The Metal Pigeon’s Best of 2019 // Part Two: The Albums

There have been previous years here at The Metal Pigeon where the year end list was an agonizing, much deliberated upon process, but none like this year. Simply put, the sheer quality of some of these 2019 releases made trying to decide which of them I loved the most extremely difficult. This best albums list was slowly under construction as the year went along, with new contenders for the top spot seemingly popping up every month or so. I guess what really surprised me about the final result was in seeing just who wasn’t there, especially in a year where veteran bands were putting out notable new records. If there’s a theme to 2019, it’s the year of the upstart, the newcomers and relatively unknown bands that wound up making the biggest impact on me. Not only is that something to cherish because of what it says about the health of the metal scene overall, but for me personally it makes writing The Metal Pigeon and co-hosting the MSRcast podcast more gratifying, and just makes being a metal fan more fun too. Thanks to everyone for sticking around to read my words for another year!

1.   Dialith – Extinction Six:

The subgenre with the most difficult learning curve and the easiest potential for a band to derail entirely is that of symphonic metal —- in which even its pioneering architects in Therion and Nightwish occasionally misstep or just flat out faceplant themselves in the dirt. Arguably, artistically successful symphonic metal requires gifted musicians, talented and often trained vocalists, and a songwriter that can weave together these disparate elements into something grand, epic, and powerful. It’s such a problematic subgenre that over the years it had gotten stale primarily because most of its artists followed a proven template time and time again. As a result listeners began to feel as though most bands were indistinguishable from one another, that they had heard the same record over and over, and the idea of classic symphonic metal (that is, the stuff not blended with extreme elements ala Fleshgod Apocalypse) began to be the object of scorn and ridicule. Its somewhat ironic then that the band that might be the turnaround for the entire subgenre is an unsigned band on their self-released debut album, who hail not from Europe or Scandinavia, but from Danbury, Connecticut. With Extinction Six, Dialith reintroduced actual metal to the idea of symphonic metal, creating a sound that is at once as shimmeringly ethereal as their obvious influences, but also grounded and gritty, at times full of seething aggression.

They accomplish this by incorporating a love of aggressive melodic death metal throughout their songwriting, thrashy and dense in the guitars, with a punishing rhythm section holding things together. Eschewing the standard rhythmic chug heard in most symphonic metal bands, guitarist Alasdair Mackie unleashes a barrage of crunchy, tightly packed, galloping melodic riffs that constantly shapeshift, slow down, speed up, and veer hard into wild power metallish passages. Directly propelling this attack is drummer extraordinaire and dark horse mvp candidate of the album Cullen Mitchell, whose incredibly creative patterns and fills bring a bracing urgency to these songs. Vocalist Krista Sion turns in the most compelling vocal performance in a symphonic metal record in the past decade, at once haunting and yet earthy, capable of sounding serene, or detached, and even angry from moment to moment. I simply could not stop listening to this record once I was introduced to it, and despite its August release date, it is my most played album of the year. I would listen to it at home, when driving to work, and when wearing headphones at the grocery store, blankly staring at bags of frozen veggies while I wondered how it took until 2019 for anyone to realize that the secret to revitalizing symphonic metal is to worry less about the symphonic bit, and just get more metal with it. That Dialith stumbled upon this truth on their first full length defies logic —- but that its an American band that’s bringing new life to a European born subgenre long declared dead is something I’m thrilled about. If you haven’t figured out by now that the most exciting new metal bands are spilling out of the USA and Canada this last half decade, consider Dialith’s Extinction Six another gloriously loud wake up call.

(Also appears on: The Metal Pigeon’s Best Songs of 2019)

2.   Idle Hands – Mana:

This is likely going to be one of those rare times when something on my year end list matches a lot of other publications, probably some high profile ones too. And when it comes to Idle Hand’s gnawingly irresistible debut Mana, that’s the way it should be, because this record is undeniable. You might recall that I was a bit conflicted on this album way back in the summer, even mentioning on an episode of the MSRcast that I found vocalist Gabriel Franco’s grunts and wolfman exultations a little trying. But his songwriting was just so compelling, and cuts like “Give Me To The Night”, “Jackie”, and the glorious “Dragon, Why Do You Cry?” were too addictive to cast aside over a minor gripe. Funnily enough however, I began to learn to love those strange vocal outbursts, now to a point where I can’t imagine the songs without them and you damn well better believe that when I catch the band live in March I’ll be matching Franco grunt for grunt. Idle Hands’ sound is a blend, a Tribulation-esque metallic crunch to the riffs, with the hard rock strut and mystical swagger of The Cult, and the detached gothic sensibility to Franco’s stoic vocal tone that brings to mind Sisters Of Mercy or The Mission. But Mana is more than just the sum of its influences, as Franco’s songwriting style is imbued with a distinctive character, and guitarist Sebastian Silva turns in one of the finest performances of anyone on any album all year. Oh and the other thing that honestly counts for a lot these days —- that when I needed to hear something fun, to perk me up, to lift my mood, Idle Hands’ Mana wasn’t far from my mind or my speakers.

(Also appears on: The Metal Pigeon’s Best Songs of 2019)

3.   Aephanemer – Prokopton:

Representing a new spoke on the pinwheel of diversity that is French metal, Aephanemer broke this year in a big way with their sophomore album Prokopton. Unlike the black metal infused artistry of Blut Aus Nord and Alcest, or the raw, vicious speed/power blend of last year’s best albums list maker Elvenstorm, this four piece from Toulouse weave together Gothenburg-ian melodic death metal with classical inspired melodies (and apparently traditional Slavic music too, I’ll take their word for it). Lead guitarist and principal songwriter Martin Hamiche is a veritable fountain of non-stop melodies, most of which sound like they should be played on a violin or cello. Alongside rhythm guitarist/vocalist Marion Bascoul, they weave together the most frenetic yet beautiful guitar wizardry set to urgent, insistent tempos. And they simply don’t stop —- the melodies weave one idea into another without skipping a beat, and segues into ultra-aggressive headbanging riffs come without warning and with maximum impact. Bascoul’s rhythm guitars are fierce and just crunchy enough to stand apart from Hamiche’s decadent, flourish laden performances. But its her vocals that are perhaps her most valuable asset, brutal and snarling, shaded with a little black metal grimness, and crisply enunciated. The relentless pace of this album is hyper-aggressive, a breathless flurry of consistently up-up-up-tempo dizziness (ever have those dreams where you’re driving uncontrollably fast and fly off a highway overpass, tracks like “Bloodline” should be their soundtrack). I was stunned outright when I first heard Prokopton all those months ago, and still feel the same way listening to it now —- this was not only a bold re-imagining of what melodic death metal could be, but perhaps the most high-energy album to ever grace a Metal Pigeon year end list.

