The Metal Pigeon’s Best of 2018 // Part Two: The Albums

This was undoubtedly the most difficult to narrow down year-end albums list I’ve ever had to put together. It involved whittling down a sizable nominee pool to the final ten, the last spot of which I must’ve switched out well over a dozen times, constantly rethinking myself out of making a final decision. As I’ve always done, I prefer to only list and discuss what I think were the ten best songs and albums in these lists, not my top 25 or 50 or more that some other sites do. I think sticking to a tight ten forces you to really think about what you listened to the most over the year, and more importantly what really blew you away instead of merely satisfied you. Albums that I really enjoyed at various points throughout the year aren’t here, not because they’ve fallen out of favor, but simply because there were other amazing releases crowding the field. It was a great year to be a metal fan. Let me know in the comments below if you agreed or disagreed with this list! 

1.   Orphaned Land – Unsung Prophets & Dead Messiahs:

In a year packed full of remarkable new albums by newcomers and veterans alike, a few of which would’ve been able to top a year-end list at any other time, Orphaned Land’s conceptual Unsung Prophets & Dead Messiahs towered above them all —- and it wasn’t ever close. After I penned my original glowing review of the album, I wondered if its extremely early release date (January 26th) would’ve eroded my enthusiasm for it as the year wore on. Whenever that question would pop up at random times many months later, I’d give the album a spin and would have those doubts immediately erased. I even gave myself a wide berth from the band after seeing them live for the first time ever in Austin at a spellbinding show on their May tour with Týr and Aeternam, thinking that the intoxication surrounding that experience (and repeated listening thru their entire catalog) would’ve clouded my judgment. Yet even after that level of precaution; when I sit here now in December and consider everything I’ve listened to over the year, and think about the nine other records that made the cut out of the nominee pool, I can honestly say that I’ve never been as confident as I am right now about declaring that this is the unquestionable album of the year.

Here Orphaned Land leans harder than ever before into the incorporation of Middle-Eastern folk melodies and instrumentation, infusing it in every song, weaving it not only through moments of delicate beauty but around their most pummeling, aggression laden riffs. The result is their most perfect, most fully realized recording to date, a flawless fusion of those two disparate worlds of sound. The songs are wildly diverse in style, tempo, and structure, the melodies lush and vibrant, and Kobi Farhi turns in the most inspired vocal melodies and performances of his career. He also delivers some of his angriest lyrics ever, but smartly channels everything through the compelling concept of Plato’s Allegory of the Cave, giving narrative shape and structure to what is ostensibly an anguished protest album. The co-MVPs here might be guitarists Chen Balbus and new guy Idan Amsalem; who together not only erase any worries over the departure of founding guitarist Yossi Sassi, but put their stamp all over this album, unleashing waves of creative guitar and expressive bouzouki. The band also wisely chose to carry over from All Is One the use of an extensive supporting ensemble of choir singers, Middle Eastern percussionists and string players. It sounds like a lot. It sounds like it could be a mess in the wrong hands, but Orphaned Land has this music in their DNA. Their greatest strength is in knowing how to write songs that incorporate Middle Eastern folk melody as an integral, structural foundation of their music as opposed to mere window dressing. 

2.   Visigoth – Conqueror’s Oath:

It’s not the time nor place to go into it here, but when I do eventually attempt to make my case in writing that we’re in the midst of a truly inspired global power metal resurgence in these past couple years, albums like Visigoth’s Conqueror’s Oath will be part of the bedrock on which I build my argument. Part of why I’ve found myself paying far more attention to newer power metal bands coming out of the States and Canada is their tendency to unabashedly wrap their arms around the genre’s traditions and tropes both, almost reveling in their over the top nature and yearning for epic storytelling (such as last year’s album of the year Apex by Unleash the Archers). Visigoth simplified their approach for their sophomore record, leaning harder in the Manilla Road / Manowar / Virgin Steele direction, and the result is the most outwardly joyful record of the year. It was also my most played album throughout the year, just perma-lodging itself in my playlist for those daily commutes to work, the long drive to the other side of Houston for gigs, and on the old headphones while ambling through the grocery store. Songs like “Warrior Queen” are full of inventive twists amidst the trad-and-true, glory claw raising thunder, and “Blades In The Night” is the kind of perfect, anthemic magic you wish more power metal bands could manage to achieve. You know an album is awesome when it makes waiting for your oil change to finish a pleasure.

3.   Thrawsunblat – Great Brunswick Forest:

I’m prepared now to expect the unexpected with Thrawsunblat, who chose to follow up 2016’s year end list making Metachthonia with this all acoustic album, the decision itself being somewhat eyebrow raising. That it wasn’t an album full of maritime balladry ala “Maritime Shores”/”Goose River” from their first album was perhaps the bigger surprise, because guitarist-vocalist Joel Violette seemed to be a natural at that style. Instead he and drummer Rae Amitay (also of Immortal Bird fame) worked up songs that were strikingly aggressive, uptempo, and energetic yet still woodsy, rustic, and incense smoke scented. Things veer from the lush prettiness of the title track to the anthemic spirituality of song of the year listee “Via Canadensis” to the violent, furious roil of “Thus Spoke The Wind”, where Violette and Amitay employ tremolo riffing and blastbeat accented percussion —- on acoustic instruments remember! This was a clever, inspired re-imagining of what folk metal could be, an expansion of the very definition of the genre. More than that however, it was a personal sounding album that echoed with strains of the northeastern Canadian folk music that inspired it.

4.   Therion – Beloved Antichrist:

For many, Therion’s massive, three-disc spanning opera (like, an actual opera!) Beloved Antichrist was an immediate write off. I’m almost positive that the majority of folks who managed to take the step of listening through its entirety the one time never went back to it, and most never got past hearing a single track on YouTube or Spotify, and hey, I get it. As I remarked in my massively deep diving review for this project back in February, few Therion fans were happy about the band taking a half decade plus leave of absence for this project. Understandably, they might’ve been a tad less forgiving than usual when initially hearing the thing, and at first I wasn’t either —- that is until I switched my mindset to okay, I’m listening to the soundtrack to a stage performance, not a metal album mode that I was finally able to begin appreciating what Therion had achieved here. There are a heap of musical treasures within this thing, moments I came back to throughout the year repeatedly (“To Shine Forever” landed on the best songs list). I do think one’s enjoyment of it hinges on whether you can appreciate not just classical music, but opera as a musical form itself. I had to check myself and make sure my Therion fanboy wasn’t showing in putting this so high on this list, but sure enough, it was one of my most played through albums this year according to iTunes playcounts. I’d put it on in the background night after night when working on other things, but sometimes I’d sit and really focus on the lyrics, and I got to know the plot pretty well and had fun with it. Its a gargantuan achievement in its own right, something that was labored over for years by a composer who had already proven himself to be a wizard at marrying metal and classical music. If anything, Therion’s pedigree should warrant your giving it a second chance.


5.   Hoth – Astral Necromancy:

This was truly one of the year’s out of left field, standout surprises. I’d never heard of Hoth before (the band, not the planet…), but they completely captured my attention with this compulsively listenable opus of intricate, shifting, and downright unpredictable melodic black metal. Hoth’s music is a contradiction; it’s icy in tone befitting the band’s name, as bleakly cold and unforgiving as you would want a two person black metal band to sound. Yet these songs are loaded with major chord sequences that jet out of nowhere with an almost power metal-ish joyfulness. You hear a nice cross-section of all those traits on “The Living Dreams of a Dead God” where seemingly triumphant, Blind Guardian-esque major key guitars inform the lead melodies over the top of that deathly cold tremolo riff underneath. Vocalist/lyricist Eric Peters has the perfect tone for these songs, withering and fell, like an actual necromancer’s voice careening down a snowy, windswept mountainside to chill your very heart. But again, no matter how awesome the black metal aspects are, what really grabs me are these perfectly written power metal soaked melodic counterweights, to add splashes of sharp colors to what is ostensibly a gray affair. You might be wondering why I’m so taken aback by the addition of melody to extreme metal, not exactly a new or fresh concept to be sure, but just give my enthusiasm the benefit of the doubt and listen to this record. Its likely that its very much unlike anything you’ve heard before.

6.   Elvenstorm – The Conjuring:

Storming out of the apparently secret power metal stronghold of Grenoble, France(?!), Elvenstorm sailed under many radars way back in July when they released the most vicious, devastatingly aggressive album of thrashy, speedy power metal this year. If you only hear the intro melody and first riff sequence on album opener “Bloodlust”, you’ll probably think these guys are from Germany, so indebted to Kreator and early 90s speed metal tinged Blind Guardian is their rocketing guitar attack. But then you’ll hear vocalist Laura Ferreux swoop in, with her wild, almost punk edged melodic vocal and that français accent echoing off canyon walls. She’s likely to be a make or break proposition for many, her vocals often unnerving raw, but I think she’s one of the strengths of this record, her careening voice matching the intensity of Michael Hellström’s explosive riffing. Like Visigoth with Conqueror’s Oath, there’s an infectious enthusiasm here for old school metal, that bullet belt attitude and defiant strut. What makes Elvenstorm stand apart from anyone else is their straight-faced manner of going about it, something one could almost think of as charming. There’s a passion and intensity ripping through these expertly crafted songs —- that they hit me with something resembling the force of a hurricane is why The Conjuring is on this list.

7.   Exlibris – Innertia:

Soaring out of Warsaw as if in protest of all the attention we’re lavishing onto the great power metal pouring out of Canada and the States lately, Poland’s Exlibris dropped the best Euro-power album of the year in Innertia. This was my introduction to the band, and it turns out to be perhaps the best possible point of entry as its the debut of new singer Riku Turunen, the absolute tour de force of this album. Call him the Patrick Mahomes of power metal in 2018, but I haven’t been this bowled over by a new vocal talent in the scene in ages. His voice has the pure raw power of Mandrake-era Tobias Sammet with the distinctive pronounciation inflections of Timo Kotipelto. You might have already read about best song listee “Shoot For the Sun”, where he proves himself as a leading man in an ever soaring duet, but check out his jaw dropping range in “Incarnate” or his command of theatrics in “No Shelter”. Beyond amazing vocal performances, these are simply expertly crafted songs, structured around earwormy hooks yet loaded with progressive metal twists and turns. Daniel Lechmański’s guitars sound meaty ala Tad Morose or Brainstorm, and his riffs and chord progressions are all intriguing in their balance of straight ahead rockin’ and rich complexity. Speaking of balance, his having to bounce off of keyboardist Piotr Sikora instead of another guitarist seems to be a source of fruitful inspiration between the two. There’s a push and pull going on between each of their lead melody lines that refuses to sit quietly in Turunen’s immense shadow. 

8.   Immortal – Northern Chaos Gods:

I really didn’t think Demonaz and Horgh could pull it off, rather naively thinking that an Abbath-less Immortal record was more likely to be a disaster than anything close to a success. And in my defense, what reasonable Immortal fan could think that Abbath’s departure would somehow make a new Immortal album better? It seems illogical on the face of it. But sometimes weird things happen, and there’s nothing weirder in 2018 than Immortal Mach 2 turning in the band’s best album since Sons of Northern Darkness, and maybe even a top three Immortal album overall. This is just a relentless, tireless rush of old school second wave black metal reminiscent of the band’s first four albums but tempered with the riff density and cold, crisp production of the post At the Heart of Winter era. Demonaz’ ice demon approach on vocals is pitch perfect for this blend of Immortal, grim and fierce but with a lengthy drawn out utterance that’s coupled with a surprising degree of enunciation, unlike Abbath’s bizarre frog gargoyle barking approach. The nine minute epic “Mighty Ravendark” barely missed out on making the best songs of the year list; its about as perfect an Immortal song as I can imagine, with an epic buildup and satisfying (dare I say hooky?) refrain built on clever vocal phrasing. I really can’t think of any time in recent memory when a band has lost a key member and somehow thrived as a result… I’d have to go back to what, Metallica perhaps? Iron Maiden after Dianno? Call it a comeback, maybe even the greatest comeback.

9.   Judicator – The Last Emperor:

Yet another in an increasingly longer line of excellent releases from North American power metal bands, The Last Emperor was my introduction to Arizona’s Judicator. As it turns out, it was the perfect introduction too, being their most early 90s Blind Guardian era inspired work, including a guest appearance by the bard Mr. Hansi Kursch himself. A lot has been written about this very apparent influence, and its hard to ignore for sure, but there’s so much more going on here than mere hero worship. Guitarist Tony Cordisco aimed to write songs that were not only tight and concise, but purposefully and methodically energetic throughout. There are no ballads here, although brief dips into acoustic territory help to spice up the intros or bridges of certain songs to keep things varied. Its intriguing to hear an American power metal band so infatuated with the traditional European interpretation of the style. I can hear jagged edges at the corners of Judicator’s sound, little things like the sharp teeth on that straight ahead attacking riff sequence in “Raining Gold”, or the early Iced Earth influence that comes through in vocalist John Yelland’s aggro counterpoint to Hansi in “Spiritual Treason”. Judicator also seems to be filling a sonic space in power metal that was long ago left vacant by the Blind Guardians and Helloweens and Edguys of the world, one I had long ago hoped would be filled by the now sadly quieted Persuader and Savage Circus. I don’t mind if my power metal bias is showing here, because Judicator is assuming the mantle of this specific style in the here and now as a recently formed power metal band delivering an amazing new album this year. This is the stuff that will keep the genre going strong into the future. Consider me grateful.

10.   Dimmu Borgir – Eonian:

This one might raise a few eyebrows, but I just could not deny how much I listened to Eonian throughout the year. It was an album that I would listen to when in the mood for something fierce and biting, but also when I wanted something orchestral and epic, as well as melodic and complex. I consider myself a Dimmu fan, but I had been critical of them throughout the years, not completely enjoying an album since 2001’s Puritanical Euphoric Misanthropia. Not only was this the first time since then I could say that I loved a new Dimmu album from front to back, but its honestly up there right next to Enthrone Darkness Triumphant as my second favorite of all their albums. The inspired songwriting in “I Am Sovereign” reminds me of that legendary album’s sense of playfulness with black metal song structures; here with an inversion of blazing riffing in the chorus instead of the verses, with regal string punctuations that would sound at home in a Carach Angren song. The band took care to increase the distinctiveness of their major sonic elements this time around, instead of the usual symphonic black metal mash up they had been doing. On Eonian, the black metal parts sound more black metal than ever, and the orchestral parts lean just as hard into their majestic symphonic grandeur. Its a subtle distinction that allowed them to sharpen their songwriting, to shape these songs with muscular force and gorgeous expressiveness. Its a shame that just like Cradle of Filth with their truly excellent past two albums, Dimmu seems to be getting glossed over this year as having released more of the same. Those are lazy opinions from people who haven’t listened close enough. This is a career rejuvenating work from one of the genre’s most creative artists.

The Metal Pigeon’s Best of 2018 // Part One: The Songs

This was a year bursting with awesome new releases, and I know it sounds like an exaggeration, but I’ve never had this much difficultly in putting together my year end lists. Fortunately the songs were a little easier than the albums to sort through, and I’ve been able to narrow down a list that includes not only highlights from spectacular albums, but isolated gems from otherwise unremarkable releases. These were almost always songs that I listened to more often than others, verified by iTunes play counts and my own shaky memory, but others were just instantaneous nominees based on their initial impact. I tortured myself for a few days with the ordering here, reworking things several times before feeling satisfied. Let me know in the comments below if you agreed or disagreed!

1.   Visigoth – “Warrior Queen” (from the album The Conqueror’s Oath)

On an album that made a Visigoth fan out of me, “Warrior Queen” was the unquestionable highlight for its combination of brawn and beauty. Built on 80s metal swagger, hard rock strut, thunderous riffs, and Jake Rogers gritty steel-cut voice, this would be a tremendous tune even without the emotive Jethro Tull moment in the middle. It comes in the form of a flute solo, courtesy of Rogers himself, accompanying his most Mathias Blad-ian vocal at the 3:44 mark, the cherry on the proverbial sundae. A song like this by a relatively new band shouldn’t work, it should reek of the worst kind of Manowar-isms, hamminess and self-importance —- but “Warrior Queen” is emblematic of something that’s seeping into the USPM/North American trad/power resurgence of these past few years: A sense of exuberance and fun with the very idea of metal itself, where cliches are comforts and cool ironic detachment is the worst kind of boring. 

2.   The Night Flight Orchestra – “Turn to Miami” (from the album Sometimes The World Ain’t Enough)

This was the culmination of six years worth of honing in on a perfect recreation of that late 70s/early 80s sound, not only in sound but in songwriting structure, vocal layering and slightly out of touch prog-rock pomposity. That “Turn to Miami” arrived on NFO’s fourth album is almost too perfect, their own path to a song like this mirroring the way we can imagine it would have for any successful band of that halcyon era. Its not the kind of song you throw on the debut or even the sophomore album. This tune arrives after a few gold and platinum albums, during that phase when the band is jet setting across the globe on private planes with champagne, parties on hotel rooftops with supermodels that go til sunrise, cocaine decorating the marble bathroom counter tops, and waking up to find David Coverdale passed out in an empty jacuzzi. NFO conjured up a sound here that’s glitzy, lush, and fervent with a huge assist from talented backing vocalists (the “Airline Annas”), and they also managed to dream up a music video that leaned into the idea of rich, self-important rockers wearing shoulder padded pastel sport coats selling a heady concept with barely disguised sexual overtones. 


3.   Kobra and the Lotus – “Let Me Love You” (from the album Prevail II)

The chief highlight from this year’s surprisingly strong Prevail II, “Let Me Love You” was the kind of song that Kobra and the Lotus had been needing to write for years now. An unabashedly emotive, some would say sappy song that pulled from the same vein of power rock that Pat Benatar and Heart mined in the 80s for inspiration. That this song has a hook that can rival the best of those artist’s major hits is a triumph for Kobra Paige and guitarist Jasio Kulakowski (who co-wrote this with former guitarist Jake Dreyer and producer Jacob Hansen, who seemingly can’t miss these days in his many many projects). Paige’s voice has that Doro-esque level of power but tempered with Ida Haukland’s range and emotive capability, and she knows how to time her inflections as well as Floor Jansen. While the band almost got there with last year’s single “Light Me Up” (from Prevail I), they’ve stumbled upon their first bonafide could-should-be radio hit… the question is whether that central guitar riff will be too heavy for programmers and leave this song in too commercial for metal / too metal for radio purgatory.

4.   Judicator – “Spiritual Treason” (from the album The Last Emperor)

Much has been said about Judicator’s obvious musical influence from Blind Guardian, so maybe it was a bit on the nose to feature the bard himself Mr. Hansi Kursch as a guest vocalist on “Spiritual Treason”. Yet credit the songwriting prowess of guitarist Tony Cordisco and vocalist John Yelland in crafting one of Hansi’s most electric and inspired guest vocalist spots to date. Keying in on Tales/Somewhere Far Beyond era Guardian in structure and spirit, this is a lean, muscular, speedy power metal epic the likes of which we’ve not heard Hansi sing on in ages. Yelland himself turns in a fine performance too, his slightly higher register a nice complement to Hansi’s, but Cordisco might actually get the star turn here —- from his frenetic riffery, his confident clean acoustic work, and that gorgeous multi-part solo. Andre Olbrich would be proud.

5.   Therion – “To Shine Forever” (from the album Beloved Antichrist)

This one stuck with me all throughout the year, the penultimate “song” on Therion’s massive, three disc/46 track behemoth opera Beloved Antichrist. Though many may have taken a single pass through this recording and rejected it as fast as a mouse click, I’ve found it to be a treasury of majestic musical moments. And the key term here is musical, set aside metal for a bit and just consider “To Shine Forever” as a beautiful, cinematic piece of music. This is a vivid slice of the kind of thing Therion has been captivating hearts and minds with from Theli onwards; chiming minor key acoustic guitars, sweepingly elegiac strings gracefully ushering the proceedings —- this time accompanying a pair of gorgeous classical voices entwined in a duet instead of Therion’s usual Accept meets Maiden rhythmic guitar attack. Its only flaw is that its too short, a mere 2:07 in run time, but its aching, longing emotional pulse, and its evocative lyrical poetry subsist long after its over.

6.   Omnium Gatherum – “The Frontline” (from the album The Burning Cold)

On a largely terrific album, “The Frontline” stood out for its almost retro Gothenburg sound and approach, instantly burning onto my mind with conjured up memories of classic era In Flames. It must’ve been the clean guitar patterns in the verse over Jukka Pelkonen’s slowly muttered vocals that brought me back to In Flames “Satellites and Astronauts” off Clayman, or maybe it was “Jester Script Transfigured” from Whoracle. Whatever it was, long suffering In Flames fans can instantly sniff out something that reminds us of that band’s long distant classic era, simply because few things sounded like it (even at the time). I’m not sure why OG, a Finnish band who has a very defined sound of their own stumbled onto this particular Swedish influence here, but it spawned an understated epic. The appeal of melodeath, regardless of country of origin is in its ability to convey incredible emotion without lyrics, and Markus Vanhala and Joonas Koto’s guitars cry out heart wrenching melancholy. They also merge their own OG sound into the mix at the 3:20 mark, with a keyboard lead into a guitar solo that rockets into the atmosphere. Forget crappy Christmas music, this is all the joy you need right here.

7.   Exlibris – “Shoot For the Sun” (from the album Innertia)

Arriving on the most convincing Euro-power metal album of the year, Exlibris’ Innertia, “Shoot For the Sun” is the kind of song that sounds so effortless, its melody so natural, yet so many bands struggle to write convincingly. It was the standout on an album completely void of mediocrity, and I’d find myself circling back to it for a few extra listens every time I played the album all the way through. The stars here are new vocalist Riku Turunen and guest vocalist Ann Charlotte Wikström, who pair together perfectly. Towards the end during that soaring, emotionally charged cliff hanger crescendo, both of their voices weave around each other in a dazzling display. Its rare for duets to find those moments, because its usually a trade off of vocal parts or two voices so uneven in power that one naturally outweighs the other. I’m particularly fond however of Turunen’s intro vocal, where you heard kaleidoscope shades of Timo Kotipelto and Tobias Sammett in tandem, a little detail that brings out the power metal fanboy in me.

