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

 

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

 

 

 

 

 

The Metal Pigeon Best Songs of 2017:

 

 

 

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

 

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

 

 

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

 

 

 

 

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

 

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

 

 

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

 

 

 

 

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

 

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

 

 

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

 

 

 

 

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

 

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

 

 

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

 

 

 

 

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

 

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

 

 

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

 

 

 

 

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

 

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

 

 

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

 

 

 

 

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

 

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

 

 

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

 

 

 

 

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

 

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

 

 

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

 

 

 

 

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

 

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

 

 

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

 

 

 

 

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

 

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

 

 

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

 

 

Reviews Cluster Summertime Edition Pt 1 !: New Music from Paradise Lost, Helloween, Luca Turilli and More!

Well I’m not sure how it is where you are, but down in Houston summer is off to its usual vulgar start of high temps and higher humidity. Its understood around here that one should go outdoors during the day for unavoidable reasons only, spending most of the time inside an air conditioned structure until sundown (the parking lots of our local public parks are unbelievably packed at 8pm). Its a wise methodology, because having lived here most of my life I’ve come to learn that the heat during these summer months will get you very, very angry —- its just pervasive and oppressive. Not to mention that with football offseason at its most uninteresting and NBA free agency over, there’s little reason to listen to sports radio. The end result of all these brutal truths is that the amount of metal I listen to during these months increases dramatically, and when its not the summertime flavor of melodic/power metal or hard rock, its typically something fierce and aggressive (the better to match my heat-induced high blood pressure).

During years when summertime new releases are lean, I’ll usually find myself going back to old favorites and classic albums of yore. But the summer of 2015 is packed with new albums aplenty, with releases from up and comers like Perzonal War and Witchbound, and a slew of them from established veterans such as Helloween, Paradise Lost, Virgin Steele, Luca Turilli’s Rhapsody, and Pyramaze. Its been an overwhelming month and a half of repeated listening but I’ve managed to get a handle on this big first batch of new music. Simply because there’s so much to get through here, I’m going to try to keep these reviews as quick takes of 400(ish) words each, though that’s how all the review cluster articles were supposed to go and if you’ll recall the last two they certainly didn’t adhere to those guidelines. We’ll see how these fare in comparison —- onwards to catch up on May and June!

 


 

 

Helloween – My God Given Right: My initial indifference to this fifteenth studio album by power metal veterans Helloween was well documented on a recent episode of the MSRcast podcast. At the time I said that what brought the album down for me was its lightened tone, its greater emphasis on being hokey-jokey. Actually I shouldn’t have been surprised that Helloween was due to deliver something this light and fluffy at some point, their past few releases have subtly and not so subtly hinted at it.  A few weeks later I’m still largely of that opinion, but some of these songs have grown on me in a manner.

The obvious standout is the album’s second single “Lost In America”, a Maiden-esque guitar fueled anthem that only a German rock band could write about what essentially was a flight cancellation. Deris’ lyrical treatment is akin to Edguy’s Tobias Sammet and his infamous Helloween-like rocker “Lavatory Love Machine” —- complete with a lyric attributed to the airline pilot: “There’s a cloud / There’s a star / We should plunder the sky bar / We are lost / Lost in America”. My friend listened to the song once and came up with the perfect music video treatment for it, a Benny Hill styled edit of the band running around an airport while chased by security, affronted gaudy tourists as extras of course. Crazy German humor aside, its actually one of the strongest hooks I’ve heard this year, undeniable in its power to demand repeat spins just for the sheer fun of it.