4.   Thormesis – The Sixth:

Though they’ve been around for a decade plus, Germany’s Thormesis kinda languished in the dark for their first five albums (that they were sung in their native language probably didn’t help much). Cue The Sixth, where the band scaled back their pagan folk roots, incorporated more post-metal influences (particularly with moodier passages built on vividly ambient clean guitar figures), but most importantly, they brought some old school rock/metal sensibility to the affair. Tremolo guitars rarely dominate for long on these songs, often veering into (no other way to describe it other than…) rockin’ passages where you’re locked in with meaty, hooky riff progressions. The lead guitar flying over the top throughout is loose and wild with a hard rock sensibility, often going for maximum dramatic impact with inspired melodic motifs. And melody is where Thormesis reign supreme, because the fundamental appeal of this album is their ability to tightly control and deploy blasts of blistering, furious black metal within highly melodic, very accessible songwriting structures. The result was an album of songs that didn’t feel oppressive, didn’t require a certain kind of mood or external ambiance in order to really “get into it”. On the contrary, the band would often paint complex musical moments where you’d detect shades of melancholy and optimism simultaneously, such as in the ending sequence of “Their Morbid Drunken Ways”. Which meant that I listened to this album when I was in need of something angry, but also played it when I was perfectly calm and it was bright and sunny out. For someone like me who is finicky about stuff like being in the right mood to fully appreciate this or that album —- The Sixth was an anomaly, a kind of meditative space where I could be encompassed by its strange mix of disparate musical elements and figure myself out.

5.   Swallow The Sun – When A Shadow Is Forced Into The Light:

This was not an easy album to listen to, even though I feel its Swallow The Sun’s strongest work to date in a career full of excellent moments. Enough has been written and spoken both on this blog and random episodes of MSRcast about the backstory behind this album, perhaps too much, but its not like you can ignore it particularly when these songs are the channeling of grief by the band’s chief songwriter. Its a sad, somber record that can weigh on you if you’re susceptible enough, and there were times when I simply didn’t want to listen to something this damned heavy… as in burden of grief heavy. In April I saw the band perform live on their tour with Children of Bodom, their first American trek with Juha Raivio in tow in years. He’d understandably skipped the past few tours, but there he was directly in front of me, playing some of these songs that he’d written to process whatever turmoil it was he was going through, and it was surreal to watch someone exorcising that in front of you. Getting to see that in person made me realize just how much of a triumph When A Shadow… actually is, because rather than rely on the old school Swallow The Sun formula, Raivio borrowed from the gothic splendor of the Trees of Eternity record to rejuvenate the band’s sound. This yielded aching melancholy through bittersweet melodies, a lushness through layered vocals from excellent performances by Mikko Kotamäki and keyboardist Jaani Peuhu, and allowed Raivio to incorporate empty space as a texture more than ever before. The overall effect was meditative, with songs that moved at a stately, often wandering pace, all working to support the evocative lyrical imagery of fire and shadow, of solitary temples, and expansive lakes under starlit skies. An uncomfortable listen at times, but one of the most compelling that I’ve ever experienced as a metal fan, full stop.

(Also appears on: The Metal Pigeon’s Best Songs of 2019)

6. Insomnium – Heart Like A Grave:

In any other year, Insomnium’s emotionally wrought Heart Like A Grave could have been at the top of this list, and it’s a testament to the aforementioned abundance of awesome releases that there are five others ahead of it here. Some may feel that the restrained, more subdued nature of some of these songs arriving in the wake of the brutal, blistering, black metal injected Winter’s Gate was too much of a deviation for their liking, but that’s precisely why I feel so strongly about it as a fan. The band ran out of some of their creative magic on Shadows Of A Dying Sun in 2014, and the step towards a more extreme direction on Winter’s Gate helped them grab some distance from their “classic” sound. Returning to it now, the band displayed some renewed vigor, helped along by fresh songwriting inspiration by dipping deeper than ever before into the well of Finnish melodic melancholy by the way of Sentenced and Amorphis. The result was an album expressly written with an ear towards guitar and vocal melodies, with purely rhythmic riffs being secondary in the equation, at times even kept to a supporting role as on “Pale Morning Star”. On songs like “Valediction” and “Heart Like A Grave”, the band broaden the role of clean vocal melodies like never before, with Ville Friman and newcomer guitarist Jani Liimatainen carrying entire passages with their voices. Lyrically, a bleak, despairing streak coursed through these songs that was particularly downcast even for Insomnium. There were streaks of optimism firing through albums like One For Sorrow and Shadows, but not here, with themes of hopelessness and inner despair set against the backdrop of a fraying outside world. That they set these dark themes against some of the most achingly poignant melodies in a way that makes them heartbreakingly bittersweet is central to Insomnium’s brilliance and the emotional reach of Finnish melo-death.

7. Månegarm – Fornaldarsagor:

Earlier in the year, Swedish folk veterans Månegarm released their strongest record in a decade with Fornaldarsagor, one that is also arguably the most satisfyingly fun of their entire two decades long catalog. Still incorporating the broiling black metal foundation that’s been the broth to their particular recipe of folk metal phở, the Swedes stumbled upon a batch of incredibly hooky material for this record, helped along by leaning hard on the warm folky elements that we’ve gotten on albums past in fits and starts. Here they blanket the proceedings almost entirely, and as a result the album is a lot more mid-tempoed than you’d expect from a band built on black metal foundations. That’s not a bad thing though, because these are melodies that are incredibly endearing, not quite sugary, but possessed with enough sweetness to be a bright, uplifting counterpoint to all the aggression. Adrenaline ratcheting cuts like “Sveablotet” and “Hervors arv” were set to racing tempos, ringing tremolo guitars as well as a dense, melo-death riff battery that anchored everything with a powerful rhythm presence. But they were both spliced open with explosions of folk melody, yielding to its tempo needs and abrupt transitions. On the album highlight “Ett sista farval”, they were aided by gorgeous lead vocals from Ellinor Videfors in a duet with longtime Manegarm vocalist Erik Grawsiö —- their combined clean vocal combo resulting in one of the most poignant folk metal tracks that I can remember in years. Though the folk metal revitalization is taking a slower, more steady path than power metal’s recent resurgence, it’s comforting to see old hands like Vintersorg, and now Manegarm come up big as of late with stellar new albums. The genre was in need of a refocusing on its roots before it was handed off to younger, newer bands —- thankfully, Manegarm are doing their part.