8.   Judas Priest – “Guardians / Rising From Ruins” (from the album Firepower)

I think this would’ve been higher on this list had the album come out later in the year, because I burned myself out hard on playing this pairing over and over again. I’m including both “Guardians and “Rising From Ruins” as one entry because they are in essence one song, the former a direct intro for the latter and only arguable by the inclusion of a track separation marker on the album for whatever reason. I told the story of when I first heard this song on the MSRcast around that time (when was this? March-ish?) because I was actually driving to my cohost’s place to record a new episode of the podcast when it came on. Its in the middle of the album, the centerpiece ostensibly, and I was already more than impressed with everything I had been hearing, but this intro piece floored me. So jaw-droppingly beautiful is “Guardians”, with its crescendo piano and guitar buildup, so epic and goosebump inducing, that my only reaction was to start laughing like a right fool. I couldn’t stop, it was like my brain had been overcome by joy and was stuck in giddy mode. By the time “Rising From Ruins” came on I was already running through my mind what I was going to say about the record on the podcast —- a litany of superlatives, spittle flying in every direction as I’d rave like a prophet. Thankfully I composed myself to be a little more measured in the end, but these two pieces of music provoked one hell of an emotional reaction in me where few things do. 

9.   Suidakra – “Ode to Arma” (from the album Cimbric Yarns)

This was a special song on an experimental acoustic album that largely failed to move me otherwise, and a song that’s been in practically daily rotation since the album’s November release. Everything that works on “Ode to Arma”; the mystic tone, the pure emotive strength of Sebastian Jensen’s vocal, specific endearing lyrics, and the layering of unorthodox melodic arrangements are the very things that somehow work against the rest of the songs on the album —- in short, they struck gold here. Of particular note is the melodic shading by guest vocalist Sascha Aßbach, and the fragile piano utterances performed by Arkadius, both working to create a lushness to the soundscape that adds to the otherworldly feel at work. As I mentioned in my review for the album, I’m not too informed about the original fantasy concept underpinning things here. But the central lyric, “The farther you travel / the closer I hold in you my heart”, reminds me quite a bit of the stories of some RPGs I’ve played, even a little of Tolkien in certain Silmarillion steeped stories. Suidakra doesn’t really touch romantic themes all that much, but they handle it skillfully here, with ache and melancholy.

10.   Thrawsunblat – “Via Canadensis ” (from the album Great Brunswick Forest)

This was the most anthemic, joyful blast of woodsy, rustic noise on Thrawsunblat’s uniquely excellent acoustic blitz Great Brunswick Forest. That it starts off quirky, with those sharp frenetic attacking plucks of the strings in the acoustic guitar equivalent to a drum count-in is part of its incessant charm. Joel Violette also turns in one of his most captivating vocal hooks to date, built on the strength of the repeating “on we go” vocal fragment that sounds practically mythic when it lands during the nearly a capella bridge midway through. This is also his most positive lyric to date, a cathartic paean to the strength of spirit and moving forward. I particularly love when the electric guitar comes in, the band seemingly so charged by the song’s energy that they couldn’t help but unleash a blast of feedback and muted crunch to further rattle the cage. Drummer Rae Amitay’s aggressive performance here and throughout the album is worthy of praise on its own, and she seems to know just where to punctuate with an extra loud hit or three. This was a re-imagining of what folk metal could sound like, acoustic and woodsy sure, but uptempo and fierce.

The Metal Pigeon’s Best of 2017 // Part Two: The Albums

 

 

For as little trouble I had putting together the best songs list in the first half of this 2017 Best Of feature, I had a devil of a time deciding what albums to leave out of the final few spots of the albums list. There were a couple late comers to the nominee pool that made things hard to finalize, and so of course I had to leave a handful out. A few of them I haven’t even written reviews for or had a chance to discuss on the MSRcast yet (though I will). One of these was Aetherian’s The Untamed Wilderness, a mid-November find on the Spotify New Metal Tracks playlist, being a carefully constructed merger of melo-death with classic metal song structures that reminds me of a Gothenburg-ian Opeth. Another hard cut was Wolfheart’s Tyhjyys, a thoroughly enjoyable record that struck a balance between progressive metal and melo-death albeit with some simplicity via The Black Album era Metallica (not a slight I promise!). I was also aggrieved to cut Iced Earth’s Incorruptible, because I thought it would for sure make the list all those months ago, it just got crowded out over time (and played less than others). I was late in discovering but loved Power Trip’s Nightmare Logic, and I also feel the need to shout out Dragonforce’s Reaching Into Infinity, both albums being an absolute blast to listen to. In a year of mostly serious and introspective metal releases (my list being no exception), they were reminders that metal can and should be fun sometimes too.

 

 

 

 

 

 

 

1.   Unleash the Archers – Apex:

Here it is then, my most listened to album of 2017, one that’s been on constant rotation ever since first coming to my attention way back in late June. I remember blasting it in the car as I sped through Houston’s spaghetti bowl of freeways on the way to see Iron Maiden play at the Toyota Center, and as openers Ghost were onstage wearing out my welcome, I wished that Unleash the Archers could have opened the show instead. It was the album I blared before and after work on exhausting, sweat-drenched, jungle humidity days throughout the summer. It was my go to soundtrack during those moments where my bad mood threatened to sour the whole day, and I was able to do that likely ridiculous looking mix of slight headbanging (headnodding?), air guitar, and mouth drumming (where you click and clack your jaw and tongue along to the beat… is that only me?) along to these songs to work off the angst. It was the album I returned to in trying to distract myself during the worst, worry-filled moments of Hurricane Harvey where flood waters were rising mere streets away from me and I wondered if I would have a dry car and apartment at the end of it all. Mostly I just listened to it because in a year full of music that was largely dark, bleak and introspective, Apex was an absolute blast to play, a genuinely fun album from start to finish.

 

But it didn’t just make number one on this list because it was my most listened to, although that is a solid metric for being honest about these things. No, Apex landed atop the list because it is packed with unbelievably well crafted songs that crackle with excitement and sheer kinetic energy. This is the band’s watershed moment, an album that towers above anything they’ve done previously, in the same way that Number of the Beast pointed towards a far greater ceiling for Iron Maiden’s sound and songwriting abilities. That comparison is not idly thrown out, because what Unleash the Archers do so well is recapturing the joy and excitement that Maiden was capable of achieving during those formative mid-80s “golden years”. Their approach to traditional metal is rooted in that hallowed Steve Harris gallop, but with modern power metal influences shaping the texture of their sound to prevent them from sounding like only a throwback. This mix defines full speed chargers like “The Matriarch”, and “The Coward’s Way”, but its their ability to go for the grand, the epic overture of towering mountains like “Cleanse the Bloodline” (Brittney Hayes’ steel lungs providing the vocal performance of the year during the chorus) and the best songs listee title track where the band truly transcends genre-boundaries. This is an album for anyone who calls themselves a metal fan, regardless of whether its a Mayhem or Blind Guardian back patch on your battle jacket.

 

 

 

 

 

2.   Satyricon – Deep Calleth Upon Deep:

Chalk it up to Deep Calleth Upon Deep being the second album in Satyricon’s new approach to sound, that being the deconstruction of black metal sonics that has moved them into fresh creative territory. Or maybe it really did have something to do with Satyr’s recent brush with mortality that is the amorphous force driving his creative demons to new heights this time around. What the band was trying to achieve with 2013’s confusion inducing self-titled album was hard to discern by almost everyone, rejecting the black n’ roll of their previous three albums by stripping away surface aggression of continuous riffs and accelerating rhythms. It resulted in a sound that was full of slow moving tempos, lots of space between instruments, an almost airy atmosphere that was pushed up front as the centerpiece at times. Black metal is a normally dense, compressed approach to metal, and Satyricon was its complete opposite in everything except for its bleak tone. Its an album that I’ve understood more (and enjoyed more) over time, particularly after hearing where they went on its sequel, but at the time it left me wondering where the band intended on taking their new found direction.

 

The answer then is that Satyricon could be seen as a complete reboot of the band’s sound, a thoughtful re-imagining of how they perceived black metal could sound. These types of grand ideas rarely work out in one go, and Deep Calleth Upon Deep as its sequel is the real fruit of all that labor, with the gradual mixing back in of a touch more aggression via riffs and Frost’s even more primitive than usual percussion. Interesting that the drums sound more menacing when Frost was forced to abstain from his usual dizzying array of fills and counter tempos. Then there’s the stuff that counts of course, the songwriting —- and here Satyr is at his most inspired and creative that we’ve seen him since the Now, Diabolical era. The best songs list topping “To Your Brethren In The Dark” is riveting, full of coiled energy, and a thousand hidden meanings. There’s a primitive (that word again!) spirituality to “The Ghosts of Rome”, made alive by the use of tenor Hakon Kornstad, his strange, mournful wailing making me think of that scene in Conan the Barbarian where Valeria is trying to ward off those hellish spirits around Conan’s near-dying body. Its an arguable point to say that this is Satyricon’s best album —- certain folks just won’t hear of anything being considered over Nemesis Divina, and I don’t think anything I could say would convince them. But it is shockingly excellent for a band in the third phase of redefining their sound, and gives them a masterpiece for each one of those wildly different eras, an achievement unparalleled in metal.

 

 

 

 

 

3.   Sorcerer – Crowning of the Fire King:

As I mentioned in their entry on my best songs list for “Unbearable Sorrow”, Sorcerer came out of nowhere in late October to nearly dominate my attention for the final two months of the year. I’m still kicking myself that they slipped under my radar with their excellent comeback album In The Shadow Of The Inverted Cross in 2015. Here’s a band that contains one of my favorite guitarists in metal, Mr. Kristian Niemann of Therion fame and glory, and its a joy to hear him play in that inimitable style once again. He’s one of the most melodically fluid and natural sounding guitarists I’ve ever heard, never failing to conjure up a big batch of dreamlike melodies that swirl and flow. When he left Therion I never thought he’d find a better place for him to be as a creative outlet, but Sweden’s Sorcerer are honestly the next best thing. That turns out not to be a coincidence either, given that previous Therion vocalist alum Anders Engberg is one of its co-founders, and I’m guessing that when he and his old bandmate Johnny Hagel decided to restart the band, Kristian was the first person they thought of. I know I’ve blindsided a few of you by not writing anything about these guys well before these year end lists, but better late than never right?

 

Sorcerer create a darkened blend of Candlemass-ian doom metal with Kamelot style prog-power melodicism, Engberg’s vocal style being at times very baritone, while still capable of soaring heights in his upper register. I could throw out all the appropriate adjectives on how to describe the songwriting here —- intelligent, sophisticated, artful —- but that really won’t give you a good idea of the magic of The Crowning of the Fire King. For me anyway, there’s a cosmically oriented spirituality running throughout this album in the way that recalls Kristian’s best work in Therion on albums like Gothic Kabbalah and of course the twin masterpieces Sirius B and Lemuria. The very opening guitar pattern on “Abandoned By The Gods” for example has that very effect, the result of Kristian being the kind of guitarist whose playing could say more in a smaller amount of space than a vocalist could convey. On the stunning “Unbearable Sorrow”, he matches Engberg’s anguished, gorgeous vocal melody with a stunning lead guitar pattern that sounds like he’s trying to recreate the heavens. I don’t know how he does it, but Kristian has always had that innate sense of creating guitar melodies that are panoramic, as if everything in the song (and the cosmos) rotates around his playing. The results are not only otherworldly, but create another voice to cry out the invisible emotions not reachable by human vocal chords —- musical dark matter then.

 

 

 

 

 

4.   Cradle of Filth – Cryptoriana: The Seductiveness of Decay:

Here’s how I know Cradle of Filth is in the midst of an artistic career renaissance that is winning back over longtime fans like myself and slowly spreading the word to potential new ones —- two metal loving buddies of mine have given their thumbs up to Cryptoriana, after hearing me proselytize about it for months now. They both disliked Dani Filth’s vocals before, his tendency to go to shrill, ear-piercing heights and largely stay there. Well those days seem to be well past the diminutive vocalist, with his performances on this new album as well as 2015’s Hammer of the Witches seeing him stake out more of a fierce mid-range growl, punctuated by his deep, demonic bellow with only cursory trips into ear-bleeding, shrieking territory. And I think he’s responding to the awesomeness of the riffs here too, the metallic B-12 shot that relatively new guitarists Richard Shaw and Ashok injected into the band’s musical repertoire. They deepened the band’s sound by doing away with tired tremolo riff patterns heard on past Cradle albums and instead unleashing a battery of chunky, menacing death metal riffing ala Behemoth. Oh the nods to Iron Maiden are still there, and things are as melodic as ever, but they avoid giving in to this band’s history of musical tropes, those patterns and formulaic riff sequences that grew tiresome over time.

 

The result of this forced musical shift was to inspire Dani to be a better vocalist, not only in the aggressiveness of his delivery but in his control as well, he’s never been this impressive before. He sounds inspired and revitalized, and you can hear him utterly destroy on “The Night At Catafalque Manor”, where the crackling intensity of his performance is only matched by the frenzied rhythmic assault and epic lead guitar melodies. His still new guitarists (only two albums in) seem to have an innate understanding of how to steer the songwriting into surprising and unexpected directions, both to us and to their boss. On “You Will Know The Lion By His Claw”, they plunge straight away into deep death metal passages, and Dani tunnels in the middle of their slabs of riffs with a hellish, doom-inflected death metal growl. He’s not going for the typical Dani Filth maneuver, to go high and let his voice ride the wave over the top —- he’s choosing to be a part of the darkened sonic assault here, an essential part of the overall brutality. The supremely talented Lindsay Schoolcraft’s keyboard work is restrained, taking a more elegantly symphonic approach rather than clumsily piling on layers and layers of atmospherics, and her vocal work throughout the album is a perfect foil to Dani extreme aggression here (check “Achingly Beautiful” for proof). I was thrilled and surprised by Hammer of the Witches, it really was a tremendous album; but the songwriting on Cryptoriana is absolutely thrilling, capturing the dark majesty of the band’s mid-90’s era while rattling our teeth harder than ever.

 

 

 

 

 

5.   Myrkur – Mareridt:

I think its remarkable to look back on how folk metal was rejuvenated both as a subgenre and as an idea or an expression this past year. The last cut I made before coming to this final ten as my albums of the year was Eluveitie’s acoustic based Evocation II – Pantheon, a bright and vibrant collection of rustic, woodland European folk that sounded not only inspired, but authentic. That last adjective is one that would raise a small internet outcry if directed at Myrkur, but in my opinion, the Danish-born United States based Amalie Bruun has found her true, authentic voice on this genre bending album. In the process she’s unwittingly perhaps stumbled upon one of the most creative and emotionally charged folk metal releases of the past fifteen years. I wrote that her previous album M’s fatal flaw was its inability to detach itself from its very overt second wave Norwegian black metal influences. Here she steps back from any notion that she has to outdo that album’s bleak oeuvre, and instead she pushes forward her other influences ranging from female inspirations like Chelsea Wolfe (who guests on “Funeral”) to Nordic folk to classical music. The black metal is still there, but she finds ways to subvert traditional structures, for example her juxtaposing ethereal clean vocals over tremolo riffing on “Ulvinde”. Its not a gimmick or a cheap trick, the actual musical effect is haunting and beautiful, but still dark and a little unsettling.

 

I’m not sure about who else Bruun herself would list as an influence, but I hear shades of Tori Amos, Bjork, and one of my favorite chanteuses in Loreena McKennitt. I also can’t help but hear a strong Dead Can Dance feel in the album highlight “Death of Days”, its swirling melody utterly entrancing and hypnotic. On “Kaetteren”, we’re treated to the kind of rustic, Nordic folk music that paints the scene of an evening fire on a hilltop overlooking Oslo, or for us flatlander southerners, music reminiscent of what we’d want to hear at the renaissance festival. It reminds me of the kind of stuff we heard Otyg do way back in folk metal’s infancy. At the album’s heaviest moments, Bruun finds ways to take black metal’s fervor and manipulate it to heighten its impact, such as on “Maneblot”, where during a quieter violin passage midway through the song, you hear the whispered strains of black metal fury just on the edges of the soundscape, slowly growing louder before crashing into the forefront. Its akin to water breaking through the hold of an old wooden ship and flooding everything. In a year when we were all bombarded with news and information in an exhausting, unrelenting manner, I found myself drawn to music that reflected a sense of the natural and the organic —- that spirit runs throughout Mareridt.

 

 

 

 

 

6.   Vintersorg – Till fjälls, del II:

I probably wouldn’t be repeating myself so much about 2017 being the year of a folk metal revival if it wasn’t for the fact that genre pioneer Vintersorg was a major part of this renaissance. He’s one of the old guard, his early solo works pioneering examples of the sound, expanding on the two classic folk metal masterpieces he recorded with his band Otyg in ’98/99 (not to forget the handful of demos they were doing as early as ’95, also the same year Fenriz and Satyr released the oft-forgotten but widely influential at the time Nordavind album from Storm, their one-off side project). I started listening to Vintersorg in 2000 with Cosmic Genesis, and he was a revelation, one of those artists who was delivering a sound and musical concept that upon first hearing, I realized I had been longing for all my years as a music fan. He’s made a slow return to his folk roots over the course of his past few albums, but it wasn’t until this year with Till fjälls, del II that he really tapped into the songwriting style that was rooted in his classic, pioneering early folk metal of Till fjälls and Odenmarkens Son. This album is full of song structures in that mode —- blistering riffs intertwined with acoustic guitar melodies, Vintersorg’s layering of his trademark majestic baritone “oooohhs” over the top of choruses for that old world sound, its all here.

 

Of course, whats most essential here is that Vintersorg has written some of the finest material of his career, spiritual folk metal that we haven’t heard from him in well over a decade. This is music infused with the rustic feeling of nature and the mountains, yet also of deeply existential and scientific pondering of our place within this context. On a gorgeous gem like “Vårflod”, Falkenbach-esque chiming acoustic chords usher in his old Otyg bandmate Cia Hedmark’s emotive singing about the days growing long and the nights getting shorter (the song title translates to “spring flow”). Vintersorg’s bellowing chorus here is sublime, catchy in its Swedish phrasing but also epic, with glistening horns trumpeting in the distance, as if roaring their praise for the changing of the seasons. He also understands just how acoustic guitars can be used for more than just pretty intros and outros —- take “Allt Mellan Himmel Och Jord”, where the mid song acoustic bridge keeps the tempo quick and alert, subtly increasing the tension like someone pulling back a rubber band before letting loose with hammering snare hits and some dizzying progressive riffs. Vintersorg himself described this album as “heartfelt”, music that arose when he didn’t even realize he was writing a sequel to Till fjälls, and indeed nothing about this seems contrived or forced (a rarity for musical sequels). This is the folk metal I fell in love with way back in the subgenre’s infancy —- its godfather has returned with the musical equivalent to the beacon of Minas Tirith. The beacons are lit!

 

 

 

 

 

7.   Aeternam – Ruins of Empires:

If you missed out on Aeternam’s sweeping, bombastic musical adventure that was Ruins of Empires, you deprived yourself of one of the year’s most fun and creative metal albums. Aeternam are one of the newer, noteworthy bands playing a style that has been long dubbed “Oriental Metal”, as flawed and controversial as that term is among the intelligentsia. Unlike subgenre godfathers Orphaned Land who began their sound with a bedrock of old school death metal influences, Aeternam’s sound is far more rooted in Gothenburg melodic death metal territory. Like Orphaned Land, the band’s sound is progressive by the very nature of adding in pan-Arabic folk musical influences, resulting in the richly melodic paintbrush strokes that adorn Ruins of Empires. These guys can be as brutal as Behemoth and Septic Flesh, but as wildly orchestral as Dimmu Borgir in their grandest moments, with the ambition of Therion. Nowhere is this more evident than in the album centerpiece “Fallen Is the Simulacrum of Bel”, a song that rings out from the start with a dramatic flourish of choral voices, exotic violin melodies, and a Blind Guardian rhythmic swagger before the death metal comes punching its way through against a backdrop of discordant, Arabic scale sounding guitar patterns. The guitar work throughout by vocalist/guitarist Achraf Loudiy is superb, playing on the level that I associate with masters like Andre Olbrich and Jesper Stromblad.

 

Where they really got me hooked was just how well Loudiy and company pulled off the beautiful ethnic folk music of “The Keeper of Shangri-La”, a stunning piece built on rich Arabic instrumentation (the striking exception being the erhu, a traditional Chinese string instrument). Here Loudiy gets to showcase his melodic singing voice, and he sounds like a slightly accented, more soulful Matt Heafy, his role here as a desert bard speaking of tales “deep in a forgotten land”. Lesser bands would fumble this type of thing, but Aeternam has the songwriting and musical chops to deliver it, and the imagination to make it soar and sink deep within our psyche. I felt the same way on the other non-metal track, “Nightfall In Numidia”, a shorter track but no less imaginative, and though I have no knowledge of what or where Numidia is, I come away from every listen of that track with a picture of it in my mind’s eye, and that’s enough. So much average or merely passable metal that makes attempts at grandeur just resides in our listening experiences on a surface level, but Aeternam’s gift is delivering soundscapes that come alive like the best written fiction. I’ve been a big fan of Oriental metal in general, Orphaned Land and Myrath being two obvious loves, but also of the epic black metal of Melechesh and a few others. But Aeternam have really staked their claim as one of the genre’s leading lights with this inspired album, they are the Blind Guardian of the subgenre, storytellers who possess the musicality to take us elsewhere.

 

 

 

 

 

8.   November’s Doom – Hamartia:

I consider myself fairly new to November’s Doom, only really being introduced to them in the last few years due to co-hosting the MSRcast where Cary G is a big (scratch that, huge) fan of the band, a longtime one at that. Although I had scoured their discography in that time, Hamartia was my first real, proper introduction to their music, and what an introduction it was. Offering up their most melodically accessible album to date, November’s Doom received a minor backlash upon the initial release of this album for an increase in clean melodic vocals and doomy metallic hard rock riffs. At the time I thought those criticisms were ridiculous for a band that had been showing signs of heading in that direction (2014’s Bled White serving as a huge indicator), and I wondered if they would abate over the months that followed. In retrospect I’m realizing that its backlash is similar to Opeth’s around the release of Heritage, especially considering its predecessor Watershed also showed similar signs of moving away from death metal growls —- and in that respect, I guess I can understand some of the grumbling. Unfortunately, I haven’t been seeing this album pop up on a lot of year end lists, and I’m not sure if that’s down to said criticism or if this band just sails under most radars (like they did for me for many years).

