The Bards And Their Songs: Blind Guardian’s Twilight Orchestra

Here it is. Finally. A project over two decades in the making that, let’s be honest… few Blind Guardian fans were ever truly clamoring for at the expense of say a regular, guitar based Blind Guardian record. I say this having been one of those fans who’s been aware of this project lurking in the shadows for ages now, my first direct recollection being an interview Hansi gave to Dr. Metal on The Metal Meltdown show on WRUW Cleveland way back in 2001 (I still have the audio of it). It was described then as being in its early infancy, although they had hopes to finish it in a few years (cue stifled laughter here), and it had its roots in unused music for Nightfall In Middle Earth as well as the music that the band presented to Peter Jackson in hopes of landing on the Lord of the Rings: The Fellowship of the Ring soundtrack. In the time since I first heard about this project, the bards have released four studio albums, two live albums and I’ve seen them in concert four times, Hansi and Marcus five with Demons and Wizards this past August. Credit where its due, they never committed the absolute blunder that I lambasted Therion for, who set aside all normal recording output to devote a decade to both a covers record and triple disc opera project. Hansi and Andre, who he co-wrote this project with, knew how their bread was buttered and were okay with this orchestral project taking the long route home, something they could afford to have sitting dormant for huge chunks of time while they worked on normal band projects. Perhaps Hansi’s only mistake was in publicly mentioning it at all, but even I would have a hard time assigning any blame for that, because there were really no consequences to talking about it. I say this as a die-hard Blind Guardian fan mind you, but we’d hear him talk about it when asked in interviews over the years, grunt at the info, and continue reading for details on the follow up to A Twist In The Myth or At The Edge of Time. And I suppose I should clarify a bit —- its not like I wasn’t interested at all in the project, because how could one not be curious? But what else could you do but shrug and wait? No one knew what this orchestral thing was even supposed to be.

What it immediately struck me as being upon my very first listen and reinforced in subsequent spins, is that of an audiobook with a built in soundtrack. There’s an hour and fifteen minutes running time here, twenty four tracks total, of which only eleven are actual “song” length pieces of music. Now those eleven tracks compromise an hour and four minutes of the running time, so its not like we’re being subjected to an actual audiobook, but the arrangement of the musical pieces amongst an array of tracks where voice actors spin forth dialogue with radio play styled sound effects is spread out in such a way that no two musical tracks ever line up back to back. This will undoubtedly frustrate anyone who felt bothered by the interludes in Nightfall In Middle Earth —- fortunately for myself, I wasn’t one of those people (the thirty seconds of “Lammoth” are essential!). But I think its fair to say that one’s tolerance level for stuff like this is going to be a huge factor on whether or not they enjoy listening to Legacy of the Dark Lands overall, and as a frequent listener of fantasy audiobooks, I’ve grown accustomed to this kind of listening experience. The meat of the album then are those aforementioned eleven pieces of music (let’s just call them songs from now on), and it really is simply multilayered Hansi with The City of Prague Philharmonic Orchestra and the FILMharmonic Choir Prague and Vox Futura choir chiming in on occasion. Hansi is backed by the “BG Choir Company” which I’m assuming is made up of all the regular guys who have provided backing vocals on Blind Guardian records for awhile now. There are no guitars, so Marcus isn’t a part of this project, and though there are booming timpani’s and martial snare percussion, Frederick is also not involved. It’s strictly a Hansi and Andre joint with Charlie Bauerfiend as usual at the production helm.

The biggest reservations I had about the project heading into it was how would Hansi sound in a setting with just the orchestra, and my worries were slightly exacerbated with their decision to release “Point Of No Return” as the lead advance promotional track. It was yet another in a long line of examples of bands misfiring on what song to release first, because while I do enjoy its undeniably powerful, swellingly grandiose chorus, its connective tissue was the kind of orchestra for animation stuff I typically associate with Merrie Melodies or Looney Tunes (you know what I’m talking about), and Hansi stringing together random blitzes of short vocal melodies for a dizzying amount of lyrics. That magnificent repeating chorus aside, it lacked any kind of cohesiveness overall, and I wondered if that’s how the rest of the album would sound. We’re so used to having Andre and Marcus delivering awesome riffs and interesting counter melodies to fill in the gaps between Hansi’s vocals. Would Hansi and Andre attempt to either over write vocal lines for Hansi to sing to make up for that, or perhaps try to use the orchestra itself as a fill-in for those guitars? On that advance song, it certainly sounded like they were doing both. But again, this is why I have a growing dislike of checking out preview tracks well before the album is released. Because while of course everything that I didn’t like about “Point of No Return” is still present within the song in the context of the album; the pacing and structure of the surrounding tracks go a long way towards mitigating those annoyances, as the song fits into the larger cohesive framework of the album. Its like comparing a nicely cooked, whole roast chicken that’s had time to sit after taking it out of the oven, its juices evenly redistributing throughout to ensure deliciousness —- to attempting to bake a slab of skinless, boneless chicken breast that was the isolated “Point Of No Return”. That piece of meat would taste better left attached to the bird.

To that end, I found my initial listening experience of this album in its entirety quite joyous, maybe it was just me responding to what is undeniably a cheerful, exuberant vibe emanating from it, but I really do believe there’s a heady dose of Blind Guardian magic to some of these songs. Take the gorgeous rise at the 2:20 mark in “The Great Ordeal”, an exquisitely triumphant moment that is the apex of what is one of the stronger melodic motifs at work on the album. The old Nightfall ideas resurface in “The Storm” and “Dark Cloud’s Rising”, and the former has a head turning moment from 2:38-2:55 where Hansi just breaks through everything to punch up with a mighty vocal thrust delivering the best lyrical stanza on the album: ” Gather up / I’m the storm / I’ll bind you / You’ll be the flame / I’m the spark / My wayward friends / You must come and find me / In the dark”. It’s a transcendent, attention grabbing moment that makes me stop what I’m doing every single time to hit rewind. It’s also one of those things that you realize keeps you coming back to the song again and again, yet you wish they’d have turned it into a proper repeating chorus. Let’s not kid ourselves here, Hansi is singing his face off throughout this album, he sounds full of conviction, passion, and emotion as he always does really, but there are a smattering of micro moments where he’s hitting “Another Holy War” esque levels of excellence. That aforementioned cheerful vibe is really felt on “Dark Cloud’s Rising”. which dare I suggest has an almost holiday/Christmassy feel to its melodic thru line, with even its darker, stomier mid-section sounding like a winter storm. The repeating lyrical element towards the end (“…the road goes on forevermore….”) sounds like something that could’ve been at home on a regular Blind Guardian album nestled between songs like “Curse My Name” and “War Of The Thrones”.

The album highlight for me is “War Feeds War”, ostensibly the album’s true opener, and like “Dark Cloud’s Rising”, one of the few tracks on the album to have a distinguishable melodic thru line running across most of its entire length. I really wish Hansi and Andre decided to write more stuff in this vein, because the memorability factor goes up when you have a long, gradually developing vocal melody to really pull you in. During that opening verse sequence, you can really get a feel for just how the orchestra could carry rhythmic, riff like structures through its brass section. Those horns slice through layers of vocals and strings like a broadsword and I would’ve relished more moments where they’d been allowed to work their magic in a forward, aggressive approach. We get a frustratingly brief glimpse of this again in “Nephilim” at the 1:06 mark, but its gone before it develops into something promising and worse yet we’re never treated to it again. Why can’t these songs have repeating hooks or motifs? They can’t tell me that it can’t be done because even though I know next to nothing about classical music composition and the limits of what an orchestra can achieve, I know I’ve heard some damn fine muzak symphony recordings of Celine Dion and Queen songs through the speakers of my local pho place. And perhaps more convincingly, Blind Guardian themselves wrote an orchestral piece built on solid hooks and melodic thru lines in “Wheel of Time” off the At The Edge Of Time album. In re-listening to that song, one can hear that large swaths of it are entirely carried by the orchestral swagger provided by none other than The City of Prague Philharmonic Orchestra. There the guitars are often providing an added textural crunch and injection of power, but melodically it’s mostly the symphony at work (the Andre guitar solo an obvious exception). Hansi’s vocals there are memorable not only for their crescendo establishing rise, but in his epic duel with the orchestra in the chorus, where horns punctuate his pauses, seemingly goading him to sing on. On an album full of incredible songs, it was the capstone, and a genuinely complementary merger of metallic and orchestral elements.

I suppose it’s unfair to ask “Why aren’t there more songs like Wheel of Time on this orchestral album”, but it’s one worth letting hang in the air for a second. I know the answer by the way… it’s the same damn thing that kills the mood in Ayreon albums for me. It’s the damn plot. Because you see while “Wheel of Time” was rather cleverly structured around a chorus spun on rhythmically rhyming lyrics in a nod to the song title’s proverbial wheel allusion, the verses were structured through equal length lyrical lines in the stanza. They were long enough to allow Hansi about five syllables worth of melodic phrasing and emoting, and that consistent structure allowed the orchestra to simultaneously keep rhythmic time and also add in some variation and color through the string section. The lyrics were a broad look at the themes and motivations of the Wheel of Time universe and its chief protagonist Rand al’Thor, and they didn’t need to delve deeper than that. Similarly, the lyrics of Nightfall In Middle Earth were written with a cognizance that the source material was either known, or easily available to those who wanted to know it. As a result, the band focused not on pure storytelling and plot (though its touched on in brief, quick glimpses), but on the emotional pulses that were the undercurrent of that incredibly anguished saga. On Legacy Of The Dark Lands, the band is telling a story that is actually the sequel to the Markus Heitz novel “Die Dunklen Lande (The Dark Land). The orchestral album bears the weight of continuing a story that began in a novel, and while some of this may be disseminated in those short non-musical segues, the bulk of it falls to Hansi and company to sing forth into existence. As a result, they’re handicapped in the songwriting scope of the project in that hooks and memorability are sacrificed for the sake of advancing a story through the lyrics.

I haven’t read the Heitz novel myself, though others have picked up the English ebook translation recently and the reviews are mixed. I’m sure it’s a decent enough slice of fantasy literature, and the premise is certainly intriguing enough on its own (set during the Thirty Years War, seemingly in an alternate universe where magic exists in our “real world”), but try as I might, the confusion factor is a big deal here. I have no frame of reference for who’s speaking in the voice acted narrative sequences, nor do Hansi’s lyrics ever really get specific with who the narrator is supposed to be or what’s their motivation in that particular moment. We’re aware of a plot being advanced, however clunkily, but there’s nothing really pulling me in to further investigate the story on my own. Setting aside opera and musical theater where we have the benefit of visuals to help tell a story that we can physically perceive, a studio recording is a difficult medium in which to tell a story that would be better served put to paper. And here’s the paradox of Hansi and Andre’s chosen approach here, that they’re trying to tell a story and create a wonderful, memorable body of music at the same time, but you can’t do both successfully due to the constraints of the medium. But if Heitz had himself written the sequel, or heck, if Hansi and Andre simply decided to write an orchestral album that was inspired by the story of the original “Die Dunklen Lande” book, thus being freed of the need to put down the plot in the lyrics, I guarantee they’d have cooked up more memorable songs. Basically they tried to do two things at once, and might not have succeeded in either, but of course that’s down to how well you enjoy the music, which is after all, chief among the reasons we’re even talking about this in the first place.

How to sum this up? There’s so much here that its been an overwhelming experience just to soak this album in on endless repeating listens. Truthfully speaking, when I have it on in the background and am busy working on other things, I find it an enjoyable listening experience. There are a myriad of micro moments that capture my attention briefly in a positive way, but they’re scattered across the album in haphazard fashion, and my attention span wanes when they’re lacking, as on the entirety of “In The Red Dwarf’s Tower”, which is the chief example of everything I could do without on a project like this. I certainly didn’t like that “Harvester of Souls” was a worse version of “At The Edge of Time” from Beyond The Red Mirror, and can’t understand why they reused the music at all. But Hansi sounds great throughout, and the orchestra sounds wonderful and dynamic (my friends in the r/PowerMetal Discord have been ripping apart the instrumental mixing of this record, but my ears are dumb to that kind of detail —- though I have heard an interview with the mastering engineer for this album state that the vinyl version is the best sounding one shrug). As I was researching this project and listening to any Hansi interview I could get my hands on, my heart would leap whenever he’d confirm that the next Blind Guardian album was already written and they were going to begin production this coming January. I realized after awhile that my reaction kinda said it all really —- I’m more excited about the next proper studio album a year out than the new orchestral album that just dropped a week ago. I’m relieved that I didn’t actively dislike Legacy Of The Dark Lands on the whole (that would’ve been a painful review to write), but I’m a little discouraged at my middling reaction towards an album that Hansi has been calling in those aforementioned interviews his and Andre’s greatest career achievement. After two decades plus of time and a heck of a lot of money devoted to it’s making, he’s earned the right to feel that way, but I know and you know that his and Andre’s defining achievement is Nightfall In Middle Earth. And it wasn’t the guitars that made that record truly spectacular —- it was the inspiration and passion that the band felt for the Tolkien source material, that they transferred through us like a conduit.

Ever Colder: Insomnium’s Heart Like A Grave

Almost a decade ago, Insomnium went from being a name I’d see occasionally tossed around online to one of my favorite modern metal bands, the kind you spend years obsessing over. Their 2011 album One For Sorrow hit me with the kind of emotional impact that had only been felt a few times in my history as a metal fan, and almost single handedly made the idea of melo-death relevant to me again. I went back through their discography, played the older records on repeat until I burned their melodies in my brain, and leapt at the chance to see them live on their tour opening for Epica and Alestorm. I detailed a little bit of this state of mind in the intro to my review for 2014’s Shadows of A Dying Sun, recounting not only my conversation with the band outside their tour bus, but how their music really became the soundtrack to a specific kind of environment. That was a late November gig, a rare day with the autumn chill pleasantly in the air (hoodie weather, as we call it in Houston) and grey overcast skies. There’s a half joking rule amongst a few friends of mine that you don’t listen to Opeth until November, I’m not sure if it was the song “Dirge For November” that brought this about, but I have to admit, Blackwater Park sounds sweeter in that space between Halloween and Christmas. Perhaps less rigidly, so too with Insomnium.

But Heart Like A Grave’s strength as an aching, bittersweet meditation on the toil of existence, loneliness, temporality, and decay is not a result of its autumn release date, but on being Insomnium’s most melodic offering to date. Its a melodicism that we associate with all these Finnish bands as a whole but frustratingly, credit is not often given to its source, that being the melancholic wellspring that was dug up on those early Amorphis and Sentenced records in the mid-90s. As for the latter, Sentenced have been a singularly overlooked influence on Insomnium that I’ve long banged on about (even writing on it), their signature bittersweet major/minor key melodies rippling through other Finnish bands like Charon and To/Die/For. Sentenced were cited as the sole reason that David Gold even put together Woods of Ypres, and that Sentenced DNA is clearly heard and felt throughout that band’s chaotic mix of extreme metal and more gothic stylings. Back to Insomnium —- I’m not just hearing what I want to hear, hell the cover art and title of Heart Like A Grave looks and sounds like a long lost Sentenced album between 2001-2005. Said cover, as well as the deluxe edition’s accompanying photography book was shot by none other than Sentenced’s drummer Vesa Ranta, who as a longtime professional photographer also designed and shot Sentenced’s gorgeous cover/sleeve art for The Cold White Light and The Funeral Album. But musically speaking, I’ve always heard big and small strains of this influence throughout Insomnium’s older records, but here the band worked it deeper into the bedrock of their songwriting than ever before.

The extra dosage of this distinctly Finnish melodicism results in a tradeoff, this being the least overall aggressive album in the band’s discography, yet also the most emotionally deep and engaging. Not that you wouldn’t think lack of aggression was a factor once the opening riff to “Valediction” kicked in, it being the most outwardly attack-mode element on the album. I’ll admit that I was a little nonplussed about this song when it was first released as a music video a month or two ago. I’ve been vocal lately about being loathe to listen to preview tracks or watch music videos ahead of the album release, because it always seems that either the bands pick the wrong song from the album for this purpose, or more puzzlingly, the song doesn’t seem to work outside the context of the album. For whatever reason, “Valediction” is one of those songs, where it was “fine” in its music video form a few months ago, but mysteriously blossomed into an undeniable album highlight in the context of the album in full. Its a captivating song, built on the strength of Ville Friman (along with new co-clean vocalist/guitarist Jani Liimatainen) delivering gorgeous clean vocal melody passages that bookend Niilo Sevanen’s guttural thunder in the chorus. The accompanying dual lead melody is richly sweet, full of palpable emotional resonance, providing a striking juxtaposition against Sevanen’s all too bleak lyric: “Tonight, the world is burning / Black smoke hides the skies…”. The band carries this balancing act all throughout the record, because lyrically speaking, this is as bleak and downcast as Insomnium have ever been, gazing inward deeper than ever, while setting that perspective against the backdrop of an outside world that seems more uncertain than before.

This album is also loaded with the kind of abrupt one-off moments that made the songs on Across the Dark and One For Sorrow so memorable. I’m thinking of the decision to interrupt the dirty, grinding groove of “Neverlast” with a jaw-droppingly gorgeous dual guitar detour at the 2:17 mark. It’s the kind of choice that turns a merely good song into something excellent, and we hear another example of this on the epic, churning title track “Heart Like A Grave”. Its an album highlight not only for Friman and Liimatainen as vocalists, but in being perhaps one of the best things Markus Vanhala has written for any of his bands. A highly charged quasi-ballad, it turns into a revelatory gem at the 4:36 mark, where a desperately urgent yet exuberant lead melody surges forward and serves as the backdrop to Sevanen’s most passionately growled lyric on the album: “Years of disappointment / and disillusion / All I see in the mirror now / Is an old man with heart like a grave”. Vanhala was also the songwriter on another album standout, “Pale Morning Star”, where we’re treated to yet another gorgeous mid-song shift in direction, a wailing, aching guitar melody cut adrift, seemingly fluttering and gently swaying as though it were a kite in the wind. The fascinating storyline to this album’s construction is in its egalitarian approach to the division of songwriting duties, falling amongst four of the band’s five members, including new guy Liimatainen (yes he’s that Jani, of the first five Sonata Arctica records fame). The new guy delivers the music on “Mute Is My Sorrow”, writing a classic sounding Insomnium song with a bright, acoustic intro and rhythmically dynamic grooves, and he makes a co-writing appearance on two other cuts. Sevanen and Vanhala split the bulk of the songs, almost equally although Sevanen handles the majority of the lyrics. The biggest surprise here is that Friman is left with “Valediction” as his sole songwriting credit (music and lyrics), shocking because he alongside Sevanen was one of the band’s defining songwriters and architects on Insomnium’s albums up to this point. Its simultaneously bizarre, confusing, and thrilling that Heart Like A Grave sounds so emphatically like Insomnium despite one of its defining voices being so scaled back in the construction of the album.