There are a handful of other good cuts: “The Swing Of A Fallen World” takes us back to some of that stormy Dark Ride era moodiness; “Battle’s Won” has some terrific riffing on it’s verses but I find the chorus somewhat lacking in comparison; “My God-Given Right” is a pretty fierce straight-ahead rocker with some nice melodic guitar touches on the chorus; and I really enjoyed “Free World”, one of the many bonus tracks on the international edition which pushed the overall track listing here to sixteen new songs. Someone might hear that and think its great news, more music for less money —- and I’ll caution them to go back and consider the last Freedom Call release Beyond, where sixteen tracks were about 5 or 6 too many and diluted what could have been a truly great album. Helloween run into the same problem here, and according to a Deris quote from the album’s Wikipedia page the band had worked up 34 songs and had producer Charlie Bauerfeind and his team present the band with a whittled down tracklisting. I’m generally a fan of Bauerfeind, except I’ll be the first person to say that he’s not the go-to-guy when it comes to lessening excess and trimming the fat. They should’ve gotten a second opinion.

The Takeaway: The strange thing about My God Given Right is that when you have it on in the background while you’re doing something else, I dunno, the dishes or laundry for example, it actually comes off rather well —- light, unoffensive, catchy in some good spots. Its when you sit down and concentrate on it that you realize just how weak some of its constituent parts are. Spotify this first if you haven’t bought it yet.

 

 

Paradise Lost – The Plague Within: It seems that Nick Holmes recent stint recording the latest Bloodbath album was a pretty big influence on just how shockingly heavy this new Paradise Lost album turned out. Holmes was a curious choice for Bloodbath given that his performances on the past few Paradise Lost albums were more in the vein of a starker Amorphis / Sentenced approach. That resulting Bloodbath album, Grand Morbid Funeral, cast Holmes in the sonic vein of a crusty, smoky necromancer —- practically barking out his lyrics in the most bleak, death metal furor you forgot he was capable of. It was a good album, but he stole the show, injecting Bloodbath with a different flavor, one that was as brutal as Mikael Akerfeldt’s monolithic roar but distinct in its own right.

He tempers that approach only slightly here, allowing his vocals a dose of clarity in the way of enunciation, sort of like a really grim, death-metal touched James Hetfield. I know I’m mixing adjectives normally reserved for either black metal or death metal exclusively, but that’s part of Holmes gift as a vocalist, that he takes particulate elements from all kinds of extreme metal vocal styles and combines them through his own voice. The songwriting suits his favored approach (and according to interviews with Paradise Lost guitarist Greg Mackintosh the decision to get heavier was made after 2012’s Tragic Idol, an album that slightly hinted at a darkening of their sound). I could go on about individual songs here, but the truth is that there aren’t any weak ones —- this is without question one of the strongest, most cohesive albums of the year. But if you’re looking for YouTube-worthy glances, I’d recommend my personal favorites “No Hope In Sight” with its gorgeously melodic thru-lines, or “Cry Out” with its Metallica meets death metal fusion of straight ahead metal run through a grisly filter.

The Takeaway: One of the bigger surprises of the year, not that anyone was thinking that Paradise Lost would release a dud… but surely no one expected the bucket of water dose of heaviness that is The Plague Within. Fans of their Amorphis-ish past few albums might be taken back a bit by just how punishing it is, and if you’re not a fan of extreme metal vocals, Holmes approach could be a deal breaker. But its still Paradise Lost, the songwriting is inspired and Mackintosh rips off riffs that we haven’t heard from these guys since before Host. Just get it.

 

 

Pyramaze – Disciples of the Sun: Hey remember Pyramaze? That Danish prog-power band that Matt Barlow briefly joined to record an album with in 2007 before leaving for his second and apparently final stint with Iced Earth? That sole Barlow helmed album, titled Immortal, was to be their last for seven long years. In the interim, their line-up disintegrated: Founding guitarist Michael Kammeyer and longtime bassist Niels Kvist left the band, citing familial responsibilities, and Barlow’s replacement vocalist Urban Breed came and went, rejoining Swedish power metallers Bloodbound. Still standing were longtime keyboardist (and sole American in the lineup) Jonah Weingarten and drummer Morten Gade Sørensen, and with help from their longtime producer Jacob Hansen sitting in on guitar duties they’ve managed to rebuild a functional band line up with the addition of newbie Norwegian vocalist Terje Haroy.

