyrics and dramatic, theatrical stop/starts. The solos towards the end are fantastic, the kind of mirroring of the main melody affair that I’m just a sucker for. And proving that the band’s experimental streak in the Hudson era is still alive and well, there’s the unusually paced and martial drumming infused “Remembrance Day”, a risky song that could’ve easily been a disaster, but somehow it kinda works and has an endearing charm in its tribute to previous generations of fallen soldiers.
My personal highlights however are a pair of songs that will end up on the old iPod, as de facto best of Dragonforce cuts in “Strangers” and “The Last Dragonborn”. The latter is about exactly what you’re thinking, namely the Elder Scrolls Skyrim, complete with references to Whiterun and Tamriel —- first of all, its refreshing alone to simply have references to actual fantasy locations in a Dragonforce song for once, instead of the eternal fantasy steeped vagueness that they work with. There’s so much to love here, be it the vaguely Eastern sounds that shape the overall melodic structure along with the cinematic orchestral arrangement courtesy of Epica’s Coen Janssen; or the dramatic rise and crash of the bridge-to-chorus where Hudson turns in a command performance; or the gorgeous mid-song bridge at the 4:18 mark that brings me back to standing on top of High Hrothgar watching the sunrise. But my favorite on the album is undoubtedly “Strangers”, a mid-tempo banger built in the streamlined approach that informed a lot of The Power Within, largely due to being a Leclercq penned song, and if memory serves he wrote “Seasons” from that album as well. If the band loses the ability to knock out unimaginable catchy mid-tempo hits like this with Leclercq’s departure, that will indeed be a shame (although I’m really looking forward to seeing if Li starts writing more). And then of course, there’s the band’s absolutely wonderful, giddily delightful cover of “My Heart Will Go On”, and in the same vein as their cover of Johnny Cash’s “Ring of Fire”, they stay faithful to the original melody while Dragonforce-izing the song with speedy percussion and furious guitar wizardry. I love everything about this cover, from the silly videogame fx at the beginning to Hudson’s impassioned performance —- they take the song just seriously enough, because dammit, the Celine Dion original is indeed a beautiful song and demands it. I always knew its melody would’ve fit into a power metal context and its a shock and joy to hear it come to fruition. To close, if you were checked out on Hudson era Dragonforce because it seemed tonally different to the old days, this album is the moment to dive back in.
Borknagar – True North:
I was more than a little curious as to what Borknagar would sound like without Andreas Hedlund (aka Vintersorg the man the myth the legend) at the vocal helm. For the past seventeen years, he has laced Øystein Brun’s avant-garde black metal with his rich, otherworldly baritone clean vocals and of course those fierce, frostbitten grim vox too. His presence on any record he’s involved with, be it Borknagar, his own Vintersorg solo project, Otyg, Cronian, etc is hugely influenced by his mere presence, the same way Hansi just brings an encompassing envelope of characteristic sound that is unmistakable. Vintersorg clearly shaped and influenced the Borknagar sound from Empiricism through Winter Thrice, regardless of whether or not he had a hand in the songwriting. Things have been different for him however since his 2014 head injury during an accident where he fell from a ladder. He was a little less prominent on Winter Thrice, as ICS Vortex and Lazare (Lars Nedland) saw increased roles handling the vocals, and his once prolific output has slowed to just two releases in the past five years, the aforementioned Winter Thrice and 2017’s Till Fjalls II. His reasoning in the statement to fans and media was that he didn’t want to hold the band back from touring due to his day job commitments and his “situation after the accident”. That stuff about the touring I kind of took with a grain of salt, because he’s sat out the band’s performances many times before, and Brun himself has a full time gig in IT and can’t commit to lengthy tours either. Sadly, its likely that the real reason is that he has to prioritize things now, and his own musical projects are the only thing that will fit in alongside what I’m assuming has been a grueling road to recovery. That its not a lack of enthusiasm, but rather scheduling and time that’s ending his participation is a bummer, but its also proved to be an opportunity for the band to try new things and stretch their sound.
And stretch their sound they have on True North, with Vortex and Lazare splitting the clean vocals and giving big assists in the songwriting department alongside Oystein, this is the most adventurous Borknagar album since Origins, and I’d argue, since Empiricism. There’s a brighter tone to these songs, and a sense of spaciousness to the songwriting that is uncommon for this band, normally so compressed and dense in their compositions. This is apparent from the jump on “Thunderous”, the most conventional track on offer but still a noticeably measured and dare I suggest, stately paced track despite the blackened, blast beat fuelled passages. Really its on “Up North” where people are going to hear the most striking changes, the song being a major key laced, Hammond drenched Uriah Heep-ian jam with Vortex delivering some James Hetfield growls in his largely clean lead vocal role. He seems to have written this piece solo too, and its fascinating to hear just how writing with his own voice in mind (as opposed to Vintersorg’s) helped shape the outcome to be this different. The unusually structured “Lights” is another bold experiment for the band, a combination of extreme metal moments packed with Porcupine Tree-like prog-rock artistry. Then there’s the gently swaying ballad(!) “Wild Father’s Heart”, where Lazare pours out some incredibly melancholic and heartbreaking vocal melodies. But my fave right now is the Lazare written and sung “Voices”, which is the most accessible thing the band has ever done, a bold slice of art-pop ala Dead Can Dance. Its the tip of the iceberg for things you’d never think to associate with this band, but somehow it fits and doesn’t sound out of place. This is the beginning of something radically different for Borknagar, and its more exciting than I ever thought it could be.
Everfrost – Winterider:
That Everfrost hail from Finland shouldn’t surprise any of you once you hear the first few keyboard notes of Winterider, but you might be forgiven for thinking they might’ve been from Japan for a second. Yes, those are manga styled characters in the album artwork, and in fact, this album was released with an actual manga comic book that details the storyline alluded to in these songs, a neat crossover mixed media approach that the band is trying out that I’ve often wondered why more bands don’t dare to attempt. It was the unusual nature of said album art that I saw in my inbox that got me to check out the promo of Winterider, bracing myself for a cringefest that would have me deleting it on the spot —- yet what I discovered was inspired, incredibly fun sugary power metal reminiscent of the halcyon days of early Sonata Arctica. Indeed Tony Kakko is a clear influence here, not only on the vocal approach by Mikael Salo, whose accent often makes him a dead ringer, but also in the songwriting approach of band founder and keyboardist Benjamin Connelly. For any of you who were disappointed in Sonata’s recent Talviyö and long for that band to return to the Ecliptica / Silence / Winterhearts era, you might wanna bounce on over Everfrost’s way and check out note perfect slices of Finn-power such as the powerful title track “Winterider”. Built on sugary synth lines and a crisp, dare I say wintry separation of instruments, topped with lush harmony vocals, this song is as wonderfully decadent as the most hooky classic Sonata era cut. It also sports an unusual, “Don’t Stop Believin'” arrangement, where the true chorus doesn’t appear until 3:30 seconds into the song, that being an unforgettable, spirited group sing of the song title. This kind of flair and flexibility to deviate from traditional verse/bridge/chorus structures is rare in melodic power metal bands, who tend to cling to those tried and true approaches.
There’s a focus in Connelly’s songwriting to be as concise as possible, with verses mainlining to get to a hook or refrain, but also to be as indulgently stylistic as possible on the way there. Take “Cold Night Remedy”, where the straightforward verse sections are anchored by a solid Scorpions-esque mid-tempo riff and drum beat, but guitarist Markus Laito is off the leash, free to add flurries of notes at will and to tack on creative angles and unexpected tails. There’s just so much ear candy present everywhere, as on “Actraiser” where the keyboards and guitars battle back and forth for control of the primary melody while Salo outstrips both in time for the chorus where his vocal melody surges upwards in one of the catchiest hooks in power metal this year. Its also a particularly Kakko-esque moment, and while I’m trying to not beat the Sonata drum too much in this review, its kind of impossible not to. I don’t think that’s a bad thing either, because frankly, Everfrost are filling a void that was deeply felt by many power metal fans once Sonata drifted into more rambling, eclectic songwriting territory. On the ballad, “Above The Treeline”, we’re hearing that overwhelming influence manifest itself in beautiful, chiming piano melodies that help build up the dramatic tension alongside Salo’s impassioned vocals, the singer delivering his best performance of the album. Salo is also awesome on the riskiest cut on the album, that being a fairly faithful cover of Kesha’s global hit “Die Young”, a choice that not only seems to fit the shimmering, exuberant tone of the album as a whole but sounds great set to rockin’ riffs. I’m not sure how this fits into the album’s storyline, I’m sure there’s a valid reason, but no matter —- simply electing to cover such an unlikely choice of pop song is the very essence of a Sonata influence (they who so gloriously covered Bette Midler’s “The Wind Beneath My Wings”). This is a hugely enjoyable album, and Everfrost do bring enough personality to the table to prevent the copycat label, but that being said, this is terrific tonic for anyone left frustrated by the last decade plus of Sonata.
Opeth – In Cauda Venenum:
Four albums deep now into Opeth’s post metal career, I think most of us have given up on the idea of a return to their prog-death roots. It was all but eliminated for me when I saw the footage of their pro-shot show at Red Rocks, where Mikael Akerfeldt struggled to muster up even a reasonable facsimile of his once glorious death growl (“Demon of the Fall” was particularly saddening). Despite this opening statement however, I don’t hold it against Akerfeldt, because his reasoning makes sense, and I have given Opeth’s post Watershed output a fair hearing, and even liked the odd song here and there. What troubles me though is this sense that Akerfeldt has become a less engaging songwriter ever since he’s loosened up in this free-form, jazzy, prog-rock steeped milieu. I loved the softer moments of the classic Opeth discography, from large chunks of Damnation, to all the quiet valleys of Still Life, Blackwater Park, Deliverance, and Ghost Reveries. Part of the appeal of that quiet/loud dynamic of the classic era was that Akerfeldt was just as compelling a songwriter and vocalist during the hushed, tranquil sections as he was during the brutal passages. From Heritage onwards though, I have rarely heard that kind of quality (only once really, on “Faith In Others” off Pale Communion), and frequently have felt like I’m listening to a plate of musical noodles on these newer albums. On the new album, “Heart In Hand” has a relatively compelling rhythmic dynamic working for it, with a propulsive riff getting things going, except that there’s nothing substantial in the way of a bridge leading to the chorus. It all mushes together, like when you go out for Indian food and long for some other texture amidst the curried meats, curried vegetables, and pillowy naan bread —- its all a bit soft isn’t it? Take “The Garroter” for example, where an intriguing opening guitar figure never really leads anywhere all that interesting, just dissolving in an ambient, soupy mess. There’s some heavy hitting explosions in “All Things Will Pass” that perked my interest, but it wasn’t until the very end where an all too brief sparkling melody made its quick appearance and then faded off. I dunno… it might be time to call it on Opeth. Four albums in a row where one is left disappointed might be overkill. I check out every release out of obligation but this is an exercise in exasperation.
Sleeping Ancient – There Is No Truth But Death:
Sleeping Ancient is the latest in a slowly expanding crop of Houston based metal bands to make a splash online, with Invisible Oranges and Decibel among the major outlets that have covered them in the recent month plus since the release of this debut album. To their credit, like a few other noteworthy Houstonian metal exports they have a unique sound for a band from this city, a blend of post-metal with black and doom infusions. Its a sound that stands out from a local perspective, being far removed from the local TXDM (Texas death metal if you couldn’t guess) scene, and has more in common with geographically far-flung North American bands like Russian Circles, Numenorean, or Isis (no, not that Isis). I’ve slowly listened to this album over the past month —- I say slowly because I can’t emphasize enough just how much this is a mood dependent listen, for me anyway. Usually at night, when things are winding down its just about the right headspace for the meditative, hypnotic circular nature of “A Locked Room”, or the tension building “Disillusionist”. Those two are instrumentals, and there are three of those total on a seven track album which I’ll admit is a puzzling decision. I get it, its post-metal, and “post” means that there’s a lot of leeway in an almost free-form exploration of sound, but I found myself wanting another track in the vein of “A Path Emerges” and “Writhing in the City of Dregs” (which I can only assume is a paean to our lovely weather). The former has the most memorable intro passage of the entire album, with a distinct melodic motif that creeps in during its slower passage halfway through. The latter is the most consistently engaging song from start to finish, although I feel its ending needed something a little more straightforward, like a focused, catchy, aggressive riff to make everything else hit like the proverbial hadoken. This is a promising debut, far from perfect by any means (a little less meandering and more riffs would go a long way), but worth investigating during the moonlit hours.
Its been a time of change and literal upheaval for The Metal Pigeon blog lately. I had been thinking about updating the look of the site for awhile now, and those thoughts led to actual research which led to my ultimately deciding that its time the blog graduated from its sheltered (and very limited) home at the actual WordPress.com to a self-hosted WordPress solution (if you’ve ever wondered what the difference between the .com and .org versions of WordPress were, TIL!). So after a nervous week waiting for a domain name transfer, exporting and importing a ton of files (all the old posts and comments and images), and fiddling around with a ton of themes over the past two weeks, things are finally settling down with the site for the time being. I’m still not done changing things, at some point I’d like to get a new logo (looking into that), and the site might have more visual changes coming to its home page but ultimately the foundation of this blog has been and always will be the content itself. So thanks for sticking through this rough period and bearing with me.
I haven’t neglected music in this period either, listening to a ton of new releases in the interim, a large dose of power metal to be exact. I’ve been spending time with new releases by veterans such as Hammerfall, Elvenking, Freedom Call, and Sonata Arctica, but also making time for debuts by new bands on the scene like Dialith, who appeared on my radar as a recommendation from Blayne of BangerTV of all people and places (they’re normally very power metal averse). I also went on a metal road trip up north to Dallas on August 26th for the Demons and Wizards North American tour, and that was a pretty epic experience not only for the surreal feeling of actually seeing that band live in the flesh, but for the depths of dehydration that the 107° Texas heat put me in. I talked about it a bit on the recent MSRcast #225 where I pontificated about the magical healing properties of post show Gatorades and smoked almonds. On the episode before that, we had Robb Zipp of The Most Epic Adventures on to talk about his experience going to this year’s Wacken Festival as a solo traveler. It was a pretty insightful discussion on the kind of logistical details that you’re likely to wonder about if like myself you’ve never made the trek overseas for a metal fest. I’m aiming to increase the updates to the blog and will likely have good reason to do so —- expect a Dragonforce new album breakdown on the next update! Now onto the reviews:
Hammerfall – Dominion:
I’ve experienced a renewed passion for Hammerfall over the course of the last couple years, beginning with when I saw them live for the first time on their tour with Delain. I had always revered Glory To The Brave and Legacy of Kings as iconic power metal classics, but that gig made me revisit the entirety of their catalog and since then they’ve been a consistent go to when I need that direct boost of adrenaline and euphoric, spirit lifting positivity. The quality of this discography if charted on a graph shows a slow decline starting after 2000’s Renegade and dipping down further after 2006’s middling Threshold, hitting its absolute nadir with the barely mediocre Infected in 2011, and a slow gradual rise since then with their last two albums. I’ll emphasize gradual here, because while those albums —- (r)Evolution and Built to Last —- had some excellent songs to add to the already stacked Hammerfall Best Of playlist, they were largely under baked as a whole. I was a little more invested this time in the output they’d produce on Dominion, this their eleventh studio album, hoping they’d conjure up some stuff with the same kind of crackling intensity that they had pouring out on stage both times I saw them in the last three years. And as recent output by Judas Priest has shown us, veteran bands can sometimes find their footing again and find themselves in fine fighting form. Hammerfall has done exactly that with Dominion, delivering their strongest, most confident album since 2005’s Chapter V: Unbent, Unbowed, Unbroken.
As to why and how they managed this feat on album eleven and not number ten, or nine —- eh, hard to pinpoint exactly, there’s no change in behind the scenes personnel, with Fredrik Nordström handling mixing duties alongside as co-producer with Oscar Dronjak. I think it could be as simple as they just wound up writing a vastly improved batch of songs this time, maybe the heaven and hell theme reflected in the artwork helped guide them to that point or maybe it had nothing to do with it. There certainly is a more “epic” feel to cuts such as “Never Forgive, Never Forget” and “Dominion”, the two back to back album openers. And I’ll freely admit that while “(We Make) Sweden Rock” had me rolling my eyes a bit when I first saw the title months back, its actually an undeniable jam, with one of the band’s strongest hooks in recent memory and an old school sounding lead guitar figure that bookends the chorus. Its also rather endearing to realize its a tribute to the Swedish contribution to metal, particularly if you’ve seen the music video for the song, with its intercutting the band’s performance with photographs of Swedish rock and metal royalty (where’s Falconer though?). My personal favorite however is the ballad “Second to One”, a piano driven affair that hearkens back to the bittersweet melancholy of classic Hammerfall ballads in “Always Will Be” or “Dreams Come True”. I’ve always loved the bands approach to balladry, where they seemingly prefer their slowest moments to sound haunting and reflective rather than syrupy sweet (even with love songs).
The ballad comes at the halfway point of Dominion, and its also the marker for when the album really gets going with quality songs in succession. I wouldn’t say there’s a pacing problem here, but the first half is definitely a little slower to excite than the spectacular second, where there’s not a bum song among the bunch. Actually, I’d say that “Chain of Command” is one of the best Hammerfall songs in their catalog, one that’s old school metal gang vocal fueled chorus would feel at home on Glory or Legacy. Ditto for “Dead By Dawn”, which is classic Hammerfall through and through, although that chorus is weirdly triumphant sounding for its particular chorus lyric: “You will be dead by dawn” (similarly, “Chain of Command” has a kinda funny lyric at work too if you imagine its talking about an HR departments rules and regs rather than an army on the march, but hey it rocks so…). The Valhalla referencing “Bloodline” and album closer “And Yet I Smile” are not as forward attacking, but are still well thought out compositionally. In fact the only song that I thought was a bit of a skipper was “Testify”, but its not a terrible song by any means, with a solid series of verse sections and an enjoyable bridge sequence, but that chorus is kinda a let down. That being said, its nice to see Dronjak return to fine songwriting form, and Joacim Cains sounds as ageless as ever. Sweden rocks indeed!