This is a beautiful, haunting, anguished and ultimately comforting record, and the closest thing to the spirit of Sentenced’s last two albums that I’ve heard since the original funeral Finns called it a day. That matters a whole heck of alot to me, because while I felt that way when I first heard One For Sorrow, I have to admit that the years haven’t been good to Shadows Of A Dying Sun, and for a time that concerned me. For as positive as my review of that album was at the time of its release in 2015, I’ve found myself listening to it less and less as time has gone by, with only a few songs from it still on my playlist. I listened to it for the first time in full a little bit ago and there is something stifling about its glossier production approach that mutes the power of some of those songs, that tends to mesh them all together in one amorphous sound profile. I think if I’m being honest with myself, I felt that some of its songwriting also lacked the bold melodic inspiration that I’d come to associate with the band. It was an album written to be an Insomnium album in the mold of its immediate predecessors, but perhaps the band had run with one approach for an album too long and it showed in the songwriting quality. Its follow-up, the deliberately blackened and far more brutal Winter’s Gate was the extreme deviation that the band needed, not only in that they delivered an awesome record with it, but it helped them grab some distance from their “classic” sound so that they could come at it once again with some freshness. They’ve done just that with Heart Like A Grave, possibly the most inspired and poignant chapter in an already emotionally loaded discography —- and a fitting soundtrack to colder nights and pumpkin spice.

Kaleidoscope Metal: New Music By Dragonforce, Borknagar, Opeth, and More!

These past two months have provided a handful of releases by major institutions from across the spectrum of subgenres. Dragonforce are back with the cheekily titled Extreme Power Metal, a phrase they actually coined back in 2004 to put on the sticker of Sonic Firestorm. And while some may snicker, its fair to say Dragonforce really were pioneers in marrying extreme tempos and drum patterns (blastbeats) to ultra melodic power metal, and that maybe they’ve earned the right to weirdly use that tag over a decade later on their eighth studio album. Similarly, Opeth were pioneers in a different way altogether, marrying melody to death metal in a way that had nothing to do with the Gothenburg melodeath sound of the mid-90s era that the band was birthed in. They’ve long since moved onto prog-rock pastures of course, and their newest In Cauda Venenum continues this trajectory. Then there’s the proggy black metal of Borknagar, who are releasing their first album with ICS Vortex at the grim vocal helm since 1999’s Quintessence, with Vintersorg having bowed out of the band last year, ending an eighteen year tenure. There’s a lot to dissect with all three, and of course there’s a few releases here by newer artists that I’ve spent a considerable amount of time with too. Sleeping Ancient from Houston has released a buzzworthy debut, and then there’s Everfrost who are probably gonna be new to most of you but are releasing their sophomore album that’s catching a lot of interest due to their interesting twist on the album release. A wildly varied mix of new stuff, and there’s going to be more on the way, for now:

Dragonforce – Extreme Power Metal:

Its been interesting to hear the chatter around Dragonforce grow louder over the course of the recording of their newest album, Extreme Power Metal, due to Herman Li’s clever immersion into the Twitch community. There fans got to witness not only the recording of the new album in all its meticulous tedium (and if the internet has taught us anything, nothing is too tedious), but also experience band rehearsals and soon, the band’s tour where they’ll be streaming at every tour stop for a real behind the scenes peek at life on the road with Dragonforce. I’ve watched a few of Li’s streams on replay, as well as Matt Heafy’s replays from his own popular Twitch channel, and this is a brave new frontier for band promotion if I’ve ever seen one. Not all musicians would be cut out for it or feel comfortable doing it, but for a select few, this could be a great way to keep one’s audience engaged throughout downtimes and in a more connected, personal way rather than just the typical social media posts or YouTube vlogs. For Dragonforce, its created a noticeable buzz, most recently coalescing in the band performing a set at the Twitch Con 2019’s opening ceremony. There they debuted a snazzy stage set with old school arcade cabs that Herman Li and Sam Totman could stand atop of, guitar hero (ahem) style. I gotta say, even though I may not have enjoyed all the records entirely, its refreshing that even I started to feel excited about the band right now. I don’t think anyone expected them to still be around, that something would’ve derailed them at some point, but power metal is more fun with Dragonforce around —- they’re such an audacious spearhead of the genre that I feel we should all embrace them.

If the cover art wasn’t a clue, the band have decidedly leaned towards their lighter, video game nostalgia referencing sensibilities for Extreme Power Metal, a hard turn away from the darker approach of their last three records. The vibe here recalls the Inhuman Rampage / Ultra Beatdown era, and its refreshing to hear vocalist Marc Hudson in this context, his tenure up to this point on his three album appearances being associated with more serious, angsty lyrics at times (not a bad thing in my view, but it was strikingly different than what we all associated ZP Theart with). It helps that Sam Totman and former bassist (now in Kreator) Frédéric Leclercq delivered some of the most carefree and vibrantly fun material the band has tackled in well over a decade. Songs like “Highway to Oblivion” and “Cosmic Power of the Infinite Shred Machine” ring with those unmistakable classic era Dragonforce hyper-major key hooks that are bursting to the seams with cheerfulness. Even the title of the latter seems like a knowing callback to the Inhuman era, albeit marked with the post 2012 era’s tendency to slow things down a bit and keep the tempos fluctuating. There’s a handful of addictive cuts here, among them “In a Skyforged Dream”, a song that were it longer would remind me of the Sonic Firestorm era for its trope heavy, vaguely fantasy alluding lyrics and dramatic, theatrical stop/starts. The solos towards the end are fantastic, the kind of mirroring of the main melody affair that I’m just a sucker for. And proving that the band’s experimental streak in the Hudson era is still alive and well, there’s the unusually paced and martial drumming infused “Remembrance Day”, a risky song that could’ve easily been a disaster, but somehow it kinda works and has an endearing charm in its tribute to previous generations of fallen soldiers.

My personal highlights however are a pair of songs that will end up on the old iPod, as de facto best of Dragonforce cuts in “Strangers” and “The Last Dragonborn”. The latter is about exactly what you’re thinking, namely the Elder Scrolls Skyrim, complete with references to Whiterun and Tamriel —- first of all, its refreshing alone to simply have references to actual fantasy locations in a Dragonforce song for once, instead of the eternal fantasy steeped vagueness that they work with. There’s so much to love here, be it the vaguely Eastern sounds that shape the overall melodic structure along with the cinematic orchestral arrangement courtesy of Epica’s Coen Janssen; or the dramatic rise and crash of the bridge-to-chorus where Hudson turns in a command performance; or the gorgeous mid-song bridge at the 4:18 mark that brings me back to standing on top of High Hrothgar watching the sunrise. But my favorite on the album is undoubtedly “Strangers”, a mid-tempo banger built in the streamlined approach that informed a lot of The Power Within, largely due to being a Leclercq penned song, and if memory serves he wrote “Seasons” from that album as well. If the band loses the ability to knock out unimaginable catchy mid-tempo hits like this with Leclercq’s departure, that will indeed be a shame (although I’m really looking forward to seeing if Li starts writing more). And then of course, there’s the band’s absolutely wonderful, giddily delightful cover of “My Heart Will Go On”, and in the same vein as their cover of Johnny Cash’s “Ring of Fire”, they stay faithful to the original melody while Dragonforce-izing the song with speedy percussion and furious guitar wizardry. I love everything about this cover, from the silly videogame fx at the beginning to Hudson’s impassioned performance —- they take the song just seriously enough, because dammit, the Celine Dion original is indeed a beautiful song and demands it. I always knew its melody would’ve fit into a power metal context and its a shock and joy to hear it come to fruition. To close, if you were checked out on Hudson era Dragonforce because it seemed tonally different to the old days, this album is the moment to dive back in.

Borknagar – True North:

I was more than a little curious as to what Borknagar would sound like without Andreas Hedlund (aka Vintersorg the man the myth the legend) at the vocal helm. For the past seventeen years, he has laced Øystein Brun’s avant-garde black metal with his rich, otherworldly baritone clean vocals and of course those fierce, frostbitten grim vox too. His presence on any record he’s involved with, be it Borknagar, his own Vintersorg solo project, Otyg, Cronian, etc is hugely influenced by his mere presence, the same way Hansi just brings an encompassing envelope of characteristic sound that is unmistakable. Vintersorg clearly shaped and influenced the Borknagar sound from Empiricism through Winter Thrice, regardless of whether or not he had a hand in the songwriting. Things have been different for him however since his 2014 head injury during an accident where he fell from a ladder. He was a little less prominent on Winter Thrice, as ICS Vortex and Lazare (Lars Nedland) saw increased roles handling the vocals, and his once prolific output has slowed to just two releases in the past five years, the aforementioned Winter Thrice and 2017’s Till Fjalls II. His reasoning in the statement to fans and media was that he didn’t want to hold the band back from touring due to his day job commitments and his “situation after the accident”. That stuff about the touring I kind of took with a grain of salt, because he’s sat out the band’s performances many times before, and Brun himself has a full time gig in IT and can’t commit to lengthy tours either. Sadly, its likely that the real reason is that he has to prioritize things now, and his own musical projects are the only thing that will fit in alongside what I’m assuming has been a grueling road to recovery. That its not a lack of enthusiasm, but rather scheduling and time that’s ending his participation is a bummer, but its also proved to be an opportunity for the band to try new things and stretch their sound.

And stretch their sound they have on True North, with Vortex and Lazare splitting the clean vocals and giving big assists in the songwriting department alongside Oystein, this is the most adventurous Borknagar album since Origins, and I’d argue, since Empiricism. There’s a brighter tone to these songs, and a sense of spaciousness to the songwriting that is uncommon for this band, normally so compressed and dense in their compositions. This is apparent from the jump on “Thunderous”, the most conventional track on offer but still a noticeably measured and dare I suggest, stately paced track despite the blackened, blast beat fuelled passages. Really its on “Up North” where people are going to hear the most striking changes, the song being a major key laced, Hammond drenched Uriah Heep-ian jam with Vortex delivering some James Hetfield growls in his largely clean lead vocal role. He seems to have written this piece solo too, and its fascinating to hear just how writing with his own voice in mind (as opposed to Vintersorg’s) helped shape the outcome to be this different. The unusually structured “Lights” is another bold experiment for the band, a combination of extreme metal moments packed with Porcupine Tree-like prog-rock artistry. Then there’s the gently swaying ballad(!) “Wild Father’s Heart”, where Lazare pours out some incredibly melancholic and heartbreaking vocal melodies. But my fave right now is the Lazare written and sung “Voices”, which is the most accessible thing the band has ever done, a bold slice of art-pop ala Dead Can Dance. Its the tip of the iceberg for things you’d never think to associate with this band, but somehow it fits and doesn’t sound out of place. This is the beginning of something radically different for Borknagar, and its more exciting than I ever thought it could be.

Everfrost – Winterider:

That Everfrost hail from Finland shouldn’t surprise any of you once you hear the first few keyboard notes of Winterider, but you might be forgiven for thinking they might’ve been from Japan for a second. Yes, those are manga styled characters in the album artwork, and in fact, this album was released with an actual manga comic book that details the storyline alluded to in these songs, a neat crossover mixed media approach that the band is trying out that I’ve often wondered why more bands don’t dare to attempt. It was the unusual nature of said album art that I saw in my inbox that got me to check out the promo of Winterider, bracing myself for a cringefest that would have me deleting it on the spot —- yet what I discovered was inspired, incredibly fun sugary power metal reminiscent of the halcyon days of early Sonata Arctica. Indeed Tony Kakko is a clear influence here, not only on the vocal approach by Mikael Salo, whose accent often makes him a dead ringer, but also in the songwriting approach of band founder and keyboardist Benjamin Connelly. For any of you who were disappointed in Sonata’s recent Talviyö and long for that band to return to the Ecliptica / Silence / Winterhearts era, you might wanna bounce on over Everfrost’s way and check out note perfect slices of Finn-power such as the powerful title track “Winterider”. Built on sugary synth lines and a crisp, dare I say wintry separation of instruments, topped with lush harmony vocals, this song is as wonderfully decadent as the most hooky classic Sonata era cut. It also sports an unusual, “Don’t Stop Believin'” arrangement, where the true chorus doesn’t appear until 3:30 seconds into the song, that being an unforgettable, spirited group sing of the song title. This kind of flair and flexibility to deviate from traditional verse/bridge/chorus structures is rare in melodic power metal bands, who tend to cling to those tried and true approaches.

There’s a focus in Connelly’s songwriting to be as concise as possible, with verses mainlining to get to a hook or refrain, but also to be as indulgently stylistic as possible on the way there. Take “Cold Night Remedy”, where the straightforward verse sections are anchored by a solid Scorpions-esque mid-tempo riff and drum beat, but guitarist Markus Laito is off the leash, free to add flurries of notes at will and to tack on creative angles and unexpected tails. There’s just so much ear candy present everywhere, as on “Actraiser” where the keyboards and guitars battle back and forth for control of the primary melody while Salo outstrips both in time for the chorus where his vocal melody surges upwards in one of the catchiest hooks in power metal this year. Its also a particularly Kakko-esque moment, and while I’m trying to not beat the Sonata drum too much in this review, its kind of impossible not to. I don’t think that’s a bad thing either, because frankly, Everfrost are filling a void that was deeply felt by many power metal fans once Sonata drifted into more rambling, eclectic songwriting territory. On the ballad, “Above The Treeline”, we’re hearing that overwhelming influence manifest itself in beautiful, chiming piano melodies that help build up the dramatic tension alongside Salo’s impassioned vocals, the singer delivering his best performance of the album. Salo is also awesome on the riskiest cut on the album, that being a fairly faithful cover of Kesha’s global hit “Die Young”, a choice that not only seems to fit the shimmering, exuberant tone of the album as a whole but sounds great set to rockin’ riffs. I’m not sure how this fits into the album’s storyline, I’m sure there’s a valid reason, but no matter —- simply electing to cover such an unlikely choice of pop song is the very essence of a Sonata influence (they who so gloriously covered Bette Midler’s “The Wind Beneath My Wings”). This is a hugely enjoyable album, and Everfrost do bring enough personality to the table to prevent the copycat label, but that being said, this is terrific tonic for anyone left frustrated by the last decade plus of Sonata.

Opeth – In Cauda Venenum:

Four albums deep now into Opeth’s post metal career, I think most of us have given up on the idea of a return to their prog-death roots. It was all but eliminated for me when I saw the footage of their pro-shot show at Red Rocks, where Mikael Akerfeldt struggled to muster up even a reasonable facsimile of his once glorious death growl (“Demon of the Fall” was particularly saddening). Despite this opening statement however, I don’t hold it against Akerfeldt, because his reasoning makes sense, and I have given Opeth’s post Watershed output a fair hearing, and even liked the odd song here and there. What troubles me though is this sense that Akerfeldt has become a less engaging songwriter ever since he’s loosened up in this free-form, jazzy, prog-rock steeped milieu. I loved the softer moments of the classic Opeth discography, from large chunks of Damnation, to all the quiet valleys of Still Life, Blackwater Park, Deliverance, and Ghost Reveries. Part of the appeal of that quiet/loud dynamic of the classic era was that Akerfeldt was just as compelling a songwriter and vocalist during the hushed, tranquil sections as he was during the brutal passages. From Heritage onwards though, I have rarely heard that kind of quality (only once really, on “Faith In Others” off Pale Communion), and frequently have felt like I’m listening to a plate of musical noodles on these newer albums. On the new album, “Heart In Hand” has a relatively compelling rhythmic dynamic working for it, with a propulsive riff getting things going, except that there’s nothing substantial in the way of a bridge leading to the chorus. It all mushes together, like when you go out for Indian food and long for some other texture amidst the curried meats, curried vegetables, and pillowy naan bread —- its all a bit soft isn’t it? Take “The Garroter” for example, where an intriguing opening guitar figure never really leads anywhere all that interesting, just dissolving in an ambient, soupy mess. There’s some heavy hitting explosions in “All Things Will Pass” that perked my interest, but it wasn’t until the very end where an all too brief sparkling melody made its quick appearance and then faded off. I dunno… it might be time to call it on Opeth. Four albums in a row where one is left disappointed might be overkill. I check out every release out of obligation but this is an exercise in exasperation.

Sleeping Ancient – There Is No Truth But Death:

Sleeping Ancient is the latest in a slowly expanding crop of Houston based metal bands to make a splash online, with Invisible Oranges and Decibel among the major outlets that have covered them in the recent month plus since the release of this debut album. To their credit, like a few other noteworthy Houstonian metal exports they have a unique sound for a band from this city, a blend of post-metal with black and doom infusions. Its a sound that stands out from a local perspective, being far removed from the local TXDM (Texas death metal if you couldn’t guess) scene, and has more in common with geographically far-flung North American bands like Russian Circles, Numenorean, or Isis (no, not that Isis). I’ve slowly listened to this album over the past month —- I say slowly because I can’t emphasize enough just how much this is a mood dependent listen, for me anyway. Usually at night, when things are winding down its just about the right headspace for the meditative, hypnotic circular nature of “A Locked Room”, or the tension building “Disillusionist”. Those two are instrumentals, and there are three of those total on a seven track album which I’ll admit is a puzzling decision. I get it, its post-metal, and “post” means that there’s a lot of leeway in an almost free-form exploration of sound, but I found myself wanting another track in the vein of “A Path Emerges” and “Writhing in the City of Dregs” (which I can only assume is a paean to our lovely weather). The former has the most memorable intro passage of the entire album, with a distinct melodic motif that creeps in during its slower passage halfway through. The latter is the most consistently engaging song from start to finish, although I feel its ending needed something a little more straightforward, like a focused, catchy, aggressive riff to make everything else hit like the proverbial hadoken. This is a promising debut, far from perfect by any means (a little less meandering and more riffs would go a long way), but worth investigating during the moonlit hours.

Full Power: New Music From Hammerfall, Freedom Call, Dialith and More!

Its been a time of change and literal upheaval for The Metal Pigeon blog lately. I had been thinking about updating the look of the site for awhile now, and those thoughts led to actual research which led to my ultimately deciding that its time the blog graduated from its sheltered (and very limited) home at the actual WordPress.com to a self-hosted WordPress solution (if you’ve ever wondered what the difference between the .com and .org versions of WordPress were, TIL!). So after a nervous week waiting for a domain name transfer, exporting and importing a ton of files (all the old posts and comments and images), and fiddling around with a ton of themes over the past two weeks, things are finally settling down with the site for the time being. I’m still not done changing things, at some point I’d like to get a new logo (looking into that), and the site might have more visual changes coming to its home page but ultimately the foundation of this blog has been and always will be the content itself. So thanks for sticking through this rough period and bearing with me.