 

That’s a shame really, because beyond the change in musical approach, this is an album of truly inspired songwriting alongside rich musicality that incorporates acoustic sounds and gorgeous piano as much as slabs of granite riffs. A gem like “Ever After” hit my sweet spot for melancholia ala Type O Negative and Charon, with its bleak tone complemented with bursts of elegiac melody (that solo sequence at the 3:42 mark is one of my favorite moments of the year). There’s also a strong Beatles and Simon & Garfunkel influence seeping through here, as heard on “Borderline” and “Hamartia” respectively, both songs where vocalist Paul Kuhr demonstrates tremendous emotive range in his clean delivery. At times, he sounds like a synthesis of Woods of Ypres’ David Gold and Peter Steele. Its not all lighter stuff though, as they’re as heavy as they’ve ever been on moments like “Apostasy” which has a beefy, fattened bottom end that is reminiscent of the Entombed sound. That song employs a long worn trope, the old distant sounding intro that slams immediately into the forefront with a pulverizing riff, but man do they do it so well. The production all across Hamartia is worth praise too, because it seems fewer and fewer albums get the concept of dynamics right these days, but they deliver a properly mixed and mastered full spectrum of audio. On such a varied album like this, that was a crucial element —- here, the heaviness really hits you, and the quieter, more introspective moments are deeply affecting.

 

 

 

 

 

9.   Evocation – The Shadow Archetype:

I broke my rule about not looking at other best of lists before finalizing mine this year, not a lot of them, but enough to notice that some folks were calling 2017 the year of death metal. It seems that every year is the year of death metal, in my memory anyway, and truth be told I didn’t find myself getting too excited about many of the releases those lists were touting. You’ll notice I didn’t review the new Morbid Angel (Kingdoms Disdained), mainly because I was late on listening to it, but once I did, well… its hasn’t really made an impression with me yet (why does every Morbid Angel album have some new weird production approach?), and I wonder if a lot of the praise its getting seems to be based around it not being Illud Divinum Insanus. Then there were a few people throwing Immolation’s Atonement on their lists, and while I enjoyed that album and it was a step up from Kingdom of Conspiracy, I didn’t come back to it often. Point is, there’s a lot of death metal albums on those lists that are puzzling choices (even the Obituary s/t, which was good fun but again, one of the best albums of the year? Really?).

 

What was more alarming than some questionable choices was one particularly glaring omission —- that being Evocation’s career watershed The Shadow Archetype. It had the buzzy, lo-fi production of old school Entombed with the instrumental separation of a professional modern recording, the combination packing a sledgehammer level of heaviness all throughout. Evocation also finally found their musical path, straightforward brutality mixed with a complex, progressive edge that resulted in the striking melodicism in tracks like “Imperium Fall”, “Dark Day Sunrise”, and the epic title track. On “Modus Operandi”, the unabashed musicality and melodic thru-line in the instrumental bridge is closer to stuff you’d hear from a progressive power metal band rather than a band who likely would cite Left Hand Path as a defining influence. Yet for an album awash in melody, its still one of the most unrelentingly heavy albums of the year, largely due to that fat, lumbering low-end in rhythm guitar riffs, the car engine rumbling bass, and of course Thomas Josefsson’s blackened, oppressive death metal mouth of Sauron impersonation. Check out “Condemned to the Grave” for the absolute heaviest song of the year (it narrowly missed the best songs list), a song that is both catchy as hell and one of the most sinister sounding performances I’ve ever heard.

 

 

 

 

 

10.   Bell Witch – Mirror Reaper:

I’ve never been as surprised by a metal album of any kind the way I was with Bell Witch and their 84 minute long, single track monolith Mirror Reaper. I think the only time I was this shocked to see myself placing a particular release on my year end list was when Alcest landed at number ten in 2012 with Les Voyages de l’Âme, being a band I had largely deemed as pretentious prior to. You guys know me, funeral doom isn’t really my forte, and the only time I came close to discussing that subgenre was when reviewing Swallow the Sun’s triple disc Songs From the North (and I didn’t grade that third disc very highly at all). I came across this album in late October through BangerTV’s Overkill Reviews, and while I took Blayne Smith’s review with a grain of salt (hey, its hard to tell whether he’s being serious half the time), I did check out the track myself because the clips he played on the show were way more musical than a band consisting of just drums and a bass (for reals!) should sound. And in a moment of old-school spirit, I found the cover art was so freaking excellent that I was intrigued to see if anything on the album justified it. So I found it in its entirety on YouTube and scrubbed through it impatiently at first, almost trying to confirm to myself that it was as boring as I’d expect it to be. I spent a few minutes going through it here and there, and remember being surprised at how such a variety of sounds were being coaxed from a bass guitar, but then as expected I moved onto something else.

 

But Mirror Reaper didn’t go away, I kept seeing it mentioned in random comments on various metal sites, it kept getting recommended to me on YouTube, and I saw a few metal writers I respect on Twitter raving about it. So I went back to that YouTube upload, and one night when trying to read, I let it play in the background and go its full length. That particular setting unlocked the album for me, and I spent more time paying attention to it than reading American Gods for the umpteenth time. I have no idea how bassist/vocalist Dylan Desmond manages to write such a lengthy, ponderous piece of music —- does he actually write out every single passage and shift in direction? Or does he and drummer Jesse Shreibman simply record for hours, later cutting and pasting things around when editing and utilizing the studio as an instrument? I’m inclined to ignore the latter notion, because everything here sounds deliberate —- not only the direction of the passages that slowly paint a landscape of oppressive sorrow and resigned sadness, but that every note sounds purposeful, a connective artery to the next one. Its a bizarrely affecting listening experience, transcendent at its most outwardly mournful melodic wailing (the 32 minute mark area is noteworthy), and incredibly depressing when it hits a particular motif for sustained passages (particularly the 41 minute area). Some of the most emotional moments occur during the lengthy (of course) clean vocal period towards the second half of the album, where slight bends of the melodic motif and the introduction of a distant organ create a hypnotic effect. One that’s not so laid back that you’d fall asleep however, in fact its unsettling nature makes you focus in more sharply at what’s going on. So at the 1:09:50 mark, when Desmond suddenly ushers in a ringing high note out of the mists, you might be as alarmed as I was and glance about the room to see if you’re still alone.

 

The Metal Pigeon’s Best of 2017 // Part One: The Songs

 

What a year, its feels like its both taken forever to get through and yet passed in the blink of an eye. I was a bit concerned halfway through around the early summer when I realized that it was a little light on noteworthy releases. My worries were premature however, as 2017 was backloaded in a staggering way, causing myself to pick up the pace in the late summer and early fall just to keep up. The process of putting together my year end lists this time was a bit strange, because I felt that my nominees pool for the albums list was a little shorter than I’d expected, while the songs list was way more stacked than it normally is. I keep written nominee lists for songs and albums going throughout the year, both so I can throw my choices in whenever I’m feeling like I’ve come across a contender, and (primarily) so I don’t have to trawl through my own blog come December to see if I’ve missed anything. As usual, I relied on iTunes stats for play counts to keep myself honest, but this year instinct really led the way. The following songs on this list just stood out clearly among the other nominees and they are absolutely worth a few minutes of your time. Thanks for reading and keep an eye out for the best albums list coming soon, before year’s end is the goal!

 

 

 

 

 

The Metal Pigeon Best Songs of 2017:

 

 

 

1.   “To Your Brethren In The Dark” – Satyricon (from the album Deep Calleth Upon Deep):

 

[youtube https://www.youtube.com/watch?v=IGCp3xcrybI&w=560&h=315]

 

 

Not only is “To Your Brethren In The Dark” the emotional core of Satyricon’s controversial masterpiece Deep Calleth Upon Deep, its one of the defining songs of their career. Its almost slow-dance like tempo is hypnotic, its spiraling ascending and descending melodic phrasing eerie and suggestive, working to strengthen the captivating allure of this dirge. If the loose theme around Deep Calleth was about the spirituality found in appreciating art while set against the transience of life, this song could apply directly about our own most cherished art form (weighty stuff I know, but consider Satyr’s recent medical scares as its source material and that heaviness is appropriate). The phrase within the lyrics, “… pass the torch to your brethren in the dark…” is so relevant to everyone who loves metal, from the bands and labels to the writers at blogs and magazines to fans buying albums, going to shows, recommending stuff to other fans. There is no governing structure that supports metal music as a subculture or records its history for us, those tasks simply fall to us and its our responsibility to make sure that this music gets passed onto younger generations growing up today. I know this is a very metal blogger take on a song that is far more expansive in its lyrical reach, but its what I took from it. That’s also a testament to its power, as Satyr himself ascribed to it, “A song for the dark towers of the past and those who will rise in the future.”

 

 

 

 

2.   “Apex” – Unleash The Archers (from the album Apex):

 

[youtube https://www.youtube.com/watch?v=NTWbVUUkWm4&w=560&h=315]

 

 

No song was more liable to get me a speeding ticket than the title track to Unleash The Archers awesome Apex, an album that not only represents the very best of what power metal has to offer, but has certainly opened up the genre to those who would normally scoff at it. This cut is a perfect example why, eight minutes that feel like three of a Maiden-gallop led charger that builds to the year’s most epic, satisfying chorus. This band is economical in the best sense, riffs are purposeful, built for conducting the crackling energy that underlies Brittney Hayes impassioned vocal melodies. Even the moody intro is a delight, with faintly chiming acoustic strumming underneath a lazily gorgeous open chord sequence, a moment of respite from the dramatic build up that follows and the rocket launch that happens immediately after. There’s real craft here, songwriting with an understanding of the trad/power metal bedrock that makes this kind of music spectacular, coupled with the wisdom of how to avoid the cliches and tropes that so often make it an easy target. In a recent tweet, Adrien Begrand (of Decibel fame) observed that the tastemaker best metal of 2017 lists were sorely lacking in metal that was actually, you know, fun —- I agree, and if said lists were missing out on Unleash the Archers, you can go ahead and ignore them now.

 

 

 

 

3.   “The Forest That Weeps (Summer)” – Wintersun (from the album The Forest Seasons):

 

[youtube https://www.youtube.com/watch?v=ffQ2B5qegRg&w=560&h=315]

 

 

For all that I’ve written (controversially) about Wintersun that has aroused the ire of not only the band’s fans but Jari Mäenpää himself, I was eagerly anticipating The Forest Seasons, not to tear it down mind you, but because I genuinely think the guy is supremely talented. I loved the idea behind the concept, a metal re-imagining of Vivaldi’s Four Seasons, it was inventive and fun and made you wonder why no one (Malmsteen perhaps?) hadn’t tried it before. I’m not sure how well it succeeded in the minds of Wintersun fans as an album, I’ve seen a spectrum of opinions ranging every which way but for me I found that the autumn and winter cuts were lacking (ironic given the band’s name). The spring and summer movements however were fresh reminders of just why there’s so much hubbub surrounding this band in the first place. For my part, Mäenpää has never written something as starkly beautiful as the epic folk metal with a power metal engine of “The Forest That Weeps (Summer)”. There’s a spirituality heard in the dim orchestral keyboard arrangement that mournfully croons in the air above the noteworthy riff sequence going on in the verse sections. His clean vocal melody in the refrain is not only surprisingly hooky in a Vintersorg-ish way, but soulful even, the kind of thing old school folk metal was built on really. The moment that will send crowds of people headbanging in venues all over Europe is the coiled snake springing to strike in the full on riff assault that occurs at 7:19.

 

 

 

 

4.   “Unbearable Sorrow” – Sorcerer (from the album The Crowning of the Fire King):

 

[youtube https://www.youtube.com/watch?v=8r_JlWf_Biw&w=560&h=315]

 

 

Sorcerer is one of those bands who quietly slipped under a lot of radars this year, and their late October opus The Crowning of the Fire King will get unjustly ignored, but hopefully not by you once you hear “Unbearable Sorrow”. This was one of those bands I didn’t actually write a review on but we did cover on the MSRcast, which was my introduction to them and the moment when I realized that this was where ex-Therion guitarist Kristian Niemann had wandered off to after he had left that band. Sorcerer actually began back in the late 80s, released a few demos, and split up in 1995 before ever doing a full length. Finally in 2010 its founding members bassist Johnny Hagel and vocalist Anders Engberg reunited and grabbed some of their Swedish pals to round out the lineup. Engberg is a sublime talent, and for you Therion diehards out there, he might look familiar if you remember the male vocalist onstage from the Wacken 2001 footage off the Celebrators of Becoming DVD box set (he was also on the 2001 live album Live In Midgard). This Therion connection is of course magnified with Niemann’s role as the lead guitarist here, as his distinctive neo-classical, richly melodic style is painted all across this album to stunning results. He was my favorite of the many guitarists that have graced Therion’s lineup, just wonderfully inventive in his writing and possessing a fluidity in his playing that I’ve rarely heard mirrored by anyone else. On “Unbearable Sorrow”, his guitarwork is mystical, other-worldly, darkly beautiful and damn near spiritual in its expressions, and he’s almost topped by Engberg’s powerful, melancholic vocal performance.

 

 

 

 

5.   “The Same Asylum As Before” – Steven Wilson (from the album To The Bone):

 

[youtube https://www.youtube.com/watch?v=MoGV9V_dHCk&w=560&h=315]

 

 

While Steven Wilson’s newest album didn’t wow me as much as 2014’s absolute masterpiece Hand. Cannot. Erase., it did bear a handful of gems, the shiniest among them this slice of Lightbulb Sun era prog-rock. Wilson’s distinctive songwriting style makes it difficult not to look for comparisons to his previous work, despite this song being set amidst an album heavily influenced by 80s ‘intelligent pop’ icons Peter Gabriel, Kate Bush, and Tears For Fears. For all the art-pop ambition of To The Bone, what I mostly got out of it was Wilson returning to the lighter moods and tones of that classic turn of the millennium Porcupine Tree era. I hear it in this song’s chorus, a dichotomy of bummed out lyrics sung by a resigned narrator against a splash of bright, warmly laid back acoustic guitar. The escalating guitar pattern that slices through this lazy summer day is crackling and electric, an unexpected piece of ear candy that has kept me coming back to this song even if I haven’t been tempted to revisit the entire album yet. Also worth commending here is Wilson’s vocal performance, because his delivery in the chorus is sublime, hitting the boyish tenor he’s been avoiding on the past few albums but has achieved so often earlier in his discography. Forlorn Porcupine Tree fans who’ve long fallen off the Wilson wagon should really be giving this track (and the album at that) a spin, because its the closest he’s come to his old band’s sound in almost a decade.

 

 

 

 

6.   “Black Flag” – Iced Earth (from the album Incorruptible):

 

[youtube https://www.youtube.com/watch?v=1effGoCTAnU&w=560&h=315]

 

 

Iced Earth rebounded with this year’s Incorruptible, after the subtle disappointment that was 2014’s Plagues of Babylon, and the album yielded a pair of absolute classics in “Black Flag” and “Raven Wing”. One could make an argument for either being the best on the album, but I know that the former was simply one of my most listened to songs of the year just based off iTunes play count stats alone. The band recently released an actual music video for this too, just a week or two ago, six months after the album saw the light of the day. If you’ve seen it in all its Master and Commander glory, you’ll get why it took them six months to get it out to the public —- and look, I’m hard on conceptual music vids by metal bands, frequently citing that the budget never covers the ambition. That truth applies this time as well, which is why I linked to the song itself above (though in fairness, the “Black Flag” video is far from the worst I’ve seen this year, one could even call it relatively decent). But I’m getting distracted, because my larger point is that this song’s evocative, scene setting lyrics need no video at all, particularly when Stu Block sings “We live out our last days / With barrels of rum, black powder / And the clash of the blades”. How does that not put a music video of your own in your mind’s eye (or at least memories of playing Assassin’s Creed IV)?

 

 

 

 

7.   “A World Divided” – Pyramaze (from the album Contingent):

 

[youtube https://www.youtube.com/watch?v=CKERGAAWS9E&w=560&h=315]

 

 

Two years ago, I referred to then new Pyramaze vocalist Terje Haroy as one of the most promising new vocal talents in metal, and he certainly lived up to that hype on this year’s Contingent. It wasn’t a perfect album, in fact it was severely lopsided in that its first five cuts were home runs while the latter half of the album seemed lost and directionless. Amidst those first five songs however was the absolute gem “A World Divided”, a deceptively heavy song that lulls you in with a delicate, calming piano melody over much of its first minute, perhaps fooling you into thinking a power ballad was in the works. The great thing about guitarist Jacob Hansen’s production (yes that Jacob Hansen, he joined up after working as their producer/engineer on their last album and is pulling double duty) is that he keeps the keyboards high in the mix above the groove based riffs, and they’re an integral part of the musical fabric here. I know its a small thing, but there’s something delightful about how keyboardist Jonah Weingarten delivers a slowed down shadowing melody underneath underneath Haroy’s soaring vocal melody during the chorus. It speaks to the intelligence of the songwriting and the care put into crafting the soundscape that’s both hard hitting yet also fragile, delicate even. Oh and kudos to the band for actually delivering a high concept music video that was artfully done, and the band even looked great in it (which almost never happens)!

 

 

 

 

8.   “Lvgvs” – Eluveitie (from the album Evocation II – Pantheon):

 

[youtube https://www.youtube.com/watch?v=jMKykGYsmFY&w=560&h=315]

 

 

I loved this song and many, many others off Eluveitie’s first post Anna Murphy and company album, so much so that Evocation II – Pantheon is in the nominee pool for the upcoming albums of the year list. In a year where folk metal experienced something of a quiet artistic renaissance, Eluveitie released an album full of acoustic, European folk inspired music that was imbued with the very spiritual essence of what we loved about rootsy folk metal. It blew away its 2009 predecessor, but more importantly, it gave Eluveitie a bit of breathing room to stand apart from the more modern rock direction its former bandmates took with Cellar Darling. Their secret weapon in pulling this off turned out to be new vocalist Fabienne Erni, her voice light and breezy, providing a new tone in the band’s soundscape. On “Lvgvs”, her vocals are full of genuine warmth, almost reminiscent of Candice Night (of Blackmore’s Night fame), and her performance is surrounded by a stunning array of rustic instrumentation. This is technically not an original song, apparently being a traditional folk tune, but I’m not going to let that prevent me from putting it deservedly on this list —- Eluveitie make it their own here. This was on my playlist for the Texas Renaissance Festival, and it was the song I played when I woke up to the first really chilly winds of November sweeping through. Like the stick of frankincense I was burning that morning, “Lvgvs” was autumn’s musical incense.

 

 

 

 

9.   “Journey To Forever” – Ayreon (from the album The Source):

 

[youtube https://www.youtube.com/watch?v=PWNAjX8IKD8&w=560&h=315]

 

 

If you tune into the upcoming MSRcast’s yearly recap episodes (we usually run a two-parter), you’re likely to hear loads about Ayreon’s The Source, the latest album from a band that is among my co-host Cary’s favorites. This album was really my first headlong plunge into Arjen Lucassen’s career defining project and while I certainly didn’t hate it, I didn’t share his extreme love for it for various reasons I outlined in my original review. One thing he and I will agree upon however is that “Journey to Forever” is one of the year’s best songs, bar none. Its got a pair of my all-time favorite vocalists in Blind Guardian’s Hansi Kursch and Edguy/Avantasia’s Tobias Sammet (joined by Michael Eriksen of Circus Maximus) —- and as impressive as that cast is, it wouldn’t be nearly as special if Lucassen hadn’t penned an incredible song. The chorus is spectacularly joyous, and it opens the song in acapella mode, followed by the beautiful plucking of a mandolin playing a variation on the chorus melody. After the guitars have kicked in, a gorgeous violin decides to swoon alongside everyone else, and at some point a hammond organ gets in on the fun too. Its the best three minutes on the album, in fact, its rather short length being the only serious criticism I can levy at it. If you heard the track and were reminded of his delightful work in The Gentle Storm project he did with Anneke van Giersbergen, you weren’t alone. More of this stuff please Arjen.

 

 

 

 

10.   “Queen Of Hearts Reborn” – Xandria (from the album Theater of Dimensions):

 

[youtube https://www.youtube.com/watch?v=D-NpB1JeMSI&w=560&h=315]

 

 

One of the year’s grave disappointments was seeing the way Xandria split with vocalist Dianne van Giersbergen, a break-up that went public when she detailed the circumstances on a social media post. It didn’t paint the band in the best light, and to add to the condemnation were two ex-Xandria vocalists in Manuela Kraller and Lisa Middelhauve weighing in with similar testimony as to how the band treated its frontwomen. I got to see the band live with van Giersbergen a few years back while opening for the Sonata Arctica / Delain North American tour, and she was spectacular, easily one of the best live vocalists I had ever seen. I walked away from that show more impressed with her performance than anything else that night, and instantly decided to give Xandria another shot and began delving into their discography. Their 2017 release Theater of Dimensions is one of the best traditional symphonic metal albums in years, a throwback to a sound pioneered by Nightwish on classics like Wishmaster and Century Child. Its not quite revolutionary stuff then, but I enjoyed the hell out of it earlier this year, and “Queen of Hearts Reborn” was its supreme highlight, a powerful, towering showcase of dramatics and theatricality. I’ll admit, I soured on listening to the band after reading about the way they treated their vocalists, and I’m looking forward to what van Giersbergen will do with her original band Ex Libris. I wish I could’ve written instead about how Xandria’s future was bright, how this was their defining album —- and while artistically it might be, I pity whomever else they convince to work with them going forward.

 

 

The Metal Pigeon’s Best of 2016 // Part Two: The Albums

Here we are, halfway into January and I’m just now delivering the final words on 2016, but that’s fitting for a year that was pockmarked by delays in updating the blog. I scaled back my reviewer work load last year because 2015’s sheer insane quantity of releases had me nearing burnout stages. It was a beneficial move as a music fan, and a handicap as a blogger, but the hope is that I balanced things out enough to keep an even keel on the writing front going forward. So though the pool of releases I listened to was far less (and less is relative, I’m talking about a scaling down from 120-ish in 2015 to 60-70 in 2016), I felt like I was able to spend longer amounts of time with the ones that captured my attention in one way or another. This list represents the ten best of that pool, selected for not only just how much I listened to them or for their excellence, but also how they affected me personally. As always, I keep these lists to a simple ten instead of twenty-five or fifty to force myself to make difficult cuts and really think about what I loved the most, not just what I happened to listen to. Thanks for reading throughout the year and being patient with me, I hope you’re back for all of 2017!