Dialith – Extinction Six:
This is the debut album by Dialith who hail from Danbury, Connecticut, yet another random (but apparently very nice!) North American locale where a promising new power metal band is launching its career from, joining the ranks of dozens of their peers in the past few years. This might be the sleeper hit of the summer, an album that has been released independently as of this writing but has gotten some relatively high-ish profile recommends via Angry Metal Guy and Blayne Smith of BangerTV (the latter of whom was my initial tip-off to check them out). I can’t imagine that they’ll be unsigned for long, and I hope that happens for them (and that its a beneficial arrangement, not some sort of 360 deal), but no matter to us at this moment really, because in 2019, the mechanisms are in place for a band to bypass the label route entirely and make an immediate impression with listeners like us on their debut album. For me, Extinction Six has kinda taken over my listening time over the past two weeks, being a compulsively addictive collection of smartly crafted symphonic power metal that’s as richly shimmering and effervescent as it is anchored in a bed of melodic-death riff fueled aggression. This isn’t a new concept, in fact Frozen Crown have made a name for themselves doing exactly that; but whereas Crown’s Giada Etro is the most effortless classic sounding power metal voice we’ve heard in years, Dialith’s Krista Sion is an absolute phenom with her soprano’s approach towards singing, morphing the band’s sound into symphonic power metal.
Of course she’s helped along by the keyboard orchestral elements courtesy of keyboardist Charles Woodruff and apparently an assist from Fleshgod Apocalypse’s Francesco Ferrini, who is credited with additional orchestration and arrangements. The band’s melo-death driven riffage is geared to balance out all that grandiose symphonic sweetness with the help of a guy I consider an ascendant star in the metal producer/engineer landscape, that being one Jacob Hansen. What I love about Hansen’s mixes for any band he works with is his ability to draw sharp, clear delineations between traditional metallic instrumentation and unorthodox elements such as orchestral or even electronically created textures (Pyramaze and recent Kamelot are good examples of this). He nails that again here, but really the bulk of the credit should go towards Sion’s vocals and guiarist Alasdair Wallace Mackie’s impassioned songwriting and his own performance across the album. His playing is downright vicious on “Catalyst” for example, one of the heaviest hitting songs on the record, his riffage sounding as dense as mid-90s In Flames and Gates of Ishtar records. And yet he’s still a melody driven songwriter, as heard on the storming opener “The Sound of Your Voice” and absolute show stealer “Break The Chains” (no its not a Dokken cover!). I can’t get enough of Sion’s approach, and its weird because she’s simultaneously emotive AND icy-toned, her vocals often purposefully distant or indifferent to the intensity of the music and its a fascinating and incredibly well executed dichotomy. I could go on but this likely won’t be the last you see of me writing about Dialith —- consider this one of the most essential albums in an already excellent year of metal releases.
Sonata Arctica – Talviyö:
I’ve thought a lot in the past few days on how I’m supposed to approach writing about Sonata Artica’s utterly confounding Talviyö (“Winter Night” in Finnish), and I’m not sure I’ve come to any kind of conclusion on that so here goes anyway. My first experience with this album was late at night, and maybe it was the mental and physical fatigue of the day that I was foolishly putting off addressing by not going to sleep, but I found myself mildly enjoying the album at that moment. Not with such passion and verve mind you that would have me leaping out of my chair, suddenly wide awake, ready to tell anyone and everyone about how amazing the new Sonata record was, but enjoying it nonetheless. Yet every listen since then has invoked a far more critical reaction within me, seemingly progressive in nature as to how negatively I’ve been receiving these songs. I first thought that maybe this was a sign that Talviyö is a mood record, one that’s only meant for specific mindsets, but I’m not so sure about that —- and just to be sure, I listened to the album twice through after staying up all night watching the Monday Night Footall season opener double header. If anything, my irritation at the album only worsened, and trust me, that had nothing to do with the Texans agonizing loss earlier that night (…yes… nothing…). Bear in mind, that I adore Sonata like most of the power metal community does, their first four albums are genre defining in my estimation. I’ve even found stuff to like on most of their post Unia output, so it gives me no pleasure to write harshly about their new record.
So in that spirit, lets start with the positives, this won’t take long, but let’s give credit to the band and/or Nuclear Blast for correctly identifying the best track for the music video, that being “Cold” which starts off with the kind of irresistible Kakko vocal melody that we’ve all come to love him for. The song is built on tension building verses and a hard rockin’ approach to the mid-tempo riff structure, one slightly reminiscent of The Night Flight Orchestra. I will say that one intrepid YouTube commenter on the music video noted that the song sounded better when you increased the playback speed to 1.25, and damn it if he isn’t right. The middling tempo choice does in fact prevent the song from joining the ranks of classic Sonata songs, on my playlist anyway, but its still memorable and something I wouldn’t balk at taking up space on their setlists. I thought that “Whirlwind” had a nice melody at work and a chorus that had touches of that old impassioned Kakko style, although its sluggish tempo is a little frustrating and again, holds it back. There’s been praise showered on the curiously titled “Ismo’s Got Good Reactors” which sounds like a JRPG mistranslation, and indeed its Celtic-tinged rumble is actually a refreshing experiment to take in… for an instrumental. I don’t know about you, but I can’t ever find myself getting too excited about a Sonata instrumental. This isn’t classic era In Flames, where Jesper Stromblad was a monumental talent who would serve up perfectly sculpted acoustic/electric instrumental figures in unforgettable instrumental interludes like “Pallers Anders Visa” or “Man Made God”. Frankly, after Jani Liimatainen left, Sonata’s music became ever more dependent on the strength of Kakko’s vocal melodies, and an instrumental track only highlights that deficiency.
And then there’s everything else. A handful of frustrating songs that range from aggressively mediocre to downright aggravating. Who is ever going to enjoy “The Last Of The Lambs”, with its strange mix of production effects and plodding, go nowhere repetitive tempo? Or “Who Failed The Most”, where Kakko’s penchant for cute lyrics betrays him on the second worst offender on the album (” You decide, who is the lord of the rings”) set to the most Pepto Bismol-y tasting vocal melody I’ve heard on any power metal album. Then there’s the squandering of a promising melodic motif on “Demon’s Cage” with a sharp turn towards a rambling, unfocused vocal melody and another Kakko lyrical dud (” Working class, kneel and kiss my… s…). Keep in mind, I’m could care less at this point about the lyrical meaning, because if the way its being articulated isn’t drawing me in, any ideas that are being expressed are left at the door guarding my interest level. The worst offender is the insipid and cringe inducing ballad “The Garden”, and this is coming from a mushy ballad lover, someone who rated the hyper saccharine “Love” from Sonata’s 2014 Pariah’s Child as one of the strongest cuts on that album. But gods, this is a bridge too far: “My life… my everything in a beautiful garden / Sunshine, friends, glass of wine…”. Set aside the vitriol inducing twee melody at work here, and Kakko’s droopy approach to the vocals —- these lyrics are objectively terrible. And I get it, he’s clearly writing a song to his wife about the life he feels she’s given to him, and I have no doubt as to his sincerity. But good grief Tony… lose the wine glass, dunk your head in a bucket of cold water and get ahold of yourself man. I’ve gone on long enough —- this is either the worst Sonata album to date or in competition with The Ninth Hour for that title. Sleep on that.
Elvenking – Reader Of The Runes – Divination:
One of my most anticipated records of this year on the metal release calendar, Elvenking’s Reader Of The Runes – Divination is their tenth album and the follow up to the still frequently listened to Secrets of the Magick Grimoire from two years back. Well… at least certain songs from it. Elvenking’s weakness over the course of their career has been their inability to deliver a compelling album from start to finish, with often inspired moments scattered across a bed of middling ones on most of their records. That’s not the worst deficiency in the world for a band to have, it guarantees that there’s always something to love about each new album, but it prevents them from ever making an appearance in a lot of conversations between metalheads or even in the media where folks could point to a singular disc and say “this is the one”. The closest they’ve gotten by most estimates is 2014’s The Pagan Manifesto, but even there I still some songs lacking. I’ve idly wondered if the band’s problem has been their insistence on delivering at least 10-12 songs per album, that maybe in the effort to provide lengthier albums they’ve been allowing lesser quality material make the cut and thus diluting the overall strength. I dunno, its a thought and I’d be interested to see how a tight 35-40 minute album would fare, but we won’t get that chance on Reader, which is just over 52 minutes (relatively short by Elvenking standards).
This is a front loaded album, with playlist worthy cuts “Heathen Divine”, “Divination”, “Silverseal”, and “Eternal Eleanor” all arriving before the album’s halfway point. The latter is one of the band’s more appealing veins of experimentation, that of the folky ballad that they toss with their usual power metal meets alt-rock riff salad approach. Fabio Polo is a talented violinist, but his most underrated ability is in delivering melodies that really can anchor and/or carry a tune entirely on their own. He takes center stage here over power chord riffery and propels forward a pretty lively, jaunty folk ballad that is charming if not quite as catchy as it needs to be. The earworm role is served by “Heathen Divine”, which sports the most confident melody at work on the entire album. The band builds a folk tinged power metal banger atop it with a chorus that reminds you of what it is Elvenking can do so well, that mix of seemingly loose, haphazard vocal approach with precision playing that soars and hits hard yet feels like could come apart at any moment. My personal favorite however is “Silverseal” where the band writes a chorus for the ages and a supporting verse/bridge structure that raises and releases the tension. The folk-power sound here is kind of what these guys need to aim for nearly 100% of the time, sealing it in a compact, focused nearly four minute banger. But overall, I’m left feeling a little underwhelmed by Reader, particularly on its back half where it just seems that nothing quite landed the way it should have. When these guys don’t deliver moment for moment perfect hooks, the lack of richness in their musicality stands out. I’m not sure what the fix is there… to add more instrumentation ala Eluveitie to spice things up? Maybe. Its past time for them to deliver an attention grabbing album, and they’ve missed the mark here again.
Freedom Call – M.E.T.A.L.:
If the audaciousness of the album art there didn’t clue you into the kind of over the top, Chris Bay led festivities we’re in for on Freedom Call’s tenth studio album, I’ll refer you to this Call frontman’s spectacularly lively music video from his 2018 solo album Chasing the Sun. Subtlety isn’t Freedom Call’s paintbrush of choice, and M.E.T.A.L. sees Bay and company staying true that to ethos. From their 1999 debut Stairway to Fairyland, Bay has made Freedom Call into a vehicle to explore the area of power metal once pioneered by Helloween, with loosely fantasy tinged life affirming lyrical metaphors and a musical sound that’s relentlessly cheerful sounding and lighthearted in its use of epic melodicism. Alongside Power Quest, they’ve been tagged unfairly by some as “flower metal”, but where the Quest pulled deep influences from 80s guitar rock ala Van Halen, the Call are firmly anchored in that German power metal legacy pioneered by Kai Hansen (which makes sense, considered Bay’s Gamma Ray stint). I was always a casual appreciator of the band, until 2014’s Beyond, which was their first legitimately excellent album from front to back and turned me into a straight up fan of the Call. Months and years after its release, it stayed with me as a go to for a glorious, epic power metal fix. It prompted me to revisit their back catalog in search of something I’d perhaps missed, and I unearthed some previously overlooked gems to be sure, but nothing matched its fiery verve. I will admit that its been hard to stomach some of their decision making though, as the cover art to 2016’s Master of Light and the quality of its lead off single “Metal Is For Everyone” demonstrate. What I’ve learned about Freedom Call and Chris Bay in particular though, is that you have to try your best to not judge a book by its cover (literally with their last two records) and just trust in this —- that Bay is a sharpshooter of a power metal songwriter.
He delivers ultra catchy power metal goodness by the armload here, the most lovable offering being “One Step Into Wonderland”, as perfect a song as the best of them on Beyond. Yes the “…wonderland…” thing is a bit much —- I’m not sure if Bay’s lyrics would be more interesting if he was actually singing about fantasy places, characters, and stories more akin to Rhapsody or Blind Guardian, as opposed to his purely metaphorical wielding of such language. It seems to be the way he’s utilized them throughout his career, and other bands have done the same thing for sure, but his such a gifted songwriter in terms of developing epic sounding ideas that I wonder if he shouldn’t try. Similarly “Fly With Us” is another barnstormer, built on an 80’s rockin’ guitar approach but still hitting with the impact of a hammer on the low riffy end. Even the Sabaton-ishly titled “Ronin” is a hard charging glorious slice of Euro-power, with those splashy cheerful leads from Lars Rettkowitz. I’m particularly fond of “Spirit of Daedalus”, which kind of reminds me of Tales-era Blind Guardian (albeit, definitely not as dark), propelled by the kind of speed metal flair that sounds so at home in German power metal. The major misstep on the album is clearly the title track, one of those praising metal tracks that some bands can pull off convincingly, and others can’t. Its not the worst offender of that ilk that I’ve heard, but its definitely a must skip here, and why name your album after it when you’ve had a career of nothing but relatively serious album titles. The glaring flaw with Master of Light was its abominable cover art that was so terrible it might land it as a contender for the worst metal cover art of all time… and in considering these recent spate of terrible artistic choices, I’m left wondering where Bay’s head is at these days. I hope these are temporary missteps because they’re overshadowing quality material.
Back with the most recent collection of accumulated reviews for albums that I’ve been listening to lately, and these really stretch the gamut in terms of release dates and the actual date that I started listening to them. The new Frozen Crown album for instance came out in March but got lost in the shuffle around then and didn’t resurface on my playlist until July (disappointed in myself for that one), and there’s some early summer stuff here that I wanted to have more time with. To change things up after the recent spate of lengthier reviews, I’m doing the shorter format once again (probably a recurring thing, bouncing between the varying lengths, it keeps things interesting for me). If you’ve been reading the site for awhile, you might guess that shorter reviews are harder for me to write, because it forces me to boil things down to the very essence, rather than spilling the broth everywhere on your screen. Disastrous metaphor I know —- its late, sue me.
Frozen Crown – Crowned In Frost:
It was barely a year ago that I was introduced to Italy’s Frozen Crown, who released their debut album, The Fallen King, in February of 2018. It became a favorite of mine, and made me reconsider my slight hesitancy to Italian power metal, something helped along by the recent strong offering from Ancient Bards. Its not all too surprising that they’re back so soon with yet another studio offering, I’m learning to expect this type of shorter lag time release schedule now from bands with limited touring availability and day jobs. What is surprising however, is how much of a leap in songwriting strength the band has achieved in such a short time. I’ll still have my personal favorites from their debut, but Crowned In Frost boasts so much more in terms of accomplished songwriting and a stronger stylistic identity, the band coming damn close to their unstated sonic vision of a Sonata Arctica / Wintersun fusion. It opens with two outright bangers, the first being lead off single “Neverending”, which mixes some nice, tight melo-death riff patterning under vocalist Giada Etro’s powerful straight ahead classicist power metal vocal approach. I compared her before to a mix of Brittney Hayes from Unleash the Archers and Kobra Paige, but she also possesses Tony Kakko’s innate sense of what to do with phrasing and syllabic timing. She turns in a devastating performance on “In The Dark”, her voice full of lift and soaring strength, and folks this song… this is a perfect example of what I love about power metal’s very essence. Four minutes and forty-four seconds of adrenalizing, empowering, spirit lifting fireworks that every band should hope to achieve.
They nearly reach these same heights again on the more melo-deathy infused “Winterfall”, where guitarist Federico Mondelli adds in some pretty solid melo-death growling vox and he and fellow guitarist Talia Bellazecca join in for some crushing tandem riffing in that satisfyingly dense melo-death style. The middle bridge here seems like a step into fresh songwriting territory for the band, a slower, epic build that seems reminiscent of UtA’s Apex. I hear this same similarity on “Unspoken”, a song that is at once a straight ahead, full-on rocker but there’s some complexity going on in the disparity between the tempos of guitars and vocals that’s a time-honored tendency of bands who are increasing in confidence and awareness as songwriters. Mondelli is a flourishing talent in this regard, and “Lost In Time” is one of those songs that points to this, the kind of almost ballad that is damn difficult for even experienced, veteran bands to pull off. The only real stumble on this record is minor, but I just felt a little too much repetition in “Battles In The Night”, which was perhaps more apparent given how unique and explorative the rest of these songs were (there’s also three relatively pointless instrumental tracks that they should start ditching on their next record, but we’ll let that slide for now). And its refreshing to hear a balanced mix on this record, Filippo Zavattari’s bass is clearly audible throughout and it was nice to not have the guitars fighting Etro for space up front. I can’t recommend this one enough, its the fun, frosty album this summer needed and everyone into power metal should be onboard the Frozen Crown dragon by now. These new crop of power metal bands are delivering new music at an alarmingly rapid rate (see Visigoth and Judicator), and we might be in the midst of a second golden age of power metal already.