8. Sabaton – The Great War (The History Edition):

Sabaton have had records on my year end lists before, so this shouldn’t be a surprise —- however they’ve not been on all of them. Only Carolus Rex and Heroes have made it on, with The Last Stand never even making my final nominees list. I say that to emphasize that even though I do love this band, I’m not blind to their faults and tendencies, and that being said, there’s plenty of reasons why Sabaton made the cut this time as well with an album that is arguably their strongest since the aforementioned Carolus Rex. You might have noticed above that I specified the History Edition of The Great War, and while I don’t believe that merely the presence of the historical narrations via a talented British (?) voice actor made all the difference between this album appearing on this list or not, I do believe that it is the definitive version of the album that all Sabaton fans owe it to themselves to check out. But indeed, The Great War is here because of its songs, with cuts like “Seven Pillars Of Wisdom”, “The Red Baron” and “Great War” among the band’s very best compositions. The band took their time with this record, with the gap between this and 2016’s problematic The Last Stand being the longest in between releases they’d ever taken. That extra year allowed for time to focus on working on the ambitious World War I theme running throughout this album. And there’s something to be said about Sab using a darker, more somber theme for a change to their songwriting advantage. It forced them to write material that wasn’t all major chords and skyrocketing choruses, but to get heavy, to lean hard on the riffing and pyrotechnics combo of Chris Rorland and Tommy Johansson to get down in the mud and muck. Joakim Broden is of course ageless and still one of the most compelling songwriters in metal, turning in lyrics and performances here that bring these stories to life and make audiences care about them. This was the rebound they needed after The Last Stand saw them dangerously treading water, and I can’t begin to fathom how they’re gonna try to top it.

(Also appears on: The Metal Pigeon’s Best Songs of 2019)

9. Frozen Crown – Crowned In Frost:

Hot on the heels of their impressive debut album last year(!), Italy’s newest power metal phenoms Frozen Crown decided to waste no time and in lieu of extensive touring, worked on crafting a follow-up that would capitalize on the momentum they had built up. Its a smart strategy, and when you have a songwriter with the hook crafting talent of Federico Mondelli, you’re better off unleashing new songs to build up a catalog and get word of mouth by winding up on lists like this one rather than coughing up thousands in rental and fuel costs on the road. Undoubtedly, Frozen Crown will have some pretty sweet tour offers down the road, but for now its enough that they’re focused on their art, because Crowned In Frost makes the case for being the most fun power metal album of the year. Mondelli infuses crackling energy into songs like “Neverending”, “In The Dark”, and “Winterfall” by augmenting soaring power metal melodies with aggressive, melodeath riffing. He’s backed up in this by the dizzying battery of drummer Alberto Mezzanotte, who delivers wildly engaging, creative patterns, never resorting to power metal drumming 101 (check out his absolutely bananas work on “Winterfall” in particular). But it’d all be for naught if they didn’t have a vocalist who didn’t live up to all that excellent musicianship, and Giada Etro in a mere two year span has made a case to be considered one of the best in the genre. Simply put, she’s capable of soaring heights, has a rich, powerful timbre to her voice, and her choices in regards to phrasing, diction, and emphasis are downright impeccable. Mondelli’s melo-death inspired screaming vocals are a welcome addition to the Frozen Crown mix too, giving the band the ability to pull sudden turns off the trad/power route into extreme territory to ratchet up the energy or darken the mood. But what I love the most about this record is that it demonstrates that Mondelli and company seem to understand what fundamentally makes excellent power metal so vital —- that it delivers a sense of grand adventure, of spirit raising triumph, and defiance against the odds. Along with a score of other new bands arriving on the scene, Frozen Crown make me feel really confident about the health and future of the genre going forward.

(Also appears on: The Metal Pigeon’s Best Songs of 2019)

10. Helevorn – Aamamata:

Spain’s Helevorn may not have the big name pedigree of other death-doom metallers like Swallow The Sun, Paradise Lost, or My Dying Bride, but they deserve to be highlighted alongside those titans based on the quality of an album like Aamamata. And for sure those aforementioned bands’ collective influence can be heard through the bleak brutality present here, but what sets Helevorn apart is their unabashed embrace of gothic metal palettes and textures, particularly in the vocal department. On “A Sail To Sanity”, vocalist Josep Brunet balances his throat ripping gutturality with emotive, deep, and dare I say smooth clean vocals that sometimes affect a slight goth rock stoicism. I know that Helevorn’s geographic proximity to Spain might have influenced my thinking that there’s a heavy Moonspell influence at work here, but swear its audibly palpable on the trance inducing guitar motif being used in that song, and it pops up in other places throughout the album. Said influence is clearly running through an adventurous, genre defying cut like “Nostrum Mare”, a dreamy but desolate ballad with cinematic symphonic keyboards, a guest performance by an unknown vocalist singing in Catalan, and a gorgeous, haunting outro guitar solo. That blend of diverse elements sounds like its a bit much but Helevorn have the compositional chops to arrange everything into powerful, drama building passages. Draconian’s own Heike Langhans drops in for a suitably doom meets goth metal guest vocal moment on “The Path To Puya”, adding a bit of stargazing cosmic grandeur to a bleak, and morose sounding track about the trek to the afterlife. This album sailed under the radar for loads of people, and its early January release date will probably keep it off most folks radars when considering the best records of the year. That’s a shame because excellent work should be given its due, regardless of how relatively low a band’s profile is, and hopefully Helevorn’s placement here can be the start of that.

The Metal Pigeon’s Best of 2019 // Part One: The Songs

It’s been an incredible year for new music, one of the best that I can remember, and I’m wrapping it up with part one of the double Best of 2019 feature. I’ve done a best songs list since 2012, and I think in the end of the year flurry around albums, its excellent songs that often tend to get lost in the shuffle. As expected, there will be some crossover here with the upcoming albums list, but I love giving isolated gems from problematic albums some attention on here. For the metrics, I did consider my iTunes play counts (yes I’m still using an iPod Nano), but as Spotify has increasingly taken over as a source for music, those stats are becoming less relevant. So I had to really check myself to be as honest as possible, even if it makes a few readers shake their heads in bewilderment as I’m sure some of the stuff below will. Be sure to check out our upcoming MSRcast episodes for discussion on late 2019 releases, as well as our gigantic year end blowout episodes where we’ll likely be talking about a ton of stuff not covered here.

1.   Avantasia – “Ghost In The Moon” (from the album Moonglow)

The opening track from Avantasia’s flawed but fun Moonglow, “Ghost In The Moon” contained a shimmering, shooting star chorus that was launched on the back of a gorgeous, rolling piano melody. It was a strange track coming from Sammet, with a rounded, soft approach to the songwriting that owed more to classic rock n’ roll than the sharp edges and angles of metal. It was the first time he simultaneously wore the Jim Steinman influence on his sleeve and yet transcended it at the same time. At just under ten minutes in length, it was an ambitious album opener too —- and I’ve heard so many bands try the epic as the opener gambit that have fallen flat on their faces and irreparably damaged an album’s pacing and momentum. Sammet must’ve felt confident that he had a gem on his hands then, and in another sign of confidence, took on this song solo on an album full of guest vocalists on all the other songs. The fantastic gospel choir backing vocalists singing half a beat behind him provided that soaring, spiritual uplift that lodged this song in comfort listening territory all through the year.