 

 

 

The Metal Pigeon Best Albums of 2016:

 

1.   Avantasia – Ghostlights:

Like Lebron James with the Cavs, and the entirety of the Chicago Cubs, Avantasia/Edguy founder Tobias Sammet found himself in 2016 rallying from a deficit. His was an artistic one, that being the 2013 Avantasia release The Mystery of Time, where for the second time in half a decade he was floundering on the songwriting front (Edguy’s 2008 album Tinnitus Sanctus being the first such misstep). That album lacked in several aspects, namely an uninspiring roster of guest vocalists either contributing to or exposing songwriting that seemed forced, and at its worst, half-baked. At the time I wondered whether or not he was spreading himself thin over his two bands, both massive enough that each required lengthy touring commitments that could possibly detract from quality rest and time at home to focus on songwriting at his usual caliber of excellence. I also wondered at just how similar the two projects were beginning to sound, with both The Mystery of Time and Edguy’s The Age of the Joker (2011) sharing similarities for their heavy reliance on orchestral arrangements. There was also the confusion of lyrical subject matter, with Edguy albums receiving equal numbers of Scorpions-esque songs with silly and humorous subject matter in addition to the more typical, serious work. He’d address that problem by compartmentalizing: He launched Edguy into a more leaner, hard rock path with 2014’s Space Police, with a largely tongue-in-cheek, loose, comic approach to the lyrics. Left unanswered was whether he’d further differentiate the two bands by leaning hard in the other direction with a future Avantasia album.

Lean hard he did, and it paid off better than anyone could’ve predicted, because Ghostlights is the greatest Avantasia album of them all (yes, including The Metal Opera Pt I/II). Sammett rolled the dice a bit here as well, picking guest vocalists that quite honestly had me shaking my head no when I first learned of them —- Geoff Tate, Dee Snider, Robert Mason (Warrant/Lynch Mob)… I just didn’t see it working. I had the same feeling when I first saw the guest vocalist listing for The Mystery of Time, a lack of excitement and anticipation that felt empty. This time however, Sammett’s songwriting was renewed, full of confidence and purpose, and in his masterful way he dug deep to deliver songs that brought out the absolute best in each of them. Geoff Tate sounds like his old self again on “Seduction of Decay”, an addictive, Queensryche-ean thriller built on a supremely epic chorus where his vocals carry the load admirably. On “The Haunting”, Snider embodies his character with real dramatic verve and melodic range, while Jorn Lande’s eternal voice brings darkening clouds and swirling winds on “Let the Storm Descend Upon You”. Largely absent are the hard rock tendencies that so confused previous Avantasia albums with Edguy ones, replaced with a darker toned orchestral arrangement throughout that further ingrains this album with its own unique identity.

Lande has one of the album’s three star turn moments on “Lucifer”, as magnificent a piece as Sammett has ever dreamed up, built on Broadway piano balladry that stutter steps into a rocketing, spiraling out-of-control blast of heavy metal theater. The other belongs to another unusual vocalist choice, Sinbreed’s Herbie Langhans, who delivers the album’s most accessible pop-gem in “Draconian Love”, singing in a lower register than we’re used to hearing him in, and it works perfectly in contrast to Sammett’s straight-ahead dual lead vocal as they deliver an absolute ear-worm of a chorus. Of course I’ve already gushed about Sammett’s duet with Bob Catley on “Restless Heart and Obsidian Skies” (alongside Ghostlights it marks the first time the same artist has topped both my songs and albums lists), but its worth reiterating here just how gorgeous and aching this song is. I should also commend Sharon Den Adel’s work on “Isle of Evermore” which might get unfairly compared to her earlier Avantasia contribution  (“Farewell” from The Metal Opera), but her vocal here is delicate and shattering, perfect for a ballad that is more about lamentation than triumph. Ah, there’s so much I could point out, but then this would be an album review (which I’ve already written) —- to sum it up, this was my most listened to album all year, and my most loved. Gritty comeback Tobias, one for the ages.

 

 

2.   Alcest – Kodama:

People have written a lot over the years about the beauty of Alcest’s music, and how its sonic deconstruction of black metal has liberated the genre forward into exciting new directions. Maybe too much was written, so that their distinctly French take on black metal was spread so far and wide to such an extent that copycats sprung up in every corner of the world. In the past few years, they’ve almost become an after thought in elitist metal circles whereas lesser bands who’ve been directly influenced by these pioneering Frenchmen have soaked up the limelight for themselves. There was a time when I myself tried to brush off Alcest, albeit in a willfully ignorant manner —- that is until I heard their 2012 masterpiece Les Voyages de l’Âme, and was unable to ignore them any further. It was a hypnotic album, full of music that demanded adjectives that metal writing doesn’t usually inspire… beautiful, elegant, breathy, meditative, dreamy… descriptors that could easily apply to the new Enya album (which was fantastic by the way). Fascinatingly enough, when Alcest attempted to distance themselves from metal entirely on 2014’s Shelter, they made the most listless, flat, and boring album of their career. They’ve since returned to embrace their black metal influences on Kodama, and it signals to us that Neige perhaps understands that he paints more skillfully when he has all the colors available to him, not just the bright and cheerful ones.

I’m going to have to police myself in not getting too flowery with my descriptions here, because its such an easy temptation with Alcest because that’s the headspace their music puts you in. The theme that encompasses this album is far more interesting to comment on anyway —- “Kodama” itself is a reference to creatures found in Princess Mononoke, a film whose central conflict between the natural and human worlds also tied into Neige’s growing fascination with Japan. Specifically he was intrigued by how such a technologically immersed society still holds onto and embraces nature, tradition, and spirituality. As a result Kodama shimmers with cultural influences, down to the flavor of the melodies themselves, imbued with Japanese folk patterns that work as musical leitmotifs throughout the album. I wrote in greater detail about this in my original review, so here I’ll just use one moment as an example of why I love this album so much. At the end of “Eclosion”, around the mid six minute mark, the song spirals into a closing instrumental sequence, but instead of opting for a grandiose finish Alcest isn’t afraid to employ a minimalist approach —- allowing the song to hush to an end as lonely notes flutter upwards. It took a few listens before I caught the realization that it was merely the same melody that had been played throughout the entire song simply stripped of distortion and aggression. Deconstruction as an art form, not just an art term.

 

 

3.  Trees of Eternity – Hour of the Nightingale:

There’s a sentiment in the minds of many as we slog on through December, that being done with 2016 would be a welcome relief. From poisoned politics to natural disasters to the passing of beloved celebrities, icons, and artists, it was a rough twelve months indeed. For us in the metal world, there’s likely no one that endured as much raw grief and pain as Swallow the Sun’s founding guitarist Juha Raivio. He had to endure the tragedy of the passing of his longtime partner, Aleah Liane Stanbridge, who sadly lost her battle with cancer in April. She’s not a name that’s well known even among the metal world at large, but anyone who paid attention to the last Amorphis album Under The Red Cloud or Swallow the Sun’s triple disc Songs From the North would’ve heard her beautiful voice on some of their songs. She was also an experienced professional photographer, shooting a various range of projects —- the most notable and recent being the covers of the aforementioned Swallow the Sun album. Trees of Eternity was a project she and Raivio dreamed up many years ago actually, releasing a demo in 2013 and actually recording their one and only full length album in 2014. There’s scant details to go on except what Raivio has chosen to state himself on his social media, but at one point the album was rejected by a prominent metal label (who knows why), and it was shelved indefinitely. Credit to Raivio for pulling together the emotional fortitude needed to finally release what would be called Hour of the Nightingale (and credit Svart Records for coming to the rescue) in November of 2016. Its simultaneously a tribute to Aleah’s memory, and a reminder of what we’ve all lost as a result.

Trees of Eternity aren’t that far removed from the mellower, more quietly introspective side of Swallow the Sun, albeit with Aleah’s shimmering, ethereal vocals cascading throughout. This is an album built on calming tempos, rises and swells, slow building crescendos, and an almost dreamy sonic palette. That’s not to say it can’t get heavy —- Raivio’s guitars at times hit with force and a satisfying crunch (see the single “Broken Mirror” for this), but generally a cut such as the lullabye-esque “Sinking Ships” is far more representative. When things do veer into heavier directions, its that distinct Swallow the Sun mold of doom metal washing over everything, and its Aleah’s vocals that contrast with its tone so perfectly, yet still complementing its mood and spirit. I was taken aback by how much I immediately fell under the spell of Nightingale, first listened to on a nighttime drive to the MSRcast studios to record an episode of the podcast. I immediately blubbered to my co-host Cary about how this might be something to talk about when it came time to put our year end lists together. I briefly wondered if it was the circumstances surrounding the album’s backstory that were influencing my opinion —- but the truth is that this has been on heavy rotation since then, usually played at night when its power is far more manifest. This is a bittersweet experience, a perfect melodic doom metal album that was released with heavy hearts, and one that leaves a lasting shadow over ours as we listen.

 

 

4.   Hatebreed – The Concrete Confessional:

It seems that every year that I’ve been doing this blog, and probably in the years preceding that, I’ve gotten into a band that I’d ignored or dismissed altogether before. In 2016, that band was surprisingly Hatebreed, a road I was led on when my MSRcast co-host Cary recommended that I check out vocalist Jamey Jasta’s podcast The Jasta Show. I was instantly hooked, and soon enough curious to give old Hatebreed another listen as they were one of those bands that I had long ago pegged as that other heavy music (hardcore/punk/whatever) that wasn’t meant for the likes of me. I listened to their Perseverance album on Spotify and was completely surprised that I was enjoying it, and that soon extended to their other albums too. It was music that was getting me back in tune with the idea of just enjoying heaviness as a tangible quality —- nothing complicated going on, just very heavy riffing and screaming vocals that was simple but extremely catchy (Jasta even refers to his music as “neanderthal metal”), with hooks arranged for maximum impact on your adrenal glands. It was like a palette cleanser in a way during a year filled with wildly diverse metal releases. By April, I was actually anticipating the release of a new Hatebreed album so much that I bought the digital download on release day.

What’s astounding about The Concrete Confessional is how it might actually be my favorite Hatebreed album of them all, and though I’m too new to the party to suggest it might be their best… I very well think it is. More than any other album, this was my soundtrack to 2016 —- a pissed off, vicious, scathing, and intelligent lyrical attack upon government, society, and modern culture set to ferocious thrash metal guitars . That attribute is the most surprising facet of the album, that it actually comes across as more post-1990 Slayer than Converge or old Rise Against. Take “A.D.” (a best songs listee!), where guitarists Frank Novinec and Wayne Lozinak unleash riffs at breakneck speed, even completing the aforementioned Slayer comparison with an evil Jeff Hanneman sounding bridge at the 1:33 mark. Or going the other direction, listen to the outpouring of melodicism present in “Something’s Off”, with guitars that owe more to Iron Maiden-esque sensibilities as the provide the musical refrain throughout. More than just the music though, it was Jasta’s always inspired way with words in conveying the rage that we all tend to feel and sometimes can’t properly express. I listened to this album constantly, it was a refuge and a comfort, the soundtrack to stressful days and restless nights.

 

 

5.   Haken – Affinity:

This was a surprise and a reprimand at once, a wooden spoon smacking of thy hand that I hadn’t listened to Haken sooner, even though they were already recommended to me by a few people (and they were right, the previous album The Mountain was excellent). As with Alcest above, Haken put a lot of thought into their albums, and Affinity is no exception, being a thematic album about man and machine and the idea of artificial intelligence. And just like Alcest, they filter this concept into the fabric of the music itself to better depict the theme —- in the case of Affinity by infusing their prog-rock with 80s electronic music influences that remind us of Rush, and early 80s Toto and Van Halen. What I love about prog-bands such as Haken is the admirable attention to detail in ambitious projects like these, from the Atari/Nintendo styled electronic bridge in the song “1985”, to the album artwork that references classic tech/computing advertising of the 80s (which cleverly employs the birds that graced the cover of The Mountain). Together all these aesthetic details accumulate into a larger, cohesive experience, one that allows the actual songs to have gravitas and intellectual weight behind them.

Speaking of, the songs here are magnificent, from sprawling epics like “The Architect” to pop gems such as “Earthrise” (a best songs listee!). The former features a guest spot by Einar Solberg of Leprous (who also had an awesome drop in moment on the recent Ihsahn album) and runs the gamut from fierce metal passages to futuristic sounding prog moments that remind of Porcupine Tree’s Fear of a Blank Planet. I’ve gushed about “Earthrise” enough already, but it really is an incredible song, with the kind of chorus that present day Anathema would be proud of. My other major favorite is “1985”, the keystone song of the album (being written first, it inspired the direction the band took for the project) that at times sounds more like Rush than Rush themselves, and has an amazing chorus that switches from a soaring, major key vocal melody to the fattest, heaviest bottom end bass and guitar riff that you never expected. I could point out other moments just like that, but to cover it in a nutshell, these songs just keep you guessing and surprised at every bend. That wild diversity is a trademark of Haken’s, a glimpse of their vivid creativity and imagination, and their willingness to bend both the rules of prog-rock and their listeners’ expectations.

 

 

6.   Myrath – Legacy:

One of the most positive leaning metal albums in a year full of anger and despondency, Myrath’s Legacy was a much needed refuge. The prog-power yang to Orphaned Land’s death metal yin in the small but growing niche of “oriental metal” from the Middle-East, Myrath made a huge artistic leap forward with Legacy. Five years separated it from its 2011 predecessor Tales Of The Sands, and the band honed their songwriting in that span of time —- toning down the prog-metal flourishes (which to be fair they never really overdid), leaning far more on pop accessibility, and strongly emphasizing their cultural folk musical elements. The latter comes in the form of Arabic melodies delivered via an actual string section, and they actually carry the musical load of a majority of these songs, the guitars often taking a backseat. This doesn’t make things less metallic, but guitarist Malek Ben Arbia simplifies his approach, approaching his guitar work in a manner that’s more Kamelot than Symphony X. On the best songs listee, “Believer”, this approach pays dividends in delivering the most cinematic and earwormy cut of their career, the strings and Arabic-phrased choral vocals working in tandem to deliver a knockout hook.

Speaking of vocals, Zaher Zorgati is one of the more expressive and unique singers in heavy music, rhythmic in his lyrical phrasing, able to bend the English language in appealing ways by virtue of his accent and sheer ingenuity —- and he drops moments that ache with authenticity when he sings in Arabic as in “Nobody’s Lives”. We’ve all heard those metal albums where bands attempt to add in some pan-Arabic sounds, be it through awful keyboard orchestrations that pull from schlocky Hollywood movie soundtracks or by simply playing a few bent notes or phrases. Myrath transcend all that with songwriting that is steeped in the cultural music they grew up with. They’re a Tunisian band (recently relocated to France) and Legacy is streaked with imprints of the Jasmine Revolution in its optimism and beautifully expressed yearning for freedom. Its was a surprise to read the lyrics and realize that most of these tracks were indeed love songs, the unnamed narrator expressing either his devotion or lamenting his loss thereof. Whether the subject of these love songs was left up to the listener only Myrath themselves know, but they could easily be about a woman, a country, or an ideal. In that sense, I think they succeed in making something really fresh, much like Orphaned Land’s All Is One, where Orientalist imagery is manipulated to discuss issues that matter to people —- and not just to those in the Middle-East, but all people.

 

 

7.   Thrawsunblat – Metachthonia:

Born from the smoky woods and rocky shores of New Brunswick, Thrawsunblat unleashed the finest folk-metal album of the year, a strange thing to say about a band from Canada but there you go. They’re likely to have sailed under more than a few radars, and I hope Metachthonia‘s presence on this list changes that in a small way, because they really are worth your time. Thrawsunblat can be considered a spiritual sibling to Woods of Ypres and its departed founder David Gold, who co-founded this band as a side project with ex-Woods guitarist Joel Violette. I’ll refer you to my original review if you’re interested in details about this project’s origin, but suffice to say Violette has turned the band into his main priority in the years since. He delivered a promising debut album in 2013 that merged a fresh, maritime folk influence with rootsy black metal, yielding some awesome songs in the process (“Maritime Shores” and “We, The Torchbearers” to name a pair). This sound is the blazing of a new trail in both North American black metal and folk metal, a merging of sounds from both sides of the Atlantic much in the same way that Panopticon has done so from Appalachia. His second album, Metachthonia, is a further refinement of this relatively new sound, one that pushes the black metal extremity forward and more seamlessly interweaves the still rich folk influences.

I believe I originally referred to Moonsorrow and Borknagar as touchstones in Metachthonia‘s particular black metal strain, and I still stand by those comparisons. They both have that roots in the earth warmth to their sounds (moreso in Borknagar’s later albums Urd and Winter Thrice), despite their capacity for raw fury, and I hear that coming through in Violette’s songs. He has an uncanny way to marry minor key built melodies with his often atonal vocal lines to astonishingly tuneful and melodic results, such as in “She Who Names The Stars” where the album’s most blistering passages lurk. You get another taste of that in “Dead of Winter”, where Violette wields dissonance like a malleable piece of clay and fashion out the most hooky tremolo riffs this side of Ulver. As a vocalist, he instantly reminds me of Gold himself in both clean and grim vocals, and I wonder if he’s not channeling that (either consciously or somehow subconsciously). I can’t deny that I started investigating Thrawsunblat because of the Gold connection directly, but with Metachthonia Violette has found a voice all his own.

 

 

8.   Insomnium – Winter’s Gate:

As I mentioned in my intro, I haven’t read many best of lists as of yet, a lesson I learned a few years back when first publishing my own lists to not allow others to influence me. Most of those come out in early to mid December we all knew my list wasn’t getting up that soon! But I will be going around scoping out what everyone else picked out on various metal and non-metal publications and blogs, and I’ll be surprised and a little suspicious of any list that doesn’t feature Insomnium’s bold and daring Winter’s Gate. I describe it as such because its such an abrupt departure from their self-made Finnish take on melo-death —- polished, pristinely recorded, full of melancholic melody set to a tempo that hovered around mid-tempo and contemplative. For this narrative concept album, the Insomnium guys got meaner, darker, faster, heavier, and at times, downright brutal. They managed this by injecting their sound with ample doses of black metal tremolo riffing and blastbeat percussion, while vocalist Niilo Sevänen pushed his vocals to a level that can only be described as ferocious, his guttural screaming racing towards you with the intention of a hungry wolf in pursuit of his prey.

This was an album of risks, not only for the aforementioned sonic changes, but for the fearlessness in crafting one forty minute song and releasing it as a singular track (for the physical album, the digital release was broken into seven “parts”, presumably for the purposes of streaming/iTunes sales). If you were one of those physical album buyers like myself, you simply had to submit yourself to a complete album listening experience without the luxury of skipping tracks whenever your twitchy, media-overloaded brain got an impulse to. You were rewarded with one of those rare albums where a flowery description such as “musical journey” was actually applicable, and while this was enhanced by following along with the lyrics and the Sevänen crafted short story it was set to, the high drama of the music was enough to keep our attention on its own. I’ve yet to talk to someone who was “meh” about Winter’s Gate (if you were, by all means post in the comments below!), because I just don’t think anyone expected this out of them. I think most people were lukewarm about 2014’s Shadows From A Dying Sun, and it seems the band also felt that they were slipping into complacency. Its not my favorite Insomnium album (that honor still goes to One For Sorrow), but I wouldn’t fault anyone for saying its theirs.

 

 

9.   Theocracy – Ghost Ship:

Only a little over a month separates this from my original published review of Theocracy’s long-awaited Ghost Ship, but unlike in 2014 where the album of the year winner Triosphere’s The Heart of the Matter was released in December (and was the most unexpected dark horse in Metal Pigeon history), I’d actually been listening consistently to the new Theocracy since late October when it was released. The delay in publishing my review ended up delivering a more accurate take on the album, because it was definitely a grower. At first it wasn’t registering in the same instantaneous manner that their previous two albums were, but as I sussed out in that review, this was largely due to Matt Smith and company injecting these songs with progressive metal elements and stepping away from the pure Euro-power metal track they’d previously been running on. This is an album that deserves the benefit of extra listens and a touch of patience, because there is such a wealth of musical ear candy to rot your ears with here (I mean that in the best way) if you just allow these songs the time to sink into you.

The uptempo, seemingly joyous sounding “Castaway” was listed as one of the year’s best songs, but it was only one highlight among many, such as “Currency In A Bankrupt World”, where the vocals channel Sebastian Bach/Skid Row circa 1992’s Slave to the Grind, while the guitar patterns during the verses expertly channel vintage Queensryche. Smith’s an exceptional vocalist, his highs capable of registers that stop just short of helium heights, still retaining power and downright grit and grime. He has the vibrato of late 90s Tobias Sammett and actually might be a better technical vocalist overall in comparison thanks to his American born ease with pronunciation and phrasing. The band he’s built around his songs excels not only technically, but in achieving that difficult middle ground between surgical technical precision and rock n’ roll swagger, their performances exuberant and barely restrained. Its such a wonder that Theocracy are an American band, despite their European musical foundation, and they’re continuing to succeed while many European bands have lost their way. And also that I, as a secular/non-religious person am able to find myself connecting with music and even lyrics that are written by a devout Christian, for the purposes of expressing and exploring his faith. Metal succeeds where religion cannot.

 

 

10.   Death Angel – The Evil Divide:

I was absolutely convinced that I had written a review for this album shortly after its early summer release, but a trawl backwards through the archives proves me wrong. Strange that… but I guess I thought I did based on just how much I’ve listened to this album over the second half of 2016, returning to it again and again. I’ve only paid attention to a few fellow bloggers 2016 lists (I like to avoid the possibility of influencing my own), but I did watch BangerTV’s Lock Horns Best of 2016 show, and before they aired that they released a Best Thrash Albums of 2016 episode —- asking aloud the question, “(The)Year of Thrash?”. Perhaps they’re right because as that episode suggests, it was a banner year for thrash metal across the spectrum of the subgenre, from the big four to old vanguards such as Testament and newer bands ala Vektor. I’ve never been the biggest Death Angel fan, lamenting the thin vocals of their early records while loving the musicianship and yet finding that their post-reunion albums weren’t catching my attention either despite vocalist Mark Osegueda’s much deepened range. So I was caught entirely off guard by how much I loved The Evil Divide, an album that is a watershed for the band creatively —- full of risks and rewarding payoffs, as well as a truly convincing display of aggression that matched Hatebreed in terms of viciousness for 2016 releases.

Album opener “The Moth” is one of the most adrenaline-pumping, kick down the door songs you’ll ever hear, with that perfect mix of speed and thrashy rhythmic syncopation throughout. The muscular build up to the refrain built on tribal drum beats is somehow one-upped by the fierceness of the chorus, with blazing fast riffs that accelerate nearly out of control as crisp, precision hit gang vocals land, “We die together!”. But the real gem on the album is “Lost”, perhaps Death Angel’s finest moment ever, mid-tempo(!) in its groove and built upon an ascending melodic bridge/chorus that sees Osegueda carrying a song with his vocals alone. He’s a convincing mid-tempo vocalist, full of grit and yet able to somehow smooth that into an actual minor key melody that you could really call a hook. Its almost Hetfield-ian in its pacing and delivery, and that’s surprising not only for its unexpectedness but also for just how carefully it was written. That’s something that defines the entirety of this album, a sense of confidence and purpose in its craftsmanship. We get that feeling because the heaviness doesn’t feel cheap or gimmicky, it feels like a long carried weight, finally unburdened.