Its absolutely commendable that the veterans in the band managed to rally and keep the flame burning to release this long delayed / awaited new album —- I’d talk more about that, except that its the new guy Haroy who utterly steals the show here. He’s simply one of the best new vocal talents in metal, regardless of genre, with a voice that takes equal parts from Chris Cornell and Tom Englund (Evergrey). That’s a gross oversimplification though, because Haroy delivers one of the year’s best overall vocal performances on Disciples of the Sun, his voice is just… massive, capable of soaring, tenor built choruses yet still possessing a thundering, booming heaviness. He’s a recent addition too, apparently only joining the ranks within the past year or so, and his seamless adaptability to the material on this album is a testament to just how well the songwriters in the band have spent the intervening years.

The songwriting borders on great, often surpassing it and as in the case of the title track —- transcending it. The chorus on “Disciples of the Sun” is so monumentally epic, so full of vigor and life that its immediately made my rough list for Songs of the Year candidates. Its not alone, being followed immediately by the uptempo, Symphony X-ish “Back For More”, where Weingarten and Hansen dual wield an ear-wormy melody to perfection, but allowing Haroy space to mimic it with his vocal take. Sometimes Haroy’s vocal melodies dominate certain songs, such as on “Genetic Process”, where the instrumentation surrounds him like an orchestra around a soprano. Its a great song, moody and heavy albeit with a sun bright chorus that places a ton of trust in a rookie singer. The wait was long but fruitful, and for many of you I’m sure Pyramaze will be coming across as essentially a new band —- what a debut then.

The Takeaway: Another of 2015’s astounding surprises, Pyramaze come out of nowhere to unleash an album that’s worth your time and money. With a new vocalist and new songwriting team to boot, its hard to compare it to their other works (unfair really), but this is for anyone who enjoys Evergrey, Symphony X, or even Kamelot.

 

 

Virgin Steele – Nocturnes of Hellfire & Damnation: On a recent episode of the MSRcast, I blurted out blindly that I had heard promising rumblings about the new Virgin Steele. Where did I glean said rumblings? Oh the usual assortment of forums I lurk at, coupled with the general sense of heaviness and epic pomp that pervaded the pre-release lyric video for “Lucifer’s Hammer”. Boy was I ever wrong. My first clue should’ve been my wary reticence at hearing David DeFeis’ vocal choices on said lyric video… I’ll just be honest about this, I have no idea what’s going on behind the scenes with Virgin Steele, no idea why vocalizations like this would meet with approval. You can’t blame me for my lack of knowledge —- this is a band with limited web presence who haven’t released a new album since 2010’s dreadful The Black Light Bacchanalia, their last good effort to my ears anyway dating all the way back to The House of Atreus Act I/II around 99-00′. My only conclusion is that DeFeis has simply taken over production duties for Virgin Steele in the past decade and as a result he is the band’s songwriting and de facto editor.

Here’s something I’ve learned having to do my own editing for this blog over these past few years… no matter how diligent a job I think I’ve done correcting grammatical or punctuation errors, I’ll always miss a few here and there. I’ll go back and read old articles I’ve written just for reference or just the hell of it and find myself coming across sentences that make no sense (and my OCD about it will result in ninja edits). With DeFeis serving as the band’s producer, and the power structure in the band obviously starting and ending with him, who’s there to politely suggest that DeFeis recent fascination with the falsetto is getting over the top? Who’s there to tell him that no one wants to hear a respected metal vocalist make noises similar to actual alley cats? Oh you think I’m joking do you? Go and YouTube “Queen of the Damned” and enjoy those first twenty seconds. Is there a redeemable song on the album?… Perhaps a riff or two here or there, and “Demolition Queen” is officially the leading contender for worst song of 2015, so that might be worth listening to. I guess it depends if you’re the kind of person who likes watching extreme sports blooper vids. Hey, sometimes you can’t turn away.

The Takeaway: No. Just no. (If you’re mildly curious the entire album is up on YouTube and Spotify, don’t say I didn’t warn you.)