Bewitcher – Under the Witching Cross:
Recently I went to see Striker play a gig on their tour with Holy Grail, wanting to experience the exuberant joyful performance that I witnessed a year ago when they opened for Unleash the Archers. They delivered, although the sound guy didn’t and left my ears ringing the next day while I looked for earplugs on Amazon, but the opening band on the tour more than made up for it. Portland’s Bewitcher pulled off that rare trick of impressing me when I knew nothing about their music going into it, and came away a fan not only of their intense, ferocious live performance, but of their songwriting as well. The description on Metallum says “Black/Speed Metal”, and yeah that’s about as accurate a summation as one could provide. Matt Litton’s (aka Unholy Weaver of Shadows & Incantations [!]) vocals never really stray into blackened death territory, having more in common with 80s thrash punkiness than anything resembling death metal’s gutturality. The track to YouTube preview is “Rome Is On Fire”, a compulsively addictive, head bashing battering ram of hooky riffing and delightfully spartan lyrics about the brewing wickedness in the declining Roman Empire. But I’m also partial to the title track, coming across as Riot trad-speed meat n’ potatoes meets Bathory’s smoke and fire. That the album sounds as kinetic and vital as the Bewitcher did live is a testament to not only the engineer here for the mix, but to the band who’s writing songs in a cross pollinated style where its often too easy to overdo the grime factor. Bewitcher seems to value memorability above all else, where its the melody guides the riffs, and that means they have to ensure that melodic brightness shows up on this recording, even if that means dialing back the dirtiness. Those looking for something more Entombed or Evocation might disregard this as too polished and compromised, but I think of it more as a solution to a tricky to master blend of metal.
Abbath – Outstrider:
I’m kinda glad I waited on writing a review for Outstrider, long after I discussed it on the podcast and expressed my then difficulty in deciding how I felt about the album at that time. The one thing I knew for certain was that I enjoyed the new Immortal album far more, but was questioning if that was even a fair comparison to make. Well, to answer that latter question now —- of course it freaking is! And no, its not just because direct comparisons are the meat on the bone for content succubi like myself, but because its a natural process that most fans of classic Immortal put themselves through whether they went public with their opinions or not. But the more instructive comparison is to pit Outstrider to Abbath’s self-titled debut, the latter being hamstrung perhaps by its half All Shall Fall followup and half Abbath plays rock n’ roll mishmash that prevented anything resembling album cohesion. The new album is a gigantic leap in improvement in that regard, seeing Abbath turn in a collection of songs forged in a fiery, speed-riffed black metal mold reminiscent of At The Heart of Winter. Oh sure, there’s some leftover hard rock styling imprinted on scattered moments here, like the wild guitar solo in the middle of “The Artifex”, but they’re more tasteful accents than structural shifts in the songwriting approach. The album works best however when Abbath remembers his old strength, to paraphrase Gandalf’s words to Théoden (nerd alert!), as on the highlight “Scythewinder” —- here he marries unrelentingly violent, battering ram verse passages to a dramatic, primal tempo-ed drum pounding middle bridge. Its a bracing reminder of just how good Abbath can be when he gets downright meat n’ potatoes-y with his songwriting, mixing in caveman styled slabs of simplified riffs and spacing to give the blistering black metal fury a little more definition. There’s more of this on “Hecate”, one of the catchiest songs on the album with a riff based hook one could almost call poppy for Abbath (almost). I also thought “Harvest Pyre” sounded better on my umpteenth listen whereas I was tending to dismiss it early on when first listening to the album, not sure why exactly, although I’m hearing several things coming to the surface here that I know I missed initially. I will admit however that there is a sense of frustration infusing my overall opinion here, the unshakeable feeling that this sounds like a fine transition album but that Abbath still sounds like he’s a little unfocused. At times these songs sound way too busy, that a little stripping down of excess riffs and some rearranging would go a long way to injecting some memorability in the mix. The only way to test that transition album theory unfortunately is to wait for the next one and hope its better. That and compare it to the next Immortal album of course.
Turilli / Lione Rhapsody – Zero Gravity: Rebirth And Evolution:
Lately I’ve been coming away relatively impressed by recent Rhapsody releases in any incarnation. Alex Staropoli’s Rhapsody of Fire has been putting out head turning records, particularly the highly enjoyable re-recordings collection Legendary Years in 2017, as well as this year’s The Eighth Mountain (for which I have no good excuse for forgetting to review). I’ve also enjoyed to a certain extent Luca Turilli’s two releases under his Rhapsody banner, though 2016’s Prometheus was a challenge to get into. More immediate then is the debut album from this third version of Rhapsody which sees Turilli reuniting with ex-Rhapsody/current Angra vocalist Fabio Lione. Its a collection of highly accessible songs in a style of Rhapsody that seems distilled of all excess pomp and grandeur, seemingly to match the more narrowly defined science meets futurism theme of the album title and lyrics. We gushed about the Elize Ryd duet “D.N.A. (Demon and Angel)” on a recent MSRcast, but there’s so much more here to love, particularly the rushing operatic pulse in “Zero Gravity”, where I’ve never heard Lione sound as nimble and versatile as a vocalist. He’s also terrific on “Multidimensional”, where he’s assisted by backing vocalist Emilie Ragni who turns in some incredible work herself all over this album, her voice a perfect complement to Lione, providing a higher register assist to really nail those epic, climbing refrains. The epic, Queen-influenced “I Am” is perhaps my favorite original (oh you’ll see) on the album, showcasing a layering of complex arrangements on piano and vocal harmonies and of course neo-classical wizardry on guitar that speaks to Turilli’s undiminished ability to weave these elements together into something that’s nothing short of beautiful. But weirdly enough, the track that really made me freak out was the cover of Josh Groban’s “Oceano” which is a bonus track at the end of the album, which for a few minutes I thought was a Turilli original and was demanding aloud why he wasn’t writing more material in this vein. Heh, well for good reason apparently, but Lione brings the house down on this beautiful slice of operatic pop, and the lightly metallic instrumentation gives it a boost of power the original sadly lacks. Would it be asking too much for these two to deliver an album of nothing but popera covers? Surely I’m not the only one who’d be into that right… right guys?
Idle Hands – Mana:
Perhaps the most simultaneously lovable and aggravating albums of the year, Idle Hands much buzzed about debut album took well over a few months to completely grow on me. It wasn’t for lack of an immediate fascination with the band’s Sisters of Mercy meets Tribulation amalgam of sound, or the truly inspired songwriting at work here, but more vocalist / guitarist Gabriel Franco’s penchant for irritating vocal eruptions. Its been a recurring complaint with newcomers to Mana, and one I’m glad to say becomes less of an issue over time (some of you might recall me complaining about it on the MSRcast a few weeks ago) if you just listen past them. Hopefully everyone has patience enough to indulge in these songs despite that annoying characteristic, because Franco is a compelling songwriter, a lyricist whose awkward directness reminds me of Woods of Ypres’ David Gold and latter day Sentenced. His sense of melodicism and seemingly innate ability to craft indelible hooks results in some of the most addictive, earwormy songs I’ve heard this year. Its the icing on the cake that they’re all relatively unique as well: “Give Me To The Night” is a racing, full-throttled metallic rocker with post-punk lead guitar sensibilities; while my personal favorite “Jackie” is like someone dipped the poppiest slice of Charon in a fondue made of The Cult circa 1985. The song that’s got the peeps in the r/PowerMetal Discord fired up calling this the AOTY is “Dragon, Why Do You Cry?”, which Sonata Arctica cringe title aside, really is an unconventional epic. I’m kinda hooked on Franco’s pre-solo “8…7…6…” countdown before lead guitarist Sebastian Silva unleashes a gorgeous, fluid, character rich solo. In fact, Silva’s playing is perhaps the unheralded performance MVP of the album, even though most of the attention goes towards Franco’s stoic, stentorian vocals. His guitar approach actually reminds me of Roy Z’s work in Tribe of Gypsies at times, loose and quick on its feet, slightly Latin-tinged without leaning on cliches, and full of swagger and attitude. There’s so much to love about this album, and its been one I’ve been returning to for months now (this was a May release), I might have my minor gripes about Franco’s plethora of out of nowhere grunts and shouts, but they do kinda grow on you strangely. Push past them, ignore any cringe factor the lyrics might conjure for you and let yourself be treated to one of the finest collection of goth-metal songs ever recorded.
You can almost feel the inevitability of Sabaton’s star turn happening this very moment, particularly here a week out from the release of their ninth and newest album, The Great War. There’s the increasing profile of the past few years with bigger tours overseas and even here in the States where they were absolutely packing out venues across the country. There’s the mainstream chart positions achieved with 2016’s The Last Stand, the big festival slots, and more recent in the mind of the metal world, their coming to the rescue at Hellfest with a last second, vocalist-impaired filling in for the tantrum throwing headliners Manowar. I mentioned this on Twitter the evening that event took place, but it almost felt like we were witnessing a changing of the guard in a very particular way. Those events just don’t happen in a vacuum in the metal world, they leave imprints and change perceptions, forge goodwill, and even create new fans. For example, I’ve never really been into Trivium’s music, but I can’t help but root for Matt Heafy with this upcoming black metal project he’s cooking up, because I’ve enjoyed him in podcast interviews and he just seems like a passionate fan of black metal music. That’s how things work within metal it seems, we’re rarely black and white on issues —- great bands can have terrible albums, you might still enjoy a song or two from a generally mediocre band, and you loved a band’s live show but their album did nothing for you or vice versa. You might, like many have, scoff at Sabaton’s schtick and over-the-top earnestness with which they go about it, but enough people love them despite or perhaps because of those things. To wit, as of this writing, The Great War has debuted at #1 in Germany, #11 in the U.K., and if early projections are to be believed, #5 in the US (turns out this was physical sales only… but still!), which would make it the highest charting power metal album in history.
Its worth mentioning that although its only been three years since The Last Stand, this gap marks the longest time between releases for the band since their debut. Not only is that remarkable for a band that tours as much as they do, but points to a more concerted focus here, the need for extra time to dig deep into the research process for one of the biggest conflicts in history. They’d touched on World War I before, with the Passchendaele tribute “The Price Of A Mile” from The Art of War and “Angels Calling” from Attero Dominatus, but The Great War deep dives on subject matter from the conflict that was admittedly new to me. I’d of course seen Lawrence of Arabia and knew about T.E. Lawrence, but I’ll admit that my knowledge of Francis Pegahmagabow, Osowiec Fortress, and Alvin York were nonexistent. I also only had a cursory knowledge of Manfred von Richthofen, aka The Red Baron, due to a once burning interest in aviation when I was a kid. Maybe what’s added the extra time in Sabaton’s album cycle this go round was the development of their YouTube channel Sabaton History, where many of these songs and others from their catalog are deep dived into with the help of YouTube historian Indy Neidells. Its an entirely separate endeavor from their music of course, but this level of depth and attention to detail (not to mention commitment to their subject matter) lends credibility to the band’s continuing historical focus. At this point its dishonest to criticize it as merely schtick, because I don’t think you can fake that kind of thing to this extent. Clearly this is a burning passion for Joakim Broden and Pär Sundström, and while the channel is not necessary to enjoy their records, it adds something to the experience of listening to those songs after you’ve watched their respective mini-documentary vids.
Case in point, there are three versions of The Great War, a normal songs only edition, a soundtrack version that’s mostly just an extra dressed up instrumental edition (Floor Jansen makes a special appearance here), and the “History Edition” —- the latter of which includes a little 20-30 second framing intro by a well spoken narrator to help set the scene. Now normally I dislike narration within albums, there are a few exceptions of course, but even the audiobook ripped narration the band threw into The Art of War got a little tiring after the millionth listen. I assume the band must’ve heard that before so they shrewdly provided options for the listening experience this time around, and surprisingly enough, it makes a hell of a difference. The history version brings a thematic cohesion to the full album listening experience that is well paced, sets the mood, and pulls you in to pay attention to the songs for more than just the hooks, and frankly the normal songs only edition feels a little empty without it. Why is this different from The Art of War? I’m not sure exactly and who knows, ten months from now I might only be listening to the songs only version, but I do know that I never felt as positively towards the narration on Art’ as I do on the new album. It is to The Great War’s credit however, that we can compare it to that seminal album for more reasons than just the narration.
This is one of the strongest Sabaton albums to date, a rebound from the one dimensional mood of The Last Stand, with a thematic and narrative cohesion that places it next to Carolus Rex, The Art of War, and Heroes. In songwriting terms, they’ve benefited greatly by the simple fact that the subject matter this time has the breadth to be both darkly agonizing and shimmeringly heroic. The latter are as epic, soaring, and thrilling as we’ve come to expect from Broden’s experienced songwriting chops, as evidenced on album highlight “Seven Pillars Of Wisdom”. Its recounting of T.E. Lawrence’s grand desert adventures in Arabia leading the guerilla war against the Ottoman Empire is set to a suitably swashbuckling vocal melody and horse sprint tempo. The other highlight in this vein is the hammond organ accelerating waltz rhythm of “The Red Baron”, a track that sounds not only slightly anachronistic in a strange way, but sees the band stretching their sound in fresh musical territory. Broden’s vocals in the chorus zip around the gang vocal melody chanting “Higher!”, all while the bouncy, light-on-its-feet uptempo keyboard blitz creates the feeling of a song that’s as aerial as its subject matter. The band dips back into a little orchestral bombast for “Devil Dogs”, loading its chorus with ample symphonic weight and choral backing vocals, a striking musical counterpoint to the subject matter of the US Marines storied battle at the Battle of Belleau Wood. Running counter to all this upbeat major key celebratory tone is the darkened, slower vein of the album, providing a much needed balance that The Last Stand lacked and suffered as a result from. Broden and company deliver a career standout in “Great War”, boasting one of his most effectively written refrains, anthemic and powerful in the vocal cadence and sympathetic and tragic on a lyrical level.
Speaking of which, this is where Broden really shines as a writer, when he places the listener at a shoulder to shoulder perspective with a narrator. The personal, first-person narration happening in “Great War”, about a brother lamenting the loss of his two siblings in the war and his mother’s grief is the kind of detail oriented lyrical bent that I wish Broden would engage in more often. I understand that not every song can work with that kind of lyric writing, either due to syllabic or rhythmic constraints, but when it can work he should make an effort to accomplish that. Its what makes a song like The Pogues “And The Band Played Waltzing Matilda” or Iron Maiden’s “The Trooper” so powerful and effective, that humanizing individual experience set against the backdrop of a grander, dehumanizing experience. Continuing down the darker, more somber vein of the album, there’s “The End of the War To End All Wars”, as purposefully lumbering and deadened a vocal approach as Broden’s ever mustered. Its contrasted with powerful blasts of horns and choral vocal lines during the refrain and the culminating mid-song bridge. Similarly brooding is “The Attack of the Dead Men”, where the vocal lines are built in rhythmic, percussive patterns that serve as their own form of microhook and would likely not work without Broden’s thick brogue. I’m particularly fond of the more mid-tempoed “A Ghost In The Trenches”, a song with sharply written lyrics, cleverly phrased: “Just another man and rifle, a marksman and a scout revealed / Makes his way from trench to trench alone, moving undetected”. Criticize him for all too often writing lyrics that read like plain historical recounting, but Broden’s unique gift is in his occasionally thoughtful diction and memorable phrasing in particular. And I love the choral vocal reading of “In Flanders Fields” as an album closer, a band-less affair that is poignant and entirely unexpected and a little gutsy.
There are a couple moments here that don’t live up to the rest, like the album opener “The Future of Warfare”, which is an excellent intro but a relatively middling song. Not the kind of tune begging for inclusion in the setlist perhaps, but it works in the context of the album. I will say that “82nd All The Way” strikes a little too close to “No Bullets Fly”, and critics of the band will likely pounce on it as an example of the band repeating themselves. Its a valid criticism and to be honest it did prevent me from being fully engrossed in an otherwise decent song, but then again, Sab’s gonna Sab; they’ll sound like themselves no matter how much innovation they dare to interject in an album. Bands that sound distinctly like themselves (AC/DC, Iron Maiden) seem to be more open to criticism for repeating themselves than bands whose influences are easily discernible. And I started out a little lukewarm on “Fields of Verdun”, which seemed a little too straightforward structurally and weirdly joyful in tone considering the subject matter, but lately I’ve come around to it largely due to the strength of that earworm of a hook. The band sounds terrific all throughout as you’d expect, but particular mention should be made for new guitarist Tommy Johansson (ReinXeed / Majestica), who is a perfect neo-classical foil for Chris Rörland’s more meat n’ potatoes approach. Johansson’s playing is lighter, sleeker, and a little more unexpected in terms of solos, he seems to zag where you expect the zig. The band as currently constructed seems to be at its best with the most talented lineup to date (no disrespect intended to previous guitarist Thobbe Englund who actually helped Broden with songwriting on “Fields of Verdun”). This is a welcome return to form for Sabaton, one of their strongest, most thematically cohesive albums to date, and its arrived when at the exact moment when they needed to hit one out of the park. Its the kind of album that justifies their recent ascent to the top of the metal world, in chart positions, headlining festival slots, and a legion of fans. Manowar, you can clear the hall now.
Days and weeks flying by, and just when I think I’m caught up, I realize I’m still behind the ever marching release calendar. This time around, in the ever challenging effort to keep up to date, I ran into some road blocks. One was the tragic passing of Andre Matos, which really derailed me for awhile. After a couple days where I couldn’t even bear the thought of listening to his voice because I was feeling pretty down about it to say the least, I took a few days to go on an Angra and Viper binge. That was therapeutic and insightful because I ended up reexamining the entire Angra catalog, even some of the later era Edu albums that I’d previously shrugged off. Anyway to business: Three releases are reviewed below, two from major bands that deserve a longer discourse than the one paragraph reviews I was dishing out on the last update —- and a band that’s new to me that has taken over my listening time in a major way. I’ve been gushing about them to anyone within earshot, and on the newest MSRcast as well, so its only fitting that I write a bit about it here. Also working on the premiere of a major feature I’m hopefully rolling out soon, and maybe some other non-reviews oriented fun stuff as well. Thanks for reading!