 

The Metal Pigeon’s Best of 2016 // Part One: The Songs

Time yet again for the culmination of a year’s worth of metal listening, writing, and audibly opining (on the MSRcast) into the annual year end best of lists! Sometime ago I quietly added a link to the main page of the blog up above called “Recurring Features” that handily compiles all the other previous year end lists together in one place, so be sure to check those out if you haven’t yet. For the past few years, I’ve been splitting up the songs and albums lists, and so in continuing that tradition, I’m eager to present part one of The Metal Pigeon’s Best of 2016 — the songs! These ten songs were culled from a nominees pool of 23 songs this year, and they’re in part isolated gems off flawed albums as well as highlights from the very best albums of the year. I had fun with this list, while agonizing over the albums list (isn’t that always the way?), hope everyone has fun going through it as well!

 

 

 

The Metal Pigeon Best Songs of 2016:

 

 

1.   Avantasia – “A Restless Heart and Obsidian Skies” (from the album Ghostlights)

 

[youtube https://www.youtube.com/watch?v=raWjIepoxlU&w=560&h=315]

 

The year’s most surprising artistic comeback success story, Avantasia’s Ghostlights was littered with superb, often stunning songs that were not only expertly written and constructed as only Tobias Sammett could manage, but fun to listen to as well. And at specific moments, they were downright transcendent —- the case in point, the Bob Catley led heart string tugging “A Restless Heart and Obsidian Skies”, a power ballad that might well be a spiritual sibling to the fan favorite “The Story Ain’t Over” (from the Lost In Space Pt 1 EP). Sammett has a magical rapport with Catley, or more accurately, as a songwriter writing for Catley —- channeling Magnum’s sense of dramatic pomp with his own inherent Jim Steinman-esque way with theatricality. Catley is an apt narrator, his raspy yet melodic vocals able to imbue any lyric with a rock n’ roll inspired joie de vivre and yet an appropriate amount of gravitas. Meanwhile Sammett’s ability to let it soar vocally is still unparalleled in power metal. Sure, he doesn’t have the unlimited range that he did during the late 90s/early 00s, but he understands how to pen lyrics and vocal patterns that provide trajectory and lift on a Steve Perry esque level.

This is an absolute gem of a song, with a chorus so rich and beautiful, so aching with indefinable magic that the first time I heard it whilst driving around, I had to pull over in a nearby parking lot just to get my mind right. I’m not being dramatic either, I can vividly recall that memory and the overwhelming rush of what I can only describe as joyous childhood nostalgia that I felt upon listening to it again, and again, and again. It helped that it was near sunset and with a partially overcast sky overhead, and such a backdrop and musically stirred emotional state mirrored the actual lyrics/title of the song. Sammett’s lyrics are stately and romantic in nature, full of atmospheric imagery and a sense of the narrator’s yearning: “Dark is the night, scarlet the moon / Sacred the light in the haze reflecting within…Be still my restless heart / Obsidian’s the sky / Inward you look as you halt / Be still restless heart —- I’m on my way”. I’ll be the first to admit that its not a perfect song, its verses not quite matching the glory of the refrain resulting in a somewhat see-saw song, but that chorus is so unbelievably perfect, I’m willing to forgive what would ordinarily be a major flaw for lesser songwriters. Here, the verses set the mood, almost tempering our expectations, all before that arcing, soaring, perfect chorus rockets us to sheer happiness.

 

2.   Ihsahn – “Mass Darkness” (from the album Arktis.)

 

[youtube https://www.youtube.com/watch?v=0VxbJb_Gs8w&w=560&h=315]

 

Yet another in a long line of 2016 surprises, Ihsahn returned with his sixth and perhaps most accessible solo album since The Adversary with Arktis., an album that owed perhaps more to classic metal song craft  (read: riffs n’ hooks) than it did to his post-black metal avant garde experimentation. I enjoyed the album a great deal, some tracks more than others ( the saxophone solo wasn’t so bad this time around!), but I was totally blown away by “Mass Darkness”, an uptempo, three minute long adrenaline rush of arena ready black metal that is miles away from the usual dense and complex songwriting Ihsahn usually engages in. Its the best chorus of his career, featuring a genuine hook built upon guest vocalist Matt Heafy’s (Trivium and noted black metal fanboy) repeated refrain “Give in!… Give in to darkness!”, with lyrics that are some of the most convincingly parent-worrying in ages. What’s really special here is that for all its accessibility, “Mass Darkness” still very much retains Ihsahn’s DNA, heard in unusual guitar effects, counter-intuitive musical patterns, a solo that owes more to Wagner than Tipton, and a sense of dark theatricality  that permeates the entire song. Give in indeed.

 

3.    Haken – “Earthrise” (from the album Affinity)

 

[youtube https://www.youtube.com/watch?v=MnZdtpDd9-A&w=560&h=315]

 

I was properly introduced to London-based prog-metallers Haken this year through Affinity, having been aware of the band’s name in passing for awhile now. Having no idea or expectations of what to expect, I played through the album and came away more than impressed with the entire affair, especially its prog-metal exploration of 80s influences such as Rush, Toto, and Van Halen. There was one song I kept coming back around to in return trips to the album, and I’d always have to play it first, last, and a few extra times in the middle, and that was the cinematic “Earthrise”. Best described as 90s alternative rock in a prog blender (well, perhaps not the best description…), this is the hookiest track on the album and one of the most uplifting songs I heard in all of 2016. Not quite a power ballad and not quite rockin’ in its tempo, it played somewhere in the middle, built on bouncy rhythms and interlocking synth parts with some excellent, sprightly percussion dancing all throughout. Vocalist Ross Jennings takes a little getting used to (some people don’t enjoy his vocals when he’s not letting it rip from his throat), and you’ll either likely know right away what your tolerance level is for unusual vocalists when you hear him. I enjoyed his earnestness in this song, and wasn’t surprised to see through iTunes statistics that this was my second most played song of 2016.

 

 

4.   Myrath – “Believer” (from the album Legacy)

 

[youtube https://www.youtube.com/watch?v=uM1d7C8aOWk&w=560&h=315]

 

I think we’ve all been bombarded with enough talk about how 2016 was a seemingly downcast and darkened year for society, be it through everyone’s endless lamenting over celebrity deaths, the very understandable grief over terrible tragedies all around the world, and of course, *cough* presidential elections. I’ve been guilty of wallowing in it as well, and though I’ve tried to distance myself a bit from all that stuff, the truth is that 2016 was a bit of a crap year for me personally as well. So in looking back, I’m amused to find that I somewhat subconsciously began favoring very positive or happy or downright euphoric music over dark and grim stuff. Enter Myrath, whose Legacy album was one of the early 2016 releases and whose lead off single “Believer” never really left my rotation for any extended period of time. Euphoric is really the best adjective for this song, a celebratory rush of positivity, which only sounds corny if you’ve never really been in need of it. Its also a perfect microcosm of Myrath’s impressively Middle-Eastern infused take on metal, with sweeping violins playing ethnically informed arrangements in between the band’s epic, ambitious progressive metal. Vocalist Zaher Zorgati has a perfect voice for the band,  accented clean vocals to welcome newcomers (his pronunciation of “bandwagon” is certainly interesting), but powerful enough to give his lyrics about “what doesn’t kill you makes you stronger” and throwing away yesterday a real sense of belief and passion. The music video (linked above) was kickstarter-ed, and while the song is better off without it, we can’t begrudge them some Prince of Persia fanboying, as tempting as it may be to say something…

 

 

5.   Hatebreed – “A.D.” (from the album The Concrete Confessional)

 

[youtube https://www.youtube.com/watch?v=qCgozwhkV-g&w=560&h=315]

 

Hitting with the force of a gut punch, or perhaps that black and white footage of the cannon ball slamming into the fat guy’s stomach, Hatebreed’s “A.D.” was my go-to during a year when I was frequently in the mood for something raging and snarlingly angry. More than any other band, this was the sound of rage incarnate, and its one of the catchiest and heaviest songs of 2016, at times owing more to thrash metal ala post-1990 Slayer than anything hardcore related. Its lyrics are startlingly open ended despite their specificity, “It’s time to rethink this dream you call American / Corrupt beliefs that some will call their heritage”, a sentiment that could apply to fans around the world in addition to those of us here in the States. Vocalist Jamey Jasta has a precision oriented way with rhythmic syncopation in his lyrics and vocal patterns, just check out the 2:04 mark onwards when he sings “Now hear the media fools discuss the killer’s mind / Staring at the screen to tell us what they find / Manifesto, dollar worship, get on your knees / So they can sell us a cure for the American disease”. That syncopation alone adds that extra teeth gritting power to already sharpened, well written lyrics. The crazy thing about The Concrete Confessional is that it had two other cuts that were in the nominee pool for best songs of the year, a fact that surprised me as much as it likely has you.

 

 

6.   Serenity – “The Perfect Woman” (from the album Codex Atlanticus)

 

[youtube https://www.youtube.com/watch?v=RleBiMcx144&w=560&h=315]

 

Serenity’s first post-Thomas Buchberger album was certainly far from flawless, but it wasn’t the complete disaster that it could have been say for other bands when a key songwriter leaves the lineup. Crucial in this was vocalist Georg Neuhauser’s longtime role as co-songwriter and the primary writer of the vocal lines throughout the Serenity catalog. He shrewdly realized that without Buchberger writing songs built around his Kamelot-ian riffs, songs for Codex Atlanticus would have to be written largely around his vocal melodies first and foremost. But he’s a gifted vocalist, and has an inborn knack for understanding where a melody should go and how it should direct the arrangement of the song, from guitar parts to orchestral arrangements (the Tony Kakko gene in other words). Nowhere was this more evident than on the spectacular Broadway balladry of “The Perfect Woman”, a song ostensibly about Leonardo DaVinci painting The Mona Lisa. I mention Broadway, and yes, this song owes a lot to songwriting for musical theater, taking into account everything from the speed up vocal gymnastics during “I got a sensation that my creation in a quite disturbing way / Has come to life”, while jubilant horns punctuate behind him with musical exclamation marks —- down to the decision to throw in female vocals on the second verse (courtesy of the always on point Amanda Somerville) that serve as a sort of audience chorus in a perspective shift away from Georg’s first person take on Da Vinci’s own thoughts. Its a strange moment but weirdly amusing in its own way, and one I’m glad to have.

 

 

7.   Purson – “Electric Landlady” (from the album Desire’s Magic Theatre)

 

[youtube https://www.youtube.com/watch?v=boscR_9EE5Q&w=560&h=315]

 

Winner of the most clever music/lyric video of 2016 award, metal or otherwise (and let’s be real, calling Purson metal is stretching genre definitions… but they’re here by association), “Electric Landlady” was also the band’s quintessential calling card off Desire’s Magic Theatre, their incense smoke love letter to 60s psychedelic rock. Its a bouncy number, built on nimble guitar lines with a slight crunch (but not too much!) and all the Hammond dressing that psych-rock of this ilk requires wrapped in studio production that is decidedly analog sounding (if there’s anything digital here, its cleverly disguised). I was fortunate enough to see Purson live earlier in late April of 2016 here in Houston towards the beginning of their US tour, which I believe was a mix of supporting shows and solo headliners. We got one of the latter, and it was at a local haunt named Rudyards, upstairs in the venue’s small live music room where no more than 70 people could probably fit comfortably. It was a fun night, and Purson were extremely entertaining and convincing as a live band —- little did I know that it’d be there last trip to Houston. Purson only just recently announced their breakup for “personal reasons”, and that’s a shame because they had the potential to blow up in a big way. We’ll always have this song and its gorgeous, tribute to 1960’s groovy, swingin’ London visual companion.

 

 

8.   Suidakra – “The Serpent Within” (from the album Realms of Odoric)

 

[youtube https://www.youtube.com/watch?v=cPpYCTvnyvU&w=560&h=315]

 

I have such affection for Suidakra since becoming a die hard fan of theirs back in 2013 through their awesome (and Metal Pigeon Best Albums list winner) Eternal Defiance. Since then, I’ve poured through their immense back catalog, gained a basket full of favorite songs across the spectrum of their discography and have declared them to be one of the new leading lights in modern melodic death metal (even though they’ve been doing this for nearly two decades now). Simply put, no one else sounds like them, with their blending of folk elements and melo-death, as well as their arms wide open embrace of power metal sensibilities in the way of hooks and clean vocals. I love bands who can honor traditions yet still imprint their own identity upon things. So it was a slight let down when I finally published my review of the highly anticipated Realms of Odoric, that I knew it wouldn’t find its way to the best albums list for 2016. That being said, I haven’t been able to quit “The Serpent Within” —- like at all… its one of my most listened to songs of all 2016 releases according to iTunes and its that mesmerizing chorus that’s pulling me back in every time. Arkadius Antonik’s lyrics here hit a poetic nerve, as I love the line during the chorus “This life is but a spiral path / The serpent lurks inside”. The entire song is a lyrical gem constructed with fantasy motifs, yet able to work as a real world meditation on the value of solitude and inward peace as a bulwark against modernity.

 

 

9.   Katatonia – “Old Heart Falls” (from the album The Fall of Hearts)

 

[youtube https://www.youtube.com/watch?v=IIGBNc2nFZA&w=560&h=315]

 

I’m not sure if I ever managed to resolve my feelings about Katatonia’s The Fall of Hearts, and that’s kinda par for the course with my relationship with their more recent albums. They’re all pretty good, certainly have their moments but as whole, cohesive works they somehow fail to impress me across the board. Ditto for this new album which I really gave the benefit of a couple weeks of regular listening, often times for the simple pleasure of hearing “Old Heart Falls”, perhaps one of the most beautiful and rich slices of doomy, depressive rock you’ll ever hear. Its seemingly difficult for bands to write songs with perfect buildups, but Katatonia manage that here: vocals accompanied only by wounded guitar notes floating into the ether over a bed of 70s prog keyboards usher us in, then the rhythm section slips in behind a descending chord figure that continues through ascension. The bridge comes after a soft pause, audible bass setting the mood with simple patterns, and then distortion comes, slowly growing louder and Jonas Renkse’s sublime vocal melody careens forward, set to thoughtful lyrics, “For every dream that is left behind me… / …With every war that will rage inside me…”. Its hypnotic and alluring despite its bleak-hearted subject matter and downcast perspective. Try as they might, American bands rarely get music like this right… its just something that comes natural to Scandinavians, and that’s okay. Bonus points for the stylish, austere, and inventive lyric video.

 

 

10.   Borknagar – “Winter Thrice” (from the album Winter Thrice)

 

[youtube https://www.youtube.com/watch?v=NDrrKv2wjvk&w=560&h=315]

 

When this album first came out I figured it would be in regular rotation throughout the year, being a relatively strong and intriguing listen throughout. But the truth is that it sort of fell off for me after the first few months for reasons I’m still uncertain about. That didn’t happen with 2012’s Urd, an album that I contend could vie with Empiricism for their best ever. That album gave us the Best Songs list makin’ “The Earthling”, which is my favorite Borknagar song of all tid(!), and fortunately Winter Thrice throws its own contender for that spot in the mix with its star studded title track. I use the term “star” loosely of course, but in black metal terms, a single song with vocal parts by Lars Nedland, ICS Vortex, Kristoffer Rygg (aka Garm), and of course Andreas Hedlund (aka Vintersorg) can aptly be described as studded by something or another. Its a tremendous series of performances, each vocal filled with enough personality to be discernible from one another and nuanced in their own manner. The song itself is epic, with angular riffs and brutal screaming vocals stacked against each other in frigid formation, unfazed by the warm fires of the lead guitars and soaring clean vox lines. It also received a gorgeous music video treatment with Garm playing the role of the jarl in Whiterun…er, somewhere in Norway!

 

The Metal Pigeon’s Best of 2015 // Part One: The Songs

Finally! The beginning of the end to the most exhausting year of new metal releases I can ever remember. This is the first of the two-part year end Best of list I compile, a little delayed this time (in keeping with the 2015 theme), and this might actually be the more difficult of the two in selecting and narrowing down. My year end songs of the year list is always problematic because ultimately there is some crossover with the forthcoming best albums list, since some of these songs were key to making those albums the best of the year. But the songs list has to also represent those isolated gems that were discovered on otherwise flawed or not so great albums, and keeping the balance between the two is always tricky. In sticking with tradition and forcing myself to be very selective and honest, these lists are limited to ten, but they were narrowed down from a shortlisted pool of about 20-25 entries. Anyway, you know the drill by now, so to quote Kramer: “Giddy up!”

 

 

 

 

The Metal Pigeon’s Best Songs of 2015:

 

 

1.  Steven Wilson – “Happy Returns” (from the album Hand. Cannot. Erase.)

 

[youtube https://www.youtube.com/watch?v=U_Cgyvj7Pf4&w=560&h=315]

 

I had suspected for awhile that this emotional gut-punch from Steven Wilson’s 2015 masterpiece Hand. Cannot. Erase. would wind up atop this list, despite competition from some strong contenders below. Its up here because its aching, emotive, transcendent, bleak, beautiful, sorrowful, melancholic, dreamy, nostalgic, and a whole list of adjectives more. Its also the emotional apex of the album, both in its musical approach and in its lyrical perspective/situation within the content of the album’s storyline (and if you’re unaware of what that is, I’ll refer you to my original write-up on the album). Whats clever is that it comes disguised as a pop-song, complete with a little McCartney styled ““doo-doo-doo-do” and some relatively simple acoustic guitar strummed chords. It serves as a hook in lieu of an actual chorus, because our narrator is in no state to say anything that she’d have to repeat —- the words she delivers are spare, direct, and heart-shattering in their immediacy: “Hey brother, happy returns / It’s been a while now / I bet you thought that I was dead”. The framing device is that Wilson’s isolated, living-alone-in-the-city female narrator (simply referred to as H.) is perhaps finally reaching out to a long sundered member of her family via writing a letter. Maybe she’s replying to a received Christmas card, hence the invocation of the phrase “happy returns” (more common in British English than American as a response to “Merry Christmas” or “Happy New Year”), or maybe she’s initiating contact herself —- we’re never told and its left to the imagination.

Whats not left to us to decipher is her emotional state —- teetering on the edge of hopelessness she tells her brother, “I feel I’m falling once again / But now there’s no one left to catch me”. One of the most devastating verses you’ll ever hear sits precisely in the heart of the song, from the 1:32-1:58 mark, its lyrics filled with the kind of sorrow borne from regret and despair: “Hey brother, I’d love to tell you / I’ve been busy / But that would be a lie / Cause the truth is / The years just pass like trains / I wave but they don’t slow down, don’t slow down”. I can’t tell you how many times I’ve listened to this song throughout the year, but every time I’m completely emotionally engaged, and I’ll tell you… that imagery of the passing train just hits me like I’m standing on the tracks myself. This is not an easy song to listen to. You can’t let it play when your iPod is on shuffle because you’re simply not ready for its gravity, it will sink you and only cause you to play it again and again because your mood will have shifted and the Dream Evil song that was supposed to come next would sound like static in your current state of mind. Its a song that’s haunted, and like any ghost worth its name it begins to haunt you.

There was another song from the same album that I shortlisted as one of the Best Songs of 2015, that being “Perfect Life”, the other sibling related song, being about the narrator’s one-time foster sister before the divorce of her parents. It would’ve been the most bizarre entry to one of my year end lists to date, a Saint Etienne styled bass n’ drum construct with female narration and Wilson’s repeating coda arranged as more of a trip-hop affair than anything resembling rock or metal. Similarly “Happy Returns” is quite far removed from those two genres, but its inclusion on this list I believe is warranted not only because of the simple fact that I reviewed the album, but because Wilson’s connections to metal are long and deep. Set aside his production work with Opeth and Orphaned Land, or even his role in helping once doom-metallers Anathema evolve into their current progressive rock state. The man’s approach to music in terms of songwriting, musicianship, arrangement, and thematic vision shares so much in common with the values of many metal artists. Speaking of Anathema, longtime readers will remember their inclusion on this list not once, but twice in the past few years. As was the case with my Anathema inclusions, I simply couldn’t be dishonest with myself (and you by extension) and exclude a song from this kind of list simply because it didn’t sound remotely metallic. If its inclusion here prompts someone to further investigate more of Steven Wilson’s music, then I’m further justified in my decision.

 

 

2. Blind Guardian – “Distant Memories” (from the album Beyond the Red Mirror)

 

[youtube https://www.youtube.com/watch?v=PePLapdXpzQ&w=560&h=315]

 

I was puzzled by Blind Guardian’s decision to release an abridged “standard” version of their newest album Beyond the Red Mirror, because the limited/earbook/vinyl editions of the album came with two additional tracks in “Doom” and “Distant Memories”. They were technically bonus tracks in that regard, except that this was a concept album, and they actually fit into the storyline devised by Hansi, to such an extent that when placed back into the overall skeleton of the album “Distant Memories” ended up at track number six, altering the entire standard edition sequencing (see the differences for yourself). I get that you need something to entice fans to splurge on the special editions of a new album, but usually that comes in the form of b-sides or a cover song or two. It shouldn’t come at the expense of the album’s most brilliant moment, and its unfortunate that there might be fans out there enjoying the “standard” edition of the new Blind Guardian album without realizing that they are missing out. And man would they be missing out, because “Distant Memories” is not just the best song on the album, its one of the most beautiful songs the band has ever written, a kinetically charged quasi-power ballad that seems out of time and place.

It starts out fairly casually, with Andre’s playful guitar figures dancing over some subtle woodwinds, but then the band crashes in and Hansi takes over the director’s chair with a vocal melody so impatient to display its own brilliance that we’re treated to the chorus at the :44 second mark. Said chorus is only one of the highlights in this glorious epic, but its one you will return to forever, even if you don’t really understand what its lyrics are going on about in terms of the album’s concept. They’re mysterious even when taken out of context: “But still they don’t know / They’re just caught in distant memories / Then these fools will fade away / They may not fear the fall”, yet despite their opaqueness I still find them captivating and entrancing because its the manner in which they’re sung that gives them their power. On the back of Frederik’s thundering drums, Andre and Marcus’ rhythmic guitar phrasing, majestic swells of a distant orchestra, and the sweet rivers of choral background vocals, Hansi delivers his deceptively simple lead vocal with sublime extensions of line-ending syllables. Every part is integral, the combination of everything building up to a sound that I don’t even think there’s adequate language to describe —- you listen to it and tell me, that’s not a happy sounding chorus right? Yet its not sad or angry either, its simultaneously all of those things at once and none of them at the same time. When I consider those lyrics, I think that our narrator is expressing some type of disappointment, perhaps even resignation, but the music they’re sung over says otherwise.