I haven’t neglected music in this period either, listening to a ton of new releases in the interim, a large dose of power metal to be exact. I’ve been spending time with new releases by veterans such as Hammerfall, Elvenking, Freedom Call, and Sonata Arctica, but also making time for debuts by new bands on the scene like Dialith, who appeared on my radar as a recommendation from Blayne of BangerTV of all people and places (they’re normally very power metal averse). I also went on a metal road trip up north to Dallas on August 26th for the Demons and Wizards North American tour, and that was a pretty epic experience not only for the surreal feeling of actually seeing that band live in the flesh, but for the depths of dehydration that the 107° Texas heat put me in. I talked about it a bit on the recent MSRcast #225 where I pontificated about the magical healing properties of post show Gatorades and smoked almonds. On the episode before that, we had Robb Zipp of The Most Epic Adventures on to talk about his experience going to this year’s Wacken Festival as a solo traveler. It was a pretty insightful discussion on the kind of logistical details that you’re likely to wonder about if like myself you’ve never made the trek overseas for a metal fest. I’m aiming to increase the updates to the blog and will likely have good reason to do so —- expect a Dragonforce new album breakdown on the next update! Now onto the reviews:


Hammerfall – Dominion:

I’ve experienced a renewed passion for Hammerfall over the course of the last couple years, beginning with when I saw them live for the first time on their tour with Delain. I had always revered Glory To The Brave and Legacy of Kings as iconic power metal classics, but that gig made me revisit the entirety of their catalog and since then they’ve been a consistent go to when I need that direct boost of adrenaline and euphoric, spirit lifting positivity. The quality of this discography if charted on a graph shows a slow decline starting after 2000’s Renegade and dipping down further after 2006’s middling Threshold, hitting its absolute nadir with the barely mediocre Infected in 2011, and a slow gradual rise since then with their last two albums. I’ll emphasize gradual here, because while those albums —- (r)Evolution and Built to Last —- had some excellent songs to add to the already stacked Hammerfall Best Of playlist, they were largely under baked as a whole. I was a little more invested this time in the output they’d produce on Dominion, this their eleventh studio album, hoping they’d conjure up some stuff with the same kind of crackling intensity that they had pouring out on stage both times I saw them in the last three years. And as recent output by Judas Priest has shown us, veteran bands can sometimes find their footing again and find themselves in fine fighting form. Hammerfall has done exactly that with Dominion, delivering their strongest, most confident album since 2005’s Chapter V: Unbent, Unbowed, Unbroken.

As to why and how they managed this feat on album eleven and not number ten, or nine —- eh, hard to pinpoint exactly, there’s no change in behind the scenes personnel, with Fredrik Nordström handling mixing duties alongside as co-producer with Oscar Dronjak. I think it could be as simple as they just wound up writing a vastly improved batch of songs this time, maybe the heaven and hell theme reflected in the artwork helped guide them to that point or maybe it had nothing to do with it. There certainly is a more “epic” feel to cuts such as “Never Forgive, Never Forget” and “Dominion”, the two back to back album openers. And I’ll freely admit that while “(We Make) Sweden Rock” had me rolling my eyes a bit when I first saw the title months back, its actually an undeniable jam, with one of the band’s strongest hooks in recent memory and an old school sounding lead guitar figure that bookends the chorus. Its also rather endearing to realize its a tribute to the Swedish contribution to metal, particularly if you’ve seen the music video for the song, with its intercutting the band’s performance with photographs of Swedish rock and metal royalty (where’s Falconer though?). My personal favorite however is the ballad “Second to One”, a piano driven affair that hearkens back to the bittersweet melancholy of classic Hammerfall ballads in “Always Will Be” or “Dreams Come True”. I’ve always loved the bands approach to balladry, where they seemingly prefer their slowest moments to sound haunting and reflective rather than syrupy sweet (even with love songs).

The ballad comes at the halfway point of Dominion, and its also the marker for when the album really gets going with quality songs in succession. I wouldn’t say there’s a pacing problem here, but the first half is definitely a little slower to excite than the spectacular second, where there’s not a bum song among the bunch. Actually, I’d say that “Chain of Command” is one of the best Hammerfall songs in their catalog, one that’s old school metal gang vocal fueled chorus would feel at home on Glory or Legacy. Ditto for “Dead By Dawn”, which is classic Hammerfall through and through, although that chorus is weirdly triumphant sounding for its particular chorus lyric: “You will be dead by dawn” (similarly, “Chain of Command” has a kinda funny lyric at work too if you imagine its talking about an HR departments rules and regs rather than an army on the march, but hey it rocks so…). The Valhalla referencing “Bloodline” and album closer “And Yet I Smile” are not as forward attacking, but are still well thought out compositionally. In fact the only song that I thought was a bit of a skipper was “Testify”, but its not a terrible song by any means, with a solid series of verse sections and an enjoyable bridge sequence, but that chorus is kinda a let down. That being said, its nice to see Dronjak return to fine songwriting form, and Joacim Cains sounds as ageless as ever. Sweden rocks indeed!

Dialith – Extinction Six:

This is the debut album by Dialith who hail from Danbury, Connecticut, yet another random (but apparently very nice!) North American locale where a promising new power metal band is launching its career from, joining the ranks of dozens of their peers in the past few years. This might be the sleeper hit of the summer, an album that has been released independently as of this writing but has gotten some relatively high-ish profile recommends via Angry Metal Guy and Blayne Smith of BangerTV (the latter of whom was my initial tip-off to check them out). I can’t imagine that they’ll be unsigned for long, and I hope that happens for them (and that its a beneficial arrangement, not some sort of 360 deal), but no matter to us at this moment really, because in 2019, the mechanisms are in place for a band to bypass the label route entirely and make an immediate impression with listeners like us on their debut album. For me, Extinction Six has kinda taken over my listening time over the past two weeks, being a compulsively addictive collection of smartly crafted symphonic power metal that’s as richly shimmering and effervescent as it is anchored in a bed of melodic-death riff fueled aggression. This isn’t a new concept, in fact Frozen Crown have made a name for themselves doing exactly that; but whereas Crown’s Giada Etro is the most effortless classic sounding power metal voice we’ve heard in years, Dialith’s Krista Sion is an absolute phenom with her soprano’s approach towards singing, morphing the band’s sound into symphonic power metal.

Of course she’s helped along by the keyboard orchestral elements courtesy of keyboardist Charles Woodruff and apparently an assist from Fleshgod Apocalypse’s Francesco Ferrini, who is credited with additional orchestration and arrangements. The band’s melo-death driven riffage is geared to balance out all that grandiose symphonic sweetness with the help of a guy I consider an ascendant star in the metal producer/engineer landscape, that being one Jacob Hansen. What I love about Hansen’s mixes for any band he works with is his ability to draw sharp, clear delineations between traditional metallic instrumentation and unorthodox elements such as orchestral or even electronically created textures (Pyramaze and recent Kamelot are good examples of this). He nails that again here, but really the bulk of the credit should go towards Sion’s vocals and guiarist Alasdair Wallace Mackie’s impassioned songwriting and his own performance across the album. His playing is downright vicious on “Catalyst” for example, one of the heaviest hitting songs on the record, his riffage sounding as dense as mid-90s In Flames and Gates of Ishtar records. And yet he’s still a melody driven songwriter, as heard on the storming opener “The Sound of Your Voice” and absolute show stealer “Break The Chains” (no its not a Dokken cover!). I can’t get enough of Sion’s approach, and its weird because she’s simultaneously emotive AND icy-toned, her vocals often purposefully distant or indifferent to the intensity of the music and its a fascinating and incredibly well executed dichotomy. I could go on but this likely won’t be the last you see of me writing about Dialith —- consider this one of the most essential albums in an already excellent year of metal releases.

Sonata Arctica – Talviyö:

I’ve thought a lot in the past few days on how I’m supposed to approach writing about Sonata Artica’s utterly confounding Talviyö (“Winter Night” in Finnish), and I’m not sure I’ve come to any kind of conclusion on that so here goes anyway. My first experience with this album was late at night, and maybe it was the mental and physical fatigue of the day that I was foolishly putting off addressing by not going to sleep, but I found myself mildly enjoying the album at that moment. Not with such passion and verve mind you that would have me leaping out of my chair, suddenly wide awake, ready to tell anyone and everyone about how amazing the new Sonata record was, but enjoying it nonetheless. Yet every listen since then has invoked a far more critical reaction within me, seemingly progressive in nature as to how negatively I’ve been receiving these songs. I first thought that maybe this was a sign that Talviyö is a mood record, one that’s only meant for specific mindsets, but I’m not so sure about that —- and just to be sure, I listened to the album twice through after staying up all night watching the Monday Night Footall season opener double header. If anything, my irritation at the album only worsened, and trust me, that had nothing to do with the Texans agonizing loss earlier that night (…yes… nothing…). Bear in mind, that I adore Sonata like most of the power metal community does, their first four albums are genre defining in my estimation. I’ve even found stuff to like on most of their post Unia output, so it gives me no pleasure to write harshly about their new record.

So in that spirit, lets start with the positives, this won’t take long, but let’s give credit to the band and/or Nuclear Blast for correctly identifying the best track for the music video, that being “Cold” which starts off with the kind of irresistible Kakko vocal melody that we’ve all come to love him for. The song is built on tension building verses and a hard rockin’ approach to the mid-tempo riff structure, one slightly reminiscent of The Night Flight Orchestra. I will say that one intrepid YouTube commenter on the music video noted that the song sounded better when you increased the playback speed to 1.25, and damn it if he isn’t right. The middling tempo choice does in fact prevent the song from joining the ranks of classic Sonata songs, on my playlist anyway, but its still memorable and something I wouldn’t balk at taking up space on their setlists. I thought that “Whirlwind” had a nice melody at work and a chorus that had touches of that old impassioned Kakko style, although its sluggish tempo is a little frustrating and again, holds it back. There’s been praise showered on the curiously titled “Ismo’s Got Good Reactors” which sounds like a JRPG mistranslation, and indeed its Celtic-tinged rumble is actually a refreshing experiment to take in… for an instrumental. I don’t know about you, but I can’t ever find myself getting too excited about a Sonata instrumental. This isn’t classic era In Flames, where Jesper Stromblad was a monumental talent who would serve up perfectly sculpted acoustic/electric instrumental figures in unforgettable instrumental interludes like “Pallers Anders Visa” or “Man Made God”. Frankly, after Jani Liimatainen left, Sonata’s music became ever more dependent on the strength of Kakko’s vocal melodies, and an instrumental track only highlights that deficiency.

And then there’s everything else. A handful of frustrating songs that range from aggressively mediocre to downright aggravating. Who is ever going to enjoy “The Last Of The Lambs”, with its strange mix of production effects and plodding, go nowhere repetitive tempo? Or “Who Failed The Most”, where Kakko’s penchant for cute lyrics betrays him on the second worst offender on the album (” You decide, who is the lord of the rings”) set to the most Pepto Bismol-y tasting vocal melody I’ve heard on any power metal album. Then there’s the squandering of a promising melodic motif on “Demon’s Cage” with a sharp turn towards a rambling, unfocused vocal melody and another Kakko lyrical dud (” Working class, kneel and kiss my… s…). Keep in mind, I’m could care less at this point about the lyrical meaning, because if the way its being articulated isn’t drawing me in, any ideas that are being expressed are left at the door guarding my interest level. The worst offender is the insipid and cringe inducing ballad “The Garden”, and this is coming from a mushy ballad lover, someone who rated the hyper saccharine “Love” from Sonata’s 2014 Pariah’s Child as one of the strongest cuts on that album. But gods, this is a bridge too far: “My life… my everything in a beautiful garden / Sunshine, friends, glass of wine…”. Set aside the vitriol inducing twee melody at work here, and Kakko’s droopy approach to the vocals —- these lyrics are objectively terrible. And I get it, he’s clearly writing a song to his wife about the life he feels she’s given to him, and I have no doubt as to his sincerity. But good grief Tony… lose the wine glass, dunk your head in a bucket of cold water and get ahold of yourself man. I’ve gone on long enough —- this is either the worst Sonata album to date or in competition with The Ninth Hour for that title. Sleep on that.

Elvenking – Reader Of The Runes – Divination:

One of my most anticipated records of this year on the metal release calendar, Elvenking’s Reader Of The Runes – Divination is their tenth album and the follow up to the still frequently listened to Secrets of the Magick Grimoire from two years back. Well… at least certain songs from it. Elvenking’s weakness over the course of their career has been their inability to deliver a compelling album from start to finish, with often inspired moments scattered across a bed of middling ones on most of their records. That’s not the worst deficiency in the world for a band to have, it guarantees that there’s always something to love about each new album, but it prevents them from ever making an appearance in a lot of conversations between metalheads or even in the media where folks could point to a singular disc and say “this is the one”. The closest they’ve gotten by most estimates is 2014’s The Pagan Manifesto, but even there I still some songs lacking. I’ve idly wondered if the band’s problem has been their insistence on delivering at least 10-12 songs per album, that maybe in the effort to provide lengthier albums they’ve been allowing lesser quality material make the cut and thus diluting the overall strength. I dunno, its a thought and I’d be interested to see how a tight 35-40 minute album would fare, but we won’t get that chance on Reader, which is just over 52 minutes (relatively short by Elvenking standards).

This is a front loaded album, with playlist worthy cuts “Heathen Divine”, “Divination”, “Silverseal”, and “Eternal Eleanor” all arriving before the album’s halfway point. The latter is one of the band’s more appealing veins of experimentation, that of the folky ballad that they toss with their usual power metal meets alt-rock riff salad approach. Fabio Polo is a talented violinist, but his most underrated ability is in delivering melodies that really can anchor and/or carry a tune entirely on their own. He takes center stage here over power chord riffery and propels forward a pretty lively, jaunty folk ballad that is charming if not quite as catchy as it needs to be. The earworm role is served by “Heathen Divine”, which sports the most confident melody at work on the entire album. The band builds a folk tinged power metal banger atop it with a chorus that reminds you of what it is Elvenking can do so well, that mix of seemingly loose, haphazard vocal approach with precision playing that soars and hits hard yet feels like could come apart at any moment. My personal favorite however is “Silverseal” where the band writes a chorus for the ages and a supporting verse/bridge structure that raises and releases the tension. The folk-power sound here is kind of what these guys need to aim for nearly 100% of the time, sealing it in a compact, focused nearly four minute banger. But overall, I’m left feeling a little underwhelmed by Reader, particularly on its back half where it just seems that nothing quite landed the way it should have. When these guys don’t deliver moment for moment perfect hooks, the lack of richness in their musicality stands out. I’m not sure what the fix is there… to add more instrumentation ala Eluveitie to spice things up? Maybe. Its past time for them to deliver an attention grabbing album, and they’ve missed the mark here again.

Freedom Call – M.E.T.A.L.:

If the audaciousness of the album art there didn’t clue you into the kind of over the top, Chris Bay led festivities we’re in for on Freedom Call’s tenth studio album, I’ll refer you to this Call frontman’s spectacularly lively music video from his 2018 solo album Chasing the Sun. Subtlety isn’t Freedom Call’s paintbrush of choice, and M.E.T.A.L. sees Bay and company staying true that to ethos. From their 1999 debut Stairway to Fairyland, Bay has made Freedom Call into a vehicle to explore the area of power metal once pioneered by Helloween, with loosely fantasy tinged life affirming lyrical metaphors and a musical sound that’s relentlessly cheerful sounding and lighthearted in its use of epic melodicism. Alongside Power Quest, they’ve been tagged unfairly by some as “flower metal”, but where the Quest pulled deep influences from 80s guitar rock ala Van Halen, the Call are firmly anchored in that German power metal legacy pioneered by Kai Hansen (which makes sense, considered Bay’s Gamma Ray stint). I was always a casual appreciator of the band, until 2014’s Beyond, which was their first legitimately excellent album from front to back and turned me into a straight up fan of the Call. Months and years after its release, it stayed with me as a go to for a glorious, epic power metal fix. It prompted me to revisit their back catalog in search of something I’d perhaps missed, and I unearthed some previously overlooked gems to be sure, but nothing matched its fiery verve. I will admit that its been hard to stomach some of their decision making though, as the cover art to 2016’s Master of Light and the quality of its lead off single “Metal Is For Everyone” demonstrate. What I’ve learned about Freedom Call and Chris Bay in particular though, is that you have to try your best to not judge a book by its cover (literally with their last two records) and just trust in this —- that Bay is a sharpshooter of a power metal songwriter.

He delivers ultra catchy power metal goodness by the armload here, the most lovable offering being “One Step Into Wonderland”, as perfect a song as the best of them on Beyond. Yes the “…wonderland…” thing is a bit much —- I’m not sure if Bay’s lyrics would be more interesting if he was actually singing about fantasy places, characters, and stories more akin to Rhapsody or Blind Guardian, as opposed to his purely metaphorical wielding of such language. It seems to be the way he’s utilized them throughout his career, and other bands have done the same thing for sure, but his such a gifted songwriter in terms of developing epic sounding ideas that I wonder if he shouldn’t try. Similarly “Fly With Us” is another barnstormer, built on an 80’s rockin’ guitar approach but still hitting with the impact of a hammer on the low riffy end. Even the Sabaton-ishly titled “Ronin” is a hard charging glorious slice of Euro-power, with those splashy cheerful leads from Lars Rettkowitz. I’m particularly fond of “Spirit of Daedalus”, which kind of reminds me of Tales-era Blind Guardian (albeit, definitely not as dark), propelled by the kind of speed metal flair that sounds so at home in German power metal. The major misstep on the album is clearly the title track, one of those praising metal tracks that some bands can pull off convincingly, and others can’t. Its not the worst offender of that ilk that I’ve heard, but its definitely a must skip here, and why name your album after it when you’ve had a career of nothing but relatively serious album titles. The glaring flaw with Master of Light was its abominable cover art that was so terrible it might land it as a contender for the worst metal cover art of all time… and in considering these recent spate of terrible artistic choices, I’m left wondering where Bay’s head is at these days. I hope these are temporary missteps because they’re overshadowing quality material.

In The Heart of Summer: New Music From Abbath, Frozen Crown, and More!

Back with the most recent collection of accumulated reviews for albums that I’ve been listening to lately, and these really stretch the gamut in terms of release dates and the actual date that I started listening to them. The new Frozen Crown album for instance came out in March but got lost in the shuffle around then and didn’t resurface on my playlist until July (disappointed in myself for that one), and there’s some early summer stuff here that I wanted to have more time with. To change things up after the recent spate of lengthier reviews, I’m doing the shorter format once again (probably a recurring thing, bouncing between the varying lengths, it keeps things interesting for me). If you’ve been reading the site for awhile, you might guess that shorter reviews are harder for me to write, because it forces me to boil things down to the very essence, rather than spilling the broth everywhere on your screen. Disastrous metaphor I know —- its late, sue me.


Frozen Crown – Crowned In Frost:

It was barely a year ago that I was introduced to Italy’s Frozen Crown, who released their debut album, The Fallen King, in February of 2018. It became a favorite of mine, and made me reconsider my slight hesitancy to Italian power metal, something helped along by the recent strong offering from Ancient Bards. Its not all too surprising that they’re back so soon with yet another studio offering, I’m learning to expect this type of shorter lag time release schedule now from bands with limited touring availability and day jobs. What is surprising however, is how much of a leap in songwriting strength the band has achieved in such a short time. I’ll still have my personal favorites from their debut, but Crowned In Frost boasts so much more in terms of accomplished songwriting and a stronger stylistic identity, the band coming damn close to their unstated sonic vision of a Sonata Arctica / Wintersun fusion. It opens with two outright bangers, the first being lead off single “Neverending”, which mixes some nice, tight melo-death riff patterning under vocalist Giada Etro’s powerful straight ahead classicist power metal vocal approach. I compared her before to a mix of Brittney Hayes from Unleash the Archers and Kobra Paige, but she also possesses Tony Kakko’s innate sense of what to do with phrasing and syllabic timing. She turns in a devastating performance on “In The Dark”, her voice full of lift and soaring strength, and folks this song… this is a perfect example of what I love about power metal’s very essence. Four minutes and forty-four seconds of adrenalizing, empowering, spirit lifting fireworks that every band should hope to achieve.