Darkthrone – Old Star:
The legendary status of a band like Darkthrone is never in question. They’ve been around for ages, and almost any metal fan acquainted with more underground music or just black metal in general knows their name and maybe even an album or two. Sometimes though, I wonder if our justifiably warm, and dare I say fuzzy feelings towards Fenriz and Nocturno Culto as anti-spotlight, fellow working class metalheads colors our feelings towards their recent releases. Don’t get me wrong, I hold the band in high esteem, but sometimes they release albums that just feel like stuff I’ve heard before, that was more exciting the first time I heard it. I read other people pouring out opulent praise for their new album on Twitter and elsewhere and begin to wonder what I’m missing. Or have they transcended into that place in the underground metal pantheon where every new release is just automatically lavished with gushing adoration and critical plaudits? Ihsahn once remarked in an interview something to the effect of what he would hate about recording new Emperor albums, namely, that they’d be automatically granted a critical respect and stature just because of the storied history behind the name on the album art.
One day after Old Star was released, I saw a few folks on Twitter labeling it their favorite album of the year so far. Is that really the take we’re going with a day after its release? Seems a little hyperbolic and oh also have you not listened to anything else this year? The joke enjoyed at my expense before this album was released was mentioning to a friend of mine how it had been a long time since the last Darkthrone album, thinking it was 2013’s genuinely exciting The Underground Resistance, completely forgetting 2016’s well… forgettable Arctic Thunder and its half-hearted plunge back into icy, black metal-ish waters. The sad thing is that three years from now when Darkthrone releases their next album (I’m just assuming they will), I’ll likely still look back on The Underground Resistance as my most recent lodestone bearing the memories of what I can so joyfully love about this band. I don’t think Old Star is a bad album, but its riff first stance has these songs struggling to find any purchase in terms of memorability. Fenriz remarked in the album’s press release that it was the most 80s sounding record they’d ever done, and maybe to him it is because he’s associating it with specific riff influences that will go over most of our heads. I mention that because the seemingly scattered assortment and placement of differing riffs in aggression, attitude, and even stylistic approach seems utterly random and forced in songs like “I Muffle Your Inner Choir”. They certainly achieved what the title preaches —- can I get a vocal melody here guys, or a hook of any kind?
Don’t look at me like that. Yes I said vocal melody and hooks in a Darkthrone review. The band at their best in their recent decade long span has delivered both in spades —- songs like “Too Old, Too Cold”, “Circle The Wagons”, “I Am the Working Class”, “Valkyrie”, “Leave No Cross Unturned”… you get the idea. All songs with pronounced hooks, mostly in the vocal department via catchy phrasing. Here on the new album, vocal patterning seems to be hardly an afterthought, the riffs being the central music motif we’re supposed to latch onto. That’s near impossible for me on a dud like “Alp Man”, which is as boring a Darkthrone song as I can recall. I wasn’t thrilled with the title track either, which never seemed to materialize any sort of internal logic or direction. There’s a nagging question underpinning this album’s scant six songs —- why are all of these so freaking lengthy? The shortest was 4:28 but should’ve been half that, and the rest easily eclipse 5 and 6 minutes in length. There’s no musical reason for them to so do, no grand buildup to a major bridge in the middle of them, nor any kind of natural Blind Guardian-esque need to embellish and beautify (this is ugly old Darkthrone we’re talking about after all). The length alone made repeat listening to this album for review purposes a chore, and I hate writing that about a Darkthrone record (mostly because it should make no sense in the first place). At no point did I ever truly hate anything on the album, but only once did I perk up and think “oh that’s cool” (during the middle of the “Duke of Gloat” and its nifty little faster tempo bridge). I know I’m in the minority, and most will dismiss me (and that’s fine), but Darkthrone sounds a little aimless and drifting here.
Aephanemer – Prokopton:
I have no one but Spotify to thank for this brilliant recommendation. I was listening to the latest Gloryhammer on it, and after it was finished playing through this album popped up, the service’s algorithm coming through in a big way. I should add that Aephanemer really has nothing in common with Gloryhammer, except maybe a penchant for melody and memorability in their songs. Oh sure there’s a subtle power metal influence here ala Wintersun or Brymir, but Toulouse, France’s Aephanemer blend together a distinctly Swedish strain of melodic death metal with stirring, uplifting symphonic swirls. Sometimes when you try to describe a band in text, it just comes across like more of something you’ve already heard before (“Oh, so its like Wintersun?” *slaps forehead*). I think what separates Aephanemer from any of its peers working with similar stylistic fusions is this band’s heavy tilt towards Gothenburg melodic death, rather than the more melancholic Finnish variety. Its enough of a distinctive difference that it allows their other fusions with symphonic elements and wildly creative melodic detours to combine into something I don’t think I’ve quite heard before (and that alone is as surprising as how unique this album sounds). This is the French four piece’s sophomore album, and it is a far more engaging and sophisticated continuation of what they began on their solid 2016 debut full length Momento Mori. Its not that common for the artistic gap between a debut and a sophomore album to be this wide, but for Aephanemer, this feels like they’ve graduated ahead of schedule.
One of the things I’m appreciating about this band is just how integral every member’s contributions feel —- vocalist/rhythm guitarist Marion Bascoul is the natural centerpiece, her perfectly suited growling/screaming blend the right tone and color for the band’s music. She’s a bruising rhythm player too, her playing both appropriately full of sonic crunch and little dabs of thrashiness to prevent things from ever feeling anywhere near clinical. She’s accompanied by an astonishingly tight rhythm section in bassist Lucie Woaye Hune and drummer Mickaël Bonnevialle; the latter a vividly creative percussionist, spitting out fills and inventive patterns that are enjoyable in their own right, and Hune’s bass is an aggressive underbelly to Bascoul’s riffing, rumbling along audibly in the mix. Of course, the can’t miss element in all this is lead guitarist Martin Hamiche’s spectacularly energetic, fluid, and at times even gorgeous playing. His work across this album seems entirely natural and unrehearsed, even though I’m almost certain that every single note he’s playing was carefully crafted into place. His deft melodic phrasing is the glue that holds everything together and in a weird twist, he seems to weave in and around everyone else rather than simply lay atop their bed of sound as we’re so used to expecting from other bands. It should be pointed out that the mixing here was handled by none other than Dan Swanö, and he nailed a perfect balance for this album —- its one of the most crisp yet not clinical recordings you’ll likely hear, well ever.
The album begins with the title track and after a minute of pounding drum fueled introductory theatrics, we’re off into glorious melo-death territory. I’m enthralled by the way it sounds like the metallic attack here is being surrounded but never engulfed by the orchestral elements. Hamiche’s songwriting in this regard is superb, demonstrating that innate awareness of balance and layering. On the excellent “The Sovereign”, we’re treated to more of that precision balancing between the skyward shooting keyboard orchestral melodies, and the dizzying lead guitar work. We’re treated to a similar ear candy explosion on “Bloodline”, those gorgeous In Flames-ish harmonized guitars during the verses hitting the melo-death sweet spot in all of us and it seems like the orchestral melodies just keep escalating the pitch higher and higher. During the ecstatic mid-song bridge at the 2:57 mark, Hamiche’s self-professed classical influences radiate through like a ray of sun breaking through cloud cover. Its such a mighty, triumphant moment that I uttered awe inspired profanity when I first heard it sitting here at my desk however many weeks ago. I love the near panicky tempo and attack of the epic “If I Should Die”, which is just about the most perfect slice of Bodom meets In Flames inspired melo-death I’ve heard in ages. My favorite track right now (this is constantly shifting, it was “Dissonance Within” the other day) is “Back Again”, which is really this album summarized in an absolute stunner of a track, full of vicious riffs and darkened, melancholic laden melodies that tug on my heartstrings with every single listen. This is what I love about melodic death metal, that when perfectly executed, a single song can seemingly encapsulate so many boiling emotions. This is a must listen to album for 2019 (you can download it for free or pay what you want at their bandcamp —- no excuses!) and at this point, I have no doubt its going to be winding up on many year end lists, including mine.
Gloryhammer – Legends From Beyond The Galactic Terrorvortex:
I suspect that the cracks in my demeanor towards Gloryhammer surfaced during the review for Space 1992 when I admitted to liking “Universe on Fire”. Reading back on that review now, I notice two things: For starters I didn’t give enough credit to the actual quality of power metal that is present in Gloryhammer’s music in terms of songwriting and musicianship. Clearly, for everything to sound as good and often inspired as it does on Legends… you require musicians that are committed to delivering that, and that’s something that I don’t think can be faked. Christopher Bowes is a talented songwriter, and even though he’d never admit to any band or songwriter specific power metal influences (I suspect largely because it’d put a crimp in the image he portrays in interviews where he dismisses everything about metal as self-serious and lame), you have to at the very least appreciate power metal to emulate it as well as he does. And secondly, maybe I wasn’t being entirely honest with myself and everyone else reading about just how much it was bugging me that newcomers were latching onto Gloryhammer as their introduction to power metal. Here was this band arriving on the scene with a campy, mostly humorous, over the top space opera storyline with its band members even playing characters —- and they were getting attention from mainstream media in a way that power metal rarely has (ditto for their peers in the much lesser Twilight Force, who got a Vice feature… although maybe that’s not worth so much these days). It grated on me that these outsider media outlets were only willing to accept power metal when it openly poked fun at itself, and in essence were willfully or naively disregarding two decades plus of amazing music by incredible artists (those being the ones who had the nerve to take themselves seriously). Look, I’ll admit now that it was wrong of me to hold that grudge against these bands themselves, rather than simply at the mainstream/non-metal media in question. They were the ones deserving of scorn, and I got it wrong.
I’ve come to realize all this because over the past year plus I’ve been reading and participating in discussions about all things power metal with the fine people at r/PowerMetal (both the subreddit and the associated Discord), as well as digesting a great pod that everyone should check out called .powerful – a power metal podcast. I’ve gotten to filter my thoughts through them and come out the other end with a far more open minded perspective, one that accepts Gloryhammer as a potential gateway band for power metal in the same way Dragonforce possibly was (and Sabaton currently is). One of the discord members, LarryBiscuit went to see the band in Arizona on their recent tour with Aether Realm, and he noticed that most of the fans there were Gloryhammer fans, not metal fans per se. That’s something I noticed every time I saw Alestorm and even a band like Sabaton. A great deal of people showing up are primarily fans of those bands exclusively at that time, meaning they don’t care about the opener or know about them, nor are they metal fans of any stripe in general. I’ve spoken to people at Sabaton gigs who fit that description, and its something I’ve kept in my mind ever since —- and that’s rushed up to slap me in the face recently. I’ve always resisted writing anything snarky about bands like Five Finger Death Punch and the like because I view them as gateway bands to metal, that necessary component to keeping all forms of metal healthy with new potential fans cycling in. And what I’ve come to fully accept now is that maybe its a great thing that Gloryhammer is drawing in these folks, maybe geeky leaning people who could possibly wonder what else is out there that sounds somewhat similar to that band. One can only hope that some of them will venture down that road.
That Gloryhammer aren’t exactly breaking new ground should be obvious —- you already know what they sound like even if you haven’t heard a note. What’s worth mentioning here however is just how well crafted these songs are, and how impressive specific performances are on this recording. First off, vocalist Thomas Winkler just gets better and better, this being his command performance to date. He’s simply one of the premiere vocal talents in power metal worldwide right now, capable of a theatrical slant to his delivery that befits his character Angus McFife XIII, at times reminding me of a more full throated Mathias Blad and Tobias Sammet crossover. He knows how to inject just the right amount of variance from one iteration of a chorus to another to keep things interesting, and those choices are important to keeping things sonically interesting even though these are some excellent, vocalist-proof hooks he’s working with. I wouldn’t mind hearing him in another context, just to get an idea of just how expansive he could be given different material. Guitarist Paul Templing might be a little underrated given that he’s handling seemingly both rhythm and leads. He’s dexterous enough a player to deliver both tight, packed, even at times thrash-tinged riffing, while tossing out some ear candied licks as verse cappers and juxtaposing accents to Bowes keyboard melodies. There’s honestly not a bad song among the bunch here, but the killer track is “Gloryhammer”, as excellent a song as Bowes has ever written, well structured and paced, and suitably epic in spirit and joyful at once. I even think they nailed its CGI music video, which has to be a first for any power metal band. I also adore “Masters of the Galaxy”, because that’s a chorus that just refuses to quit… it indeed was stuck in my head for a week straight. And you know a power metal record is solid when its twelve minute plus closing epic, “The Fires Of Ancient Cosmic Destiny”, is one of the best songs on the album, galactic evil wizard narration and all. One of the most fun albums of the year —- I finally get it.
Too many new albums, not enough time, and somehow I still managed to get through a good many of them (though as usual, not all). How? By sneaking in listening sessions at the most inconvenient times when I’d usually just prefer silence or an episode of Bob’s Burgers as background noise. This might be the most economical, quick-dashed off reviews cluster to date in Metal Pigeon history, my focus here on being concise and straight to the point in one paragraph at most (with the exception of Myrath of course). Let me know in the comments below if I’ve forgotten something glaring or of course if you entirely disagree with something I’ve written! Again there’s more coming in the weeks ahead (with the exception of Sunn O)))’s much praised Life Metal… I tried, just not for me), so if you don’t see a particular album here yet, maybe it’ll show up down the line.
Myrath – Shehili:
This is only my second opportunity to review a new Myrath album, seeing as how I became a fan of the band in between the five year gap of 2011’s Tales of the Sands and 2016’s best albums list maker Legacy. In the review for the latter, I spent some lines pondering other ideas related to this band and their serving as a link to a geographic and cultural region that most listeners likely have few ties to outside of what they see on CNN. In light of recent news regarding possible war with Iran, I’d like to call attention to that sentiment once again although will refrain from rewriting it all out here. With Shehili, Myrath are back with a more regular release schedule in line with their first three albums, with the same line-up that recorded Legacy (its the second album for drummer Morgan Berthet). That to me is a pretty good indicator that there would be more of a continuity on Shehili with the more looser, celebratory, wild rock vibe that infused its predecessor rather than the prog-metal underpinnings of Tales. Typically speaking (though not always), when a band takes a long time between releases, five or more years lets say, expect that there’s going to be some deviation in sound from what they’d done before, for better or worse. Its just a natural byproduct of too much time passing in between songwriting sessions, new influences having time to creep into the mix, and a greater time to reflect on whats been done previously and what a songwriter would like to try doing next. The inverse typically works the opposite fashion, a band can carry over the essential musical variables they collected on a previous album to the new one because its what’s naturally on their brain in such a limited time after touring and immediately getting back to the studio process. Of course, we can all cite examples where both of these theories are blown apart, but Shehili would not be one of them.
That’s not to say that Shehili is a carbon copy of Legacy, but its built in the same muscular riffed, heavily orchestral, shimmering pop songwriting structures that defined the latter’s overall makeup. That’s largely a plus for me, seeing as I preferred the stuff they were doing on that album to the ones before it (I still enjoy the older stuff too), and with gems like “Wicked Dice” and “Stardust”, I get the same tingly feeling I felt three years ago. The former is maybe the best song on the album, with a compelling and deeply heavy, groove oriented rhythmic riff. The sudden rush of drama we hear in the chorus is one of the band’s most compelling moments, full of the kind of gravitas that Myrath handles so expertly. I love the depth of sound in “Stardust”, where the epic sweep of more straightforward symphonic orchestral elements support the theatrical push of vocalist Zaher Zorgati’s powerful performance. Its a rare Myrath song without an overtly Middle-Eastern sound palette, and surprisingly it works just based on the band’s raw musical abilities. Speaking of that distinctive palette however, I adore “Born To Survive” where the band marries slabs of groove oriented metal riffs to what sounds like a Berber folk music intro. Those trademark gorgeous Arabic violin melodies reappear during the chorus encircling the ascending vocal pattern, and its just pure ear candy for me. I could sit here and point out all the Middle-Eastern musical elements that I love but they’re so interwoven with nearly every facet of the band’s songwriting that isolating one over others seems random. Its in everything from the percussion fills, to the phrasing that guitarist Malek Ben Arbia employs in his creative lead guitar work, to Zorgati’s myriad vocal inflections. I’d say that nearly all my enjoyment from Myrath stems from their ability to marry that world of gorgeous ethnic sound to every facet of their songwriting —- the riffs and heaviness are just the pistachios on the baklava.
The interesting question here is that with Shehili coming relatively hot on the heels of Legacy, or at least soon enough to observe continuity between the two albums, how well does it hold up to its predecessor? I’d say fairly well, with a few caveats. Its a strong album on its own, but when things get a little too close comparison wise (at least from a fan’s eye point of view), Legacy has the upper hand. Take Shehili’s first single, “Dance”, definitely an enjoyable slice of rock n’ roll infused Myrath, but far too similar to Legacy’s “Believer” not to take immediate notice. Hell, there’s even the same split second pregnant pause just before Ben Arbia’s guitar solo in both songs. As much as “Dance” was a strong track, its not in the same league as “Believer” which had not only a euphoria inducing, life affirming chorus vocal melody, but the perfect build up to it in Zorgati’s lyrical cadence in the verses. It was swashbuckling and full of swagger, and “Dance” just doesn’t quite get to that same level. Similarly, the album stumbles ever so slightly on songs like “Monster In My Closet” which despite a dynamite chorus, features a series of verse sections that are more rhythmic than melodic, not playing to the band’s core strengths. I hear the same problem on “Darkness Arise”, which has some good ideas tucked within but they get a little lost amidst everything going on. I actually would have loved more of a lean towards the approach on “No Holding Back” and “Shehili”, both songs built on Zorgati’s inimitable ability to sound like he’s pouring everything he has into a singular expressive vocal melody. I guess the takeaway here from my perspective is basically, more melodrama infused melodies anchoring songs instead of rhythmic structures. That being said, this is still a tremendously enjoyable experience, Myrath just bring so much to the table that I love.