2. Sabaton – “Seven Pillars Of Wisdom” (from the album The Great War)

Built on insistent riff progressions and an inspired vocal melody from Joakim Broden, Sabaton found magic on the stirringly heroic “Seven Pillars Of Wisdom”, a song about the exploits of the legendary T.E. Lawrence. There’s a riding on horseback through the desert rhythmic gallop at work here, and a swashbuckling swing to the chorus, suggestive of the derring-do ascribed to Lawrence himself in the lyrics. Largely devoid of keyboards, it was also refreshingly aggressive for Sabaton, built on the mechanized rhythm guitar of Chris Rörland and wild, flashy fireworks of Tommy Johansson. It was the clear highlight off The Great War, and should go down as an all-time classic for the band, and to my ears its their best song to date.

(Also appears on: The Metal Pigeon’s Best Albums of 2019)

3. Idle Hands – “Dragon, Why Do You Cry?” (from the album Mana)

Truth be told, there were a few songs off Idle Hands incredible debut album that could’ve wound up on this list, in fact I had “Give Me To The Night” and “Jackie” shortlisted for it, but I think it was going to be inconceivable to not include the strange, slightly mystical “Dragon, Why Do You Cry?”. Built on a Queensryche-ian bassline and guitarist Sebastian Silva’s chiming chord strums, this is a moody ballad that’s too dark and metaphorical to call a power ballad. Singer Gabriel Franco narrates us through his weird fantastical dream world with his emotional yet plaintive sounding vocals, sounding detached and possessed of a raw urgency at once. In the song’s apex, Franco counts down from eight to usher in Silva’s incredible, Latin-rock tinged solo, a transcendent moment that is as thrilling as it is weird.

(Also appears on: The Metal Pigeon’s Best Albums of 2019)

4. Ancient Bards – “Light” (from the album Origine – The Black Crystal Sword Saga Part 2)

Ancient Bards are no strangers to ballads, but when they released “Light” just ahead of their fourth album Origine, they raised a few eyebrows. It was a lush piano and vocals centric affair that was dewy-eyed and heart on sleeve, something that wouldn’t have sounded out of place on the Frozen 2 soundtrack. Its glossy, 4kHD music video juxtaposed interpretive dance intercut with singer Sara Squadrani dressed to the nines while singing on the shore of the Adriatic Sea at sunrise. This somehow landed on a conceptual fantasy story driven album? How did that even make sense? It didn’t, but Ancient Bards did it anyway because they had the wisdom to realize that a great song shouldn’t be ignored or stuffed into the vault just because its screamingly different or gasp, even non-metal to its very essence. There are guitars towards the end, including a sugary sweet solo, but by then you’re already miming along to Squadrani doing your best Celine Dion impression. Get. Into. It.

5. Swallow The Sun – “Here On The Black Earth” (from the album When A Shadow Is Forced Into The Light)

The gut wrenching, agonizingly sad emotional center of one of the bleakest albums of this decade, nevermind the year, “Here On The Black Earth” is not an easy listen. It is however, a rewarding one musically speaking, its gripping musical refrain and lyrical motif colliding in a chorus that sends shivers down your arm. The lyrics here are elegiac, woven with imagery of the natural world and flesh and bone. Of course if you’re aware of the backstory behind this record, you’ll know that Juha Raivio was writing from a deeply personal perspective, yet he was also self-aware enough to keep things ultimately vague, providing space for this song to attach itself to anyone’s grief or sadness. The vocal performance by Mikko Kotamäki is fierce and empathetic, he really sinks into the brutal nature of the lyrics on his harsh vocal explosions, while allowing his clean vocals to sound slightly detached and deadened. That’s a tough ask of any singer but you get the feeling that he just knew what to do, and up and did it.

(Also appears on: The Metal Pigeon’s Best Albums of 2019)

6. Frozen Crown – “In The Dark” (from the album Crowned In Frost)

Embodying the very essence of what we love the most about power metal, Italy’s Frozen Crown delivered a gem with “In The Dark”. It’s a tightly written gem burning with an empowering and defiant spirit, with a perfectly sculpted, fully arcing chorus. Vocalist Giada Etro is a dynamic singer, maintaining crispness and intensity through nuanced verses, with effortless transitions to a soaring belt during the refrain. Alongside songwriter/guitarist/co-vocalist Federico Mondelli, the pair are integral to what has become the most exciting new power metal debut on the European mainland in recent years. There’s a youthful vigor to the sound here that is exciting to behold, the kind of thing we heard on Edguy and Sonata Arctica records back in the late 90s. And alongside their compatriots in Temperance and Ancient Bards, they’re redefining what Italian power metal can sound like, and that’s something I’d never have imagined possible a few years ago.

(Also appears on: The Metal Pigeon’s Best Albums of 2019)

7. Avatarium – “The Fire I Long For” (from the album The Fire I Long For)

Sneakily released in late November (Nuclear Blast should know better), this one almost eluded me, but thankfully I caught it in time to consider just how much Avatarium have transitioned away from their 70’s occult rock/doom hybrid into a band that embraces a wider artistic palette. Whether the stepping away of Candlemass founder Leif Edling has been the impetus of change or it was merely a natural artistic progression, there’s a wider range of influences at work throughout their new album. Here on the gorgeous, smoldering title track, vocalist Jennie-Ann Smith channels darker, alt-country chanteuses such as Lucinda Williams, Neko Case, and fellow Swede Nina Persson. This is a hypnotic song, lush and full of depth and artistry, both in Smith’s expressive vocals but also in guitarist Marcus Jidell’s inspired, loose, dark-countrified licks. Don’t skip this tune.