They nearly reach these same heights again on the more melo-deathy infused “Winterfall”, where guitarist Federico Mondelli adds in some pretty solid melo-death growling vox and he and fellow guitarist Talia Bellazecca join in for some crushing tandem riffing in that satisfyingly dense melo-death style. The middle bridge here seems like a step into fresh songwriting territory for the band, a slower, epic build that seems reminiscent of UtA’s Apex. I hear this same similarity on “Unspoken”, a song that is at once a straight ahead, full-on rocker but there’s some complexity going on in the disparity between the tempos of guitars and vocals that’s a time-honored tendency of bands who are increasing in confidence and awareness as songwriters. Mondelli is a flourishing talent in this regard, and “Lost In Time” is one of those songs that points to this, the kind of almost ballad that is damn difficult for even experienced, veteran bands to pull off. The only real stumble on this record is minor, but I just felt a little too much repetition in “Battles In The Night”, which was perhaps more apparent given how unique and explorative the rest of these songs were (there’s also three relatively pointless instrumental tracks that they should start ditching on their next record, but we’ll let that slide for now). And its refreshing to hear a balanced mix on this record, Filippo Zavattari’s bass is clearly audible throughout and it was nice to not have the guitars fighting Etro for space up front. I can’t recommend this one enough, its the fun, frosty album this summer needed and everyone into power metal should be onboard the Frozen Crown dragon by now. These new crop of power metal bands are delivering new music at an alarmingly rapid rate (see Visigoth and Judicator), and we might be in the midst of a second golden age of power metal already.

Bewitcher – Under the Witching Cross:

Recently I went to see Striker play a gig on their tour with Holy Grail, wanting to experience the exuberant joyful performance that I witnessed a year ago when they opened for Unleash the Archers. They delivered, although the sound guy didn’t and left my ears ringing the next day while I looked for earplugs on Amazon, but the opening band on the tour more than made up for it. Portland’s Bewitcher pulled off that rare trick of impressing me when I knew nothing about their music going into it, and came away a fan not only of their intense, ferocious live performance, but of their songwriting as well. The description on Metallum says “Black/Speed Metal”, and yeah that’s about as accurate a summation as one could provide. Matt Litton’s (aka Unholy Weaver of Shadows & Incantations [!]) vocals never really stray into blackened death territory, having more in common with 80s thrash punkiness than anything resembling death metal’s gutturality. The track to YouTube preview is “Rome Is On Fire”, a compulsively addictive, head bashing battering ram of hooky riffing and delightfully spartan lyrics about the brewing wickedness in the declining Roman Empire. But I’m also partial to the title track, coming across as Riot trad-speed meat n’ potatoes meets Bathory’s smoke and fire. That the album sounds as kinetic and vital as the Bewitcher did live is a testament to not only the engineer here for the mix, but to the band who’s writing songs in a cross pollinated style where its often too easy to overdo the grime factor. Bewitcher seems to value memorability above all else, where its the melody guides the riffs, and that means they have to ensure that melodic brightness shows up on this recording, even if that means dialing back the dirtiness. Those looking for something more Entombed or Evocation might disregard this as too polished and compromised, but I think of it more as a solution to a tricky to master blend of metal.

Abbath – Outstrider:

I’m kinda glad I waited on writing a review for Outstrider, long after I discussed it on the podcast and expressed my then difficulty in deciding how I felt about the album at that time. The one thing I knew for certain was that I enjoyed the new Immortal album far more, but was questioning if that was even a fair comparison to make. Well, to answer that latter question now —- of course it freaking is! And no, its not just because direct comparisons are the meat on the bone for content succubi like myself, but because its a natural process that most fans of classic Immortal put themselves through whether they went public with their opinions or not. But the more instructive comparison is to pit Outstrider to Abbath’s self-titled debut, the latter being hamstrung perhaps by its half All Shall Fall followup and half Abbath plays rock n’ roll mishmash that prevented anything resembling album cohesion. The new album is a gigantic leap in improvement in that regard, seeing Abbath turn in a collection of songs forged in a fiery, speed-riffed black metal mold reminiscent of At The Heart of Winter. Oh sure, there’s some leftover hard rock styling imprinted on scattered moments here, like the wild guitar solo in the middle of “The Artifex”, but they’re more tasteful accents than structural shifts in the songwriting approach. The album works best however when Abbath remembers his old strength, to paraphrase Gandalf’s words to Théoden (nerd alert!), as on the highlight “Scythewinder” —- here he marries unrelentingly violent, battering ram verse passages to a dramatic, primal tempo-ed drum pounding middle bridge. Its a bracing reminder of just how good Abbath can be when he gets downright meat n’ potatoes-y with his songwriting, mixing in caveman styled slabs of simplified riffs and spacing to give the blistering black metal fury a little more definition. There’s more of this on “Hecate”, one of the catchiest songs on the album with a riff based hook one could almost call poppy for Abbath (almost). I also thought “Harvest Pyre” sounded better on my umpteenth listen whereas I was tending to dismiss it early on when first listening to the album, not sure why exactly, although I’m hearing several things coming to the surface here that I know I missed initially. I will admit however that there is a sense of frustration infusing my overall opinion here, the unshakeable feeling that this sounds like a fine transition album but that Abbath still sounds like he’s a little unfocused. At times these songs sound way too busy, that a little stripping down of excess riffs and some rearranging would go a long way to injecting some memorability in the mix. The only way to test that transition album theory unfortunately is to wait for the next one and hope its better. That and compare it to the next Immortal album of course.

Turilli / Lione Rhapsody – Zero Gravity: Rebirth And Evolution:

Lately I’ve been coming away relatively impressed by recent Rhapsody releases in any incarnation. Alex Staropoli’s Rhapsody of Fire has been putting out head turning records, particularly the highly enjoyable re-recordings collection Legendary Years in 2017, as well as this year’s The Eighth Mountain (for which I have no good excuse for forgetting to review). I’ve also enjoyed to a certain extent Luca Turilli’s two releases under his Rhapsody banner, though 2016’s Prometheus was a challenge to get into. More immediate then is the debut album from this third version of Rhapsody which sees Turilli reuniting with ex-Rhapsody/current Angra vocalist Fabio Lione. Its a collection of highly accessible songs in a style of Rhapsody that seems distilled of all excess pomp and grandeur, seemingly to match the more narrowly defined science meets futurism theme of the album title and lyrics. We gushed about the Elize Ryd duet “D.N.A. (Demon and Angel)” on a recent MSRcast, but there’s so much more here to love, particularly the rushing operatic pulse in “Zero Gravity”, where I’ve never heard Lione sound as nimble and versatile as a vocalist. He’s also terrific on “Multidimensional”, where he’s assisted by backing vocalist Emilie Ragni who turns in some incredible work herself all over this album, her voice a perfect complement to Lione, providing a higher register assist to really nail those epic, climbing refrains. The epic, Queen-influenced “I Am” is perhaps my favorite original (oh you’ll see) on the album, showcasing a layering of complex arrangements on piano and vocal harmonies and of course neo-classical wizardry on guitar that speaks to Turilli’s undiminished ability to weave these elements together into something that’s nothing short of beautiful. But weirdly enough, the track that really made me freak out was the cover of Josh Groban’s “Oceano” which is a bonus track at the end of the album, which for a few minutes I thought was a Turilli original and was demanding aloud why he wasn’t writing more material in this vein. Heh, well for good reason apparently, but Lione brings the house down on this beautiful slice of operatic pop, and the lightly metallic instrumentation gives it a boost of power the original sadly lacks. Would it be asking too much for these two to deliver an album of nothing but popera covers? Surely I’m not the only one who’d be into that right… right guys?

Idle Hands – Mana:

Perhaps the most simultaneously lovable and aggravating albums of the year, Idle Hands much buzzed about debut album took well over a few months to completely grow on me. It wasn’t for lack of an immediate fascination with the band’s Sisters of Mercy meets Tribulation amalgam of sound, or the truly inspired songwriting at work here, but more vocalist / guitarist Gabriel Franco’s penchant for irritating vocal eruptions. Its been a recurring complaint with newcomers to Mana, and one I’m glad to say becomes less of an issue over time (some of you might recall me complaining about it on the MSRcast a few weeks ago) if you just listen past them. Hopefully everyone has patience enough to indulge in these songs despite that annoying characteristic, because Franco is a compelling songwriter, a lyricist whose awkward directness reminds me of Woods of Ypres’ David Gold and latter day Sentenced. His sense of melodicism and seemingly innate ability to craft indelible hooks results in some of the most addictive, earwormy songs I’ve heard this year. Its the icing on the cake that they’re all relatively unique as well: “Give Me To The Night” is a racing, full-throttled metallic rocker with post-punk lead guitar sensibilities; while my personal favorite “Jackie” is like someone dipped the poppiest slice of Charon in a fondue made of The Cult circa 1985. The song that’s got the peeps in the r/PowerMetal Discord fired up calling this the AOTY is “Dragon, Why Do You Cry?”, which Sonata Arctica cringe title aside, really is an unconventional epic. I’m kinda hooked on Franco’s pre-solo “8…7…6…” countdown before lead guitarist Sebastian Silva unleashes a gorgeous, fluid, character rich solo. In fact, Silva’s playing is perhaps the unheralded performance MVP of the album, even though most of the attention goes towards Franco’s stoic, stentorian vocals. His guitar approach actually reminds me of Roy Z’s work in Tribe of Gypsies at times, loose and quick on its feet, slightly Latin-tinged without leaning on cliches, and full of swagger and attitude. There’s so much to love about this album, and its been one I’ve been returning to for months now (this was a May release), I might have my minor gripes about Franco’s plethora of out of nowhere grunts and shouts, but they do kinda grow on you strangely. Push past them, ignore any cringe factor the lyrics might conjure for you and let yourself be treated to one of the finest collection of goth-metal songs ever recorded.

The First 2019 Summer Reviews Cluster: Myrath, Amon Amarth and More!

Too many new albums, not enough time, and somehow I still managed to get through a good many of them (though as usual, not all). How? By sneaking in listening sessions at the most inconvenient times when I’d usually just prefer silence or an episode of Bob’s Burgers as background noise. This might be the most economical, quick-dashed off reviews cluster to date in Metal Pigeon history, my focus here on being concise and straight to the point in one paragraph at most (with the exception of Myrath of course). Let me know in the comments below if I’ve forgotten something glaring or of course if you entirely disagree with something I’ve written! Again there’s more coming in the weeks ahead (with the exception of Sunn O)))’s much praised Life Metal… I tried, just not for me), so if you don’t see a particular album here yet, maybe it’ll show up down the line.


Myrath – Shehili:

This is only my second opportunity to review a new Myrath album, seeing as how I became a fan of the band in between the five year gap of 2011’s Tales of the Sands and 2016’s best albums list maker Legacy. In the review for the latter, I spent some lines pondering other ideas related to this band and their serving as a link to a geographic and cultural region that most listeners likely have few ties to outside of what they see on CNN. In light of recent news regarding possible war with Iran, I’d like to call attention to that sentiment once again although will refrain from rewriting it all out here. With Shehili, Myrath are back with a more regular release schedule in line with their first three albums, with the same line-up that recorded Legacy (its the second album for drummer Morgan Berthet). That to me is a pretty good indicator that there would be more of a continuity on Shehili with the more looser, celebratory, wild rock vibe that infused its predecessor rather than the prog-metal underpinnings of Tales. Typically speaking (though not always), when a band takes a long time between releases, five or more years lets say, expect that there’s going to be some deviation in sound from what they’d done before, for better or worse. Its just a natural byproduct of too much time passing in between songwriting sessions, new influences having time to creep into the mix, and a greater time to reflect on whats been done previously and what a songwriter would like to try doing next. The inverse typically works the opposite fashion, a band can carry over the essential musical variables they collected on a previous album to the new one because its what’s naturally on their brain in such a limited time after touring and immediately getting back to the studio process. Of course, we can all cite examples where both of these theories are blown apart, but Shehili would not be one of them.

That’s not to say that Shehili is a carbon copy of Legacy, but its built in the same muscular riffed, heavily orchestral, shimmering pop songwriting structures that defined the latter’s overall makeup. That’s largely a plus for me, seeing as I preferred the stuff they were doing on that album to the ones before it (I still enjoy the older stuff too), and with gems like “Wicked Dice” and “Stardust”, I get the same tingly feeling I felt three years ago. The former is maybe the best song on the album, with a compelling and deeply heavy, groove oriented rhythmic riff. The sudden rush of drama we hear in the chorus is one of the band’s most compelling moments, full of the kind of gravitas that Myrath handles so expertly. I love the depth of sound in “Stardust”, where the epic sweep of more straightforward symphonic orchestral elements support the theatrical push of vocalist Zaher Zorgati’s powerful performance. Its a rare Myrath song without an overtly Middle-Eastern sound palette, and surprisingly it works just based on the band’s raw musical abilities. Speaking of that distinctive palette however, I adore “Born To Survive” where the band marries slabs of groove oriented metal riffs to what sounds like a Berber folk music intro. Those trademark gorgeous Arabic violin melodies reappear during the chorus encircling the ascending vocal pattern, and its just pure ear candy for me. I could sit here and point out all the Middle-Eastern musical elements that I love but they’re so interwoven with nearly every facet of the band’s songwriting that isolating one over others seems random. Its in everything from the percussion fills, to the phrasing that guitarist Malek Ben Arbia employs in his creative lead guitar work, to Zorgati’s myriad vocal inflections. I’d say that nearly all my enjoyment from Myrath stems from their ability to marry that world of gorgeous ethnic sound to every facet of their songwriting —- the riffs and heaviness are just the pistachios on the baklava.

The interesting question here is that with Shehili coming relatively hot on the heels of Legacy, or at least soon enough to observe continuity between the two albums, how well does it hold up to its predecessor? I’d say fairly well, with a few caveats. Its a strong album on its own, but when things get a little too close comparison wise (at least from a fan’s eye point of view), Legacy has the upper hand. Take Shehili’s first single, “Dance”, definitely an enjoyable slice of rock n’ roll infused Myrath, but far too similar to Legacy’s “Believer” not to take immediate notice. Hell, there’s even the same split second pregnant pause just before Ben Arbia’s guitar solo in both songs. As much as “Dance” was a strong track, its not in the same league as “Believer” which had not only a euphoria inducing, life affirming chorus vocal melody, but the perfect build up to it in Zorgati’s lyrical cadence in the verses. It was swashbuckling and full of swagger, and “Dance” just doesn’t quite get to that same level. Similarly, the album stumbles ever so slightly on songs like “Monster In My Closet” which despite a dynamite chorus, features a series of verse sections that are more rhythmic than melodic, not playing to the band’s core strengths. I hear the same problem on “Darkness Arise”, which has some good ideas tucked within but they get a little lost amidst everything going on. I actually would have loved more of a lean towards the approach on “No Holding Back” and “Shehili”, both songs built on Zorgati’s inimitable ability to sound like he’s pouring everything he has into a singular expressive vocal melody. I guess the takeaway here from my perspective is basically, more melodrama infused melodies anchoring songs instead of rhythmic structures. That being said, this is still a tremendously enjoyable experience, Myrath just bring so much to the table that I love.

Ravenous E.H. – Eat the Fallen:

Ravenous E.H. (as in Eternal Hunger) are the latest in an ever growing line of new trad/power metal bands coming from the maple kissed north of Canada, in Calgary to be exact. That is starting to become a less and less surprising factoid, because Canada seems to be the new hotbed of metal talent within the past few years with no signs of slowing down. Ravenous E.H. tackle a familiar vein of power metal with cited inspiration from the likes of Hammerfall, Iced Earth, Grave Digger and Manowar but also claim to share a close affinity with modern day genre representatives like Judicator and Viathyn. Their debut full-length Eat the Fallen is fist in the air, headbanging stuff, and songs like “Strength of the Warrior” and “The Hunger Never Dies” do an admirable job of ringing familiar bells we’re all comfortable hearing. Jake Wright’s virtuosic guitar melodies are attuned to a wintry, folkish spirit, and vocalist Robert Antonius Voltaire has a vocal style that brings to mind the range of Matt Barlow with the baritone of Joakim Broden. There’s some genuinely exciting talent here, and the songwriting is far better than a debut often tends to be, at times even approaching true excellence. I think they find it on the album’s closer “Conquering the Sun”, a charging, martial ditty about armies crossing seas to kick in the gates somewhere (a tribute to the Dothraki and Unsullied perhaps?). There’s a fantastic chorus here, soaring with the help of choral gang vocal harmonies and made to stand out by wedging it in between slabs of punchy, regal melody adorned sections big on crunchy riffing. There’s something playful at work throughout this album too, just on the right side of swinging your beer horn and sloshing a little over the side in celebration. It’s gritty and grounded, full of enough melancholia to prevent it from joining the ranks of cheerful, chipper “battle metal” gaucheness. Lesser bands would have walked into that with their chins out.

Grand Magus – Wolf God:

Its been awhile since we’ve heard from Grand Magus, their last album Sword Songs coming three years ago, and perhaps too soon after its clearly superior predecessor Triumph and Power, a Metal Pigeon Best of 2014 list maker. This isn’t to say Sword Songs was an awful album, it had its share of solid moments, but it suffered from a series of bad decisions regarding the tempos on a handful of songs that either slowed things down to a point of draining their energy or sped them up in a way that this band simply doesn’t do well. Its a relief then to hear that they’ve decided to firmly plant themselves in mid-tempo rock n’ roll strut territory on Wolf God. Vocalist/guitarist Janne Christoffersson has seemed to always sound more at home in this rock n’ roll songwriting approach, with the metallic nature of the band’s sound coming in the thundering heaviness of the riffs and subject matter (add some Southern rock phrasing to the melodies, replace lyrics depicting the north and glorious battles with motorcycles and drinkin’ and Magus could sound like a pretty great American southern rock band). Its his wheelhouse, and I say that in a complimentary way. On songs like “Untamed” and “He Sent Them All To Hell” are built on ever-steady, in lock-step groove based riffs, while Christoffersson ushers things along with his lumbering, dryly impassioned vocal melodies. I’m big on “To Live And Die In Solitude”, particularly the stark storytelling in its lyrics, and also “Brother of the Storm” where stop-start riffing allows for Christoffersson to flex his soulful croon a little over ambient space. I kinda expected that Magus would rebound with this album, and glad to see my hunch was right, they’re too good a band to lay two semi-duds in a row.