Ravenous E.H. – Eat the Fallen:
Ravenous E.H. (as in Eternal Hunger) are the latest in an ever growing line of new trad/power metal bands coming from the maple kissed north of Canada, in Calgary to be exact. That is starting to become a less and less surprising factoid, because Canada seems to be the new hotbed of metal talent within the past few years with no signs of slowing down. Ravenous E.H. tackle a familiar vein of power metal with cited inspiration from the likes of Hammerfall, Iced Earth, Grave Digger and Manowar but also claim to share a close affinity with modern day genre representatives like Judicator and Viathyn. Their debut full-length Eat the Fallen is fist in the air, headbanging stuff, and songs like “Strength of the Warrior” and “The Hunger Never Dies” do an admirable job of ringing familiar bells we’re all comfortable hearing. Jake Wright’s virtuosic guitar melodies are attuned to a wintry, folkish spirit, and vocalist Robert Antonius Voltaire has a vocal style that brings to mind the range of Matt Barlow with the baritone of Joakim Broden. There’s some genuinely exciting talent here, and the songwriting is far better than a debut often tends to be, at times even approaching true excellence. I think they find it on the album’s closer “Conquering the Sun”, a charging, martial ditty about armies crossing seas to kick in the gates somewhere (a tribute to the Dothraki and Unsullied perhaps?). There’s a fantastic chorus here, soaring with the help of choral gang vocal harmonies and made to stand out by wedging it in between slabs of punchy, regal melody adorned sections big on crunchy riffing. There’s something playful at work throughout this album too, just on the right side of swinging your beer horn and sloshing a little over the side in celebration. It’s gritty and grounded, full of enough melancholia to prevent it from joining the ranks of cheerful, chipper “battle metal” gaucheness. Lesser bands would have walked into that with their chins out.
Grand Magus – Wolf God:
Its been awhile since we’ve heard from Grand Magus, their last album Sword Songs coming three years ago, and perhaps too soon after its clearly superior predecessor Triumph and Power, a Metal Pigeon Best of 2014 list maker. This isn’t to say Sword Songs was an awful album, it had its share of solid moments, but it suffered from a series of bad decisions regarding the tempos on a handful of songs that either slowed things down to a point of draining their energy or sped them up in a way that this band simply doesn’t do well. Its a relief then to hear that they’ve decided to firmly plant themselves in mid-tempo rock n’ roll strut territory on Wolf God. Vocalist/guitarist Janne Christoffersson has seemed to always sound more at home in this rock n’ roll songwriting approach, with the metallic nature of the band’s sound coming in the thundering heaviness of the riffs and subject matter (add some Southern rock phrasing to the melodies, replace lyrics depicting the north and glorious battles with motorcycles and drinkin’ and Magus could sound like a pretty great American southern rock band). Its his wheelhouse, and I say that in a complimentary way. On songs like “Untamed” and “He Sent Them All To Hell” are built on ever-steady, in lock-step groove based riffs, while Christoffersson ushers things along with his lumbering, dryly impassioned vocal melodies. I’m big on “To Live And Die In Solitude”, particularly the stark storytelling in its lyrics, and also “Brother of the Storm” where stop-start riffing allows for Christoffersson to flex his soulful croon a little over ambient space. I kinda expected that Magus would rebound with this album, and glad to see my hunch was right, they’re too good a band to lay two semi-duds in a row.
Tanagra – Meridiem:
I’ve had a hell of a time wrapping my mind around this album, not because of any complexity or inaccessibility on its part —- Portland, Oregon’s Tanagra are a progressive power metal band and that’s familiar territory obviously. No, in this case its that I can’t quite figure out if I actually like the vocals of Tom Socia or not, which is a strange place to be after a couple weeks of fairly consistent listening. This is Tanagra’s sophomore album, they’re yet another among many newer North American bands playing a vein of melodic metal to come on the scene lately, having released their debut in 2015. The easy comparison here is Dream Theater in terms of degrees of light and dark, overall medium weight in heaviness, dramatic injection of keyboards, and of course a distinctive toned vocalist. But I enjoy Tanagra’s songwriting far more than DT’s, and there’s more of a Euro-power influence to the riffing that firmly anchors these songs in a trad/power posture than the loose, jazzy feel of other prog-metal bands. Socia is an absolute mystery though, because the mono-tonality in his clean voice is sometimes off putting and alternatively enjoyable in quick succession (or simultaneously in spots). When he leans into his more aggressive style, as on “Across the Ancient Desert”, he showcases a nicely gruff side to his vocal that is a perfect blend of melodic and metallic, and I’m really fond of all those moments. Look for this to be on a future MSRcast episode where I’ll try to sort out my thoughts on it more —- this is a quality record for certain, just a confusing one.
Månegarm – Fornaldarsagor:
The Swedish folk metal legends return after a four year absence, longer if 2015’s self-titled affair felt as off to you as it did to me. I only remember enjoying the acoustic ballads because that album’s muddy guitar tone annoyed me, and thankfully the Månegarm guys decided to abandon it on Fornaldarsagor in favor of a much more classic sounding approach. That decision and some other X factors resulted in crisply produced batch of blackened folk metal that is far darker and more convincingly brutal than I’ve heard this band ever sound. It barrels out of the gates that way with “Sveablotet”, a near perfect synthesis of everything the band does well —- rich Scandinavian folk melodies on violin and hurdy gurdy alongside flawlessly executed clean electric guitar, accompanied by harmonized group vocalization that recalls a little of Tyr and the brighter moments of Vintersorg, melded together with grizzled, smoky battlefield black metal. What Månegarm have always done so well however is to keep things accessible, with moments such as the wordless guitar melody refrain at the 3:30 mark of “Hervors arv” being ear candy I’ll return to over and over again. Vocalist Erik Grawsiö is still capable of his uncanny ability to blend together a gruff singing technique into some Johan Hegg-esque growls. This album is loaded with so many noteworthy musical moments in that vein, but my favorite slice has to be the entirety of “Ett sista farval”, whose melody is emblematic of the reason many of us love this subgenre in the first place. A return to form for Månegarm, and another shot in the arm for the slow revitalization of folk metal as a whole.
Riot City – Burn The Night:
Canada’s latest volley in the recent power/trad metal resurgence (I really need to come up with a name for that, any suggestions?), Alberta’s Riot City take their cue from classic early-mid 80s period Judas Priest and maybe a generous splash of Exciter here and there. There’s a level of technicality on the guitar work on “Warrior of Time” that instantly brings to mind the meticulous writing style of Tipton and Downing. Its all the more impressive when considering these guys are a four piece, the twin guitars provided by Roldan Reimer and Cale Savy, the latter handling lead vocals in a strikingly fierce emulsion of Halford and David Wayne. He has that chilling, eerily calm colder clean tone when singing melodically, and can turn it to Painkiller-esque hellion screams seemingly on a dime. If he’s capable of pulling this all off in a live setting, that’s a show I have to see for myself. There’s not a bum track in the bunch among these eight songs (keeping things old school with the classic vinyl album length here, a tight 37), and a few notable highlights battling it out for the best: “Burn the Night” is an absolute ripper, a blazing fast slice of classic speed metal with attention to razor sharp riffs and unrelenting intensity from start to finish. But I’m just as partial to “In The Dark” for its subtle shades of Euro-influence in those Helloween inspired guitar melodies wedged in the verses. I’m also digging the “Hot Rockin'” vibe on “Livin’ Fast”, a song that screams 1983 and would be tons of fun to gloryclaw along to at a gig. I just wonder what the idea of living fast means in 2019, or are Riot City purely soaking in the nostalgia hot tub and to hell with lyrical depth? Fair enough if that’s the case —- but Riot City’s challenge on future releases will be to expand on their influences that are so front and center on this excellent debut.
Enforcer – Zenith:
Its been intriguing to contemplate the dramatic evolution of Enforcer on Zenith, because I’ve associated them with hyper speed riffing and wild hard rock tones mixed with early 80s metallic attack —- to such a point that I have an archetype in mind of what they “sound like” (even if I can’t ever really remember a single song). Oh I like the band enough, I saw them live when they were supporting 2015’s From Beyond and enjoyed them thoroughly, particularly when singer/guitarist Olof Wikstrand attempted to kick a drunken, bottle throwing idiot in the face from the stage but thankfully missed and comically kicked the guy’s popcorn out of his hand (I know… popcorn, the Scout Bar is a quirky little venue). They were energetic and an absolute blast at that show, and it was easy to see why they stuck to their formula for their studio records. So I’ll be eager to hopefully catch them this coming fall on their next swing through town to see if and how these new songs come across live, because tunes like “Regrets”, “Sail On”, and “Zenith of the Black Sun” deviate in a striking way from the Enforcer playbook. The latter is hard not to compare to Hammerfall, and while I’m able to enjoy its mid-tempo classic power metal approach for what it is, its also illustrative of why Hammerfall is so damn awesome at this type of thing. Enforcer just can’t quite get the interlocking musical rhythm that these verses demand, but you could envision their fellow countrymen doing something terrific with them. I was a little more resistant to “Sail On”, whose chorus comes across as deliberately trying to invoke Styx that you wonder if its a weird inside joke among the band. Its to the point of distraction, but the song’s loose, strummed rhythmic structure also feels a little unsettled, like the band isn’t comfortable in this mode. I do think they nailed the power ballad “Regrets”, which is a close cousin to something The Night Flight Orchestra would tackle, a tune that will annoy many but genuinely please a few of us more inclined to the sappy stuff. This is merely scratching the surface of the strangeness of this album, and would you believe me if I told you there’s only a single track among its total ten songs that rings of classic Enforcer?! Its like the band decided to collect all their experimenting over the years and save it for one puzzling new album. One of the year’s weirdest releases but also one I’ll keep investigating.
Amon Amarth – Berserker:
I initially was blasé about the prospect of a new Amon Amarth record, and if I’m being honest its been awhile since I’ve been remotely interested in them, having never reviewed them for the blog before now. I’ve certainly listened to their many recent albums when they were initially released, more out of obligation than anything, and I should add that I don’t dislike the band. But at some point Amon went from being an exciting melo-death / power metal mashup to well… just more of that. I know, I know, they’re viking metal, but that’s an ideological label, not one that in any way describes their musical approach. Replace Johan Hegg’s consistent gruff/grim growling vocals with a Jorn Lande or Joacim Cans, and you have a bonafide power metal band because Amon’s melodies are bound tightly together between vocals and guitars. I decided to give Berserker a shot because I rather enjoyed the pre-release promo track “Raven’s Flight”, hearing something a little more aggressive in the opening guitar sequence and subsequent Gothenburg-ian percussive riff that reminded me of the signature moment in Dark Tranquility’s “Terminus”. Its a rare moment when the band seems to lean a little more aggressive, and that’s long overdue. Amon has for ages now needed their own Axioma Ethica Odini, that being Enslaved’s 2011 brief foray into a next level of speed, aggression and fury that we hadn’t heard from them before or since. While we don’t get that entirely on this album, its encouraging to hear Amon at least making a meager attempt.
Melodies have never been Amon Amarth’s weakness, they’ve always had an armload for each album and there’s no lack here. I’m particularly fond of the story driven “Mjölner, Hammer of Thor” with its dual guitar harmonies serenading Hegg’s growling melody (a strange thing to write but apt enough). The really fun moment is the pummeling bass driven assault that arrives at the 2:10 mark, something that I think could’ve been absolutely devastating if it were just a little faster, a little dirtier, and a touch heavier. If they could outsource moments like that to Unleashed or say Evocation, we’d be onto something awesome here. The heaviness returns in “Shield Wall”, as straightforward death metal as Amon might actually get, even though its speeds are just a notch above mid-tempo. The refrain here is excellent, nicely rumbling and propulsive, and the mid-song bridge with Tyr-ish battle drums pounding away is a nice Viking touch. But more often than not I just wish some of these songs would pick up the pace a little, such as “Crack the Sky” and “The Berserker at Stamford Bridge”, the latter of which has a few nice riffs that could’ve been more effective with more push behind them. I know this is a weird criticism coming from me, the power metal guy, about a band that has wholehearted power metal vibes bursting out of every song. Shouldn’t I be embracing that aspect? Again —- they do a fine job of those things… but I also grew up listening to death and black metal, and sometimes I wonder why Amon are a death metal band at all if they’re not going to better harness the potential of power that style can bring to the table. Insomnium had the right idea with Winter’s Gate, to use aggression, speed, and fury like a battering ram at certain well chosen moments —- not all the time, but enough to make it matter. There’s good stuff on this album, but every time I take a pass through its entirety, I’m left wanting for something more exciting. More of the same old with Amon Amarth I guess.
Alright back to music! Thanks for indulging the little detour I had to go on with the last update, and though I’m hoping it will be the first and last of its kind, you kinda get the feeling that it won’t be unfortunately. The good news is that the metal release calendar marches on, and its been a busy few weeks trying to juggle listening time for everything that’s caught my ear. The big release I’m reviewing below is obviously the new Devin Townsend album Empath, and we went pretty in-depth on the upcoming newest MSRcast episode that should be up very soon, in addition to discussing recent concerts I’ve been to. Speaking of, I found out I’m driving to Dallas in August to see Demons & Wizards, and let me tell you, as a Houstonian, driving to Dallas is something I’d only do for a select few artists. Hansi should be honored! Oh and Game of Thrones’ final season premieres tomorrow so even though its officially spring, I’m happy to say Winter Is Coming!
Battle Beast – No More Hollywood Endings:
After becoming very familiar with Finland’s glam meets power metal export Battle Beast with 2017’s Bringer of Pain, I felt an almost zen-like state of awareness in approaching their new album. I’ve achieved this mental clarity in part through observing and participating in critical discussions about them with the r/PowerMetal community and generally feeling less confused about the band’s own schizophrenic tendencies that had left me puzzled in the past. I think what really helped however was seeing them live for the first time on the Kamelot tour in 2018, where simply watching their performance provided some insight into how this band sees itself and their music post Anton Kabanen (now Mr. Beast In Black in case you didn’t remember). My takeaway was equal parts Roxette / Dokken / and Twisted Sister, which is inherently fine, but it was good to get clarity (creating emotional epics ala Tuomas Holopainen isn’t their bag). Now I’m not sure how much thought the band put into titling the album No More Hollywood Endings, but its striking that both the cover art and arms wide, grandiose, arena ready anthems on this album directly contradict it in sound and spirit. The move towards this centering of their sound was suggested on their last record, and consolidates here on moving away from the Judas Priest-ian influences of their early records and more towards the Roxette meets Sabaton vibes that they’ve realized vocalist Noora Louhimo does better than most. She’s a phenomenal singer in terms of pure tone, grit, and delivery; the kind of voice that is able to coat a veneer of believability over the most lackluster lyric.
These songs place Louhimo front and center not only in the mix, but in the center of the overall songwriting approach, a wise decision that allows keyboardist Janne Björkroth, guitarists Juuso Soinio and relative new guy Joona Björkroth (who’s also the founding guitarist for Brymir, whom I review below) to lean hard towards pomp-tinged Avantasian power metal as on the opening rush of “Unbroken” and “Eden”, but also veer off towards the sultry modern pop meets glitter rock mash up in “Unfairy Tales”. The latter pulses and struts on the back of a fat, ultra-processed riff in the mold of Bon Jovi’s “Its My Life”, blossoming into skyward chorus that would’ve yielded a straight up hit in the 80s. And that’s not just Louhimo’s uncanny similarity to Ann Wilson as a vocalist suggesting that, but the actual construction of that stepladder nature of the bridge, and runway sized room available for the vocal hook in the refrain. This largely retro feel continues on the shoulder-padded, too many bracelets on two wrists Bonnie Tyler vibe of “Endless Summer”, and while I’m all too happy to eat this melodic jello with a plastic spoon, your tolerance may or may not be up for it. But its not all nostalgia soaked throwbackery, as the band gets a little inventive on the title track, concocting a strange waltz with ABBA-inspired guitar melodies and dance-pop keyboard motifs, reminiscent of something you’d hear Amberian Dawn dabble in with their unabashed love for the glorious Swedes. I particularly enjoy the drama of Louhimo’s vocal melody here, veering wildly from romantic anguish to Broadway stylized theatrics, and utterly ridiculous video aside, I thought it was a rare experiment from this band that actually worked. They have a track record of trying ambitious stuff like this and falling on their face, so this is progress —- in fact the whole record is surprisingly solid and at times even worthy of a roadtrip playlist inclusion or two.