That ability to create music that defies written interpretation is what makes Blind Guardian not just one of the greatest metal bands of all time, but one of the greatest bands of all time —- all genres. Period. Stop. Okay, on the back of such effusive praise, why isn’t this listed at the number one spot on this list? Well I have a small gripe about the production, and the sequence that best exemplifies what I’m thinking of cues in at the 3:07-3:41 mark. We’re treated to a heart-stopping, adrenaline-racing increase in tempo and intensity in Hansi’s vocal delivery, “Whatever the cost / It will not be redeemed…”, and we can hear the orchestra swell in reaction, about to slam us against the wall with some Hollywood inspired/James Horner/Howard Shore/Michael Kamen styled sturm und drang. And it happens, sort of… you can hear it happening but thanks to an unforgivable oversight in the mix at this exact moment, you don’t feel the jolt and thrust of the booming timpani, the anger of the brass section, the near panicked notes of the woodwinds and strings in an attempt to keep everyone together. They all just get compressed and pushed below, buried under guitars and layers of vocals at a time when they should be threatening to over take the whole she-bang altogether. For quite a few people, this was a recurring complaint about the album as a whole, and one I hope will urge the band to revisit it a few years down the line in the form of a remix as they have with most of their catalog.

 

 

3.  Angra – “Silent Call” (from the album Secret Garden)

 

[youtube https://www.youtube.com/watch?v=7SBG1dRY6Cc&w=560&h=315]

 

There’s a reflective, almost meditative quality to this spare ballad found at the end of Angra’s Secret Garden, built on the interplay of Rafael Bittencourt’s impassioned lead vocal melody and the backing vocals that snake around him in lush layers. Its in one of those layers where we presumably hear new Angra vocalist Fabio Leone, who has been seen providing backup vocal support on this song at live shows and spots on television shows where they’ve taken a fancy to airing out the tune. They’d be silly not to, this could and should easily be a smash hit back home in Brazil —- its an easy song to love (just take a look at how many cover versions have already sprouted up on YouTube in the span of a year). In my original review of Secret Garden I noted how odd it was that much of the album didn’t feature Leone on lead vocals alone, often casting him as a partner with a guest like Simone Simons or Bittencourt himself (the latter enjoying his own duet with Doro Pesch on the excellent “Crushing Room”). Its not the expected way in which you’d want to indoctrinate your new vocalist or introduce him to your fans, but then it seems that years of various band-related problems of all sorts have pushed Bittencourt to a place where he’s discarding all expectations, structures, and rules. He gets away with it for the most part on the album largely on the strength of his own lead vocal performances —- I’m honestly asking, why can’t Bittencourt just handle the lead vocals himself? I love his voice.

What makes “Silent Call” such a poignant, emotive, and wistful song is found within its lyrics, with a narrator attempting to describe the feeling he has when staring at transcendent scenes of natural beauty. We’re placed alongside him with the line “I find myself lost in the Swedish night / Sunset it’s crying in the sky”, and in case you’re wondering, yes the album was recorded at at Fascination Street Studios in Orebro, Sweden (Jens Bogren country!). I’m particularly fond of the phrasing of “New day, sunrise / Sound the trumpets of the dawn” and Bittencourt’s vocal melody during its delivery, almost see-saw like in its ascending and descending crescendos. His ultra impassioned inflections during the final verse are all exposed nerve endings, raw in their intensity: “Spread my wings and fly / Only guided by faith / Through the darkness or light / May have the “whys?” / It’s always the same” —- its the kind of performance that suggests an expression of frustration. I like the idea of a song written about being unable to effectively communicate a kind of spiritual feeling received from witnessing something that can’t adequately be described by language. All our narrator can do is merely mention whats running through his mind during the experience, such as “…an old bag full of recent memories / Many laughs and many cries”, but that’s enough, the melodies at work here are all we need as listeners to be transported to that specific time and place.

 

 

4.  Witchbound – “Sands of Time” (from the album Tarot’s Legacy)

 

[youtube https://www.youtube.com/watch?v=0G3M5rRPZ-k&w=560&h=315]

 

Witchbound caught my attention in 2015 due to the curious circumstances of their formation —- they’re essentially a band formed in tribute to the recently deceased Stormwitch founder Lee Tarot. Former original Stormwitch members Ronny Gleisberg and Stefan Kauffman joined together with a handful of other ex-Stormwitch guys (from different eras of the band) and a fantastic unknown vocalist in Thorsten Lichtner to finish the final songs that Tarot had left behind unrecorded. In my original review, I wrote of the project’s inception:

Things like this have been done before for other deceased musicians, and they’re always well meaning, while almost always garnering some kind of press and media attention. In this case, there’s very little of that —- a fact that makes Witchbound’s efforts all the more poignant. Unless you’re a metal historian, chances are that Stormwitch isn’t a name that’s familiar to you: They never really blew up in any way in during their heyday, their exposure to American audiences was limited to import mail order catalogs (I don’t even think they had an American distribution deal), and they were never able to crack their home country of Germany like their peers in Grave Digger, Accept, Helloween, and later Blind Guardian.

As heartwarming as the spirit and intention of the project is, it wouldn’t be on this list unless it contained something truly fantastic —- and the real surprise is that the entire album is totally worth your time and attention, containing perhaps Tarot’s finest songwriting to date. Its muscular, traditional German heavy metal that’s spiced up with diverse instrumentation and songwriting styles. There’s triumphant, fist-pumping metallic anthems such as “Mandrake’s Fire” and “Mauritania”, but also thoughtfully composed balladry such as “Trail of Stars”. The diamond among the bunch was the shimmering, utterly gorgeous “Sands of Time”, a power ballad built on a slowly escalating bass line, chiming acoustic guitar patterns and tension building riffs. It crests when Lichtner explodes on the chorus, with a melody that soars to the very heights its referencing in its lyric: “Staring at the stars each night, waiting for a sign / Writing down four lines – a vision to rhyme…”. Credit to Lichtner on this one, because his phrasing here is impeccable, and he really just owns the vocalist role all over the album, delivering incredible performances and sounding better to my ears than original Stormwitch vocalist Andy Aldrian ever did. He’s the MVP performance wise on the album, but Tarot himself gets the overall MVP for penning such inspired songs. With “Sands of Time”, he may have delivered his best one ever, with a degree of complexity to its Medici-referencing lyrics as well as an undeniable hook that would’ve sounded at home on an Avantasia album. I’d like to think that Tarot would’ve loved what these guys did with his unfinished songs, if he only had a chance to hear them. I know I did.

 

 

5.  Subterranean Masquerade – “Blanket of Longing” (from the album The Great Bazaar)

 

[youtube https://www.youtube.com/watch?v=QFIfeWXqpSU&w=560&h=315]

 

Quietly the multi-national Subterranean Masquerade released one of the most satisfyingly melodic, complex, and challenging albums of the year. I had no idea that this was their second album (first in a decade though), nor any idea who Tomer Pink was, the guitarist and songwriter at the heart of this band that consists of members from Israel, Norway and the United States. Those last two are Kjetil Nordhus and Paul Kuhr (of Tristania and November’s Doom respectively), Nordhus handling clean vocal leads with his accented prog-rock delivery while Kuhr delivers the brutality in his distinctive doom-death vocal style. The band’s sound is a diverse blend of ethnic Middle-Eastern music, progressive rock ala Steven Wilson/Porcupine Tree, and Oriental metal in the vein of Orphaned Land (whose Kobi Farhi does guest vocals on two tracks on the album). It was an album that came out of nowhere, just a random promo I got one day that I had no background on. I kept coming back to the album throughout the year, finding it a pleasure to listen to for its sheer force of personality and some seriously excellent songwriting by Pink. His best one is the emotionally charged semi-ballad “Blanket of Longing”, itself a microcosm for the band’s overall sound, containing a little bit of everything they’re capable of. The real star here is Nordhus, whose clean lead vocals are simply superb, his emotive inflections during the chorus particular stirring: “Often I go back to that picture of my little boy / And I just can’t cry anymore…”. When I hear prog-metal written and performed like this, I know why other more technicality focused prog-rock/metal bands fail to move me. It should always start with a melody worth remembering, not one forgettable riff after another.

 

 

6.  Luciferian Light Orchestra – “Church of Carmel” (from the album Luciferian Light Orchestra)

 

[youtube https://www.youtube.com/watch?v=mtpRXa3V4Pk&w=560&h=315]

 

Its a subtle bit of irony that in an era when new retro occult metal and rock bands are getting signed left and right after the success of Ghost, one of the most intriguing projects in that vein comes from a musician that predates all those guys, namely, Therion’s Christofer Johnsson. This is a side project of his with a handful of musician friends, the only known name we have from this bunch being vocalist/photographer Mina Karadzic. According to whomever runs Therion’s social media (I suspect Johnsson himself on all fronts) Karadzic does not handle lead vocals on this particular song so I have no name to place to the gorgeous, breathy singing that adorns this gem. I’ve seen a couple people point to one Mari Paul, a relatively unknown Finnish vocalist who does seem to match the description of the woman singing in its music video, so credit to her if that’s true because the lead vocal at work here truly makes this a stellar slice of atmospheric yet hooky occult rock. There’s something seductive both sensually and spiritually about the vocal melody and the lyrics, the latter specific in its audience: “Young girl, come close / Undress and pray”. Longtime Therion lyricist Thomas Karlsson penned the lyrics on the album, and he draws upon his extensive experience in esoteric studies to inform his lyrical imagery (“A naked altar / and a priest with horn / a shade of Abbé Boullan / kneel and drink the Lord”). A part of me feels that the lyrical content here is partially tongue-in-cheek, but with a hook this magnificent we should all be joining in on the Sabbath anyway.

 

 

7.  Kamelot – “Fallen Star” (from the album Haven)

 

[youtube https://www.youtube.com/watch?v=PWhlaqgjnCM&w=560&h=315]

 

Look I know I just did it above but normally I try to avoid quoting myself —- it makes me uncomfortable and I fear it could come across as a little egotistical, but I raved about this song when I first reviewed Haven and everything I wrote about it then I still feel now, so take it away Ghost of Metal Pigeon Past:

The path towards a future golden era for the band begins with the eternal classic “Fallen Star”, a supreme and glorious a moment that echoes the height of the Khan era in both melody and lyricism. Karevik’s piano accompanied solo intro to the song sets the tone and signals the approach —- that his vocal melodies will serve as the driving force and everything will yield to his will. In the mid-song instrumental bridge, Youngblood’s guitar solo echoes the vocal melody slightly by playing off its motifs, something he is peerless at. Karevik’s lyrics are evocative, with an almost Khan-like air of poetic imagery: “You are my reason to stay / Even if daylight’s a lifetime away / May the kings and the queens of the dawn / Remember my name / As dark as the fallen star”. The vocal melody guiding these words is cascading, rising and falling gently like a sloping hill, its shape infusing the lyrics with its required blend of romance and melancholy. It might be the best overall Kamelot song in a decade, a gem that matches the brilliance of songs from their classic era albums, and perhaps their best album opener ever.

Any guesses as to how bummed I was that the band didn’t play this on the recent Houston stop of their North American trek with Dragonforce? It would’ve been one thing to simply not hear it, but two of the three tunes they did play from Haven were my least favorite from what was largely an excellent album (I’m referring to “Revolution” and “Here’s To The Fall” —- the latter gets a pass because Tommy announced that he was singing it in tribute to his recently departed grandfather, but the former was just as meh live as it was on the album). I hope that Youngblood and company realize that the best way forward on future albums to continually cede more songwriting space to Karevik, he seemed to have a hand on about 75% of Haven, and its very noticeable what songs he had a direct role in shaping primary melodies and motifs. If every vocalist has a signature song or calling card, I nominate “Fallen Star” as Karevik’s for his Kamelot career (wouldn’t want to offend any Seventh Wonder die-hards out there!).

 

 

8.  Nightwish – “Weak Fantasy” (from the album Endless Forms Most Beautiful)

 

[youtube https://www.youtube.com/watch?v=IEsS6NNt3Bo&w=560&h=315]

 

Tuomas Holopainen rarely fails to find someway to astound me, and I remember exactly where I was when I first heard “Weak Fantasy”, driving around on various errands while playing the album through for the first time. I was in a shopping center parking lot maneuvering around to find an exit, nodding my head in rhythm Emppu’s sledgehammer riffs and marveling at how powerful Floor Jansen’s voice sounded right alongside the mighty co-lead vocals of Marco Hietala when the folky mid-song bridge kicked in and then 3:34-4:31 happened. I had to pull over into an empty area of the parking lot and simply sit there and let everything wash over me —- the violently swooping in strings, sounding as if they were the soundtrack to some hyper exaggerated ballroom waltz, Marco’s passionate vocal eruption while singing some of Tuomas’ most vitriolic lyrics ever. I hope it was as jaw dropping a moment for others as it was for me, because few songwriters are as attuned to conducting pure, broiling, emotional drama as our guy Tuomas. Oh make no mistake, you’re reading the blog of someone who is an unabashed Holopainen homer, and just like homers in sports fandom, we can criticize our rooting interest, dissect their decision making, persevere through their low points, and ignore their weaker tendencies. Why? Because we know that said rooting interest is capable of providing us with victorious moments like “Weak Fantasy”, songs that justify our allegiance. If I keep going on this particular allegorical road I’ll start questioning my time as a Houston Texans fan, because how crazy is being a fan of a football team? Wishing and hoping through years and decades of futility in hopes of one glorious moment of euphoria? In musical terms, Holopainen has already won a few Super Bowls.

 

 

9.  Year of the Goat – “The Wind” (from the album The Unspeakable)

 

[youtube https://www.youtube.com/watch?v=DwvF8IbVk04&w=560&h=315]

 

These charismatic Swedes released a hell of a fantastic rock n’ roll record this year in the vein of Blue Oyster Cult meets In Solitude, and there was quite the handful of awesome moments that could’ve ended up on this list. I was first drawn to the album thanks to Fenriz playing the seven minute plus “Riders of Vultures” on his pirate SoundCloud radio show, and truthfully that song is so awesome that it could’ve ended up on this list. But its “The Wind” that really shows Year of the Goat for the authentic rock n’ roll band that they are, purposeful emphasis on the roll part, because one of the biggest reasons I grew disinterested in rock music as a genre was that most of its new artists had no idea what a rhythm section in rock could do. I lay the blame at a combination of post-grunge and nu-metal, where the definition of rock was transformed to mean loud/soft dynamics, lazy atonal riffs, basic bass playing, uninspired drumming, and a song that found its hook in a vocalist’s knack for yarling out a melodic phrase or two. Thankfully Year of the Goat have arrived on the scene to show these radio rock idiots that yes, Maroon 5 might actually know what they’re talking about when referencing Mick Jagger and his “moves”. On “The Wind”, the rhythm section grooves, laying down a backbeat n’ rumble you can actually sway or dare I suggest… dance to (or at least move in vague accordance to, I know we’re all headbangers here). Dual guitars spit out riffs like a jam session with Izzy n’ Slash and Billy Duffy of the Cult, while vocalist Thomas Sabbathi shifts between a Ville Valo croon and a more metallic Peter Murphy or Nick Cave for the rockin’ bits. Turns out Gene Simmons was really, really wrong.

 

 

10.  Faith No More – “Motherfucker” (from the album Sol Invictus)

 

[youtube https://www.youtube.com/watch?v=BtznNjvdGO4&w=560&h=315]

 

While I wasn’t over the moon about Faith No More’s long awaited comeback album Sol Invictus, much to my disappointment, I still love its pre-release single “Motherfucker” for being one of the band’s sharpest, daring, and yes —- greatest songs of their career. Its inherently a pop song, with a convergence of hooks in Patton’s repeating vocal motif (“Get the motherfucker on the phone, the phone…”) and his wild, almost out of sync crooning soaring over the top (“Hello motherfucker, my lover / You saw it coming”). But as a pop song, its built out of strange building materials, not your typical Top 40 fluff and production gloss. First there’s Puffy’s nearly martial snare percussion, keeping us on the march throughout the verses, almost a micro-hook in itself. Roddy provides the atmosphere via keyboard arrangements built on stray notes, echoing like some distant grandfather clock, and I’m pretty sure those weird recurring noises that pop up later on are his doing too. Billy Gould’s personality laden bass rumbles all throughout… one of the things I loved about Faith No More’s sound was that it was so bass reliant, Gould plays as if he’s a guitarist, using his bass to convey melodies as opposed to purely working as a time keeper, much like another great bass player in a little band called Iron Maiden. He and guitarist Jon Hudson go nuts towards the end, the latter unwinding a pent up solo that doesn’t exactly flourish out majestically so much as crawl out, complaining out of frustration. Its a song that would’ve sounded at home on Angel Dust or King For A Day, and that’s a small victory in itself.

 

The Metal Pigeon’s Best of 2014 // Part Two: The Albums

This was an exciting year to be a metal fan, particularly if like me you made it a habit to check out as many new releases from established and up and coming artists as you possibly could. Its not an exaggeration for me to say that I listened to more new metal albums in 2014 than any other year —- easily surpassing even last year’s nutty total. It was an especially prolific year for power metal, with nearly every major band within the subgenre releasing new albums or singles. As far back as February I was speculating on 2014 possibly being a resurgent year for power metal —- so was it? Well, yes and no. There were some disappointments from a few veteran bands, but these were made up for with pleasant surprises from relatively new artists. And of course there were still quite a few extreme metal artists who offered up a handful of great records.

Consider the following ten albums on this list a very agonized over distillation of what I thought were the absolute best of the year. Most year end metal lists go up to twenty five or even fifty entries —- I limit myself to ten to force myself to be critical, selective, and honest with myself about what I enjoyed the most. A shorter list also helps to give weight to the ordering of entries, and you can be sure that the top spot means a great deal. I definitely look at album play counts when narrowing down my nominees as they provide an honest statistic about my listening habits, but I also consider other far more intangible factors as well (such as… you know, artistry and stuff). This is part two of my 2014 Best Of feature, so be sure to check out Part One: The Songs if you missed it. Enough of my incessant prattling! On with the list!

 

 

The Metal Pigeon’s Best Albums of 2014:

 

 

1. Triosphere – The Heart of the Matter:

Its not an uncommon occurrence to discover a great band that I haven’t heard before; its one of the frequent perks of writing a metal blog. It is however extremely rare for that discovery to come in the form of an album that is absolutely flawless and perfect in all aspects. Norway’s Triosphere were a late entry in the 2014 album release calendar, November and December for Europe and the States respectively, a major misstep for AFM Records that has already ensured that it slipped under the radar of many metal writers. I consider myself lucky that I am not among them, because here’s what I learned: This is the best metal album of the year, regardless of subgenre, regardless of your preference for accessibility or extremity, and regardless of any preconceptions you might have about a female fronted metal band.

Yes Triosphere is indeed a female fronted metal band —- a progressive power metal one, led by bassist/vocalist Ida Haukland. But they don’t sound like many other female fronted metal bands, as Haukland’s voice can best be compared to a blending of Ann Wilson and Doro Pesch, with hints of Coverdale’s inflection and Dio’s theatricality. She’s a stylistic rarity in an era when female vocals in metal usually mean light, airy, delicate, and that oft-used adjective, ethereal. Haukland is also unique among male and female vocalists in being a sonically powerful vocalist with both high and low range, all while capably demonstrating a mastery of melody. It would be an oversimplification to say that her tone is only raspy or leathery, because its also smooth, distinct, and enunciative. To say she is the undisputed star of this album would perhaps detract from the clockwork-like, precision machinery of the band as a whole, but certainly without her The Heart of the Matter would not be the special album it is.

Equally as key in the Triosphere lineup is guitarist Marius Silver Bergensen who is the band’s primary songwriter in cooperation with Haukland; he composes the music, she writes the lyrics and creates the vocal melodies. Together they weave a dark, stormy, and feverish take on progressive power metal that is both technically brilliant and emotionally resonant. Bergensen seems to be a smart guy in that his songwriting works around Haukland’s natural talent at creating fully formed vocal melody driven hooks. He’s a tremendous guitarist, and shows it off alongside fellow guitarist Tor Ole Byberg in brief flashes of technicality during riffs and in wild, unrestrained, hard rock inspired soloing. Triosphere weave technicality into the fabric of their guitar melodies throughout, but they know when to turn it up and tone it down, a result of marrying their approach with Kamelot-like simplicity where the melody has to remain preserved. Drummer Ørjan Aare Jørgensen lays down a tremendous performance, spicing up a thrash metal fueled percussive attack with proggy, jazzy fills and accents. There’s virtuosity teeming throughout these songs, but its used as an accent rather than the main attraction, the band subtly hinting that they could do more, if they wanted.

Ultimately its the start to finish array of great songs that steal the show here, and there’s a handful of absolute gems: “Steal Away the Light” is as excellent a pure heavy metal song as you will ever hear, with its Roxette-meets-Dio soaring, triple-segmented chorus built around Haukland’s incredible range. There’s the epic, tension fueled “The Sphere”, where her vocals practically scream heartbreak as she sings “Can you feel me like I feel you / A heartbeat where the sound of my soul shines through”. When I listen to that chorus, I realize that its Haukland’s perfect choices in enunciation that really drive home the powerful emotional response that line manages to conjure, and she does that all over the album and puts on a masterful display of how to make the most of every single line. I’d be remiss if I didn’t mention my favorite song, “Breathless”, where the band really turns up the Roxette vibe with a fun, punchy, poppy chorus built around clever alliteration. Haukland sings “I know you think / You know the name / Of this game we are playing” with half-second pauses in between each line, giving the chorus a rock n’ roll stutter strut that you don’t normally hear in prog-metal. Its the kind of thing you hear the first time and smile over.

Much of Haukland’s lyrics deal with past and current relationships, or at least the conceptual idea of one where heartbreak is a central theme. It may not sound like very “metal” subject matter, but its refreshing in a strange way, perhaps because such a focused concentration suggests that its inspired by real personal experiences. You can perceive her attention to detail in regards to penning lyrics that while direct and straightforward, are full of depth and purpose. With a few more releases we could see Haukland blossom as a lyricist, possibly reaching Roy Khan levels of diction and imagery (she already has quite a bit in common with her fellow Norwegian). I called this album perfect, and take my word for it, there are no fillers to be found —- and there’s a raw, kinetic energy that flows throughout the album from the very start, every subsequent song picking up where the other left off. Triosphere don’t get bonus points for their uniqueness as a non-operatic female fronted metal band; they made it to number one on my list simply because they created an album that I couldn’t find anything wrong with, an album with nothing to complain about and everything to get excited by. The Heart of the Matter is a beautiful, aggressive, elegantly chaotic masterpiece.