Tanagra – Meridiem:

I’ve had a hell of a time wrapping my mind around this album, not because of any complexity or inaccessibility on its part —- Portland, Oregon’s Tanagra are a progressive power metal band and that’s familiar territory obviously. No, in this case its that I can’t quite figure out if I actually like the vocals of Tom Socia or not, which is a strange place to be after a couple weeks of fairly consistent listening. This is Tanagra’s sophomore album, they’re yet another among many newer North American bands playing a vein of melodic metal to come on the scene lately, having released their debut in 2015. The easy comparison here is Dream Theater in terms of degrees of light and dark, overall medium weight in heaviness, dramatic injection of keyboards, and of course a distinctive toned vocalist. But I enjoy Tanagra’s songwriting far more than DT’s, and there’s more of a Euro-power influence to the riffing that firmly anchors these songs in a trad/power posture than the loose, jazzy feel of other prog-metal bands. Socia is an absolute mystery though, because the mono-tonality in his clean voice is sometimes off putting and alternatively enjoyable in quick succession (or simultaneously in spots). When he leans into his more aggressive style, as on “Across the Ancient Desert”, he showcases a nicely gruff side to his vocal that is a perfect blend of melodic and metallic, and I’m really fond of all those moments. Look for this to be on a future MSRcast episode where I’ll try to sort out my thoughts on it more —- this is a quality record for certain, just a confusing one.

Månegarm – Fornaldarsagor:

The Swedish folk metal legends return after a four year absence, longer if 2015’s self-titled affair felt as off to you as it did to me. I only remember enjoying the acoustic ballads because that album’s muddy guitar tone annoyed me, and thankfully the Månegarm guys decided to abandon it on Fornaldarsagor in favor of a much more classic sounding approach. That decision and some other X factors resulted in crisply produced batch of blackened folk metal that is far darker and more convincingly brutal than I’ve heard this band ever sound. It barrels out of the gates that way with “Sveablotet”, a near perfect synthesis of everything the band does well —- rich Scandinavian folk melodies on violin and hurdy gurdy alongside flawlessly executed clean electric guitar, accompanied by harmonized group vocalization that recalls a little of Tyr and the brighter moments of Vintersorg, melded together with grizzled, smoky battlefield black metal. What Månegarm have always done so well however is to keep things accessible, with moments such as the wordless guitar melody refrain at the 3:30 mark of “Hervors arv” being ear candy I’ll return to over and over again. Vocalist Erik Grawsiö is still capable of his uncanny ability to blend together a gruff singing technique into some Johan Hegg-esque growls. This album is loaded with so many noteworthy musical moments in that vein, but my favorite slice has to be the entirety of “Ett sista farval”, whose melody is emblematic of the reason many of us love this subgenre in the first place. A return to form for Månegarm, and another shot in the arm for the slow revitalization of folk metal as a whole.

Riot City – Burn The Night:

Canada’s latest volley in the recent power/trad metal resurgence (I really need to come up with a name for that, any suggestions?), Alberta’s Riot City take their cue from classic early-mid 80s period Judas Priest and maybe a generous splash of Exciter here and there. There’s a level of technicality on the guitar work on “Warrior of Time” that instantly brings to mind the meticulous writing style of Tipton and Downing. Its all the more impressive when considering these guys are a four piece, the twin guitars provided by Roldan Reimer and Cale Savy, the latter handling lead vocals in a strikingly fierce emulsion of Halford and David Wayne. He has that chilling, eerily calm colder clean tone when singing melodically, and can turn it to Painkiller-esque hellion screams seemingly on a dime. If he’s capable of pulling this all off in a live setting, that’s a show I have to see for myself. There’s not a bum track in the bunch among these eight songs (keeping things old school with the classic vinyl album length here, a tight 37), and a few notable highlights battling it out for the best: “Burn the Night” is an absolute ripper, a blazing fast slice of classic speed metal with attention to razor sharp riffs and unrelenting intensity from start to finish. But I’m just as partial to “In The Dark” for its subtle shades of Euro-influence in those Helloween inspired guitar melodies wedged in the verses. I’m also digging the “Hot Rockin'” vibe on “Livin’ Fast”, a song that screams 1983 and would be tons of fun to gloryclaw along to at a gig. I just wonder what the idea of living fast means in 2019, or are Riot City purely soaking in the nostalgia hot tub and to hell with lyrical depth? Fair enough if that’s the case —- but Riot City’s challenge on future releases will be to expand on their influences that are so front and center on this excellent debut.

Enforcer – Zenith:

Its been intriguing to contemplate the dramatic evolution of Enforcer on Zenith, because I’ve associated them with hyper speed riffing and wild hard rock tones mixed with early 80s metallic attack —- to such a point that I have an archetype in mind of what they “sound like” (even if I can’t ever really remember a single song). Oh I like the band enough, I saw them live when they were supporting 2015’s From Beyond and enjoyed them thoroughly, particularly when singer/guitarist Olof Wikstrand attempted to kick a drunken, bottle throwing idiot in the face from the stage but thankfully missed and comically kicked the guy’s popcorn out of his hand (I know… popcorn, the Scout Bar is a quirky little venue). They were energetic and an absolute blast at that show, and it was easy to see why they stuck to their formula for their studio records. So I’ll be eager to hopefully catch them this coming fall on their next swing through town to see if and how these new songs come across live, because tunes like “Regrets”, “Sail On”, and “Zenith of the Black Sun” deviate in a striking way from the Enforcer playbook. The latter is hard not to compare to Hammerfall, and while I’m able to enjoy its mid-tempo classic power metal approach for what it is, its also illustrative of why Hammerfall is so damn awesome at this type of thing. Enforcer just can’t quite get the interlocking musical rhythm that these verses demand, but you could envision their fellow countrymen doing something terrific with them. I was a little more resistant to “Sail On”, whose chorus comes across as deliberately trying to invoke Styx that you wonder if its a weird inside joke among the band. Its to the point of distraction, but the song’s loose, strummed rhythmic structure also feels a little unsettled, like the band isn’t comfortable in this mode. I do think they nailed the power ballad “Regrets”, which is a close cousin to something The Night Flight Orchestra would tackle, a tune that will annoy many but genuinely please a few of us more inclined to the sappy stuff. This is merely scratching the surface of the strangeness of this album, and would you believe me if I told you there’s only a single track among its total ten songs that rings of classic Enforcer?! Its like the band decided to collect all their experimenting over the years and save it for one puzzling new album. One of the year’s weirdest releases but also one I’ll keep investigating.

Amon Amarth – Berserker:

I initially was blasé about the prospect of a new Amon Amarth record, and if I’m being honest its been awhile since I’ve been remotely interested in them, having never reviewed them for the blog before now. I’ve certainly listened to their many recent albums when they were initially released, more out of obligation than anything, and I should add that I don’t dislike the band. But at some point Amon went from being an exciting melo-death / power metal mashup to well… just more of that. I know, I know, they’re viking metal, but that’s an ideological label, not one that in any way describes their musical approach. Replace Johan Hegg’s consistent gruff/grim growling vocals with a Jorn Lande or Joacim Cans, and you have a bonafide power metal band because Amon’s melodies are bound tightly together between vocals and guitars. I decided to give Berserker a shot because I rather enjoyed the pre-release promo track “Raven’s Flight”, hearing something a little more aggressive in the opening guitar sequence and subsequent Gothenburg-ian percussive riff that reminded me of the signature moment in Dark Tranquility’s “Terminus”. Its a rare moment when the band seems to lean a little more aggressive, and that’s long overdue. Amon has for ages now needed their own Axioma Ethica Odini, that being Enslaved’s 2011 brief foray into a next level of speed, aggression and fury that we hadn’t heard from them before or since. While we don’t get that entirely on this album, its encouraging to hear Amon at least making a meager attempt.

Melodies have never been Amon Amarth’s weakness, they’ve always had an armload for each album and there’s no lack here. I’m particularly fond of the story driven “Mjölner, Hammer of Thor” with its dual guitar harmonies serenading Hegg’s growling melody (a strange thing to write but apt enough). The really fun moment is the pummeling bass driven assault that arrives at the 2:10 mark, something that I think could’ve been absolutely devastating if it were just a little faster, a little dirtier, and a touch heavier. If they could outsource moments like that to Unleashed or say Evocation, we’d be onto something awesome here. The heaviness returns in “Shield Wall”, as straightforward death metal as Amon might actually get, even though its speeds are just a notch above mid-tempo. The refrain here is excellent, nicely rumbling and propulsive, and the mid-song bridge with Tyr-ish battle drums pounding away is a nice Viking touch. But more often than not I just wish some of these songs would pick up the pace a little, such as “Crack the Sky” and “The Berserker at Stamford Bridge”, the latter of which has a few nice riffs that could’ve been more effective with more push behind them. I know this is a weird criticism coming from me, the power metal guy, about a band that has wholehearted power metal vibes bursting out of every song. Shouldn’t I be embracing that aspect? Again —- they do a fine job of those things… but I also grew up listening to death and black metal, and sometimes I wonder why Amon are a death metal band at all if they’re not going to better harness the potential of power that style can bring to the table. Insomnium had the right idea with Winter’s Gate, to use aggression, speed, and fury like a battering ram at certain well chosen moments —- not all the time, but enough to make it matter. There’s good stuff on this album, but every time I take a pass through its entirety, I’m left wanting for something more exciting. More of the same old with Amon Amarth I guess.

Springtime Metals: New Music From Eluveitie, Thormesis, Devin and More!

Alright back to music! Thanks for indulging the little detour I had to go on with the last update, and though I’m hoping it will be the first and last of its kind, you kinda get the feeling that it won’t be unfortunately. The good news is that the metal release calendar marches on, and its been a busy few weeks trying to juggle listening time for everything that’s caught my ear. The big release I’m reviewing below is obviously the new Devin Townsend album Empath, and we went pretty in-depth on the upcoming newest MSRcast episode that should be up very soon, in addition to discussing recent concerts I’ve been to. Speaking of, I found out I’m driving to Dallas in August to see Demons & Wizards, and let me tell you, as a Houstonian, driving to Dallas is something I’d only do for a select few artists. Hansi should be honored! Oh and Game of Thrones’ final season premieres tomorrow so even though its officially spring, I’m happy to say Winter Is Coming!


Battle Beast – No More Hollywood Endings:

After becoming very familiar with Finland’s glam meets power metal export Battle Beast with 2017’s Bringer of Pain, I felt an almost zen-like state of awareness in approaching their new album. I’ve achieved this mental clarity in part through observing and participating in critical discussions about them with the r/PowerMetal community and generally feeling less confused about the band’s own schizophrenic tendencies that had left me puzzled in the past. I think what really helped however was seeing them live for the first time on the Kamelot tour in 2018, where simply watching their performance provided some insight into how this band sees itself and their music post Anton Kabanen (now Mr. Beast In Black in case you didn’t remember). My takeaway was equal parts Roxette / Dokken / and Twisted Sister, which is inherently fine, but it was good to get clarity (creating emotional epics ala Tuomas Holopainen isn’t their bag). Now I’m not sure how much thought the band put into titling the album No More Hollywood Endings, but its striking that both the cover art and arms wide, grandiose, arena ready anthems on this album directly contradict it in sound and spirit. The move towards this centering of their sound was suggested on their last record, and consolidates here on moving away from the Judas Priest-ian influences of their early records and more towards the Roxette meets Sabaton vibes that they’ve realized vocalist Noora Louhimo does better than most. She’s a phenomenal singer in terms of pure tone, grit, and delivery; the kind of voice that is able to coat a veneer of believability over the most lackluster lyric.

These songs place Louhimo front and center not only in the mix, but in the center of the overall songwriting approach, a wise decision that allows keyboardist Janne Björkroth, guitarists Juuso Soinio and relative new guy Joona Björkroth (who’s also the founding guitarist for Brymir, whom I review below) to lean hard towards pomp-tinged Avantasian power metal as on the opening rush of “Unbroken” and “Eden”, but also veer off towards the sultry modern pop meets glitter rock mash up in “Unfairy Tales”. The latter pulses and struts on the back of a fat, ultra-processed riff in the mold of Bon Jovi’s “Its My Life”, blossoming into skyward chorus that would’ve yielded a straight up hit in the 80s. And that’s not just Louhimo’s uncanny similarity to Ann Wilson as a vocalist suggesting that, but the actual construction of that stepladder nature of the bridge, and runway sized room available for the vocal hook in the refrain. This largely retro feel continues on the shoulder-padded, too many bracelets on two wrists Bonnie Tyler vibe of “Endless Summer”, and while I’m all too happy to eat this melodic jello with a plastic spoon, your tolerance may or may not be up for it. But its not all nostalgia soaked throwbackery, as the band gets a little inventive on the title track, concocting a strange waltz with ABBA-inspired guitar melodies and dance-pop keyboard motifs, reminiscent of something you’d hear Amberian Dawn dabble in with their unabashed love for the glorious Swedes. I particularly enjoy the drama of Louhimo’s vocal melody here, veering wildly from romantic anguish to Broadway stylized theatrics, and utterly ridiculous video aside, I thought it was a rare experiment from this band that actually worked. They have a track record of trying ambitious stuff like this and falling on their face, so this is progress —- in fact the whole record is surprisingly solid and at times even worthy of a roadtrip playlist inclusion or two.

Brymir – Wings of Fire:

Hailing from Finland, Brymir is one of those bands that I forgot I heard before for a reason I can’t hope to remember. Maybe its because their name was too close to Houston’s own Brimwylf or maybe its because I remember their debut coming out on Spinefarm in 2011 with a lot of hype behind them proclaiming them to be the next Wintersun. I barely remember anything from their debut, so that clearly wasn’t the case, and I must’ve just slept on their 2016 sophomore effort, but I’m glad to see they’ve sliced the gap of time between releases even further with Wings of Fire, their third album. More than that though, I’m beyond glad that this is a seriously thrilling affair, a thoroughly convincing slice of epic melodic death metal strutting around the castle with its symphonic metal overcoat. I’ve been listening to this consistently for the past couple weeks, and it took me a minute for it to dawn on me that I was finding myself missing it when I skipped it for a few days earlier this past week. I can’t speak for the past, but right now is all that matters, and on Wings of Fire, Brymir come across to me as the heavier end of Wintersun spiced with a little Children of Bodom and Suidakra for thrashy spice and smoky pagan flavor respectively. I think this particular vein of melodic meets extreme metal is particularly difficult to pull off this well, because there’s always the trap that you’ll lapse into pretentiousness if you’re not self-aware during the songwriting process. Brymir seem to have that awareness in spades however, and I love that their choice for the cover art is vividly anime influenced, suggesting they have a good feel for the visual spark their music might be conjuring in some of our minds’ eyes.

About that music then, there’s so much worth pointing out here, but overriding everything is that I find the band’s sense of wildly adventurous pomp lovable and refreshingly devoid of pretentious that can so easily cloud a merging of this specific kind of musical approach. You get a sense of that right from the opening gates of “Gloria in Regum”, a perfectly blended mix of orchestral surge and clamor, pummeling rhythm section and a ripping solo at the 2:52 mark. Or in the stuttering effect laid on top of the vocals in “Hails From the Edge” at the 2:25 mark that sounds like its something pulled from the BT playbook. Speaking of vocals, Brymir screamer Viktor Gullichsen has an approach that could arguably be described as a blackened version of what Jari Maenpaa or Mors Principium Est’s Ville Viljanen does, which is really the right way to go for Brymir’s melodic approach (grunting death metal vocals would just distract). The well chosen single, “Ride On, Spirit”, is one of the album’s highlights, a mix of a quiet folk intro and blasting symphonic backed riffing that erupts like a volcano. I also enjoyed Noora Louhima’s guest vocals on “Anew”, despite that songs borderline questionable spoken narration that uncomfortably sounds like Timo Tolkki speaking from on high. My personal favorite however is “Chasing the Skyline”, not only for its melancholy, distant sounding opening, but for that absolute stunner of a chorus that is just on the right side of ridiculous (noticeable Stratovarius / early Nightwish vibes popping up here, love it). A spectacularly fun album that I can’t stop listening to.

Devin Townsend – Empath:

I suspect that Empath will the point of entry for a lot of new fans to the wide and frankly weird world of Devin Townsend. In the months and weeks leading up to its release, I had noted an inordinate amount of buzz surrounding this album, much of which involved its striking cast of guest artists, but also on its rather risky, expensive price tag it cost to make it. Maybe I hadn’t paid attention before with his previous albums, but I’m usually a fairly astute observer of these things, and nevermind that my MSRcast co-host Cary the Metal Geek might be the biggest fan of Devin’s in all of Texas —- so I’ve heard about Devin’s releases before, but not with this level of volume. Going back to the album’s price tag for a minute because that is an eyebrow raising amount ($170,000 of his own money, not counting the amount the label put in for promotion) for an independent metal album in 2019, I wonder if that’s not fueling some of the extra interest that I’ve detected surrounding its release. I suspect that metal fans in particular love the idea of a band or album that is rife with ambition, and the media buzz around this album is drawing in a few more ears, with the knowledge that Devin has been vocal about needing this album to succeed in order to continue financially (enough to provoke even the most passive person to click on a link to a YouTube video to find out for themselves if he might just be able to). In 2004 when the music industry wasn’t in as quite a transformative state as it is today, Therion spent 100,000 Euros on recording two albums in Lemuria and Sirius B. While that wasn’t even a minor headline back then, and it was money Nuclear Blast provided for a recording budget, it still had to be recouped, so the band avoided music videos, toured for years and managed to pull it off. With Empath, Devin is already in the hole to the record company as well as himself, spending all of the 150k he managed to net from re-signing his back catalog. Yikes. The early good news however is that the album is landing some of his highest positions to date, particularly in the third largest music market of Germany where he’s nearly cracked the top ten.

As for myself, I think all of the above drove my interest in giving Empath particular attention that I’d never given to any prior Devin release, even setting aside knowing that it’d be a big topic on an episode of MSRcast. This album has been a challenge to wrap my mind around admittedly, my first impressions just being somewhere in the ballpark of “this is a lot”. And it still is to be truthful, I still have trouble processing all of the 23:33 running time of the epic “Singularity”, even though its opening five minute “Adrift” passage is so gorgeous I’ve come back to it over and over. The rest of it is a challenging listen, but there are little spots here and there where my interest is piqued, things I wish he’d repeat a few more times or develop into something larger (the Anneke van Giersbergen vocal passage in the “Here Comes The Sun!” suite is one of them). I realize that track was a large chunk of the album’s 74 minute running time, so that might be something of a black mark on the album so many listens into it, but its one that I feel okay about letting go. I enjoyed most of Nightwish’s Endless Forms Most Beautiful while simultaneously decrying the disjointed nature of its 24 minute closer “The Greatest Show On Earth”. Conversely, I found enjoyment in Empath’s far more concise yet utterly weird tracks, such as “Sprite”, with its almost trance influenced approach towards electronically manipulated repeating vocal lines, strange jumble of rhythmic sounds and jarring musical elements that barrel their way forward without warning. I’ve been re-discovering my love of 90s and early 2000s electronic music lately, particularly trance and progressive house and I have a feeling that listening to all that stuff lately has groomed my headspace to easily accept something
unorthodox along these lines.