8. Dialith – “The Sound Of Your Voice” (from the album Extinction Six)

The lead off track from one of the year’s most visceral and exciting releases, “The Sound Of Your Voice” is the likely introduction for many to Connecticut(!) symphonic metallers Dialith, having been a full-length YouTube ad that a lot of folks may have stumbled upon whilst watching other videos. It’s a remarkable song on its own, not least for its perfect encapsulation of Dialith’s many interlocking musical elements, but for its euphoric, triumphant spirit streaking through it, particularly in the latter half of the song. Through a combination of crunchy and dense melodeath riffing, restrained keyboard symphonics, and the serene yet strong vocals of
Krista Sion, Dialith have single-handedly brought a fresh perspective to what symphonic metal could and should sound like. And just to put into perspective how utterly spectacular Extinction Six is as an album, I also had “Break The Chains” and “In Every Breath” as nominees for this list as well. As you might predict, this isn’t the last time I’ll be writing about Dialith this year…

(Also appears on: The Metal Pigeon’s Best Albums of 2019)

9. Everfrost – “Winterider” (from the album Winterider)

Everfrost was one of those unexpected, out of nowhere surprises this year, and they arrived like a good priest with the timely heals in your mmorpg party (in the game of your choice of course —- shout out to any old Shadowbane players!), swooping in to comfort us in the wake of Sonata Arctica’s disastrous new album with a blast of sugary, wintry old school Finnish power metal. It’s hard to imagine a more timely release. But founding member/keyboardist Benjamin Connelly gets credit for being more than just the sum of his influences, being a sharp songwriter capable of crafting razor sharp hooks in songs imbued with a sense of freshness and fun. Case in point is the title track “Winterider”, which features one of the most satisfying opening keyboard/guitar riffs in power metal history, and packs as much energy as possible in its tight, compact synth melodies and urgent guitars. The band’s anime/manga aesthetic clearly leaves more than just a visual imprint on the band, with the frenetic, insistent pacing of this song reminding me of equal parts Galneryus and J Rock as it does the ultra-fast cutting and editing of the most hyperbolic animes. The glorious finale from the 3:26 moment onwards is what got this track on this list, bringing an adrenaline rush so addictive that I needed a daily fix.

10. Gloryhammer – “Gloryhammer” (from the album Legends From Beyond The Galactic Terrorvortex )

It would be downright disingenuous to leave this track off the best songs list, considering how much I listened to it throughout the year, surprising not only myself but those around me who’d heard me grumble about bands like Gloryhammer in the past. Well opinions can change over time and shout out to the crew in the r/PowerMetal community for yet another thing they’ve managed to foist upon my playlists, because it was their enthusiasm for Gloryhammer that caused me to consider their new album this year with fresh ears and an open mind. It was the eponymous single “Gloryhammer” that was the clear cut apex of an already excellent album, with a hook built on a classic power metal mid-tempo strut and a high arcing vocal melody. The secret to pulling off such ridiculous lyrics lies in vocalist Thomas Winkler’s commanding performance —- his voice is rich with character, affecting the heroic pomp of the character he’s playing without resorting to pure theatrics. Hear the way he shout-sings “…since 1992!”, a minor detail but something that makes me crack a smile every time I hear it. Credit to bandleader/songwriter Christopher Bowes, who quite simply HAD to deliver the band’s most catchy, anthemic, and yes powerful song if he insisted on it being about the band’s namesake weapon. By gods he did it.

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 Mid-Year Reviews Cluster Catch Up

So I spent most of the past month mistakenly thinking that this summer was a little light on quality new music, and to a certain extent that’s right in terms of May and June. Fortunately for me I’ve taken advantage of the lull to do some digging on stuff I might have missed in the past six months in general. I discovered these through a variety of different sources, but mostly from my friends at /r/powermetal and its corresponding Dischord chat as well as the USPM Connection Facebook group, all of whom helped me out with a ton of suggestions for albums I’ve missed (for better and worse). I’ve picked out a handful of the most interesting ones, so I guess these are somewhat reviews but kinda also just straight up recommendations that I think are worth your time. I’ve also reviewed the new Khemmis and Kobra and the Lotus, two bands that I had previously heard of but have never written about or investigated too much until now. The nature of how I came to hear most of these bands is a microcosm of the very essence of this blog’s founding mission, namely being a conduit for word of mouth recommendations, from others to me, and hopefully myself to you.

 


 

 

Exlibris – Innertia:

Before we begin, a little clarification is necessary because there are two active metal bands based only a few hundred kilometers apart in Europe sharing the same name. Well, almost. So there’s Ex Libris, the Dutch symphonic metal band helmed by ex-Xandria vocalist Dianne van Giersbergen that’s active once more and in the process of crowdfunding a new album. Then there’s Exlibris, and the modern power metal band from Poland, and that’s who we’re talking about here with their new album Innertia. Poland has had a small yet noticeable impact on the power metal scene, the most notable band being Crystal Viper. There’s some much smaller profile Polish bands such as Gutter Sirens and Night Mistress, the latter of whom incidentally shared a vocalist in Krzysztof Sokołowski with Exlibris for a couple years and a few albums. He was a fairly proficient vocalist, but Exlibris have finally decided to take a big step apart and forward by recruiting a singer of their own in Finland’s own Riku Turunen, who turns out to be a remarkable talent. This is my introduction to him, but damn what an introduction. He’s got a nice blend of influences in his vocals, a blast of Mandrake-era Tobias Sammett’s raw power with a dash of Timo Kotipelto’s penchant for endearing phrasing of specific words and phrases. I really love his work all over this album, and he’s arriving at a time when a lot of us are looking around at the power metal landscape and wondering where the next powerhouse vocalists are —- as it turns out, there’s a load of them all over the globe, they’re just not getting the recognition they should.

 

As impressive as Turunen is, I don’t want to minimize what the band has accomplished with Innertia, because this is one of the most dazzling modern power metal albums I’ve heard in awhile. Its riffs are thick, meaty and Tad Morose level heavy at moments, but the songwriting is quick on its feet, throwing changes and abrupt shifts this way and that which keep things from getting plodding or staid. There’s a few songs here that evoke tinges of Theocracy’s blistering yet melodic rhythmic attack, the album leading “Harmony of Spheres” comes to mind with its airplane takeoff acceleration and lush vocal lift on the bridge. The mid-song shift to a regal symphonic metal breakdown (as close as it gets to such a strange concept anyway) is a nice diversion, something to lock in our attention as the song hits its final minutes. These guys do a lot of that, little musical ideas tossed in here and there that work to maximize the overall impact rather than simply standout on their own. I mentioned the backing/layered vocals a second ago, and I love that they’re confident enough to write with them as a major component of the songwriting at times, as on “Gravity” whose refrain is classic call and response hard rock theatrics —- the strident lead vocals up close and personal while the backing vocals handle the progression of the vocal melody driving things forward. While guitarist Daniel Lechmański and keyboardist Piotr Sikora help Turunen out on backing vox on most tracks, guest vocalist Ann Charlotte Wikström is heard on many spots throughout with assists on lead vocal lines as on album highlight “Shoot For the Sun”. Its a spectacular song and it really shines towards the end when she weaves around Turunen in a twisting, enjoining vocal dance to finish the track —- a gorgeously sublime moment.