 

 

Witchbound – Tarot’s Legacy: Don’t let the admittedly crude cover art put you off, and no this isn’t a Cradle of Filth clone despite how much the cover model seems to resemble Dani Filth circa 1997 (no I’m not trying to be meanspirited —- the model’s name is Vanessa Vergissmeinnicht and she’s quite lovely). Witchbound is an intriguing project for a few reasons, the first of which will interest hardcore power metal fans who enjoy the genre’s history: Witchbound is a new project created by both the ex-Stormwitch bassist and guitarist Ronny Gleisberg and Stefan Kauffman, respectively. Both were original members of that band’s early 80’s lineup alongside recently deceased Stormwitch founder Lee Tarot. Their monikers might be a tad unrecognizable, because for whatever reason during the Stormwitch era they went under Americanized versions of their names (for marketing reasons perhaps?).

Tarot’s untimely passing was the galvanizing force behind the creation of Witchbound, his old friends and bandmates rallying together in an effort to complete Tarot’s final musical works. Things like this have been done before for other deceased musicians, and they’re always well meaning, while almost always garnering some kind of press and media attention. In this case, there’s very little of that —- a fact that makes Witchbound’s efforts all the more poignant. Unless you’re a metal historian, chances are that Stormwitch isn’t a name that’s familiar to you: They never really blew up in any way in during their heyday, their exposure to American audiences was limited to import mail order catalogs (I don’t even think they had an American distribution deal), and they were never able to crack their home country of Germany like their peers in Grave Digger, Accept, Helloween, and later Blind Guardian. So what Witchbound has finished is an album called Tarot’s Legacy, its songs either written entirely or co-written by Tarot himself, as a grand gesture to a career cut short.

The other intriguing thing about this album is that its really, really great, perhaps Tarot’s finest work as a songwriter. With the help of the gruff yet richly melodic vocals of Thorsten Lichtner, the band powers through fifty minutes of music that boasts not only muscular aggression in terms of heaviness, but also a rich instrumental diversity with the infusion of acoustic passages and eastern sounding motifs (which work towards complementing the loosely metaphysical lyrical theme going on here). Think a less proggy version of Brainstorm’s take on power metal and you’re nearly there, with a dose of Suidakra’s musicality here and there as a spice. Songs like “Mauritania” and “Mandrake’s Fire” are propulsive, adrenaline-fueling uptempo gems, and the ballads here are unbelievable, Lichtner doing a wonderful job on “Trail of Stars” and the gorgeous, shimmering “Sands of Time” —- the latter is a shoe-in for the Songs of the Year list. These are inspired performances, the sound of friends trying to honor their friend’s legacy the best way they can.

The Takeaway: It may be out of nowhere, and difficult to believe if you judge books (or albums) by their covers, but Tarot’s Legacy is one of the strongest albums of the year, certainly one of the best power metal albums of 2015. I’ve seen so few people talking about this release so this is my meager attempt at picking up the slack —- check this album out.

 

 

Perzonal War – The Last Sunset: This one is for those of you pining for a new Metallica fix (and unlikely to get one soon). The unfortunately named Perzonal War is a thrash / trad-metal band from Germany who believe it or not have released six full lengths prior to 2015’s The Last Sunset, the first I’m hearing from them. There are a lot of metal bands out there, and its amazing how many of them go unnoticed by those of us who consider ourselves up on the genre —- again proving my “cream rises to the top theory” (tweet me if you want an explanation at your own risk!). With the aid of a better PR firm, a promo copy of this album landed in the MSRcast email account, and into my skeptical hands (hey, intentional misspellings are hard for me to overlook). Its a bit of a triumph then that this is a surprisingly fun mix of modern day thrash and blatant Metallica aping, down to vocalist/guitarist Mathias Zimmer’s slightly German-tinged but otherwise spot on James Hetfield impression.