I’m of course relatively unaware of the musical directions Devin’s explored throughout his back catalog, but I was impressed enough by the bold, whimsical theatricality of “Why?”, a song that might be my favorite on the record. It actually reminded me of something off the aforementioned Therion and their Beloved Antichrist opera from last year, a tune that seems more classical aria than pop ballad as we know it. His vocals here are rich and emotive despite their purposeful over the top nature, particularly at the 3:10 mark during the heightened swell of the songs climax —- he could be a guest tenor on a Sarah Brightman record during that sequence. On the complete opposite end, “Hear Me” was a compelling uber-aggressive moment ala Strapping Young Lad, and it was interesting to hear how Chad Kroeger’s guest vocals fit into the chaos (it sounded good, but its a little hard to discern his voice from Devin’s). The percussion here courtesy of Samus Paulicelli is dizzying by the way, and its worth checking out this clip of him recreating his recording. Then there’s the love it or hate it proposition of “Spirits Will Collide” with its heart on sleeve lyrics that are admirable in their anti-suicide plea, sort of a spiritual cousin to R.E.M.’s “Everybody Hurts”. I’ve seen a decent amount of polarizing reactions to this one, and while I’m one of the few who don’t go towards either end, I think its a well constructed song in terms of its pop hook actually affecting sparking a listener’s pathos if they’re personally inclined to allow it. As some of you know, I listen to Sarah Brightman records, so this is the kind of syrup I’ll gladly pour over my pancakes, except that I think the song is diminished a bit with the harsher vocals. I’d love to see an alternate version surface, something more in the vein of this cover. It feels like it could’ve been a home run power ballad but maybe there was some thought that it might’ve been a little too much. I appreciate Devin’s admitting that Enya was an influence on the choral verse melodies, because I heard the structure of “Only Time” straight away on first listen. One of the most buzzed about albums this year is definitely worth all the noise, and for his sheer creativity alone, I hope he makes his money back.

Thormesis – The Sixth:

This was something brought to my attention via Justin of the Mindfudge Podcast when he guested on a recent MSRcast episode, and I’ve been binging this album ever since. Thormesis are a German band that have delivered five apparently unremarkable albums of epic pagan black metal ala Moonsorrow sung in their native language, thus going fairly unnoticed by most of the metal world. Now full disclosure, I haven’t had a chance to check out their back catalog, but I’m trusting the opinion of someone who has, so take my appraisal of their back catalog with a grain of salt. What matters is explaining why they’ve really hit upon something remarkable with The Sixth, and that’s at once a simple and complicated proposition. There so many elements at play here, furious tremolo riffing over frenetic blastbeat passages, hard rock influenced splashes of lead guitar overlays, an Ensiferum-esque way with pagan metal styled choral vocals, and a noticeable post-rock production wash (dare I say black-gaze-ish?) that permeates the pores of these songs. What brings all these together in as compelling a manner as they are is the satisfyingly earwormy sense of melody that’s ingrained in the songwriting. Yes this is an album full of discordant chord progressions and abrupt tempo shifts, the sort of thing that makes black metal the extreme noise chamber it can often be, but on The Sixth, Thormesis grab hold of those seemingly uncontrollable elements and tame them with some of the strongest melodies I’ve heard on an extreme metal album in recent memory.

We hear this on the very first measures of the album opener “Sonnen”, with its tail-riff segmenting approach to the verse passages (check the :25 second and 1:17 marks). Its something from the hard rock playbook that not only gives a clear, discernible structure to an otherwise chaotic rhythmic attack, but serves as the song’s motif, an approach I often wish more black metal bands would employ. But there’s so much more here to unpack, the gorgeous, melancholy keyboard fragments that gently glide over everything three minutes in, and the lead vocal duet between guitarists Tino Krüger and Benjamin Rupp, who apparently share vocal duties throughout the album. The worryingly titled “Their Morbid Drunken Ways” initially conjured up images of some kind of Finntroll level disaster, but thankfully its more along the lines of Sentenced in its melancholic, aching melody that’s loosely draped across a mid-tempo, Katatonia-esque quiet and thunder juxtaposing. I hear that same Sentenced / Insomnium melodic tone in the opening phrasings in “Chor der Toten”, which might be my favorite song on the album. And its not only because of that awesome rock guitar bend at 2:11 that steers us away from one of the album’s most fierce passages to a beautiful, satisfying guitar solo; its the dramatic, isolated tremolo fragment stirring in the ether that builds up to that visceral explosion at the 4:07 mark, like a roller coaster careening down from top of the highest hill. These are songs largely built around musical hooks, not conventional pop formatted vocal hooks, but there are times when the band get daring enough to employ unconventional vocal motifs such as on “One Tear For Every Last Burning Soul”, where clean vocals erupt in something like funeral wailing. It sounds weird but trust me it works, particularly when its fit in between crystalline synths and soaring, emotional guitarwork. If you’ve been looking for something to blow you away in the first half of this year, you need to check this out regardless of your tolerance for black metal because The Sixth is a transcendent release.

Eluveitie – Ategnatos:

I have to admit, even with the hindsight of enjoying Eluveitie’s first post major lineup schism release in the largely acoustic Evocation II: Pantheon, that I didn’t expect this band to emerge stronger after the loss of vocalist / multi-instrumentalist Anna Murphy, guitarist Ivo Henzi, and drummer Merlin Sutter. They might have nailed that acoustic album out of the park, even bettering the first volume, but the real test would come when the band returned to its melodeath meets folk metal core sound. I’m not gonna keep you in suspense, they really have pulled it off, convincingly I might add. And I’m beginning to wonder if the key to this successful transition was simply stumbling upon the right vocalist in Fabienne Erni as Murphy’s replacement. I raved about Erni’s vocals on Evocation II, her vibrant, lightened vocal tone a perfect match for that album’s material in giving it a breezy, brighter feel than I suspect Murphy would have been able to. It turns out her voice pairs equally as well next to pummeling rhythm sections and Gothenburg patterned riffing as on “Deathwalker”, an early in the tracklisting highlight and my current favorite on the record. Chrigel Glanzmann is still obsidian throated in his melodeath delivery here, but his side by side vocal duet with Erni on the chorus over intense riffing works surprisingly well, her voice powerful enough to hold her own against his and still sound strikingly opposite in tone and texture. Its a compelling song, and a fairly perfect portrait of everything that makes Eluveitie so distinct and unique even amongst other folk metal artists.

There’s another standout cut in “The Raven Hill”, where Erni’s hypnotic lead vocal entrance sets a mystical mood that amplifies the already elevated strong folk tendencies coming through here. Hurdy-gurdy from Michalina Malisz, fiddle courtesy of Nicole Ansperger, and Matteo Sisti on bagpipes work up a gorgeous, rustic folk melody that’s echoed by Glanzmann’s trademark whistles. Even here his harsh vocals are met stride for stride with Erni’s excellent vocals, and I particularly like the ending echoing the intro, with her guiding the way out of this smoky wood we’ve all obviously been hanging out in. There’s a few cuts on here that are pretty much full on melodeath with Glanzmann at the helm, and as on previous Eluveitie albums I’m generally fine with them, although they’ve never been the best cuts on the records and that’s the same situation here. I’m a fan of this band for the folk metal elements, and they tend to come around more when Erni’s at the very least taking a 50/50 role at the vocal helm as on the darker, aggressive “Threefold Death” and the pop soaked “Breathe”. In that respect, “Rebirth” is another album highlight for cleverly managing those elements so well, and for Erni’s handling of her vocal melody. It was also a risky but nice touch to add in a few little instrumental vignettes like “The Silvern Glow”, things I usually tend to frown upon but Eluveitie wisely kept these very much tied to the acoustic spirit of the music in Evocation II, kinda linking these two albums together based on its identical line-up. This is a sixteen track long album but if you subtract those few cuts its still a more than respectable thirteen song proper album, with a meaty running time. Its been awesome to see this band make its full comeback from a rough patch in its lineup history, and they’ve made an album that lives up to the best of their catalog.

Cellar Darling – The Spell:

Its uncanny that once again a new Eluveitie and Cellar Darling album are not only appearing back to back in one of my review clusters, but that yet again its not because I’m trying to be deliberately provocative by doing so —- in fact, these two albums were released within two weeks of each other. Its a close mirroring of what happened in 2017 with Eluveitie’s Evocation II: Pantheon and Cellar Darling’s debut This Is The Sound. Being that I’m a reviewer that is always going to get to albums late, after I’ve listened to them enough times to feel comfortable writing about them, a side by side comparison is too intriguing to pass up. However, a note of advice to both bands, particularly Cellar Darling, you both are on Nuclear Blast Records, surely it can’t be that hard to coordinate with the label to steer clear of each other and give yourselves some breathing room around your release dates. Its not that I think discerning fans can’t separate the two albums and make their own value judgments, but the proximity can only provoke a direct comparison to their ears too, and so many of those fans were upset when Anna Murphy / Merlin Sutter / Ivo Henzi and Eluveitie split, and considering the reason for the split was each side not liking the other’s ideas about musical direction —- well, don’t be surprised if some of those fans feel the burden of that conflict on themselves in hearing both of these records. I wasn’t all that bothered by the split myself, intrigued certainly, and I felt sympathy for Murphy and company, enough to hope that Cellar Darling would be something I’d really enjoy. Their debut was a shaky start, but I think most of us were willing to forgive that and hope for more interesting material the second go round, but on The Spell the band finds themselves with no new ideas, a worrying sign. You can see where this is headed, and its a bummer to say that The Spell isn’t an improvement on its predecessor.

I wish I could offer up a highlight here, but truthfully I’ve struggled to find one for these past few weeks, and I’ve internally groaned every time I’ve had to make another pass through the album to see if anything else clicked. The most emergent song from these hesitant listening sessions has been “Insomnia”, which marries a metallic degree of heavy riffing to isolated hurdy gurdy melodies to set up a soaring chorus where Murphy reminds us just how well she can get her rather earthy voice sailing through the air. I’d like the song more if it retained a sense of kinetic flow throughout, instead of the ambient passages within where nothing interesting is really happening. When you have a genuinely affecting hook, plug it in as often as you can without coming across like Haddaway. I also liked the dirty, ground in feel of “Freeze”, where Murphy’s vocals merge with a distant rhythmic grumble to come across like a close cousin to The Cranberries “Zombie” (before that awful radio rock band decided to ruin that song for everyone). A similar problem crops up on “Love”, which has a pretty solid hook that gets plugged a little more, but the connective tissue is missing in terms of crafting a compelling song from start to finish. But its a song like “Drown” that I have a really hard time with, its aimless riffing and lack of any kind of binding melody (even in the vocals) just result in a soupy mess of ideas that go nowhere. On the title track, Murphy juxtaposes elements of a pop chorus with a high pitched delivery of a specific line in a manner that is certainly memorable, but not exactly enjoyable. There’s a similar problem with “Hang”, where Murphy explores the full sweep of her vocal range, and she sounds great to her credit, but the song lacks a compelling motif to tie everything together (but given its lyrical narrative, perhaps that was intentional?). I’ve toned down what was initially a scathing review because I began to consider that a lot of Murphy’s fans will love this kind of stuff and might find it perfect for them. But for myself, it really puts the entire Eluveitie split into perspective and has me siding with them —- if this more bland, generic rock riff direction was what the Cellar Darling crew had in mind for the direction in their previous band, then I don’t blame the Eluveitie camp for balking. They’ve doubled down on what the essence of that band’s sound to deliver two really excellent folk-metal albums, and Cellar Darling are doing… whatever this is.

March Mouthful: Queensryche, Children of Bodom, Tyr and More!

This was sneakily a loaded release calendar these past two months. Because I’ve been playing catch up a little bit after devoting so much attention to the Avantasia album, I was a little late getting to some of the major releases below. The following reviews compilation doesn’t even cover the full extent of my listening because there’s stuff that popped up on my radar, surprised me (like the Dream Theater record), but I had to just make a note of and intend to get back to later. Maybe I don’t need to listen to these albums as much as I do in order to review them, but I feel its the only way I can tell whether I really like or dislike something. Records aren’t movies, where you have a pretty good indication right away, or at least I don’t. Do movie critics watch movies over and over before issuing reviews on them? You know what, I’m rambling, its really early right now and I haven’t had coffee. So I’ll go get coffee, you probably already have coffee so keep reading below. Danke.


Beast In Black – From Hell With Love:

Perhaps the quickest power metal related success story since Sonata Arctica landed on the scene in 1999 and captivated the world, Finland’s Beast In Black are the subject of vitriolic scorn and some heated debate as to whether or not they can be called power metal at all. I try to stay away from those debates, other than to play devil’s advocate likely to the annoyance of the folks in the r/PowerMetal Discord community. Along with Sabaton, these guys provoke the biggest debates about what exactly defines power metal, with the implication being that their pop friendly productions move them into the realm of something called “arena metal”. Now I’m not naive, I know what that description is trying to get at, and I kind of agree with that argument to a certain extent, but mostly I think power metal fans (even you diehards that will scowl at reading this) should own all the tendencies of our favorite subgenre, shiny Max Martin-esque production warts and all. Why can’t power metal be both Blind Guardian, Pharaoh, and even Sabaton and Beast In Black? Why can’t there exist regional variants of power metal like the style of bands that are coming out of Italy as opposed to the tremendous resurgence we’re hearing out of American and Canadian bands? I believe that Judicator and Visigoth are power metal, they might just be better described as USPM in terms of a better genre label, as opposed to Ancient Bards who are definitely cut from the more flamboyant, cinematic Italian power metal cloth. This is the best time for power metal overall since its original glory era of 97-03, and that we’re even having debates like this is a good thing, because for awhile there the lack of new bands was really concerning.

Moving on from genre definitions just for a minute (!), one thing we can perhaps all agree on is that Beast In Black do what they do extremely well. Their sound from their first album to this one is a glossy, high production sheen coated focus on ultra catchy songwriting and wild, flying guitar solos. Vocalist Yannis Papadopoulos is a big part of why this band gets thrown in the power metal discussion, because his is a silken smooth voice that is capable of Narcis like highs yet also a gritty, almost Sebastian Bach-ian styled hard rock voice. His versatility is scary good, the kind of voice that could likely pinch hit for a number of power metal bands and melodic rock bands. He had more vocalist in the spotlight moments on their debut album Berserker, cuts like “Blind and Frozen” and the excellent ballad “Ghost In the Rain” where he took over entire songs on his own. On the new album he’s a little more restrained, leaning more towards meshing with the rest of the band in a deliberate move to a more 80s hard rock sounding direction. Ah that by now familiar tendency of power metal bands over the course of the last fifteen years —- but in the case of Beast In Black, its really the best move they could’ve made.

The retro 80s vibe comes in the increased usage of keyboard melody driven songs like “Cry Out For A Hero”, where a fast paced, unrelenting Jim Steinman-esque piano line sets the tempo underneath group vocal hooks. On the mid-tempo, hushed strut of “Die By the Blade”, we see the band channeling a keyboard riff that screams Van Halen or even Europe circa 1985, only to erupt in a chorus Hammerfall would feel comfortable with. Then there’s “True Believer”, which could’ve been on one of the Rocky or Karate Kid soundtracks were it not for the heavy production gloss, its the kind of song you’d expect from Power Quest (and that sentiment alone should speak volumes). Speaking of Rocky, the band actually covers “No Easy Way Out” from the Rocky IV soundtrack, as iconic an eighties song they could’ve picked, and they stay faithful to the original because why change something that’s already tailor made for your band? But lets not get lost in the 80s, because on “Sweet True Lies”, we’re hit over the head with some “baby babys” in a style that owes its inspiration to the Backstreet Boys or N’Sync (that Max Martin style coming back into play). Its an insidious song, in the most charming and ingratiating manner possible, a tune that will lodge itself in your cortex and you’ll be alright with that level of helplessness. There’s nothing really deep on this record, and the band doesn’t seem to exude a desire to head in that direction anytime soon. I’m okay with that, because this is who they are, and while I’m not going to champion them in particular, I’ve had a ton of fun listening to this thing and will likely continue to whenever I need a giant dose of the silly.

Rotting Christ – The Heretics:

My relationship to Greece’s Rotting Christ has been one defined by initial disregard, a lengthy absence, pleasant surprise and disappointment. That moment of surprise occurred with 2013’s irritatingly titled Κατά τον δαίμονα εαυτού, which was one of my favorite albums of that year and still an album I’ve gone back to since on occasion. I skipped reviewing 2016’s Rituals, largely because I was so disappointed upon listening to it and hearing the band veer away from the more creatively melodic direction they explored on its predecessor and didn’t want to expend any further listening time to it at that moment. I did eventually go back to it and found it had a few gems tucked away (“Devadevam” is its absolute highlight) but my overall opinion still stood, it was a letdown relatively speaking. At some point I saw them live for the first time, opening for Mayhem and Watain here in Houston, and their setlist was geared towards those band’s crowds, leaning hard towards their death metal spectrum and further away from the weird folk/world music elements that I really wanted to hear. It was kind of a disappointment —- the smell of a rotting pig’s head from backstage didn’t help matters either (for real it was gag inducing). Suffice to say I was only mildly curious when I saw a new Rotting Christ record on the release schedule for late February.

This is one of those cases where I don’t think expectations or anticipation really affected my opinion of this record when I first started listening to it nearly a week ago, because I simply know what I wish to hear from this band. And to my delight, Rotting Christ have delivered exactly that on The Heretics, an album that bristles with creative songwriting, and clean toned riffs set to inventive rhythmic structures. Its all encased in a sonic palette that grabs hold of everything from spoken word vocal passages, Guns N’ Roses esque solo-ing, chanted choral arrays, and hypnotic percussion that often operates at its own tempo schedule, heedless of the pace of the other instruments. The stellar cut “Heaven And Hell And Fire” is a vivid example of almost all of these elements, and I just love the interplay between the rollicking drum patterns and in and out guitar slashing during the 2:27-3:04 moment after which a gloriously explosive solo rockets outward. There’s a sense of spatial awareness here that few bands ever really grasp, and Jens Bogren’s mixing job is fantastic for finding a way to not only preserve that aspect, but to seemingly fixate on ensuring that it comes through. My personal favorite is “Vetry zlye”, where Russian vocalist Irina Zybina blankets the song with a gorgeous (I’m guessing here) Greek lyric that reminds me a bit of Eluveitie in the best possible sense. On the more brutal end of the spectrum, “The Voice of the Universe” quakes with the unrelenting pounding of Themis Tolis martial percussive attack, and weirdly enough they’re almost working as the musical hook for the song. His natural interplay with his brother, guitarist/vocalist/songwriter Sakis Tolis can’t be understated, because this kind of perfect, in lock-step sync just doesn’t happen with any drummer/guitarist pair. Maybe the best compliment I can offer The Heretics is that sometimes I feel like I’m listening to a lost Therion album, and I love that.