Brymir – Wings of Fire:
Hailing from Finland, Brymir is one of those bands that I forgot I heard before for a reason I can’t hope to remember. Maybe its because their name was too close to Houston’s own Brimwylf or maybe its because I remember their debut coming out on Spinefarm in 2011 with a lot of hype behind them proclaiming them to be the next Wintersun. I barely remember anything from their debut, so that clearly wasn’t the case, and I must’ve just slept on their 2016 sophomore effort, but I’m glad to see they’ve sliced the gap of time between releases even further with Wings of Fire, their third album. More than that though, I’m beyond glad that this is a seriously thrilling affair, a thoroughly convincing slice of epic melodic death metal strutting around the castle with its symphonic metal overcoat. I’ve been listening to this consistently for the past couple weeks, and it took me a minute for it to dawn on me that I was finding myself missing it when I skipped it for a few days earlier this past week. I can’t speak for the past, but right now is all that matters, and on Wings of Fire, Brymir come across to me as the heavier end of Wintersun spiced with a little Children of Bodom and Suidakra for thrashy spice and smoky pagan flavor respectively. I think this particular vein of melodic meets extreme metal is particularly difficult to pull off this well, because there’s always the trap that you’ll lapse into pretentiousness if you’re not self-aware during the songwriting process. Brymir seem to have that awareness in spades however, and I love that their choice for the cover art is vividly anime influenced, suggesting they have a good feel for the visual spark their music might be conjuring in some of our minds’ eyes.
About that music then, there’s so much worth pointing out here, but overriding everything is that I find the band’s sense of wildly adventurous pomp lovable and refreshingly devoid of pretentious that can so easily cloud a merging of this specific kind of musical approach. You get a sense of that right from the opening gates of “Gloria in Regum”, a perfectly blended mix of orchestral surge and clamor, pummeling rhythm section and a ripping solo at the 2:52 mark. Or in the stuttering effect laid on top of the vocals in “Hails From the Edge” at the 2:25 mark that sounds like its something pulled from the BT playbook. Speaking of vocals, Brymir screamer Viktor Gullichsen has an approach that could arguably be described as a blackened version of what Jari Maenpaa or Mors Principium Est’s Ville Viljanen does, which is really the right way to go for Brymir’s melodic approach (grunting death metal vocals would just distract). The well chosen single, “Ride On, Spirit”, is one of the album’s highlights, a mix of a quiet folk intro and blasting symphonic backed riffing that erupts like a volcano. I also enjoyed Noora Louhima’s guest vocals on “Anew”, despite that songs borderline questionable spoken narration that uncomfortably sounds like Timo Tolkki speaking from on high. My personal favorite however is “Chasing the Skyline”, not only for its melancholy, distant sounding opening, but for that absolute stunner of a chorus that is just on the right side of ridiculous (noticeable Stratovarius / early Nightwish vibes popping up here, love it). A spectacularly fun album that I can’t stop listening to.
Devin Townsend – Empath:
I suspect that Empath will the point of entry for a lot of new fans to the wide and frankly weird world of Devin Townsend. In the months and weeks leading up to its release, I had noted an inordinate amount of buzz surrounding this album, much of which involved its striking cast of guest artists, but also on its rather risky, expensive price tag it cost to make it. Maybe I hadn’t paid attention before with his previous albums, but I’m usually a fairly astute observer of these things, and nevermind that my MSRcast co-host Cary the Metal Geek might be the biggest fan of Devin’s in all of Texas —- so I’ve heard about Devin’s releases before, but not with this level of volume. Going back to the album’s price tag for a minute because that is an eyebrow raising amount ($170,000 of his own money, not counting the amount the label put in for promotion) for an independent metal album in 2019, I wonder if that’s not fueling some of the extra interest that I’ve detected surrounding its release. I suspect that metal fans in particular love the idea of a band or album that is rife with ambition, and the media buzz around this album is drawing in a few more ears, with the knowledge that Devin has been vocal about needing this album to succeed in order to continue financially (enough to provoke even the most passive person to click on a link to a YouTube video to find out for themselves if he might just be able to). In 2004 when the music industry wasn’t in as quite a transformative state as it is today, Therion spent 100,000 Euros on recording two albums in Lemuria and Sirius B. While that wasn’t even a minor headline back then, and it was money Nuclear Blast provided for a recording budget, it still had to be recouped, so the band avoided music videos, toured for years and managed to pull it off. With Empath, Devin is already in the hole to the record company as well as himself, spending all of the 150k he managed to net from re-signing his back catalog. Yikes. The early good news however is that the album is landing some of his highest positions to date, particularly in the third largest music market of Germany where he’s nearly cracked the top ten.
As for myself, I think all of the above drove my interest in giving Empath particular attention that I’d never given to any prior Devin release, even setting aside knowing that it’d be a big topic on an episode of MSRcast. This album has been a challenge to wrap my mind around admittedly, my first impressions just being somewhere in the ballpark of “this is a lot”. And it still is to be truthful, I still have trouble processing all of the 23:33 running time of the epic “Singularity”, even though its opening five minute “Adrift” passage is so gorgeous I’ve come back to it over and over. The rest of it is a challenging listen, but there are little spots here and there where my interest is piqued, things I wish he’d repeat a few more times or develop into something larger (the Anneke van Giersbergen vocal passage in the “Here Comes The Sun!” suite is one of them). I realize that track was a large chunk of the album’s 74 minute running time, so that might be something of a black mark on the album so many listens into it, but its one that I feel okay about letting go. I enjoyed most of Nightwish’s Endless Forms Most Beautiful while simultaneously decrying the disjointed nature of its 24 minute closer “The Greatest Show On Earth”. Conversely, I found enjoyment in Empath’s far more concise yet utterly weird tracks, such as “Sprite”, with its almost trance influenced approach towards electronically manipulated repeating vocal lines, strange jumble of rhythmic sounds and jarring musical elements that barrel their way forward without warning. I’ve been re-discovering my love of 90s and early 2000s electronic music lately, particularly trance and progressive house and I have a feeling that listening to all that stuff lately has groomed my headspace to easily accept something unorthodox along these lines.
I’m of course relatively unaware of the musical directions Devin’s explored throughout his back catalog, but I was impressed enough by the bold, whimsical theatricality of “Why?”, a song that might be my favorite on the record. It actually reminded me of something off the aforementioned Therion and their Beloved Antichrist opera from last year, a tune that seems more classical aria than pop ballad as we know it. His vocals here are rich and emotive despite their purposeful over the top nature, particularly at the 3:10 mark during the heightened swell of the songs climax —- he could be a guest tenor on a Sarah Brightman record during that sequence. On the complete opposite end, “Hear Me” was a compelling uber-aggressive moment ala Strapping Young Lad, and it was interesting to hear how Chad Kroeger’s guest vocals fit into the chaos (it sounded good, but its a little hard to discern his voice from Devin’s). The percussion here courtesy of Samus Paulicelli is dizzying by the way, and its worth checking out this clip of him recreating his recording. Then there’s the love it or hate it proposition of “Spirits Will Collide” with its heart on sleeve lyrics that are admirable in their anti-suicide plea, sort of a spiritual cousin to R.E.M.’s “Everybody Hurts”. I’ve seen a decent amount of polarizing reactions to this one, and while I’m one of the few who don’t go towards either end, I think its a well constructed song in terms of its pop hook actually affecting sparking a listener’s pathos if they’re personally inclined to allow it. As some of you know, I listen to Sarah Brightman records, so this is the kind of syrup I’ll gladly pour over my pancakes, except that I think the song is diminished a bit with the harsher vocals. I’d love to see an alternate version surface, something more in the vein of this cover. It feels like it could’ve been a home run power ballad but maybe there was some thought that it might’ve been a little too much. I appreciate Devin’s admitting that Enya was an influence on the choral verse melodies, because I heard the structure of “Only Time” straight away on first listen. One of the most buzzed about albums this year is definitely worth all the noise, and for his sheer creativity alone, I hope he makes his money back.
Thormesis – The Sixth:
This was something brought to my attention via Justin of the Mindfudge Podcast when he guested on a recent MSRcast episode, and I’ve been binging this album ever since. Thormesis are a German band that have delivered five apparently unremarkable albums of epic pagan black metal ala Moonsorrow sung in their native language, thus going fairly unnoticed by most of the metal world. Now full disclosure, I haven’t had a chance to check out their back catalog, but I’m trusting the opinion of someone who has, so take my appraisal of their back catalog with a grain of salt. What matters is explaining why they’ve really hit upon something remarkable with The Sixth, and that’s at once a simple and complicated proposition. There so many elements at play here, furious tremolo riffing over frenetic blastbeat passages, hard rock influenced splashes of lead guitar overlays, an Ensiferum-esque way with pagan metal styled choral vocals, and a noticeable post-rock production wash (dare I say black-gaze-ish?) that permeates the pores of these songs. What brings all these together in as compelling a manner as they are is the satisfyingly earwormy sense of melody that’s ingrained in the songwriting. Yes this is an album full of discordant chord progressions and abrupt tempo shifts, the sort of thing that makes black metal the extreme noise chamber it can often be, but on The Sixth, Thormesis grab hold of those seemingly uncontrollable elements and tame them with some of the strongest melodies I’ve heard on an extreme metal album in recent memory.
We hear this on the very first measures of the album opener “Sonnen”, with its tail-riff segmenting approach to the verse passages (check the :25 second and 1:17 marks). Its something from the hard rock playbook that not only gives a clear, discernible structure to an otherwise chaotic rhythmic attack, but serves as the song’s motif, an approach I often wish more black metal bands would employ. But there’s so much more here to unpack, the gorgeous, melancholy keyboard fragments that gently glide over everything three minutes in, and the lead vocal duet between guitarists Tino Krüger and Benjamin Rupp, who apparently share vocal duties throughout the album. The worryingly titled “Their Morbid Drunken Ways” initially conjured up images of some kind of Finntroll level disaster, but thankfully its more along the lines of Sentenced in its melancholic, aching melody that’s loosely draped across a mid-tempo, Katatonia-esque quiet and thunder juxtaposing. I hear that same Sentenced / Insomnium melodic tone in the opening phrasings in “Chor der Toten”, which might be my favorite song on the album. And its not only because of that awesome rock guitar bend at 2:11 that steers us away from one of the album’s most fierce passages to a beautiful, satisfying guitar solo; its the dramatic, isolated tremolo fragment stirring in the ether that builds up to that visceral explosion at the 4:07 mark, like a roller coaster careening down from top of the highest hill. These are songs largely built around musical hooks, not conventional pop formatted vocal hooks, but there are times when the band get daring enough to employ unconventional vocal motifs such as on “One Tear For Every Last Burning Soul”, where clean vocals erupt in something like funeral wailing. It sounds weird but trust me it works, particularly when its fit in between crystalline synths and soaring, emotional guitarwork. If you’ve been looking for something to blow you away in the first half of this year, you need to check this out regardless of your tolerance for black metal because The Sixth is a transcendent release.
Eluveitie – Ategnatos:
I have to admit, even with the hindsight of enjoying Eluveitie’s first post major lineup schism release in the largely acoustic Evocation II: Pantheon, that I didn’t expect this band to emerge stronger after the loss of vocalist / multi-instrumentalist Anna Murphy, guitarist Ivo Henzi, and drummer Merlin Sutter. They might have nailed that acoustic album out of the park, even bettering the first volume, but the real test would come when the band returned to its melodeath meets folk metal core sound. I’m not gonna keep you in suspense, they really have pulled it off, convincingly I might add. And I’m beginning to wonder if the key to this successful transition was simply stumbling upon the right vocalist in Fabienne Erni as Murphy’s replacement. I raved about Erni’s vocals on Evocation II, her vibrant, lightened vocal tone a perfect match for that album’s material in giving it a breezy, brighter feel than I suspect Murphy would have been able to. It turns out her voice pairs equally as well next to pummeling rhythm sections and Gothenburg patterned riffing as on “Deathwalker”, an early in the tracklisting highlight and my current favorite on the record. Chrigel Glanzmann is still obsidian throated in his melodeath delivery here, but his side by side vocal duet with Erni on the chorus over intense riffing works surprisingly well, her voice powerful enough to hold her own against his and still sound strikingly opposite in tone and texture. Its a compelling song, and a fairly perfect portrait of everything that makes Eluveitie so distinct and unique even amongst other folk metal artists.
There’s another standout cut in “The Raven Hill”, where Erni’s hypnotic lead vocal entrance sets a mystical mood that amplifies the already elevated strong folk tendencies coming through here. Hurdy-gurdy from Michalina Malisz, fiddle courtesy of Nicole Ansperger, and Matteo Sisti on bagpipes work up a gorgeous, rustic folk melody that’s echoed by Glanzmann’s trademark whistles. Even here his harsh vocals are met stride for stride with Erni’s excellent vocals, and I particularly like the ending echoing the intro, with her guiding the way out of this smoky wood we’ve all obviously been hanging out in. There’s a few cuts on here that are pretty much full on melodeath with Glanzmann at the helm, and as on previous Eluveitie albums I’m generally fine with them, although they’ve never been the best cuts on the records and that’s the same situation here. I’m a fan of this band for the folk metal elements, and they tend to come around more when Erni’s at the very least taking a 50/50 role at the vocal helm as on the darker, aggressive “Threefold Death” and the pop soaked “Breathe”. In that respect, “Rebirth” is another album highlight for cleverly managing those elements so well, and for Erni’s handling of her vocal melody. It was also a risky but nice touch to add in a few little instrumental vignettes like “The Silvern Glow”, things I usually tend to frown upon but Eluveitie wisely kept these very much tied to the acoustic spirit of the music in Evocation II, kinda linking these two albums together based on its identical line-up. This is a sixteen track long album but if you subtract those few cuts its still a more than respectable thirteen song proper album, with a meaty running time. Its been awesome to see this band make its full comeback from a rough patch in its lineup history, and they’ve made an album that lives up to the best of their catalog.
Cellar Darling – The Spell:
Its uncanny that once again a new Eluveitie and Cellar Darling album are not only appearing back to back in one of my review clusters, but that yet again its not because I’m trying to be deliberately provocative by doing so —- in fact, these two albums were released within two weeks of each other. Its a close mirroring of what happened in 2017 with Eluveitie’s Evocation II: Pantheon and Cellar Darling’s debut This Is The Sound. Being that I’m a reviewer that is always going to get to albums late, after I’ve listened to them enough times to feel comfortable writing about them, a side by side comparison is too intriguing to pass up. However, a note of advice to both bands, particularly Cellar Darling, you both are on Nuclear Blast Records, surely it can’t be that hard to coordinate with the label to steer clear of each other and give yourselves some breathing room around your release dates. Its not that I think discerning fans can’t separate the two albums and make their own value judgments, but the proximity can only provoke a direct comparison to their ears too, and so many of those fans were upset when Anna Murphy / Merlin Sutter / Ivo Henzi and Eluveitie split, and considering the reason for the split was each side not liking the other’s ideas about musical direction —- well, don’t be surprised if some of those fans feel the burden of that conflict on themselves in hearing both of these records. I wasn’t all that bothered by the split myself, intrigued certainly, and I felt sympathy for Murphy and company, enough to hope that Cellar Darling would be something I’d really enjoy. Their debut was a shaky start, but I think most of us were willing to forgive that and hope for more interesting material the second go round, but on The Spell the band finds themselves with no new ideas, a worrying sign. You can see where this is headed, and its a bummer to say that The Spell isn’t an improvement on its predecessor.
I wish I could offer up a highlight here, but truthfully I’ve struggled to find one for these past few weeks, and I’ve internally groaned every time I’ve had to make another pass through the album to see if anything else clicked. The most emergent song from these hesitant listening sessions has been “Insomnia”, which marries a metallic degree of heavy riffing to isolated hurdy gurdy melodies to set up a soaring chorus where Murphy reminds us just how well she can get her rather earthy voice sailing through the air. I’d like the song more if it retained a sense of kinetic flow throughout, instead of the ambient passages within where nothing interesting is really happening. When you have a genuinely affecting hook, plug it in as often as you can without coming across like Haddaway. I also liked the dirty, ground in feel of “Freeze”, where Murphy’s vocals merge with a distant rhythmic grumble to come across like a close cousin to The Cranberries “Zombie” (before that awful radio rock band decided to ruin that song for everyone). A similar problem crops up on “Love”, which has a pretty solid hook that gets plugged a little more, but the connective tissue is missing in terms of crafting a compelling song from start to finish. But its a song like “Drown” that I have a really hard time with, its aimless riffing and lack of any kind of binding melody (even in the vocals) just result in a soupy mess of ideas that go nowhere. On the title track, Murphy juxtaposes elements of a pop chorus with a high pitched delivery of a specific line in a manner that is certainly memorable, but not exactly enjoyable. There’s a similar problem with “Hang”, where Murphy explores the full sweep of her vocal range, and she sounds great to her credit, but the song lacks a compelling motif to tie everything together (but given its lyrical narrative, perhaps that was intentional?). I’ve toned down what was initially a scathing review because I began to consider that a lot of Murphy’s fans will love this kind of stuff and might find it perfect for them. But for myself, it really puts the entire Eluveitie split into perspective and has me siding with them —- if this more bland, generic rock riff direction was what the Cellar Darling crew had in mind for the direction in their previous band, then I don’t blame the Eluveitie camp for balking. They’ve doubled down on what the essence of that band’s sound to deliver two really excellent folk-metal albums, and Cellar Darling are doing… whatever this is.
I had hoped that Roy Khan leaving Kamelot would be the most disappointing thing I’d ever have to write about, but here we are. For as nakedly political as I can get on Twitter (as those of you who follow me there can attest), I have always attempted to keep this blog mostly focused on music —- because other sites traffic in rumor and gossip enough, and there are too many excellent releases coming out to be wasting time with anything else. Recently however, its been hard to avoid the MetalSucks spawned stories, seemingly one after another, of a black metal band about to tour the US that has NSBM ties past or present and the subsequent outcry surrounding this, usually manifesting itself in calling for shows to be cancelled. Watain, Taake, Disma, Marduk, Incantation, Inquisition, Graveland, Uada… I’m sure I’m missing others, these stories have seemingly run into each other within the past couple years. The latest is Finland’s Horna, whose currently ongoing US tour is running headlong into an internet spread, Antifa-fueled protest where locals are being encouraged to call the venues, the surrounding businesses, and local media to get a particular show shut down.