 

The Sammett comparisons surface again in a positive way for much of “Incarnate”, and honestly it makes the Edguy/Avantasia fanboy inside nine kinds of giddy. I really love Sikora’s keyboard work, he’s really working a Jens Johansson approach here, not only for the flashy solos but in how he utilizes his keys largely as an orchestral instrument to help amplify Turunen’s vocal lines. His interplay with Lechmański’s guitarwork throughout the album is intriguing to behold on its own apart from the vocals, and when all three elements join up on the same melody as on the chorus for “Amorphous” the results are triumphant, fist in the air stuff. Great bands make choruses like these seem easy, but if you listen to enough mediocre, not-quite-there power/trad metal you’ll realize they’re enormously difficult. It takes vision to write something that has such a well-defined melodic arc, and I’d put Exlibris’ work on this album up there with the best of new Terje Haroy/Jacob Hansen era Pyramaze. I love that they’re not afraid of challenging themselves with complexity during their refrains either, as on “Origin of Decay” whose chorus is its own countermelody to the verse, a bold decision that works well, I enjoyed it so much that even the spoken word effects in the middle didn’t bother me (and they usually do). A day after I first heard this album I recorded a recent MSRcast where I prematurely spoke of Innertia as a casual summertime jam type of affair —- but subsequent listens have made a right fool out of me. I simply can’t say enough good things about this record right now, it came out of nowhere and just floored me. At this point I’m not just talking about Innertia being potentially the best power metal record of 2018, I’m talking about it being in the running for the best album of the year list period.

 

 

 

 

Kobra and the Lotus – Prevail II:

Another chapter in my ever expanding legacy of coming around to bands late, Kobra and the Lotus finally grabbed my attention with 2017’s Prevail. I heard that album when it came out last summer with a few cursory listens and came away surprised that I was enjoying parts of it, but it got lost in the shuffle of releases around the time and I never reviewed it. But there’s something happening here on its sequel that signals that perhaps the band is coming into their own creatively. Kobra Paige has always been an impressive vocalist, but for me this is the first time I’m hearing her vocals in a context that makes the most of their Doro-esque strength and vigor, her performance in this album at times even recalling the tensile flexibility of Triosphere’s Ida Haukland. The band shares credit in this too, giving her ample room to steer the melodic ship with her vocals, the often delightfully catchy riffs from Jasio Kulakowski working around her via accents and countermelodies. Its the sound of a band that has searched for and discovered its strengths over the course of a few albums and is now leaning into them hard.

 

The most vivid example of that realization is heard on “Let Me Love You”, as fine a single as we’ve heard all year and the kind of metal summertime jam where the lyrical matter doesn’t matter so much as the groove, the riff, and the killer hook does. I say lyrical matter doesn’t matter only because I don’t mind rock or metal bands singing about topics like love and romance, they’ve been doing it since Zeppelin and The Who. Yet a good many of the comments on YouTube for this song are from insecure boys opining that its subject matter is lame (or that dreaded dairy related adjective). Guys, its no more so than any other lyrical subject matter in metal, its 2018 and its past time to get over it. In fact, for the Metal Pigeon’s 2014 album of the year in Triosphere’s The Heart of the Matter, a heavy emphasis on the subject of bad relationships was the emotional core that informed much of that album’s gorgeously manipulated rage and fury. Paige doesn’t quite achieve that same level of excellence all across Prevail II, but on this song she absolutely delivers in an angst-ridden paean to forlorn longing. She does the same on the Ville Valo meets Ann Wilson vibe of “Heartache” with a wonderful vocal on the chorus there, one written with exceptional care to squeeze every emotional drop from so few syllables.

 

On the heavier end, she’s gotten better at channeling mainline influences such as Halford and even a little Dickinson as her performances on “Human Empire” and “You’re Insane” can attest. Album opener “Losing My Humanity” is another highlight, being an example of one of my favorite trad metal songwriting techniques in a punishingly fast verse riff being followed by a slower tempo in the arena rock informed bridge and chorus. Its classic metal 101 but so challenging to pull off in a way that sounds effortless like it does here. A note about the production here, because I know that Jacob Hansen has his trademark sonic style that some find too polished and perfect (and its very apparent all over this album), but I think it really works for a band in this vein where the focus is on elevating Paige’s performances in a vocal melody driven context. Kobra and the Lotus have an intriguing future ahead of them, one that could end in either extreme because while I suspect their sound is accessible enough for anyone looking for well crafted melodic metal, its also a little too trad for alternative rock playlists and maybe even Active Rock and Sirius FM/Octane. They made a dent with “Light Me Up” last year, but a small one at that and its unfortunate that they’re not getting better results with the singles off Pt II. Its still early in the release cycle, so maybe a well chosen tour or two could change things, and I hope so because this album deserves more ears.

 

 

 

 

Thaurorod – Coast of Gold:

You ever have those moments where you’re at the grocery store, with your responsible list of low carb, sugar free groceries in your cart and you’re stocked up on organic chicken, avocados, bags of salad, some eggs (okay okay enough of the shopping list) and you pass by the cereal aisle and instead of  walking past like you’re supposed to you wander in and Assassin’s Creed past your better judgement to grab that box of Cinnamon Toast Crunch? Yep, that’s me with the new (well, a February release) Thaurorod album, a blast of Euro-styled power metal cut from the late nineties glory era cloth. This is such a blatantly traditionalist power metal affair that it even goes for the jugular with the comic book-ish cover art featuring the band members drawn as enterprising seafarers (I guess?). Thankfully they steer clear of Alestorm territory, in fact this is actually a Finnish band but they sound closer to Freedom Call in sound and spirit rather than Sonata Arctica. What was interesting to learn upon closer inspection is that its kind of a side project of Joonas Pykälä-aho and Emil Pohjalainen from Amberian Dawn (drummer and guitarist respectively). Neither to my knowledge contribute to Amberian’s writing process so I take it they get their kicks here with a project that’s been going since 2005. This was one of the recommendations from the community at /r/PowerMetal, it came up when folks were discussing what they thought the best albums of the first half of the year were. I can easily understand why this was an oft-cited favorite, much like my Cinnamon Toast Crunch comparison, its the power metal equivalent to kiddish comfort food (the band name being a Tolkien reference is also a good way to get me to listen).

 

You’ll get my drift when you hear the album opener, suitably named “Power”, because this song is as the lyrics confirm, about “Power we need / Power we breathe / Power to break through the gates / To our dreams”. Oh and don’t misinterpret the tone of that sentence, because I’m not being snarky in anyway, I’m fully buying in here, even when the band makes the near fatal mistake of having built-in “hey! hey!” chant sections midway through the song (seriously, Thaurorod gets a pass because this song is so much fun, but note to bands, don’t do this!). Its power metal 101 to use “power” and “forever” liberally in lyrics, and these guys pack them both in a skyrocketing chorus. Pure power metal fun aside, there’s some depth and complexity to what they’re accomplishing on “24601”, a song that makes clever use of its title in a satisfyingly rhythmic way. What really sells it is the rough yet smooth vocals of Bosnian singer Andi Kravljača (if he sounds familiar its because he was on the first Seventh Wonder album pre-Tommy Karevik and did a stint with Silent Call for a few years), and he entirely makes up for the fact that they lifted the keyboard intro from Toto’s “Hold the Line”. I experienced a rush of joy listening to this record, and appreciate that the band just went for it full throttle, often in speed but always in displaying their clear cut love for all things classic power metal. Its not reinventing the wheel for sure, but its a pretty good wheel.