Traveler – Traveler:

The newest entrant into the North American pantheon of trad/power metal revivalists, Calgary’s Traveler hews the same path as their fellow Canadian’s in Cauldron, albeit juiced up with more NWOBHM git up and go speed. This is one of those rare times when I was in on the ground floor relatively speaking, having this promo pointed out by one of the powerful. a power metal podcast folks a few months ago —- a debut album that is arriving with a noticeable amount of buzz generated from their split EP with Finland’s Coronary in the summer of 2018. If you paid attention to the Gatekeeper debut that came out last spring, you’ll hear a striking similarity in Traveler’s vocalist, and that’s because both bands share Jean-Pierre Abboud at the mic. He’s almost a dead ringer for a combination of early Savatage Jon Oliva and Metal Church’s David Wayne, and takes a warts and all approach to his performance in the recording studio. That means that there are the odd bum notes, extra vibrato at the endings of lines, and an overall emphasis on attitude and feel more than technical proficiency, and that’s kind of the best way to go about things for this approach to metal.

The rest of the band strikes the right balance between precision and looseness, with guitarists Matt Ries and Toryin Schadlich creating razor sharp riffs, tight rhythmic density, and the odd dual guitar harmonization that just screams old school Maiden. But whether its the aggro, slightly ahead of the beat bassist and drummer or maybe just an overall production texture, there’s a feeling to Traveler that its all barely held together with the thinnest of threads. The highlight here is “Up to You”, a song that reminds me of High Spirits in its snappy chorus, and its pairing of a slightly off-balance vocal by Abboud and joyfully melodic guitar solos as punctuation marks. There’s also “Starbreaker”, as classic sounding any of these bands in this vein have ever come to sounding like a lost recording from the early 80s NWOBHM wake. From the worn out cassette recording texture present at the intro to the familiar riff progressions that you just seem to know where they’re heading, its a classic sounding song that actually could be a classic just due to how well its executed. I would love this band to cover something like “White Witch” from Savatage’s Hall of the Mountain King, because if there’s anyone that could do it convincingly, its Abboud and company. A crackling, fiery debut for these guys, it’ll be interesting to see if they stay in this lane or more towards something else in the future.

Týr – Hel:

Its been six years since the last Tyr album, kinda eye opening when I seem to remember these guys releasing something every other year or so for nearly a decade it seemed. I think if we’re all being honest though, the band hasn’t had the best track record with album length enterprises either, their best moments scattered across the entirety of their discography. I consider their first two records to the their strongest, and sometimes think that their debut with original vocalist Pól Arni Holm to be their most endearing (if not quite their best). But Heri Joensen is Tyr, his songwriting and vocals that have come to define this band’s unique sound and identity amongst a cluttered metal landscape where invoking viking and Norse imagery is all too commonplace. And despite a pair of major lineup changes (new guitarist, new drummer), the core sound is still as recognizable as ever on Hel, but I think the extended break from releases has done Joensen some good on the inspiration and songwriting front. The new album sees him taking some chances with the Tyr sound, injecting some fresh elements into the mix like the unexpected furious death metal vocals in the album opener “Gates of Hel” (I mean, if there’s any song you add those to, that’s the one). Its got a tight chorus on it too, as in tightly packed and smartly written, the kind of thing that defined some of their more memorable gems from albums past. In fact the first five songs on this tracklisting are genuinely inspired slices of Tyr-ian folk infused power metal, particularly the album highlight “Garmr” where we’re treated to the band’s most addictive song since “Hear the Heathen Call” (from 2009’s By the Light of the Northern Star).

The first stumble here is “Downhill Drunk”, whose title doesn’t inspire confidence unless you’re listening to something like Flogging Molly or some long lost Pogues song. Its not a terrible track, but really doesn’t have much in the way of melodic definition or a discernible hook, one of those tracks that’s just there, taking up space. Far more interesting is the subsequent “Empire of the North”, where a runaway chorus almost gets away from Joensen, but he manages to keep things together due to the strength of some awesome power metal guitar passages and a strong descending vocal hook in the aforementioned refrain. And I mentioned taking chances earlier, and I’m not exactly sure how to describe what’s happening on “Against the Gods” but its weird meshing of a quasi thrashy rhythmic barrage with a truly satisfying hook keeping it just accessible enough is something new and awesome for the band. Its paired up with another rock solid slab in “Fire and Flame” with its juxtaposing uptempo, martial percussion fueled intensity with slightly slower verses, an effect that magnifies a listener’s attention on each aspect. There’s a respectable amount of really excellent material on Hel, the problem is there’s just too much material on the album overall. Its well past an hour and change in length and that practically guarantees that some of it will be subpar, the case in point is the album’s closing package of “Songs of War” and “Alvur Kongur”, the latter of which I hoped to enjoy because I typically do for all their songs written in their native language. Again they’re not bad per say, but they fall flat which is a problem a band this good shouldn’t have. It begs the question on whether Tyr’s ultimate problem in composing albums is having a good sense of quality control and self restraint. I’m guessing no one was in the studio pointing out that maybe a tight 45′ would be better than packing everything that popped out in the writing process into the tracklisting.


Queensrÿche – The Verdict:

I just deleted an opening paragraph for this review because it was sounding too reviewer like and honestly I just can’t with a band like Queensryche. I’ve been listening to them since what, 1994-ish at least (possibly heard “Silent Lucidity” earlier than that, can’t confirm) with varying degrees of fandom/skepticism, including a pretty dark stretch from oh friggin’ 2005-2011. You should all know the backstory by now, realize that Todd LaTorre is the band’s vocalist, and understand that The Verdict is album number three in Queensryche 2.0, or is that 4.0? Does the departure of each original band member herald a new version number? So Chris DeGarmo leaving in ’98 would’ve resulted in 2.0, Geoff Tate getting fired/splitting in 2012 would’ve been 3.0, and now Scott Rockenfield taking a strangely undefined paternal leave that transformed into maybe he’s still in the band ( ¯\_(ツ)_/¯ ) is 4.0? Or its just that life is unpredictable and chaotic and here we are, Queensryche in 2019 and kick the Deep Purple version numbers idea to the curb? The major thing is that for the guys who are still here, LaTorre, Michael Wilton, Eddie Jackson and Parker Lundgren —- album three is put up or shut up time not only in the grand scheme of things for their legacy together, but for my patience as a fan who eagerly jumped back onboard after LaTorre joined. My initial enthusiasm for the band’s post-Tate journey definitely masked some critical flaws with their 2013 self-titled debut album (namely those song lengths… this is prog, not punk rock, maybe add a couple solos or something, reprise a chorus or work up a outro… anything?). The follow-up in 2015, Condition Human, was better despite some truly abysmal cover art (The Verdict’s lame attitude filled grim reaper isn’t much better), but in re-listening to it for the first time since that reviewing period, its uneven nature stands out even more now.

Thankfully, just like every band is supposed to hit their stride by their third record, the LaTorre fronted Queensryche has done just that on The Verdict. Oh and believe me this time I’m confident in declaring that, because its being done so in the face of a healthy dose of skepticism that they could pull it off, particularly without Rockenfield behind the kit. The overwhelming thought that runs through my mind in trying to assess this album is that it sounds like the most Rychian Queensryche album since 2003’s semi DeGarmo reunion Tribe, but really hearkens back to threads of Promised Land and even older era classics like Empire and Mindcrime. I know the latter is a lofty one to throw out there, but its the closest sonic profile that informs the songwriting and guitar approach of songs like “Blood of the Levant” and “Man the Machine”, the opening salvo on this album. I wrote in my review for Condition Human that its first two songs were the best one-two opening punch the band had managed in ages, but these two out muscle them like an Urak-hai arm wrestling Frodo. Its something of a minor miracle that we’re hearing a song as inspired as “Blood of the Levant” from these guys, with its perfectly balanced blend of aggressive riffs with eastern tinged guitar melodies. The mid-song pre-solo vocal shift by LaTorre is so strikingly reminiscent of what DeGarmo would write for Tate in the Empire era, a nostalgia blast they’ve never managed before. And the dual harmonized solo from Wilton and Lundgren is excellent, a simple repeating melody that is bright and evocative. It slams right into “Man the Machine”, which combines a slight modern metal stop-start riffing approach to an otherwise classic sounding Queensryche cut. Its propelled along an urgent, insistent guitar figure that leads into a wide open chorus, with LaTorre peppering his performance with well timed sharp highs that remind me of the kind of unpredictable vocal inflections Tate would sometimes veer off into.

LaTorre pulls double duty on this record as well, being a more than competent drummer he stepped in for Rockenfield and honestly did a great job of it, taking care to honor the way their absentee drummer might have approached things on his own. That means there’s a plethora of sonic variety in the drum kit he’s using, and an emphasis on unorthodox fills, rhythmic variations in spots, insistent backbeats, and just an attention to detail that matches Queensryche’s modus operandi. I love the proggy-jazzy cymbal hits in “Light-Years”, one of the album’s stronger cuts because of its gorgeous chorus, laced with not only a stellar vocal from LaTorre, but those all too recognizable backing vocals from Jackson. We’ve seen flashes of him being brought back into the harmony vocal fold over the past two albums, but never in this declarative a fashion, and its something this band has missed for ages now. Surprisingly enough, its Lundgren who might have delivered the album’s absolute gem in “Dark Reverie”, a ballad that brings back memories of “I Will Remember”, built on lone semi-acoustic styled guitar passages and LaTorre’s haunted vocal melodies. This is one of the songs fans will point to when they’re trying to illustrate why The Verdict sounds more like Queensryche than the past however many albums past; because its not just that LaTorre can sound radically similar to Tate quite often, its how these songs just echo and reverberate everything we remembered about this band sounding like. This is Lundgren’s first solo songwriting credit to my knowledge, and its exciting to see him not only emphatically put himself out there, but write something that sounds DeGarmo-ian (the highest compliment I can think of really). I think he and LaTorre seem to understand something intrinsic about what made classic Queensryche sound the way it did, something the rest of the original members were too close to everything to decipher themselves. This isn’t a perfect album, there are a few weaker moments but not many, and no duds(!), but its the most fulfilling album they’ve made in ages. This version of the band has proven themselves with this record, and they’ve gained creative momentum here, lets hope it doesn’t take another four years to capitalize on it.

Children of Bodom – Hexed:

The most surprising aspect of Hexed, Children of Bodom’s jeez, tenth studio album now, isn’t that its actually very strong —- their best since Hatecrew Deathroll easily. Its that months out before even hearing a note of this, I felt myself expecting it to be good, in fact telling others that I think we were all gonna be taken off guard by how good it was. This isn’t like me, and by now you’ve heard me mention how high expectations have perhaps stacked the deck against many an album that I’ve reviewed as a mediocre disappointment, or vice-versa, that an album I’ve had little anticipation for is the one that blows me away and keeps me listening for most of the year. Our psychology clearly isn’t the most complex thing to figure out in matters like this, but I’ve somehow gone metaphysical now with Hexed and power of intention-ed it and myself together in one harmonious, universal, Deepak Chopra approved resonance. Or, maybe its simply that I suspected as much because the band’s last record, 2015’s I Worship Chaos actually had some decent stuff on it that made me feel that the band was slowly finding their way back to their best sonic identity. It still had some of the contaminant of boneheaded chug and industrial-ish wash from their wilderness years (in retrospect that spanned a little more than a decade, yikes), but for the first time in years I didn’t find myself rolling my eyes at what they were doing and hitting repeat.

With Hexed, I find myself void of all snark upon hearing the old school melodic death metal nature of “This Road” and “Under Grass and Clover”, the latter sounding like a lost bonus track from the Something Wild sessions, a sound I’ve wanted to hear represented again for eons now. Its not always about the density of the riffing that makes melodeath so distinctive, its how its written, and Laiho hearkens back to that spirit on that cut and on “Glass Houses”, another full speed banger with little micro dueling solos pitted against Janne Wirman’s ever distinctive keyboard frills. A Hatecrew vibe permeates “Hecate’s Nightmare”, its thick slabs of keyboard tipped riffage building up to a pummeling, grinding back and forth in the refrain that isn’t so much catchy as it is satisfying on a visceral level. So much of Bodom at their best works that way, you’re not looking for pop hooks but just a snappy, crisp sense of controlled, tightly channeled rage and venom. I know that’s a strange sentiment from the guy who could write a dissertation on Power Quest, but despite my barely disguised loathing for meatheaded heavy for heaviness’ sake bands, I still crave a form of heaviness in metal. I just want it to be delivered alongside other interesting musical elements, and that’s why melodeath has always been a beloved subgenre. With Hexed, Children of Bodom have managed to make themselves a part of that fix again, which new age inclinations aside, I can’t honestly say I ever saw happening again.

Lords of Chaos: The Metal Pigeon Review

I honestly thought about skipping the theatrical release of Lords of Chaos, but when it arrived here on Friday, February 15th at the Alamo Drafthouse for its opening night showing, I figured what the hell. After all in December of 2009 I went to see Until The Light Takes Us at another Alamo Drafthouse, and there’s something about pecan porters and Belgian white ales and black metal films that just goes so well together. I had bought and read the book of course, way back when it first hit American bookstore shelves in the late 90’s and I poured over every page, only later to find out through various sources that a lot of the book was in dispute by those who were its subjects. Mostly Varg, but I recall reading a lot of criticism from the Mayhem camp, as well side figures like Ihsahn, Samoth, and Satyr who seemed to be outside the “inner circle” but close enough to know what was likely true and outright fabrication. As a result, I held a lot of prejudices against the book for quite some time (and to be honest still do), particularly in the overblown sensationalist aspect of propping up satanism as the central theme. I think it was a decade ago plus when we first started hearing that it would be turned into a film, and my primary thought beyond “that will never get made” was that the only way it could be any good is if it departed from the book in a meaningful way and attempted a more honest portrayal.

Cue Jonas Akerlund, probably the only director who was meant to handle a project like this, not only for his very brief stint in Bathory, but for the connection he’s maintained to metal in general even throughout his years directing videos for pop stars. Before the film started, well before the coming attractions, various music videos and strange film shorts by Akerlund were being played on the big screen, including his gritty video for Metallica’s “Turn The Page” and his glossier clip for Lady Gaga’s “John Wayne”. I wondered if they’d show his clip for Satyricon’s “Fuel For Hatred” considering its the only black metal band he’s done one for but no such luck. The Metallica clip was a good reminder of Akerlund’s tendencies though, a stark, unpolished bit of filmmaking through a humanist perspective. Its the struggle of a mom’s transient lifestyle living out of hotel rooms while working at a strip club during the evenings and hooking long after her daughter has gone to sleep. This aggressively hyper-realist perspective also informed his video for The Prodigy’s “Smack My Bitch Up”, where similarly the very ordinariness of the setting is a character in itself. In Lords of Chaos, there’s a moment when a domineering Varg barks at a young woman to disrobe, and its an uncomfortable, tension filled moment that is anything but sexy. She has a noticeable cyst that Akerlund makes sure viewers see, and the brightly lit room is quiet but for the sounds of a belt buckle hitting the floor after Varg growls “Are you deaf?” as he and Euronymous sit and watch.

This story is filled with ugliness and violence, and filmed without restraint in displaying that to the viewer. There’s the eerily distant manner in which we’re shown Dead’s suicide, without any emotional maneuvering via music, just a stark series of shots that show him sitting on the floor of his room slicing his wrists, forearms, and neck, stumbling to a desk to write a bloody suicide note as he’s gushing all over the place, and finally to his mattress where he sits against the wall, pulls the barrel of a gun to his head and fires without pause. Euronymous finding his body is a similarly disquieting sequence, the kind of reaction that seems rational and entirely illogical at once —- and when we come back to this later in the film, its surprisingly heartbreaking. Akerlund doesn’t glorify violence in the film, in fact his depiction of it is so upsetting that you’re wishing certain scenes didn’t linger as long as they did. When Faust is shown stabbing Magne Andreassen in Lillehammer Park, we seemingly see all 37 strikes he reportedly delivered, and its gruesome and terrible to take in. Worse yet is the final confrontation between Varg and Euronymous, a scene that is far more upsetting than I expected it to be, made worse not only for the sheer bloodiness, but for the senselessness of the whole thing. Akerlund’s style adds grit and grounding to all these depictions —- there are no action shots, nothing is remotely stylized, instead we get a single cam feel of someone simply recording actual violence happening mere feet from the lens. Its utterly disturbing.

All my reservations about the choice of cast and the decision to have them speak in English without any Norwegian accents in their speech were dispelled in the film’s first twenty minutes, when Rory Culkin’s surprisingly fantastic portrayal of Euronymous does the unlikely trick of charming the audience. I’m being serious. You can’t help but like Euronymous in this film, and I suspect that’s on purpose for the audience to forge some emotional connection onto a central character for plot purposes, but at the same time, you get the feeling that Øystein Aarseth hid a relatively decent person beneath the thick layers of angst, disaffection, and petulant jealousy. Akerlund splices in seemingly minor details to illustrate the point: Øystein’s affection for his little sister when she’s helping him color his hair black; his apparent love for a local kebab place he frequents so much that he knows the owner by name; laying on the couch next to his dad when his mother calls dinner (“spaghetti bolognese!”); the humorous exchange with a Norwegian postman he respectfully addresses; his relationship with girlfriend Ann-Marit (played by Sky Ferreira) where he allows for insecurity and vulnerability; and of course a handful of scattered moments where he attempts to deescalate the fallout resulting from his own provocations. Culkin nails playing both Øystein and Euronymous, his performance filled with subtlety in depicting what makes this young man essentially two personalities that sometimes merge, but in the films more emotionally resonant moments, repel away from one another in mutual disgust.

The casting turned out to be one of the film’s strongest aspects, with authentic feeling supporting turns from all the members of the inner circle, particularly Emory Cohen as Varg. I admit to feeling a moment of hesitation when he first appeared on screen, a dorky metalhead in a jean jacket with a Scorpions patch (man the Scorps got dragged through the mud in this movie) who gets the cold shoulder by an unimpressed Euronymous. But I quickly remembered that the earliest photos of Vikernes himself are pretty much exactly that, Akerlund did his homework here. Cohen’s presence gradually ebbs from uncertain and insecure to disturbingly confident, certain, and possessed. Vikernes will not be happy with his portrayal, but in reading interviews with Akerlund, most of the depictions came from knowledge gleaned from a variety of sources (in other words, not just the book), with the director citing Vikernes’ own statements as part of their source material. Vikernes has turned into an idiosyncratic narcissist in his later years as a YouTube celebrity, spreading his hate and racist diatribes for any impressionable goon to lionize, but he’s also been very specific about his perception of events and the way things went down, and to his chagrin, the film takes him at his word. There was no way for a guy like Vikernes to be portrayed as a hero, even when he’s telling Euronymous in the middle of a church they’re about to burn about what pagan sites stood at that spot before the Christians came. Remember this film screened at Cannes and Sundance, scores of non-metal audiences have seen this film who know nothing about black metal or its history or relevance —- they could probably see his point during that particular moment, he’s getting retribution in some way, but even that can’t redeem him from coming across as a maniacal sociopath.