I suppose that could be taken as a slight, but I mean it in a good way… certainly Perzonal War won’t win praise for originality, but they execute what they want to do rather well and Zimmer’s flexible vocal talent is a big reason for that. My favorite Zimmer / Hetfield moment is by far “Speed of Time”, a song that could’ve been at home on The Black Album or even Load / ReLoad, down to the rather minimalist use of melodic guitar variations to usher in the chorus. But then Zimmer surprises with a voice entirely his own on “What Would You Say?”, a relatively spacier song with metronomic guitar repetition in the verses and a refrain that reminds me of Tyr or Grand Magus. Sometimes when I’m listening to this album I get the notion in my head that it could’ve been the Metallica album to follow the Load era if someone had introduced Hetfield and Kirk Hammet to a few melodic death metal bands in timely fashion. Maybe its that the guitar work often owes more to Gothenburg or Tampa even rather than the SF Bay Area —- just a feeling though.

The Takeaway: No frills, solid musicianship (sometimes even near spectacular), Hetfield-ian vocals, and a rather muscular take on thrash… that’s The Last Sunset in a nutshell. The German Metallica then? Sorry Mille.

 

 

Luca Turilli’s Rhapsody – Prometheus Symphonia Ignis Divinus: I’m a frequent lurker of the US Power Metal Connection Facebook group, a surprisingly active group of a couple thousand metal fans, most of them indeed based in the United States, who talk pretty much nothing but power metal and all its associated topics. One of those topics recently was the release of this album specifically, and not a debate about whether or not it was good, but generally more along the lines of just how great is it? Full disclosure here is that I’ve never been a Rhapsody fan, even before the 2006 name change. It wasn’t for lack of trying either, they were such a big name in the power metal scene there was no way I could attempt to ignore them, but time and time again each new album failed to hook me. I wasn’t entirely sure what the 2011 splitting into two camps meant for either version of Rhapsody in the musical sense, was one going to become a touch more straightforward in their musical approach while the other spiraled out of control?

If I had to put money on who would go the latter route, it would’ve been on Luca Turilli’s Rhapsody. Turilli always struck me as the musical heart of Rhapsody and since his incarnation is typically viewed as the more legitimate of the two versions (Nuclear Blast put their eggs in his basket, a telling move), I figured he would be the one to carry on into further cinematic-inspired realms. I was right and wrong, Turilli has done exactly that but so has Alex Staropoli and Fabio Lione with their Rhapsody of Fire. The flight attendant asked Jerry. “More anything?”  He cried out, “More everything!” Seinfeld references aside, Turilli is winning the war of one upmanship, as his Prometheus album is the most operatically and cinematically drenched offering to date (to me at least, and if I’m naively wrong on that, correct me Rhapsody fans). Its all very impressive sounding, quite immaculately recorded and there’s a ton going on musically, more than mere descriptive sentences can capture. Stay far away if you absolutely hate opera, although I’ve found that its the few songs sung in Italian that tend to be the most interesting such as the suitably theater-esque “Notturno”, a ballad that sounds like its meant to be an aria. If Turilli really set out to craft an actual stage opera and left the metal elements behind I think he could do well at it… he’s got a knack for the stuff on the same level that Christofer Johnsson from Therion does.

But here’s a good example of why I tend to get tripped up on anything Rhapsody related: There’s a song on the album called “One Ring to Rule Them All”, and a quick glance at the lyrics will tell you that its directly about Tolkien’s Lord of the Rings. Now, I consider myself a Tolkien aficionado, the kind of aficionado that has read The Silmarillion more times than I care to admit in public. I’ve heard Tolkien set to metal in the form of Blind Guardian’s many masterpieces, and what that band’s Tolkien-related work does so well is carve out a vivid, original soundtrack to set his stories against. Turilli’s Tolkien-related song here sounds no different than any of the other songs on the album, there’s nothing to set it apart —- I can’t tell the difference between it and the title track about, y’know, Prometheus. If you can’t make Tolkien interesting to me then I just have to wonder if I’ll ever find something to truly enjoy on your albums. Maybe more of the purely Italian operatic stuff, because at least that’s something that seems to come from an inspired place, and that’s ultimately what I need to detect to be interested in a band… honest inspiration.

The Takeaway: I hope Rhapsody fans can understand my disconnect here, the truth is I don’t honestly know whether or not this is a good album or not. What I do know is that its not for me, anyone else got a fan’s inside take on it?

 

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