 

 

2. Ghost Brigade – IV – One With the Storm:

Yet another in the waltzin’-into-class-late crew, Finland’s Ghost Brigade slipped this one in relatively late in the 2014 release calendar (must be a Scandinavian thing?). If you recall from a couple years ago, this pack of downtrodden Finns made my 2011 Best Albums list with Until Fear No Longer Defines Us, the album that introduced me to their take on Sentenced/Katatonia inspired melancholic metallic rock. Three years later, they’re finally back with its successor and have managed to land a higher placing on this list with an album that’s more metal and less rock. Its slightly amusing that the further Ghost Brigade have shifted away from what made me enjoy them in the first place has somehow resulted in a better, sharper, more compelling album. Its never the best metric to compare one album to another, but I can honestly say I love One With The Storm far more than I ever did its predecessor.

Not everything has changed, there are still many moments where Manne Ikonen demonstrates his melodic voice with his heavily accented clean singing, but they’re now equaled in play time with his raw, harsh, tortured screaming. He has to fight for space too, because the clearer, crisper production the band has chosen to employ here pushes the instrumentation right up against his vocals, and together they clash back and forth as on the album opener “Wretched Blues”. Its a huge reversal from their previous albums, where everything sat underneath Ikonen’s vocals in a hazy fuzz —- no more. Guitars pour aggression and beautiful, melancholic melodies all over these songs, and they take center stage, often times their musical patterns and figures serving as a song’s refrain such as on the brutal melo-death of “Stones and Pillars”. Some of those guitar figures are heart rending in their ability to touch your emotional nerves, as on the acoustic finger plucked intro to “Elama On Tulta”, where its abruptly followed by a wave of heavy melodicism that wouldn’t sound out of place on Sentenced’s The Cold White Light.

I included the brilliant “Departures” on Part One of this year’s Best Of feature, it being the album’s most accessible slice of metallic rock, but there’s a wealth of melodic vocal treasures to be found elsewhere. A particular favorite comes in the track “The Knife”, where steady mid-paced slabs of gargantuan riffs with suitably throat worn harsh vocals are contrasted with a wide open, cinematic chorus where Ikonen laments in his melodic best “Another year / Another wasted season”. As you can probably tell, much of Ghost Brigade’s lyrical approach deals with your typical Finnish appropriate topics of loneliness, isolation, and general feel-baddery (screw you spell check!), and they just do it oh so well. Take the introspective “Disembodied Voices”, where over a bed of moody, hushed atmospherics and cleanly plucked electric guitar figures Ikonen croons “They said time heals / In a year or so you’ll be alright / Time doesn’t heal / It only makes you forget”. In the hands of a lesser band and vocalist (and I can think of many American radio “rock” bands that could fit the bill) those lyrics would sound contrived and false, but Ghost Brigade understand what kind of soundtrack they need, and Ikonen understands that their delivery needs to be understated, passive even.

My high play count of One With The Storm may have spiraled out of control with its release coming square in these darkening autumnal months, but I have no doubt I’d feel this strongly about its cohesive artistic triumph were it released way back in spring or summer. I think the band has finally stumbled onto a formula they ought to consider sticking to for another release or two. Evening out the guitars with the vocals in the mix has really gone a long way towards giving their sound a surge of power, and its forced Ikonen to balance out his melodic singing voice with his equally riveting (if not superior) melo-death harsh vocals. Ultimately though, it always comes back to the songwriting and Ghost Brigade delivered a handful of gems here, an accomplishment that is even more impressive considering the vast array of diverse tempos and song structures they chose to employ. They outdid themselves, surprised the hell out of me, and somehow managed to release the best metal album out of Finland in 2014.

 

 

3. Dawn of Destiny – F.E.A.R.:

Until Triosphere came along, Dawn of Destiny laid claim to being the biggest out-of-nowhere surprise of the year. I had never heard of the band before (and apparently, neither did anyone else), but it was the appearance of Jon Oliva as a guest vocalist on the stellar “No Hope For the Healing” that caused my buddy Doctor Metal of The Metal Meltdown Show to play the band on his show one Friday afternoon. It wasn’t just the presence of the Mountain King that grabbed my attention, it was the absolutely fantastic songwriting on display as well. I was convinced and took a chance on the album, and after one pass through I had the kind of smug, self-satisfied, doofus grin that I’m sure we all tend to get after suggesting an unknown restaurant that turns out to be great and having your friends begrudgingly give you the nod of approval. If I wrote my original review of the album with that same grin on my face, I apologize.

Its not a stretch to say that this was my frontrunner to take the top spot on this list for most of the year before some tougher competition came along. That’s because like Triosphere, Dawn of Destiny are a rarity in the world of female fronted metal bands, as their vocalist Jeanette Scherff is neither operatic or light and ethereal, instead her vocals come from a mid-ranged rock style reminiscent of Ann Wilson or Pat Benatar. No need to scroll up to check whether you’re remembering seeing Ann Wilson’s name before, as I used her to describe Triosphere’s Ida Haukland. Both Haukland and Scherff are tremendously gifted vocalists and modern trailblazers of a sort as a budding handful of female singers bucking the metal establishment, but Scherff leans in a smoother, more refined direction (there’s no Doro influences with her). As great as she is, its bassist/co-vocalist/songwriter Jens Faber who is the true star of the album, as his songs are deliciously hooky, ornately arranged slices of dramatic power metal. On F.E.A.R. (if you’re dying to know, its an acronym for “Forgotten, Enslaved, Admired, Released”), Faber has compiled a selection of near perfect power metal songs where everything revolves around major key builds and truly memorable choruses.

Where to start? How about the stormy, tense drama of “End This Nightmare” where Scherff shares lead vocals with Faber, a distinctive and powerful singer in his own right. The chorus here is Meatloaf-meets-metal, the kind of joyously over-the-top chorus that is so skillfully written and deftly performed that it threatens to go off the rails but never does. Then there’s the one two punch of “Finally” and “Prayers”, the best back to back tracklisted tandem you’ll hear all year. The former is an aggressively uptempo vocal duet where both singers deliver unbelievably challenging vocal lines with near perfect enunciative choices and imaginative melodies, while “Prayers” is its 80’s inspired pure-pop cousin —- built on Scherff’s almost staccato delivery of the verse vocal lines. The chorus is a blast, a carefree merging of her vocals with Faber’s in a singalong that ascends like a spiral staircase. And there are so many moments like that, where Faber’s songwriting throws caution to the wind and interweaves vocal lines in unexpectedly delightful fashion, or allows the rather reigned-in, straightforward power metal guitars of Veith Offenbächer to explode in jawdroppingly gorgeous solos.

Should I mention that its a concept album? I’m not so sure its needed as a selling point, because although I’ve followed along with the lyrics and can honestly say that its a cohesive, well-told story —- I don’t think its necessary at all when it comes to simply enjoying F.E.A.R. as a musical experience. I began listening to this album back in March and have kept going back to it throughout the year. Granted there was a slight hiccup, the first minute twelve of the opening track features some rather awful spoken word dialogue that was actually gnawing at my conscience every time I considered placing the album atop this list (its that bad, and here’s to no more terrible spoken word on metal albums in 2015!). I was saved from having to deliberate that choice thanks to Triosphere and Ghost Brigade, but one lousy mistake aside, Dawn of Destiny were serious contenders for the throne.

 

 

4. Blut Aus Nord – Memoria Vetusta III – Saturnian Poetry:

Dense, layered, and nostalgic might be suitable adjectives for Blut Aus Nord’s return to second wave black metal after some time in the desert doing weird, not so great experiments with industrial music. Some quick history: Blut Aus Nord is the musical project of a notoriously reclusive Frenchman under the moniker of Vindsval, who was apparently just 15 when he released the project’s debut Ultima Thulée in 1995. Its sequel released a year later was titled Memoria Vetusta I: Fathers of the Icy Age, and together they were viewed upon as left-field classics emulating the black metal pouring out of Norway at that time. When Vindsval returned in 2001, he did so with a style that owed more to noise and industrial music, and continued in this vein even throughout Memoria Vetutsa II in 2009 and beyond. His unorthodox style won him a lot of praise in this lengthy era, particularly from big-platform publications —- but if you were one of those few that preferred his take on classic 90s black metal, you were out of luck.

So its not an overstatement to say that Memoria Vetutsa III: Saturnian Poetry is the most unexpected album by a veteran artist in 2014, being Vindsval’s return to pure, classicist second wave black metal with zero (ZERO!) industrial elements. The x-factor is that this album is recorded in the pristine, crisp, un-muddied production style that he’s become accustomed to working with in the preceding 777 trilogy, and its like being hit over the head with a frying pan in making you realize that hey, classicist second wave black metal actually sounds better without awful, muted production! This means that Vindsval’s waves of windswept tremolo riffs aren’t buried in the mix, instead they’re the main attraction, and they’re so excellent, so perfectly sculpted that you begin to remember why you loved this style in the first place. And I believe for the first time, Vindsval brings aboard a real drummer in Gionata Potenti (aka Thorns) whose unyielding, punishing attack gives the entire album the feel of a real band at work. The result is a complete about face from the cold, distant icy feel of the industrial era, instead presenting a earthy warmth, like you’re sitting around a mountainside campfire with each listen. This album single-handedly has reignited my interest in black metal as a whole, and made me dust off an Emperor classic or two.

 

 

 5. Judas Priest – Redeemer of Souls:

Its slightly disturbing that so many metal writers are overlooking that with Redeemer of Souls, Judas Priest have created their best work since 1990’s Painkiller. I want to believe that whats stopping many from realizing this is the pallor cast over by 2008’s tepid Nostradumus, but that would imply that they simply hadn’t bothered to listen to the new album (and that would be poor form for metal writers anywhere, this is Judas Priest we’re talking about). Or is it that in an era where extremity in metal is prized more than traditionalism and given more artistic merit, new music by Priest is considered antiquated or sin of sins, un-hip? I’m not sure what everyone else’s problem is, and granted, I’ve seen Redeemer of Souls pop up on a few other year end lists by websites or publications that aren’t so expressly concerned with demographics and credibility. Kudos to them for realizing what most of the metal world immediately picked up on.

Priest don’t earn their spot on this list simply by virtue of Redeemer being better than its four predecessors, they’re here because of new guitarist Ritchie Faulkner, who stepped out of K.K. Downing’s shadow as more than just a replacement guitarist when he co-wrote this entire album alongside Glenn Tipton and Rob Halford. He turned out to be a veritable fountain of youth, ushering the band back to the very spiritual essence of what made them legends. Priest albums aren’t exercises in intellectual aggrandizing, they’re inherently simple, straight forward affairs built on having a plethora of tight riffs, hummable melodies, and hooky choruses galore. Faulkner brought all these things to the table and in doing so seemed to emphasize that the band didn’t have to out-do itself, or compete with others. The result is an album that is brimming with good to great to masterful songwriting, there are no duds or mediocre tracks on offer here. And its not just the band’s British Steel / Screaming For Vengeance era that is invoked, as there is a distinct Sad Wings of Destiny / Sin After Sin vibe to songs like “Secrets of the Dead” and the echoing balladry of “Beginning of the End”. The production could’ve been a little more compressed, less cleanly modern, and more eighties-sounding —- the opposite of what Blut Aus Nord did in other words. Its the only blemish on an otherwise astounding album.

 

 

6. Primordial – Where Greater Men Have Fallen:

I can completely understand the notion that Ireland’s Primordial is a difficult band to get into, most likely due to the unusual, eerie, scream-sung vocal style of Alan Averill (aka A. A. Nemtheanga). He used to be my stumbling block as well, I liked what the band was doing musically but couldn’t get around him. A long time ago I wrote on this blog that I suspected it was due to my wanting Primordial to be more of a Riverdance-meets-black metal type of affair —- a silly concept in retrospect but a purely reactionary one. For a band tagged “Irish black metal”, Primordial sure weren’t like what I imagined that label to sound like. So here’s my advice to newcomers, step one: Forget any subgenre labels, and lets just call Primordial a metal band from Ireland (one of very few, and a stellar one at that). Step two is harder, but worth the effort: Think of Averill’s vocals as the metal version of Dave King’s from the Irish-American punk band Flogging Molly sung by a hooded necromancer standing atop some moss strewn Irish cliff side overlooking a fog-shrouded valley. Hey, we’re metal fans, we’re supposed to be a receptive and imaginative audience, so get to work.

Your efforts will be rewarded with Where Greater Men Have Fallen, which equals the band’s 2007 seminal classic To The Nameless Dead in songwriting brilliance, and leap frogs it in terms of being their most punishing and aggressive music to date. That matters, because the band was in need of a little diversity in their sonic approach, and it arrives right out of the gate with the title track and its rumbling, earthquaking drums, searingly tremolo-ish riffs, and overall brisk pace. Similarly on “Seed of the Tyrants”, the band goes full on black metal with an intro blast of Averill’s loud proclaimation of “Traitors!”, followed by blistering, full-on blastbeats and tremolo riffs that sound like they were straight out of a Watain record. I’m quite fond of the awesomely titled “Wield Lightning to Split the Sun”, where you hear more of the band’s oft buried folk metal influences come to the surface with an acoustic guitars and drums intro. The most accessible song if you’re looking for a YouTube suggestion is “Ghost of the Charnel House”, which boasts a hook built around clever guitar phrasing, fittingly so… this isn’t a band where vocal melodies are pronounced or relied upon. Most of the time the instrumentation does its own thing and Averill floats over the top, Sluagh-like you might say.

 

 

7. Sabaton – Heroes:

Some would say this is a homer pick, particularly a pair of goofball friends of mine who enjoy trolling my Sabaton fandom with unrestrained glee (its okay, they go to the band’s shows just the same). But Sabaton are deserving candidates to wind up here, this time not just because Joakim Broden continues to make a case for being the most skillful songwriter in power metal today; but because with Heroes the band did something daringly bold. Here was a case of a band that’s made its legion of fans on triumphant anthems depicting war, battles, destruction, and the might of armies and kings. One of the criticisms they’ve faced in the past is that in writing solely about those topics, they pander to an audience and use patriotism as an advertising agent. I think its a bogus critique, because its proponents are suggesting that Broden has to qualify his lyrics with politically neutral counterpoints, as if somehow his audience will misappropriate a song like “Ghost Division” (his audience hasn’t, but the critics have). Sabaton had the concept for Heroes floating around for awhile apparently, but their timing was well chosen —- they simply had to deliver something different, and it came in the form of their first album largely dedicated to examples of non-violent heroism, where humanity triumphed over warfare.

You’ll see examples of this littered throughout the album: a German fighter pilot escorting a crippled American bomber to safety (“No Bullets Fly”); an Australian medic carrying twelve injured American soldiers down a mountain to safety under withering fire (“The Ballad of Bull”); a Polish hero who willingly became a prisoner of Auschwitz in order to gather evidence of war crimes, and escaped to deliver his report (“Inmate 4859”) —- to name a handful. The thematic success doesn’t detract from the fact that Broden still delivered the goods in the songwriting department. There are your supremely catchy, traditionally structured future Sabaton classics such as “Resist and Bite” and “Soldier of 3 Armies”; and there’s some rather gutsy experimentation in the form of 1940s musical pastiche. The new guitarists Chris Rörland and Thobbe Englund were an unproven, unknown quantity in terms of how well they’d be able to create guitar parts to complement Broden’s keyboard written structures, but their work here is an unmitigated success. Riffs are intense and tightly constructed, their melodies shimmer, and their soloing is vivid and flavorful. I keep wondering Sabaton will ever stumble as I’m sure their critics hope they will, but Heroes works as an argument to suggest they won’t.

 

 

8. Grand Magus – Triumph and Power:

This was a recurring listen throughout the year when I wanted something straightforwardly catchy, but more minor key and aggressive than your average power metal release. Sweden’s Grand Magus are not power metal, nor are they folk/viking metal despite their name and imagery —- they’re just metal. Long having abandoned their doomy roots, the band loosely exist in a trad metal palette these days and add in measured amounts of rock n’ roll rattle and shake. Vocalist Janne Christoffersson grabs your attention by virtue of the songs being constructed around his vocal melodies, and with the fact that the quality of his voice is more hard rock baritone than say, air raid siren Bruce Dickinson. The band is also a three piece, so its fairly no-frills, just the meat and potatoes of solid riffs, hummable vocal melodies, and rock-steady percussion.

Album highlight “Steel Versus Steel” is a good gauge of the kind of magic Grand Magus conjure up with a purposeful emphasis on simplicity, the mid-tempo pace set by seemingly swingin’ drums. The chorus is magic, as Christoffersson belts out “And in the end it’s steel versus steel / The final lock and the final key”, the guitars echoing the strutting vocal melody with staccato riffing. It narrowly missed appearing on my Best Songs of 2014 list (too many to list this year). The band gets more adventurous on the title track, where slowly sung verses dramatically build up to a gusher of a chorus, punctuated by a “Hail! Victory!”, its an incredibly fun moment. It gets heavier too, with the punishing “Dominator” which should ring strangely familiar to fans of Glen Cook’s The Black Company series (though I doubt that was on purpose). And I really, really love “The Hammer Will Bite”, not just for its strangely sorrowful sounding intro, but for its monstrously wild and glory-claw inducing chorus where Christoffersson sounds like a Swedish James Hetfield: “The hammer will bite – no other choice than surrender /
Bow to the might – a fiery death from above… Yeaaah!”. One of the few albums I covered this year that can instantly appeal to power and extreme metal fans alike.

 

 

9. Behemoth – The Satanist:

There’s already so much written about this album, and its ended up on so many year end lists that it might seem superfluous to see it yet again, but if you’re one of the few that slept on The Satanist one you really need to get on it. Its not overhyped, and its praise is not exaggerated; but its propensity to thrill you is perhaps entirely dependent on your tolerance for extreme metal. I use that term instead of labeling Behemoth’s sound with more specificity because now more than ever, this is a band that doesn’t fit in anywhere. On The Satanist, the band mixes their take on death metal with a little black metal in the form of a bleaker vocal approach, blast beats, and some quasi-tremolo riffing; finished with a touch of hard rock simplicity to produce a concoction that is brutal, violent, and feverish in its unyielding intensity.

That said, the band has evolved past the need for sheer brutality for brutality’s sake. In its place are atmospheric soundscapes and warm instrumentation, a combination that culminates in this being the most human sounding Behemoth album to date. Its a relief for me, because the tech-y coldness on their past albums was a stumbling block for me in trying to enjoy them —- and not only that, but Nergal simply delivers better songs here. One of his best is the title track, with its blackened, stop-start Metallica-esque riffs and oddly tuneful refrain. Of course there’s the music video famous “Blow Your Trumpets Gabriel”, its guitar patterns reminding me of latter day Enslaved and providing the album’s most hummable riff. My favorite is still “O Father O Satan O Sun!”, whose primary riff and guitar melody are quite indebted to Judas Priest in the best possible way. The multi-tracking of Nergal’s vocals here are an inventive way to make them sound far more otherworldly and terrifying than you’d anticipate, a technique not often seen in extreme metal. I think everyone who’s wanted to hear this album has heard it by now, but power/prog metal fans should let their guard down and give it a few listens, its as ornate and fully arranged as a Blind Guardian album, just using a different palette.

 

 

10. Noble Beast – Noble Beast:

There are a handful of nominees that didn’t make the final cut of this list, the last few I was really deliberating over included Dragonforce’s Maximum Overload and Darkenhold’s Castellum —- both deserving in their own spectacular ways. But I just couldn’t ignore Noble Beast, a relatively unknown American band that came out of nowhere with a near perfect album of polished, thunder-heavy power metal with songwriting so developed and accomplished it ranks in my mind as one of the best debut albums in recent memory. Vocalist Rob Jalonen sounds like a symbiosis of Falconer’s Mathias Blad with his smooth baritone and the sandpaper-roughness of Iron Savior’s Piet Sielck —- with a splash of Hansi Kursch added to account for those throat-ripping screams. And if the European-ness of those names is any hint, then I’ll confirm that yes, Noble Beast owe more to their European heroes than they do to other American power metal bands whose lineage lies in thrash metal (your Pharaohs, your Iced Earths, etc).

It takes a supreme grinch to deny the sheer metal joy of the album opener “Iron Clad Angels”, with its arcing, soaring chorus built on Jalonen’s muscular vocal and some truly frenetic guitar work. The martial stomp of “The Dragon Reborn” with its extenuating choir vocal lines and ultra-melodic guitar twists seem like a lost Blind Guardian track, but there’s more than just reminders of other bands flowing throughout these songs. On “Nothing To Repent”, the band marries thrash metal aggression and riffs with some startlingly prog-rock song structures, a combination that works despite its disparity. There’s the arena-rock thunder and lightning of “Peeling Back the Veil”, with a stellar chorus and great Mathias Jabs/Rudolf Schenker styled guitar work and Maiden-esque twin soloing. And I love the inventiveness of throwing in some acoustic strumming in the verses of “We Burn”, creating some playful folky looseness in a song built on slamming riffage. Jalonen does double duty on guitar alongside a fellow named Matt Hodsdon, and together they dip and weave around each other like a power metal Slash and Izzy —- their interplay might be the most underrated aspect of the album.  More people need to hear this album, and hopefully there will be a second one.

 

The Metal Pigeon’s Best of 2014 // Part One: The Songs

Sometimes in the mid-December barrage of lists for the best albums of the year, the best songs released this year get ignored and forgotten. Of course its likely that a handful of said songs played a key role in their respective album winding up on a “best albums” list, but what about the really great songs on the not-so-great albums? As with the past few years, I’ve committed to giving songs in both of those categories a chance to get another look via an end of the year retrospective. What makes a song one of my best of the year? It could be anything from simply masterful songwriting, great lyricism, or even a courageous attempt at a stylistic shift or experiment (of course, it still has to be a great song). To force myself to make honest choices, I limit the list to ten, and the order of the list has as much to do with play counts as it does the more intangible qualities I listed above. Now to quote Monty Python to myself: “Get on with it!”