I don’t listen to Horna, and had only vaguely heard of them before this controversy. But this story has hit close to home because I’m a Houstonian, and one of the stops on Horna’s US tour, April 3rd to be exact, is scheduled at a local Houston venue called The White Swan. There are a number of local Houston metal bands on the bill as support acts, including Spectral Manifest who have been around the scene here for quite a long time, whose drummer, one Cryptos Grimm is someone I personally know. In fact, he’s a friend of the MSRcast podcast I co-host with Cary the Metal Geek, primarily because he once sat in the co-host seat I now sit in. When a local media outlet called the Houston Press picked up on the Horna story from other outlets like Metalsucks, their writer Jef Rouner wrote up a piece in which he referred to Cryptos Grimm as a member of the alt-right, a description that was simply untrue. There was no minor amount of outrage that broke out on social media, where people in the Houston metal scene came to Cryptos’ defense, because not only was it kinda laughable that Cryptos of all people would be described as “alt-right”, it was a dangerously slanderous statement to just throw out there. It feels absolutely stupid and silly to have to do this, but it might help for context’s sake to know that Cary is Jewish (during Hanukkah there are menorahs all around the MSRcast studios), and that I’m of Indian descent, or as the term goes thesedays, a PoC (person of color). That’s the first time that I’ve ever had to mention my race or ancestry in relation to being a metal fan, ever. Because in multi-cultural Houston, its simply not an issue, no one cares. But I’m going to set aside Horna and black metal and everything else for a minute and just focus on this one topic —- that a guy was publicly slandered by a relatively popular (people can debate that point) local Houston publication and labeled something that he’s simply not.
The name Cryptos Grimm can easily be linked to his real name via a Google search, in fact I’m sure he’d be fine with me writing it here even though I’m not going to do that now (we’ve certainly referred to him on the podcast by it, in fact we just played a cut from Spectral’s newest EP on our last episode). I’ve known Cryptos personally since the year 2000, when I met him at a meeting for the MSRcast’s pre-podcast incarnation as the Mainstream Resistance Zine, which he along with a few others helped Cary put together. Back in those days he was also responsible for getting a local Borders Books and Music to stock a respectable metal section, and when he moved over to work at a local music store chain called Soundwaves, he oversaw the city’s best metal section at his particular location. I’d go down there after every paycheck Friday and sometimes in between to buy anything and everything. He’d recommend stuff to me and let me preview unknown albums on the store’s audio equipment so I wouldn’t blow money on something I didn’t like. I got into so many bands from that metal section, Therion, The Crown, Emperor, just too many to remember, and when Blind Guardian released A Night At The Opera, he held one of the few copies they’d received behind the counter for me. I’d go to local metal shows and sure enough every now and then I’d see Cryptos across the venue, lugging gear somewhere or talking with someone —- to say he’s been a fixture in the local metal scene here is to state the obvious. When I was running around with the Brimwylf guys, helping them load in gear and man their merch table at shows, I got to see Cryptos’ band Spectral Manifest play many times, they shared bills together all over Houston and even in San Antonio. The point here isn’t just that I know the guy personally, its that I and many others have known him for a long time now.
The writer of this story, Rouner, wrote off-handedly of his interaction with Cryptos that [he was] “one of the many local metal musicians I’ve ended up blocking from social media for his alt-right views”, but one scour of Cryptos’ social media feed would show the exact opposite. From what I gathered, they’ve probably had some disagreements in various comments sections on Facebook and Rouner blocked him in the past. When the Horna story popped up, Rouner took Cryptos’ public advocacy that the show should go on as planned as the sole evidence he needed to slander him as “alt-right”. He didn’t take the time to interview Cryptos, or ask around to other members of the local metal scene for their views on Cryptos and Spectral Manifest, for reasons I can’t even guess at. Too lazy? Too much work? Or is it more likely that in 2019, in our state of polarized discourse, if you don’t agree 100% with someone’s views, you’re automatically their sworn enemy and represent everything they’re fighting against? A few days after the original story was published, the Houston Press issued a retraction and published an updated version of the story with a note of error and apology attached, “An earlier version of this story contained some erroneous information about Cryptos Grimm, the drummer for Spectral Manifest which was opening for Horna. Grimm voted for Barack Obama twice and was a Bernie Sanders supporter. The Houston Press and the author of this story retract the previous information and apologize for the error”. The publication should get credit for the clarification even though it came as a result of being sent messages pointing out the slander, but Rouner did not apologize to Cryptos personally, and likely never will. Because of course.
I don’t think its a coincidence that this Horna story, just like all the stories surrounding the bands I listed above was something that started on one of the coasts, be it the San Francisco / Oakland Bay Area or Brooklyn. If the protests weren’t manifesting at those cities, certainly the publications that were flagging them are based out of there (MetalSucks, Noisey, Brooklyn Vegan, etc). Antifa is a big deal on the coasts, its membership is larger in those areas, so much so that there’s rival factions (the now infamous “Proud Boys” among them) who seek to spark a counter movement against what they perceive as SJW virtue signaling. The problem is these two groups clashing have resulted in violent altercations, predominantly in the two biggest hotbeds of Antifa-related activity… you guessed it, the Bay Area and Brooklyn. As a Houston based metal fan who’s been going to shows for nearly two decades now, these kind of clashes and conflicts are entirely alien to me. I’ve been to punk shows here, countless metal shows, and I’ve never seen a neo-Nazi presence manifest itself, never felt threatened due to the color of my skin even at shows by bands who’ve ultimately been singled out by MetalSucks for whatever reason such as Watain and Mayhem. The same goes for shows in San Antonio —- I saw Immortal’s last Texas appearance with Abbath there in a packed club full of a mostly Hispanic audience, and in Austin, I found myself standing right next to Watain’s Erik Danielsson while watching Tribulation open, and he shook my hand and clapped me on the back. When I walk into a show at any Houston venue, whether with friends or alone as is sometimes the case, I don’t fear for my safety and wonder if its okay that I’m there. The metal crowds here are a mix of races, ethnicities, gender/sexual orientations, and varying shades of skin color; you’re more likely to get people staring at what band is on your t-shirt than your actual face. And it doesn’t matter what bands are playing that night, the same rules apply for any, regardless of whether its the most brutal death or black metal, or the sweet syrupy sounds of Sonata Arctica.
I guess I’m in a position of ignorance in asking the question, “Is it really that different everywhere else?”. Because that just isn’t the reality that I experience. I know that Houston is perhaps the most multi-cultural city in the United States, or at least in contention to be named as such. I’m not naive enough to suggest that there aren’t pockets of racists in Houston or its surrounding areas, but I am telling you that its damn difficult to be an out and proud racist here and start conflicts in the open that revolve around someone’s race, because you’re vastly outnumbered if you do so. That brings me to another aspect of Houston and its metal community —- its diversity. I’m a bit of a people watcher at shows, so I guess I notice more than others might that at death and black metal shows in particular, a good percentage of the audience comes from the Hispanic and Latino communities, but there are also African American metalheads here, and Asian-American fans in the crowd too (not just me!). Off the top of my head I remember a gay couple at a recent show who didn’t feel intimidated into hiding their sexuality, and they were right to feel safe because no one paid them any particular attention. Its striking that some of the bands that MetalSucks has rallied against through their stories have already played Houston, at gigs I personally attended, and there were zero incidents of any kind. Well, I guess it would have been striking… had that not been the case for damn near every show that happens here.
I don’t hate Antifa. I feel strongly that someone has to stand up to neo-Nazi rallies and white supremacists like the one in Charlottesville and I think its good that Antifa have taken a stand, but I don’t like their coastal chapters inserting themselves into our local Houston music scene where they have no context on how things here really are. They are trying to work through a small local chapter of Antifa whom I’ve only now just discovered exists, but the evidence of the coastal chapters’ fingerprints are all over the Horna in Houston situation. There are Antifa Twitter feeds dedicated to channeling information about future campaigns and protests into the hands of potential local volunteers and who encourage the doxxing of venue owners, promoters, and other local businesses. And they wouldn’t like this ugly truth, but as someone who’s been to metal shows on weeknights here in town, the reality is that had MetalSucks never put the spotlight on this Horna tour, the band’s aforementioned Wednesday night Houston show would’ve probably come and gone with minimal attendance. How can I be so sure? Because it was scheduled at The White Swan for starters, your apartment might be bigger than that venue. My bedroom closet is certainly bigger than its bathroom. Its in a part of Houston a lot of folks don’t want to drive to, with extremely sketchy neighborhood parking (hope you don’t get towed or broken into), and for gods sake, it was a Wednesday night. Houston’s a big, nay vast city that inspires some internal convincing to get in your car and drive across. I’m sorry to pierce whatever Hollywood inspired vision Antifa had in their minds for these shows, that there’d be dudes with swastika patches and iron cross tattoos walking around pounding on the predominantly African-American population in the neighborhood the venue is located in. This grand fantasy where a tiny metal show would blossom into an alt-right festival of racist hatred. That only Antifa could show up and match them fist for fist in some Green Day American Idiot inspired punk street opera. No… just no. Horna would have lugged their gear on that tiny corner stage, played their set to a very small, likely racially diverse audience who would have some beers from that ice chest (there’s no bar there), maybe someone would’ve even BBQ-ed on the grill in the back, and then everyone would’ve gone home, and Horna would have packed up and left town.
But since the MetalSucks article went viral and stirred up Antifa, and the word went out on social media, the possibilities for what could happen at this show are dangerously up in the air. A spotlight has been shown on this event now that continues even after its original location at The White Swan has been cancelled. The show will now take place at a secret location, most likely a house somewhere and attendees will be tipped off a few hours before the show, I’d guess most likely through private channels at first and then publicly on social media. But word will get out, and apparently if the back and forth threats I’m seeing online are to be believed, Antifa or maybe just Antifa sympathizers will be seeking the location of this show with the intent to shut it down. And the folks who are going to the show are responding with their own threats, goading them to show up and “see what happens”. And there we go. What would’ve been a largely ignored event, that would’ve come and gone like the neighborhood ice cream truck is now being highlighted as a place to come for a fight. And I’m looking at Facebook comment threads right now where local metal fans who didn’t plan on going to this gig in the first place are now specifically making plans to show up to see what happens or worse, get involved in something. This would be comically ridiculous if it weren’t a little scary, with the kind of vitriolic discussion surrounding an upcoming gig that I have never seen in all my time going to shows in this city. And hopefully maybe nothing bad will happen, the band will play (to a slightly larger crowd, congrats Antifa), and online chest thumping will be left at that. Lets hope so.
I don’t know whats more troubling to me: The possibility that violence could occur at a Houston metal show over something started by people who don’t even live in Houston or the surrounding areas. Or that someone I know could be tarred as a member of the alt-right when he’s far from it by someone who lives in the same city but couldn’t give a damn about the consequences of his actions. What is happening to everyone? Why can’t we just talk about these issues within the metal scene, particularly when we all have the platforms to do so? Why can’t MetalSucks use its very popular platform to contextualize a debate about this issue, maybe even invite these bands to come on their podcast and talk about things? Why just the instant doxx-ready articles with pointed social media references to Antifa social media? Here’s a question, since its already happened to someone I know: Does everyone who attends the Horna show in Houston instantly get labelled as neo-Nazi sympathizers? Who gets to decide that? Will photographs be taken of them and uploaded online for Facebook’s facial recognition software to tag them with? Will those photos and names go viral afterwards for the concert goers’ friends and families and employers to see and simply assume the worst about them? Aren’t there bigger problems that Antifa can be dealing with or planning on protesting? Why can’t they channel their efforts on community service and a few peaceful, non-confrontational awareness efforts to build trust in local communities? We’ve got a situation going on in the country now where right-wing media and the President himself label Antifa as agitators and violence prone troublemakers, and I don’t see Antifa themselves doing anything to change that image. Shouldn’t they?
Most metal fans are by default anti-facist (yes, I’m making that statement and stand behind it), but Antifa does little to endear themselves to metal fans and possibly engage them as participants or recruits when they’re shutting down metal shows. The economics of European bands touring the United States already keeps so many of our favorite artists away from the very realistic possibility that a US tour turns out to be a financial black hole for them. Look, I don’t care a whit about Horna, but I do care about other metal bands from Finland, three of whom I’m seeing this week (Children of Bodom / Swallow the Sun / Wolfheart). If promoters decide that the risk of taking on bands from Scandinavian countries in general is too risky because they wouldn’t want to get shut down by some Antifa activity they can’t see coming, they might decide to not take a risk on any band from that region. That’s not fair to those bands, but more importantly that’s not fair to American metal fans. Before you say I’m being ridiculous, consider the plight of folk-metal band Tyr well over a decade ago, when neo-Nazi’s began using their music for their own propaganda videos and it got the band banned across Germany and parts of Europe. They had zero neo-Nazi affiliations themselves, but the taint on them nearly ruined their career and took years of a concerted media campaign to erase entirely. But in the social media era of 2019, anything goes. I wouldn’t be surprised if one day Antifa turned its sights on a band like Sabaton, whose history nerd meets power metal storytelling pulls in one of the most widely diverse crowds I’ve ever seen. They have songs about World War II, and yes that includes referencing the military forces of Nazi Germany, certainly not songs of pro-Nazi sentiment, but an accusation could be made and that association could do serious damage to one of the most cheerful metal bands to ever prance on a stage. Can you honestly say its not a possibility?
I don’t know if its possible right now to discuss Antifa with a critical eye and not be labeled as a neo-Nazi sympathizer. Metal twitter in all its grossness doesn’t have an eye towards subtlety and nuance in its various discussions, which is why I’m choosing to publish my thoughts here. Yes I’m defending a guy who’s going to drum for a band that’s opening for Horna on Wednesday night. Cryptos is more aggressive about it than I am, but I think we’re on the same spectrum of thinking in that shutting down concerts isn’t a productive way to fight against facism and neo-Nazi beliefs. Talk about it? Sure. Debate it intelligently online in a civilized manner? Yes absolutely. But to doxx local venue owners and create an atmosphere where violence could break out is the antithesis of what the local Houston metal scene has been about. When I was a teenager and was reading about black metal for the first time, the name Burzum would pop up a lot as being crucial to the subgenre’s history. So when I finally saw a copy of Filosofem in the record store, I bought it. For a long time Varg Vikernes’ exploits were more of a wild crazy story to me, and when I first started this blog I even reviewed his initial post-prison releases. But as time passed and Varg became more outspoken about his views in documentaries and his YouTube channel, I became more thoughtful about how maybe I shouldn’t cover his music at all and made the decision to stop. I learned more about his beliefs and made a personal choice to stop supporting him in any way, even with mere words. Presumably MetalSucks undertook a similar process seeing as they once supported Horna, or even Taake for that matter. Though it seems like they went in the opposite direction, and in doing so have shined an even greater spotlight on these issues, even potentially galvanizing them into polarizing conflicts. For years and years, NSBM was just something that scraped by an existence in the darkened corners of extreme undergrounds as Exhumed’s Matt Harvey pointed out in his 2017 Decibel op-ed, it wasn’t a growing movement. So why are we risking breathing new life into it by exposing it to a wider alt-right / Proud Boys audience who didn’t know about its very existence until now?
This was sneakily a loaded release calendar these past two months. Because I’ve been playing catch up a little bit after devoting so much attention to the Avantasia album, I was a little late getting to some of the major releases below. The following reviews compilation doesn’t even cover the full extent of my listening because there’s stuff that popped up on my radar, surprised me (like the Dream Theater record), but I had to just make a note of and intend to get back to later. Maybe I don’t need to listen to these albums as much as I do in order to review them, but I feel its the only way I can tell whether I really like or dislike something. Records aren’t movies, where you have a pretty good indication right away, or at least I don’t. Do movie critics watch movies over and over before issuing reviews on them? You know what, I’m rambling, its really early right now and I haven’t had coffee. So I’ll go get coffee, you probably already have coffee so keep reading below. Danke.
Beast In Black – From Hell With Love:
Perhaps the quickest power metal related success story since Sonata Arctica landed on the scene in 1999 and captivated the world, Finland’s Beast In Black are the subject of vitriolic scorn and some heated debate as to whether or not they can be called power metal at all. I try to stay away from those debates, other than to play devil’s advocate likely to the annoyance of the folks in the r/PowerMetal Discord community. Along with Sabaton, these guys provoke the biggest debates about what exactly defines power metal, with the implication being that their pop friendly productions move them into the realm of something called “arena metal”. Now I’m not naive, I know what that description is trying to get at, and I kind of agree with that argument to a certain extent, but mostly I think power metal fans (even you diehards that will scowl at reading this) should own all the tendencies of our favorite subgenre, shiny Max Martin-esque production warts and all. Why can’t power metal be both Blind Guardian, Pharaoh, and even Sabaton and Beast In Black? Why can’t there exist regional variants of power metal like the style of bands that are coming out of Italy as opposed to the tremendous resurgence we’re hearing out of American and Canadian bands? I believe that Judicator and Visigoth are power metal, they might just be better described as USPM in terms of a better genre label, as opposed to Ancient Bards who are definitely cut from the more flamboyant, cinematic Italian power metal cloth. This is the best time for power metal overall since its original glory era of 97-03, and that we’re even having debates like this is a good thing, because for awhile there the lack of new bands was really concerning.