 

 

 

 

 

The Night Flight Orchestra – Sometimes The World Ain’t Enough:

The lovable Swedes are back yet again with a new album a little over a single year after the release of 2017’s Amber Galactic. It wasn’t but a few months ago that I was writing about them for the first time, not expecting that we’d get new music so quickly, but that facet alone is another detail in what makes The Night Flight Orchestra so convincing and compelling. Back in the late 70s and early 80s, rock bands would usually be releasing new music at a pretty swift clip, even the Scorpions only took two years between Animal Magnetism and Blackout, and that includes the delays from Klaus Meine almost losing his voice before the recording sessions. Iron Maiden of course knocked out three albums in yearly succession between 82-84, all while touring like madmen in between each release and somehow finding time to write and record new music rapidly, rest and vacations were considered part of the recording session experience (I suppose that’s why they’d decamp to the Bahamas but nevermind). The point is that back in that era to take three years or longer to do an album was seen as far too long to be away from your fans, it was just an aspect of rock culture that slowly ebbed away as the 90s came out and it was seen as okay to tour longer or use the EP or live album as a way to buy time. I’m not sure whether the band is doing it on purpose or not, but there’s something charming about Night Flight adhering to this ethos and work ethic, this being their fourth album in six years since the band’s inception —- pretty good for a “side project”.

 

That they’ve managed to get better and sound more confident with each passing release is also something to celebrate, and Sometimes the World Ain’t Enough expands upon the greater role of synths and keyboard driven melodies that we heard on Amber Galactic. Lead single/video track “Turn to Miami” is emblematic of this approach, with its suggestive, slinky synth lines and lyrics that declare “while the night is young / this is where we start”. Björn Strid is as usual accompanied by gorgeous backing vocals, provided here by the “Airline Annas” (Anna Brygård and Anna-Mia Bonde), a detail that might get overlooked in the artistic success of these songs. Its not to say that Strid isn’t a powerful and appealing clean vocalist in his own right, but the Airline Annas’ harmonies and independent vocal accompaniments layer on that extra sugar icing that buoy these songs from street level High Spirits throwback grit into something that is truly transcendent and of the spirit of that era. The hardest hitting song on the record is the title track, not only for its confident hard rock stridency, but because that chorus just impacts with precision, the Anna’s once again sealing its potency with well timed supporting harmonies.

 

And there’s something to “Lovers In the Rain”, a heavy synth drenched semi power ballad, the kind that had it come out in the early 80s would have irritated a few fans at first but slowly would win them over in private away from their buddies in the car. When it comes to “Barcelona”, we’re treated to a Journey-esque ode to one particular city that also serves as a metaphorical focal point for the narrator. Its the weakest song on the record but still manages to rock with early 80s conviction, and that says something about the overall quality of the album. The work this band has put into mining this particular vein of rock history has made them into one of the style’s strongest songwriting collectives. Case in point is just how interesting they manage to make the nine-minute plus “The Last of the Independent Romantics”, a running time that had me skeptical before I heard it. Here they marry the sounds of 80s rich royalty rock with the ambition of a 70s prog rock piece and keep it loaded with enough solid riffs and melodic shifts to keep us intrigued. This is a fun listen and if you haven’t gotten on board yet, this is the album to get first (and work your way backwards in order), Night Flight have transcended any jokey beginnings and have simply turned into a great band making a kind of music a lot of us miss.

 

 

 

 

 

Uada – Cult of a Dying Sun:

Portland’s Uada are an intriguing band, not for the hoods they wear in promo photos and apparently onstage as well (we’ll see, I’m catching them live in a few days time), but for their attempt at straddling the bridge connecting second wave black metal to its more melodically inclined modern evolution. This is their sophomore album, their debut Devoid of Light arriving in 2016 and in listening to the two back to back, you can see that they’ve made a significant leap in songwriting complexity in just this short span of time. The thing that I feel most critics of modern black metal miss is just how effective a crisp, clear production job can be to the overall impact of music as complex as this. Not everything should sound like a shrieking incoherent mess, and while that early second wave production style lent itself to what those artists were trying to accomplish (“Give me the wvurst microphone you have…”), a lot of us became fans of the modern style first and then went back to do our history homework with the more difficult to listen to stuff.

 

I have no idea what the members of Uada would cite as influences, and this being a short review I felt no need to research it, but I hear shades of Dissection (particularly in the wielding of melodic motifs throughout), a little Dimmu Borgir and even a bit of Inquisition. I’ve seen some criticism posted up about how these guys are aping Polish black metal band Mgla’s sound, and that’s some pretty accusatory stuff considering most metal bands are drawing influence from other metal bands. I took a listen to the last Mgla album to see what the fuss was about, and okay there’s some resemblance but honestly I prefer Uada for their deeper dive into unabashed melody. Take their melodic treatment of the tremolo buzzsaw cutting across most of “Snakes and Vultures”, its so earwormy in its own right that it works as the hook here, usurping the actual vocal refrain. And I love the almost melo-death approach on guitars in “Mirrors”, kind of a merging of two genres with its black metal song structure. This isn’t a perfect album, it starts off really strong for the first three tracks and then dips a bit in the middle (“The Wanderer” should have been left on the cutting room floor) only to perk up at the end, but its one of the few black metal records that’s intrigued me this year. Looking forward to seeing them, hoping for an entertaining show (remember, a good show needs anticipation or surprise!) and will be expecting even better things from these guys in the future.

 

 

 

 

 

Khemmis – Desolation:

I had paid attention the last time Khemmis were making waves, about two years ago when they were in the spotlight for their sophomore release Hunted. I gave that album a shot and for some reason it just didn’t connect with me, and honestly their newest Desolation really took more than a handful of forced attempts at cracking its code before it finally started to grow on me. I’m not sure what my block is on this band (we briefly talked about this on the last MSRcast), but Desolation is the most accessible album for me from this band mainly because its the least doomy of all their work. I know its a bit ridiculous to come from having Bell Witch’s Mirror Reaper on my best albums list last year, to now saying that Khemmis is giving me problems but that’s just the way my brain is working at the moment I guess. It was Adrian Begrand’s repeated Twitter statements on how “If you like traditional, escapist heavy metal, this is the one for you” that got me to stick with it, and kudos to him because I think I’m about 75-80% there. The stuff I’m responding positively to is the band’s increased trad metal infusion, particularly in the uptick in tempos all across these songs. There were flashes of that happening on their previous two albums, but here its the main feature, and it makes a huge difference in aligning their sound closer to bands like Grand Magus and Tyr, whom I both adore.