 

 

 

The Metal Pigeon’s Best Songs of 2014:

 

 

1. Insomnium – “Lose to Night” (from the album Shadows of a Dying Sun)

 

[youtube https://www.youtube.com/watch?v=vw81mcIhDt8?rel=0&w=560&h=315]

 

Its safe to say that Insomnium’s Shadows of a Dying Sun was my most anticipated album of 2014, and while it ultimately didn’t live up to the glorious heights of its predecessor One For Sorrow, it was still a very, very good album with some truly spectacular moments. The moment that stuck with me the most was the troubled ballad “Lose to Night”, and I’m going to do something I hardly ever do and quote what I wrote about it in my original review:

The untarnished gem on this album is “Lose to Night”, a song with an achingly beautiful chorus and note-perfect encapsulating verses. This is my most listened to song on an album that I must have spun at least a few dozen times by now, its the track that practically bleeds out the core musical identity of this band. Everything about it is perfect to me, from its tribal-esque intro drum patterns, to the circular guitar melodies within the verses where Sevanen growl-speaks about a litany of regrets, to Friman’s shining clean vocal performance in the chorus with that delicately hook laden vocal melody. I love that during said chorus, subtly buried in the mix is an electric guitar gently echoing Friman’s vocal melody beat for beat, along with Sevanen’s distant growls adding just the right touch of stormy intensity. I love that its a song about the decay of a relationship, but Friman’s prose is sparse and interpretative enough for it to apply to any circumstance —- the narrator could be speaking to his parents, or his sibling, or his past. I love that instead of associating a barren heart with romance, Friman dishes a curve ball by singing “No more fear in me / This heart’s stone inside”, while adding that “Every day must lose to night / Fade and die”. Perhaps I’m reading too much into this here but these strike me as very Finnish in their inherent nature —- slightly gloomy yes, but beautiful sentiments despite their despairing tone.

Insomnium, as well as a few other fellow Finnish metal artists seem to have a grasp on illustrating bleak, inner turmoil better than any other artist within the genre. It must be something about living there that does it, a result of their cultural identity and environment perhaps? I don’t know and I’d bet that they don’t either, but what is amazing to me is how their artistic interpretations can sound so vivid and true to people thousands of miles away in places that are quite unlike Finland (ahem, like Houston, Texas for starters). This is a haunting song, and that’s precisely what it has done to me —- I wouldn’t be able to shake it off if I tried.

 

 

2. Allen/Lande – “Lady of Winter” (from the album The Great Divide)

 

[youtube https://www.youtube.com/watch?v=3_OvrGEbMvo?rel=0&w=560&h=315]

 

Something just occured to me a second ago when considering this singular masterpiece on Allen/Lande’s newest album —- maybe I love this song so much because it reminds me of Dio. It should be him singing this song, or at the least this should be a time-worn Dio classic that Jorn Lande decided to cover. Like many, I miss the departed legendary vocalist and metal icon, and maybe its more that I miss his particularly distinctive stylistic choices. On “Lady of Winter” you’ll get a sense of what I mean when you hear Lande croon out the lyrics in the second verse: “Winter lady crystal tears /In the shadow drawing near / Will you show me all your fear?”. It was noted that Lande himself contributed to writing lyrics and vocal melodies for this album, and if he did so on “Lady of Winter” then its no mystery who he was channeling.

Whats more surprising however is that The Great Divide was penned by ex-Stratovarius guitarist Timo Tolkki as opposed to Magnus Karlsson who handled the previous three Allen/Lande albums. I can’t begin to remember the last time I enjoyed a Tolkki penned song, but kudos to him for keeping his extravagant tendencies in check and delivering one of the flat out greatest pure heavy metal songs I’ve heard in a long time. The album was okay, certainly passable, but “Lady of Winter” with its huge, monumentally towering chorus is the sort of gem that will be on my iPod for years to come. Its also the sort of metal song that I’m always afraid everyone will stop making one day, and so thankfully my fears are abated.

 

 

3. Falconer – “At the Jester’s Ball” (from the album Black Moon Rising)

 

[youtube https://www.youtube.com/watch?v=1rMhLO8JFPI?rel=0&w=560&h=315]

 

To understand just how truly masterful Falconer guitarist/songwriter Stephan Weinerhall and vocalist Mathias Blad truly are at their craft, take a listen to the chorus on this deep cut off 2014’s Black Moon Rising. Blad’s effortless clarion vocals skip and shuffle in a most waltz-like manner across Weinerhall’s ballroom imagery, “I am dancing in the waltz, come join in one and all” —- the song’s narrator a self-professed hypocritical, power-hungry misanthrope gleefully reveling in the chaos of corruption. Falconer leaned a little too much on aggression for Black Moon Rising to succeed as a whole, but there were a few moments when Weinerhall dialed back the heaviness to allow some songs to breathe —- the method in which their first four Blad-helmed albums were so excellently written. As on those albums, “At the Jester’s Ball” and “Halls and Chambers” were songs in which the melodies were placed well into the spotlight, and Blad was given ample room to let his voice blossom in its inimitably theatrical manner. This song makes the list not only because it was one of my most played in 2014, but because it gave me hope that Falconer hadn’t completely lost their mojo.

 

 

4. Sabaton – “No Bullets Fly” (from the album Heroes)

 

[youtube https://www.youtube.com/watch?v=uG2Snz9jkF8?rel=0&w=560&h=315]

 

This was not only the most musically riveting song on Sabaton’s surprisingly anti-war Heroes, but lyrically told a story that was emotionally bracing in its depiction of human decency bridging the divide between enemies. Its the story of Franz Stigler, an ace German fighter pilot one confirmed kill away from earning a Knights Cross, who chose to escort a crippled American B-17 back to friendly territory. Stigler had pulled level with the damaged aircraft and could actually see the wounded crew and pilot through the shredded airframe —- he was overcome with a wave of humanity that prevented him from carrying out his military imperative to destroy the plane. His presence prevented German batteries from firing upon it and once they were across the North Sea he offered the injured American pilot Charles Brown a salute and turned back. There’s quite a bit of information on the details of the story on the internet, and its worth reading up, but Sabaton’s musical treatment ratchets up the lump in throat quotient by incalculable amounts. The tempo itself emulates the lyrical depiction of two aircraft searing through the sky side by side, and Joakim Broden’s vocals are the perfect narrative device. You’ve gotta love the chorus, with its backing vocal shouted chants of ““Killing Machine!… B-17!”, they’re a strange juxtaposition when paired with Broden’s lead vocal singing ““Honor in the sky!… Flying Home!… Said goodbye to the Cross he deserved!”. The best part about this story? Stigler and Brown met forty-seven years later and became friends.

 

 

5. Edguy – “Alone In Myself” (from Space Police: Defenders of the Crown)

 

[youtube https://www.youtube.com/watch?v=zvmraiXxAyU?rel=0&w=560&h=315]

 

Tucked away in the middle of a pretty good yet admittedly inconsistent Edguy album was this glowing gem, a gospel-touched power ballad about loneliness and isolation written as only Tobias Sammet can. He’s proven throughout his career to be a tremendously gifted songwriter, and he’s one of the few power metal songwriters truly adept at writing emotional, stirring, and affecting ballads. As Edguy has leaned more in a rock direction in the past half a dozen years, he has adapted his once traditionally structured balladry to incorporate looser, more eighties-rock inspired musical elements. Here he expands his repertoire by including an almost 90s R&B meets soulful gospel motif in the song’s masterful chorus, juxtaposed against arena-rock ready verses built on Def Leppard Hysteria era pounding percussion and rhythmic guitar picking.

The mood created is one that has become something of a Sammet trademark by now, a song that’s simultaneously wistfully melancholic while still coming across as hopeful, and dare I say —- even inspirational. I’m a sucker for background vocals as many of you know, I find them to be delicious ear candy when done right and I love the decision here to approach them differently in the chorus. The choral sung “oooohs” in the refrain build up to one of Sammet’s most passionately sung turn of phrases in “No matter how hard I pray, I’m lost in translation”, while the organ-styled keyboards provide the underlying soundtrack to this unlikely church confessional.

 

 

6. Ghost Brigade – “Departures” (from the album IV – One With The Storm)

 

[youtube https://www.youtube.com/watch?v=Dph9H340_4c?rel=0&w=560&h=315]

 

My favorite moment on an incredible album, Ghost Brigade deliver one of the most urgent, passionate songs of the year with “Departures”. It treads similar territory to fellow Finnish bands like Insomnium, namely loss, regret, loneliness and despair —- but it done it in a way that is refreshingly unapologetic about its pop sensibility. This was the most accessible moment on a rather heavy, harsh vocal-fueled album, but it still has plenty of attack in its hook-laden passages. Consider vocalist Manne Ikonen’s performance as he alternates between tortured, guttural screaming vocals to add a touch of intensity to his distinctly plaintive rock inflected clean vocals. I’ve seen some people suggest that Ikonen gets close to yarling with his vocal choices here, but I’m unconvinced. There’s something deeper, darker, and less suggestive of affectation in his tone —- and truthfully I can’t imagine the song with another singer. The verses here are anchored by dirty bass and sharp percussion, and they lay down a framework upon which the band lets loose on the chorus with melancholic guitar figures over heavy, sustained riffs. At times I’m reminded of the kind of Finnish rock now championed by Amorphis, but created and perfected by the long-departed Sentenced. A perfect song for when you’re having a crappy day and need some empathy.

 

 

7. Freedom Call – “Follow Your Heart” (from the album Beyond)

 

[youtube https://www.youtube.com/watch?v=uu4TGlKrc1A?rel=0&w=560&h=315]

 

I was seriously thinking of nominating the title track of this album for this list, with its Blind Guardian-esque epic grandeur and gorgeous melody. Yet every time I considered Freedom Call’s surprisingly vibrant new album, I was reminded of this soaring, majestic paean to freewill and weathering the storms of life. This song brims with the kind of bouncy,kinetic energy so often found only in dance laden pop music, fueled by adrenaline surging backing vocal chants and wild Kai Hansen-inspired hard rock meets metal guitars. With Power Quest nothing but a memory at the moment, Freedom Call are perhaps the last men standing in this most marginalized of power metal strains —- that of ultra melodic, major key riddled, positive attitude infused “happy” power metal (its detractors know it by its given name “flower metal”). I apologize in advance, but once again I feel the need to quote myself,  this time regarding Freedom Call and their musical spirit:

“Whenever people accuse power metal bands of having only commercially minded interests, I’ll point out to them the careers of Freedom Call and Power Quest, who have eluded high chart positions, significant sales figures, and media attention —- ironic given their predilection towards writing undeniably catchy, ear wormy music. They’ve gone as long as they have with their too-commercial-its-noncommercial take on power metal for the sheer want of creating the music they want to hear, all while knowing and accepting that they are uncool and very unmarketable —- tell me, what is more metal than that?

 

 

8. Sonata Arctica – “Cloud Factory” (from the album Pariah’s Child)

 

[youtube https://www.youtube.com/watch?v=RO5FPHFI6sI?rel=0&w=560&h=315]

 

I have no delusions about this one, I know it will inspire some scrutiny and scoffing but let me explain. It could be argued that the best album released by Sonata Arctica this year was their re-recording of Ecliptica, and if you read my original review of Pariah’s Child you would think I’d feel the same. Time has changed my mind however and I now look upon that album with a little bit of fondness and understanding, largely felt by seeing them performing a few of it’s songs in an October concert here in Houston. It was seeing and hearing those select new songs that made me realize that what I perceived as strange choices in modern Sonata Arctica albums were actually an extension of frontman Tony Kakko’s own particular brand of humor and expression. His stage mannerisms helped to give “Cloud Factory” a sense of directional narration and it made me appreciate a complexity within its lyrics that I hadn’t noticed before.

That isn’t to say that I thought it was a dud beforehand —- its one of the best songs the band has delivered in years with its slightly Japanese sounding melody and wonderful mid-song bridge at the 2:42 mark (which is promptly followed by one of those aforementioned “strange choices”, yet it works in context of the lyrics). I strongly considered placing the major-key fueled, heart-string tugging sappy ballad “Love” on this list, but as brave as that song is in its boldly sung sentiment it didn’t have the musical complexity of “Cloud Factory”. But both songs are perfect amalgams that represent exactly who Kakko is as a songwriter: He’s the Rivers Cuomo of metal, a man so willing to present raw, open nerve endings through his unflinching delivery of lyrics many would consider too heart-on-sleeve, too emotionally naked. Both men are willing to intermix truth and fiction in their songwriting, and its that mask that hides the mirror.

 

 

9. Anathema – “Ariel” (from the album Distant Satellites)

 

[youtube https://www.youtube.com/watch?v=AjAHS4pNUY8?rel=0&w=560&h=315]

 

It would be disingenuous of any of us to begin to exclude new Anathema music from year end metal list consideration simply because of their stylistic shift towards modern progressive rock. Yes the vocals may be softer and sweeter, the melodies more gentle and hushed —- but the complexity and thought behind them has roots that extend far back into the band’s Peaceville three doom metal past. It would also just be plain wrong to ignore a song as singularly beautiful as “Ariel”, the highlight of their rather good Distant Satellites album. The band has been on a creative tear since their comeback in 2010, and they’ve seemed to find their milieu in soundscapes like this one, one of delicate piano and strings, and panoramic washes of screaming Porcupine Tree-esque guitars.

The echoing, soaring voices of Lee Douglas and Vincent Cavanagh are powerful enough to get solo turns each, but its when they join together for the song’s emotionally dizzying climax that they transcend genre and labels. Guitarist Daniel Cavanagh turns in the most inspired performance of his career during the song’s outro-solo; a wild, unrestrained moment of passion where its mirroring of the primary melody seems to continue the sentiments that both singers could not express. Anathema play with live emotional ammunition —- there’s nothing faked or phony here, certainly nothing that is subject to the shallowness of self-aware ironic detachment. That they’ve ceased to be a metal band sonically is arguable sure, but in spirit they’re still very much one of us.

 

 

10. Vintersorg – “Rymdens brinnande öar” (from the album Naturbål)

 

[youtube https://www.youtube.com/watch?v=Eg-iau4D52I?rel=0&w=560&h=315]

 

I mentioned in my original review for the latest Vintersorg album that his work isn’t the most accessible or instantly palatable. His albums take time and patience to sit through repeated listens before they begin to reveal themselves to you, and even then you have to be in the right head space to be receptive to it. Sounds daunting, and take it from a decade long disciple of his strange blend of avant-garde, folk-black metal —- it is. But occasionally Vintersorg will surprise even me with a blast of poppy goodness so catchy and memorable that it requires no time at all to enjoy. Case in point was this gem, a hummable duet with an enchanting female vocalist named Frida Eurenius that boasts a refrain so beautiful and breezily effortless that you wonder if Vintersorg could just potentially knock out songs like this all day and specifically chooses NOT to. I could see that happening, he has always been geared towards hyper-progressive ideas within his songwriting, a mad scientist that piles on layers of swirling sound and keyboard washes under furious black metal screams… even his distinctive clean vocals have been sung in Swedish since 2004, making them practically indecipherable for most of us. Take a moment to enjoy this brief respite from his madness then, and to revel in one of the most ear-pleasing choruses of the year.

 

The Look Back: Adrien Begrand on Extremity and Metal + Talking Deafheaven

Thought I’d begin this new year with some intentional distance from my last pair of updates, the much labored over Best of 2013 features, not because there has been a lack of new releases in the interim (quite the opposite actually, I’ll talk about that next time), but mainly due to the information overload I was experiencing in the final days of last year. I’m a nerd for things like best metal of the year listings, features, and analysis and I spent many, many hours pouring over as many of them as possible. It was all too easy to get get worked up over the usual suspects, such as the “big platform” sites/publications (defined by No Clean Singing as “places with large audiences, most of which cover musical genres well beyond metal”) that issued their own best metal of the year lists —- even more so now that Rolling Stone of all magazines had decided to join in the discussion for the first time in their history.

 

Not surprisingly, nearly all of them placed indie darlings Deafheaven on the top of their lists. I’ll talk about them in a little bit, but first I want to direct everyone’s attention to what I believe was the singular most important piece of metal writing issued in 2013, written by the always great Adrien Begrand (Decibel, Terrorizer, MSN). The introduction to his finalized Best of 2013 feature puts into words my exact sentiments about the state of metal today —- my own thoughts on the subject being often muddled and subject to wild mood swings (ask my co-workers). It’s a great piece and I urge everyone to take a moment and read over it (check out his year end list as well). I don’t always agree with his takes —- for example he listed Therion’s Les Fleurs du Mal as one of 2012’s worst metal releases while it was my album of the year, but he almost always gives me something challenging to think about.

 

His overall take in my own crude, ungainly decipher is that innovation within metal has plateaued in terms of musical developments solely derived from internal factors. For example, its difficult to imagine a metal style that is more sonically brutal or extreme than black or death metal in its rawest forms. Adrien argues that the last real innovation in metal from a sonic standpoint was heard around the turn of the millennium with math metal. I think he’s right and I’ve long suspected as much myself, although I’ve also felt rather ambivalent about the whole idea. This is mainly because like most of us, I’m a student of metal history and spend as much energy on revisiting past works as I do on checking out new releases. I’m also a lover/defender of subgenres like power metal, which is essentially a revivalist genre at heart (innovative exceptions do exist however).

 

Like Adrien, I’ve also observed that most of what is being passed off as innovative within metal today and in recent years has been a direct product of infusing a metal style with distinct non-metal influences. So we got the French interpretation of black metal, which began nearly a decade ago with Alcest mixing shoegaze with strains of post-rock and black metal. There was the development of metalcore in America, which merged a palatable form of hardcore with a severe dose of Gothenburg melodic death metal. The apparent trend now is the emergence of noise music as mixing agent with (predominantly) black metal, resulting in reviewers having to graft prefixes onto style descriptors such as post-black metal. Of course nu-metal happened too, a failure of a subgenre in that its influence never extended beyond young bands trying to get signed during the era of its reign. More examples abound, but the point is that in the past twenty years, only electronic music can match the amount of crossover influence that metal has experienced.

 

I’ll say this here clearly so no one mistakes my meaning: All of that is fine. Metal is popular music’s most malleable genre and that ability to bend, flex, and shoot off in an infinite number of directions has been and will forever be metal’s greatest strength.

 

So coming back to Deafheaven then, who with Sunbather can lay claim to having 2013’s most critically lauded album (according to Metacritic), Adrien was a lone voice of dissent amongst the top ranks of metal writers/reviewers with his review of the album for MSN. I was inclined to avoid mentioning the band at all on this blog just because I felt that enough was being written about them in general and that any criticism I mentioned would be met with a degree of “this from the power metal guy?”. The truth is that I think Sunbather is an often brilliant album on a musical level; I love the melodies within “Dream House” and particularly the quiet, dreamy instrumental “Irresistible”. Kerry McCoy is obviously the band’s musical core, using layered guitars both as impressionist paintbrushes and as mechanisms for melodic hooks. The aforementioned songs are two that I’ll find myself coming back for, but not everything is as enchanting, there’s a noticeable dip in the second half of the record where I find the hooks lacking. Still, musically speaking Sunbather is unimpeachable.

 

My main criticism of the album is directed at the atonal, almost tinny vocals of George Clark —- they don’t work for me and I feel that not only do they detract from the great music going on underneath, but that they are simply uninteresting as an instrument in and of itself. I’m not going to assert that Deafheaven would be better suited with Alcest-like dream-pop vocals ala Neige, because that’s seemingly a non-starter of a take, however I will agree with Adrien when he calls into question the need for harsh, extreme vocals with lyrics like “I watched you lay on a towel in grass that exceeded the height of your legs / I gazed into reflective eyes / I cried against an ocean of light”. That awkward dichotomy is an aspect of the album that makes it easy for the band’s detractors to argue that they utilize black metal styled vocals as a bulwark in order to freely name drop Burzum and associate themselves with the mystery of black metal in an unassailable manner.

 

I recently exchanged emails with a fellow metal fan who stated his belief that Deafheaven’s decision to use pink, minimalist cover art was as cynical a marketing ploy as the most grotesque Cannibal Corpse album sleeve designed to shock parents and thrill teenagers (it certainly did the trick to get them noticed by Apple). The argument being that every aspect of Deafheaven is driven by design to bolster their media profile: black metal associations draw attention from metal fans that would have normally ignored the band, while the usage of soft, pastel colored art with a lack of traditional metal window dressing help to entice the indie-music world. I honestly don’t know where I fall on the topic, but I’m surprised that he didn’t mention that maybe it helps that the band members look an awful lot like the reviewers that love them (not a slight by the way, but I imagine that a Brooklyn based writer can identify easier with members of Deafheaven personally than say, Watain or Carpathian Forest).

 

The big takeaway for Adrien regarding Sunbather is that it is quite possibly a line of demarcation between extremity and metal. He raises an interesting question: What defines something as metal, given that the term applies to artists that sound as strikingly different from one another such as Gamma Ray, Morbid Angel, Megadeth, Nightwish, Opeth, and Darkthrone? He answers this question with a statement that is all encompassing in it’s simplicity: “Contrary to what some might assume, extremity is not the most important characteristic of heavy metal. Power is.” Adrien’s essay was controversial for his assertion that Sunbather was not a metal album, but I think he’s onto something that everyone writing about metal should take a moment to consider: The logical natural progression of extreme metal that has merged with outside influences is to allow more space for those influences.

 

Alcest’s new album Shelter comes out this week, courting a lot of discussion due to its complete lack of anything resembling metal. Frontman Neige has gone on record saying the shift away from even minimal black metal elements was completely intentional, a by design move prompted by his lack of interest in the style. No matter how much Deafheaven trumpet Burzum as “the blueprint”, their most obvious influence was the French black metal expansions by Alcest. So where do they go from Sunbather? Short of repeating themselves, I’d expect that the next Deafheaven record will shed more than a few metallic elements. To quote Adrien a final time: “Sunbather is a tremendous example of extremity transcending the metal ethos entirely… And what is becoming apparent as bands like Deafheaven widen their musical breadth is that “extreme music” is the true limitless form of music.” If my prediction comes true, metal sites will still discuss future Deafheaven releases as they are Alcest’s Shelter, much like I still wrote about the recent, unabashedly non-metal releases by once doom-metallers Anathema. Ironic that after all the agitation and debate on Deafheaven’s metal cred, we’ll find ourselves unable to cast them out to the indie wolves. Once you’re in, apparently, you’re in for life.

 

A few years ago I published an article that drew a bit of controversy for questioning the narrowly scoped metal coverage of many big platform websites/publications. It was an admittedly flawed piece in execution, but my motive behind it was to get answers to what I still feel are unanswered questions: Why are those big platform publications’ year end lists comprised primarily of albums that are defined by their non-metal influences? Why are releases by bands of all metal subgenres that embrace traditionalism and revivalism in all aspects (music, artwork, appearance) more often ignored? Why are traditional metal and power metal ignored altogether, despite their being a significant presence in the listening habits of metal fans worldwide? Maybe a new question for the big platformers needs to be added to that list: What is their definition of metal?

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