Moving on from genre definitions just for a minute (!), one thing we can perhaps all agree on is that Beast In Black do what they do extremely well. Their sound from their first album to this one is a glossy, high production sheen coated focus on ultra catchy songwriting and wild, flying guitar solos. Vocalist Yannis Papadopoulos is a big part of why this band gets thrown in the power metal discussion, because his is a silken smooth voice that is capable of Narcis like highs yet also a gritty, almost Sebastian Bach-ian styled hard rock voice. His versatility is scary good, the kind of voice that could likely pinch hit for a number of power metal bands and melodic rock bands. He had more vocalist in the spotlight moments on their debut album Berserker, cuts like “Blind and Frozen” and the excellent ballad “Ghost In the Rain” where he took over entire songs on his own. On the new album he’s a little more restrained, leaning more towards meshing with the rest of the band in a deliberate move to a more 80s hard rock sounding direction. Ah that by now familiar tendency of power metal bands over the course of the last fifteen years —- but in the case of Beast In Black, its really the best move they could’ve made.
The retro 80s vibe comes in the increased usage of keyboard melody driven songs like “Cry Out For A Hero”, where a fast paced, unrelenting Jim Steinman-esque piano line sets the tempo underneath group vocal hooks. On the mid-tempo, hushed strut of “Die By the Blade”, we see the band channeling a keyboard riff that screams Van Halen or even Europe circa 1985, only to erupt in a chorus Hammerfall would feel comfortable with. Then there’s “True Believer”, which could’ve been on one of the Rocky or Karate Kid soundtracks were it not for the heavy production gloss, its the kind of song you’d expect from Power Quest (and that sentiment alone should speak volumes). Speaking of Rocky, the band actually covers “No Easy Way Out” from the Rocky IV soundtrack, as iconic an eighties song they could’ve picked, and they stay faithful to the original because why change something that’s already tailor made for your band? But lets not get lost in the 80s, because on “Sweet True Lies”, we’re hit over the head with some “baby babys” in a style that owes its inspiration to the Backstreet Boys or N’Sync (that Max Martin style coming back into play). Its an insidious song, in the most charming and ingratiating manner possible, a tune that will lodge itself in your cortex and you’ll be alright with that level of helplessness. There’s nothing really deep on this record, and the band doesn’t seem to exude a desire to head in that direction anytime soon. I’m okay with that, because this is who they are, and while I’m not going to champion them in particular, I’ve had a ton of fun listening to this thing and will likely continue to whenever I need a giant dose of the silly.
Rotting Christ – The Heretics:
My relationship to Greece’s Rotting Christ has been one defined by initial disregard, a lengthy absence, pleasant surprise and disappointment. That moment of surprise occurred with 2013’s irritatingly titled Κατά τον δαίμονα εαυτού, which was one of my favorite albums of that year and still an album I’ve gone back to since on occasion. I skipped reviewing 2016’s Rituals, largely because I was so disappointed upon listening to it and hearing the band veer away from the more creatively melodic direction they explored on its predecessor and didn’t want to expend any further listening time to it at that moment. I did eventually go back to it and found it had a few gems tucked away (“Devadevam” is its absolute highlight) but my overall opinion still stood, it was a letdown relatively speaking. At some point I saw them live for the first time, opening for Mayhem and Watain here in Houston, and their setlist was geared towards those band’s crowds, leaning hard towards their death metal spectrum and further away from the weird folk/world music elements that I really wanted to hear. It was kind of a disappointment —- the smell of a rotting pig’s head from backstage didn’t help matters either (for real it was gag inducing). Suffice to say I was only mildly curious when I saw a new Rotting Christ record on the release schedule for late February.
This is one of those cases where I don’t think expectations or anticipation really affected my opinion of this record when I first started listening to it nearly a week ago, because I simply know what I wish to hear from this band. And to my delight, Rotting Christ have delivered exactly that on The Heretics, an album that bristles with creative songwriting, and clean toned riffs set to inventive rhythmic structures. Its all encased in a sonic palette that grabs hold of everything from spoken word vocal passages, Guns N’ Roses esque solo-ing, chanted choral arrays, and hypnotic percussion that often operates at its own tempo schedule, heedless of the pace of the other instruments. The stellar cut “Heaven And Hell And Fire” is a vivid example of almost all of these elements, and I just love the interplay between the rollicking drum patterns and in and out guitar slashing during the 2:27-3:04 moment after which a gloriously explosive solo rockets outward. There’s a sense of spatial awareness here that few bands ever really grasp, and Jens Bogren’s mixing job is fantastic for finding a way to not only preserve that aspect, but to seemingly fixate on ensuring that it comes through. My personal favorite is “Vetry zlye”, where Russian vocalist Irina Zybina blankets the song with a gorgeous (I’m guessing here) Greek lyric that reminds me a bit of Eluveitie in the best possible sense. On the more brutal end of the spectrum, “The Voice of the Universe” quakes with the unrelenting pounding of Themis Tolis martial percussive attack, and weirdly enough they’re almost working as the musical hook for the song. His natural interplay with his brother, guitarist/vocalist/songwriter Sakis Tolis can’t be understated, because this kind of perfect, in lock-step sync just doesn’t happen with any drummer/guitarist pair. Maybe the best compliment I can offer The Heretics is that sometimes I feel like I’m listening to a lost Therion album, and I love that.
Traveler – Traveler:
The newest entrant into the North American pantheon of trad/power metal revivalists, Calgary’s Traveler hews the same path as their fellow Canadian’s in Cauldron, albeit juiced up with more NWOBHM git up and go speed. This is one of those rare times when I was in on the ground floor relatively speaking, having this promo pointed out by one of the powerful. a power metal podcastfolks a few months ago —- a debut album that is arriving with a noticeable amount of buzz generated from their split EP with Finland’s Coronary in the summer of 2018. If you paid attention to the Gatekeeper debut that came out last spring, you’ll hear a striking similarity in Traveler’s vocalist, and that’s because both bands share Jean-Pierre Abboud at the mic. He’s almost a dead ringer for a combination of early Savatage Jon Oliva and Metal Church’s David Wayne, and takes a warts and all approach to his performance in the recording studio. That means that there are the odd bum notes, extra vibrato at the endings of lines, and an overall emphasis on attitude and feel more than technical proficiency, and that’s kind of the best way to go about things for this approach to metal.
The rest of the band strikes the right balance between precision and looseness, with guitarists Matt Ries and Toryin Schadlich creating razor sharp riffs, tight rhythmic density, and the odd dual guitar harmonization that just screams old school Maiden. But whether its the aggro, slightly ahead of the beat bassist and drummer or maybe just an overall production texture, there’s a feeling to Traveler that its all barely held together with the thinnest of threads. The highlight here is “Up to You”, a song that reminds me of High Spirits in its snappy chorus, and its pairing of a slightly off-balance vocal by Abboud and joyfully melodic guitar solos as punctuation marks. There’s also “Starbreaker”, as classic sounding any of these bands in this vein have ever come to sounding like a lost recording from the early 80s NWOBHM wake. From the worn out cassette recording texture present at the intro to the familiar riff progressions that you just seem to know where they’re heading, its a classic sounding song that actually could be a classic just due to how well its executed. I would love this band to cover something like “White Witch” from Savatage’s Hall of the Mountain King, because if there’s anyone that could do it convincingly, its Abboud and company. A crackling, fiery debut for these guys, it’ll be interesting to see if they stay in this lane or more towards something else in the future.
Týr – Hel:
Its been six years since the last Tyr album, kinda eye opening when I seem to remember these guys releasing something every other year or so for nearly a decade it seemed. I think if we’re all being honest though, the band hasn’t had the best track record with album length enterprises either, their best moments scattered across the entirety of their discography. I consider their first two records to the their strongest, and sometimes think that their debut with original vocalist Pól Arni Holm to be their most endearing (if not quite their best). But Heri Joensen is Tyr, his songwriting and vocals that have come to define this band’s unique sound and identity amongst a cluttered metal landscape where invoking viking and Norse imagery is all too commonplace. And despite a pair of major lineup changes (new guitarist, new drummer), the core sound is still as recognizable as ever on Hel, but I think the extended break from releases has done Joensen some good on the inspiration and songwriting front. The new album sees him taking some chances with the Tyr sound, injecting some fresh elements into the mix like the unexpected furious death metal vocals in the album opener “Gates of Hel” (I mean, if there’s any song you add those to, that’s the one). Its got a tight chorus on it too, as in tightly packed and smartly written, the kind of thing that defined some of their more memorable gems from albums past. In fact the first five songs on this tracklisting are genuinely inspired slices of Tyr-ian folk infused power metal, particularly the album highlight “Garmr” where we’re treated to the band’s most addictive song since “Hear the Heathen Call” (from 2009’s By the Light of the Northern Star).
The first stumble here is “Downhill Drunk”, whose title doesn’t inspire confidence unless you’re listening to something like Flogging Molly or some long lost Pogues song. Its not a terrible track, but really doesn’t have much in the way of melodic definition or a discernible hook, one of those tracks that’s just there, taking up space. Far more interesting is the subsequent “Empire of the North”, where a runaway chorus almost gets away from Joensen, but he manages to keep things together due to the strength of some awesome power metal guitar passages and a strong descending vocal hook in the aforementioned refrain. And I mentioned taking chances earlier, and I’m not exactly sure how to describe what’s happening on “Against the Gods” but its weird meshing of a quasi thrashy rhythmic barrage with a truly satisfying hook keeping it just accessible enough is something new and awesome for the band. Its paired up with another rock solid slab in “Fire and Flame” with its juxtaposing uptempo, martial percussion fueled intensity with slightly slower verses, an effect that magnifies a listener’s attention on each aspect. There’s a respectable amount of really excellent material on Hel, the problem is there’s just too much material on the album overall. Its well past an hour and change in length and that practically guarantees that some of it will be subpar, the case in point is the album’s closing package of “Songs of War” and “Alvur Kongur”, the latter of which I hoped to enjoy because I typically do for all their songs written in their native language. Again they’re not bad per say, but they fall flat which is a problem a band this good shouldn’t have. It begs the question on whether Tyr’s ultimate problem in composing albums is having a good sense of quality control and self restraint. I’m guessing no one was in the studio pointing out that maybe a tight 45′ would be better than packing everything that popped out in the writing process into the tracklisting.
Queensrÿche – The Verdict:
I just deleted an opening paragraph for this review because it was sounding too reviewer like and honestly I just can’t with a band like Queensryche. I’ve been listening to them since what, 1994-ish at least (possibly heard “Silent Lucidity” earlier than that, can’t confirm) with varying degrees of fandom/skepticism, including a pretty dark stretch from oh friggin’ 2005-2011. You should all know the backstory by now, realize that Todd LaTorre is the band’s vocalist, and understand that The Verdict is album number three in Queensryche 2.0, or is that 4.0? Does the departure of each original band member herald a new version number? So Chris DeGarmo leaving in ’98 would’ve resulted in 2.0, Geoff Tate getting fired/splitting in 2012 would’ve been 3.0, and now Scott Rockenfield taking a strangely undefined paternal leave that transformed into maybe he’s still in the band ( ¯\_(ツ)_/¯ ) is 4.0? Or its just that life is unpredictable and chaotic and here we are, Queensryche in 2019 and kick the Deep Purple version numbers idea to the curb? The major thing is that for the guys who are still here, LaTorre, Michael Wilton, Eddie Jackson and Parker Lundgren —- album three is put up or shut up time not only in the grand scheme of things for their legacy together, but for my patience as a fan who eagerly jumped back onboard after LaTorre joined. My initial enthusiasm for the band’s post-Tate journey definitely masked some critical flaws with their 2013 self-titled debut album (namely those song lengths… this is prog, not punk rock, maybe add a couple solos or something, reprise a chorus or work up a outro… anything?). The follow-up in 2015, Condition Human, was better despite some truly abysmal cover art (The Verdict’s lame attitude filled grim reaper isn’t much better), but in re-listening to it for the first time since that reviewing period, its uneven nature stands out even more now.
Thankfully, just like every band is supposed to hit their stride by their third record, the LaTorre fronted Queensryche has done just that on The Verdict. Oh and believe me this time I’m confident in declaring that, because its being done so in the face of a healthy dose of skepticism that they could pull it off, particularly without Rockenfield behind the kit. The overwhelming thought that runs through my mind in trying to assess this album is that it sounds like the most Rychian Queensryche album since 2003’s semi DeGarmo reunion Tribe, but really hearkens back to threads of Promised Land and even older era classics like Empire and Mindcrime. I know the latter is a lofty one to throw out there, but its the closest sonic profile that informs the songwriting and guitar approach of songs like “Blood of the Levant” and “Man the Machine”, the opening salvo on this album. I wrote in my review for Condition Human that its first two songs were the best one-two opening punch the band had managed in ages, but these two out muscle them like an Urak-hai arm wrestling Frodo. Its something of a minor miracle that we’re hearing a song as inspired as “Blood of the Levant” from these guys, with its perfectly balanced blend of aggressive riffs with eastern tinged guitar melodies. The mid-song pre-solo vocal shift by LaTorre is so strikingly reminiscent of what DeGarmo would write for Tate in the Empire era, a nostalgia blast they’ve never managed before. And the dual harmonized solo from Wilton and Lundgren is excellent, a simple repeating melody that is bright and evocative. It slams right into “Man the Machine”, which combines a slight modern metal stop-start riffing approach to an otherwise classic sounding Queensryche cut. Its propelled along an urgent, insistent guitar figure that leads into a wide open chorus, with LaTorre peppering his performance with well timed sharp highs that remind me of the kind of unpredictable vocal inflections Tate would sometimes veer off into.
LaTorre pulls double duty on this record as well, being a more than competent drummer he stepped in for Rockenfield and honestly did a great job of it, taking care to honor the way their absentee drummer might have approached things on his own. That means there’s a plethora of sonic variety in the drum kit he’s using, and an emphasis on unorthodox fills, rhythmic variations in spots, insistent backbeats, and just an attention to detail that matches Queensryche’s modus operandi. I love the proggy-jazzy cymbal hits in “Light-Years”, one of the album’s stronger cuts because of its gorgeous chorus, laced with not only a stellar vocal from LaTorre, but those all too recognizable backing vocals from Jackson. We’ve seen flashes of him being brought back into the harmony vocal fold over the past two albums, but never in this declarative a fashion, and its something this band has missed for ages now. Surprisingly enough, its Lundgren who might have delivered the album’s absolute gem in “Dark Reverie”, a ballad that brings back memories of “I Will Remember”, built on lone semi-acoustic styled guitar passages and LaTorre’s haunted vocal melodies. This is one of the songs fans will point to when they’re trying to illustrate why The Verdict sounds more like Queensryche than the past however many albums past; because its not just that LaTorre can sound radically similar to Tate quite often, its how these songs just echo and reverberate everything we remembered about this band sounding like. This is Lundgren’s first solo songwriting credit to my knowledge, and its exciting to see him not only emphatically put himself out there, but write something that sounds DeGarmo-ian (the highest compliment I can think of really). I think he and LaTorre seem to understand something intrinsic about what made classic Queensryche sound the way it did, something the rest of the original members were too close to everything to decipher themselves. This isn’t a perfect album, there are a few weaker moments but not many, and no duds(!), but its the most fulfilling album they’ve made in ages. This version of the band has proven themselves with this record, and they’ve gained creative momentum here, lets hope it doesn’t take another four years to capitalize on it.
Children of Bodom – Hexed:
The most surprising aspect of Hexed, Children of Bodom’s jeez, tenth studio album now, isn’t that its actually very strong —- their best since Hatecrew Deathroll easily. Its that months out before even hearing a note of this, I felt myself expecting it to be good, in fact telling others that I think we were all gonna be taken off guard by how good it was. This isn’t like me, and by now you’ve heard me mention how high expectations have perhaps stacked the deck against many an album that I’ve reviewed as a mediocre disappointment, or vice-versa, that an album I’ve had little anticipation for is the one that blows me away and keeps me listening for most of the year. Our psychology clearly isn’t the most complex thing to figure out in matters like this, but I’ve somehow gone metaphysical now with Hexed and power of intention-ed it and myself together in one harmonious, universal, Deepak Chopra approved resonance. Or, maybe its simply that I suspected as much because the band’s last record, 2015’s I Worship Chaos actually had some decent stuff on it that made me feel that the band was slowly finding their way back to their best sonic identity. It still had some of the contaminant of boneheaded chug and industrial-ish wash from their wilderness years (in retrospect that spanned a little more than a decade, yikes), but for the first time in years I didn’t find myself rolling my eyes at what they were doing and hitting repeat.
With Hexed, I find myself void of all snark upon hearing the old school melodic death metal nature of “This Road” and “Under Grass and Clover”, the latter sounding like a lost bonus track from the Something Wild sessions, a sound I’ve wanted to hear represented again for eons now. Its not always about the density of the riffing that makes melodeath so distinctive, its how its written, and Laiho hearkens back to that spirit on that cut and on “Glass Houses”, another full speed banger with little micro dueling solos pitted against Janne Wirman’s ever distinctive keyboard frills. A Hatecrew vibe permeates “Hecate’s Nightmare”, its thick slabs of keyboard tipped riffage building up to a pummeling, grinding back and forth in the refrain that isn’t so much catchy as it is satisfying on a visceral level. So much of Bodom at their best works that way, you’re not looking for pop hooks but just a snappy, crisp sense of controlled, tightly channeled rage and venom. I know that’s a strange sentiment from the guy who could write a dissertation on Power Quest, but despite my barely disguised loathing for meatheaded heavy for heaviness’ sake bands, I still crave a form of heaviness in metal. I just want it to be delivered alongside other interesting musical elements, and that’s why melodeath has always been a beloved subgenre. With Hexed, Children of Bodom have managed to make themselves a part of that fix again, which new age inclinations aside, I can’t honestly say I ever saw happening again.