 

As usual Khemmis keeps the albums concise and tight (only six tracks here, ranging from four to nine minutes), its a practice that I sometimes think other bands should adopt, getting back to a more mid-80s/vinyl level of quality control, but I’m digressing. The album that I’m enjoying kicks off after the opening doom-laden track “Bloodletting” on the subsequent”Isolation” which really reminds me of Candlemass crossed with Iron Maiden. There’s a dueling guitar solo segment partway through that’s just fantastic, full of vigor and vibrant melodicism. It also contains vocalist Phil Pendergast’s best, most emotive work —- at times displaying shades of Tyr’s Heri Joensen and even Dio’s penchant for theatricality and rhythmic timing. You’ll hear more of that on “Flesh to Nothing”, particularly in the build up during the verses, and I get a real Hetfield vibe on “The Seer” that works to enhance its bite. Of course harsh vocalist Ben Hutcherson is the counterpoint here, and his raspy sheet metal scream is on point tonally and provides a nice change-up from time to time. If I’m being honest I wouldn’t mind Khemmis going full clean vocals in the future, but that’s just my power/trad metal loving side coming out. I’m still digesting this album fully, but the good news is that its something I’m willingly coming back to and its riffs are thundering in my head long after I’ve finished listening.

 

 

 

 

Frozen Crown – The Fallen King:

This was a nice surprise, another touted recommendation from the peeps at /r/PowerMetal, Frozen Crown are a power metal band from Italy that sound like they could be from the States or Canada. Its not that they don’t have the ability to show a little flashiness ala Rhapsody and co., as principal songwriter Federico Mondelli and his fellow guitarist Talia Bellazecca have enough bottled up technical virtuosity to trade spitfire solos and flex creatively with complex melodic patterns. But rather than layer it on thick, they have an innate USPM sense of keeping things scaled down, stripped back to the essentials —- so we get shreddy riffs but also vocal melody driven songwriting built on the strength of the relatively unknown Giada Etro’s emotive, throaty singing as well as Mondelli’s own solid clean-harsh range. What’s smart about their pairing is that they avoid beauty and the beast tropes by rarely trading off verses… this is largely Etro’s domain, the songs are almost all written to support her ability to soar into higher registers, but Mondelli provides a nice change of pace in select situations and also sparks a nice harmonic duet in the ballad “Chasing Lights”. That song in particular is used as a cleverly disguised segue into the sharp, aggressive epic “Queen of Blades”, one of the occasions where both vocalists do trade off a bit yet the overall vibe I get is more Unleash the Archers, not Nightwish.

 

Speaking of Archers, Etro has a touch of Brittney Hayes’ timbre to her vocals, but also a little of Kobra Paige’s smoothness, that ability to make emotive sweeps with little changes. I hear both “Across the Sea”, as Nightwish-esque as things get here (muted keyboard adorned verses, transitional bridge/chorus that pops), and I love the choice Etro makes with the sped up phrasing at the :59 to 1:04 mark (“I’m feeling frozen, I can’t hear my heart beating”), something I’d imagine that the master of that technique in Mr. Tony Kakko would be proud of. Sometimes as on the closing track “Netherstorm” I get the feeling that the band is attempting to find a place where melo-death and power metal can merge (that intersection of Wintersun and Skyfire), and they have a moment towards the end where the riffs have that Gothenberg density and are complemented by a gorgeously fluid lead melody over the top. Its not quite the integration they seek, but I think they’ll get there with future albums. Oh yeah, this is a debut by the way, it actually came out in February, but being that their label support is relatively small (Scarlet Records in Italy) its telling that they’re making lasting impressions in the online power metal community —- enough for a handful of people to remember it all these months later when pressed for recommendations. Its too early to call it, but there’s something happening within power metal that might be described as a nascent revitalization. I’m looking around at the artistic triumphs coming from the genre in the last few years as well as young rising bands like this and its starting to feel as exciting as 1998 again. To quote Fox Mulder, I want to believe.

 

 

 

 

Hoth – Astral Necromancy:

Oh get ready, this is a strange but good one, and I mean really strange and really good. This has become one of my favorites for 2018 overall, something I’ve been unable to stop listening to in the slightest (cool cover art too for bonus points). If the name wasn’t a tip off, Hoth are steeped in Star Wars mythology, particularly in their first two albums (this one seems to blend in some other lyrical topics, mainly, erm…. necromancy), and while its surprising that no band has really taken and run with that theme in earnest, its more surprising as to how Hoth have decided to go about it. Their interpretation of a long time ago in a galaxy far, far away is a soundscape of heavily major key infused black metal, and I’m not talking about symphonic arrangements ala Dimmu and others, but as in its core tremolo based guitar skeleton. We’ve talked about black metal set to major keys before, most notably in Deafheaven’s Sunbather, and it was a unique listening experience for sure, but I think that Hoth somehow make it even more interesting because they’re keeping with the darkness and not resorting to pastoral tones and colors. Make no mistake, the galaxy that Hoth want you to envision is bleak, unforgiving, icy cold (heh), and wickedly punishing.

 

On opener “Vengeance” they take a traditional black metal approach through the verses, but punctuate the bridge with some almost bark/shouted rhythmic vocal lines only to follow it up with a wildly noodley solo. Its a preview of things to come in that you’ll never really be able to predict where they’re going to take things musically —- unpredictability is their greatest strength. Take its jaw dropping follow-up “The Living Dreams of a Dead God” (that title is some Glen Cook level cosmic darkness!) where they switch up the attack with an almost trad/power metal rhythmic riff structure, one that reminds me of how Therion often surprises new listeners with their heavy 80s metal guitar approach instead of something more blackened or death metal-ish. I would call this a prog influenced track for its rising dramatic crescendo during the refrain but it might give you the wrong idea, this is very much a brutal and fierce piece of music. Elsewhere I was enthralled by their turn to pure power metal influences such as on “Ascension”, an appropriate title given the sudden sweeping nature of the guitar melodies herein, featuring a lead melody as gorgeous as anything conjured up by Opeth or Sorceror. It wouldn’t come as a surprise then for me to tell you that the guys on the /r/PowerMetal dischord recommended this one to me as well, and I find that harsh vocal based recommendations from power metal communities really hit me in my sweet spot (that ‘melodeath-ian nexus’ of everything I love about metal).

 

 

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