This is ultimately a story about a group of young men and teenagers in a pre-internet world who become so involved with their own uniquely defined subculture that they began to get in over their heads in their attempts to stage rebellion against the traditional Christian Norwegian society they’ve grown up in. Within that framework, its a deeper story about the bonds of friendship and the forces that cause them to wither and tear apart. Akerlund juxtaposes Øystein’s strange but comradely kinship with Per Ohlin (Dead) versus his slowly decaying alliance with Varg, the former featuring some of the film’s best laughs (there are a few) while the latter crackles with a barely restrained tension. Euronymous cuts as mysterious and ambiguous a character onscreen as he seems to in black metal history where multiple accounts differ as to just who he was as Øystein. Watching the film, his likability was a strange thing for me to admit at first, because I could easily see why so many considered him egotistical, jealous and manipulative. In that respect he’s a mirror image of who Varg becomes, and two of those personalities could not co-exist in one clique. Despite that, there were hints at redemption for him —- subtle things that suggest he cares for his friends, worries over their well-being (even if that means at the expense of others), he even seems to know when its time to distance himself from everything altogether. I didn’t anticipate feeling a tinge of sadness at the end, but I did.

Now that Lords of Chaos is out in theaters, and those who hoped it would never be made have to live with its nagging presence, I hope most metal fans put aside their reservations and give it a shot. Its not a perfect film, there’s some awfully corny dialogue at times, the music is severely neglected, and some people might be put off by its schizophrenic shifts in tone. Yet despite those things, I think it should be stressed that the more people check this out and support it the more likely it is that we can have future metal related films, be they documentaries or biopics like this. All the criticism the recent Bohemian Rhapsody biopic received for being selective with the truth seems deserved, but they can’t level quite the same thing at Lords of Chaos. The former is a band approved vanity project aimed squarely at propagating their own magnificence with an audience that’s likely sympathetic at worst and die-hard fans at best. Akerlund’s film is an entirely different beast however, non-metal audiences don’t learn about why black metal is unique, how or why its different from death metal, they barely even get to hear what Mayhem sounds like —- instead they get a deeply disturbing, saddening tale that offers no answers in the way of virtue or morality. For us as metal fans who’ve known this story for seemingly ever now, we get a visualization of a slice of history we weren’t privy to ourselves. Let me be clear —- none of these guys were heroes or martyrs and don’t deserve to be treated as such, but its our history, we’re responsible for documenting it properly and processing it. Akerlund never stopped being a metal fan, and to the extent that Lords of Chaos is a fellow metalhead’s interpretation of this grim story, we should support it with the same enthusiasm we muster for new music or live shows, regardless of its Hollywood fingerprints.

The Summer Reviews Catch Up Continued

These are some quick takes on a handful of albums that I didn’t get to include in the Mid-Year Reviews Cluster, mostly because they were too late in the release schedule or I didn’t have enough time to listen to them completely. I’ve been a little all over the place recently listening wise, digesting some late July releases (Powerwolf for example) still while trying to stay on top of the sudden rush of new music in August. There’s some big names coming out with new music soon, including Doro and Omnium Gatherum, and I still can’t quit listening to a couple things from earlier in the year that are making deep indentations in my best albums list nominee pool (oh yeah I’ve started working on those pieces early this year so hopefully I’ll have them out on time for once… he says now…). I’m also trying to nail down a Metal Pigeon recommends, but that’s in flux and might not see the light of day until September if I’m being honest. As much as I want to break away from the non-stop cycle of reviews, it gets hard when there’s this much noteworthy new stuff coming out continually.

 

I also went to a few shows lately, Uada in mid-July (I talked about the show on the last MSRcast episode) and this past Saturday a buddy and I checked out a tribute night at my favorite venue, Seventh Son (Maiden) + Savage Amusement (Scorpions), and Sacred Star (Dio + Yngwie). Seventh Son and Sacred Star were tons of fun, utterly convincing in their sonic impersonations. They are both San Antonio based outfits, with guitarist Jyro Alejo pulling double duty in both (he’s playing the Yngwie part in Sacred Star, convincingly I might add, puffy shirt and crushed velvet jacket to boot). His talent is nothing short of shredder level guitar hero, and he seemed to be the musical anchor for both bands. But the vocalists were great too, Star’s Jessica Espinoza does an amazing Dio, her voice rich and full of Dio-ian texture and heft, while Seventh Son’s Mauricio Adan did a dead on Bruce Dickinson. He not only could pull off the screams, but got the tenor and tone of the Air Raid Siren down to perfection. They stormed out of the gate with “Moonchild” and won the crowd over immediately, and when I realized I was finally hearing a note perfect live airing of “Stranger In A Strange Land”, I closed my eyes for a second and could’ve sworn I was hearing Maiden live on Somewhere on Tour in ’86. I feel lucky that both these bands are regionally based, and hope they can tour nationally sometime so everyone can experience what I saw. It made me remember how awesome it is to be a metal fan.

 

 

 

 

Immortal – Northern Chaos Gods:

I had originally planned on doing a longer review for this first, post-Abbath Immortal album, but as the weeks have passed in the interest of giving myself more listening time, I’ve realized that there’s actually just a few important things to touch on in regards to Northern Chaos Gods, and so I’ll keep things brief. The first and most obvious concern heading into this was just how would the band handle the Immortal guitar sound, something that really took shape on At the Heart of Winter, precisely the album when Abbath moved into the guitarist role and the sonics of the band infinitely improved. And sure this was largely due to Peter Tägtgren’s involvment in the production for the first time, but also due to Abbath’s own characteristic thrashier guitar approach and his tendency to add in melodic color to his riff barrages. Some of those first four Immortal albums are downright unlistenable, mostly due to the awful production robbing those songs of their would-be viscerality, but also because some of the riffing is just staid, boring and samey. What Abbath seemed to inherently know and employ was the use of tempo changes, spacing and an old-fashioned heavy metal sense of what was rockin’ to make that album and the ones that came later chock full of the blisteringly memorable riffs and songs we love today. This is to say nothing of his iconic vocal style. What would Immortal even sound like without both of those qualities?

 

Credit where credit’s due, Demonaz and Horgh made the right stylistic choice in approaching this album, to lean heavily towards an old school Immortal sound. Those first two songs are a clear indication of this, both “Northern Chaos Gods” and “Into Battle Ride” being ultra dense, squeezed together slabs of unrelenting glacial black metal fury. Wisely, they chose to stick with Tägtgren for the sonics, thus the production serving as the bridge between the throwback, pure second wave songwriting approach and their more melodic, modern era. When I first heard the record, all I could take away was that it was Demonaz bringing back the old Immortal sound but preferring to stick with a modern production job —- but that’s kind of oversimplifying whats happening here. He actually took more influence from Abbath than he might care to admit, because the latter’s songwriting DNA is deeply embedded within the fabric of these songs. Listen to cuts like “Where Mountains Rise”, with its mid-tempo gradual build, hypnotic almost pulsing rhythm and a call back to something like “Years of Silent Sorrow” from At the Heart of Winter. We hear the Abbath-ian influence elsewhere too, on “Gates to Blashyrkh”, with its warmly quiet, clean noted interludes. Its a standout track, epic and full of grand, heavy metal theatricality that made albums like Sons of Northern Darkness so gleeful as listening experiences.

 

While not a perfect album (two cuts in the middle, “Grim and Dark” and “Called To Ice” are decent if unremarkable songs that dull the blade a bit), Northern Chaos Gods is an intense, fiery record, far more convincing than 2009’s strangely uninspired miss All Shall Fall. Credit to Demonaz for delivering a focused vocal performance that meets the challenge this material presents, he’s more ice-demon in tone and frozen breathy rasp than Abbath’s bizarre, frog-ish bark, but it works with the tone of the material —- a far cry from his questionable performance on the Demonaz March of the Norse record. He dominates on “Mighty Ravendark”, as addictive a tune as you could imagine Immortal could write, his vocal lines perfectly paced, with dramatic buildup and a hook that is catchy with nary an atom of pop to be found. All these weeks later after first hearing the album, I think I’m honestly just stunned that Demonaz (and Horgh, who is as solid as ever) had this in them. Not that its a competition to the bands, but they’ve clearly released the better album between both parties, Abbath’s own release a few years ago being the direct follow-up to All Shall Fall that he took with him when he left the band. I hope this fires up Abbath as much as it did myself and apparently many others, because that could only mean great things for all of us.

 

 

 

 

Necrophobic – Mark of the Necrogram:

One of those out of nowhere surprises for me, we played a track called “Tsar Bombs” from this on the last MSRcast, and when I saw the band name on our show notes, I had to really think back to when was the last time I had listened to them. I had to be in the very early aughts, back when I was running down every band to come out of Scandinavia just out of pure obsession with those countries. Necrophobic are a Swedish band hailing from Stockholm, but they’ve got a lot of Norwegian black metal running through their sound if you ask me, a blending that reminds me of a Enthrone Darkness era Dimmu and all eras Dissection. Even though I have a vague recollection of listening to them before, I’m essentially coming into this viewing Necrophobic as a new band to me given the passage of time. Its also worth pointing out that this their first album since the original vocalist Anders Strokirk has rejoined the band, he originally appeared on their 1993 debut The Nocturnal Silence. It gives this release a bit of the same uncertainty factor that Immortal’s Northern Chaos Gods came with, returning old members, new vocalists, etc.

 

All that detail gets a bit tedious though, particularly since my overall impression is that this is the most convincing blend of black and death metal that I’ve heard in awhile —- the songwriting is unabashedly melodic in its incorporation of Gothenberg-ian riff sequences, yet delivering Watain-level raw brutality in its blackened attack to balance things out. I love the Iron Maiden worship in extended guitar passages scattered throughout, something that might irritate purists but then again when you’re listening to a merging of two genres you might expect that all bets are off when it comes to cross pollination and experimentation. There are bands who provide brutality for brutality’s sake but Necrophobic seem far more interested in my preferred approach, that bands use every tool available to paint epic pictures, to create grand atmospheres. Strokirk emerges as an excellent vocalist for that approach too, his rasp is clean enough to be discernible lyrically, and it works to great effect on a song like “Requiem For A Dying Sun” where the vocal narration is the musical centerpiece everything else swirls around. He takes on that role with relish, coming across as more of a necromancer (heyo!) turned bard singing about his days running across the mountains of Skyrim (Krosis, is that you?!). In a year that’s not exactly brimming with black or death metal that’s demanded my attention, the Mark of the Necrogram is a rarity. Stick that in your Whiterun house and smoke it.

 

 

 

 

Kalmah – Palo:

This is a really late review for an album that I’ve been returning to ever since we played a cut from it on the MSRcast episode 207, and that occasion itself came a couple months late from Palo’s actual release in March. That’s a rough microcosm for how I’ve paid attention to Kalmah over the past decade, with the band making a big splash in the early aughts with their wild take on Finnish keyboard-laden melo-death with exuberant albums such as They Will ReturnSwampsong, and The Black Waltz. If my memory is accurate, I kind of fell off the band after those albums, particularly around the time of 2008’s For The Revolution, and for whatever reason I never really found myself going back to see if they’d bounced back. Until now that is, and bounce back is a relative term for myself and for this review in general because I’m hearing Palo with no frame of reference to what they’ve been doing. It should be observed however that this is the bands first album in five years, their longest layover between releases ever. The one observation I can make about those intervening years is that when Children of Bodom was out in the wilderness of infusing industrial sounds into their take on Finnish melo-death (and just releasing subpar quality material in general), the one comment I’d often see casually tossed out was “at least we still have Kalmah”.

 

And we still do, and then some I’d argue, because Palo sounds to me like the band I remember enjoying so much in those halcyon early aughts. There’s the largely keyboard driven, blazing fast assault of hyper riffing and frantic fretboard flourishes all built around that sweet, sugary Finnish brand of melody. Songs like “The World of Rage” and “Into the Black Marsh” feel familiar for those trademarks, and there’s even a blackened touch to the vocals in the latter that seem new to me (though perhaps they’ve been working that in over the past few albums I’ve missed). What I really love however is the one thing I’ve seen people get really critical towards this album for, that being the inclusion of some poppier elements that sprout up on “Take Me Away” and to a lesser extent “The Evil Kin”. The former is my absolute favorite tune off the record, precisely because its channeling that strain of Finnish melancholy via goth rock tones ala Sentenced, Charon, and yes even HIM. It comes through in those aching keyboard notes to start off the song, a melody that blossoms through a clean-toned guitar passage later on. I adore stuff like this, and while the tempo is slowed down a bit to let the melodies breath and flow, I didn’t find it altogether so poppy that it would somehow be considered offensive. Metal fans have their quirks though (though sometimes I think they’re just insecurities). A bit surprised to say this in a year with an Amorphis release, but this is my favorite Finnish metal album of 2018 so far.

 

 

 

 

Elvenstorm – The Conjuring:

Thanks to a cursory mention by one of the peeps on the /r/PowerMetal subreddit, I learned about this new album from France’s Elvenstorm the day it came out. If the initial idea of French power metal conjures up flowery melodies and even flowerier vocals you might be forgiven if your only experience was with Heavenly and Fairyland (who all things considered, aren’t nearly as “flowery” as a few other non-French bands I can think of). I suspect there’s some cultural stereotyping we’re attributing to the idea of French music being flowery, but then again Yé-yé, Chanson, and the dreamy shoegaze of Alcest probably doesn’t help matters. No matter, because Elvenstorm have been loudly working in relative obscurity for the past decade to undo these preconceived notions and The Conjuring seems to be an apotheosis for them, and hopefully their breakthrough moment. This album surprised the hell out of me for that reason alone, its sheer aggression and viciousness, conveyed in a dirty guitar sound, thrashy riffs playing at often speed metal tempos. But trust me, its still power metal, the melodies abound and for all its bullet belt attitude, the band wields its progressive influences ala Blind Guardian in spades.

 

The band’s motor is guitarist Michael Hellström, who has an ear for keeping the songwriting grounded in rough, heavy riffs and explosive, ripping tempo shifts yet isn’t afraid to usher in major keys in his lead parts over the top or alongside. Think Helloween’s Walls of Jericho on the kind of steroids Sweet Dee was taking in Always Sunny when she was prepping to fight in the boxing ring. The band’s x factor however is vocalist Laura Ferreux, whose vocals might be a make or break proposition for some. Her tone is distinct, kept in the upper registers (she ranges from high to glass shatteringly high) with a noticeable French speaker influence to her English lyric delivery, much in the same vein that Klaus Meine has a certain German approach to his pronunciation. I find her vocals work perfectly with the frenetic nature of these songs, and there’s something awesome about that much full throttle power and attitude coming from the body of a petite Frenchwoman. She’s spectacular on gems like “Bloodlust”, “Into the Night”, and “Devil Within”, all three songs hitting you with the force of a hurricane, Ferreux’s vocals sounding like they’re coming from somewhere amidst the tempest. On the proggy end of things, “Chaos From Beyond” has quickly become one of my favorite songs over the past month, its smartly constructed echoing chorus worthy of a best songs list nomination methinks —- then again, The Conjuring has already made the nominee pool for the best albums list so… decisions decisions…

 

 

 

 

Dee Snider – For The Love Of Metal:

I remember listening to the episode of the Jasta Show podcast when this idea was initially broached. It was almost an off the cuff comment by Jamey Jasta, a spur of the moment idea borne of his gushing that he always thought Dee had a classic metal voice, and wouldn’t it be great if he did a full on metal album to showcase that voice ala what Halford did with his namesake project. Dee seemed to congenially agree to everything, that he was up for whatever, as long as he didn’t have to write the songs (he stopped songwriting after the short lived Widowmaker project in the mid-90s). Jasta was pumped, and a couple months later he let slip that he and the Bellmore brothers (Toxic Holocaust) were actually working on songs for it. I don’t remember if I thought at the time that it was a good idea or not, it just seemed like an amusing thing to contemplate —- the singer from one of the most recognizable metalcore bands working on an album with someone like Dee Snider, a guy who I honestly never really thought of as a classic metal vocalist in any capacity. He was always just the mouthpiece for Twisted Sister and an interesting personality in the hard rock world. Key words being hard rock, I just never thought of him as a metal guy. We’ve all got a little revisionist historian in us as metal fans, a way of reordering the events of the past in our beloved genre according to our own preferences, regardless of whether we’re trying to be as objective as possible or not. Its what makes shows like Lock Horns from BangerTV so crucial, that a community should be involved to come up with a consensus on what is what in regards to genres and classic albums, not just one or two voices in print mags or popular sites.

 

Jasta’s opinion that Dee is a classic metal vocalist isn’t a ridiculous notion, but its an arguable position, one that really needed to be backed up by this album, because myself and many others didn’t really feel that way going in. So how do we evaluate this record? The songwriting is clearly cut from the Hatebreed-ian / modern metal cloth, which isn’t a bad thing by any means, because as a more mainstream approach to that sound these songs are pretty solid. There’s hooks a plenty, the riffs are meaty and convincing, if simple to a fault, and there’s enough variation with tempo changes and well thought out bridges and segues to keep things interesting. Dee’s vocals are recorded in pristine fashion, through the sort of modern recording approach that most bands are using these days, certainly a league apart from the raw, punky feel of those early Twisted Sister albums. It can be a little clinical, a little too antiseptic at times however, for all its sonic perfection. I think the best track here is “Tomorrow’s No Concern”, where despite the clunky lyrics the vocal hook and riff work off each other well enough to get lodged into your head. I also really liked the different things they tried in the duet with the much over-booked Alyssa White-Gluz (yet another guest appearance? Must we?), there was a nice Spanish style acoustic strummed intro, and the guitar solo was quite pretty and made for a refreshing change of pace for an album that was largely very samey throughout.

 

You’ve all heard this record by now, I’m not gonna waste time describing it any further. My takeaway is this: It was an interesting record to behold, to consider as a novel and unexpected project. For all its relative strength as a solid metal record, its biggest drawback might be just how seriously it takes itself. We all smile to the “We’re Not Gonna Take It” video and sing along to it at metal festival karaokes, at ball games, or whenever it inevitably comes on during a commercial these days. I don’t hear that Dee Snider at all on this record, that light hearted, flippant purveyor of defiance and all things rock n’ roll. Maybe Jasta should’ve recruited a songwriter from that era to help with the writing, or someone contemporary who operates in the same spirit (Justin Hawkins from The Darkness perhaps?). I feel no urge to revisit this album at any point in the near future, but I’ve never stopped coming back to Jorn Lande’s utterly ridiculous and magnificent Dracula: Swing of Death from 2015. That album was fun, knew it was camp as hell and Jorn leaned into it hard and turned in some fine theatrical and full on Jorn-metal performances on some terrific songs. He’s all thunder and epic majesty on the Avantasia project though, largely because Tobias Sammet knows how to utilize his voice and writes songs towards that goal. Sammet’s also the guy who got Geoff Tate’s best performance of the last twenty years on the Ghostlights album, leaning hard into the man’s strengths and driving it home with a song that amplifies them. I applaud the ambition of Jasta’s Dee Snider project, but the execution was a little misdirected, and once the hype train passes, I think most people will feel the same way.

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